more music than any other guitar magazine

277 JANUARY 2018

75
Solos, chords,
licks & scales
to learn!

The HaRMonic secRets of...

Play like the band that changed the world!

Learn their favourite shapes and sounds
Decode Beatles-style chord progressions
From moptop pop to sophisticated rock!

tRiBUte

Tom PeTTy
A musical homage to one of America’s
most loved and respected musicians

classical
ROBeRt JOHNsON
Play his lovely Tudor lute piece, Alman

cool lessons

top style studies

soRt oUt yoUR... Mark Knopfler Dire Straits’ musical maestro
Steve Winwood Traffic, Blind Faith & more

SWEEP PICKING John Abercrombie Legend of jazz guitar

10 top tips!
 ISSUE 277 } JANUARY 2018 READY TO
SUBSCRIBE?
www.myfavourite

WElcoME
magazines.co.uk
Just a few of your regular
GT technique experts...
ShaUN baxtEr One Of my great musical recollections was on to St Louis music and asked them to make
One of the UK’s most respected music
educators, Shaun has taught many who when we got the Beatles’ White album. my him a special left-hander. Duly done it was
are now top tutors themselves. His Jazz memory concerns Paul’s song, Blackbird. this delivered to england and Ken called me up and
Metal album is considered a milestone. acoustic ditty played in thumbed and strummed asked if I’d like to go along. er... would I?
10ths was so totally different from anything After a bit of a kerfuffle where I nearly got
joN bIShoP they’d done before, that it totally captivated me shut outside when Ken entered the hallowed
Jon is one of those great all-rounders
who can turn his hand to almost any and my neophyte six-string fumblings. inner sanctum (Linda came and opened the
style. No ‘Jack of all trades and master of now, I had a cheap acoustic with really heavy door for me!), I found myself just feet from a
none’, he nails every one with ease! strings on, and no idea about concert pitch. So true idol. Paul said his hellos, opened the guitar
on my guitar the song appeared to be in D, case, then sat down on his haunches and began
PhIl caPoNE
rather than Paul’s g. But I was dying to learn it to play, and sing, things We Said today – and
Phil is a great guitarist who specialises in
blues and jazz. He teaches at ICMP in so one night, when everyone was in bed, I played the song I’d laboured over that night 20 years
London, writes for GT and Total Guitar it endlessly, trying to figure out what was going earlier: Blackbird. What a moment!
and has published 10 top tuition books. on. Of course, being in D and using the fourth Paul was at tOtP to play my Brave face, the
and first strings to find the intervals, I couldn’t single from his album flowers In the Dirt. He
charlIE grIffIthS
possibly strum the in-between strings like Paul said, “Come and watch, and meet me back here
Guitar Institute tutor Charlie first came
to fame in Total Guitar’s Challenge did, as they would have been all wrong. It should afterwards.” But as we tried to get in the studio
Charlie series. He’s also one of the UK’s have been a train wreck but by the morning the doorman wouldn’t let us, as we didn’t have
top rock, metal and fusion guitarists. (yes, I stayed up all night) I had a version that, passes. We said Paul had personallyinvited us,
to my ears at least, sounded great. but no: “more than me job’s worth, mate.”
PhIl hIlborNE
move on to 1989 and there I was standing The band finished and Paul returned.
The UK’s original magazine guitar tutor,
Phil’s something of a legend. A great outside mcCartney’s dressing room at the “What did you think?” he asked. We told
player, he’s currently touring Europe BBC’s top Of the Pops studio. I was with him the story and I’ll never forget his
with the Champions Of Rock show. Ken Hensley, ex keyboardist with Uriah retort: “Bloody top Of the flops!”
Heap and then working for St Louis enjoy our Beatles Chords feature
Pat hEath
BIMM Brighton lecturer, ESP product
music, makers of ampeg amps, and and let me know if you have
demonstrator and all-round busy distributors of alvarez guitars. any great guitar-learning
musician, Pat brings you six cool licks Paul had been involved in a stories! See you soon…
each month in 30-Minute Lickbag. tV show with rock legend Carl
Perkins, who was playing a
harrISoN MarSh
Harrison has taught guitar for over black alvarez electro-acoustic
seven years. With an ALCM diploma he with no soundhole. Paul loved
teaches all levels and ages via Skype, as the guitar and so, when Carl Neville Marten, Editor
well as face to face in Somerset, UK. got back to the States he got [email protected]
roNaN MccUllagh
Ronan works with major labels and TV
alongside playing live and teaching at
DoN’t miss oUR AmAziNg DIGITAl EDITIOn
BIMM in London. He also holds clinics
and masterclasses across the UK. Guitar Techniques’ iPad* edition is now even better!
brIdgEt MErMIkIdES
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
examiner, a respected classical player
and award-winning blues guitarist.

MIltoN MErMIkIdES
One 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.

StUart ryaN
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs Tap the links Animated tab & audio Play the videos
throughout the UK. His latest book/CD Finding your way around the All the mag’s main lessons have the Certain articles have accompanying
The Tradition is available now. magazine is easy. Tapping the feature audio built in with a moving cursor videos full of useful insight and
titles on the cover or the contents that shows you exactly where you additional information. Once again,
jUStIN SaNdErcoE page, takes you straight to the are in the music. Simply tap the ‘play’ tap the play buttons to enjoy
One of the most successful guitar relevant articles. Any web and email button and you’re off - you can fast- video masterclasses on your iPad
teachers ever, justinguitar.com is a mine links in the text are tappable too! forward or scroll back at will. (recommended) or smartphone.
of information, and his YouTube channel
boasts almost 500,000 subscribers! PlUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital
edition regularly, go to www.myfavouritemagazines.co.uk/GTQsubs
johN WhEatcroft * PLEASE NOTE: Only the Apple version contains interactive tab and audio. Zinio and others do not.
A phenomenal guitarist, John is a
master at all styles but a legend in Gypsy Disc auDio (PRiNT VERsioN oNLY) Sometimes the GT CD features some of the backing
Jazz. His new album Ensemble Futur is tracks as mp3 files due to space. These will be found in a folder on the CD-ROM section of
out now on iTunes and Amazon. the disc, accessible only via a computer, and will not work in a regular CD player.

January 2018 3
 CONTENTS
TURN TO
PAGE 26 NOW
FOR OUR LATEST
• C ON T E N T S • JA N UA RY 2 018 • SUBSCRIPTION
OFFERS

Their chords and LEaRNiNG zONE

chord progressions
helped to change
music forever LESSONS iNTRODuCTiON 55
Music editor Jason Sidwell introduces another
action-packed lessons section.
30-MiNuTE LiCKBaG 56
Pat Heath has six more licks for you to learn.
This month it’s packed with guitar legends!
BLuES 58
Ronan McCullagh looks at the guitar style of
Traffic and Blind Faith’s multi-instrumental
genius, the great Steve Winwood.
ROCK 62
Martin Cooper examines the unique playing
approach of Dire Straits’ Mark Knopfler.
Jazz 66
John Wheatcroft discovers the superlative craft
of jazz master John Abercrombie.
aCOuSTiC 72
Stuart Ryan pays musical tribute to a legend of
American rock, the wonderful Tom Petty.
CREaTivE ROCK 78
Shaun Baxter delves deeper into Pentatonic
scales with a look at the Indian variety.
FRETBOaRD FLuENCy 84
Martin Cooper begins a brand new column that
aims to make you more fluent on the fretboard.
SLiDE GuiTaR 88
COvER Harrison Marsh brings his slide primer series to a
FEaTuRE close with a final look at open E tuning.
iN THE WOODSHED 92
Charlie Griffiths continues to help you hone
your general guitar skills. This month: muted
and non-muted double-stops and riffs.

FEaTuRES REGULAR FEATURES ExCLuSivE viDEO!

WELCOME 3 aNTONiO FORCiONE
CovER SToRy When Marten met McCartney... Masterclass: Part 2 of 2 42
Antonio plies us with more of his acoustic
BEaTLES CHORDS iNTRO 6 guitar wisdom in the second and final lesson
Food For Thought, Session Shenanigans, Jam
and progressions 16 Tracks tips, One-Minute Lick and more.
in this video masterclass series.
Their sound and style changed music forever.
Find out how their different use of chords can TaLKBaCK 10
expand your own musical horizons, and learn Guitar as inspiration and Michael Chapman!
more about what made this band so special.
uSER GuiDE 12
Our easy-to-follow musical terms and signs.
SPECIAL FEATURE SuBSCRiPTiONS 26
Forget trudging down to the shops. Save
SWEEP PiCKiNG money and get GT delivered every month.
For mortals! 28 BaCK iSSuES 94
People often associate it with super fast shred
Grab an issue from the last six months.
styles but there’s way more to this technique
aLBuMS 95
Cover PHoTo: ITv / reX / SHUTTerSToCK

than meets the eye; you can even use it in blues!

We check out some of the latest guitar CDs.

CLASSICAL TAb SixTy SECONDS WiTH... 96

Whitesnake and MoonKings’ incredible Dutch
ROBERT JOHNSON guitarist, Adrian Vandenberg.
alman 50 NExT MONTH 98 Exclusive lesson
This Robert Johnson was a Tudor lutenist- John Mayer: what makes him so special. Fast with guitar master
composer and Shakespeare’s only confirmed Pentatonic licks; simple but most impressive! Antonio Forcione
musical cohort. Bridget tabs this lovely tune. John Philip Sousa’s Liberty Bell and much more!

January 2018 5
 Intro
Food For thought
Every month, Justin Sandercoe of justinguitar.com lends GT his insight as one of
the world’s most successful guitar teachers. This month: Altered tuning fun - part 2.

H
ope you had fun on my website, but basically, don’t
exploring drop D and press down too hard; just so the
double drop D last slide touches the strings (and not
month. We’re only one the frets) and mute the strings with
step away now from open G tuning the fingers on the nut side of the
which is a foundation open chord slide. I find playing slide with a pick
tuning and lots of fun… it will open near impossible so you might like
the door to a huge amount of music, to start doing it fingerstyle and
especially if you dig The Rolling muting (with the strumming hand)
Stones and slide guitar. any strings you don’t want to ring.
For open G tuning, if you’re in Don’t worry too much about what
double drop D all you need to do you’re doing if you are new to this
now is lower the fifth string (A) stuff – just enjoy the ride and the
down a tone to G – you can use the fresh sounds you may not have
third string as a reference. If you’re made before.
not in double drop D then you also A fun place to start is Little Red
Justin hasn’t
need to tune both outside strings Rooster by The Rolling Stones. It’s
yet removed the
down a tone to D. bottom string on a blues in G, so the info above plus
Now when you play all the open his Telecaster your ears should get you most of
strings you are playing the notes the way there… listen and try to
D-G-D-G-B-D which as any of you quite often impossible. But trying but that requires knowing the notes emulate the slides and the vibrato.
that have studied basic music will take you to some interesting on the neck well (which you should). If you are a more experienced open
theory are all notes of a G Major places and increase your The famous Stones move you G player, then start finding other
triad (G-B-D). Notice that it’s ‘open understanding of both the tuning need to know about is the 6sus4 chords; just pick an open chord and
G’ but the lowest note is D… if you and the function of chord tones in chord which you get by adding your figure out how you might play it if
take off the thickest string the regular tuning. The open A chord is second and third fingers in front of first, fifth and sixth strings are up a
lowest note becomes the low G a great place to start; if you move the the barre as shown below. Don’t tone, and see what happens.
which makes more sense, and is fifth and first strings up a tone you worry about the name, it’s just a Some great (non slide)
one of the reasons Keith Richards end up with all the notes of the cool sound to play with! examples are Brown Sugar by The
plays his five-string Telecaster. chord on the one fret, which is C (x-5-5-5-5-5) Stones, Romeo And Juliet by Dire
Chord shapes now start to get a obviously easy to barre, and the C6sus4 (x-5-7-5-6-5) Straits and Bohemian Like You by
little interesting, because any reason this tuning works so well for Just adding the 6th on and off the Dandy Warhols.
regular chord shape would need slide guitar. The root note is on the (like in a blues shuffle) is a simple If you want to solo in open G
notes on the sixth, fifth and first fifth string, but up two frets from and super effective move, while the remember that on the second, third
string moved up a tone, which is where you might usually find the sus4 on its own is easy and sounds and fourth strings nothing changes.
Below: Some chord shapes that are note, so I find it easier to think of the cool. Change the 6th into a 7th by And if you want to get out onto first,
useful in open G tuning. root on the third string of the shape, moving it up one fret. You can also fifth and sixth, just move the notes
try two frets higher than the barre up a tone. It’s not difficult when
on the third string - it gets you an you’ve played around with it a bit.
add9 chord which is a real tasty Remember that most blues solos
sound to mix with the sus4 or the 6. are played mainly on the top four
Csus4 (x-5-5-5-6-5) strings, so you just need to shift
C6 (x-5-7-5-5-5) notes on the top string up a tone. Or
C7 (x-5-8-5-5-5) do you? Try all your favourite licks
Cadd9 (x-5-7-5-5) and see how they sound – some will
Note: chord boxes are in C, not D. be awesome, some will not. Let
There’s lot’s of cool grooves to your ears guide you.
explore with just this. Can you Retuning is nothing to be afraid
figure out how to play a 12-bar of. It can breathe new life into the
blues using this idea? Try it on your instrument; chords take on a new
own, but to help you out G is open, resonance; you’ll play sounds that
C is 5th fret and D is 7th. Also, G is you can’t get in regular tunings so I
at the 12th fret. Try the straight hope that this taster will whet your
barre and then add the 6th in the appetite. Safe travels!
shuffle groove on beats 2 and 4.
If you want to get experimenting Get more info and links to related
with slide now’s your chance. I have lessons on all Justin’s GT articles
TINA K

a ‘beginner’s intro to slide’ lesson at www.justinguitar.com/gtmag

6 January 2018
 Intro
SESSIoN shenanigans
The studio guitarist’s guide to happiness and personal fulfilment, as related to us by
session legend Mitch Dalton. This month our hero gets to be James Bond – sort of.

T
“
he Music Business is a
cruel and shallow money
trench, a long plastic
hallway where thieves
and pimps run free and good men
die like dogs. There’s also a negative
side.” (Hunter S Thompson)
I know what you’re thinking.
Grotesque exaggeration? Over-
egged pud? Nah. The guy goes
nowhere near far enough with his
timorous, ineffectual analysis. In
reality, it’s a wonder we’re not all
heavily sedated and strapped into
our chairs behind high-walled
accommodation. By way of proof,
here is October’s choice tidbit from
“We have been
the bizarre world of the expecting you,
unpredictable, the unavoidable Mr Dalton!”
and, to be fair, the unplayable.
It so happens that a few years symphonic sweep of sound. followed shortly thereafter and, adjacent to my backline... and Mr
back I had my name inscribed in Suitably primed with upbeat after an invaluable break for David Arnold headed my way.
microscopic type in the Bond Movie anticipation and major sleep refreshment, the second half was “Hi Mitch. Did anyone mention
Roll Of Honour. The nice Mr David deprivation, I left fashionable upon us. An Entr’acte followed, that the production team thought it
Arnold inherited the composing gig Hertfordshire shortly after the presumably commissioned for the would be fun if I played the 007
from the sadly departed Mr John signing of Magna Carta and set off occasion and demanding my full Theme at the end? I’ll creep on to
Barry and, in turn, he inherited me. for SW19 rehearsal studios (all clues attention, albeit briefly, before I the stage dressed in a Bond-alike
Please don’t ask me the names of neatly embedded in the title), found myself reverting to the day’s tuxedo and give it the full treatment
the specific celluloid capers in primed for a day of gridlock, groove metaphorical standby switch. from the front. We think the
which I participated. All I can tell and Bond girls. Hey, a man can There were but two further notes audience will love it. Is that Okay?”
you is that they were the ones with dream, right? After a polystyrene to pluck and perfect (a quaver and And that, gentle reader, is
the interchangeable permutations cup of economy coffee and a value an adjacent semibreve, to be exactly what happened. The
of titles like Die Tomorrow Night, biscuit had rapidly revised my specific). These forced me to snap following day I sat through a dress
Another Day Is Enough, The World expectations of the day ahead, I out of a coma of increasing depth rehearsal and two performances at
Has Died Today, and on. the iconic (aargh!) venue. And then
And jolly good fun it was too. I I waS proddEd by a coNSIdEratE once more the day after that. I sat in
got to play some damn fine collEaguE’S doublE baSS bow bEForE the same chair and was prodded
orchestrations, some gorgeous with a considerate colleague’s
Spanish guitar Music-To-Disrobe- Each oF my mEagrE coNtrIbutIoNS double bass bow at the same vital
To, plus a fair hunk of the iconic approached the folder marked with only milliseconds to spare and moments before each of my meagre
(aargh - I promised myself never to “Guitar” with the usual attend to the matter in hand. Once contributions. Imagine a very long
use that word in impolite company combination of optimism and fear. that obstacle had been overcome, intercontinental plane journey.
again) “Dah de-de-de de, da da On this occasion all was not quite as and with some panache if I may say With a loo visit allowed every three
da...” On a ‘62 Strat with heavy anticipated. My elegantly bound so, I was left to my own devices for hours. Where they show the same
gauge strings, since you don’t ask. booklet was packed choc full of another hour or so while looking film repeatedly all through the
All of which segues, if I may be cues, their relevant tempi and key forward enthusiastically to the flight. But behind you. Where they
permitted to test a musical term to signatures, and enough closing credits. run out of sandwiches two hours in.
destruction, into an invitation to miscellaneous info to bring joy to At this point I deduced that my But where they pay you. So, fair
The Royal Albert Hall for three days the music preparation anorak in us presence on this glittering occasion enough. Best to take the money and
of Casino Royale in concert. By all. And to be fair, the opening had all along been concerned er... fly.
which I mean this new-fangled (yet credits clearly required my services. mainly with executing The James “They also serve who only stand
eerily old-fangled) notion of an Then, after about an hour of Bond Theme at the death (so to and wait”. (John Milton, Sonnet 19,
orchestra performing the score live long-term underemployment, I speak), and in the style that I had 1673). Although I believe he played
to picture. I’m sure Charlie Chaplin, noticed an instruction to play three been employed to reproduce on the mostly acoustic guitar.
Buster Keaton and even Daniel separate bars of semiquavers soundtrack sessions themselves.
Craig himself would have heartily utilising the note B with the famous As it happened, I also noticed a For more on our hero Mitch Dalton
approved of the giant screen, the Fender vibrato effect. And that was Fender Twin Reverb and Gibson and his Studio Kings please go to:
digitised cinematic detail and the pretty much that. The interval ES-135 parked nonchalantly www.mitchdalton.co.uk

January 2018 7
 Intro
INStrumENtal inquisition!
Instrumentals have supplied some of music’s most evocative moments. We asked
some top guitarists for their take on this iconic movement. This month, Swedish
jazz royalty (Oscar Peterson, Ray Brown): the fabulous Ulf Walkenius.
GT: What’s the main thing about have in jazz everything from Django
guitar instrumentals that appeals Ulf Walkenius: Reinhardt to Wes Montgomery to
to you? one of Europe’s George Benson and countless
foremost jazz
UW: The melodies and the sound guitarists others. So when it comes to tone I’m
appeals to me. Also, when a melody looking for my own.
is not sung it has to be really strong. GT: Do you have favourite keys or
GT: What can an instrumental tempos to play or write in?
provide a listener that a vocal UW: When you play guitar it is
song can’t? always nice with open strings, so
UW: It can give another colour of the keys of G, A, D and E are good.
the melody. It can leave space for When it comes to tempos I can’t say
imagination. It can take you to any special tempo. It depends on
another dimension. what the song requires. Talking
GT: What are the tendencies with about tempos or time, it feels
instrumentals that you aim to amazing when I play with my son,
embrace or avoid – rhythms, Eric Wakenius. When we recorded
harmony, playing approach, even the new CD, Father And Son (ACT)
guitar tones?` our time breathes together in an
UW: I think the possibilities are almost supernatural way. It was
endless. I would say in any given really wonderful.
moment the rhythm is the most GT: Do you find minor or major
important. You can use any note keys preferable to write in?
you want if the rhythm is hip! You UW: Sometimes we in Scandinavia
can’t do vice versa. A great melody lean on minor keys. But I try to
with bad time doesn’t work. compose in both.
GT: Is a typical song structure of GT: What about modulations into
intro, verse, chorus, verse ideal? new keys?
UW: Yes of course, sometimes. But UW: Yes, sometimes it can be
also many times the structure can effective for a composition.
be totally different. For instance GT: Do you view the backing band
some jazz tunes just have a differently to how you would on a
fragment of a melody and then a vocal song?
long improvisation. I like my music UW: I just respond to what I hear in
to be dramatic and beautiful. the moment. My definition of a
GT: How useful is studying a good musician is a good listener.
vocalist’s approach for playing GT: What about harmonising
guitar melodies? melodies; does it appeal?
UW: Very useful since you always UW: I’m aiming for melodies, UW: No it is not; if it was, UW: There’s an ocean of
want your instrument to have vocal groove, passion, lyric, excitement. everything would be predictable possibilities but, that said, there
qualities. It is always good if a If you listen to a great symphonic and totally cliché. That is what would need to be a special section
melody can be sung. concert, you don’t miss vocals. I today’s music world suffers from. in a piece for it to occur.
GT: How do you start writing one; actually think there are too many All the talent shows produce singers GT: What three guitar
is there a typical approach or singers in the music scene today. and players that are not ready; they instrumentals would you consider
inspiration for you? Everything goes so fast so they don’t give them hope and then throw iconic, or have inspired you?
UW: There are no given rules. have time to develop a personality. them away if they’re not popular UW: Nuages, by Django Reinhardt;
Sometimes a composition comes GT: Many vocal songs feature a quickly. I’m all for uniqueness and Loro, by Egberto Gismonti; and
easy, sometimes it is hard work. guitar solo that starts low and finding your own fingerprint and Bright Size Life, by Pat Metheny.
Sometimes you fail. Sometimes you slow then finishes high and fast. Is that takes time. I got to perform with Pat in
are lucky to write a piece people this idea useful for instrumental GT: What type of guitar tone do Germany with the latter piece, a
love. For me that was Momento writing, developing pace and you prefer for instrumentals? wonderful musical moment
Magico and Breakfast In Baghdad, dynamics over the ’s duration? UW: It is as diverse as vocals. You for me!
both recorded together with the
amazing Youn Sun Nah. I’m very
talENt ShowS gIvE pEoplE hopE Ulf’s new album featuring him and
LeNNArT Sjöberg

happy for that! Eric Walkenius, Father And Son, is

GT: What do you aim for when aNd thEN throw thEm away IF thEy out on ACT Records. For more info
your performance is centre stage? arE Not SuccESSFul quIckly please visit www.ulfwakenius.net

8 January 2018
 Intro
That Was
The Year... Jam trackS tips
2016
Use these tips to navigate our bonus backing tracks

➊ Country Blues Waltz (A)

pace-
Shawbucker, SDriver
Here’s a fun 12-bar blues

walker & Line

progression to add a little country
flavour to your blues playing. It’s in
3/4 with three beats to each bar.
Arpeggios are A (A-C#-E),
TAKAMINE RELEASES ANOTHER D (D-F#-A) and E (E-G#-B).
‘Thermal Top’ acoustic. The EF740FS-TT is a deep- Try mixing A Minor Pentatonic
bodied orchestra model that benefits from a heat- (A-C-D-E-G) with A Major
treated spruce top, effectively producing a great Pentatonic (A-B-C#-E-F#) for
played-in sound akin to a vintage instrument. With some classic blues moods.
solid sapele back and sides, a mahogany neck and ➍ A Minor Bossa Jam
an ebony fingerboard, this single-cut design also ➋ B Minor Groove We finish with a nice and mellow
benefits from a traditional slotted headstock. This groove track is based on the bossa style jam, featuring a loop of
HOME AFFAIRS AS THE UK I-IV-V chord progression in B two bars on the Im chord (Am), one
votes to leave the European Union in a referendum; the new Crossrail Minor, Bm (Im), Em (VIm) and bar on the IIm7b5 (Bm7b5) and one
line in London is to be called the Elizabeth Line; Lewis Hamilton wins F#m (Vm). Start with B Minor bar on the V7b9 chord (E7b9). Use A
the British Grand Prix for the fourth time; Andy Murray wins the Pentatonic (B-D-E-F#-A) as well as Minor scale (A-B-C-D-E-F-G) for
Wimbledon Men’s Singles title for the second time; Chris Froome wins the B Minor scale (B-C#-D-E-F#- the first three bars and then A
the Tour de France for the third time; and Tim Peake conducts the first G-A), then try adding a cheeky bit of Harmonic Minor (A-B-C-D-E-
ever spacewalk by an official British astronaut. B Dorian (B-C#-D-E-F#-G#-A) F-G#) for the final V7b9 (E7b9)

VICTORY AMPLIFICATION UNVEILS on the Bm and F#m chords! chord. Happy jamming!
its V40 Deluxe hand-built, 1x12 combo and while the dual 6L6 valve
design is obviously Fender influenced the distinctive Victory logo on ➌ Chicago Blues (D) Jam tracks by Jacob Quistgaard.
the front leaves no doubt about its Chicago-style 12-bar blues For free scale maps and
origin. This single-channel presentation progression with the ‘end-of-the- hundreds more tracks, visit
offers plenty of tonal variation along cycle-turnaround’ of D - D7/C - G/B www.quistorama.com. You can
with Tremolo Speed and Depth and - Gm/Bb - D/A - A7. For scales, I also subscribe to www.youtube.
Reverb Volume and Tone. It sounds recommend using both the D Minor com/QuistTV to get all the latest
stunning and looks beautiful in its Pentatonic (D-F-G-A-C) and D tracks and licks. Or find Quist and
cream livery and leather handle. Major Pentatonic (D-E-F#-A-B) his jam tracks on Twitter,
FLOOD WARNINGS ABOUND IN SCOTLAND for a great bluesy sound. Instagram and Facebook.
as strong winds and torrential rain batter the north. First Minister
Nicola Sturgeon announces grants for every household, business
and charity affected. Historic Abergeldie Castle is evacuated as water Track 2 would
sweeps away land to within a few feet of the 16th century tower house. sound great
with some
NORTH KOREA CONDUCTS A FIFTH NUCLEAR TEST Dorian based
and launches a long-range rocket into space. The act violates multiple Santana licks
UN treaties and is condemned around the world. Barack Obama is the
first US President to visit Cuba since Calvin Coolidge went there in 1928.

ANOTHER SHOCKING YEAR OF LOSS WITH DEATHS

including David Bowie, Greg Lake, Rick Parfitt, George Michael, Emile
Ford, Dan Hicks, Black, Keith Emerson, Lonnie Mack, Glenn Frey,
Bobby Vee, Prince, John D Loudermilk, Leon Russell, Debbie Reynolds,
Mose Allison, Rob Wasserman, Henry McCullough, Jimmy Bain, Dave
Swarbrick, Martin Stone , Dale Griffin (Mott the Hoople), Pete Burns ,
bassist Victor Bailey and all members of Viola Beach.

FENDER’S AMERICAN PROFESSIONAL TELECASTER

Deluxe ShawBucker is the latest incarnation of this classic guitar. The
two ShawBucker humbucking pickups are specifically voiced for
their position and the new treble-bleed tone circuit really makes sure
their tone shines through with stunning clarity while retaining an
unmistakably Fender sound. With amp styled control knobs, three-way
pickup selector and fully adjustable bridge
this is a cool new slant on an old favourite.
SpLASh NewS / ALAmy

January 2018 9
 Intro
talkback Your letters...
Send your views on the world of guitars, guitarists and guitar playing to: Guitar
Techniques, 5 Ivo Peters Road, Pines Way Industrial Estate, Bath BA2 3QS.
Or email to: [email protected] using the header ‘Talkback’
guItar playINg aS So I’m not surprised you had a great
thErapy time. Also, in my experience musicians
I am a 55 year old disabled man - whether fully fledged or the student
with a brain condition and a variety - are extremely supportive.
replacement left shoulder. I wanted There are many such weeks and
to draw attention to the idea of weekends arounds (several GT tutors
guitar playing as physiotherapy, run them and we try to publicise them
improving coordination and how where we can), and I can’t recommend
wonderful it is to create music. them highly enough.
Recently, I was lucky enough to
attend a two-day guitar course in mIchaEl chapmaN
Bath, with Stuart Ryan and Thomas I wonder if Guitar Techniques has
Leeb, two really special players and ever done an analysis of Michael
great people. Chapman’s technique? It’s
I cannot play guitar without a interesting because he did an album
support under my left elbow and as many years ago on his use of variant
the Church Hall did not have any tunings (he claims it was a disaster
chairs with arms Stuart brought one because the publisher couldn’t print
of his so I could play along. How flats or sharps, so published
cool and thoughtful was that? without them). If not, perhaps it
Robert and
Now, initially I was reluctant to would make a good topic. His recent
Thomas Leeb at
go as I thought it would be full of the Bath tuition album, ‘50’, is played on a daily
young Flash Harrys with furrowed weekend basis in our house - great output
brows making shredding noises to from my generation.
the “Why Don’t I Have A Girlfriend think again. It was brilliant! I about feeling human again and Philip Leith
Symphony.” Well, nothing could be learned so much. I’m not saying I being like the other players. So,
further from the truth. It was a very could do everything. But if you push mission accomplished. We haven’t, Philip, so it ounds like one
supportive and friendly group, with yourself to go (or your wife does; Robert, London for the aforementioned Mr Ryan.
a wide range of ages and playing thank you dear) you’ll be surprised What an interesting character
abilities. The vibe around the room at how much you can do. There are so many benefits to playing Chapman is - for those that don’t
was really warm too and it had a I’m not sure the world needs a musical instrument, both physical know his work, a quick search will
really inspiring community feel. another David Gilmour, Tommy and mental - it’s a great ‘mindful’ stress reveal his conections with Nick Drake,
So, for those of you who feel this Emmanuel or Paul Simon. But as buster, too. Stuart and Thomas really Elton John, Mick Ronson, Bowie and
isn’t for you because you are too old, a disabled person guitar playing is are great guys, and very funny, too! more. I’ll get it scheduled!

phIl hIlborNE’S oNE-mINutE lIck Country Open-String & Double-Stop Lick

WE KICK OFF with an open-string arpeggio that descends chromatically whereby each pair of notes is played in an alternate picking scheme but
GUITAR TECHNIQUES MAGAZINE 2 7 7
from the 12th fret to the 7th. Chromatic ideas that connect positions simultaneously using both the pick and the fingernail of the first finger –
ONE MINUTE LICK - by Phil Hilborne
abound in country styles and a player may typically view this with a like Scotty Anderson. This is tricky to master and requires that you don’t
‘CAGED’ mentality, as descending from the E shape to the A shape. Country
The Open String
move too and Double
far away fromStop Lick on the down stroke, as you often need
the strings
remainder of the lick is all double-stops and these can be played with a to pick both notes with the same pick and nail on the following up-stroke.
pick, using hybrid picking or what is likely the fastest method The pick shouldn’t go past the second string of any pair – and that’s the

©»¡ºº E 7 œ œ œ œ œ œ œ œ b œ œ n œ œ n œ
hard part. As always, try some ideas of your own using similar concepts.

### 4 œ œ œœ # n œœ n œœ œœ # œœ œœ œœ œœ œœ # n œœ n œœ œœ œ œ b œ œ ~~~~~~
& 4 œ œ œ œ œ ww
F w
E 16 12 10 10 9 9 8 8 7
~~~~~~
B 0 12 0 15 12 11 10 9 8 7 9 7 9 7 9 8 7
G 9 8 7 9 9 7 9 7 9 8 7 9 7
D 9 9 7 9 8 7 6
A 7 7 7 7
NICK DeLANey

E 0
1

10 January 2018
 GT User Guide
You can get more from GT by understanding our
easy-to-follow musical terms and signs...

Relating tab to youR fRetboaRd our raTing SySTem

every transcription or lesson in Gt is graded
2 m
3 1 i
a according to its level of difficulty, from easy to
advanced. we’ll also let you know what aspect of
4 c
your playing will benefit by attempting a lesson.
T p
advanced

moderate-advanced
nuT & freTboard
hand labelling the fretbox diagram above represents moderate
here are the abbreviations used for each finger: the fretboard exactly, as seen in the
Fretting hand: 1, 2, 3, 4, (t) picking hand: p (thumb), accompanying photo. this is for ease of easy-moderate
i (first finger), m (second), a (third), c (fourth). visualising a fretboard scale or chord
shape quickly. easy

Read music
each
GUITARtranscription
TECHNIQUES MAGAZINE USER is broken
GUIDE down
into two parts...
Guitar Technique Examples - Treble
GUITAR Clef And MAGAZINE
TECHNIQUES Tablature
Guitar Technique Examples - Picking

œ œ
Down & Up Picking

& Technique œ
GUITAR TECHNIQUES MAGAZINE USER GUIDE
Guitar
& œ
Examples - Treble Clef And Tablature
œ œ
GUITAR TECHNIQUES MAGAZINE 2nd string 2nd string 3rd string 4th string
Guitar Technique Examples - Picking 3rd fret 1st fret 2nd fret Open

œ3 œ
1E

& œ
2B 1
Chord example Chord example (with capo)
œ
E
3G B 2
Down & Up Picking 4D G 0
the diagram represents the G chord in the photo. the the blue line represents a capo – for this a chord, place it 5A D 7 5

≥ ≤
6E

at fret 2. capos change the fret number ordering – here,œ

A

& œ
2nd string E 2nd string 3rd string 4th string
‘o’ symbol is an open string, and a circled number is a 3rd fret 1st fret 2nd fret Open
fretting finger. intervals are shown below. the original fret 5 now becomes fret 3, fret 7 now fret 5, etc. 1E

muSiCal
2B
3G
C
3
STaVeTremolo
1
the five horizontal
Em Picking D72 lines for
A m7

# œ
4D 0

œ œ œ
music notation show note pitches and rhythms
œœ œ œœ œ b œœ
5A

and & by œœbar lines.

6E

œœ &œœ @œ
E
are divided
@ @œ @ œ
B

œ
G
x xD 7 5

≥ ≤
A
a major scale E
C Em D7 A m7
8 1E
œœ010 0
œœ #212œœ 0
œœ
@0œœ @
E

& œ œœ @ @20œœ
2B 0 1

œœ23
B
0 80

œœ
3G G 5 4 7

œ
4D D 2
Tremolo Picking 5A A 2

œ bœ
GUITAR TECHNIQUES MAGAZINE 6E E 0

œ œ
Guitar Technique Examples - Picking

Down & Up Picking

& @ @ @ @ 1E
2B
0
1
Palm0 Muting
0
2
1
0
1
0 0 2 0

nœ n œœ
3G

# œœœ
4D 2 2 0 2
R 9 5 7
œ
5A 3 2 0

& œ & œœ
6E 0
E

œ stave,
œ œ tabœ isœ an aid
B

@ @ @ @ under thetomusical
Tabbing
5 4 7 8
Tapping & harmoniCS G
D
SCale example E the left box shows an a minor
A
E to show you whereE
PM
put your fingersPMon the
B B 8 8
the diagram shows the fret-hand fingering for G
pentatonic scale with added fretboard. the six
G horizontal
7 lines represent
7 the six
D 7 5 D 6 6

≥ ≤
the a major scale (root notes in black). the photo A
E tapped notes signifiedPalm
by Muting
‘t’s. strings on a guitar
A
E – the numbers
7
0 0 0 on
7
the
0 0strings
GUITAR TECHNIQUES MAGAZINE
shows part of the scale being played onTechnique
Guitar the fourth
Examples - Picking above shows a cmaj9 (no 3rd) are fret numbers. the two stave and tab examples
nœ n œœ 4 notes andPick4 Rake
# œœœ
string with first, third and fourth fingers. with harmonics at the 12th fret. show chords; c (c major), em (e
& œœ D7 (D dominant 7) and am7 (a minor 7).
Down & Up Picking Tremolo Picking

w
minor),
œ & œ œ œ bœ œ œ œ œ œ ¿
& œ @ @ @ @ & ¿¿

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

PM PM
E
rake
B 8 8
G 7 7
E E D 6 6 E 5
B B

@ @ @ @
A 7 7 B X
G G 5 4 7 8 E 0 0 0 0 0 G X
D 7 5 D D X

piCking variations anD

≥ alternatives
≤
GUITAR TECHNIQUES MAGAZINE
Guitar Technique Examples - Picking
A
E
A
E
A
E

up and down picking Tremolo picking palm muting pick rake

Pick Rake
arpeggiate chord
w
Palm Muting Arpeggiate Chord
Down & Up Picking Tremolo Picking

nœ n œœ ¿¿ ggg # ˙˙˙
& œ œ & œ œ œ bœ & # œœœ œœ
& ¿
& gggg ˙˙˙
˙
@ @ @ @ ggg # ¿˙ gg # # ˙˙
ggg ˙
œ œ œ œ œ rake
g
ggg ggg
PM PM
E E
E 5
E E 0 4

gg gg
B B 8 8
B X
B 0 5

@ @ @ @
B
X
ggg ggg
G
G G 5 4 7 8 G 7 7 G 2 4
D 7 5 D D 6 6 D X D 2 4
A

≥ ≤
A A A 7 7 A X 4
E E E 0 0 0 0 0 E E 2 5

n the first note is to be down- n each of the four notes are to n palm mute by resting the edge n Drag the pick across the n play the notes of the chord by
Palm Muting Arpeggiate Chord
picked and the last note is to be
Tremolo Picking be alternate picked (down- & ofPick
picking-hand’s
Rake palm on the strings shown with a single strumming across the relevant
n œœ very rapidly
n œœ and w bridge.
œ bœ ˙˙˙ ggg # ˙˙˙
up-picked. up-picked) strings near the sweep. often used to augment a strings in the direction of the
& œ œ & # œœ œœ & ¿¿
¿
rake’s lastgg note.
@ @ @ @ continuously.
& gg ˙ ggg # # ˙˙
arrow head.
œ œ œ œ œ ggg # ¿˙ gg ˙
g
rake
PM PM

gg 00 gggg 454
E E E 5
8 8

ggg 22
B B B X

@ @ @ @
G 5 4 7 8 G 7 7 G X E

ggg 44
D D 6 6 D X B

ggg X2
A A 7 7 A G

g 5
E E 0 0 0 0 0 E D
12 January 2018 A
E

Palm Muting Arpeggiate Chord

Pick Rake
 ≠œ œ ≠œ œ œ ≠œ
~~~~~
œ œ œ œ ˙ (œ œ) b ˙
tr 6

& & &

≠ ≠ ≠
E E
tr ~~~~~ E

(7 5)
B B B
G 5 7 7 5 G 5 G
P P
D D 8 D 7

freTTing hand
A A A P 7 5 0
GUITAR TECHNIQUES MAGAZINE
E E E 5 0
Guitar Technique Examples - Fretting Hand

≠ ≠ ≠
hammer-on
Hammer On & Pull Off
& pull-off note
Note Trills
Trills Slides (glissando) left hand Tapping fret-hand
Fret Hand Muting
muting
~~~~~
Slides (Glissando)

nœ ¿¿ ¿¿ ¿¿¿ œœ ¿¿ ¿¿
œ œ œ # œœœ
6
œ œ œ œ ˙ (œ œ) b˙ & œ œ œ
tr

& & & & ¿¿ ¿¿ œœ ¿¿ ¿¿

œ œ œ œ œ ¿

≠ ≠ ≠
~~~~~
tr
E
8 X X ‚X 8 ‚ X
#‚
‚
E E E E

(7 5) ‚ 767 ‚XXX XXX XXX 767 XXX

B B B 5 B X
G 5 G 5 7 5 7 G X

· · · ··
G 5 7 7 5
&
D D 8 D 7 D X
A A A 7 A X
E E E E E

NH
n pick 1st note and hammer n rapidly alternate between n pick 1st note and slide to n sound the notes marked n X markings represent notes

≠
Left Hand Tapping
onNotewith
Trills fretting hand for 2nd the two notes indicated in the 2nd note. the last two with a square by hammering muted by the fretting
E
7 hand

≠œ œ ≠
tr ~~~~~
Slides (Glissando) B 12

&pull-offs.œ œ œ
G 12 7

˙ (œ 4th œ
note. then pick 3rd note and brackets with hammer-ons notes show a slide 6 with the on/tapping with the fretting- when struck by the picking
b˙
12 7

œ
D

&off for œ)
&note beingœ re-picked.
A

pull note. and last œ hand fingers. hand.

E

≠ ≠ ≠
~~~~~ # ‚‚ ‚
‚ ‚ ‚
‚ ‚ ‚
tr

· · · ··
&
E E E

&
S
( )
B B B
G 5 7 5 G 5 7 5 5 G
P P

···
D 8 D D
P 7

bending and VibraTo 7 5 0

A A A
E E E 5 0 NH AH16 AH17 AH19

E E

bend up/down re-pick bend pre bend B

quarter-tone bend 12 7 B
Vibrato

≠œ œ ≠œ œ œ ≠œ
Left Hand Tapping G 12 7 G 4 7
Slides (Glissando) Fret Hand Muting D 12 7 D 5

nœ
¿¿ ¿¿ ¿¿
œœ ¿¿ ¿¿
A A

œ œ œ œ # œœœ
6 E E

& & & ¿¿ ¿¿ ¿¿

œœ ¿¿ ¿¿
‚ # ‚‚‚ ‚ ‚

≠ ≠ ≠
‚ ‚ ‚ — — —

· · · ··
E E E & & &

···
S B B 8 X X X 8 X X

± ±±
B
G 5 7 5 5 G
P P
G 7 X X X 7 X X
D D 7 D NH 6 X X X 6 X X AH16 AH17 AH19 PH
A A P 7 5 0 A 7 X X X 7 X X
E E 5 0 E
E E E
B 12 7 B B
G 12 7 G 4 7 G
n Fret the start note (here, n Bend up to the pitch shown n Bend12up from the 5th fret
D
A
7 n pick the note
D
A
5 and then bend n the fretting
D 7 hand5 vibrates

≠
Left Hand Tapping
A 7
E
the 5th fret) and bend up to inFret
the brackets, then re-pick
Hand Muting
to the pitch of the 7th fret up a quarter tone (a very small
E
the note by small bend ups

≠œ œ ≠
E

the noten while œ ¿ ¿¿ holding ¿ œœ# ‚ ¿¿ the¿

# œœœ at‚¿¿¿ the
¿¿ ‚ ¿¿¿new ¿¿ ¿¿¿
the pitch of the bracketed
6 note, then pick it and release amount). sometimes referred and releases. the last example
& before releasing.
note, œ œ œ & note
bent œœ ‚‚ pitch. ‚ ‚
‚ note.
to 5th fret — curl. —
to as a blues ‚
‚ bar.
uses the vibrato
œ ‚ — ‚

≠ ≠ ≠ · · · ··
& & & &

··· ± ±± ···
E E
NH AH16 AH17 AH19 PH TH17 TH19 TH17
B B 8 X X X 8 X X
G G 7 X X X 7 X X
D P P 7 ED 6 X X X 6 X X E E
P E

harmoniCS
A 7 5 0 BA 7 X X 12X 7 7 X X B B B
E 5 0 GE 12 7 G 4 7 G G 4
D 12 7 D 5 D 7 5 D 5 7
A A A 7 A
E E E E
natural
Fret Hand Muting
harmonics artificial harmonics pinched harmonics Tapped harmonics Touch harmonics
n œ ¿ ¿ ‚ ¿ œ# ‚‚ ¿ ¿ ‚ ‚ ‚ ‚
‚# œœœ ‚¿¿¿ ¿¿¿ ¿¿¿ œœœ ‚ ¿¿¿ ¿¿¿ ‚ — — — ‚ ‚
&

· · · ··
& & & & & œ

··· ± ±± ··· ·
NH AH16 AH17 AH19 PH TH17 TH19 TH17 TCH
E
EB 8 X X X 8 X X E E E E
BG
7 X X 12X 7 7 X X B B B B
GD 6 12
X X X 6 7 X X G 4 7 G G 4 G 2 9
DA 12 7 X X X 7 7 X X D 5 D 7 5 D 5 7 D
AE A A 7 A A
E E E E E

n pick the note while lightly n Fret the note as shown, n Fret the note as shown, n Fret the note as shown, but n a previously sounded note
‚ the‚string‚ directly — place the
then lightly ‚ with
but dig‚into ‚the string ‚ right-
touching
— index
—
sound it with a quick is touched above the fret
& the fret indicated. a
over & over ‘x’ fret (ah ‘x’) and
finger &side of the thumb as you
the &
hand tapœ at the fret shown marked tch (eg tch 9) to

··· ··· ·
harmonic results. pick (with a pick, p or a). sound it with the pick. (th17) for a harmonic. sound harmonic.

± ±±
AH16 AH17 AH19 PH TH17 TH19 TH17 TCH

E E E E
B B B B
G 4 7 G G 4 G 2 9
D 5 D 7 5 D 5 7 D
A A 7 A A

VibraTo arm (aka whammy Bar)

E E E E

Capo
‚
— arm bends
Vibrato — — ‚ ‚
Scoop‚ & doop dive bomb gargle Capo notation
& & & œ

± ±± ··· ·
PH TH17 TH19 TH17 TCH

E E E
B B B
G G 4 G 2 9
D 7 5 D 5 7 D
A 7 A A
E E E

‚ ‚
‚ is‚ picked, then the
n the note n scoop - depress the bar just n note sustained, then the vib n sound the note and ‘flick’ n a capo creates a new nut,
&
whammy bar is raised and
œ
& striking
before the note and is depressed to slack. square the tremolo bar with picking so the above example has the

··· ·
lowered to the
TH17 TH19 pitches
TH17 shown release. Doop - lower
TCH the bar bracket used if a long-held note hand so it ‘quivers’. results in a guitar’s ‘literal’ 5th fret now as
in
E brackets. slightly
E after picking note. has new articulation applied. ‘gargling’ sound! the 3rd fret.
B B
G 4 G 2 9
D 5 7 D
A A
E E

‚
oTher TeChniqueS
œ
& scrape
pick Violining finger numbering pima directions right-hand tapping

·
TCH

E
B
G 2 9
D
A
E

n the edge of the pick is n turn volume control off, n the numbers after the n Fingerpicking requirements n tap (hammer-on) with a
dragged down or up along sound note(s) and then turn notes are the fingers required are shown at the bottom of finger of the picking hand
the lower strings to produce a vol up for a smooth fade in. to play the fret numbers in the tab notation. onto the fret marked with a
scraped sound. called ‘violining’. the tab below. circle. usually with ‘i’ or ‘m’.

January 2018 13
14
January 2018
Many guitarists

notation below.
other musicians.
struggle to know

at each fret, with

to different keys,
are to get on as a

when it comes to
fret on the guitar.

its corresponding
This is vital if you

player - especially

Here are the notes

or interacting with
reading, transposing
which note is at what
HOW TO...

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D
C D #
D / Eb E F F#/Gb G G#/Ab A B C D #
D /Eb E F #
F /Gb G #
G /Ab A
B C#/D b A#/Bb C#/Db
G G G
G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F
FRETBOARD } FIND NOTES

F G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C

A
D D#/Eb E F#/Gb
#

Open Strings
b
A A#/Bb B C C#/Db D D#/Eb E F F#/G b G G#/Ab A A#/Bb B C Eb
C#/D D D#/Eb E
DigitalF Music G
F /G Art
#
F /Gb G #
G / Ab A #
A / Bb B C #
C /Db D # E #
F /Gb G #
G /Ab A #
A / Bb B C #
C /Db D
E F D / Eb F

Open Strings œ œ #œ bœ œ #œ bœ œ √ œ œ #œ bœ œ
œ #œ bœ œ #œ bœ œ #œ bœ œ #œ bœ œ #œ bœ œ #œ bœ
E 1
œ
&
œ œ #œ bœ œ #œ bœ œ √
œ #œ bœ œ #œ bœ œ #œ bœ œ #œ bœ œ #œ bœ œ
B 2 œ œ #œ bœ œ #œ bœ œ
&
œ #œ bœ œ œ #œ bœ œ #œ bœ œ √
œ #œ bœ œ #œ bœ œ
G 3 œ œ #œ bœ œ #œ bœ œ
& œ #œ bœ œ #œ bœ
...find all the notes on the fretboard

œ #œ bœ œ #œ bœ œ #œ bœ œ œ
D 4 œ œ #œ bœ œ #œ bœ œ
& œ œ #œ bœ œ #œ bœ œ #œ bœ
œ #œ bœ
œ #œ bœ œ
A 5 œ #œ bœ œ œ #œ bœ œ #œ bœ œ
& œ #œ bœ œ #œ bœ œ œ #œ bœ œ #œ bœ
œ #œ bœ œ

E 6 & œ #œ bœ œ #œ bœ œ œ #œ bœ œ
œ #œ bœ œ #œ bœ œ œ #œ bœ
œ #œ bœ œ #œ bœ œ #œ bœ œ
œ
 Play } chords and harmony ON THE CD TRACKs 3-16

The harmonic
secrets of...
The Beatles! Join Jon Bishop as he delves into the wonderful world of
Beatles harmony with a feature that covers key Beatles-style
chord shapes and progressions with great backing tracks too!

aBiliTy raTing Easy to Moderate ✪ ❏ Chord I = A

✪✪✪✪
❏ Chord ii = Bm
Info Will improve your… Fretboard knowledge
❏ Chord iii = C#m
Key Various Tempo Various CD TRACKS 3-16 Harmony and theory knowledge Pop rhythm guitar
❏ Chord IV = D
❏ Chord V = E

T
he Beatles, of course, need no These are in the guitar-friendly key of A (a key ❏ Chord vi = F#m
introduction. As a band and as solo in which all three guitarists often wrote) to ❏ Chord vii = G# diminished
artists after their dissolution in 1970, make your comparisons easier. They are of This will help us to explain the harmonic
this Liverpool foursome’s body of work course moveable to any key you’d like; you concepts demonstrated in our 10 examples.
remains almost beyond comparison. But what could try playing the equivalent intervals The Beatles were fans of substituting the
marked them out over and above their look, using other shapes - say C-Am-Fm-G instead diatonic chords available to strengthen
their style, their humour and those cheeky of A-F#m-Dm-E - or use a capo and stay with cadences and provides harmonic surprises -
Scouse accents was, of course, their music. our original shapes, as The Beatles so often one classic being the aforementioned
When they first hit the charts in 1962 no did themselves. To make things nice and clear substitute of the IV chord (major) with its
one had heard their like before. Their songs minor equivalent. The addition of chromatic
were fresh, their vocal harmonies less obvious One Of my BiggesT chords (chords from outside the key) also
and more complex than those of their vocal
idols The Every Brothers, and their use of
Thrills is siTTing provides plenty of great sounding options.
Once you have played through the
chords so different and catchy that the dOwn wiTh a guiTar Or examples and tracks why not try composing
country, and soon the world, couldn’t get
enough of them. That they went from She
a pianO and jusT OuT your own song using some of your favourite
sounds. It doesn’t have to be Beatley, just
Loves You in 1963 to Sergeant Pepper in just Of nOwhere Trying TO musical and perhaps a little surprising.
four years is almost incomprehensible. In the
history of pop or rock there’s never been a
make a sOng happen Many thanks to Charlie Rinks for playing
the keyboards on the first jam track.
transition so marked or so amazing. Paul McCartney
All three guitarists in The Beatles were fine we have also provided 10 chord boxes for you
4
players, but their impressive individual to check out. These are typical shapes used to 7 3
8
musicianship and writing prowess is often concoct parts and can be recognised in many 9
overshadowed by the sheer enormity of the famous Beatles tunes. The fingerings are
GAin BAss Middle TReBle ReveRB
group’s success. Thus the aim of this lesson is moveable so they can be used in any key.
to learn and apply many of the tried and As a band The Beatles had a great feel, so
tested harmonic concepts used by John to help frame our 10 examples we have also
Lennon, Paul McCartney and George composed two jam tracks, which apply the
Harrison during their eight-year run at the concepts studied here and introduce a couple Any style of guitar will work this month as it’s
top. With a catalogue so iconic and influential more. The first is an up-tempo stomper with a more about harmony and context than
anything. But The Beatles used all the usual
it’s fair to assume that studying and learning major tonality, while the second has a more
suspects from all the famous makers so the
some of their nuts and bolts will benefit our relaxed, minor feel. world is your musical oyster. They liked a bit of
overall musicianship - whether we do or don’t If we harmonise the A Major scale the drive on Revolver and beyond, and all sorts of
choose to play or write in their style. following diatonic (from the same key) chords effects, so pickup and othe sounds are notated
To get you started we have recorded 10 are produced. We can attach Roman numerals at the start of each piece for reference.
contrasting chord types and progressions. to provide context when in different keys. So:

16 January 2017
 BEST { BEATLES CHORDS

Classic early
Beatles sporting
Rickenbacker
and Gretsch
DAVID REDFERN / GETTY IMAGES

instruments

TraCk reCOrd There are many great recordings that feature super Beatles chord work. Every album, from Please Please Me to Let It Be
and all points in between, is crammed with some of the finest songs of the late 20th century. If you’re a Beatles newbie, then for an overview
check out the greatest hits compilation entitled 1, which features all of the group’s Number One singles.

January 2017 17
 Play } chords and harmony ON THE CD TRACKs 3-16

CHORD CHART
These favourite Beatles chords offer a wonderful music box of tones with the potential to create hit after hit!

ExamplE 1 MAjOR CHORD RunDOwn cd track 3

This first example features a popular trick for spicing up a couple of bars of a major chord. The root note (A) descends a semitone at a time and provides the A
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ExamplE 6 MinOR CHORD RunDOwn cd track 8

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2
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Ex 6 - Minor chord run down

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20 January 2017
 BEST { BEATLES CHORDS

mOsT peOple Think

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set them apart

January 2017 21
 Play } chords and harmony ON THE CD TRACKs 3-16

MAjOR jAM TRACk cd track 13

inTRO [Bars 1-10] The track starts out with the riff idea that we looked at in VeRse 1 [Bars 11-18] The verse uses the major rundown idea from example
example 4. This is placed in the key of F# so we can pivot into A major for the 1. The riff in bars 15 and 16 is classic Beatles fare and the open strings help to
verse from the v chord e7. You can leave the open first string ringing on the e7 provide the trademark jangle. This time the intro riff is played down a tone in
chord for someTECHNIQUES
GUITAR extra jangle. You 2
may
7 7find that using down picking exclusively e to set up a v-i cadence back to the A chord.
will provide the best feel and dynamic. Best Beatles Examples
VeRse 2 [Bars 19-26 ] For this verse the C# chord is changed from C#minor
MAJOR JAM

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E 2 0 0 0 0 0 0 0 0 0 0
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VERSE 2
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A
E
21

22 January 2017
 BEST { BEATLES CHORDS

MAjOR jAM TRACk ...CONTINUED cd track 13

(chord iii in A major) to C#7. This strengthens the cadence to F#minor and this trick that was well used by The Beatles. The C#7#9 chord in bar 35 provides a
concept of changing a chord to a dominant 7 is known as a secondary dominant. strong cadence back to the riff, which outlines an F#7 tonality.
CHORus [Bars 27-35] The chorus features a George Harrison-style slide guitar OuTRO [Bars 36-end. ] The end section returns back to the riff from the
part.2There is a harmonic surprise thrown in by changing the d chord (chord iv intro. There is a familiar ending that uses two chromatic chords (G7, G#7) to
of A major) into a d minor. This is known as modal interchange and is another approach the A7. simple stuff but strong and effective.
CHORUS
E7
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E
41
2 2 3 4 5 5

January 2017 23
 Play } chords and harmony ON THE CD TRACKs 3-16

MinOR jAM TRACk cd track 15

inTRO [Bars 1-6] This opening chord sequence uses the idea we looked at VeRse 1 [Bars 7-14 ] The verse uses the descending minor chord idea we looked
in example 8. This time it is placed in C major and the C augmented chord at in example 6. Using the fifth string makes the transitions smooth and easy to
provides a most effective cadence to F major. The F major is then changed play. This moves nicely into the 7b9 chord idea we looked at in example 2.
to FGUITAR TECHNIQUES
minor, which heightens the2tension,
77 and is a concept used in many a CHORus [Bars 15-22] The chorus uses the progression from the intro in full
Best Beatles Chords
Beatles hit, and became a trademark of their sound. strum-along mode. Aim for a driving and emotive feel here.
MINOR JAM
INTRO

©»•• C C aug F Fm

4 2 œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œ œ œœ œœœœ b œœœœ
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Acoustic Guitar f
E 2 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 1
D 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 1 1 1 1 1 1 1 1
3

VERSE 1
E Am Am ma j7 Am7 A m6

œ œ œ œœ œ œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œ œœ œœ
& œœœ b œœœ n œœœ œœ # œœœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœœ # œœœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœ # œ œ œœ œ œ
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F
E 1 1 1 0 0 0 0 0 0 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
B 1 1 1 0 0 0 0 0 0 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
G 1 2 2 1 1 1 1 1 1 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
D 3 3 3 2 2 2 2 2 2 7 7 7 7 7 6 6 6 6 6 5 5 5 5 5 4 4 4 4 4
A 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
E 1 1 1 0 0 0 0 0 0
6

Bm7 5 b E7 9 b Am Am ma j7 A m7 Am6

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& œœ œœ œœJ œœ # œœœ œœ # œœ n œœ œœ œœœ œœ œœ œœ œœ œœœ œœ # œœ œœœ œœ œœœ œœ œœ œœœ œœ œœ œœœ œœœ œœœ œœœ œœ
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E 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
B 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
G 7 7 7 7 7 7 7 7 7 7 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
D 7 7 7 7 6 6 5 5 5 5 7 7 7 7 7 6 6 6 6 6 5 5 5 5 5 4 4 4 4 4
A 7 7 7 7 7 7 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
E 7 0
9

CHORUS
Bm7 5 b E7 9 b G5 C C aug

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& œœ œœ Jœœ œœ # œœœ œœ # œœ œœ n œœ œœ œœ œœ œœ œœœ œœœ œœœ # œœœ œ œ œ œœ œ œ œœ œœ œœ
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D 7 7 7 7 6 6 6 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 7 7 7 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 7 0 3 3 3 3 3
13

F Fm G5 C C aug

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E 1 1 1 1 1 1 1 1 1 1 1 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 3 3 3 3 3 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
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D 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 1 1 1 1 1 1 1 1 1 1 1 3 3 3 3 3
17

24 January 2017
 BEST { BEATLES CHORDS

MinOR jAM TRACk ...CONTINUED cd track 15

BRiDge [Bars 23-36 ] The bridge - a common Beatles device - uses an CHORus [Bars 37-end] The final chorus is a repeat of the previous chorus.
elongated version of the descending minor run from the verse. The G# Keep an eye out for the rhythmic pushes. There is a slight rallentando (slowing
diminshed chord in bar 30 provides a smooth transition back to the A minor down) in bar 44 before the classic C major end chord is played. Once you’ve
chord.
2 Take the second time bar on the repeat into the final chorus. played through and mastered our pieces, have a go at creating your own.

BRIDGE
F Fm E Am Am ma j9 A m ma j7

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39, 43 40 44

January 2017 25
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 Play } picking ON THE CD TRACKs 17-46

10 tips to sort out your

Sweep picking
This dazzling technique isn’t just the preserve of the virtuoso
player. Milton Mermikides deconstructs sweep picking
and shows how it can be applied to a multitude of genres.

ability rating Moderate to advanced ✪ ✪ ✪✪✪ whatever your tastes do not dismiss the
technique even if you are not interested in
Info Will improve your… Sweep picking fluency and accuracy
neo-classical metal – it is used more covertly
Key Various Tempo Various CD TRACKS 17-46 Picking control Fretboard knowledge and fluency
in a range of styles from blues to jazz to classic
rock to Latin – and at its core it’s just a very

M
any electric guitarists were first rhythmic and dynamic control of the picking practical and powerful device that can be used
drawn to the instrument by hand sweep (as we will see the challenge lies however you wish with no stylistic obligation.
witnessing some playing so dazzling in pick angle, rest strokes, arm motion and Its study can help significantly with technical
that it seemed to defy the limits of more counter-intuitively in slowing down control and the development of new musical
the instrument, logic or even the laws of and inhibiting the naturally rapid sweep). ideas. Before approaching the 10 tips and
physics, be it fast picking, ultra-expressive One also needs hand coordination, and the associated exercises, let’s take a look at some
bends, dive bombing, pinch harmonics, ability to mute unwanted notes by using core techniques that should be engaged with
tapping or playing multiple simultaneous picking hand palm muting, fretting hand on the opposite page.
lines. Of all the many guitar techniques, sweep muting, ‘rolling barres’ and the integration of This article is presented as 10 general tips,
picking may stand supreme in this regard. In sweep picking among your other techniques with a series of representative exercises and
its virtuosic execution (not that this is the only such as alternate picking, legato etc. audio to best develop the concepts. Use the
way it is or should be used), even non- toolkit above to execute the lessons, and the
guitarists go slack-jawed witnessing the Sweep picking tab captions for each exercise. Sweep picking
seemingly impossibly flurry of notes and the can be defined very is a powerful technique with a wide range of
fretting hand skating over the fretboard.
Despite this apparent magic and stunning Succinctly, aS an potential so use it wisely and make it your own
- but always remember, with great power
virtuosity, sweep picking can, in fact, be articulated Strum comes great responsibility.
defined very succinctly – as an articulated but with each note
strum. A ‘strum’ because it involves playing a
series of notes on adjacent strings using the Separated 3
5
7 7 3
same pitch direction (whether downstrokes This article aims to improve your sweep
towards the floor – and higher pitched strings picking in the most direct manner possible,
– or upstrokes towards the bass strings). whether you are seasoned sweepster or GAIn BASS MIDDLe TreBLe reverB

However, unlike conventional chord completely new to the concept. Sometimes

strumming, this strum is ‘articulated’ in that we’ll slow things right down as opposed to the
each note is separated rhythmically and heard ‘cranking the metronome’ approach. You may
individually. So what appears is a single find some exercises either too formative or too Sweep picking is possible in every tonal context from
‘voiced’ (aka ‘monophonic') melody. challenging in their current form but they can acoustic to clean to crunchy to saturated distortion. It’s
worth experimenting with a range of tones to not only
When playing a series of notes appearing easily be adapted with tempo, and it’s the find your sounds but as a way to improve sweeping
on adjacent strings, this ‘sweeping’ motion is principle of each that is the most important. technique. Distortion is more forgiving when it comes
entirely sensible and economical – the pick Sweep-picking can be quite a divisive to coordination, but more challenging when it comes
only changes direction when it has to, and technique, sometimes dismissed as showy to muting. The opposite is generally true with clean
playing, so practise with both. I’ve opted for a sparsely
pushing or pulling a pick through all the shred, using speed for the sake of speed and
effected clean tone, which breaks up a little when you
strings is – even for a novice – practically devoid of expression. I happen to find that dig in, courtesy of a Suhr guitar through a (borrowed,
instantaneous. The challenge of course lies in virtuosic sweep picking in the right hands can sadly) Fractal Axe FX straight into Logic Pro.
articulating this strum, which involves the be as expressive as it is impressive, but

track record Here’s a representative list of a range of pioneers, excellence, style and approach. I could have picked any of their many
albums... Chuck Wayne, Travelling; Tal Farlow, Night & Day; Vinnie Moore, Mind’s Eye; Yngwie Malmsteen, Odyssey; Cacophony (guitarists
Jason Becker and Marty Friedman), Speed Metal Symphony; Steve Vai, Passion & Warfare; Mattias Eklundh, Freak Guitar; Frank Gambale,
A Present For The Future; Jeff Loomis; Power Of Oblivion, Live!; Buckethead, Whirlpool; Animals As Leaders (Tosin Abasi), Madness Of Many.

28 January 2017
 Improve your { Sweep picking

resting the palm of the picking hand on the bass strings (and keeping it As one sweeps through all the strings, the palm-rest and wrist rotation devices,
rested even when the hand is moving) can help damp resonances, guide invite not a floating movement of the entire picking arm but the use of an ‘elbow
the picking hand in a uniform and ideal range of positions and allow a hinge’ – an elbow bend with fixed upper arm, which helps maintain a relaxed
natural switch to palm-muted sweep picking. accuracy to the picking.

In order to articulate each note of a sweep individually, it is essential that the fretting hand not only It is necessary to slow down the sweep to the desired
sounds the required notes but releases the previous one. The small but deliberate lifting of the fretting rhythm. This can often be best achieved when the pick
finger at the end of a desired note (off the fretboard, but often still in contact with the string) is a is allowed to push (or pull) right through so as to land
fundamental mechanic of effective sweep picking (and the focus of the first exercise). momentarily on the next string.

In order to sweep evenly, the pick should ‘give’ a little, its tip trailing A technique particularly important to sweep picking is when a fretting-hand mute is required
behind its body. This is achieved by a subtle wrist rotation (and using the same finger on the same fret. Imagine we use the first finger to play the 3rd fret of the
not keeping it too rigid), so the downward and upward motion second string, followed by the same finger playing the 3rd fret of the first string. If we were just
can appear like a ‘paintbrush’. This pick trajectory can describe a playing a chord strum, a simple barre would suffice (first finger covering both strings). However,
subtle figure-of-eight pattern, moving towards the bridge on a in order for the notes to be articulated, that barre has to ‘roll’ using a fretting-hand mute on the
downstroke, and more parallel to the bridge on an upstroke. same finger. This technique is addressed directly in the tips and exercises.

January 2017 29
 Play } picking ON THE CD TRACKs 17-46

TIP 1 maSter the mechanicS

examples 1 and 2 focus on two essential techniques, picking rhythmic does them well, whether they are conscious or had to work hard at these
accuracy (often using the previously described rest stroke) and the fretting- devices or not. The best way to practise this is at a slow medium tempo to a
hand mute. How fluently one can sweep pick is really down to these two metronome and concentrate on a relaxed precision, with every note crystal
simple (but difficult to master) techniques. every accomplished sweep picker clear and perfectly placed.
GUITAR TECHNIQUES 2 7 7
Milton's 10 Ways to Improve Your Sweep Picking
EXAMPLE 1 two-StRING MECHANICS cd track 17
Tip #1: Master
GUITAR the Mechanics
TECHNIQUES 277
Milton's 10 Ways to Improve Your Sweep Picking
Example 1 : 2-string mechanics

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2

EXAMPLE 2 tHREE-StRING MECHANICS cd track 19

Example 2 : 3-string mechanics

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EXAMPLE 2 tHREE-StRING MECHANICS ...CONTINUED
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9, 10 11 cd track 19

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TIP 2 rotate, rotate, rotate

This may feel like an unusual tip, but it is extremely beneficial to ‘rotate’ any in the pattern this will be completely exposed by the exercise, and you may
sweep picking pattern (shifting the starting position of the pattern) as in find it disconcertingly hard to play some of these. But do stick at it, as being
example 3. Changing the order of the notes sounds like a simple challenge; able to execute all the patterns will not only improve your sweep picking
after all, if you can play the original pattern, it’s just a question of ‘starting it playing but also your general musicianship, being able to truly hear and
later’. That’s theoretically true, of course; however, if there is any unevenness execute rhythmic rotations.
3

Tip #2: Rotate,

EXAMPLE rotate, rotate
3 fouR-StRING RotAtIoN StuDY cd track 21

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Example 3 : 4-string rotation study

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32 January 2017
 Improve your { Sweep picking

TIP 3 roll with it

There is a particular challenge in sweep picking when the fretting hand mute every fretting finger and across two and more strings. example 4 focuses on
involves the same finger (and you’ll see examples 1-3 sneakily avoids this). This these techniques directly; they may feel unnatural to start with but will become
‘rolling barre’ involves a subtle but very deliberate roll of a barre to maintain an essential part of your sweeping skill. example 5 shows how this technique is
note independence and is indicated with a bracket. It’s worth practising this with used in the context of major and minor triads on the top three strings.
GUITAR TECHNIQUES 2 7 7

Tip #3: Roll

GUITAR with it
TECHNIQUES 2 7 7fouR-StRING ‘RoLLING BARRE’ EXERCISES
EXAMPLE
GUITAR 4 two, tHREE AND
TECHNIQUES 277 cd track 23
Example
GUITAR4 TECHNIQUES
: 2, 3 & 4 string 'rolling
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Tip #3: Roll with it

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January 2017 33
 Play } picking ON THE CD TRACKs 17-46

EXAMPLE
2 5 tHREE-StRING RoLLING BARRE MAJoR AND MINoR CHoRDS cd track 25

Example 5 : 3-string rolling barre major and minor chords

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TIP 4 combine with other techniQueS

All too often sweep picking is seen as a ‘binary’ technique; you are either sweep example includes fretting-hand taps, which may seem like an independent
picking or you are not. However, it’s very useful to combine sweep picking with technique to sweep picking. However, it is, in fact, an excellent way to practise
all other available techniques, such as palm muting, alternate picking, slurs, fretting-hand precision and note independence. remember to try all the
slides, harmonics and tapping, And example 6 has them all. The final bar of the examples at different tempos - it doesn’t have to be breakneck speed.
3

EXAMPLE 6 CoMBINAtIoN StuDY

Example 6 : Combination study (Sweep picking with palm muting, alternate picking, legato, slides and tapping)
cd track 27

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January 2017 35
 Play } picking ON THE CD TRACKs 17-46

TIP 5 know your ShapeS

Often new sweep pickers have a limited vocabulary of chord shapes, so it’s worth Also note that I’ve picked every note here but the second to third note of beats
expanding that vocabulary. example 7 presents the archetypal shapes on the 1 and 4, and the first to the second note of beat 3 can all be slurred. example 9
top strings for all the inversions of major and minor triads, and diminished 7th presents four useful two-octave 7th chord shapes: maj7, m7, m7(b5) and dom7.
chords. example 8 takes the major and minor triads and shows how with some I’ve included slurs (so the pick needs to stop and start through the sweep) and
stretches, the exact same sweep picking pattern can be used on all of their detailed fretting-hand fingering; plus a couple of options for the m7 and m7b5
GUITAR TECHNIQUES 2 7 7
inversions. Practise at this moderate tempo and it will unlock your virtuosity. chords on the way up or down, which you may want to know for context.

Tip #5: Know Your Shapes

EXAMPLE 7 MAJoR, MINoR AND DIMINISHED 7tH INVERSIoN StuDY cd track 29
Example 7 : Major, Minor and Dimished 7th Inversions Study
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EXAMPLE 8 7
SIX-StRING 5
‘totAL INVERSIoN’ 10 10 ...CONTINUED
EXERCISE 14 13 17 19cd track 31
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EXAMPLE
3 9 7tH CHoRD StuDY wItH RootS oN SIXtH AND fIftH StRINGS cd track 33

3
Example 9 : 7th chord study with roots on string 6 and 5

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roots on string 6 and 5
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January 2017 37
 Play } picking ON THE CD TRACKs 17-46

TIP 6 think laterally, make connectionS

By ‘lateral thinking’ I mean being able to adapt a shape – and sweep picking can be applied to almost any sweep picking shape. example 11 on the other
pattern – horizontally across the fretboard. example 10 shows how a two- hand just takes one key area (of em) and shows how sweep picking with some
octave maj7 arpeggio (starting on the fifth string) can be altered to make a deft position changes can describe the key and get you from the lowest to the
m7, dom7 and m7b5 using an identical sweep picking pattern. This principle highest note of the guitar in 3.75 seconds (more or less).
4

Tip #6: Think

EXAMPLE Laterally, Make
10 fIVE-StRING Connections
DIAtoNIC 7tH CHoRD EXERCISE cd track 35
Example 10 : 5-string diatonic 7th chord exercise

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EXAMPLE
5 11 SIX-StRING ‘totAL fREtBoARD’ EXERCISE cd track 37
5

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Example 11 : 6-string 'total fretboard' exercise

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38 January 2017
 Improve your { Sweep picking

TIP 7 create rhythmic intereSt

Sweep picking allows the fluent execution of arpeggios, and players often syncopation), where off-beats are emphasised (see Bar 1); 2) Subdivision
cram as many (evenly distanced) notes into an allotted duration. However, just dissonance where ‘non-binary’ subdivisions (ie not 1 ,2, 4, 8) of each beat
GUITAR TECHNIQUES 2 7 7
because sweep picking allows this sort of playing it doesn’t obligate it. Just are used (and altered) see Bar 2; and 3) Grouping dissonance where phrases
like in any other
GUITAR mode of playing,
TECHNIQUES 2 7sweep
7 picking can benefit from rhythmic are grouped so as not to align with ‘strong’ parts of the bar, half-bar or pulse
interest
Tip #7:and example
Create 12 demonstrates
Rhythmic an example. There are three main
Interest (see bar 3-4). This may well challenge you but it will improve your rhythmic
types of rhythmic interest or ‘dissonance’. 1) Displacement dissonance (aka accuracy and soloing invention.
Example 12 : Rhythmic
Tip #7: Create invention
Rhythmic sweep picking study
Interest

©»ªº bœ œ œ œ œ œ œ bœ œ
EXAMPLE 12: RHYtHMIC INVENtIoN SwEEP
pickingPICKING
N.C. StuDY
œ œ b œ œœ œ œ œ œ n œ œ œ œ
Example 12 Rhythmic invention sweep study cd track 39

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TIP 8 get JaZZy
Sweep
2 picking allows the execution of saxophone-esque lines and so is Tone scales are demonstrated in example 13 in the context of the fundamental
eminently
2 useful in a jazz context - in particular by the incredible Aussie jazz devices of a ‘major ii-v-I’ (in this case Dm7-G7-Cmaj7) and a ‘minor ii-v-i’
guitarist Frank Gambale. The use of jazz phrasing, Melodic Minor and Whole (here : em7b5-A7alt-Dm(maj9).
Tip #8: Get Jazzy
Tip #8: Get
Example Jazzy
1313: MAJoR
Major and minor ii-V sweep picking PICKING
study
EXAMPLE AND MINoR II-V SwEEP StuDY cd track 41
Example 13 : Major and minor ii-V sweep picking study b
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b
4 ©»™¢º∑
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b
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January 2017 39
 Play } picking ON THE CD TRACKs 17-46

TIP 9 go left field

Some of the (perhaps sometimes valid) criticisms of sweep picking is that it is harmony, metre rhythmic grouping, chord construction, voicing or technical
all stylistically similar and uninventive; major, minor and diminished chords approach. example 14 captures a few ‘leftfield’ ideas using a 5/8 to 2/4 metre,
played in a neo-classical metal context in an as-fast-as-possible-videogame non-standard chord construction and the use of ‘skipped’ sweep picking in bars
aesthetic. Players like Frank Gambale, Buckethead, Bumblefoot, eklundh, vai, 5 and 6, where a sweep skips an intervening string. Think of this like skimming a
McAlpine, Becker and others, often subvert the clichés of sweep picking, be it stone on a water’s surface, a wave-like motion during the sweep.
3

Tip #9: Go
EXAMPLE Left Field
14 wIDE NoN-tERtIAL VoICING SwEEP StuDY cd track 43

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3
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58 .. C Ionian œ œ œ œ œ œ œ œ
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& 58 œ œ
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40 January 2017
 Improve your { Sweep picking

TIP 10 keep your Soul

neo-classical metal is a wonderful genre, but it is not the only way sweep picking being given the expressive priority. nonetheless, you should see little distinction
can be used. In fact, a ‘covert sweep’ is used by many ‘feel’ players like ritchie between the approaches, and the study of sweep picking can add a highly-
Blackmore, Dave Gilmour, Srv, robben Ford, Steve Lukather etc, in the form of expressive flair in a range of styles. example 15 demonstrates some ‘bluesy’
a ‘rake’. This is often ‘unmeasured’ in that it’s more of an expressive gesture than soulful sweeps. The timing of these is loose, the focus being on all the personal
4
an ‘articulated strum’ with the individual separation and rhythmic clarity not expression that can be put in the attack, touch and tone of each phrase.
4
Tip #10: Keep Your Soul
EXAMPLE 15 BLuESY SwEEPS cd track 45
Example
4 15 : Bluesy sweeps
Tip #10: Keep Your Soul
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~~~ ~~~~
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January 2017 41

Thousands of gear Tips and techniques

 lesson } video ON THE CD CD-ROM TRACK

antonio forcione
masterclass pt 2 providing the melody on the fourth and fifth
As our masterclass concludes, Will McNicol strings here, so aim to bring this out as much
continues his impromptu discussion with this as you can while maintaining the pattern.
To round things off Antonio discusses his
amazing player about his influences and ideas. approaches to plectrum-playing, particularly
with regard to keeping a rhythmic ‘compass’
basslines, using treble-string drones as a as you play. The first examples highlight the
aBility rating
frame for bass-string melodies; if that weren’t usefulness of using a downstroke to accent
✪ ✪ ✪ ✪ ✪ Moderate/Advanced enough, he treats us to a smorgasbord of his on-the-beat notes, and upstrokes to highlight
Info Will improve your flat-picking approaches and warm-ups. off-the-beat notes. Maintaining this idea
Key: Various Groove playing Having spent considerable time in Cuba while more notes are added and the speed
Tempo: Various Fingerstyle control and working alongside numerous Cuban
CD: CD-ROM TRACK Plectrum control musicians, Antonio has a unique use the examples
understanding of how the rhythmic quirks, as an excuse to

T explore the full

his instalment of our Antonio Forcione which make the region’s music so
video tutorial sees the continuation of recognisable, can be applied to the acoustic
our impromptu chat with the Italian guitar. This month’s first example begins with dynamic and tonal
guitarist and a detailed look at utilising
a vast variety of textures on the guitar.
a palm-muted ‘tumbao’ bassline. It’s worth
repeating this rhythm along with Antonio in
range you have at
Antonio gives a fascinating insight into the video to make sure you grasp the rhythmic your fingertips
building melody and harmony around Cuban groove before moving on. As the texture increases, will ensure you keep on top of the
builds, the bassline shifts on rhythmic elements of your plectrum playing,
Antonio lets us to the beat, and the which can so often become blurred at faster
into some of his syncopated elements get tempos. The final example gives an insight
technical and passed to the treble melodies into one of Antonio’s regular warm-up
playing secrets – so be wary of that as you routines: this involves chromatic scales with
work your way through the string-jumping. It’s deceptively simple, so
chord changes. Do your best slow and steady to begin with will certainly be
to keep to a solid pulse while the best approach as you try and build a
maintaining a relaxed feel as steady rhythm.
the piece progresses. I hope you’ve found Antonio’s unique
Moving onto a different approach to acoustic playing inspiring, and
area of Antonio’s that you can incorporate some of these ideas
compositional style, we into your own playing.
discuss the use of the open
second string to maintain a NEXT MONTH Milton Mermikides presents a
drone while building texture soloing tutorial from Andy Timmons
on the treble strings. The 6/8
fingerstyle pattern Antonio 5 5
4 6
uses for this is a little tricky 3

to master at first. It’s

definitely worth repeating
GAIn BAss MIddle TreBle reverB
the first couple of bars a few
times so your first, second
and third fingers get into the
feel of the pattern. Dynamics
are a key part to this, so do Antonio effortlessly manages to swap between
nylon and steel-strung guitars in his performances,
use this example as an
and all the examples in this feature can be played
excuse to explore the full
on either. It’s not a bad idea to try them out on
dynamic and tonal range you different guitars to see how the different tonal
have at your fingertips: from qualities effect the way you play. Antonio has also
the tiniest pianissimo to the been known to use an octave pedal to really fatten
most enormous fortissimo! up his basslines when playing solo.
Your thumb will be
xxxxxxxxxxxxxxxxxxxxx

tracK record Antonio has an impressive back catalogue spanning a vast array of styles and with multiple musical collaborators. His
recent albums, Sketches Of Africa and Compared To What with jazz-soul singer Sarah Jane Morris would be a good place to start. Visit www.
antonioforcione.com for more on Antonio’s various projects and keep your eyes peeled for a new Cuban release due soon with his AKA Trio.

42 January 2018
 ANTONIO FORCIONE PT2 VIDEO MASTERCLASS

SECTION 1 Cuban InfluenCes CD-ROM tRaCk

Part of the joy in playing these fabulously syncopated Cuban lines can be found elements within the musical content. Keeping a relaxed groove throughout is
in the way you articulate them. listen to Antonio playing through this example very important here, so do slowly work through any chord changes, which are
and notice the subtle accents and dynamic variety he uses to focus on certain interrupting the flow.

GT 277 Will McNicol's Antonio Forcione Video Interview - Part 2 of Series

ExamplE 1 buIlDInG aROunD sYnCOPaTeD basslInes CD-ROM tRaCk
GT 277 INFLUENCES
CUBAN Will McNicol's Antonio Forcione Video Interview - Part 2 of Series
BUILDING AROUND SYNCOPATED BASSLINES
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January 2018 47
 lesson } video ON THE CD CD-ROM TRACK

3 Acoustic
ExamplE 4 CHROMaTIC WaRM-uP CD-ROM tRaCk

EXAMPLE FOUR: CHROMATIC WARM-UP

œ œ œ
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1
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E
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6

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48 January 2018
 Play } CLASSICAL ON THE CD TRACKs 47-48

Robert Johnson
Alman
Bridget Mermikides presents a piece that’s not
only a classic example of the late Renaissance style, but
also one that can boast bona fide dramatic credentials.
ABility RAtinG Moderate ✪ ✪✪✪✪ Here I have arranged his beautiful Alman,
a simple, melodic and beautifully succinct
Info Will improve your… Contrapuntal playing
piece for solo lute (one of the surviving
Key A Minor Tempo 90bpm CD TRACKS 47-48 Late Renaissance lute repertoire Consistency of tone
25-odd written in the early 17th century). It
is a very clear representation of his style and

A
lthough the classical guitar is a relative body of works by earlier composers: a kind of the late Renaissance musical era. It is mostly
newcomer to the family of western ‘adopted authenticity’. written in two voices, and it’s important to
‘classical’ instruments, it has a distant Arrangements of lute works by great keep these clear, distinct and with a sense of
relative (or at least a kindred spirit) in Baroque and Renaissance composers such as
the lute. With a somewhat similar tone, JS Bach, Dowland, Holborne, Weiss and Johnson is the only
tuning system, shape and being one of the few
other instruments with a direct finger-to-
Mudarra are now established pieces in the
guitar’s repertoire. In this issue, we will
nAmed contempoRARy
string playing technique, it is natural and tackle a wonderful lute work by the English composeR thAt we
perhaps inevitable that so much lute music Renaissance composer Robert Johnson cAn sAy foR ceRtAin
has been adapted to the guitar. Practitioners
in the early 20th century were keen to expand
(circa 1583-1633). Only slightly younger than
(and in the same professional circles as)
wRote music foR
and enrich the guitar’s repertoire and give it a John Dowland (whose Fantasia we tackled in shAkespeARe’s plAys
GT274), Johnson was also a lutenist, forward flow (regardless of tempo). The tab
composer and court musician of great captions will help maintain this fluidity and,
productivity and skill, writing songs as ever, patient practice is the fastest route to
for voice, a range of instrumentation a satisfying performance. This is a wonderful
and for the theatre. piece to have in one’s repertoire and there is
After completing his a profundity to playing it and imagining it
apprenticeship at age 21, Johnson first performed some 400 years ago in
became the lutenist (and maintainer Shakespearean times.
of the lute collection) to the new king
of England, James I, and then Henry, NEXT MONTH Bridget arranges and transcribes
Prince of Wales. Robert Johnson’s The Liberty Bell by John Philip Sousa
appointments outside of the court
involved writing original music for technique focus
events and the theatre, including plays Calm practice
by a couple of contemporaneous It can be tempting to try to ‘perform’ when
playwrights; Ben Johnson and practising but getting too emotionally
William Shakespeare. Robert Johnson involved usually hinders rather than helps
is, in fact, the only named your progress. Eagerness to play things too
contemporary composer that we know quickly before you are technically secure can
for certain wrote music for create tension and mistakes. Try to cultivate a
Shakespeare’s plays, through the calm Zenlike approach when you practise and
King’s Men theatrical company. These choose one piece or section to work on. Slow
Painting of a focused precision, with absolute accuracy of
involved songs to underpin the drama,
lutenist from every finger movement is the way to achieve
around Robert as well as incidental music,
maximum benefit. Speed and flow will come
Johnson’s time particularly when the candles were with repeated accuracy.
changed between acts.

tRAck RecoRd There are many compilation CDs available that feature tracks by Robert Johnson and other contemporay Tudor,
Jacobean and Elizabethan composers. But to hear an excellent lute performance of this Johnson tune, check out Konrad Ragossnig –
Works for Lute (1974 Deutsche Grammophon); or Julian Bream: Lute Music – The Golden Age (1961 RCA).

50 January 2018
 AlmAn { RobeRt Johnson

PLAYING TIPS cd track 48

[Bars 1-3] Picking-hand fingering is indicated for the first three bars and for the piece’s overall flow. As you follow the fretting hand fingering you will
is designed to give an ergonomic technique while maintaining strictly notice that whenever we play a D note on the second string it is always with
GUITAR TECHNIQUES MAGAZINE 2 7 7
alternating fingers, so please follow it closely. Also pay attention to the bass
Robert Johnson's ALMAN the fourth finger. This piece has an 8-bar phrase that is repeated at bar 9 but
line and make sure you are giving the notes their correct value, arr.asBridget
this is vital with slight variations.
Mermikides

Am G C G/B Am
©»¡º∞ ¡ ¢
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4 Ó £
œ. œ œ œ. œ œ œ œ œ œ œ . #œ œ
&4 Œ
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˙
œ.
™˙ ˙ ˙ Ó œ œ ˙
£˙
™

E 0 0 2 3 5 7 8
B 0 1 0 1 3 1 0 1 3 1 3 5
G 2 5
D 2 2 0
A 0 3 3 2 0
E 3
1
i m a m a m i m i m i a m i a m i a m i
i i p p p m
p p i
p

E /G # Am E Em C Dm G Em
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#œ
£ ¡ œœ
¡
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¡
˙ ˙
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B 5 3 3 3
G 4 4
D 0 5 2
A 0 3
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4

F Dm E sus4
£
E A5 Am
™ G
¢
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œ
& œœœ œ
œ œœ œ # œœ ˙˙ œœ œ œ œ œ œ œ
˙
œ œ
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E
B 1 3 1 0 0 0 1 0 1 3 0
G 2 2 1 2 2 2 2
D 3 0 2 2 2 2 0
A 0 0 0
E 0 3
7

C G/B Am E /G # Am E

œ œ . #œ œ œœ .. œ œ œ œ #œ œ #œ
& œ˙ . œ œ œ œ œ œ.
Œ œ œ ˙ #œ œ ˙
E 0 0 2 3 5 7 8 7 5 4 0 2
B 1 0 1 3 1 3 5
G 5
D
A 3 3 2 0 0
E 4 0
10

Em C Dm G Em F Dm E sus4 E

nœ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ
& œœ œ œ œ œ œ œ # œ
˙ ˙ œ œ œ
˙ œ œ
E 3 5 3 1 0 0 1 3 1 0 0
B 1 3 3 0 3 1 3 1 0 0
G 2 2 1
D 0 2 3 0 2
A 3
E 0 3 0
13

January 2018 51
 Play } CLASSICAL ON THE CD TRACKs 47-48

PLAYING TIPS cd track 48

[ Bar 13] At this point the melody is now continuous quavers – play nice and On the last beat of bar 18 a descending sequence begins, each one with a tied
2 xxxxxxxxxx
smoothly with a legato quality. At bar 17 we have a repeated, ascending two- suspended note in the melody so make sure these ring over the bass notes as
beat phrase - again, follow the picking-hand fingering here for tidy technique. they should. It’s all about that ‘flow’ and continuity.

A5 E F/A G /B C Am G /B

£ ¡ ¡œ œ ¢œ ™œ ¡œ ¡
œ˙ n œ œ £œœ œ
œ œ ¢
œ œ
¡ œ œ œ˙ ¡
œœ
& ˙. œ # œ˙ ‰ œJ ˙ ‰ œJ
œ œ Œ ™ ™ ™ £ £ ¡

E 0 1 0 3 1 0 5 3
B 0 3 1 3 1 0 8 6 5 3
G 2 2 1 2 4 4 2
D 2 2 7
A 0 0
E
16
a m i a m i a m i a m i
p p p p

G Am D m/F Dm E
£
œ ¡œ
œ ¢œ œœ œ œ œ œ œ œ œ œ ¡
œ ˙
& ˙˙ . œ œ. œ ˙ # œ˙ œ œ œ œ œ œ
J J ™

E 1 0 0 0
B 0 3 1 3 1 0 0 1 3
G 0 2 0 2 2 1
D 3 2 0 2 2 0
A 3
E
20

G/B Am E sus4 E A5 E F/A

œ œ œ œ œ œ œ œ
& œ œ #œ ˙œ . œ
œ œ #œ œ œ
œ œ œ
œ œ œ
œ œ œ œ Œ ‰ J
œ
E 0 0 1 0
B 3 1 3 0 0 0 3 1
G 2 1 2 2 1 2
D 2 2 2 2
A 2 0 0 0
E 0
23

G/B C Am G/B G Am Dm/F Dm

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& ‰ J œ ‰ J ‰ Jœ
œ ˙ ‰ J ‰ Jœ ˙˙
œ
‰ œ Jœ œ . œ œ ˙ œ œ
J
E 3 5 3 1 0 0
B 3 6 5 0 8 6 5 3 0 3 1 3 1 0
G 4 5 4 2 0 2 0 2 2
D 7 3 2 0
A
E
26

E G /B Am E sus4 E A5

˙ œ œ œ œ œ œ œ #œ
& # œ˙ œ œ œ œ œ œ œ œ ˙. œ œ
œ œ œ œ Œ
œ
E 0 0
B 0 1 3 3 1 3 0 0
G 1 2 1 2
D 2 2 0 2 2 2
A 3 2 0 0 0
E 0
30

52 January 2018
 AlmAn { RobeRt Johnson

PLAYING TIPS cd track 48

[ Bar 25] The same material from bar 17 is repeated. This time the accompaniment this piece ends at bar 32 but I have extended it by repeating the first section with
3
notes are split, giving continuous quavers – this should still sound like a melody some variation. Bar 33 is an exact repeat of the opening, so here play it with some
and bassline so give a little more projection to the top line. The original version of dynamic contrast, for example, pluck more softly and close to the fretboard.

Am G C G /B Am E /G # Am E

œ . #œ œ œœ .. œ œ œ œ # œœ œ #œ
& ˙œ . œ œ œ. œ œ œ. œ œ œ œ œ œ œ. œ
˙ ˙˙ ˙ Ó œ œ ˙ #œ œ ˙
E 0 0 2 3 5 7 8 7 5 4 0 2
B 0 1 0 1 3 1 0 1 3 1 3 5 5
G 2 5 4
D 2 0
A 0 3 3 2 0 0
E 3 4 0
33

Em C Dm G Em F Dm E sus4 E A5

nœ . œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œ
&
˙ ˙ œ œœ œ œ #œ ˙˙ œœ œ
˙ œ œ ˙ Œ
E 3 5 3 1 0 0 1 3 1 0 0
B 3 3 3 1 3 1 0 0
G 4 2 2 1 2 2
D 0 5 2 3 0 2 2 2 2
A 3 0 0
E 0 0
37
i

Am G C G /B Am

™
œ . #œ œ œœ œ œ œ œ
œ
& ˙œ . œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ
˙ ˙. Œ œ œ ˙
£˙
E 0 0 2 3 5 5 7 8
B 0 1 0 0 1 3 0 1 0 1 0 1 3 1 3 5 8
G 2 2 2 5
D 2
A 0 3 3 2 0
E 3
41
m a m i m i m i m i m i m i m a
i p
p

E /G # Am E Em C

œ œ. œ œ #œ œ #œ nœ #œ œ œ œ nœ œ
& œ œ œ œ œ
#œ œ ˙
˙ ˙
E 7 5 7 5 4 0 2 3 2 3 5 3 1 0 0
B 1 3 1 3
G
D
A 0 3
E 4 0 0
44

Dm G Em F Dm E sus4 E A5

œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ # œ œ œ œ œ œ Œ
& ˙ œ œ œ ˙œ . œ
œ œ œ œ Œ
E 1 0 1 3 1 0 0
B 3 0 3 1 0 1 3 1 0 0 0
G 2 2 1 2 2 1 2
D 0 2 3 0 2 2 2
A 0 0
E 3 0
46

January 2018 53
 TheThe
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 Learning
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Lessons from the world’s greatest teachers and schools...
Brought to you by…

The InsTITuTe of ConTemporary

musIC performanCe

in Lessons
GT #277

O
ne of the more popular topics that GT courtesy of the minor 7th. GT has provided tons
receives correspondence about is of Mixolydian based advice over the years, from
difficulty soloing in major keys. It multi-page tutorials through to references in
would seem that many have some example captions. It’s a mode that just can’t be
success with minor blues scenarios ignored if you want a full soloing palette.
using the Minor Pentatonic, the Blues scale and This issue, Shaun Baxter’s Creative Rock acoUstic triBUte ............................72
occasional forays into the Natural Minor. But (p78) covers the Mixolydian under the guise of A month passes and another music legend
when it comes to soloing over a major blues, the Indian Pentatonic; a five-note scale is gone. Stuart Ryan examines Tom Petty’s
that’s when things get tougher. For some, putting (R-3-4-5-b7). It’s the Minor Pentatonic with the Americana-tinged acoustic style.
a small bend (a curl) on the minor 3rd to allude minor 3rd replaced by the major 3rd. It
to the underlying chord’s major 3rd works great absolutely nails the notes in a dominant 7th
as a dash of ‘major-ising’ enhancement. This is chord (R-3-5-b7) and commits to a major sound
favoured by countless guitarists including Eric more deeply than the blues curl on the minor
Clapton, SRV, Slash and Joe Bonamassa. For 3rd while having more ‘gritty vibe’ than the
others, it’s about a next level aim; to sound more sweet Major Pentatonic.
clearly major key without being overly sweet - a Take your time over the five scale diagrams
complaint when the pure Major Pentatonic (go up and down, hop around the notes)
scale is used over a dominant 7th chord. then circle some of the licks (Examples 1-5
Reason for the sweetness? The Major are good starters). Dial up a great amp
Pentatonic is devoid of the super juicy, blues tone and see how you get on, noodling
infused minor 7th interval. It’s there in the away and experimenting. Only then,
Minor Pentatonic (R-b3-4-5-b7) but not in see about playing all the
the Major Pentatonic (R-2-3-5-6). examples over with the
In truth, it doesn’t matter how backing track. We think
it’s sliced up but the vocabulary you’ll have great time, wailing
needed for major key-seeking away with fresh new major ideas
blues or rock soloists is based in on a par with (or even better
creative rock ................................... 78
the Mixolydian mode (R-2-3-4-5- than) your minor ideas. In this rewarding lesson Shaun Baxter introduces
6-b7). Here you get the major 3rd, sequenced lines built around CAGED shapes using
perfect for major keys, but the the superb-sounding Indian Pentatonic.
bluesy attitude is also there,

January 2018 55
 lesson } 30-minute lickbag ON THE CD TRACK 49

30-Minute lickbag
Pat Heath of BIMM Brighton has another
brought to you by…
selection of licks for you, from easy to difficult.
Just check out this month’s awesome sixsome!

Easy Licks ExampLE 1 Dave Gilmour cd track 49

GUITARthis
Approach TECHNIQUES MAGAZINE
lick with a controlled 2 7 7 picking technique as you are required to ‘skip’ the third string. A dash of delay and reverb will allow the notes to
and careful
ring out while you change fingering positions.
Pat Heath's LICK BAG

Ex 1 David Gilmour style

2 7#74
©»¶º ~~~ ~~~ Fmaj 7/A ~~~ ~~~
GUITAR TECHNIQUES MAGAZINE
Asus w/bar A m7sus4 A w/bar
w/bar
Pat Heath's LICK BAGw/bar
4 œ # œ œ ˙ œ œ ˙ œ œ ˙ #œ ˙ œ
&David
4TECHNIQUES ∑ œ œ œ
œ #4 œLICK BAGw/bar œ 7/A œ
Ex 1
GUITAR Gilmour style
MAGAZINE 2 7 7

©»¶º
Asus

F # œ œ~~~˙ ~~~
Pat Heath's
w/bar A m7sus4
~~~ Fmaj
~~~
w/bar A
~~~
w/bar

4 œ œ ˙ œ ˙ # œ ~~~˙
œ
Ex 1&David4 Gilmour ∑style Asus # 4 œ 0w/bar A m7sus4œ 0~~~ Fmaj 7/Aœ œ 0~~~ œ
œ 4 ~~~ œ 3 w/bar œ 1 ~~~ œ 2 w/bar ~~~
E 0
B
©»¶º ~~~ w/bar A

F œ ˙ œ œ ~~~ ˙ œ œ ~~~ ˙ # œ œ ~~~ ˙

& 44 œ # œ ~~~
G
D 7 5 3 2
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A
∑ 0 0 0 0
E

œ≥ ≥ ≥4 ≥0 œ≥ ≥ ≥3 ≥0 ≥ œ≥ ≥ ≥1 ≥0
1
E
B
G
F0 7 ~~~ ~~~ ~~~
5 3 2
~~~
D
A 0 0 0
E
EEasy
Ex 2 Licks style 2 van Halen
ExampLE
Van Halen 1
≥ ≥ 4≥ ≥ 0
≥ ≥ 3≥ ≥ ≥ 0
≥ ≥ 1≥ ≥ 0
≥ ≥ 2≥ ≥ 0 cd track 49

This guitar part is©»¡£∞ B minor chord shape. Work on the picking hand position of the natural harmonics and then~~~ ~~~lick withja
B
G centred around aN.C.
# # 4 and ~~~ ~~~~ ~~~ ~~~ add them into the

& 4 Ó Œ ‰ j ≥ ≥ œ≥ œ ≥— œ œ ≥— ≥ — ≥ œ ≥ œ ≥± ≥ œ≥ œ≥ —≥ œ œ — ≥ —≥ œ ≥œ ≥œ œ . œ
— —
D 7 5 3 2
medium distortion
A chorus sound. Start
0 slowly, and build the tempo. 0 0 0
E
1

œ œ œ
Ex 2 Van Halen style

± ± ± ± ±
©»¡£∞ F N.C. ~~~ ~~~~ ~~~ ~~~ ~~~ ~~~ j
# # 4 Ó Œ ‰ PM
œ œ 3~~~ 2 œ —~~~~— œ œ ±~~~ œ œ 3~~~ 2 œ —~~~— œ œ œ ~~~
Ex 2&Van Halen 4 style j —
PH — œ PM PH PM PH PM —
PH — œ PM PH Let ring
œ. œ
©»¡£∞ œ œ 4 ~~~ 4 4~~~~ œ 4 ~~~ 4 4~~~ 2 ~~~
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± ± ± ± ±
2 4~~~
j
B N.C.
## 4 F — — ± — —
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D

& 4 Ó Œ ‰ j
4

œ ~~~ œ œ œ — —
4
œ
4
œ œ œ — —
4
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~~~~ œ≥ ≤ ≥~~~ œ≥ œ≥ ≥ ≥~~~ ≥ ≥~~~ œ≥ ≥ ≥ ~~~
A 0
PM 2 PH PM PH PM PH 2
PM PH PM PH Let ring

œ≥ œ≥ ≥ ≥ 3≥ 2 ≥ ≥
E

± ± ± ± ±
1
E

F PM 3 2
B
G 4 4 4 2 4 4 4 4 2 4
4
~~~ ~~~~
4
~~~
4
~~~ ~~~
4
~~~
D
PH PM PH PM PH PM PH PM PH Let ring
A 0 2 2
E
Ex 3 Jimi Hendrix style
E
1
≥ ≥ ≥ ≥ 3≥ 2 ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≥ 3≥ 2 ≥ ≥ ≥≥≥
©»¡∞º
B

#
4 4 4
.
2 4 4
~~
4 4
œ ~~~œ œ
2 4
G

## 4 ∑ œ
E
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1/4
D 4 4 4 4
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E
Ex 3&Jimi Hendrix
intErmEdiatE 4 Licks
style
ExampLE
0
≥ 3 Jimi
1
2
≥œ HenDrix œ .
≥œ ≥ œ≥ œ œ≥ ≥ œ œ ≥œ ≤ ≥ œ ≥œ ≥œ ≥œ ≥œ œ ≥ œ≥ J ≥‰ ≥ ≥ cd track
2
œ J ‰ 49
©»¡∞º œ fluidly work the slides in and out œ œ~~~œ œ
Voice an E major chord inversion fromEthe 11th fret, and work on sliding into this shape while hammering on around the Major Pentatonic position built around
the chord. Find#the melody pitches, then
# œœ œ . œœof theseLetœœnotes.
œœ Letœœ ring ring œ ~~
1/4

Ex 3 Jimi#Hendrix4 style∑ F œ œ . œ œ œ œ œ~~ œ J ‰ ~~~ J ‰ œ

& 4 œ œ œ
1/4

©»¡∞º
E

### 4 ∑ œ œ . œœ9 œ9 Letœœ9 ring 9~~ 11 9 œ13 œ~~~

B

œ Jœ ‰
E
œ9 11 œœ9 Let œœ9 ring 11 œ9
1/4
G 9 9 9 11 9 9 9 9 11
D

& 4 F 11 œ œ . œ 9 7 9 11 œ œ œ J ‰
≥0 œ≥ ≥ œ≥ ≥ ≥ ≥ ≥ ≥ ≥ œ≥ œ≥ œ≥ œ≥ ≥~~ ≥ ≥ ≥ ≥~~~ ≥
A
E 1/4
1

œ
E
B

F 11 9 11 9 Let9 ring 9 9 Let9 ring11 9 9 7 9 11 9~~ 11 9

G 9 9 9 11 9 9 9 13 9 11

~~~
D
A 1/4

≥0 ≥ 9≥ ≥ 9≥ 9≥ 11 9≥ ≥ 9≥ 9≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ 9≥ 11≥
E
E 1
B
G 13
D 9 9 9 9 9 9 11 9 9 11 9
A 11 11 9 7 9 11

≥0 ≥ ≥ ≥ ≥ ≥
E
1
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥

58 January 2018
 30-minute lickbag learning zone
intErmEdiatE Licks ExampLE
GUITAR TECHNIQUES 4 Billy
MAGAZINE 2 7 7 GiBBons
cd track 49
ThisGUITAR TECHNIQUES
part is plucked MAGAZINE
with the fingers of the2picking
77 Pat Heath's
hand. Short, LICKtype
sharp staccato BAGnotes are required on the 4th intervals at the 5th and 7th fret. ‘Roll’ your hand
up the neck to get the triplets that lead into bars 2, 3 and Pat Heath's LICK BAG
4.
Ex 4 Billy Gibbons style
GUITAR TECHNIQUES MAGAZINE 2 7 7
Ex 4 Billy Gibbons style Pat Heath's LICK BAG
~~~
GUITAR TECHNIQUES MAGAZINE 2 7 7
N.C.
©»¡¡º
N.C. style
A m7 D5
A m7Pat Heath's D5
LICK BAG
~~~
Am7
Am7
D5
D5 ~~~
~~~
4©»¡¡ºÓ
Ex 4 Billy Gibbons 3
œm7 ⋲ œœ œœ~~~œœ œœ œœ œœ œœ~~~œœ
3
ŒŒ ‰‰
Ex 4 Billy Gibbons style 3 3
&
& 44©»¡¡º Aœ ¿¿
3
Ó
A m7 D5 Am7 D5
œ œ~~~œ 3 œ œ~~~œ œœ
N.C. 3 ⋲⋲
N.C.
œ œ
3 œ
œ œ ⋲ œ œ D5 Am7
œ
œœ œ œœ œ3 œ œœ
œ œ œ D5
¿ œœ œœ33
4©»¡¡ºÓ Œ F ‰ œ3 œœ ⋲ œœ œ œœ œœ œœ œ œœ œœ
&4 Ó Œ ‰ PM œ œ œ PM œ œ ⋲ ¿¿ œ
œ œ PMœ œœ œ œ
F PM œ
&4 œœœ œ ⋲ œ PM
œ œ~~~œ PM ⋲ œ PM
œ œ~~~œ œœ œ
E
F PMœ
PM
œ
PM
~~~ œ
PM
œ œ
PM
~~~ ¿ PM
œ
F PM 7~~~
B

7~~~
E PM PM PM PM
5 5 PM 7 5 5 5 7
G
B X
7~~~ 7~~~
D
G 5 5 PM PM 5 PM 5 5 PM X PM
E
A 0 5 7 0 0 0 5 7 0 0 5 7
D
B
5 5 5 5 5 X
E
A
E 0 5 7 0 0 0 5 7 0 0 5 7
G 1 5 5 7a 5a 5 5 7 X
E
B
D
G
≥≥ 1
m
a a
5
5
a a
a
5
m
5
a
≥≥ 7
m
7a
≥≥ 5
m
5a
≥≥ etc
5
5
etc 5
5 7
7 X
X
A 0 5 7 0 0 0 5 7 0 0 5 7
0 ~~~~
D
E m 5 m
5 m
7 m
5 5 5 7 X

œœ.. ~~~~
A m7 D5 Am7
A
≥ ~~~~ ma a
5 7 1
a Am7
0
≥ a ≥0 a
0 5 7
≥ etc
0 0 5 7

œœ~~~~ œœ
E A m7 D5
≥œ œ ma a 3

Aœ œœ œ≥ mœ œœ
1 m m m
‰‰
≥ ≥
œœ ~~~~œœ
a a 3 a etc
&
& A œm7
⋲⋲ œ
m Am7 m
œœ33 œœ œœ ⋲⋲ ~~~~ J
œ..
m7 D5
œ œ œœ œ ~~~~œ œœ œ œœ œ ⋲ œœ œ~~~~ Jœ
D5 Am7

& œœ ⋲ œœ œ œ PM œœ œ œ œœ ⋲ PM œ œ œJ
œ
œ ‰
‰
& œ ⋲ œ PM
œ œ~~~~ ~~~~
œ PMœ œ PM
œ œ œ œ ~~~~
~~~~ J
œ œ œ œ
PM PM PM
E

~~~~ ~~~~
B
E
G
B 5 5 PM 7 PM 5 PM 5 9 PM 5
5 5
7~~~~
7 5 5
~~~~
D
G PM PM PM PM 9 5
E
A 0 0 0 5 7 0
D
B
5 5 5 5
E
A
E 0 0 0 5 7 0
G3
E
B 5 5 7 5 5 9 5
D3
G 5
5 5
5 7
7 5
5 5
5 9 5
A 0 0 0 5 7 0
advancEd Licks ExampLE 5 scott HenDerson
D
E 5 5 7 5 5 cd track 49
A 3 0 0 0 5 7 0
ThisEEx
lick has an unusual displaced
3 5 Scott Henderson style
feel, but is straight 16th notes over the three bars. The ‘outside’ sound that this lick employs is achieved by moving the A Minor
Pentatonic
Ex 5 Scott a b2 (one fret)
up byHenderson and back again.
style

©»¡¢∞
©»¡¢∞
N.C.
œœ œ œ œ œ œ œœ bb œœ œ œœ œ œœ bb œœ bb œœ b œ œœ œ b œ œ œ œ n œ
Ex 5 Scott Henderson style
44 ∑ œœ œœ œ
N.C.

& œœœœœ œ œ œœ œ ‰ ÓÓ
b œ œ b œ œ œ œ œ œ n œ œ œœ œ
Ex 5 Scott Henderson style

& ©»¡¢∞
4 ∑
N.C.
œœœœœœ œ œ œœ œ œœ œœ œ œ ‰
©»¡¢∞ œ bœ œ œ œ œ bb œœ b œ b œ œ œ b œ œ œ œ œ œ n œ œ œ œ œ œ œ‰
& 44 ∑∑ œœ œ œ œœ œœ
N.C.

F Ó
&4 F œœ œ œ œ bœ œ œ œ œœ œœ œ bœ bœ œ œ bœ œ œ œ œ œ nœ œ œ
œ œ œœœ œ œ œœ œ œ œ ‰ Ó
E
F5 œœ œœœ
B
E
G
B
D
G
F5 8 5
7
8 5
8 5 7 8 5
7
5
7 5
4
7
4
4 7 4 7
7
5
5 7
7 5
7 5
7
7
8
8
6
6
6
8 6 8 6 8 6 6 5 5
E
A
D 5 7 8 8 6 8 8 6 8 6 5 7 5 7 5 7 5
5 8 5 7 8 5 7 5 4 4
B
≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ 55 ≥≥7 ≤≤77 55 ≥≥77 88 66 ≥≥8 ≤≤66 ≤≤8 6 ≤≤ ≤≤8 6 ≥≥ ≤≤6 5 ≥≥ ≤≤5 ≥≥ 5 ≥≥88 ≤≤7 ≥≥5 88≤≤ ≥≥55
E
A
E 8 8 7 7
4 7 4 7
G
E 1
B
D 1
8 5 8 5 5
G 7 7 7 7
8 6 8 8 6 8 6 5 7 5 7 5 7 5
A
D 7 8
5 8 7 5 8 5
E
Ex
A 6 Joe Satriani style ≥ ≥ ≤ ≤ ≥ ≤ ≤ 8 ≤ 8 ≤ 7 7

LL L LL L LL L LL L
1
advancEd
E
Ex ≤ ≤ 6≥ Joe
Licks ExampLE
6 Joe Satriani style ≤ satriani
≥ ≤≤ mI-IV-Vi ≥progression,
≤ ≤ m ≥≥iand≤≤ can bem≥≥applied ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≥8 ≤ ≥ 8≤ ≥5cd track 49
LL L LL L LL L LL L
1
≤ ≤ around
≥ ≤ N.C. ≥anym≤ chord
≤i progression
≤ ≥ with some ≥ ≤ adjustment.
≥ ≥ ≤The≥ technique
≤ ≥ of
This cool Satch-style lick is based
£ m i ¡ £ m i ¡ £ m i ¡ £ m i
a major to
©»¡™º ¡ i

≠≠ ≠≠≠ LL LLL ≠≠ ≠≠≠ LL LLL ≠≠ ≠≠≠ LL LLL ≠≠ ≠≠≠ LL LLL

œœ œœ œœ œœ
N.C.
Ex 6 Joe Satriani style
£ £
## # ## 4©»¡™º
¡ £
œœ i ¡ mœœ i ¡ £ mœœ i ¡ £ mœœ i
≠≠ ≠≠≠ LL LLL ≠≠ ≠≠≠ LL LLL ≠≠ ≠≠≠ LL LLL ≠≠ ≠≠≠ LL LLL
hammering the root and 5th notes with the fretting hand is combined with tapping the octave and 3rd with the picking hand.
Ex 6 Joe Satriani style

¡ £ m œi ¡ £ m œi ¡ £ m œi ¡
N.C.
œ œ
œ œ œ œ œ œ œ œ œ œœ
œ œ
& # 4©»¡™º N.C.
£œ
m
œ ¡ œ£ œ £œ œ £œ m œi œ œ
œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ
∑∑
& # # 4©»¡™º ¡ ¡ ¡
& ## 4 # # 4
≠≠ ≠L ≠≠ ≠ L ≠≠ ≠ L ≠≠ ≠ L
œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ ≠≠ ≠ L ≠≠ ≠L ≠≠ ≠L ≠≠ ≠ L
L L L L
F
œ œœ
L L L L
∑

≠ ≠≠LLLL≠ ≠≠LLLL ≠ ≠≠LLLL ≠ ≠≠LLLL ≠≠ ≠≠LLLLL≠≠≠≠LLLLL≠≠ ≠≠LLLLL≠≠ ≠≠LLLLL

& 4 ∑ F œ œ œ œ œ œ œ 10 œ 10 œ 10 œ 10
E
œ
F 1010 œ œ œ 10
F 7 11 7 10 11 7 10 11 7 10 11 5 7 10 1111 5 7 10 1111 5 7 10 1111 5 7 10 1111
B
E 10 10 10 10 10 10

L L L L
G
B
D
G
E
A
D 11 11 11 11 7 7 7 7
B
7 10 7 10 7 10 7 10

L L
E
A 5 5 5 5 5 10 11 5 10 11 5 10 11 5

L
10 11

L
E
1
G
E

œLœ œLœ
5 10 11 5
≠10 11 5
≠ ≠≠ ≠≠ 10 11 5

L L L
B 10 11

L
≠ L
≠ ≠ L
≠
## # ## ≠œ L
7 7 7 7
D
G
≠ 1

≠ œ Lœ
≠ œ Lœ
≠ ≠ ≠ 11 5 11 5 11 5 11

L L L L
7 7 7 7 5

L
A

≠ ≠ œ
L
≠ œ ≠
L L L L
D 11 5 11 5 11 5 11 7 7 7 7

L L
E 5

L L L
œœ œœ
L
œœ
L
A 7 7 7 7 5 5 5 5
œœ œœ
1

& # # ≠œ Lœ Lœ ≠œ Lœ Lœ ≠œ Lœ Lœ ≠œ Lœ Lœ ≠œ ≠œ Lœ ≠œ ≠œ Lœ ≠œ ≠œ Lœ ≠œ
E 5 5 5 5

œ œ œ œ œ œœ
1

≠ œ œ
œ Lœ ≠œ ≠œ Lœ ≠œ Lœ ≠œ Lœ ≠œ ≠œ Lœ L œ ≠œ Lœ Lœ ≠œ Lœ Lœ ≠œ
& # ≠œ œ
≠ œ œ
≠ œ
≠ œ œ
≠ ≠
≠œ œ ≠œ
≠
œ
≠ œ ≠œ œ œ
≠ œ œ
≠
≠œ L L ≠œ L L ≠œ L L ≠œ L L ≠≠œœ ≠œ L œ ≠≠œœ ≠≠œœ L Lœ ≠≠œœ ≠≠œœ L Lœ ≠≠œœ
& # ## # ≠œ ≠œ œ L
≠ ≠≠ LL L ≠ ≠≠ LL L ≠ ≠≠ LL L ≠ ≠≠ LL L ≠ ≠ LL LL ≠ ≠ LL LL ≠ ≠ LL LL ≠
& ≠ ≠ œ
≠ ≠œ ≠œ œ
≠
E 12 12 10 10

≠≠ ≠ L ≠≠ ≠ L ≠≠ ≠ L ≠≠ ≠ L ≠≠ ≠≠ L ≠≠ ≠≠ L ≠≠ ≠≠ L ≠≠
B
E 12 12 10 10 10 10 10
G
B 13 13 11 11 10 10 10
D
G 9 13 9 13 7 11 7 11 11 11 11
E
A
D 7 9 12 7 9 12 5 7 10 5 7 10 7 11 7 11 7 11
B
E
A
E 3 7 12 13 7 12 13 5 10 11 5 10 11 5 7 10 5 7 10 5 7 10 5
G
E
B 5 10 5 10 5 10 5
D3
G 9 13 9 13 7 11 7 11 11 11 11
A 7 9 7 9 5 7 5 7 7 7 7
D
E 5 11 5 11 5 11 5
A 3 7 7 5 5 7 7 7
E 5 5 5 5
3
January 2018 59
 lesson } blues ON THE CD TRACKs 50-53

steve winwood
Brought to you by… Winwood as inspirational, even revealing it
was Steve who turned him on to the Fender
Strat. In 1970 Winwood rejoined Traffic and
enjoyed another successful run with the group
until 1975 when they finally separated, the
Join Ronan McCullagh this month as he temptation of solo projects beckoning.
looks at the tastful guitar playing of the legendary Winwood reinvented himself with award-
winning albums, which included tracks Higher
multi-instrumentalist and singer-songwriter. Love, Valerie, and Back In The High Life.
Alongside his incredible band and solo work
Winwood also had a fruitful career as a session
musician, contributing to iconic albums by,
among others, Jimi Hendrix, James Brown,
The Who, Joe Cocker, and George Harrison.
Being a strong songwriter has shaped
Winwood’s guitar style. The guitar always
serves the song and if you have never heard
him take a solo you may find yourself asking,
‘Is this a written section, or are they

To make a living
from doing someThing
i love is fanTasTic. as
long as people wanT To
lisTen To me, i’ll keep
doing iT. Steve Winwood
improvising now?’. His lines are always
melodic, with a connection to one another,
even through the expansive use of space that he
employs. His blues style is full of authentic
language, which you can hear on The Spencer
Davis Group track Stevie’s Blues (released in
1966 as a B-side to Somebody Help Me).
Winwood and Clapton undoubtedly share a
language, something that comes particularly
clear when you find them on stage together in
Winwood’s use the later years. Check out the performance of
of a Strat sent Dear Mr Fantasy at 2010’s Crossroads Festival
Clapton out to to hear this in all its glory.
buy Blackie and
several more!
NEXT MONTH Ronan grabs his slide to examine
the stunning blues style of Derek Trucks
his records you might envy the man even more.
aBiliTY raTing
In 1963, at just 15, Winwood burst into
✪ ✪ ✪ ✪ ✪ Moderate/Advanced prominence with the Spencer Davis Group, 7
4 6 6
3
Info Will improve your releasing timeless classics including I’m A Man
Key: Various Pentatonic bending and Keep On Running. Four years later, Steve
Tempo: Various Melodic approach to soloing left to co-found Traffic with Jim Capaldi, Chris
GAin BASS MiDDlE TREBlE REvERB

CD: TRACKS 50-53 Solo construction Wood and Dave Mason. The band set out to
explore music that defied convention, ignoring

W
hile some musicians dedicate their lives the external pressures of commercial status.
Early days with The Spencer Davis Group show
to one instrument, some manage to Yet they recorded several landmark albums
Winwood with a Harmony H59 Rocket and
switch effortlessly between several. including Mr Fantasy, The Low Spark Of High Stratotone variation but when the band started to
What’s amazing about Steve Winwood Heeled Boys, and John Barleycorn Must Die. gain success Steve became a Fender man.
is his ablity to deliver instrument-specifc Forever the creative explorer, Winwood left Amp-wise it was Marshalls with 10-inch speakers;
vocabulary on each of the many instruments Traffic in 1969 to form Blind Faith with Eric more recently he has been using Fender and
Kemper. Go for a single-coil sound with medium
that he performs and writes on. Although Clapton and Ginger Baker. A short-lived drive. Effects are minimal, but a little reverb or
mainly known as a singer and organist, when moment, but something special nonetheless. delay will add a stage-like ambience.
you realise that he plays most of the guitar on Eric has mentioned his friendship with

Track record The Spencer Davis Group had many hits including Somebody Help Me, I’m A Man and Keep On Running. A ‘best of’ is
your best choice here. Traffic’s Mr Fantasy (1967) is a landmark album featuring the title track and the awesome No Face, No Name, No
Number. Blind Faith’s sole album has Winwood on organ and piano, and his solo albums such as Arc Of A Diver are also more keyboard-led.
LIVEPIX

58 January 2018
 STEVE WINWOOD learning zone

ExamplE
GUITAR1 SOLO 1
TECHNIQUES 277
cd track 50
Here GUITAR
we are employing D Minor
TECHNIQUES 2 7 7 Pentatonic (D-F-G-A-C), BLUES
but pushing DUES
the - STEVE
here WINWOOD
we introduce -
moreRonan
depth,McCullagh
giving you that major 3rd (F#) to start the line
GUITAR TECHNIQUES harmony2
2as7 7
GUITAR
ambiguous TECHNIQUES
major-minor 7 hear those power BLUES
7 we chords
BLUES DUES
DUES
with no - STEVE
off.
DUES -- STEVE
WINWOOD
You will
STEVE WINWOOD also - Ronan
notice
WINWOOD -- Ronan the Bb McCullagh
note (11th
Ronan McCullagh
McCullagh fret) in this passage, which in a small
SOLO 1 if you were to hear a D major you could still BLUES
3rd; remember use your Minor but effective way helps push out the harmony underneath (Bb 5) and also gives
SOLO 1
Pentatonic
SOLO
SOLO 1 ©»¡ºª
vocab over it. B b5 melodic strength;
D5Bars 9-11 demonstrate Winwood’s the listener
D 5 another colour that sits outsideB b5the Minor Pentatonic.j
~~~~~~ œ
©»¡ºª œ ˙ œ
1
j
# B b5 œ œ n œ œœ nœ B b5 n œj
œJ
1/4

©»¡ºª
& ## ## 444
œj b5 œ œ ˙~~~~~~ ˙b5
D5 D5
Ó
D5
Œ ‰ œJœ B
˙˙
B b5
œ œ nn œœ œ
D
œœ
D5
nn œœ
1/4
B b5
B
Œ ‰ nnn œœœjj œJ
œjj
œœ œœ ˙˙~~~~~~ ˙˙
D5 5
JJ œ œ
1
1//4

ÓÓ ŒŒ ‰‰ ŒŒ ‰‰
4
œœ
& J
& # 4
~~~~~~
~~~~~~
BU BD 1/4 BU

~~~~~~
E 1/4
BU BD BU
B 10 1 ( 15 )
13BU
E BU BD 1//4
4
G 12BU
(14 ) BD (12 ) 10 12 10 BU
E
B
E
D 10 12 12 13 ( 15 )
B
G
B
A 12 ( 14 ) (12 ) 10 12 10
10 10 13 ( 15 ))
13 ( 15
G
D
G
E 12 (14 ))
12 ( 14
((12
12 )) 10
10 12
12 10
10 12 12
A
D
D 1 12
12 12
12
A
E
A 1

~~~
E

œ.. œ~~~~~
B b51 B b5
œ œ œ œ œ œ .
E
j
1 1/4
D5 D5
œ. nœ œ œ .. œjj œ~~~
œ B b5 œ nn œœjjj œœ œ œ œ œ œ n œ. D5 j œ œ œ œ
~~~~~ B b5
œ~~~œ œœ œ œœ œ n œ BBwbb55~~~~~~~
1/4
B bb5 D5 n œj
D5
# # œœ .. nn œœ œœ . œœjj œJœ nn œœ œ œ œ œ œ nn œœ. œ. nn œœjj œ~~~~~
1
1//4
D55 5
œœ
4

œ nn œœ w ~~~~~~~
D B D5

& ## # œœ ‰ œJ œ nœ œ œ
w ~~~~~~~
œ
& ‰‰ J
& # 3
3
3
3

~~~ ~~~~~ ~~~~~~~

1/4 3
3 3
3
BU BU BU
~~~ ~~~~~ ~~~~~~~
1/4

~~~
E BU 10 13BU( 15 ) 13 10 13 10 10 BU
~~~~~ ~~~~~~~
1
1//4
4
B 13 10 13 (15 )
13BU BU 13 13BU(15 ) 13 10
E
G BU 10 13BU( 15 ) 13 10 13 10 10 BU 10
B
E
E
D 13 10 13 13 (15 ) 10
10 13 (( 15
13 15 )) 13
13 10
10 13
13 10
10 13 10 13 ((15 ))
10 13 10 12
B
G
B
A 13
13 10
10 13
13 13 (15 ))
13 (15 13
13 13 (15
13 15 ) 13
13 10 10
10
D
G
G
E 10
10 12
D
A 4
D 12
12
A
E
A 4
E
b B b5
E 4

œ~~~~~
4
jB5
œ œj nBBœbb55.
D5 D5
j
b œ œœ œ œ . B b5
œ.
1/4

œ .. œ œ n œj
œ nœ œj DDœ55
j D5 j œ ˙ œœ
œœ~~~~~
b5
œ œjj nBœb5.
D5
# D5
œœ b œ œ œ œ .. œjj œœ
œj
œœ ~~~~~
˙˙
B b5
B
œ nn œœœ.. œœ
1/4

˙
& ## ## nœ
n œjj
Jœœ œ œœ n œ . œ nœ ‰
D5
œœ .
1
1//4
nn œœ bœ œ œ œjj
œœ n œ ˙˙
4

JJ œ nœ œœ œœ ‰‰ nn œœ œ
& #
& 3
3

~~~~~
RP 3
3
BU BU BU 1/4

~~~~~
RPBD
E RPBD
~~~~~
BU BU BU 1/4
B 10 (15 )
13BU (RP ) (13 )
15BD 11 13 11 10 BU BU 10 1011//44
E
G 11 12 BU BD 12 10 BU BU
12 (14 ) 12 (14 ) 10 10
E
B
E
D 10 13 (15 ) ( 15 ) (13 ) 11 13 11 10 10 12 10 10 12
B
G
B
A 11 12 10
10 13 (15 ))
13 (15 (( 15 ) (13 ))
15 ) (13 11
11 13
13 11
11 10
10 12 10 12 (14 ) 12 (14 ) 10
10 10
10
G
D
G
E 11
11 12
12 12
12 10
10 12 (14 )) 12
12 (14
(14 ))
12 (14 10 12 10
10 10 12
10
A 8
D
D 10 12
10 12 12
12
A
E
A 8
E
E 8
B b5 B b5
8

œ nn œœ
D5 D5
B b5 B b5
œ œœ j œ œœ
1/4

# B bb5
œ nn œœœ nœ nw
B bb5
D5 D5

œœ œj
œœ œœ n œ œœ œ œ œ œ nœ œ
& ## ## ‰ œ nn œœ œ‰ œ œœ œ Œ ‰ nœ ‰œœœjj
D5 5 D5 1/4 5
nn œœ nn ww
D5 B D5 B
œ œ œœ n œ œ œœ œœ œœ n œ œœ
1//4
4

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ExamplE 2 SOLO 2 cd track 52

We have a repeating figure both rhythmically and melodically in bar 1, but authentic blues vocabulary present, once again using our A Minor Pentatonic
GUITAR
develop this intoTECHNIQUES
a descending line2that
7 7 holds a repeating rhythm. You will (A-C-D-E-G) with blues quarter-tone bends on the 3rd interval. Bar 9 heading
BLUES DUES - STEVE WINWOOD - Ronan McCullagh
notice this idea of repetition throughout, especially from bars 5-6 and 12-14. into bar 10 is a great example of those wider blues bends that Winwood shares
notice the Chuck
SOLO 2 Berry influence coming through, too. But there’s still plenty of with many others, including Clapton.

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lesson } blues ON THE CD TRACKs 50-53

1/4
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ExamplE 2 SOLO 2 ...CONTINUED 16 14 14 16 16 14 16 14 12 14 12 11 12 11 9 11 9 7 9 7 5 cd track 52
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14

60 January 2018
 lesson } ROCK ON THE CD TRACKs 54-56

Brought to you by…

keyboard skills of Alan Clark. One song in

particular, Private Investigations, became a
Top 5 UK hit, even though it was seven
minutes long. Nothing, however, could
prepare the band for the way that Brothers In
Arms was received at the height of the MTV
age, and videos for Money For Nothing and
Walk Of Life saw massive rotation on TV and
radio. Although they never matched the
success of that album, they continued to
record and tour into the late 1990s before
disbanding to work on other ventures,
including Knopfler releasing several well-
received solo and collaborative albums,
including one with his hero, Chet Atkins.
Knopfler uses fingers and thumb
exclusively in his playing. His rhythm-meets-

MARK KNOpfLER’S
RhYThM MEETS LEAD
AppROACh TO DIRE STRAITS
SONGS IS INSTANTLY
RECOGNISABLE
lead approach is instantly recognisable and
his tone has always been stunning.
The track this month is in the key of Dm
(D-E-F-G-A-Bb-C), although there is a G
Mark Knopfler major chord that features throughout, giving
clearly showing a Dorian feel to the tune (D-E-F-G-A-B-C).
his thumb and
fingers approach The solo uses predominantly D minor
Pentatonic (D-F-G-A-C) and the final

Dire Straits
arpeggio parts follow the chords of Dm, C and
G. There’s further explanation of the thumb
and fingers technique in Playing Tips, but in
general you should aim to ‘feel’ the beat of the
Martin Cooper unlocks the unmistakable song, utilising space and rhythm as much as
actual chords and melodies.
‘rhythm meets lead, fingers and thumb’ guitar
sound of Mark Knopfler and Dire Straits NEXT MONTH Martin examines another British
superband in Andy Summers and The Police
and were one of the first bands to embrace
ABILITY RATING
digital recording techniques, with the Brothers 5
✪ ✪ ✪ ✪ ✪ Moderate/Advanced In Arms album being the first compact disc to 3
6
7
4

Info Will improve your… sell one million copies.

Key: D minor Country blues-rock feel The band honed their sound early in their
Tempo: 145bpm Playing with thumb and fingers career and the classic Sultans Of Swing was
GaIn BaSS MIDDle TreBle reverB

CD: TRACKS 54-56 Timing and groove actually on the first demo tape that they
recorded in the late 1970s, and went on to

M
ark Knopfler and his band Dire feature on the eponymous debut album.
Mark Knopfler has always had an incredible guitar
Straits need little introduction. But Knopfler’s songs were based on real life and his
tone and often uses a very clean sound. He favoured
among their considerable experiences in Newcastle, Leeds and London Fender and Gibson guitars and Fender amps for
achievements they have won four and although some record label executives much of his Dire Straits career, although in the 1980s
Grammys, and their 1985 album Brothers In didn’t agree, it was exactly the kind of music he also used higher gain Mesa Boogie and Soldano
Arms has spent an incredible 1,100 weeks in that the public wanted to hear at the time. amps, and a custom made Pensa-Suhr guitar. The
track this month is clean, so aim for a ‘Fender’ style
the album charts, selling over 30 million copies In the early 1980s Dire Straits began to guitar and amp sound if possible. I used a Thorn
along the way. They also gave a memorable set experiment with more experimental songs SoCal S/S guitar and Fender profile on a Kemper.
at Live Aid (joined by Sting on backing vocals) and arrangements and also featured the

TRACK RECORD Dire Straits’ eponymous debut album features Sultans Of Swing and Down To The Waterline, while Love Over Gold from
1982 includes Private Investigations and Telegraph Road. The classic Brothers In Arms (1985) features Money For Nothing, Walk Of Life, Your
Latest Trick and the title track itself. There are also several ‘hits’ collections including The Very Best Of Dire Straits.
LIVEPIX

62 January 2018
 DIRE STRAITS learning zone

ExamplE 1 RHYTHM cd track 55

For the first time there’s nothing wrong with your playing being all fingers three fingers. The trick is to get a steady rhythm that flows with bass, drums
GUITAR
and thumbs!TECHNIQUES 277
With the chord parts you should aim to play the low notes and keyboard parts too. either use your thumb or first finger to ‘strum’ the
Martin Cooper's BIMM ROCK COLUMN
on the fifth string with your thumb and the other notes of the chords with a5 chord part in bar 17-18.
DIRE STRAITS
GUITAR TECHNIQUES 2 7 7
DIRE STRAITS STYLE - RHYTHM GUITAR Martin Cooper's BIMM ROCK COLUMN
DIRE STRAITS
©»¡¢∞
GUITAR TECHNIQUES 277
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A 1 RHYTHM
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ExamplE 2 LEAD cd track 55

For the solo TECHNIQUES

GUITAR you should experiment
2 7 7 with whichever combination of fingers but it obviously works to great effect. Fingers and thumb playing allows
Martin
and thumb work best for you, but aim to keep the fingerstyle Cooper's BIMM
approach speedyROCK
licks toCOLUMN
be played with relative ease; but this solo is deceptively
DIRE STRAITS
throughout – Knopfler himself has said that his style is ‘wrong’ technically, tricky to play in time, so start slowly and build up speed and accuracy.
GUITAR TECHNIQUES 2 7 7
Martin Cooper's BIMM ROCK COLUMN
DIRE STRAITS STYLE - LEAD GUITAR DIRE STRAITS

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E 2 4
LEAD ..CONTINUED 10 12 10 9 10 12 9 cd track 55
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œ œ œ œ œœœœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ
C
∑ j
&b ∑ BU œ
E 10
B
BU 10 13 10 10
G 12 ( 14 ) 12 12 10 10 12 10 10
E
D 10 12 12 10 10 12 12 10 10 12 10 10
B
A BU 10 13 10 10 12 12 12 12 10 8 10
G
E 12 ( 14 ) 12 12 10 10 12 10 10
E
D 28 10 12 12 10 10 12 12 10 10 12 10 10
B
A 10 13 10 10 12 12 12 12 10 8 10
G
E 12 ( 14 ) 12 12 10 10 12 10 10
D 28 12 12 10 10 12 C 12 10 10 12 10 10
œœ œ œœ œ œ œ Cœ œ œ œ œ œ œ œ œ œ œ8 10œ
G Dm

œœœœœœ œ
A 12 12 12 12 10

œ œ œ œ œ œ œ œ œ œ œ
E

œœ ˙ œœ œœ
28
G Dm

& b G˙ œ n œ œœ ˙
Ó
œœ
Dm œœœœœœ œœ œ œ œ œ œ œ Cœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& b ˙ œ nœ œœ ˙
Ó œœ œœœ œ œ œ œ œ œœœ œœœ œœœ œœœ
& b ˙ œ nœ Ó
E 13 10 10 13 10 10 13 10 10 13 10 10 12 8 8 12 8 8 12 8 8 12 8 8
B 10 10 10 10 8 8 8 10
G 12 [ 12 ]
E
D 9 12 13 10 10 13 10 10 13 10 10 13 10 10 12 8 8 12 8 8 12 8 8 12 8 8
B
A 10 10 10 10 10 8 8 8 10
G
E 12 [ 12 ]
E
D 31 9 12 13 10 10 13 10 10 13 10 10 13 10 10 12 8 8 12 8 8 12 8 8 12 8 8
B p p i p
10 p i etc
10 10 10 8 8 8 10
A 10
G
E 12 [ 12 ]
D 31 9 12 p p i p p i etc

œ n œ œ œ œ œ œ œ œ œp œ p œi pœ œp iœetc œ j ~~~
A 10

œ n˙ .
E G Dm
31

& b Gœ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ~~~
œ n˙ . Œ
G Dm
∑
& b œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ~~~
œ n˙ . Œ
Dm
∑
&b BU ~~~ Œ ∑
~~~
E 10 7 7 10 7 7 10 7 7 10 7 7
B 8 8 8 8 (12 )
10BU
G

BU ~~~
E
D 10 7 7 10 7 7 10 7 7 10 7 7
B
A 8 8 8 8 10( 12 )
G
E
E
D 35 10 7 7 10 7 7 10 7 7 10 7 7
B
A 8 8 8 8 10 ( 12 )
G
E
D 35
A
E
35

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January 2018 65
 lesson } JAZZ ON THE CD TRACKs 57-72

john abercrombie
and developed ideas but with a complete sense
of freedom and a relaxed, confident delivery.
He was attentive to tone and played with a
great sense of empathy within the ensemble.
Plus, he was a wonderful composer, arranger
Rich, sophisticated, intricate and intelligent, the and all-round musician. No wonder players
American jazz legend’s passing is a sad loss to the like Pat Metheny, John Scofield, Mike Stern

music world. John Wheatcroft pays homage. and many more held him in such high regard.
With such a broad improvisational
vocabulary, our following eight musical
excerpts offer us a glimpse into Abercrombie’s
unique style and his sophisticated thought
process. Nonetheless, there is a huge amount
that you can learn from him, and any player,
by looking at select aspects of their playing in
microscopic detail. With this in mind, once
you’ve learnt these examples as written, really
go to town on creating variations of your own
along similar lines. You don’t actually need to
change too much to create a new idea from

It just felt better

because all of a sudden,
the flesh of my hand
was rIght on the strIng.
I dIdn’t have thIs pIece
of plastIc that kInd of
Interfered
John Abercrombie
old. Just changing the articulation, or shifting
the odd note here or there, perhaps moving
the rhythm slightly or just transposing to a
different harmonic situation is all you need to
make an idea your own. Time spent
developing these tools can make such an
positive impact on your playing, expanding
improvisational vocabulary, compositional
breadth and general musicianship, so let’s get
Jazz legend John started without delay.
Abercrombie who
died August 2017 NEXT MONTH John introduces the beautiful jazz
playing style of the great Jimmy Bruno
his reputation as a session player. He
abIlIty ratIng
performed on a selection of ground-breaking 5 5
✪ ✪ ✪ ✪ ✪ Advanced albums from drummer Billy Cobham 3
4 4

Info Will improve your… (Crosswinds, Total Eclipse, Shabazz),

Key: Various Development of motifs and then joined Cobham and the Brecker
Tempo: Various Expressive legato articulation Brothers, Michael and Randy to form the
Gain BaSS MiddlE TrEBlE rEvErB

CD: TRACKS 57-72 Rhythmic control pivotal jazz-rock group Dreams.

Abercrombie’s playing had sophistication

W
e were saddened to hear of legendary and beauty in equal measure, with a vast
John used a variety of guitars throughout his
American jazz guitarist John improvisational facility that was at times
career, including Brian Moore, Sadowsky and more
Abercrombie’s passing, aged 72. involved, intricate and intelligent but could recently a headless Soulezza with two
Raised in the golden age of rock and also be intimate, lyrical and direct. He had an humbuckers. He generally selected the neck
roll, a teenage John first picked up the guitar amazing command of rhythm, manipulating pickup through a Boss SE-50 for stereo modulation
inspired by Chuck Berry, but when he heard the time with supreme control and his lines and reverb into a pair of clean combos. The biggest
tonal decision here is your picking choice, either
jazz players such as Barney Kessel he realised always really swung. He was never afraid to plectrum or the warmer tone that comes from
his true calling. He studied at Berklee College keep things simple but he could also deliver using the flesh of the thumb and fingers.
STEVE THORNE / GETTY IMAGES

of Music and upon graduation began to build some of the most harmonically sophisticated

track record John’s last recordings are beautifully captured on the album Up And Coming (ECM 2017). Abercrombie and his quartet play
with remarkable sensitivity and this album comes highly recommended. His debut release as a leader, Timeless (ECM 1975) is widely considered
to be one of his finest works and we’d also suggest Solar (Quicksilver 1996), a collaborative album with the equally incredible John Scofield.

66 January 2018
 JOHN ABERCROMBIE learning zone

ExamplE 1 Syncopated Swing lineS over half-time baSS feel cd track 57

Our first example is in E Major (E-F#-G#-a-B-C#-d#) with chromatic decoration abercrombie’s command of syncopation is legendary so pay attention to the
and embellishment such as the legato and slide combination in bars 7 and 8.
GUITAR TECHNIQUES MAGAZINE 2 7 7
phrasing. if your reading needs work then use the audio for reference.

GUITAR TECHNIQUES MAGAZINE 2 7 7 John Abercrombie Style by John Wheatcroft

GUITAR TECHNIQUES MAGAZINE 277 John Abercrombie Style by John Wheatcroft
Ex 1: Syncopated swing lines over half-time bass feel

©»¡¢º
John Abercrombie Style by# John Wheatcroft #
Ex 1: Syncopated swing lines over half-time

#### 4
E bass feel
œ. œ œ œ œ CC #m7 œ
E /B
œ
A F m7

‰m7 œ Jœœ EEœœ/B/B œœ œ œœ

Swing

©»¡¢º
Ex 1: Syncopated swing lines over half-time
E bass feel
œ. Jœ œ œ ‰ Jœ C #m7 œ œ œ œ ‰ F #m7
œ
& # # # # 44
A
Swing
œ œ Jœ
œJ œ œ ‰ JJœ ‰ œ Jœ œ œ œ œ
∑
©»¡¢º œ. F #m7
& # # # # 44 œ œ œ œœ Jœ ‰‰
E A
Swing
∑
J Abercrombie‰ Style by ‰John Wheatcroft
GUITAR TECHNIQUES MAGAZINE 2 7 7

& 4 ∑ John J œ J
E 1: Syncopated swing lines over half-time
Ex 7 bass feel
4 7 4 7 4 4
5 7 5
©»¡¢º
B
C #m7 #
œ7 . œ4 œ7 œ4 œ7
G 6 F m7 4 6

#### 4 œ4 œ5 œ œ7 œ4 œ5
E E7 4 7 4 7 4 E /B 4 A
Swing
œ œ6 œ œ œ6 ‰
D 7
J
B

J ‰ ‰
A
G
E 4
& 4 J5
E

J6
D
B 1 ∑ 7 5 7
A
G 6 4
E
D 7
A 1
#
B B /A G m7 G7
œ C ##œ7
n œ œ C #œ7 œ œœ
E

# # # # Bœ œ œ œ B /A
1
G #m7
œ
G7
œ
E
& # # # # Bœ œ œ œ B‰/A 7 œ ‰4œ
Jœ ‰ Jœ
7 #œ
G m7
4
Jœ œ
7 œ
Jœ
4˙ 7G 7
‰4 Jœ5 n œ œ 6 C œ7 4 œ 6 œ
& #### œ œ œ œ ‰ ˙ ‰
B 5
G

Jœ ‰ Jœ Jœ Jœ Jœ nœ œ
‰ œ ˙ ‰
D 7

& J
A

J J J J
E
1

E 12 9
#
B5
œ #œ
B 4 B /A G m7 G7 C 7 9 12

œ9 12œ
G 6 6 4 4 6 4 9 10

# # # # œ55 œ6 œ44 œ6 ‰ œ4 ‰ œ4
E 12 9

‰ œJ9 n10œ 12 9
D
B

œ œ66 œ4 ˙
A
G
E 4 9 10
&
E
D
B 9 12
J4 J4 J J
A 5
G 6 6
E
D
A 5
E
#
œ
# # # # F #m7
œ œ œ œ œ œ œ œ
5 F m7 B7 E

œ œ œ œ œ nœ bœ œ œ œ œ œ 12 9 Œ Ó
# # # F #5m7
œ œ œ4 œ œ 4œ œ
B7 E
E
& # 6œ
4œ
œ 6 œ œ n4œ b œ œ œ œ œ #9 œ
œ œ œ Œ Ó
B 9 12
& #### œ œ œ œ œ œ œ œ
B7 E

œ œ œ nœ bœ œ œ œ œ #œ
G 6 10

œ œ œ Œ Ó
D

&
A
E
5 #œ œ
E
B 10 9
#
# # # # 10œ 11œ œ9 œ99 11œ 13œ 11œ œ9 11œ œ9
G
E F m7 9 11 13 11 9 11 9 B87 9 8 7 8 7 6 E

œ œ œ n œ b œ œ œ œ9 œ7 8
D
B 10 11 9 7 6

Œ Ó
A
G
E 8 9 8 7 8 7 6 8

& œ66
E 7

7 #œ
D
B 8

œ
A
G 9 11 13 11 9 11 9 8 9 8 7 8 7 6
E
D 11 9 7
A 8 8
E 7
8
Ex 2: Motif development and half-step chromatic arpeggio superimposition

Swing 10©»™¡º b
Ex 2: Motif development and half-step chromatic arpeggio superimposition
E
E9m7 5 A7 Dm7 #
D7 5 G m7
j
B

4 ©»™¡º j œ œ n œ œjj œ ‰
Ex 2: Motif development and
b
9 half-step11chromatic
13 11 arpeggio
9 11 superimposition
9 8 9 8 7 8 7 6
#
G

b Ó Œ ‰ œ ‰ Œ ‰ œ ‰ œ
ExamplE 2 motif development and Semitone chromatic arpeggio SuperimpoSition cd track 59
& 44 ©»™¡º J b j œ œ ˙ ˙ œ œ
D
Swing 11 E m7 5 A7 Dm7 9 57
D7 6 G m7
A
œ œ œ
Œ ‰ œJ atœ will,œsoœin ‰barœ5jtheœ same
# # œ œ
œ upœ chromatically
8

n œ œby aœsemitone.
& b 44 establishes
Ó Œ ‰a pattern
œ ofœ high‰ 5thœj(d)˙followed˙by an ascending œ # œis shifted œ ‰
John
E was a master of thematic development, as in bars 3-4 and 5-6. This root, 3rd, 5th idea (G-B-d). Once established, this motific
7 G m7 cell can move around
Swing E m7 5 A7 Dm7 D7 5
œ œ œ j
8

j
second instance shape
J J
& b 4 Ó Œ ‰ œJ œ ‰ œ ˙ ˙ Œ ‰ œJ œ œ œ ‰ œ œ œ œ # œ œ œ œ œ n œ(implied œ œ œ œœ ‰
œ
Gmaj)
Ex 2: Motif development and half-step chromatic arpeggio superimposition (implied Gmaj)
E

©»™¡º 8 E m77 b 5 7
B
G
E A7 Dm7 D78 5# (implied
4
G m7
Gmaj)
4

j
Swing

˙ Œ ‰ œ8 œ7 œ8 1010 ‰ œ8j œ7 œ8 œ8 # œ9 1010 œ9 œ8 œ9 n œ œj œ ‰

D 8 7 7 8 5

& b 44 Ó Œ ‰ œJ88 œ77 ‰ œ77 ˙

B
A
G
E 8 8 8 9 9 9 4 5 4
E
D
B 1 5
A
G
E
D
A 1
J8 7 8 œ 8 7 8 8 9 œ 9 8 9 œ 4 5
5
5
4

E 10
b 10

bœ bœ
1 C7 Fmaj7 E m7 5 A7 Dm (implied Gmaj)

b œ œ # œ œ œ œ #œ œ œ œ œ A7œ # œ n œ œ 33 Dm Œ Ó
E m7 b 5
E
b œ
& C7œ b œ œ # œ œ b œ b œ
C7
‰
Jœ œ œ œ Jœ
Fmaj7
‰ ‰ œJ A7œ # œ n œ œ3 œ Dmœ 4 Œ
E m7 b 5
& b œ b œ b œ œ #8œ œ7 b œ b œ7 ‰ # œ
œJ ‰ œ # œ œ œ8 œJ7 ‰ 8 Œ 8 ‰ 7 œJ8 œ 8# œ3 n9œ œœ 9œ 8œ 9 œ ŒŒ5 5ÓÓ
‰ Œ ‰
B
G Fmaj7 4

& b (implied
D

b œ b œA b maj) J J 10 J 3 10 œ œ œ
A
E
1

E
(implied A b maj)
b
3
B 7 6 5 5 6 6 5
5(implied A maj)
5 6 7 8 6 7 E m7 b 5 6 5
G

b œ7
E
C7 Fmaj7 A7 Dm
b œ œ6 œ5 # œ œ œ5 œ6 œ6 œ5 # œ n œ5 8 73 10 8 January 2018
D 6 6 5 5 6 6 5 8 7
œ
B

œ
& b bœ bœ œ # œ J ‰ 6 7 J ‰ Œ ‰ J 6 5 œ œ 10œ œ8 Œ Ó
A
G
E 5 6 5 6 7 8 6 7 6 67
E
D 6
B 7 7
A
G 5 6 7 5
8 6
E
 4 j j
b
& 4 Ó Œ ‰ œ œ ‰ œ ˙ ˙ Œ ‰ œJ œ œ œ ‰ œj œ œ œ # œ œ œ œ œ n œ œ œ œ ‰
J
lesson } JAZZ ON THE CD(implied TRACKs
Gmaj) 57-72

E
B
G 4 4
D 8 7 7 8 7 7 8 8 5
ExamplE
A 3 motif development and Semitone chromatic arpeggio
8 SuperimpoSition
8 8 9 ...COnT9 9 5cd track 59
E 10 10
1

b
œ bœ bœ
C7 Fmaj7 E m7 5 A7 Dm
œ ‰ œ #œ œ œ œ ‰ œ œ
3

& b œ bœ bœ œ #œ J J Œ ‰ J #œ nœ œ œ œ œ Œ Ó
b
3
(implied A maj)

E
B 7 6 5 5 6 6 5
G 5 5 6 7 8 6 7 6 5
D 6 8 7
A 6 10 8
E
7

ExamplE 3 faSt ii-v-iii vi lineS with chromatic motific development cd track 61

This turnaround idea exploits the concept of continuous eighth-note phrasing playing was at times highly chromatic and he wasn’t afraid to use dissonance
against a iim7b5-v7-iiim7b5-vi7 (Cm7-F7-dm7b5-G7) turnaround move that you but all with complete control, particularly when playing in a trio situation with
might hear looped round as a vamp at the end of a piece in Bb. abercrombie’s
2 xxxxxxxxxx just bass and drums.

2 xxxxxxxxxx
Ex 3: Fast II V III V lines with chromatic motific development
b
©»™∞º
bCm7œ b 5 œ œ b œ b œ n œ œ œ bœ bœ œ nœ bœ œ nœ œ
2 xxxxxxxxxx G 7alt Cm7 5 F7alt
Ex 3: Fast II Swing
b 4 œ œ bœ œ
V III V lines with chromatic motific development

& b 4 Ó
©»™∞º
bCm7œ b 5 œ œ b œ b œ n œ œ œ bœ bœ œ nœ bœ œ nœ œ
Swing
∑ G 7alt F7alt

b 4 Ó œ œ bœ œ
Ex 3: Fast II V III V lines with chromatic motific development

& b 4Swing ©»™∞º bœ bœ œ nœ bœ œ nœ œ

bœ œ œ bœ bœ nœ œ œ
∑ G 7alt F7alt

b Ó œ œ bœ œ
E
B & b 44 ∑ 9 11 9 7 9
7 9 7 10 7
G 8 8 9 8 9 11 10 11
D 10 11
E
A 7 9 7 10 7
B
E 9 11 9 7 9
G1 8 8 9 8 9 11 10 11
D 10 11
E
A 7 9 7 10 7
Dm7 b 5 b
B 9 11 9 7 9
œ œ œ œ œ bœ nœ
E
G1 8 G 7alt 8 9 8 9 11 10 11 C m7 5

bœ œ nœ bœ œ
10 11
œ
œ œ œ nœ œ œ bœ œ bœ
D

bDm7 b 5 nœb
A

b œ bœ œ
E

& œ œ œ œ bœ nœ
1 G 7alt C m7 5

œ bœ œ nœ œ
b b Dm7 b 5
œ bœ œ œ œ nœ œ b5 œ œ œ b œ œ b œ
Cnm7
bœ
& œ œ œ œ bœ nœ
G 7alt

bœ œ nœ œ
b œ bœ œ œ œ nœ nœ œ œ bœ œ bœ
E
B & b 11 10 8 11 10 8 9 12 9
bœ œ
G 10 9 13 12 10 9 9 11 9
D 11 10 12 10 8 11
E
A 11 10 8 11
B
E 11 10 8 9 12 9
G5 10 9 13 12 10 9 9 11 9
D 11 10 12 10 8 11
E
A 11 10 8 11

œ œ œ œ bœ œ
B
E 11 10 8 9 12 9
9 b
œ b œ11 10 G 7alt
G5 10 9 13 12 10 9 11 9
œ
F7alt Dm7 5 10 Cm7 58

œ œ œ œ œ bœ bœ nœ œ œ b
D 12 11
A

b b F7alt ‰ b5 J ‰ J # œ G 7alt œ
11

Cm7 5 Œ Ó
œ œ œ
E

& œ œ œ œ œ bœ
5
Dm7

b œ œ œ
# œ G 7alt œ œ b œ œ b œ n œ œ Cm7œ b 5 Œ Ó
& b F7alt œ œ œ œ œ Dm7‰ b 5 œ œ ‰ œJ b œ
J
b b œ œ 10 13 11 10 ‰ J ‰ J #œ œ œ œ bœ œ bœ nœ œ œ Œ Ó
E
B & 8 11 13 10
10
9 8
G 8 11 10 8 8
D 9 8 11 10 11
E
A 10 13 11 10 10
B
E 8 11 13 10 9 8
G8 8 11 10 8 8
D 9 8 11 10 11
E
A 10 13 11 10 10
B
E 8 11 13 10 9 8
G8 8 11 10 8 8
D 9 8 11 10 11
A
E
8

68 January 2018
 JOHN ABERCROMBIE learning zone

ExamplE 4 rhythmic imitation lineS over Static dominant pedal tone cd track 63
Here
3 we see how John might breathe life into G Mixolydian (G-a-B-C-d-E-F) in each instance the rhythm has been manipulated and modified to create a
against a static G7 jazz waltz feel. Once again, the main point here is the sense of development and unpredictability. Once again, work with the audio if
3
rhythmic placement and punctuation; with plenty of melodic repetition but you’re not confortable getting these rhythms accurately from the transcription.
3
Ex 4: Rhythmic imitation lines over static dominant pedal-tone
Ex 4: Rhythmic ©»¡ªº
Swing imitation linesGover
7 static dominant pedal-tone
œœœ j œ œ
Ex 4: Rhythmic ©»¡ªº
& 343Swing ©»¡ªº
Swing imitation linesGover
7 static dominant pedal-tone
œ œ Jœ œ . Œ ‰ œjj b œ œ b œ œjj ‰ œ ˙ ‰ œj œ œ œœ œœ œœ œœ
Œ ‰ œj b œ œ b œ œj ‰ œ
∑ ∑
& 43
G7
œ œ Jœ œ . ˙ ‰ œj œ œ œ œ œ œ
Œ ‰ œ bœ œ bœ œ ‰ œ
∑ ∑
&4 ∑ ∑ J œ. ˙ ‰ œ
E
B 6 5 6 5
G
E 7 6 5 7 5 7
D
B 6 5 5 5 8 5 5 5 6 5
A
G
E 7 6 5 7 5 7
E
D 5 5 8 5 5 5
B 1 6 5 6 5
A
G 7 6 5 7 5 7
E
D 5 5 8 5 5 5
A 1
E
1

œ j œ œ œ œ œ œ œ œ œ œ œ œ
& œœ œ ‰ œj Œ ˙. ∑ Œ œ œ œ œ œ œJ œ . œ œ œ œ œ œ
& œ œ ‰ œj Œ ˙. ∑ Œ œ œ œ œ œ œJ œ . œ œ œ œ œ œ
& ‰ œ Œ ˙. ∑ Œ J œ.
E
B 6 5 6 5
G
E 7 9 7 5 7 7 5 7
D
B 5 5 6 5 5 6 5
A
G
E 7 9 7 5 7 7 5 7
E
D 5 5 5
B 8 6 5 6 5
A
G 7 9 7 5 7 7 5 7
E
D 5 5 5
A 8

œœ œ
E
8

& œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œœ œœ ‰ œœ œ œ
Jœ
œ.
œ.
& œ œ œ œ œ œ œ œ œ œ œ œ3 ‰ œ œ ‰ œ œ œ œ œ œ ‰ œ3 œ œ Jœ œ.
& œ œ œ œ œ œ œ3 ‰ œ œ ‰ œ3 œ œ œ ‰ 3 J
3
3
E 3 3 5 7 8
B 6 5 5 5 6 8 5 6
G
E 7 7 5 4 5 7 4 5 7 4 5 7 5 7 8
D
B 5 6 5 5 7 5 6 8 5 6
A
G 7 7 5 4 5 7 4 5 7 4 5 7
E
E
5 7 8
D
B 14 5 6 5 5 7 5 6 8 5 6
A
G 7 7 5 4 5 7 4 5 7 4 5 7
E
D 5 7
A 14
E
14

ExamplE 5 double-time latin lineS in higher poSitionS cd track 65

This example illustrates abercrombie’s nimble ability to negotiate changes, fretboard; John’s mastery of this concept was clear. When the chords are
by employing the associated dorian modes (r-2-b3-4-5-6-b7) for Gm7, Cm7, moving so quickly it’s unlikely that you’ll need any more than a few select
GUITAR
Bbm7, am7TECHNIQUES
and finally Ebm7MAGAZINE
respectively.2a7really
7 good way to approach notes from each mode but this is perfectly acceptable and will sound much
this challenge is to find each of these modes within aJohn Abercrombie
restricted area of the Stylebetter
by John Wheatcroft
than attempting to use each and every note for each new tonality.

Ex 5: Double-time Latin lines in higher positions

©»¡™§
Gm7 Gm6 Gm7 G m6 G m7 Gm6 Gm7 Gm6

œ œ œ ‰ œ œ œ nœ œ ‰ œ œ œ œ œ œ œ œ œ œ
√
b4 œ œ œ nœ Œ
Straight Latin

&b 4 ∑

E
B 15 17 15 15 17 18 15 17 18 17 15 15
G 15 17 15 17 15 17 15 17 17 15
D
A
E
1

b b b b
(√)
Cm7 Cm6 B m7 B m6 A m7 Am6 E m7 A 7 G m7

b œ œ j̊ œ b œ œ œ œ œ œ œ œ œ œ œ bœ œ January 2018 69

& b œœ œ œ ⋲ bœ ⋲ œ J ⋲ œbœ œ œ Œ Ó
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œ Œ œ œ Style œ nœ œ ‰ œ œ œ œ œ œ œ œ œ œ
John Abercrombie Style by John Wheatcroft

& b 4 ∑ œ œ
John œ ‰by John
œ œ Wheatcroft
Ex 5: Double-time Latin lines in higher positions
Ex 5: Double-time Latin lines in higher positions
lesson } JAZZ
©»¡™§
Gm7 Gm6 Gm7 G m6 G m7 Gm6 ON THE CD Gm6
Gm7 TRACKs 57-72
©»¡™§
Gm7 Gm6 Gm7 G m6 G m7 Gm6 Gm7 Gm6
œ œ
√
bb bb 44
√ œ nœ
œœ œœ 15œ n17œ ŒŒ œœ œœ 15œœ ‰‰ œœ œœ 15œœ nn17œœ 18œ ‰‰ œœ œœ 15œœ 17œœ 18œ 17œœ 15œœ œœ œœ 15œœ
Straight Latin
Straight Latin

&
E
∑∑
& 4
B
G 15 17 15 17 15 17 15 17 17 15
D
ExamplE
A 5 double-time latin lineS in higher poSitionS ...CONTINUED cd track 65
E
1

E
B
E b b
B 15
m617 A m7 15 b
E 15
m717 18 b 15 17 18 17 15 15
(√)
Cm7 Cm6 B m7 Am6 A 7 G m7
G
B 15 17 15 17 15 17 15 15 17 15 17 18 15 17 15 17 18 17 15 17 15 15
D
G

b œ j̊
œ œ œ œ ⋲ bœ ⋲ œ œ bœ
15 17
œ œ œ
15 17
œ
15 17
œ œ ⋲ œ œ bœ œ œ œ bœ œ Œ Ó
15 17
œ
17 15

&b
A
D

œ J J œ
E
A

J
E 1
1

B bm7 B bm6 E bm7 A b7

((√ ) B bm7 B bm6 E bm7 A b7
Cm7 Cm6 A m7 Am6 G m7

√)b œ œ
Cm7 Cm6 A m7 Am6 G m7

& bb b 16œ œœ œ œ œ œœ ⋲⋲ b œj̊j̊ ⋲⋲ œœ 13œœ bb14œœ 16œœ 13œœ 15œ 11œœ 10œœ œJœ ⋲⋲ 13œœ 11œœ b œ œ œ 13œœ 10œœ 11œœ bb14œœ 10œœ ŒŒ ÓÓ
J JJ b11œ 10œ 11œ
E

& 17 œ œ
œ 15 b13œ 15JJ
B
G
D 17 15
A
E

4

E 13 15 11 10 10 11 10
B
E 16 13 14 16 13 15 11 10 13 11 13 10 11 14 10
ExamplE
G
B 6 playing
16 17 through
15the 13
changeS,
15 13picking
14 16 with the thumb 13 11 11 10 11 13 14 cd track 67
Ex
D 6: Playing through the changes, picking with the thumb
G
The 17 17 15 15more recent
13 15 11 10 11
D final three examples17
A typify John’s
15
playing so we’re placing development and instances where abercrombie would deviate from the
b
the
©»¡§º
A pick aside and using the thumb to articulate the notes. This has an impact harmony to explore
Fmaj 7a particular thematic idea,B7
such as the continuation of a
E

œ œ œ n œ Œ œJ ‰ œ œ n œ œ œ œ œ #œ nœ œ #œ
4 B7 9 E m7

#4
E
Swing
on 4the fingering we choose and you’ll notice a greater reliance on hammer- whole-tone motif established in bar 9 but continued throughout bar 10 even

& 4 Œ ‰ j œ the
Ex 6: Playing through the changes, pickingœwith
∑ #œ œ œ œ œ #œ
ons to facilitate speed and flow. again, there are clear examples of motific
J
though this creates tension against the underlying Emaj7 and Em7 chords.

J thumb
Ex 6: Playing through the changes, picking with the thumb
B7 b 9
Swing ©»¡§º B7 b 9
œ œœ œœ œœ # œ n œ œ # œ
E m7 Fmaj 7 B7

## 4 ©»¡§º œœ œ œ nn œœ Œ œœJ œ
‰‰ œ8 œœ nn œœ 10œ
E m7 Fmaj 7 B7

ŒŒ ‰‰ œj œœ # œ œJ œœ œœ œœ ## œœ
j # œ œ #œ nœ œ
Swing
E
& 4 ∑∑ œ œ 10 Œ 11J 12 10 9 8 7 # œ
& 4 œ JJ9 8 10J 7 9 10 11
B
G 9 9 10 8
D 11 12
A 9
E
1

E
8 10 12 10 9 8 7
œ
B
E
G
B

# nœ œ
C maj 7
œ œ œ b œ œ
Am7
œ 9œ
8 7 Fmaj 7 9 10
n œ
E maj
11 7
œ # œ œ œ n œ8
8 9 10 10 E m7 12 10 9 8 7 8

j
9 8 10 9 10 11 9 11 12 10
# œ # œ
D
G 7 11 9 10
A
D
E
A
& J‰
9
9 œ œ10‰ #
9 10 11
œ
œ œ # œ ‰ œ œ œ J ‰ ‰ œJ ‰ J
11 12
# œ J‰
E 1
1 J
#
œ œ œ b œ
## nn œœ ‰ œ œ œ7 8 œ7 b œ Am7œœ œœ œ œ œ ‰
C maj 7 Am7 Fmaj 7 E maj 7 E m7 / B7 5)
œ œ œ œ
(implied B whole-tone scale
œ nœ
œœ œ # œjj‰‰ œœ4 œ œœ ## Jœœ6 ‰‰ ‰‰ œœJ4 ‰‰ ## œœJ4 ## œœ6 n œ6 ## œœ8 œ8 ##10œœ 11œJJ ‰‰ œ8 nn œœ9
C maj 7 Fmaj 7 E maj 7 E m7

& J œ 10 8 œ œ
& 10J ‰ 9 8 Jœ9 ‰
E
11
œ # œ6 œ6 7 J J J
B

10 J
G 9
D 7 5
#
A

#
E (implied B whole-tone scale / B7 5)
6
(implied B whole-tone scale / B7 5)
E 7 8 7
B
E 8 7 8 7 11 10 8 4 6 8 8
G
B 10 9 8 11 10 8 9 4 6 4 4 6 6 8 8 10 11 8 9
D
G 10 9 9 10 9 7 5 6 4 6 7 6 4 6 8 10 11 9
A
D 10 9 7 5 6 6 7
E
A
E 6
6

ExamplE 7 deScending triadS through changeS with thumb cd track 69

This idea, also played with the thumb, uses a motif derived from a descending approach to aligning the note selection with underlying harmony; so at times
2 xxxxxxxxxx
triad figure moving through the tonic key of E minor (E-F#-G-a-B-C-d) and the it’s good to switch your focus between macro (the overall tonality and flow) and
associated Harmonic Minor scale (E-F#-G-a-B-C#). again here we see a relaxed micro (each specific event against each harmonic movement).

Ex 7: Descending triads through changes with thumb

©»¡§º œ œ œ œJ ‰ œJ
E m7 Fmaj 7 B7 Cmaj 7
j œ œ
#4
Swing
œ œ J # œ
J œ œ œ Jœ œ # œ œ œ œ
& 4 ∑ œ‰ ‰ ‰ ‰J‰ ‰J ‰ Jœ ‰J‰J

E 8 7
B 7 9 10 7 8 10 7 8
G 7 7 9 8 9
D 9 10 9 10
A
E
1

œ œ œ
œ œ œ œ
70 Am7
January 2018 Fmaj 7 E maj 7 E m7

# j œ j j
3
œ œ œ #œ œ
 ©»¡§º œ j
#4 œ œ œ ‰ J ‰ # œ œJ œ œ œ ‰ œJ œ œ œ œ Jœ œ # œ œ œ œ
Swing

& 4
2 xxxxxxxxxx
∑ ‰J ‰J‰ ‰J ‰ Jœ ‰J‰
J
JOHN ABERCROMBIE learning zone
2Exxxxxxxxxxx
7: Descending triads through changes with thumb

©»¡§º
E 8 7
B

#4
E m7
7

œ œ œ # œj œ œ
9 10 Fmaj 7 7 8 B7
œ œ œœ œ œ # œ8
10 7 Cmaj 7 8
œ cd track
œœ‰
Swing
œ
G 7 7 9 9
J J‰J
2Exxxxxxxxxxx
ExamplE 7 deScending triadS through changeS with thumb ...CONTINUED
J ‰ œJ ‰ J ‰ J Cmaj‰ 7J œ ‰ J ‰ Jœ
10 69
7: Descending triads through changes9with thumb
œ ‰ ‰
D 10 9

& 4
A

©»¡§º
∑
E
1

#4
Swing
E m7
œ # œj œ œ œ
œ œ with thumb
Fmaj 7 B7
œ œ œœ œ œ œ
œ ‰ ‰ J Fmaj 7 œ ‰
J J‰J ‰ œJ ‰ J ‰ J Cmaj‰ #7Jœ œ ‰ œJ ‰ Jœ
Ex 7: Descending triads through changes

& Am7 4 Swing ©»¡§º

∑ E m7
Fmaj 7 œ œ E majœ 7
B7
#œ œ œ œ œ Eœm7 œ
j
## 4 j œj œ œœ œœ
& 4 œ œ j‰ J ‰ J œ 3‰ J7 ‰ J8 œ œ9 ‰œ œJ # ‰œ 10Jœ ‰ J7œ œ‰ # J8 œœ 8 ‰ œJ9œ ‰œ œ
& ‰ œ ‰ J ‰ œJ œ ‰ 7 9œ ‰ œ # œ œ œ œ7 # œ œ œ
E 8

J
B
G
∑ 7 10 7 9
D 10 9 10
A
E 8 7
E
B 7 9 10
7 8 10 7 8
1
G 7 (harmony implied in rhythm section
7 only) 9 8 9
D 9 10 9 10
A
E 8 7
E
B 7 9 10 7 8 10 7 87

œ œ
1 Am7 Fmaj 7 E maj 7 E m7 7 8 10
B 98 7
œ œ œ10
G 7 7 9
# 7j œ 9 10j 7
œ œ 7 10 8 9
G

j œ œ # œ
D 9 9
œ œ
3

& Am7‰ œ ‰ J ‰ œJ œ ‰ œ ‰ œ # œ œ œ œ # œ3 œ œ
D
A 9 10 10
A
E 9 7 6 7 9 10 11

œ œ œ œ œ
E 1 Fmaj 7 E maj 7 E m7

# ‰ j‰ œ œ j œ
6

j œ œ œ # œ œ œ
& Am7 œ J ‰ œ ‰ Fmaj œ 7 ‰ implied œ œ section
œ # œ in rhythm œ E majœ 7
œ # œ3 only)
Ex 8: Jazz-waltz lines throughJshifting tonalities with thumb œ œ œ7cd track
(harmony E m7

# 8 Jazz-waltz
j œ j j œ œ œ # œ œ œ œ œ œ 71
EExamplE
Our& ‰ œ ‰ ‰ œ
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Shifting tonalitieS with thumb
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b œ b b
J9 legato # œA m7
B
final idea encapsulates (harmony implied in rhythm
before, section only) and these 7 8 10 8 The7
7 canB be7/Anotoriously difficult to improvise over.
n œ b œ so itœreally paysœto consider n œ arebinœ common
G Swing 8 9

b b 3
7 integration of
œ n œ
9 10
œ
10
7 œ
D
as use of the thumb, technique, motific development implied key centres here are Eb lydian to ionian, Gb lydian, Eb dorian and d
A

idea&
E
and the use
E
B
G6
of b
b b b 4 shifting
of non-functioning 7
Ó tonalities often
chromaticism.
10
Harmonically, ‰(harmony
this
9
idea is
present
7
J inimplied
based
6
around
John’sin
7
the ‰ which
9 10 11
rhythm section
original
J notes need to shift
ionian/lydian
only) 7 to successfully
8
‰9 7 Jthese
which
negotiate
notes8 10
changes.
8 œ7
and
D 7 9 9 10 10
A
E 10 9 7 6 7 9 10 11 7 3
E
B 7 8 10 8 7
G6 7 7 8 9
Ex
D 8: Jazz-waltz lines through shifting tonalities with thumb
7 9 9 10 10
10 9 7 6 7 9 10 11
©»¡£§
A
E
E
B A m7 5 b 8 7 b
B 67/A b 8 7
nœ bœ œ nœ b œ œ8 8
6 Swing
b œ œ œ
G 8 thumb 7 8 8

& b b b b b 43 SwingÓ ©»¡£§ ‰ J Anm7œ b 5

Ex 8: Jazz-waltz lines through shifting tonalities with

‰ J ‰ J œ
D

b b
A
E B 7/A
nœ bœ œ nœ b œ œ3
1

b œ œ œ
& b b b b b 43G m7
nœ
Ex 8: Jazz-waltz lines through shifting tonalities with thumb

Ó
Swing ©»¡£§
n œ ‰ n œ J n œ A m7 b 5
b œ‰ J G bmaj 7 b b ‰ 7/C J
G bmaj œ
bb b bb b 3n œ œ n œ œ nœ œn œ bœœ œ B 7/A
j nœ bœ
b Œ œ nœ œ œ n œ œ6 œ œœ ‰œ ‰J8 œ œ nœ3œ œœ
& b b bb b 4 Ó
& ‰ J ‰ J8 7
E
B 7
G 8 7 8 8 8
D 8
A
E 3
E
B 8 7 6 8 7
G1 8 7 8 8 8
D
E 8 8

n œ n œ 8 n10œ 10œ 7 n œ8 bœ œ
b b
A
E
B 10 8 9
n œ
G m7 G maj 7 G maj 7/C
b œ
E
B
G 7 10 10 8 7 6 8 7

& b b b b b Gnm7œ œ œ œ n10œ 11œ œ98 8j ‰ œ9 œ8 n810œ 118œ

G1

Œ
D 11 8 8 11

œ 7/C
D
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n œ nœ nœ œ nœ bœ œ G bmaj 7 G bmaj
A
E
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b b n œ œ n œ œA b13œ œ n œ œ Dj œ nœ œ
& b b b Gb ma
1
b j7
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œ
b bb b bb b œn œ œœ nœœ n œ œ œn œ8 nœœ œœ n œn œ
G m7 G bmaj 7 G bmaj
œb œ9b œ œ œ œn œ œ œ œn œb œ œ œ n œ j œ ‰n œ œ œ n œŒ œ
7/C

& b b bb b 7 10 10 8 Œ
& œ œ œ
E
B 10 8
G 10 10
D 11 8 11 10 8 10 11
A
E 8 11 9 8 9
E
B 10 8 10 8 9
G4 7 10 10 10
D 11 8 11 10 8 10 11
G bma j 7 b b
E
11 9 8 maj 7 9
œ 10œ œ
A
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B A 13 D
137 œ 10 œ œ 13œ10 n12œ 8 13œ 9b11œ 1013œ 11n10œ 8 œ 10b14œ 13œ n12œ
b œ
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G 10 13
10 11 8 11 10
10 10
b œ n12œ 9 14 8 10Œ
& b b b Gb bma j 7
G4
D
11
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bbb b œ œ œ œ œ œ
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œ b œ œ An bœ13 œ
4

b
& b G bma j 7 E bm7 D maj 7n œ œ
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b b bb œ œ œ œ œ œ œ œ nœ œ bœ œ nœ œ bœ œ nœ œ
& b b nœ œ Œ
E
B
G 10 11 13 10 11 10 10
D 13 13 12 11 10 14 13 12
A
E 13 13 12
E
B 14
G8 10 11 13 10 11 10 10
D 13 13 12 11 10 14 13 12
A
E 13 13 12
E
B 14
G8 10 11 13 10 11 10 10
D 13 13 12 11 10 14 13 12
A 13 13 12
E 14
8

January 2018 71
 lesson } ACOUSTIC ON THE CD TRACKs 73-74

tom petty
slant. He formed his first group, Mudcrutch,
in 1967 with future Heartbreakers guitarist
Mike Campbell and keys player Benmont
Tench, but only managed modest local
success. After a brief split the band re-formed
A month passes and another music legend is with new members Ron Blair and Stan Lynch
gone. Here Stuart Ryan examines Tom and The Heartbreakers was formed, releasing
their eponymous debut album in 1977. They
Petty’s Americana-tinged acoustic style. initially found greater success in Great Britain
but the release of the now-legendary third
album, Damn The Torpedoes, saw them enter
the A-list of arena bands.
The Heartbreakers steadily released
albums throughout the late 70s and 80s with
Petty embarking on his solo career and work
with The Traveling Wilburys from 1988
onwards. Indeed, for fans of Petty’s approach
to acoustic guitar it’s well worth checking out
his solo works from this period as the acoustic

a meeting with
elvis presley on a
film set was to start
a 10-year-old petty
on a course he would
follow for life
features more prominently – it was always a
feature of his work with The Heartbreakers
but listen to his solo works and you’ll hear the
acoustic at the fore of many tracks.
Petty’s approach is simple but distinctive
– Americana-tinged chord voicings combine
with relaxed strumming to create a sound that
is instantly recognisable owing to his use of
various suspended chords. Although
commonly seen toting a Rickenbacker,
Telecaster or Stratocaster with The
Heartbreakers he was just as often seen with
his beloved Gibson Dove.
Tom Petty: one
of America’s
best-loved NEXT MONTH Stuart examines the Americana
musicians style of the wonderful Emmylou Harris

aBility rating Petty managed to reach the heights of rock

6 6 6
and roll artistry with The Heartbreakers, as a 3 3
✪ ✪ ✪ ✪ ✪ Moderate solo artist and as part of the legendary
Info Will improve your supergroup The Traveling Wilburys alongside
Key: F Use of sus chords fellow legends Jeff Lynne, George Harrison,
GAIn BAss MIDDle TreBle reverB

Tempo: 86bpm Fretting chords with the thumb Bob Dylan and Roy Orbison – indeed, such
CD: TRACKS 73-74 Strumming 16th notes
stellar company illustrate the esteem in which
Petty’s contemporaries held him.

T
he world of rock and roll lost another of Petty was born in Gainesville, Florida on Petty had an enviable guitar collection,
its greats this month with the sudden October 20 1950 and was initially drawn to including all the famous six and 12-string
electrics. For acoustic work he predominantly
and unexpected death from of Tom music through Elvis Presley – thanks to his
used his Gibson Dove, a Gibson J-200, his
Petty. He died at just 66 from cardiac uncle a propitious meeting with Presley on a
signature Martin HD40 and the Guild D212 in
arrest. Petty defined a sound for a generation film set was to start a 10-year-old Petty on a our picture. Any good jumbo or dreadnought
and managed to stay relevant over a more course he would follow for life. The arrival of will do, although I recorded this with a 1959
than 40-year career. Many artists would be The Beatles and Rolling Stones cemented his Martin 000-18 folk style guitar.
grateful for success in just one format but love of music with a rebellious, rock and roll
ZUMA PRESS / ALAMY

tracK record Tom Petty’s recording catalogue is vast, and all well worth a listen. The obvious starting point if you are new to his work
is 1979’s breakthrough, Damn The Torpedoes. However, to hear his acoustic work closer to the fore try his 1994 solo album Wildflowers or
1991’s Into The Great Wide Open with The Heartbreakers. The Traveling Wilburys’ Complete Collection shows Tom in supergroup mode!

72 January 2018
 TOM PETTY learning zone

ExamplE TOM PETTY STYLE cd track 73

[Bar 1] This intro figure just features embellishments on a ‘C’ chord shape [Bar 6] To get this Bb Major 9 shape in place, hook the fretting hand thumb over
(F with the capo). I used a pick to record this but you can also try it as a the top of the neck so it’s holding down the sixth string at the sixth fret. Petty
fingerpicking exercise. used this chord and the thumb-over-the-top approach on a number of tracks.
[Bar 5] This is a typical Petty rhythm part. note the combination of eighth and [Bar 7] note how the rhythm has altered, and how the chords change more
16th-note strumming so keep a relaxed strumming hand throughout. secondly, rapidly too. Petty was an interesting acoustic rhythm player and wouldn’t
listen out for the sound of the Csus4 chord, as Petty was a huge fan of these always just sit on the predictable ‘one and two and three and four and’ pattern
ACOUSTICsounding
ambiguous CAPO 5chords
PIECEthat are neither major nor minor.
Stuart's TOM PETTYwithin
TRIBUTE
a track. see if you can use these ideas in your own compositions.

©»•§
F Fsus4 C/E F Fsus4 C /E

œœ
(C) (Csus4) (G/B) (C) (Csus4) (G/B)
œ œ œœ œ
& b 44 ∑ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
CAPO 5th FRET

E
B 1 1 1 1 3
G 0 0 0 0 0
D 2 2 3 3 2 0 0 2 2 3 3 2 0 0
A 3 3 2 3 3 2
E
1

F Fsus4 C/E F Fsus4 C/E F C sus4

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
(C) (Csus4) (G/B) (C) (Csus4) (G/B) (C) (Gsus4)

œ œ œœ œ œ œ œ
& b œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œ œœ
œ œ œ œ œœ œ
E 3 3 3 3 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 2 2 3 3 2 0 0 2 2 3 3 2 0 2 2 2 2 2 2 0 0 0 0 0 0
A 3 3 2 3 3 2 3 3 3 3 3 3
E 3 3 3 3 3 3
3

B bmaj9 F C sus4 B bmaj9

(Fmaj9) (C) (Gsus4) (Fmaj9)

œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœœ œœ œœ œœ œœ œœ œœ
& œœœ
b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ œœ
œ
œœ
œ
œœ œœ œœ œœ
œœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T

E 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 0 0 0 0 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 1 1 1 1 1 1 1 1 1 1 1 1 3 3 3 3 1 1 1 1 1 1 1
6

F Csus4
(C) (Gsus4)

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ
œœœœ œœœœ œœ œœ œœ œœœœ œœ
œœœ
& œœœ
b œœœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ
œ
œœ
œ œ
œœ
œ
œœ
œ
œœ
œ
œ œ œ œ œ œ œ œ œ
E 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 1 1 1 1 1 1 1 1 1 1 1 1 3 3 3 3 3 3
8

B bmaj9
(Fmaj9)

œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ
& œœœ
b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 0 0 0 0 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 1 1 1 1 1 1 1 1 1 1 1 1 3 3 3 3 1 1 1 1 1 1 1
10

January 2018 73
 lesson } ACOUSTIC ON THE CD TRACKs 73-74

ExamplE TOM PETTY STYLE cd track 73

[Bar 13] The ‘add’ chord sound is integral to Petty’s approach - the add9 chords isolation so you can really get familiar with the sound and effect of add and sus
as found here and add11 in the next bar. It’s worth listening to these chords in chords, which also feature as a large part of his style.

F Fadd9
(C) (Cadd9)
œœ œœœ œœ œœœ œœœ œœœ œœ œœ œœœ œœœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœœ
& œœœ
b œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œ œ œ œ œœœ œ œ
œ œœœ œ œœœ œœœ œœœ œ œ œœœ œœ
œ œ œœœ œ œ œ œ œ œœ œœ œœ œœ œ œœ œœ œœ

E 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 3 3 3 3 3 3 3 2 2 2 2 2 0 0 0 0 0 0 0
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 1 1 1 1 1 1 1 1 1 1 1 1
12

Fadd11 Csus4 F Fadd11

œœ œœ œœ œœ œœ œœ œœœ œœ
(Cadd4) (Gsus4) (C) (Cadd4)

œœ
œ œœ
œ
œœ œœ œœ œ
œœœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ
& b œœ œœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œ œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ œœœ œœœ œœœ œœœ œ
œœ œœœ œœ œœœ
œ œ œ œ œ œ œ œ
E 0 0 0 0 0 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 0 0 0 0 0 0 0 2 2 2 2 2 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 3 3 3 3 3 3 3
14

Fadd11 Csus4 F Fadd9

œœ œœ œœ œœ œœ œœ œ œœ
(Cadd11) (Gsus4) (C) (Cadd9)

œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ
b
& œœœ œœœœ œœœœ œœœœ œœœœ œœ œœ œœ œœ œœ œœ œœœ œœ œœœ œœœ œœœ œœœ œœœ
œœœ œœœ œœœ œœœ
œ
œœ œœœ œœ œœœ
œ œ œ œ œ œ œ œ
E 0 0 0 0 0 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 0 0 0 0 0 0 0 2 2 2 2 2 0 0 0 0 0 0 0
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E
16
3 3 3 3 3 3 3

Fadd11 Csus4 F Fadd11

œ œ œ œ œ œ œ œ
(Cadd11) (Gsus4) (C) (Cadd11)

œœ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
œœœœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
b
& œœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

E 0 0 0 0 0 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 0 0 0 0 0 0 0 2 2 2 2 2 3 3 3 3 3 3 3
A 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
E 3 3 3 3 3 3 3
18

Fadd11 Csus4 F Csus4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
(Cadd11) (Gsus4) (C) (Gsus4)
œ
œ œ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ
& b œœ œ
œœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
E 0 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 0 0 0 0 0 0 0 2 2 2 0 0 0 0
A 3 3 3 3 3 3 3 3
E 3 3 3 3 3 3 3 3 3 3 3
20

74 January 2018
 TOM PETTY learning zone

ExamplE TOM PETTY STYLE cd track 73

[Bar 29 onwards] embellishing open chord shapes is another feature of Tom’s playing; here we see Fsus4 and F/Bb embellishments on the parent (non-capo).

3 Acoustic

b
B maj9 F C sus4
(Fmaj9) (C) (Gsus4)

œœ œœ œœ œœœ œœ œœ œœ œœ œœœ œœ œœ œœ œœœ œœ œœœ œœœ

& œœœ
b œœœ œœœ œœ œœœ œœœ œœœ œœœ œœ œœ
œ
œœ
œ
œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ
E 0 0 0 0 0 0 0 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 3 3 2 2 2 0 0 0 0
A 3 3 3 3 3 3 3 3 3 3
E 1 1 1 1 1 1 1 3 3 3 3
22

b
B maj9 F Csus4
(Fmaj9) (C) (Gsus4)

œœ œœ œœ œœ œœ œœœ œœ œœœ œœ œœœ œœœ œœ

œœœ œœ œœ œœ œœ œœœ
& œœœ
b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
œœ
œ œœ œœ
œ œœ œœ
œ œœ œœ œœ
œ
œ œ œ œ œ œ œ œ
E 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 3 3 3 3 2 2 2 0 0 0 0
A 3 3 3 3 3 3 3 3 3 3 3 3
E 1 1 1 1 1 1 1 1 1 3 3 3 3
24

B bmaj9 F C sus4 B bmaj9

(Fmaj9) (C) (Gsus4) (Fmaj9)

œœ œœ œœ œœ œœ œœ œœœœ œœ œ œ œœ œ œœ œœ œœ œœ wwww
& œœœ
b œœœ œœœ œœœ œœœ œœœ œ œœœ œœœœ œœœœ œœœ œœœ œœ œœ œœ œœ w
œ œ œ œ œ œ œ œ œ œ œ œ œ w
E 0 0 0 0 0 0 0 3 3 3 3 3 3 3 0
B 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D 3 3 3 3 3 3 3 2 2 2 0 0 0 0 3
A 3 3 3 3 3 3 3 3 3 3 3
E
26
1 1 1 1 1 1 1 3 3 3 3 1

F F sus4 C/E F Fsus4 C/E

œœ
(C) (Csus4) (G/B) (C) (Csus4) (G/B)
œœ œ œ œ œ œ
&b œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ

E
B 1 1 1 1 3
G 0 0 0 0 0
D 2 2 3 3 2 0 0 2 2 3 3 2 0 0
A 3 3 2 3 3 2
E
29

F Fsus4 C/E F Fsus4 C/E

(C) (Csus4) (G/B) (C) (Csus4) (G/B)
œ œ œœ œ
&b œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

E
B 1 1 1 1
G 0 0 0 0
D 2 2 3 3 2 0 0 2 2 3 3 2 0
A 3 3 2 3 3 2
E
31

January 2018 75
 lesson } ACOUSTIC ON THE CD TRACKs 73-74

ExamplE TOM PETTY STYLE cd track 73

[Bar 38] Moving from the F chord to the Csus4 is quite a leap here so I’d work [Bar 40] And moving from the F/Bb chord here is another jump that will
on this bar slowly so your fingers are comfortable with this movement. especially test your fretting-hand thumb at the 1st fret, sixth string.

4 F F/B b F F/G F/B b

œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ b
(C) (C/F) (C) (C/D) (C/F)
4

&b œœ œ œ œœœ œ œ (C/F)

œ œ œœœ œœœ œ œ œ œœœ œ œ œœ œœ œœœ b
F F/B F F/G F/B

œ œœ œœ œœ b œ œœœ œœ
(C) (C) (C/D) (C/F)
4
œœ œ œ œœ œœ œ
&b œ œ œœœ œ œ
œœ œ œF/Bœœ b œœœ œœœ œ œ œ œœœ œ œ œœœ b
F F/B F F/G F/B

œ œœ œ œœœ œœ œœ œœ
(C) (C/F) (C) (C/D) (C/F)

œœ0 œ œ œ
&b œ œ œœœ01 œ œ
œœ01 œ œœœ01 œœœ œœœ0 œ œ œ œœœ01 œ0 œ œœ0 œœ œœœ0
F F F/G F/B

œ œœ1 œ œœœ01 œœ1

(C) (C/F) (C) (C/D) (C/F)
œ œ1 œœ10 œœ œ1
E

&b œœ020 œ0 œ2 œ001 œ00 œ2 œœ030 œœ œœ030 œœ020 œ0 œ2 œ001 œ00 œ2 œœ030
B
G
D
E
A
B œ3 1 1 1 1
œ3 1 1
œ01 œ 1
E
G 0 0 0 0 0 0 0 0 0 0
33
D
E 2
0 0 2 0 0 2 3
0 3
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0 0 2 0 0 2 0 3
0
A
B 3 1 1 1 1 1 3 1 1 1 1 1
E
G
D
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33 F
0
2
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3
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b 2F 0
0 0
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œœ œœ œœ2 œœ b œœ 2 œœ œœ œœ œœ œœ œœ F/Bœœ0 b œœ œœ œœ F/Bœœ b œœ œœ

A
B 3
(C) 1 1 (C/F)1 1(C) 1 3 (C/D)1 (C/F) (C) 1 1 1 (C/F) 1
E
G 0 0 0 0 0 0 0 0 0 0

œœ œ œ œœœ œ œ œœ b œœ œœ œ œ œ œœœ œ œ œœ (C/F) œœœ b œœ œ œ œœœ œ œ (C/F) œœœ b œœœ œœœ

D 33 F F/B 3F F/G 2 2F

&b
2 0 3 2 0 3

œ œœ œœ F/Bœœ œœ œœ œ œœœ œœ œ F/G œœ œ F/B œ œœ œœ F/B

A 3
(C) (C/F) (C) 3 (C/D) (C)
œœ œœ œœœ œœœ
E

œœ œ œ œœœ œ œ (C/F) œ œ œ œ œ œ œœœ œ œ (C/D)œœ œœ (C/F) œœ œ œ œœœ œ œ (C/F)

33 F F F

&b œ
(C)
œœ œœ œF/Bœœ b œœœ œœœ œ
(C)
œœœ œœ F/G œ œœ b
œœ œœ (C/F) œ
(C)
œœ œ
œœ F/Bœœ b œœ œœ
œœ0 œ œ œœœ01 œ0 œ (C/F)
œ œ œ œ œ œ œœœ01 œ0 œ (C/D) œ œœ0 œ œ œœœ01 œ0 œ (C/F) œ œ œ
F F F/B F

E &b œ
(C)
œœ1 œœ1 œœœ01 œœœ œœœ01 œ
(C)
œœœ01 œœ1 œœ01 œœ œœœ01 œ
(C)
œœ1 œœ1 œœœ01 œœœ œœœ01
&b œœ020 œ0 œ2 œ001 œ00 œ2 œœ030 œœ œœ030 œœ020 œ0 œ2 œ001 œ00 œ2 œœ00 œœ œœ030 œœ020 œ0 œ2 œ001 œ00 œ2 œœ030 œœ œœ030
B

œ3 œ3 œ3
G
D
E
A
B 1 1 1 1 1 1 1 1 1 1 1 1
E
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
35
D
E 2
0 0 2 0 0 2 3
0 3
0 2
0 0 2 0 0 2 0 3
0 2
0 0 2 0 0 2 3
0 3
0
A 3 1 1 1 1 1 3 1 1 1 1 1 3 1 1 1 1 1
b
B
E
G 0 0 0 0 0C sus4 0 0 0F 0 0 0 0 F/B
0 0 0
35 F
D
E 2
0 0 2 0 0 2 3
0 3
0 2
0 0 2 0 0 2 0 3
0 2
0 0 2 0 0 2 3
0 3
0
œœ œœ œœ 2
(C) 1(Gsus4)3 1(C) 1 (C/F)
œœ 0 œœ œœ œœ œœ œœ 0 2 œœ b œ œ
A
B 3 1 1 1 1 1 1 1 1 3 1 1 1 1

œœœœ œœœœ
E
G 0 0 0 0 0C sus4 0 0 0F 0 0 0 0 F/B
0 0 0
F
œœ œ œ œœ œœ œœ œœ œ œ œœœ b
D 35

&b
2 2 2 3 3 2 0 2 0 3 2 2 3 3
A (C)
œ
3
œœ œ œ œœ œœ œ
(Gsus4)3 (C)
œ œœ œ œ œœ
3
œœ œ (C/F)
(C/F)

œœ œœ œœ œœ
œœœœ œœœœ
E
F C sus4 F F/B
œœ œ œ œœ œ œ œ F/B
35

&b œ œ œœ œ œœ œœ œœ œ œ œ
(C) (Gsus4) (C)
œ œœ œœ œ œœ œœ œœ œœ b
œœœœ œœœœ0
F C sus4 F

&b œœ0 œ œ0 œ œœ3 œœ œœ3 œœ0 œ0 œ0 œ (C/F)

œœœ0
œ œœ01 œ œ œ
(C) (Gsus4) (C)
œ œœ1 œœ1 œœ œ œœ1 œœ1 œœ1
œœ10 œœ10 œ00 œ2 œœœ1030 œœœ œœœ030
E

&b œœ020 œ0 2 œ001

œ œ00 œ2 œœ020 œ0 2 œ001
œ
1
B
G
D
E
A
B œ3 1 1
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G
38 0 0 0 3
0 3
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E 2
0 0 2 0 0 2 0
3 0
3 2
0 0 2 0 0 2 3
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A
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1
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D
E (C) 2
0 0 2 0 2
0 (C/F) 0
3 (C) 0
3 2
0 0 (C/F)
2 0 0 2 (C) 3
0 3
0

œœ œœ2 œœ œœ b œœ œœ œœ œœ œœ 0 (C/F) F /B b
œ œ œ ww
A
B 3 1 1 1 1 1 3 1 1 1 1 1

œ œ Fœœœ/B2b œœœ œœœ

E
G F 0 0 0 F/B 3
0 F 3
0 0 0 0 F 0 0

œœ œ œ œœœ œ œ F/Bœœb œœ 3 œœ œ œ œ œœœ ww

D 38

&b
2 0 2 0 0 2 2 (C) 3 3
3œ
(C) (C/F) (C)

œ œœ œœ (C/F) œ œ œ œ œœ œœ (C/F) œ œ œ ww
A 3 3

œ œ F/Bœœœœœb œœœœœ œœœœœ œ œ Fœœœ/B b œœœ œœœ

E F F F

œœ œ œ œœœ œœ œ œ œœœ www

38

&b
(C) (C) (C)

œ œœ œœ (C/F) œ œœ œœ (C/F) œ œ œ
œ0 œ œœœ0œ œœœœ œœœ0œ œ0 œ œœœ0 œœœ œœœ0 ww
F F F

&b
(C)
œœ0 œ œ œœœ01
(C)
œœ0 œ œ œœœ01
(C)
ww01
œ œœ1 œœ1 œ œ œ œ œœ1 œœ1 œ œ œ
œ00 œ2 œœœœ1030œ œœœœœ œœœœ1030œ œ00 œ2 œœœ1030 œœœ œœœ1030 ww0
E

&b œœ020 œ0 œ2 œ001 œœ020 œ0 œ2 œ001 ww2031

B

œ3 œ3
G

œ31103 œ œ31103
D
E
A
B 1 1 1 1 1 1
E
G
40
0 0 0 0 0 0 0 0 0
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0 0 2 0 0 2 0 0 2
0 0 2 0 0 2 3
0 3
0 2
0
A
B 3 1 1 1 3
1 3
1 3 1 1 1 1 1 3
1
E
G 0 0 0 1
0 1
0 0 0 0 0 0 0
40
D
E 2
0 0 2 0 0 2 3
0 3
0 2
0 0 2 0 0 2 3
0 3
0 2
0
A
B 3 1 1 1 3
1 3
1 3 1 1 1 1 1 3
1
E
G 0 0 0 1
0 1
0 0 0 0 0 0 0
D 40 2 0 2 2 3 3 2 0 2 2 3 3 2
A 3 3 3 3 3
E 1 1
40

76 January 2018
 lesson } CREATIVE RoCk ON THE CD TRACKs 75-77

indian pentatonic
vertical lines intervals (C# and D) will always appear on the
same string, and this is something that will
also feature in many of the lines studied here.
In the lesson title, the term ‘vertical’, refers
Shaun Baxter reveals how to change just to the fact that the majority of the notes from
one note of the Minor Pentatonic to reveal an each line reside over a specific area of the
fretboard in varous CAGED positions.
exotic alternative for Dominant chord vamps. In next month’s lesson, we will be looking
at lateral motion whereby we study lines that
aBility ratinG A Major Pentatonic travel along the length of the neck. As a
A B C# E F# prelude to that, you should experiment with
✪ ✪ ✪ ✪ ✪ Moderate/Advanced 1 2 3 5 6
Info
Key: A (A7)
Will improve your…
Indian Pentatonic vocabulary
A Minor Pentatonic we have simply
Tempo: 120bpm Playing of exotic sounding lines
A C D E G
1 b3 4 5 b7
taken all the a minor
CD: TRACKS 75-77 Vocabulary in five CAGED shapes
A Dominant Pentatonic pentatonic shapes
A B C# E G and raised each

R
ecently, we’ve been learning how each
of the following Pentatonic scales can
1 2 3 5 b7
In this lesson, we are going to add the
minor 3rd to major
be used over a static Dominant chord Indian Pentatonic scale to this list as it’s all sorts of note configurations for fingering
accompaniment: another useful five-note entity that exists the scale. For example, if 2-2-2-2-2-2
within the Mixolydian represents two-notes-per-string, then you
scale: should also try:
A Indian Pentatonic 3-3-3-3-3-3
A C D E G 1-3-1-3-1-3
1 b3 4 5 b7 3-1-3-1-3-1
Although it is Mixolydian 2-3-2-3-2-3
with the 2nd and 6th 3 - 2 - 3 - 2 - 3 - 2 etc
missing, it can also be seen Note that the latter two combinations will
as a Minor Pentatonic with produce a symmetrical approach whereby the
a major 3rd instead of a same fingering is played over three separate
minor 3rd. octaves on the following string pairs:
Diagram 1 shows the A • Sixth and fifth string
Indian Pentatonic scale • Fourth and third string
laid out in a guitar-friendly • Second and first strings
two-notes-per-string This approach is very useful on guitar, and
format. Fundamentally, is similar to the way that piano players view
we have simply taken the notes on their instrument (each octave
traditional A Minor looking the same). It’s a great way of speedily
Pentatonic shapes and navigating one end of the neck to the other.
raised each minor 3rd (in
this case, C) up a semitone 5
4
to a major 3rd (C#), 3 7 3

keeping that note on the

same string.
GaIN BaSS MIddle TreBle reverB
You should also look at
establishing what this
scale looks like when
extracted from the
traditional CAGED shapes For this series, I have gone back to a more basic
of A Mixolydian: the bluesy sound, whereby the amp is clean and all
the distortion comes from a pedal: in this case, a
resultant shapes will be
Wampler TUMNUS with the gain set at 2pm, the
very similar to the
level at 2:30pm and the treble at 11pm. It’s
two-notes-per-string always best to go for a straightforward tone
versions shown in when learning, so save the mega drive and
Diagram 1; however, the huge delays till you’ve really nailed it!
major 3rd and 4th

track record Influenced by players like Jeff Beck, British hippy prog rock guitar player Steve Hillage showed a particular fondness for the
DaviD LytteLton

Indian Pentatonic scale, which helped to give his playing an Eastern and ‘cosmic’ flavour. Apart from playing as a sideman with bands like Gong, Steve,
a favourite of many prog festivals in the 80s, also released his own solo albums, such as Motivation Radio (1977) and, my favourite, Green (1978).

78 January 2018
 IndIan pentatonIc scale learning zone

DIaGRam 1 a IndIan pentatonIc scale

ExamplES IndIan pentatonIc scale VertIcal lInes cd track 76

eXaMple 1 We’ll start things off with an accented two-notes-per-string idea in the Indian Pentatonic scale extensively on albums like Blow By Blow (1975)
CaGed shape #1. This will get the sound of the Indian Pentatonic in your head and Wired (1976), often employing the reiteration bends that we see at the
and prepare you for the more complex licks to come. end of bar 5, whereby a fretted note is followed by a bend from a semitone or
eXaMple 2 and here’s another line employing the notes of CaGed shape #1 tone below to the equivalent pitch. The very first two bends are reminiscent of
arranged two notes per string. This time, there is a stylistic nod to the work of Steve Hillage; another player who used this scale and who was also influenced
Jeff Beck and his keyboard-playing compatriot Jan Hammer. Both players used by Jeff Beck.
GUITAR TECHNIQUES 2 7 7 Shaun Baxer's CREATIVE COLUMN -
Indian Pentatonic (part 1: vertical lines)
GUITAR TECHNIQUES 2 7 7 Shaun Baxer's CREATIVE COLUMN -
Indian Pentatonic (part 1: vertical lines)

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∑
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January 2018 79

& ∑ Hold bend

 & ### 44©»¡™º œ œ œ œ œ œ >
œ œ >œ œ œ œ œ œ nœ œ œ œ ˙
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lesson } CREATIVE RoCk
E
B
G
E 18 19
17 20
17

17
20 17
21

21
20
17

17
20 17
19 18
ON THE CD
19
~~~TRACKs 75-77
19 17 19~~~
D
B 17 19 17 20 20 17 20 20 17 19 17
A
G 17 19 18 19 19 18
E
D
E 1 17 19 17 21 17 19 17
A
B 17 19 17 20 20 17 20 20 17 19 17
E
G 18 19 19 18 19 cd track 76
ExamplES
D
IndIan pentatonIc scale 1 VertIcal17 19
lInes 19 17
17 19 at Exthe2 start of bar
. œ~~~~œ œ œ œ~~
19 17the five notes of the
A
eXaMple 3 This line features a country-style movement upon a three-octave symmetrical approach, in which
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9 whereby various notes are played on the first
1 string while simultaneously scale are laid out in a 2-3 configuration on the upper, middle and lower
j j
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holding a bend on the second string. Note the deviation from two notes per string-pairs (we’ll
∑ ∑n œEx 2 œ strings j jthe full three-octave pattern is the G note at the
& ### œ œ œ
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string here: there is a modified fingering on both the fifth and third note not being used from
j j
where we play the C# note on the same string as the d note in each octave.
∑ ∑ œ sixth string.
third fret of the œ
n œ start atœ least) j we haveja repeated lick that employs notes from shape #3;
& # œ œ œ nœ œœœ ~~
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8 5 the C#
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D
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8 10 8 (10 ) 8 5 7 5 5 7 5 8
A
G BU 7 6BU ( 6) 7 6BU
( 7 )BD (7 ) BD
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E
D
E 3 5 7 5 5 7 5
A
B 8 (10 ) 8 (10 ) 8 5 7 5 7 5 8
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G 7 6 ( 7 ) ( 6) 7 6 ( 7 ) (6 ) 6 7
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œ n œ œ œœ œ œ n œ œ œ œ œ n œ œ œ œ œ œ œœ
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& ### ∑ Ó . ‰ Ex
n œ œ n œ~~~œ œ
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3
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G Hold bend 7 6 6 7 9

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A 7 5 4 5 7 7

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215

nœ œ
~~~~ œ n œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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10 12 10 15 12 15 12 10
B 10 10 14 14 10 14 10
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D 7 5 5 7
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18

nœ œ
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80
###
January 2018
œ nœ
j
œ
 IndIan pentatonIc scale learning zone
2

œ nœ œ
ExamplES IndIan pentatonIc scale VertIcal lInes
œ œ œ
cd track 76

~~~~ œ œ œ œ œ
2 Ex 6

# # œ j œ œ œœ œ œ
œ nœ œ
eXaMple 7 This is a variation on the scheme established in the previous common way of creating rhythmic interest for the listener. Try taking this

œ~~~~˙ œ
6n œ through the scale; then do the same with an ascending
œ œ œ
& ### œ œ œ
example.
2 Here, rather than repeating the lick in bar 25, we drift up into shape same motifEx down
œ nœ
#4 in bar 26. Note that the final note hasj been played on the fifth string
œ œ œ œœ
j and then make sure that you can also play these œ œ
œ œ œ nœ œ œ œ
three-note motif;
œ rock vibrato.
œ œ œ
Exin6n all
œ the other two-notes-per-string shapes of this scale
& ### œ~~~~˙
∑ ∑
œ nœ j œ œ œ œ œ œ œœ œ œ
instead of the fourth string to aid the wide sequences

œ œ œ shape
œ
j
Exin6ndiagram
œ
œ œ nœ œ œ œ œ œ
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œ œ œ
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œ nœ œ
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the simple but effective results of running
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sequences up and down
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eXaMple 9 Here, we have another shape #4 example. This one features
œ œ
œ œ
œ n œBUand string skips to make it a bit more ear-catching and
& #
∑ ∑
œ nœ œ œ~~~~˙
each shape of the scale. Here, a descending three-note motif is taken up vertical intervals
j three-note ideas to a count of
œ œ
modern. Furthermore, note10 12 10bend15to12
the15 12C#
10note via a
œ ‘three against four’ effect is a very
E

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through the scale. This practice of playing ∑ ∑ the chromatic final

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B 10 BU 10 14 14 10 14 10

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four
G is known as hemiola; the resulting non-scale note 12(C)(14a)semitone below. 12
D
E
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E
D 18 7 5 5 5 7 10 12 10 15 12 15 12 10
B
A 7 5 4 10 BU 10 14 14 10 14 10
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nœ
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D 18 7 5 5 5 7 10 12 10 15 12 15 12 10

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œ œ œ~~~ œ œ
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15 10 12 10 12 9 12 11 12
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15 10 12 10 12 9 12 11 12
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B 10 BU 10 14 15 ∑ ∑
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G 12 ( 14 ) 14 12 16
E
D 26 17 12 14 12
10 BU 10 14 15

~~~~
B
A
G 12 ( 14 ) 14 12 16

n œ œ
E 17 12 14 12

œ œ
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œ n ~~~~
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œ œ œ œ œ œ œ œ
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œ 8n œ œ œ œ œ œ œ œ œ œ œ œ
Ex 8
œ nœ
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œ œ œ œ œ œ~~~~œ œ
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œ œ œ œ œ œ nœ œ
& # œ nœ œ œ œ œ œ œ 12
14 ~~~~
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E

14 ~~~~
B 14 15 14 15
G
E 12 14 12 14 12 14 12 15 12
D 12 14 12 14 12 14 14

14 ~~~~
B
A 12 16 12 16 12 16 12 15 14 15
G
E 15 12 15 12 14 12 14 12 14 12 15 12
D 29
B 14 12 14 12 14 14 15 14 15
A 12 16 12 16 12 16 12 14 12 14 12 14 12

œ 14 n 12œ 14 œ14 œ14 12 15 14 14

G

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D 29 15 12 15 12 14 12 14 12 14 15 12

14œ 12 œ . œ ˙
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œ œ œ œ nœ œ œ œ œ n œ # œ~~~~~~~
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G 12 16 12 16 12 16 12
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D 29 15 12 15 12 14 12

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œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
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D 11 12 17 12 15 12 14 12 11
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A 12 12
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31

January 2018 81
 lesson } CREATIVE RoCk ON THE CD TRACKs 75-77

ExamplES IndIan pentatonIc scale VertIcal lInes cd track 76

eXaMple 10 like example 6, this is another repeated lick but, rather than employing a barré roll technique whereby you use one finger to play two
being mainly in shape #3, this one fully spans both shapes #3 & #4. as you’ll consecutive notes on different strings within the same fret. Note that the very first
hear (and see when you try to play it), this line is quite unorthodox for guitar, note in bar 41 should be held down using the ‘print’ part of the third finger so that
drawing on the sort of vocabulary more associated with keyboards or you can play the following note by redistributing the pressure from the print-part
saxophone. But it does make it a great and exciting addition to your lickbag. to the tip (achieved by using the wrist, rather than distorting the finger).
eXaMple 11 This line features a descending sequence comprising stacked eXaMple 12 Technically, we are going to get a bit more adventurous for
intervals from adjacent strings in shape #5. The four-note motif on each string- the final three examples. This one spans shapes #4 & #5 using a combination
pair involves travelling down one interval and up the next and will involve fretting-hand legato and two-hand tapping. To build this up, try just repeating

œ
Ex 10 nœ œ œ œ œ œ œ œ œ œ œ œ œ œ
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E 35
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82 E January 2018 17 10 15 21 17
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IndIan pentatonIc scale learning zone

D 17 19 12 14
A 17 16 19 12 16
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ExamplES IndIan pentatonIc scale VertIcal lInesœ
# # within each beat before stringing everything together. The
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cd track 76

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the four notes 14th fret. Finally, we finish with

L
fretting-hand taps in this and the following two examples are all played using string using a picking-hand tap at the 18th fret as a classical-style pedal note.

≠ L ≠ LL L L L L
either the third or fourth fingers of the fretting hand, which is considerably easier eXaMple 13 This example shows the sort of variation that can be created by
(to get a strong note each time) than using the first finger, as they come down experimenting with the same sort of approach as the previous example. again,
onto the fretboard from more height. In bar 46 of this line, we take the same
E
shape down an 21 from17
octave the top
BU BD
15 string pair to the middle string pair, before motif is different to that used in example 12.
~~~
it spans two Pentatonic shapes (#4 & #5), but the note-order of each four-note
B 17 15
using
G a picking-hand tap to play the bend at the1818th 14fret12
of the third string.
18 ( 19 ) ( 18 )eXaMple 14 14Finally,
12 18we12finish
9 off
18 with
9 an7 example
18 6 that descends the territory
D
Much of the strength for this bend should come from the 14 12
fretting hand at the spanning shape #5 and #1. Good luck!
A
E
46

Ex 13

L L L L √
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54

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January 2018 83
 lesson } TECHNIQUE ON THE CD TRACKs 78-83

fretboard fluency
Brought to you by...

In his new series Martin Goulding will hone at a time and work on memorising each
‘fragment’ before moving on. Pay attention to
your technical skills to make you more fluent and the recommended fingerings, as well as the
articulate. This month he looks at 3rds and 4ths. direction of the pick strokes, which form the
momentum of the technique. As with all
exercise routines, shake out the hands and
arms if you feel any tension or fatigue.
To develop a clean technique, especially
when barring across two strings to play
adjacent notes, you’ll need to adopt a ‘square
and dropped’ hand position with the thumb
positioned in the middle of the back of the
neck and with plenty of space between the
underside of the neck and the ‘cup of the
hand.’ This ‘classical’ hand position may feel

try breaking each

example down to four
notes at a time and
work on memorising
each ‘fragment’
before moving on
unusual if you are from a blues-based
background, and where it may be more
comfortable to play phrases with the fretting-
hand angled, and the thumb high or over the
top of the neck. With the hand position
square, you’ll be able to stretch out and
position your fingers for greater accuracy,
with the first finger set to mute the adjacent
Ritchie Blackmore: string above with its tip, as well as laying flat
one of the first over the higher strings underneath. Together
rock players to get with the picking hand palm mute, the notes
seriously technical should sound clear with an even velocity.

ability rating arpeggio shapes. You’ll further consolidate NEXT MONTH Martin continues his endeavours
your visualisation of each position by to enhance your Fretboard fluency
✪ ✪ ✪ ✪ ✪ Moderate/Advanced ascending and descending through the scale
Info Will improve your using two common intervallic patterns – this 6 5
Key: G Alternate picking accuracy week starting off with 3rds and 4ths. 7 7
Tempo: 120bpm Muting, barring and rolling As well as developing your technique,
3
CD: TRACKS 78-83 Interval recognition
you’ll also be working on frameworks that will
GaIn Bass MIddle TreBle reverB
prove useful when improvising and will help

W
elcome to this new series. Each you develop recognition of the strongest
month, you’ll be working through a intervals in the scale – the chord tones. With a
practice routine or ‘master exercise’ range of concepts covered over the course of
I suggest you practise using a mild overdrive. It’s
based around shapes 1 and 4 of the the series, including both scale-based and the best way to hone your muting technique, as
five-position CAGED system, which will help chromatic approaches, the examples will help heavy gain string noise will often result in
you develop strength, timing and accuracy provide you with a visual map of the key dissonant overtones, especially high up on the
with techniques including alternate picking, intervals from which you can start and resolve treble strings. This type of tone also lends a more
rock-fusion sound when improvising using some
legato and sweeping. The routines will help melodies, as well as form the basis of a new
of the more jazz-based concepts we’ll be covering,
develop fretboard visualisation with the chord vocabulary of melodic lines. with the ideas easily integrated alongside your
position acting as a landmark, and triggering Some of the patterns may be challenging at existing blues and rock vocabulary.
Ian DIckson / REX / shuttERstock

a recognition of the associated scale and first, so break each example down four notes

track record Try Van Morrison’s Brown Eyed Girl, which is based around 3rds arranged as double-stops, or Yngwie Malmsteen’s
descending 3rds in Magic Mirror. Fourths are another common intervallic sound, Chuck Berry using them to great effect on Johnny B Goode,
and Jimi Hendrix incorporating them as chordal embellishments into his innovative rhythm style. They can also be heard forming the
foundation for some of the most iconic riffs in history including Smoke On The Water by Deep Purple (1972) and La Grange by ZZ Top (1973).

84 January 2018
 FRETBOARD FLUENCY learning zone
GUITAR TECHNIQUES 2 7 7
Fretboard Fluency Pt 1 - manuscript from Martin Goulding
GUITAR TECHNIQUES 2 7 7
ExamplE 1a g major scale in 3rds Fretboard Fluency Pt 1 - manuscript from Martin Goulding cd track 78
GUITAR
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TECHNIQUES 2 7 7 through a multiple element exercise, which which you can then repeat continuously
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A
D
E
5 4 5 2 4 5 2 3 5 2 3
5
≥ 3
cd track 79
A 5 3 5 2 3
The next example ascends and descends G Major scale shape 1 in 4ths. This
E 11 back from the wrist to play the adjacent note,
5 finishing with the previously
≥≥3 Once memorised,
2 11
will require barring and rolling techniques, so break the pattern down two played lower-string muted with the tip of the finger. play
notes at a time and work on playing the first note on its tip before leaning through the first example again, but replacing the 3rds with 4ths.
Ex 1b

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January 2018 85
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lesson } TECHNIQUE
E
B 3
ON THE CD
3 5
TRACKs
2 378-83
3
G 4 2 4 5 2 4 5
D 4 2 4 5 2 4 5
A 3 5 2 3 5
E 3 3 5
1
ExamplE 1B g major scale in 4ths...CONTINUED
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cd track 79

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GUITAR
GUITAR TECHNIQUES
TECHNIQUES 2
22 777 7
77
GUITAR
You’ll TECHNIQUES
now apply the same approach Fretboard
to the G Major scale Fluency
and majorFluency
Fretboard 7 Ptdigit
Pt 1 --released
1 manuscript fromone
as the next Martin Goulding
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use 1 - manuscript
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manuscript from
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for any clashes
Martin
Martin
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Goulding
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stray open strings or mis-fretted notes as you
alternate picking and concentrate on clear note separation, with each roll the finger pad across the two strings.
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86 January 2018
 FRETBOARD FLUENCY learning zone
2
2

ExamplE 2B caged system a shape in 4ths ...COnT cd track 80-81

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ExamplE enclosing chord
GUITAR 3TECHNIQUES 2 7 7 tones with neighbour tones cd track 82
GUITAR
This TECHNIQUES
final example 2 7 lead-ins
uses eighth-note 7 Fretboard
which surround Fluency
or ‘enclose’ the Pt 1 - manuscript
Together, from
these intervals Martin
heighten Goulding
expectation of the resolving chord tone
GUITAR
target ‘chord TECHNIQUES 2 7major
tones’ or notes of the 7 triad (r-3-5). eachFretboard Fluency Pt
lead-in phrase on1 - manuscript frommemorised,
Martin Goulding
Fretboard Fluency Pt 1beat 1 of each bar. Once
- manuscript play over the backing track supplied
from Martin Goulding
consists of an ‘upper neighbour tone’ which is one scale note higher than the before improvising around the framework, and experiment with melodies and
Ex 3

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chord
Ex 3tone, followed by a ‘lower neighbour tone’ which is one scale step lower. phrases which start and end on chord tones.

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≥ ≥ ≤≤ ≥ January 2018 87
 lesson } SLIDE prImEr ON THE CD TRACKs 84-88

Brought to you by…

Allmans Brothers’
Dickey Betts with
slide on second digit
are many ways to approach basslines and
chords with slide playing. Example 2 shows a
country blues-style alternating bass pattern
applied to a simple slide phrase.
Concentrating on rhythmic security while also
avoiding overshooting the desired pitch can
be a challenge. Slide playing often uses the
whole neck of the guitar, so Example 3
demonstrates how to include open strings,
bringing the slide back down without creating
too much noise on the lower strings, all the
time targeting root notes for the ends of
phrases. Perhaps the simplest way to imply
chord changes is to play the open bass strings
for the E and B chords and then either omit

these examples
demonstrate long
slow slides across
many frets, to faster
ones covering only
a semitone
the bass note over the IV chord, which is
common and works surprisingly well; or to
outline the chords by playing the bass note at
the beginning of the bar, followed by a lead
phrase as shown in the final idea. These
examples demonstrate many different
approaches, from slow slides across many
frets, which need to be smooth and even, to

slide in open e pt2

faster passages covering only a semitone that
can be spoilt by poor intonation. The goal is to
play without looking at the fretting hand, as
many of these players would be playing while
Continuing his investigation of slide in different also singing. Good luck!

tunings Harrison Marsh concludes the series NEXT MONTH Harrison begins a new slide series,
with a look at the acoustic side of open E tuning. and starts with the amazing Rory Gallagher

same intervals as open D tuning but a tone

aBility rating 5 5 5
higher, giving E-B-E-G#-B-E (low to high). 3
✪ ✪ ✪ ✪ ✪ Moderate It’s often referred to as Vestapol tuning, 2

Info Will improve your although many players use the word to
GAIn BAss MIddlE TrEBlE rEvErB
Key: E Alternating basslines describe these intervals relative to any key, as
Tempo: Various Use of open strings in open D or open Eb. Any phrasing here will
CD: TRACKS 84-88 Fretting-hand muting also work in open D. It is worth considering
setting up a guitar with light strings, just for

O
Any acoustic guitar will do here. Playing a
pen E tuning has been used by a variety open E use or tuning down after playing as the
resonator-style instrument is certainly a great
of players including Mississippi Fred extra tension could cause potential issues with experience, but far from essential. Instruments with
McDowell, Tampa Red, The Rolling the guitar. Many players tune to open D and a smaller body size are hugely popular, but keep
Stones and Allman Brothers. Although place a capo at the 2nd fret to raise the pitch. strings light to cope with the extra tension of open E.
more commonly used as an electric tuning, Open E tuning makes it easy to mimic Higher action is recommended and also spend time
experimenting with glass and metal slides to find
open E offers higher string tension, which vocal melody lines then repeat them an octave the most comfortable for you. All the examples were
affects the tone of the guitar and, for many, lower, as shown in Example 1 – reminiscent of recorded on a dreadnought with a glass slide.
AlessAndro lAportA / AlAmy

makes slide playing easier. Open E has the something Fred McDowell might play. There

tracK record Fred McDowell’s You Gotta Move and Keep Your Lamp Trimmed And Burning, both use open E to great effect, in vintage
blues style. The Stones’ Prodigal Son and The Allman Brothers’ version of C’mon In My Kitchen are also well worth a listen. Joe Walsh likes
open E too, and many of his Eagles and James Gang slide solos feature it. Learn to recognise the chord intervals to decipher the tuning.

88 January 2018
 SLIDE IN OPEN E PT2 learning zone

ExamplE 1 A Mississippi Fred Mcdowell-style Melody TRACK 85

This vocal-like phrase is played on the first string and repeated an octave lower, but pay close attention to the rhythm of the bass notes in between.
GT 2 7 7 Harrison - RGT
GT 2 7 7 Harrison - RGT
Ex 1
Ex 1
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Open E tuning
‰ œ0 4 5 7 œ
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E
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4 Ó ‰
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œ œ œœ œœ0 œœ n4œ j ww
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ExamplE
Ex
B 2 2 country-Blues AccoMpAniMent 3 5 TRACK 86

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3

j
Ex
E 2 0 A 0 0 0
j
B E

## # ##©»¶º œœ œœ œ œ œ œ
Here’s
4 a common accompaniment-style phrase. The first two bars show how the v and Iv chords are approached before returning to the I chord (E). Ensure the

‰‰ œj ⋲⋲ œ œ ‰‰ œj ⋲⋲ œ œ œj œ
j œœ œ œœ œ j œœ
E B A E
bass
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B notes are palm muted in bars 2 and 3.

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3 3 5

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jœ
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Ex
E 3
3 A dickey
7
Betts-style
7 5
intro 5 0
TRACK 87
This example ©»¶£in the style ofN.C.
The Allman Brothers’ mighty guitarist, utilises different types of slide exploiting

#### 4 j ˙ . 3

Ex 3& 4 œ œ n œ œ œj n œ œj œ œ œ œ . j nœ œ
j ˙
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nœ #œ . œ œ nœ #œ . œ nœ
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January 2018 89
&
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 œ nœ #œ œ

lesson } SLIDE prImEr

E
B
G#
E 5 7 5 3 0 2 3 2 3 0
B 0 3 5
E
1
0 3 4

ExamplE 3 A dickey Betts-style intro ...CONTINUED TRACK 87

# ##
& # nœ #œ . œ œ nœ #œ . œ nœ œ œ œ œ œ nœ œ w
j

E
B
G#
E 0
B 8 9 8 9 5 3 0 0 2 3
E
4

ExamplE 4 JAM trAck TRACK 88

The bassline here is expanded slightly for interest, but note the Iv chord is implied but does not ring out like the others to allow movement around the neck.
GT 2 7 6 Harrison - RGT

JAM TRACK

©»ªº
E7

#### 4 œ nœ œ nœ #œ œ nœ œ j
& 4 Ó ‰ œ nœ œ ˙ ‰ œ nœ œ
Open E tuning
w w
E
B 0 3 5 7 8 7 8 7 5 3 5 0 3 5
G#
E
B
E
1
0

#### œ nœ œ nœ œ nœ œ œ œ ‰. j̊ j
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3

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j
& ‰ nœ œ œ œ œ
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90 January 2018
 31
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saVe uP to 49%

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on the Perfect gift

s 7
this christmas
SIR DAVID ATTENBOROUGH
S!
ER E
STRE
PO F

MEE
COZMTO
THE SMALL
WITH A BIG ROBOT
BRAIN!

WHAT
CAUSED THE
EXTINCTION?

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 lesson } IN THE WOODSHED ON THE CD TRACks 89-96

In The Woodshed
Brought to you by…

String muting comes in many forms, says the required hand movement is very slight.
You only need to lift your hand away from the
Charlie Griffiths, and this month we will strings by around 5mm; just enough to let the
explore all manner of percussive pleasures. strings breathe and vibrate freely.
Fretting-hand muting means relaxing the
fingers so that they are touching the strings,
but not pressing them down into the frets.
Funk and funk rock players such as Nile
Rodgers, John Frusciante and Nuno
Bettencourt use this technique extensively to
add syncopation to chord-based rhythms.
Example 2 shows this technique in action with
an E5 powerchord-based riff. When switching
between the chord shape and the muted
sound, aim to keep your fretting hand in as

You cAN use muTING To

deAdeN The souNd of A
NoTe You ARe pLAYING, oR
To cReATe compLeTeLY
peRcussIve souNds
similar a position as possible; this will make
the transition seamless.
Example 3 focuses on this same technique
James Hetfield:
chugmeister in a more funky setting. This riff still uses the
of the mighty fretting hand to mute the strings, but this time
Metallica! with both double-stops and single notes. This
technique makes the playing of syncopated
two areas: picking-hand muting, and 16th-note accents much more consistent as
ABILITY RATING
fretting-hand muting. you are able to keep your strumming hand
✪ ✪ ✪ ✪ ✪ Moderate/Advanced The usual approach to picking hand moving continuously while accenting the
Info Will improve your… muting is ‘palm muting’. To do this gently, notes with your fretting hand.
Key: Various Picking-hand timing rest the side of your palm on the strings near The fourth and final example combines
Tempo: Various Left and right-hand coordination the bridge. This type of muting is a huge part both palm muting and fretting-hand muting
CD: TRACKS 89-96 Fretting-hand string muting of the metal guitarist’s arsenal. Players like in a larger two-bar riff to help you integrate all
James Hetfield of Metallica and Anthrax’s the techniques into your playing. Approach it

S
tring muting is a very powerful and Scott Ian popularised this technique in the slowly at first in order to make sure all of the
useful technique, which you can either 80s and gave rise to the entire thrash and notes are clear and in time and the subtle
use to deaden the sound of a note you metal genre as we know it today. Get muting movements are clean and efficient.
are fretting, or you can use it to create aquainted with this technique with Example 1. Then, as always, have a go at playing along to
completely percussive sounds. This is a This is a simple powerchord-based rhythm the backing track we’ve provided.
fantastically effective way of infusing that uses both consecutive downstrokes and
dynamics and rhythmic interest into your alternating muted and un-muted chords. NEXT MONTH Charlie looks at applying vibrato
playing. We can split muting technique into Although the two sounds are very different, to one, two and three-fret bends

ExamplE 1 PALM MUTING

GUITAR TECHNIQUES CHORDS
MAGAZINE 277 cd track 89
Move your picking hand from the wrist and useCharlie
downstrokes throughout
Griffiths - ROCK for a SCHOOL
consistent attack; angle your pick-so the edge bites into the string. Start with the
- WOODSHED
side of your palm a a few millimetres away from the string, then on beat 2 drop
Switching your palm for the muted sound.
Between
Ex 1 Palm Muting Chords

©»¶º D5 E5 D5 E5

# .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
& 44 ∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
James Jeffrey Taylor / alamy

F PM PM PM
Play 4X

E
. .
. .
B
G 7 9 9 9 9 9 9 9 7 9 9 9 9 9 9 9
D 7 9 9 9 9 9 9 9 7 9 9 9 9 9 9 9
A 5 7 7 7 7 7 7 7 5 7 7 7 7 7 7 7
E

92 January 2018
Ex 2 Fret Hand Muting Chords
E5 A sus4/E E5 A sus4/E
 #4 .. œœ œœ œœ œœSwitching œœ œœ Between œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
& 4 ∑
GUITAR TECHNIQUES MAGAZINE 2 7 7 œ
Ex 1 Palm Muting Chords œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
©»¶º MAGAZINE 2 7 7F D5 E5

STRING
D5 E 5

learning zone
œœ œœ MUTING
Charlie Griffiths - ROCK SCHOOL - WOODSHED -
#
GUITAR TECHNIQUES

Ex 1 Palm4Muting Chords . œ œ œœGriffiths

œ œœSwitching
œœ- ROCK
Switching
œœ Between
Between
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
Play 4X

œ .
. Dœ5 Eœ5 œ œ œ œ œ œ D5œœ Eœ5 œ œ œ œ œ œ .
Charlie PM SCHOOL - WOODSHED -PM PM
E & 4 ∑
. œ7 9 9 9 9 9 9 9 7 9 9 9 9 9 9 9 .
∑
B
©»¶º
Ex 1 Palm Muting Chords
.F . cd track 91
# FRETTING-HAND MUTED œ œ œ œ œ œ œ œ œ œ œ œ œ œ
G

ExamplE42 ©»¶º . œ œ 7 4X.

D75 E95 9 D5 7 E95
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
D 9 9 9 9 9 9 9 9 9 9 9

& # 44 E5 chord with first, third.. andœœ fourth œ œ œ barre. . and rest∑all four
A 5CHORDS
7 7 7 7 7 7 7 5 7 7 7 7 7 7 Play
œ œ œ œ off œ
three œ œ forœa first-finger œ œ œ œ œ
∑
œœ œœ ...
PM PM PM

.. œto useœœmoreœœthanœœone finger

œœ œto muteœ theœstrings, œœ œœ you’llœœ produce
œ œœa harmonic.
E

& on the
4 strings to mute
Play the opening
∑ them. Be sure fingers then lift
œ
and four
œ œ œ otherwise Next,
œ
relax your fretting-hand
∑
œ œ
E
fingers
. F75 97 97 97 PM97 97 97 97 75 97 97 97 PM97 97 PM97 Play97 4X .
B
G 7 9 9 9 9 9 9 9 7 9 9 9 9 9 9 Play9 4X

F
DEx 2 Fret Hand Muting Chords
A

©»¶º . E75 9 9 A sus4/E E5 A sus4/E

.
E
E PM PM PM

#4 .
.. 5œœ77 799œœ 799œœ 799œœ 799¿¿ 799¿¿ 799¿¿ 799¿¿ 577 œœ 799 œœ 799 œœ 799 œœ 799 ¿¿ 799 œœ 799 ¿¿ 799 œœ . ..
B
G
E 9 9 9 9 9 7 9 9 9 9 9 9 9

. Eœ55 7œ 7œ A sus4/E œ 7¿ 7œ 7 ¿ 7 œ.
7 9 9 9 9 9 9 9 7 9 9 9 9 9 9 9
Ex 2&Fret4
D
B
Hand Muting∑Chords
œ 7¿ 7¿ 7¿ 7¿ 5Eœ5 7 œ 7 œ A7sus4/E
A
G
E
D
∑
A 7
E
©»¶º
# 4Hand Muting∑Chords . œœ œœ œœ œ ¿ ¿ ¿ ¿ œœ œœ œœ œ ¿ œ ¿ Playœ 4X .
Ex 2&Fret4
. Eœ5 œ œ A sus4/E œœ ¿¿ ¿¿ ¿¿ ¿¿ Eœ5 œ œ A sus4/E œœ ¿¿ œœ ¿¿ œœ .
Ex 2 Fret

. .
∑
©»¶º
E
Hand Muting Chords

.. Eœ9975 œ997 œ997 A sus4/E .

B

# 4 ©»¶º ∑ œ œ œ
G 7 X X X X E95 9 9 A sus4/E
7 X 7 X 7
D
A
& # 44 œ œ œ œ 7
¿ X
¿
. œ œ œ œœ ¿¿ ¿¿ ¿¿ ¿¿ œ œ œ œœ ¿¿ œœ ¿¿ œœ .
7 X
X
X ¿ X
X ¿X
X
œ
9
7
œ
9
7
œ
9
7 œ 7
7 ¿X
X œ
7
7 ¿X
X Playœ
7 4X.
7
∑
.
.. œœ œœ œœ œœ ¿¿ ¿¿ ¿¿ ¿¿ œœ œœ œœ œœ ¿¿ œœ ¿¿ œœ .. .
E

E
& 4 ∑ ∑
. .
B
G 9 9 9 7 X X X X 9 9 9 7 X 7 X Play7
ExamplE
Ex 3 Fret3hand
D FRETTING-HAND MUTING
muting double stops and DOUBLE-STOPS
9 single
9 notes9 7 AND
X SINGLE
X X NOTES
X 9 9 9 7 X 7 X 7 4X cd track 93
A 7 7 7 7 X X X X 7 7 7 7 X 7 X 7

. œœ ¿¿ œœ ¿¿ # œœ œœ .
Play this riff with your first finger on the 12th fret then third and fourth fingers on the 14th fret. Keep your picking hand moving constantly down and up while
©»•º
E Play 4X
E

œ ¿ ¿ œ ¿ ¿ ¿
G A

œ ¿ ¿ œ ¿ ¿ ¿
confining the movement to the second, third and fourth strings. Use your fretting fingers to either apply pressure for the notes and double-stops, or relax your
# ... . ..
B

œ œ ¿
& 44
G
E
fingers for a percussive sound. 9 9 9 7 X X X X 9 9 9 7 X 7 X 7

. .
D
B 9 9 9 7 X X X X 9 9 9 7 X 7 X 7
A
G ∑
Ex 3 Fret hand muting double stops and
E
D
79
9
79
single
9
79
notes
9
7
7
X
X
X
X
X
X
X
X
79
9
79
9
79
9
7
7
X
X
7
7
X
X
7
7
∑
©»•º
A 7 7 7 7 X X X X 7 7 7 7 X 7 X 7

œœ ¿¿ œœ ¿¿ œ ¿ ¿¿ œœ ¿¿ ¿¿ ¿¿ # œœ Playœœ 4X
E G A

& 4
#
Ex 3 Fret 4
hand muting double stops .and single notes
. G single notes œ œ ¿ œ ¿ ..
. œ1212 ¿XX œ1212 .
∑ ∑
©»•º
E

¿¿X œœ12 ¿¿ ¿¿X ¿¿X # œœA14 Playœœ14 4X .

Ex 3 Fret hand muting double stops and
¿¿ 12 œ14 ¿X œœ12 ¿¿X
A

. Gœœ ¿¿ œœ
B X 12 X X 12 X X X 14 14

# 4©»•º ∑
G

. ¿¿ œ œ ¿ œœ ¿¿ ¿¿ œœ ¿¿ ¿¿ ¿¿ # œœ œœ ..
D
A
& # 44 . œ ¿ œ œ
∑
.. 12 X 12 ...
E

E
& 4 ∑ . ∑
. .
B X 12 X X 12 X X X 14 14
G 12 X 12 12 X X 12 X X 14 Play
14 4X
D
Ex 4 Combining Palm Muting and Fret Hand Muting 12 14 X
A

. .
Play 4X
EE

# 4©»•º ∑
N.C. D5 E5 N.C.

. .. AND FRETTING-HAND .
B 12 X 12 X 12 X X 12 X X X 14 14
G
E 12 X 12 12 X X 12 X X 14 14 6

.
& 44 COMBINING PALM MUTING œ œ œ œ œ œ œ
œ MUTING
12 14 X
.œ b œ n œ
D
B 12 X 12 X 12 X X 12 X X X 14 14

œ œ œ œ œ œ œ œ œ bœ nœ
A
G 12 X 12 12 X X 12 X X 14 14
ExamplE
Ex 4 Combining Palm Muting and Fret Hand Muting
E
D 12 14 X
cd track 95

œ œ œ
A
This riff switches between straight 16th-notes and 16th-note triplets. You can think of this as ‘four strums per beat’
, or ‘six strums per beat’
. The first half of the riff

# 4©»•º
E N.C. D5 E5 N.C.
focuses on palm muting while the second half utilises fretting-hand muting. Work on employing these techniques without disrupting the groove and feel.

.. œœ Eœœ5 œœ œœ œœ œœ œœ œœ
PM PM PM PM
6

& 4
Ex 4 Combining Palm Muting and Fret Hand Muting

. N.C.Muting œ bœ nœ 6 œ bœ nœ
E
∑
©»•º
Ex 4 Combining Palm Muting and Fret Hand D5 N.C.

. N.C.œ œ
B
G
# 4 ©»•º ∑ œ
.
D75 E95 N.C.
œ œ œœ œœ œœ œœ œœ
D 9 9 9 9 9 9
A
& # 44 . 0 PM0 œœ œ œ7
5 7 7 7 7 7 7
bœ nœ
5 6 7

.. œ b œ n œ œœ b œ n œ
0 PM PM PM

œ œ œœ œœ œœ œœ œœ œœ
E 5 6 76
E
& 4N.C. ∑ .œ œ √œœ Eœ5/B œ
œ bœ nœ
œ. œ0 ¿ PMœ0
B

#
G
D
œ ¿
0¿
œœ75 ¿¿97 PM97¿¿ 7œ
9
œ
PM7¿
9
¿ ¿97¿ œœ97 œœ97
PM
œœ5 .. 6 7 5 ∑ 6 7
& ¿
A
EE
. PM PM PM PM

.
B

œ œ œ
G
E

œ . 00 ¿ 00œ
D
B N.C. E75/B 9 9 9 9 9 6 9 9
A
G
E
D # œ
√0
¿¿ œœ ¿¿ ¿¿ œœ ¿¿ ¿¿ œœ œœ œœ5 ..
5
7
7
9
7
9
7
9
7
9
7
9
7
9
7
9 6 7
5 6 7

& N.C. 0¿
PM

.
A 5 7 7 7 7 7 7 7 5 ∑ 6 7
EE X 12 X X 125 12 X X 12 12 6 7

¿¿ œœ œœ œœ ...
√XX E12 X X 12 X X 12 12 12
B

œ œ œ œ12 œ14 ¿X œ14

5/B

# N.C. √¿¿¿ œœ ¿¿ ¿¿ œœ ¿¿
G
D E 5/B 6
& # 0 PM0 0 œ œ ¿ œ œœ ¿X¿ ¿¿X œœ ¿¿X ¿¿ œœ œœ œœ ..
A
∑
¿¿XX
E

E
& œ œ œ 12 12 X
.
12 12 12 ∑
.
B 12 X X 12 X X 12 12 12

œ PMœ œ 12 14 X 14
G X 6
D
A 6
0 0 0
.
E
E
PM X 12 X X 12 X X 12 12 12

.
B X 12 X X 12 X X 12 12 12
G
E X 12 X X 12 X X 12 12 12

.
D
B 12 14 X 14 X 12 X X 12 X X 12 12 12
A
G X
E
D 0 0 0 12 14 X 14
A
E 0 0 0

January 2018 93
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DECEMBER GT276 NOVEMBER GT275 OCTOBER GT274

BLues sCaLe GarY moore southerN BLues roCK
There’s way more to the Blues scale than We look at this awesome guitarist’s full range Southern rock took the 70s by storm. We
meets the eye; make amazing music with of styles and bring you six fantastic solos to show you how the bosses of the style did it.
these six notes in a host of styles. Grunge! play. Learn how where you place the note Learn how heavy rock tones and licks have
We bring you 10 great pieces in the style of around the beat can have a huge impact on influenced modern pop, and find out how
10 of grunge’s top acts. Bach’s Goldberg Vari- how you sound. Play a hot rock solo piece, to do it yourself. And, learn a hot Texas blues
ations tabbed, and so much more inside! two-hand-tapping style. And loads more! using two-hand tapping - it’s awesome!

SEPTEMBER GT273 AUGUST GT272 JULY GT271

sWiNGiN’ the BLues Les PauL heroes! taPPiNG ChorDs
Jazzy jump blues will stretch your chops a Fancy 50 fabulous licks from 50 fabulous Les Tapping whole chord based pieces is a really
little but prove a whole lot of fun. Play like Paul players? Well, GT272 is the place to go, wonderful sound - think Stanley Jordan. We
the titans of the genre! String skipping and with blues and rock (both classic and heavy) show you how! GT pays its respects to the
tapping are not just for mega-rock; they can licks that will expand your repertoire over amazing Allan Holdsworth with tributes from
be applied to all styles with great results. We night! Plus: Soloing with jazz chords, Schu- great players and a ‘doable’ style guide. Huge
show you how... and so much more! mann classical & lots of other great stuff! 10pp Jimmy Page style guide & loads extra!

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94 January 2018
 whAt our rAtiNgs meAN ✪ ✪ ✪ ✪ ✪ Buy it ✪ ✪ ✪ ✪ Excellent ✪ ✪ ✪ Good ✪ ✪ Average ✪ Bin it! music } reviews

New Albums album (third release in just a few

years), he teams up with his son Cody
and guitarist Daniel Davies (son of
A selection of new and reissued guitar The Kinks’ Dave Davies) to re-record
his famous themes which were the
releases, including Album Of The Month central appeal to his very successful
tour last year. To have all his top
Album of the month themes on one album as a cohesive
whole is quite something. Opener, In harmonic and rhythmic qualities, the
eagles The Mouth Of Madness is an guitar trio with Al Di Meola, and
hotel CAliforniA (40th Anniversary expanded) uptempo rocker with plenty of classical traditions - with great
Warner ✪ ✪ ✪ ✪ ✪ crunchy rhythm and melodic fuzz chordal and melodic interaction. In
If we were being really picky, we’d question guitar action whereas the ominous many ways this is ‘glass of wine in the
the maths involved with this release. Hotel synth throb of Escape From New evening’ music to savour and let flow
California was actually released in 1976, but York (one of his biggest films) is over you (it’s big on mood and
what’s a year between friends! In any case, the enhanced with harmony guitars and ambience) but certainly not to be
expanded version comprises a remastering of pounding rhythms. Porkchop mistaken for easy listening or
the original album, delivering a tad more crispness and separation to the Express (from Big Trouble In Little background music. Among the light
listening experience, plus an additional live rendering of the entire work, China) is a blues-rock stomper, arpeggiating of sophisticated chord
captured in October 1976 on a second CD. Furthermore, there’s also the 5.1 crammed with chugging guitars and voicings and subtle chromatic
mix and high resolution stereo and surround versions available on a an infectious ‘Eagles meets Van changes and modulations, there is a
Blu-Ray, depending on which version you go for. In short, this is a Halen’ groove. Similarly, the main lot of sophistication and virtuosity
collector’s dream come true – a celebration of one of the biggest sellers of theme from 1983’s Christine is quite (some impressive picking in places).
all time in more formats than it’s possible to shake a stick at. It’s still more-ish in its blend of ZZ Top-like With eight tracks clocking in around
marvellous, too. Just think of some of the tracks – the brilliant title tune, four-on-the-floor drums, palm- five minutes plus each (Those Days is
the rifftastic Life In The Fast Lane and Victim Of Love, the plaintive New muted rhythm guitars and a big main a dynamically diverse piece at 8:26),
Kid In Town and Pretty Maids All In A Row, the incisive Last Resort, and melody. There is a ton of 70s and 80s you’d be hard pressed to find a more
the masterful ballad Wasted Time. It’s without doubt one of the best styled synth arrangements ‘listenable’ two-nylon-string-guitar
albums of all time, packed as it is with pure American rock genius! throughout (chill to the insistent album this year.

pickup on-off stuttering, blues-rock godley & CreMe

bending and a touch of exotic mode Body of Work 1978-1988
legato. Angel In Black features Polydor/Caroline ✪ ✪ ✪ ✪ ✪
sustaining tremolo arpeggios and a The band 10cc was known for hits like
big rock chorus, complete with a Rubber Bullets, I’m Not In Love, Wall
stunning Coverdale-esque vocal. The Street Shuffle, The Things We Do For
atmospheric intro to The Fire Love and I’m Mandy, Fly Me – quirky
features a clean and syncopated Halloween theme once again!) but pop, sometimes venturing into
guitar before a rousing 70s style riff Daniel sure deals up his share of rich operatic, multi-layered opuses like
Vandenberg’s kicks in. Running at over seven guitar parts. One Night In Paris from The Original
Moonkings minutes it’s the longest song on the Soundtrack album. In fact, the latter
Mk 2 album, complete with searing solo MaCiek pysz and track was penned by Godley and
Mascot ✪ ✪ ✪ ✪ ✪5 and blazing band ending. If there gianluCa Corona Creme which gives you a little
If you like solid mainstream rock, this were any doubt to Vandenberg’s london stories foresight regarding the duo’s output
will be right up your street. Dutch chops, album closer If You Can’t 33 Records ✪ ✪ ✪ ✪ ✪ when 10cc finally expired, and
guitarist, Adrian Vandenberg is Handle The Heat is a must - two solos There is a romanticism and richness subsequently what you can expect
perhaps best known as Whitesnake’s that blend great melodic content with about the nylon-string guitar that’s here. This five-disc compilation
late-80s six-stringer although he did a precision (what a wide vibrato!) that hard to find in any other musical covers a decade of darkly clever pop,
front Vandenberg early in the decade. would make any rock fan’s jaw drop. setting. Be it Jobim’s syncopated beginning with L from 1978 and
In 2013, he formed Vandenberg’s bossa nova classics, Pat Metheny’s finishing with a disc of B-sides and
Moonkings featuring Jan Hoving on John Carpenter most delicate work or Sting’s richest other sundry ephemera. It’s a
vocals and now the quartet has a Anthology: Movie theMes songs with Dominic Miller, the valuable document of a pair of
second release, simply titled mk2. 1974-1998 nylon-string serves the most infinitely capable songwriters who
The music is rich rock-blues with the Sacred Bones ✪ ✪ ✪ ✪ ✪ beautiful of guitar tones and timbral were adept at delivering the
guitar work to the front, often with For many, John Carpenter’s name is presentations. The debut album from unexpected. It’s also slick, catchy and
REVIEWS BY jaSon SIdWEll and daVId MEad

crunchy tones that are much more a high point of 70s and 80s cinema as Maciek and Gianluca (GT readers will moreish – so feast away!
bluesy-rock than metal. Opener, he directed movies such as Assault know the latter as a writer of
Tightrope is big and dramatic On Precinct 13, Halloween, Escape numerous prog, rock and fusion
sounding with chord intro hits and an From New York and The Thing. He articles), London Stories features
infectious octave driven riff; deep into created the music for the majority of their two nylon guitars recorded
Whitesnake and Led Zeppelin them too, blending dark sequential exquisitely with wonderful room
territory here. The solo is short but synthesiser patterns with ominous acoustics and played with
big on punch; wide vibrato for the chord progressions and thick rock considerable sensitivity. The overall
opening melody, pinch harmonics, guitar riffs. For this new 13-track results touch on jazz, South American

January 2017 95
 INTErvIEw }

SIXTY SECONDS with...

A minute’s all it takes to find out what makes a great guitarist tick. Before he
jumped into his limo for the airport we grabbed a quick chat with the great rock
instrumentalist Adrian Vandenberg of MoonKings and Whitesnake.

GT: Do you have a type of pick that good quality, pretty long cable. I guitar player when I grow up. If I
GT: What kind of action do you
you can’t live without? think it makes the sound just a little ever do!
have on your guitars?
AV: I can actually live without a warmer. Plus they’d make a nice
AV: I’d say on the low side. GT: Do you have any kind of pre-gig
pick, so I do play a lot with my portion of spaghetti too.
warm-up routine?
fingernails too. I’m a lucky bastard GT: What strings do you use?
GT: Is there anyone’s playing (past AV: Not really: guitar in my lap,
with having thick strong nails. Girls AV: Ernie Ball .010s. I like them;
or present) of which you’re ever so noodle a bit, have a laugh with the
envy them. Other than that I do like they hardly ever break.
slightly jealous? guys in the dressing room,
my triangular Dunlop picks . GT: Who was your first influence to
AV: Jealousy is not in my character occasionally a sip of wine before
GT: You have to give up all your at all. I do have lots of admiration play the guitar? going on stage.
pedals but three, so what are they? for players like Jeff Beck, Eddie Van AV: Jimi Hendrix and Clapton in
GT: If you could put together a
AV: I’m bad with that too; I hardly Halen, Michael Schenker, Steve Vai, his Mayall and Cream days.
fantasy band with you in it, who
use pedals. But I’d keep my Van Stevie Ray Vaughan, Brian May just GT: What was the first guitar you would the other players be?
Weelden Royal Overdrive and my to name a few... really lusted after? AV: Paul Rodgers (Free, Bad Co),
Carl Martin Quattro pedals for sure. AV: A Gibson Les Paul. I even lusted
GT: Your house is burning down: John Bonham (Led Zeppelin), Andy
GT: Do you play another musical which guitar do you salvage? after cheap-ass Japanese copies on Fraser (Free, Bad Co).
instrument well enough to do so AV: My 1980 Les Paul Heritage, my
in a band? mistress. I worked all through my mY ’80 LES PauL hErITagE SCrEamS,
AV: Well yeah, I played some
blues-boogie piano before I even
school holidays in factories for two
years to save money to buy it. She’s
mOaNS aND SINgS whEN I SquEEzE hEr
touched a guitar. Played keyboards been with me through thick and aND ShE ONLY gETS bETTEr wITh agE
on my early Vandenberg albums, thin, travelled around the world display at my little local music shop. GT: Present company excepted
my upcoming MoonKings album with me numerous times, aged by They didn’t have a real one there! who’s the greatest guitarist that’s
and in the 1987-88 Whitesnake tour my own blood, sweat and tears. She
I played keyboards on stage as well. GT: What was the single best gig ever lived?
screams, moans and sings when I
you ever did…? AV: Django Reinhart.
GT: If a music chart were put in squeeze her and she only gets better
front of you, could you read it? with age. AV: Hmm... that’s hard. From an GT: A solo by another guitarist that
AV: They might as well put a emotional perspective it was the you really wish you’d played?
GT: What’s your favourite amp and Whitesnake 1990 gig in a sold-out
Chinese phone book upside down in AV: Brian May’s solo in Killer
how do you set it? Galgenwaard stadium, Utrecht in
front of me. Queen, among various ones by the
AV: My 100-watt Marshall plexi; the Netherlands on a beautiful players mentioned above.
GT: Do guitar cables really make a everything on 10 except for the summer night. All my family and
difference? What make are yours? treble, that’s at 8-9. No pedals in GT: What’s the solo or song of your
friends were there and the
AV: I think they do. I don’t really between my guitar and the amps own of which you’re most proud?
chemistry with the emotional crowd
know the make I’m using but it’s a when I record. AV: Songwise, probably Sailing
was heartwarming.
Ships from Whitesnake’s Slip Of
GT: …and your worst playing The Tongue album; the solo in a
nightmare? track from my upcoming album in
AV: Playing a sold-out show in the If You Can’t Handle The Heat.
legendary Madison Square Garden,
GT: What would you most like to be
New York. In the morning of the
remembered for?
show day I got knocked out by the
AV: As a down-to-earth guy who
rear-view mirror of a truck in the
never took for granted that he had
morning, my face destroyed. I
the fortune of having such a
looked like Frankenstein’s brother.
beautiful, unexpected career by just
It took 30-plus stitches; I was
following his passion.
stoned from the medication, but
didn’t wanna miss that gig for the GT: What are you up to at the
world, so I played. moment? (Gigs, tours, albums)?
AV: On 3rd November the second
GT: What’s the most important
MoonKings album gets released.
musical lesson you ever learnt?
We start touring a week later and I
AV: Don’t follow trends; trust your
can’t wait!
own instincts; play from the heart.
Adrian Vandenberg
and his MoonKings GT: Do you still practice? More info, gigs, merchandise, etc
AV: Yes I do. I want to be a good go to vandenbergsmoonkings.com

96 January 2018
 SIXTY SECONDS WITH { aDrIaN vaNDENbErg

I havE LOTS Of
aDmIraTION fOr
PLaYErS LIkE jEff
bECk, vaN haLEN,
mIChaEL SChENkEr,
STEvE vaI, Srv aND
brIaN maY
Stefan Schipper

Adrian Vandenberg

January 2018 97
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