Professional Documents
Culture Documents
G@uthrie G@v@n-Cre@tive Guit@r 1 - Cutting-Edge Techniques-Sanctuary (2002)
G@uthrie G@v@n-Cre@tive Guit@r 1 - Cutting-Edge Techniques-Sanctuary (2002)
ISBN 1--86074-4621
CREATIVE
GUITAR 1
CUnING-EDGE
TECHNIQUES
Guthrie Govan
Sanctuary
BOOK CONTENTS
2
3
4
5
CD CONTENTS
2
3
4
5
10
11
12
13
14
15
27
28
2.
30
31
32
33
34
35
3.
37
38
Backing Track 1
African Style Triads (Demo 2a)
African Style Solo (Demo 2b)
Sacking Track 2
,.
3'
40
41
42
43
17
18
44
45
4.
47
48
4.
50
51
Backing Track 5
,.
20
21
22
23
24
25
2.
52
53
CD produced , compiled/ed ited and mastered by Phil Hilborne. Recorded/mixed by Phil Hilborne at WM Studios. Essex. June 2002
Web/Info: www.ph ilhi lborne.comorwww.phllhllborne.co,uk
EqUipment: Guthrie Govan used PRS GUita rs and amplification by Cornford. Effects used were by Lexicon, Morley and Yamaha . Guthrie
Govan uses and endorses Corn ford Amplificat ion.
Keyboards/strings played by Phil Hl lborne, Phil Hilborne uses and endorses PRS GUitars, Picato Strmg s and Cornford Amplification
All guitars played by Guthrie Govan. Bass on tracks 40--3. 46-7 and 50--3 played by Guthrie Govan .
Drums on tracks 34-9, 44- 5 and 48- 9 played by Pete Riley.
Bass on tracks 34- 9. 44- 5 and 4B- 9 played by Seth Govan .
Drum programming on tracks 50-3 by Guthrie Govan .
Drumlloop programm ing on tracks 40-3 and 46-7 by Phi l Hllborne
FOREWORD
companion.
Remember,
learning
about
your
INTRODUCTION
a metronome.
effortless as possible.
Introd uction
10
1 GENERAL STUFF
Goals
my hobby.'
dictated letter?
ear, you might sound great but not know what you're
' I hear what you 're saying, but I don't think it appl ies
to me.'
11
12
General Stuff
Transcribing
in larger chunks.
solo just for the sake of two bars you particularly like,
13
non~guitar
hi~fi,
long~term
top E string, then the fifth fret on the B string, the ninth
on the G, the 14th on the D, the 19th on the A and
hear the same note every time, but the tone gets
markers. This means that you can cue back to the right
pa rt of a piece of music with one push of a button,
14
ot
15
2 TECHNIQUE
Physical Considerations
maintenance advice.
Fingertip Injuries
on quite happily!
Then, of course, there 's the case of Ojango
16
Techniqu e
your hands.
them, they can't always keep up, and the result is sore,
there are rock martyrs out there like Ted Nugent, who
Not good.
17
tendon troubles.
Warming Up
wait for it to dry and then rip! I guess the idea was to
area in question. After this, not only did his thumb stop
18
Tec hnique
bUilding up speed.
look particularly rock 'n' roll, but it'll protect your hands
In somewhere!)
with
on
fou r
intertwined
melodies
going
the floor strewn with all the bits and pieces you might
19
Posture
2 and so on.
Feedback
better as a whole.
this in mind.
Tone
things with the stuff - but I'm referring here to the kind
20
Techniqu e
can honestly say that you're doing all of this and you're
EQ
Another vital element In the attainment of tonal
nirvana is EO, Imagine a spectrum of sound, with the
low, rumbling stuff (ie kick drum and bass) at one
end and the treblier components (ie cymbals) at the
other. This is the way In which producers and
engineers approach sound when they're mixing a
track - rather than simply mess around with the
volume levels, they try to emphasise different
frequencies for each instrument so that every sound
IS assigned ItS own place In the spectrum' .
As a guitarist, you should be looking for that part
of the sonic spectrum that the other musicians need
the least. and you'll find thiS niche somewhere in the
middle, so your best bet is to crank up your amp's mid
21
combination can sound like one monstrously fatsounding instrument (which is a good thing!), but it's
Tone Controls
bass distinctly.
Effects
down . Turn the thing down nearly all the way and
you'll find a perfectly usable clean tone with more
bite and top end than you could get from your amp's
22
Technique
of the pick (Ie with the plane of the pick parallel to the
the tone too much, you run the risk of sounding mushy
be the 'correct ' way to pick, but I think that both are
the string are you picking? Picking near the bridge gives
Of course, you won't necessarily find one tonecontrol setting that serves all your needs. If you're
happens when you actually pick over the fretboard Bear in mind that playing fa st becomes very difficult
when you stray too far neckward, particularly if you
Jeff Beck once uttered the immortal line 'Pic ks are for
users and fairies alike, you can't argue with the vast
the less than helpful reply 'It's all In the fingers, man'?
pick strikes the string. For instance, if you use the flat
23
Creative Guitar
Guitar Set-up
more you raise your action, the bigger the notes get.
bending and you're USing your ring finger to fret it. you
might as well stick your middle finger just behind , on
keep in tune, but the pain factor rears its ugly head
once again - bending a .014' top E string up a tone
it did before and your tone will be that little bit more
authoritative. Which brings me to my next topic ...
String Bending
from this point is try not to buckle when they feel the
are the kinds of subtleties that give the guitar its vocal
24
Techniqu e
gnp, where your thumb creeps over the top, you'll feel
the lower strings , It'S more likely that you 'd want to
you look down the hne of the neck, you 'll notice that
make the lick sound like It'S stili In the original key, you
similar ideas ,
25
relax for a moment, the pitch will start to drop and the
Vibrato
following ..
the note all the way up to pitch and then apply that
26
Technique
the slide on your litt le finger (it's the one you use
a volume pedal and you 've got you rself all sorts
27
Palm Muting
(ie the B and top E strings if you 're playing the G string).
In particular, the index finger seems very handy (no
play differently!
Try looking at your palm and visual ising all the parts
should conclude that there's a horseshoe-shaped area
notes are, but it won't tell you which notes not to play.
trying to play.
noise coming from your guitar other than the note you
28
Technique
string (ie the portion of the string that actua lly vibrates
you to Led Zeppel in's 'Whole Lotta Love', Van Halen 's
If used properly!
If you're playing through this kind of set-up, you'll
find the main problem is keeping it under control; a
heavily overdriven amp is a frisky beast, and the
sounding results .
the one where you hit the three low strings while
29
Creative Guitar
CD Cutting-Edge Techniques
cut each one oft aher the Initial crunch, uSing vanous
and the cleaner you can play them , the less nOise the
the thud, but this makes the end of the chord sound
With the baSIC job deSCription ' Learn our set InSide out
In
the gUitar
and you can 't mute them With your hand because
In
the
never actually push the strings all the way down onto
the fret s.
Other Solutions
exerCise, try plaYing the same note over and over again,
thiS feels like the pOint where you've pushed the note
30
Techn ique
Fast Muting
31
to separate the string s from the frets and cut off the
your gnp a bit too much, and the resulting messy sound
- It'S fun!) It'S best to get the chord sha pe ready In the
really help for certain diffi cult gUitar parts that don't
rely on the use of open st(l ngs. Imagine you 're gOing
pop track , If your last ten takes were all nearly perfect
bit of ch eating?
Tuning
Muting And Tapping
If you 're parMI to a little eight-finger tapPing from time
your open stnngs are dOing when you 're too busy to
= 440 ' on a
32
Techn iq ue
9Ja to get:
C = 528Hz
In
o = 297Hz -
C;
=556 .9Hz -
0= 594Hz
Even If you find all thiS mathematical stuff a little offputting , I' m sure you ' ll agree that thiS presents a
serious problem . E weighed In at 330Hz In the C major
scale, but the corresponding E In the 0 malor scale IS
334 .1Hz. Similarly, the A IS 440Hz In the C major sca le
Harmonics
One popular way of tuning a gUitar Involves uSing
harmoniCS. (If you 're not sure about harmonics. don 't
panic - they' II be covered In greater detail later on .)
You might. for Instance, play the fifth-fret harmonic on
the low E string and the seventh-fret harmoniC on t he
A sttlng . If you let the two notes ring together and
adjust the pi tch of one of th em In very small
Increments, you 'll hear a rhythmic 'beatlng' which gets
slower as the two pitches converge and finally
disappears altogether when they match perfectly.
ThiS IS an appealing and undemanding tuning
method . Unfortunately, It uses the Greek ratios rather
33
and the end results will sound out . Having said that.
the problem .
Standardised Tuning
same note an octave lower. Don 't ask me why, that 's
In
M echanical Difficulties
between the saddle and the fret (or nut. If It'S an open
stnng). In fact. this Isn 't t he case . There 's a little bit of
you stroke them tim idly when you tune and then
the brtdge end of the stnng. but of course the nut end
that the notes on the first few frets sound a little too
34
Tech nique
It's far eas ier to tune up when your gUitar spo rts a
the post of ItS tuning peg - the more turns you use,
detailed Information
In
In
Perfect Pitch
or you don 't , but the re are cou rses that pur port to
In
the form of a
35
Creati ve Guitar
CD Cutting-Edge Techniques
nodding like a baSSISt. (let 's face It. every bass player
to concert pitch.)
notes at him
In
In
gave up Immediately.
In
on each note
In
could look at your list of notes and figure out what the
chord IS:
the distance between one note and the next - and the
part s of this book that deal with scales and Intervals
In
this pursUit.
liming
36
Technique
the basIc pulse of the mUS IC, regardless of the rhyth mic
the 'backbeat' , cal l It your ' Inner groove ', call It what
you like. but accept that It'S the most Important aspect
signature you can th ink of. but for the sake of clanty
In
perfect time -
The best way of hon ing your ti ming skills IS, not
your pract ising delectation but you ' ll also get some
hints regarding the feel of the mUSIC - you 'll learn more
to be believable .)
37
Creativ e Guitar
let you locate POints like 'bar 5, beat 2' rather than
In
4/96 , 5/ 96 , 5/ 96 ,
moving the notes forward dig itally so that they all fell
In
chart for each note had read '2/ 96, 4196, -1 0/ 96, 21 / 96, 5/96 ',
I would surely have been gUilty of playing out of time ,
groove. and the end result will sound more human . {It
Using Metronomes
In
38
Technique
my fellow passengers.)
for beat 2 and one stab on D for beat 4 . Now reach for
get f urther and further apart, the margm for error gets
39
exactly are you Judgmg the chord 's 'm time-ness' w ith
sharply you cut off the notes - you stili can 't playa
than the higher ones. There's not a lot you can do about
th iS, but It does mVlte the question , Which note in the
Swing
very first note of the chord In t ime Wit h the click , then
what It IS , you ain 't got It". However, I've neve r found
There you have two very dlstmct fee ls, the first
strumming speed?
The above IS a bizarre but hopefu ll y Interest ing
riffs , and of course ' Rockm ' AllOver The World ' goes
the
In
bounCing quality. The track that doesn 't SWing doesn 't
that the guy playing the solo must have been one
40
In
Technique
Vaughan tracks as ' Prlde And Joy '. Rhythm p laY ing
you then try to count ' ONE and a TWO and a THREE
always appropriate .
that
doesn't
mean
Irs
asset to your plaY ing, but only If you use It when It'S
might go!
squeeze Brian May 's swtng-based riff f rom ' Tie Your
Mother Down' Into the constraints of a straight
More On Metronomes
can add '1 , 2. 3. 4 ' In the gaps . You've now got the
that the beats are failing where you say they are, not
41
Creative Guitar
How To Practise
Speed
way In which you pick and fret notes and then prune
qUickly enough .
and soon you 'll fmd that you can cha nnel the same
In
but It stili doesn 't quite feel natural, the chances are
that your hands are dOing the fight things bu t are also
to see you play and maybe even give you some money.
If you master It In Bruce Lee 's field, people are far
more likely to run away.
InCidentally, I once read some more detailed
42
Techniqu e
no rus h; in the long run, it's better for you to get the
thing for very long, beca use I don't know that much
about it, but I will tell you tha t I once shared a flat with
fc~m
for ins tan ce, only when you 've been doing it long
really shouldn 't do that - you know it's bad for you'
the correct technique into the way you play and you
43
Creative Guitar
CD Cutting-Edge Techniques
g l amorous~
one thing you're not going to hear is the guitar part that's
power-cuts and the like . For insta nce, you might aspire
time feel. you'll know about that. too. Playing with other
as the self ish guitar player who didn't pay any attention
enjoy it less and the rest of the band will be frustra ted .
44
Technique
Dynamics
aware of how loud you can playa note, how softly you
mld~point
phone book out loud for all eternity and, as a little IroniC
loud, the syllables once, man and tuck should natu rally
Trans lating thiS back into mus ical terms. hopef ully
truly unbearable .
The difference is, of course, in the way he tells 'em .
note part and f ind that one or two notes sound a bit too
obvious . Maybe you've tried removing the notes
45
Creative Guita r
left to right. Try picking one note over and over again in
overd rive you use - it's a lot harder to find that balance
want to play that way all the time, but It 's still a handy
sure you reward yourself for all that work you put into
you can get from the stuff you find easy. Making music
of time over planning their set lists: they know that the
Finger Independence
short. the dynamics you put Into your playing stili make
finding out how loud you can get your legato ~ch eck
46
Technique
as its siblings .
qu ickest drum roll you can get will be the one where
a different order? I'm sure you can see how this cou ld
argue that he didn 't real ly gain that much from t his
of fas t-picked sca lar runs t hat clearly requ ired the use
1-2-3-4
2-3-4-1
3-4-1-2
4-1-2-3
1-2-4-3
2-4-3-1
4-3-1-2
3-1-2-4
all night.
4-1-3-2
1-3-2-4
3-2-4-1
2-4-1-3
1-3-4-2
3-4-2-1
4-2-1-3
2-1-3-4
1-4-2-3
4-2-3-1
2-3-1-4
3-1-4-2
1-4-3-2
4-3-2-1
3-2-1-4
2-1-4- 3
that you
can
by how huge the notes sound . Gary favours heavygauge strings and relatively high action, as do most
the six patterns in the far-left column cover all the basic
47
Creative Guitar
with t he musical notat ion, because let 's face It, most
In
Example 2.1
1 2-3-4 1 2-3- 4
2-34
1 2-3 4
2-3--4
2-3- 4
2-34
1 '
1-2-3 4
using each in turn . You should try them all. Some will
prove trickier than others and nearly all of them are more
Example 2.2
tt-2-34,
4 1 2-3
4 1 2--3
4 1 2-3
4 1 2--3
4 1 2-3
:>--3
:>--,
4
the next?
If that's not exciting enough for you (and I would
strings . Example 2.3 should give you the gene ral idea :
48
In
t he four-note
Technique
Example 2.3
~[
4
4
1
2-3
2-3
4J'--2-34
2-3
2-3
2 -3
1--2-3
Now you can have some real fun . Example 2.4 takes
Needless to say,
in turn .)
I1"S
Example 2.4
stuff can real ly make your head hurt, but that's how
effort you put in, the more dexterity you 'll have at the
end of it.
Example 2.5
4 2-3
2-43
1432-12-34
3 2-4
1 3 2-4
4 2-3
fingering at all?
In the following few exerCises, I've used
49
CD Cutting-Edge Techniques
Example 2.6
V
IV
III
II
Idea, and you 'll find that the best way of plaYing this
back down .
Example 2.7
I
difficult :
Example 2.8
I
In
and constant ly, she would get diZZY and fall over.
deSired effect!
Example 2.9
II
50
III
IV
IV
III
II
Technique
three~
Example 2.10
I
E
IV
VII
XII I
VII
IV
~~~~~~~
OK, those position sh ifts look pretty extreme, I adm it.
On the other hand, anyone who plays a lot of powerchord-based rock rhythm parts has already mastered
the basic princ iples at work here; the only thing that's
Example 2.11
II
III
IV
IV
II
Example 2.12
continues ...
51
Creative Guitar
ir-'-3-2-3-.-31 3-'-3-:>-3-.-3-].-'-.-:>-.-3-.-].-'-.-2-.-3-.- ,
Now let's take a quick look at another approach to
might even feel the urge to reach over with your picking
other two off the string . You'll soon get the hang of it!
Example 2.13
Yuk . Maybe if we shift on the E and G strings and then the Band D strings things wil l sound nicer:
Example 2.1 4
Nope, it still sounds pretty dreadful! OK, lets try swapping the outside strings, then the inside ones :
Example 2.15
2
3
3
2
52
Technique
Example 2.16
E 13==---1 2 -12 -12
' 14- -14=--13- -13
G 15- -15- -15-="'--14
o 16- -16- -16- -16
.to
"""--U)- -10 - -1
1 2- 1~11 -- 11
13- -13-- 13___ '2
14- -14- -14- -14
'"",::1;;::::::!!==~=:JI
11---11~1 O-- 1
12- -12 -12____ 11
13- -13- -13- -13
:c======~====~============~
than you? That's not the point ; the point is that. if you
and some w ill find these stretches easier than othe rs,
but that doesn't affect the fact that most players could
Example 2.17:
Example 2.17
1M
4
6
7
8
4
5
7
6
6
8
i7
4
5
6
8
~
5
7
6
4
6
7
8
:11
li es
they 're supposed to. In particular, you ' ll find that your
that. Still, if you can get all the way down to the nut
reckoned with .
In
53
Creative Guitar
CD Cutting-Edge Techniques
Example 2.18
,to
E
G
0
,
E
1.
1.
1.
12
1.
16
1.
11
1.
1.
13
11
18
15
13
11
17
15
13
11
17
15
17
13
15
12
10
10
17
1.
12
1
54
your disposal.
which
learned
In
In
thiS way.
all right or you could figure out the scale that would
<l
55
Sight Reading
Pitch
Example 3.1
Tre ble
c lef
L.eger..___
lilles
u
E
.. .. ..
U
B
G
,,
0
56
F
1
->--
1J=
3
2 -4
5
7
9
10 -12 7
9
10--12-----14
15
10 -12
14
15
17
19-----20--22
19 - -20-22
24
17
,.
> - -3
7
' 0----12 -13
2 - -3
7
8''' - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
upwards.
that note.
called a natural (~ l.
The other accldentals you 'll occasiona lly come
on, so don 't pantc. For now, here are a few examples
of accldentals :
Example 3.2
double flat
flat
" 0
natural
~. 0
sharp
0
double sharp
E
B
G
D
A
11
7
1
57
15
In
15
Example 3.3
E
B
D
A
E
-,
~
",
.. /
.
,-
,I -"
~.
!~
!
"'"
A~I
G- ~~I
,_, I
-::,
I :;
I ~A
:.
<:>
~,
:1 :::
I ~"' :::r I
,I
1
",
-' l -
'
e#r
I
I :
I
;;?
,
F~ .)
Key signature s
Example 3.4
t~j
"
Bb
Eb
A I,
Db
58
ill!
-~
Th eo ry Witho ut Tears
Can you see why I've arranged the keys in this order?
Rhythm
or C;, unless
otherwise .
Tha t's pretty much all you need to know about
find at the start of the music, just after the clef and
the key signature . Throughout the notated piece, lying
F~
this skill, you'll get to the point where you find proper
Example 3.5
Note
Rest
UK Name
semibreve
minim
crochel
quaver
semiquaver
demi-semiquaver
US Name
whole note
hall nole
quart er note
eighth note
16th nole
32nd note
Explanation
(4 beats)
(2 beal s)
\1 beat}
(hall beat)
(quarter beal)
(eighth beatl
59
Creative Guitar
CD Cutting-Edge Techniques
one before It, and the names use the length of a bar
In
I@Jl jl Jl J'
I' J\
t\
J J
J J or J J
J~
t\
I'; ; ; ; ; ; ; ;
J
I
J
J
j j J j j j
~ 3~
~ 3~
'-----------'
'-
1/ 4 note triplets
--'
these :
Example 3.8
Tied Notes
Grace Note
,...
---------
- - - --,
Dotted No'"
60
Theoret ica lly, the grace note lasts no t ime at all - It's
the full-s ized note that follows It. (In gUitar terms, you
Each dot means that you add half as much time as the
firs t note and let It nng for the total duration of any
Example 3.9
I ~i
II
4)
12
(2)
IJ
J
2
4)
13
Example 3.1 0
I ~% J J J
+
J J J J
1+)
J J J J
I,]
2
1+
3)
Example 3.11
13 J J J J J
ol
1- )
J J
1+)
.."
..
i
1+
-)
61
be low :
Example 3.12
~ 3~
1'1 J
)1
~ 3~
CI
Ca'
)1
the '3' above the notes is a short hand for 'cram three
two of them' :
Example 3.13
I ~% J,
J
CI
J
1'1
J
Cal
J
C,
J U
C4'
C.I
,I
I
Ca
.,
II
14
.1
hear on the CD, you should start to get a feel for how
sounds like.
62
as sad, point less or 'not very rock 'n ' roll' , but often
the only people who feel this way are those who can't
and
mutual
med ium
of
instruments,
th is
63
In
note, or the note that shares Its name with the key
Example 4.1
"'
, ,
,
.u
octave, Example 4 .1
In
Example 4.2
.,
64
Sca les An d Ch o rd s
defined thus :
(one semitone)
semi tones)
(ten semitones)
You might think that these last few intervals are irrelevant
major scale:
(seven semitones)
(11 semitones)
65
Creative Guitar
the first, th ird and fifth notes of the scale, and the
Example 4.3
~'*
oJ
.,
Root Position
,,
First Inversion
G
D
Second Inversion
7
6
:g
.,
,"
0
1
6
6
Root Position
3
5
,,
, ~
1
1
3
3
Example 4.4
..
...
~-
,,
i!i8
8
,,
D
Name
Symbol
Fonnula
7
8
7
8
CmaJor
Cminor
Cdiminished
Caugmented
(e)
(Cm)
(Cdim.C<
(Caug,C+)
~~
2T TlI2
66
1 "3
~~
T1 /2 Tll2
'7
3 ;5
1 "3 " 5
~~
T112
5
8
C suspended fourth
Csuspended second
(Cs us4)
(Csu s2)
~~
27
2T
~~
2.5T T
7 2.5T
The major and minor triads are by far the most common
just sound plain weird . That's not to say that they aren't
a bad plan! Triads like these are most effect ive when
Example 4.5
,,
2
3
2
3
5
5
7
5
7
,.
Om
Em
,,
0
7
9
9
10
14
1
14
15
Bdim
10
"
"
Am
players working
In
iii(m)
IV
vi{m)
vii (dim)
the ii, iii and vi (minor) are secondary chords and the
drummer is
In
67
ii 1m)
iii(m)
IV
vi(m)
Gb
Db
Ai>
Eb
8b
F
C
G
D
A
E
8
F'
Ai>m
Ebm
8bm
Fm
Cm
Gm
Dm
Am
Em
8m
8bm
Fm
Cm
Gm
Dm
Am
Em
8m
c:b
Gb
Db
Ai>
Eb
8b
F
C
G
D
A
E
8
Db
Ai>
Eb
8b
F
C
G
D
A
E
8
Ebm
8bm
Fm
Cm
Gm
Dm
Am
Em
8m
Ckiim
F;m
G;dim
C~m
D~dim
F;
mm
D;m
Ndim
F;m
Om
F#m
G#m
am
O#m
G;m
A:m
vii (dim)
Fdim
Cdim
Gdim
Odim
Adim
Edim
Bdim
F;dim
Eklim
of a scale .
A scale becomes truly useful to you only when
sca le, I would recommend that you first play the chord
same idea!)
to mind)
effective)
68
Example 4.6
11
-tu
u - -______________________
,i,~~~~
7
11
12 -11
14
12 -HI-
14
-'
18
16
19 -18- - 21
Example 4.7
~
oj
,,
,,o
,
9
12
1.
1.
17
11
13
1.
1.
18
e major scale
played over a
(Stuff like this IS not only good tra lnmg for your ears.
69
the time .
of all.
pace, giving you more t ime to exp lore all of the notes
roughly what scales and chord tones are for. The ideas
sounding interesting.
Changing Chords
70
Example 4.8
C shape
A shape
3
1
5
3
1
5
3
1
5
.,
G shape
E shape
1
3
1
5
3
1
1
5
3
1
5
1
o shape
3
1
5
1
x
x
t-
note with the G shape and so on. Thus these five shapes
allow you to play any major chord in any part of the nec k.
In
Example 4.9
C shape
o shape
G shape
I
0
I' v
A shape
,
E shape
A shape
I
0/
-0
C shape
-.
0
I
G shape
E shape
I
<l
-.
71
The best way of getting a feel for this stuff is, of course,
chords from a major scale and try to voice them all over
the neck. In fact, why not try it now before reading on?
Example 4.10
~
1
E
B
G
D
A
~3
1
1
E
B
G
D
A
E
8
8
f----10
f----10
8
,.
8
3
5
5
6
5
3
3
G
5
6
5
7
8
7
8
7
5
8
5
5
5
7
8
3
3
8M - - - - - - - - - - - - - - ,
,.,.
,.
7
8
7
1
8
3
3
1
F
,.,.
13
13
,.
10
13
,.
1
""
,.
,.,.
13
,.
,.
,.,.
13
13
15
15
15
13
15
1
15
G
Example 4.11
em shape
Am shape
'3
{'-'
1
5
'V
Gm shape
72
Em shape
Om shape
semitones:
1 b3 4 5 b7
A C D E G
IS
Example 4.12
o. on
i
0
0
0
0
1i'
Positlo n 3
..( II
'"
0 ,0
or
r-I
Position 2
..r
..r
"-
=<.
0
0
r'-'
I
Nut
POSITIon 5
II
Position 4
Example 4.13
Position 1
Position 2
Position 5
Position 3
Position 4
73
Creative Guitar
CD Cutting-Edge Techniques
but the notes that sound great over one chord won't
it in this way:
Position 5 = Gm shape
to say that position 1 has all the best blues licks - well,
Am
Om
Em
74
In
1 2 3 5 6
As you can tell from the above formula (or Indeed from
the malar penta tonic . As you 'll have diVined from the
Example 4.14
Position 1
Position 2
r-O
Position 5
O'
Position 3
.{'1
XO
., .r::
.,
Posit ion 4
\.,;'
0O'
-U
~
0
U'
POSItIOn 1 = E shape
POSition 2 = D shape
practical terms, this means that you can find the correct
POSition 3 = C shape
POSition 4 = A shape
POSItIOn 5 = G shape
75
Example 4.15
"
""J:..:*
*-,-
5';8J-8~ 10
y~
~-'-t
G
G
,,
J<.
~7 )
7110
7'-7~10
-iJ}-
7-{gj
&-8~10
'-'8'-8~10}--
Example 4.16
~
"
.~.
y~
~ -:,~
,,
~.
8~10 )-lo-{13
G
G
8~10 }-lo-{12
7-i10}-1Q-{12
7110}-1Q-{12
S{10)-10-(1
7'; 91----9-(12
Example 4.17
,
.,
,,
,,
~ .
1' .
y~ t~ ~~ _J~
G
G
lo-{12}-1Z115
lo-{12}--12.;1 5
lo-{12}-12.;14
12}-12-{14
HH 13H3-{15
1 iH12H~5'-
Example 4.18
,
.,
,,
,,
~ .
y~
t--f ~~ tJ~ =- ~
13';15}-15';17
G
G
76
1' .
12-(15)-15';17
12-(15)-15';17
1Z114)-14';17
l Z114}-14';17
1;:(15}-1;::{17' -
Example 4.19
l' ~ l'--f.
iI-
!-t-
,,
,,
15-{17H7--(20
,4; ,7}-,7.,, 9
G
0
15-(11)-17-{19
1~7}-11-(20}---
15--(17HH 20
ones sound and feel best. Nat urally, one way to spice
following features:
my point:
Example 4.20
,,
,,
..
~ ~ r~ ~-
"
g~ss
,,~
3--5?-"'7
5--7
5- 7
10
10>-"" 12
10---
,,,,
Example 4 21
gliss
ghss
~
#
,,
,,o
r~
10 - -12
8
I-HO
1 0-- 1 ~ 14
12-----14
13
15"""""':::'17
15
17
1<b-"""'12
77
Creative Guita r
Example 4.22
,..
..
8w - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ________
ghss
..
f!
,,
,,
B
S""""'::1Q----1().,..13
91iss
"
ghss
'2
15
_ _____ ,
17
17-"'
and refinger them so that you can play the same notes
oj
~ 3~
,... 3 ~
-J "
,,
,,o
~ 3 -' ~ 3 -'
~ 3~
' ()-B
'()-B
.~ a
,... 3 ~
-" I -
'-.. 3 ~ '-.. 3 ~
'B~
. ~ e~ .
~
--' ....- 3~
7
' 0-7
' 0-7
1()-S-
l...-"
~ 3
10-1
10-12
10-12
3--'
10-1 33~
Am
~e~ .
oil =3 ~
,, 1 - -15- 1
,,o
G
<..... 3 ~
~ 3 --,
a~E~ HE~e~
r::;:;
<.....~
....- 3 ~ ....- 3
15- 13
14-1
14-12
15- 12
,5-12=
15-17
15- 17
14-17
14- 17
~ 3 -'
15-17
15- 17
3 -...J
20-17
'--
20-17
19-17
19-17
19-17
20-17-
Once you know where the notes are, your next tas k is
78
you when you look at the mUSIC, and it gets a lot more
Example 4.24
oj
- 3~
c-- 3 ~
~~.
c-- 3 ~
c--
- -
,,
~ 3 --'
,,
0
oj
~ 3 .-'
,
B-
5-8
5--7
VII
.r~ ~~ . ~ .~
......- 3 --' '--. 3 ___ I.......... 3--.
, 5
8 10--8
10 -10--8-
~ 3 --'
~ 3 --'
5--7
,-
~3
.~
' 0-,
7--9-7
,,
0
7
10 -10--7-
' 0-7
'0
10-7 10 7
7
10 -10--8
XII
,- 3 ~
oj
,- 3 ~
~--'
~3.-' ~ 3 .-'
,,
, L -.
0
10 -10-12- 10-12
10-12 -12
~~ . ~ .~
,,
....- 3 --'
0..--
3--'
10 - -10-13
12-9-12
~3
~ ' - 3-,
.~
13
10 - -10--'; 10-12
14-12- 14- 12
"
'--3-.....
"
10-13
15- 12-15- 12 -1
15 -15- 12
10 -10-12-15 -12---1
"
"
15- 13
XIV
r:.:-,
14 '1-Z- 14 12
'-';.-'
15-17
""
0..--
151715 17
""
14- 17
79
XVII
XIV
,,
o
,,
~~
.......... 3 --'
.....- 3~
14
14- 17
19-17
17
19 -19-17- 19 - 17
17
20-17- 15 -17
15
15 171 517
17
;r- ; r- r: r- r: ~
14 17
14
15
H-
15- 17
XII
r---
3 -...J
~3
3-....
15- 17---17
"
.,
15 -15 - 13
--,
15 -13---13
14---14- 12-14- 12 -12
14---14- 12
14-12 -12
15 ---15- 12 - 15 - 12 -1
15---15- 1
10 -10-12- 10-12
' 0 -10-12-10-12 -12
L--1G-12 -1
10 -10-13
12-9-12 -1
r---...3--,
oj
80
r---
1S---15-17-15-12---'2~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
8
G
oE
,
,
,,
o
,,
'---
3 -,
'-- 3- -
' - - 3 --...
'-
3_
10-13
r---... 3 _
--
10 -10-12-10-& -8
-810 -10-8
13
3 --,
r---... 3
shape . You'll see that I've only written them out in one
Example 4.25
~--.
.,
~r
,-
,,
11-5-,
G
D
,,
r--3-,
-..
~3--'
-~
'--3~
= = 5
7--5-7---=-- 7
r- 3 ~
7-5
7-5
Example 4.26
~~
~
~ 3 -.
~ 3_
~3_
~.
~3_
"
"'--.."J
,,
G
D r - -7
,,
7~
7~
7
,~
81
Creative Guitar
Example 4.27
,,
,,,
"
..
. --5
8- 5 -8-5---8-5-""-5 -5--:7 5
7
7 5 -7
7
=:."..
- -.
<:>
7 ~7 5-7 5 -7
7
7- 5 -7
Example 4.28
,,
,,
,
G
"
~..
,_
.-
8- 5 -5 - 8 -8
7
7 ,
-.
i:!::l:t
-7~
7 ,
7 ,
5-7
7 ,
7 ,
Example 4.29
~--.
,,
,,
,
G
=
7
, ,
=
7
7---5
7--5
.~~
7---5
Example 4.30 reverts to the earlier triplet feel, with groups of six that alternate between ascending and descending:
Example 4.30
~.....
82
Example 4.31
~#
r-"#
oJ
,,
,,,
; -1
5-7 10
7--9-12
12-10- 12-14
12-14- 17- 14
-#~~nn
=
17 1.
17 19
17- 19-21 1
22-19-
strings, too :
Example 4.32
8"'- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - r---..
one, down two' motif - it's bas ically the same idea, but
83
Example 4.33
.,
1>
..
,,
5
G
0
,,
Example 4.34
.,-
1>
f:
1>
,,
G
0
,,
5 -7
7 -5- f-7
Example 4.35
,,
,,
Ir ..
1>
G
0
8~10
as possible :
Example 4.36
~ni.
,,
G
,,
84
""
. --
,....-.
3
r-:;.;::
r---...
-..,
,-- 3--,
ri-;
~h
~ 3~
~--
8-{10)-8--5
8-5
8-{10)-8--5
7-5-
7-{~7--5
7-5
7-{10)-7--5
tracks like ' Little Wing' and ' The Wind Cr ies
In
a minor blues .
solo.)
between the flat third and the regular third, with the
' average ' of the se thirds perceived as being
1 2 b3 3 4 5 6 b7
In
85
Creative Guitar
CD Cutting-Edge Techniques
A7: A C; E G
D7: D F; A C
E7: E G; B D
A minor pentatonic: A C D E G
A major pentatonic : A B (; E F:
following:
bes~
look at chords.
Seventh Chords
A,
this should be so .
C in the cho rd .
Example 4.37
~
,,
0
,,
0
86
5
7
CmaJ7
Om7
Em7
1
2
1.
Fmaj7
G7
5
5
7
1.
12
10
10
12
1.
12
1.
Am'
Bm7 ~5
CmaJ7
12
15
--
chords . You 'l l note that there are now four different
Example 4.38
~
<J
..
,,
,,
..
..
7
8
G
0
Name
Symbol(s)
Formula
CmaJ or7
Cmaj7
(alsoC " 7. Cm7)
~~~
2T T1 12 2T
..
3
C ml nor7
Cm7
C7
(also C-7)
5 b7
1 b3
2T T1 /2 T 1/ 2
5 b7
~ ~~
~~~
T1 /2 2T T1 /2
C mlnor7 bs ("hall-diminished1
Cm7 bS
(also C-7bS, CO)
1 b3 bS b 7
~~ ~
T1 /2 T1 12 2T
sound,
You should try these chords out, but first we're going
to have to do somet hing about those fingerings !
major triad in the re. after all), but they also have
comes from .
neck, as here :
87
Creative Guitar
Arpeggios
Lots of homework in th is section! The fallowing
Example 4.39
emaj7 shape
Gmaj7 shape
B8
Amaj7 shape
!R .()
Emaj7 shape
Dmaj7 shape
Example 4.40
C7 shape
A7 shape
x
1
C7
7-
.r.
5
3
<"'\
'7
5
1
07 shape
3
>7
G7 shape
>7
5
1
E7 shape
1
5
1
5
C7
x
x
5
1
x
x
Example 4.41
em7 shape
Am7 shape
5
C3
C7
5
'3
'7
5
1
Gm7 shape
>7
>3
1
Om7 shape
>3
>7
5
1
Em7 shape
x
x
1
5
'3
'7
x
x
5
1
Example 4.42
Cm7\.5 shape
Am7\.5 shape
x
' 7 -<.]
'5
x
'3
'7
>3
1
'5
1
>3
'7
Gm7\.5 shape
'7
13
1
.5
x
x
Em7\.5 shape
x
5
3
'7
x
..-
1>
'5
1
x
x
J.<
89
Creative Guitar
CD Cutting-Edge Techniques
:':::
"':-'
90
.()
o
o
0 "===
r O-
"V
'"
J
J
0 1-
91
Creative Guitar
CD Cutting-Edge Techniques
put them in order, you get the following A minor sca le:
1 2 b3 4 5 b6 b7
ABCDEFG
decorative ones .
In short, trust me - these shapes are worthwhile,
so don't sk im over them .
92
be careful!
Modes
minor scales are also linked . The root notes and chord
Eb natural
A minor.
so similar!)
93
Ionian (maj7):
2
Dorian Im7) :
2
Phrygian (m7) :
,2
lydian (maj7) :
2
Mixolydian (7) : 1 2
Aeolian (m7) : 1 2
locrian Im~5) : 1 ,2
3
,3
,3
3
3
,3
,3
6
6
,6
6
6
,6
,6
5
5
5
5
5
5
,5
4
4
4
;4
4
4
4
7
,7
,7
7
,7
,7
,7
different ways .
that these modes not only contain the same first, flat
th ird, fifth and flat seventh but that they also share the
same fourth, so all of the flavouring lies in what kind
..
Example 4.50
I~
C Ionian
..
o Dorian
..
II
..
T
T
F Lydian
G Mixolydian
E Phrygian
AAeol ian
BLocricn
94
..
..
.0.
Example 4.51
Dorian
1
Aeolian
Phrygian
7-
d'.
A.
j-..,
;0;;
",;
y
v
-Q
-V
F
F
'-'
'L
.A
-X
-V
P.
\!
",;
4
./'
,;r;
-V
-V
"-
-- -
"-
.;:,
';!.
:x
-"
-u
5
./' .
)';
'>!
.A
:;;::::
.A
<;::;;
v
./'
'):.
:;;
-0
W'i
95
Creative Guitar
CD Cutting-Edge Techniques
Example 4.52
Lydian
Ionian
7-
.:=;
Mixolydian
1
./'
"'"
"\:
2
,"6
i\
""-
-<
=oj
--
'X
/-
'J
2
~
.:=;
,r
~
xl'
,..,
A.A
"'X
"\J
A;
7'
4
~
"V
.A.
"V
-?}
::=:
J
"'-
"'V
5
d'
~
';(
96
7~
(5.
::=:
~
"X
"X
Y
3-
Example 4.53
Locrian
.r
:?
)-
'V
In
.J
97
Creative Guitar
sound good!
sample scenarios :
but it 's best to stick with one at a t ime while you 're
you' re doing .
98
seventh chords :
( ~ T)
(+5)
(+T)
(+T)
(+T)
(+5)
(+ T)
(+ 5)
I ~ T)
(+T)
chords sound like part of the same scale and the key
(+ T)
1+5)
A-O-E-A
Am7 - 07
Am - C- S, -Am
A-S
A-G
Am - Om - Em -Am
Am7\,5 - S'mal7
progression
tone lower.
fOllowing arrangement :
99
Creative Guitar
Example 4.54
I~
..
Ii
Ii
Ii
Ii
..
.u
..
13
11
This gives you a name for all the notes in the major
Example 4.55
I~ I
CmojO
Cmaj11
~I
~I
C,
C11
~~I
~~I
I'
I~
Cm9
Cmal13
1
C13
~~I
Cm13
Cm11
the root note, to tell you which key the chord is in;
the note specified by number in the chord nameie the ninth, 11 th or 13th).
chord are :
100
the stave you go, the smaller the intervals you can
(You ' ll also find that the major 11th chord sounds
offens ive to the ear, even though it's the same interval
as before!
hear how the two notes sound more like a whole chord
Example 4.56
,,
o
,,
7
7
Am
8m
,.
11
12
14
12
14
F#dim
,.
15
G
101
CD Cutting-Edg e Techniques
Creative Guitar
Example 4.57
...
.,
,,
G
0
,,
<
5
5
7
7
12
1.
1.
1.
1.
12
07
Em7
1.
F #m7 ~5
GmaJ7
"
1.
Gmaj7
Am7
8m7
emaj7
12
14
"
extended chord . Once you 've got the general idea, you
Example 4.58
Major 9
5
9
~7
1.3 r'1
X
102
I'-'
~7
1.3
1
X
X
-v
Major 9 #1 1
~1 1
9
7
3
1
rv
'J'
,-..
Dominant 11
~lmm
~7
X
1
~I lei II
~
~
I
11
1
X
X
Minor 11
~7
11
~
,-..
11
IX
~7
X
1
~7
>;
~7
'-'
,-..
11
Major 13
13
"V
9
7
5
X
Dominant 13
,-..
IX
"V
~7
X
1
Minor 13
1
13
~
~7
,-
9
~7
3
<
13
3
9
5
~
~7
13
,-
<X
'-'
~7
1
~
,-..
5
9
13
,-..
IX
~
1
X
103
Example 4.61
,~
.0.
<>
,,
G
o
,,
7
7
7
7
7
Bm11
E7 bs!,g
Am aJ 13(9)
but for now I should tell you that there 's another way
higher.
tones higher.
you were real ly fond of the third, you could just remove
105
Creative Guitar
CD Cutting-Edge Techniques
(+9th/2nd)
that fits the bill. For instance, C/O would be best tackled
106
Example 4.62
"
oJ
,,
5
5
3
3
,,
o
10
7
7
'0
_,0,
7
7
7
5
5
,.,.
12
12
""
'0
'2
'2
'2
15
15
,.,.
,.
You might not find a home for all of the ideas listed
moment agoO .
In a situation like thiS, the chord change really
theory
covered
so
far
has
worked
on
the
how smoothly you can line them up. It's all very
In
contains C,
5,
progression
In
'07
Creative Guitar
CD Cutting-Edge Techniques
108
Creative Guitar
Lydian mode :
Example 4.59
~
10)
1
,,
G
,,
0
, ,
2--.
i
3
4
-r
2---2----4--5
t - 3 -4
4
4
; ;
:
7
--<5-
- 7-
i
7
t-a-a-e
9
11
11
11
13
13
chord voicing:
Example 4.60
104
part
full
of
those
Hendr ixian
but don 't worry - 9/8 simply means that nine eight h-
groups of three, counting 'ONE-two-three, TWOtwo-three, THREE-twa-three . .' instead . If you try to
Track 2
follow the rhythm you hear on the track, you 'll see
bas ic pattern:
Example 5.2
~ ~ illl: ;'
3
}
3
;'
}I
:11
Track 3
progression;
Example 5.3
I~m
07
A7
E7
07
A7
A7
E7 ~ 9
110
On The CD
Track 4
Example 5.4
I,m
Dm7
Am7
I~
Em7
Dm7
Am7
i't
Am7
:1 1
Track 5
throughou t .
wherever
progression :
targeting
chord
t ones
Example 5.5
I'
I'
#11#
i I'
)E
n'
A11
#ij #
,,
,,
,,
DE U i' f
,,
I"
,,
Ob7
8 11
,,
You'll note that I've only written out rhythms for the
q ,.
,,
II: '1
07
~ ~
Ob7
,,
'1'
,,
07
pEH U yJ" II
811
Ob7
07
111
Creative Guitar
CD Cutting-Edge Techniques
Don 't feel that you have to play all the time!
Track 7
principle .
Track 6
work it out. ..
Lydian mode.
Track 8
chords:
Example 5.6
I ~ ill: Gm
JSS?
B' m
:11
here, but you should get a feel for them once you 've
Track 8
112
50NTHECD
Track 1
solos
like this :
I"f
Example 5.1
In
rm=rm
I',. t mo
F(sus2)
I't
1
Gm'
1' &
"
Om'
I' t ~
"
F(sus2)
Am7 (1 1)
,.
f
Am'
'.
~l e
Om'
Am'
Om'
11
11
F(sus2)
I ,.
f
Am7(1 1)
I"
f
E ~ (sus2) B ~ (sus2)
Om'
"""
RO
e b(sus2)
"
Am,
1
G(sus2j
~ 1
b
e (sus2)
rr
II
Eb(sus2) B b(sus2)
Om'
I ,.
f
HO
B b(sus2) C(sus2)
I,"
I
Eb(sus2)
r.-
~ 1
II
Gm'
109
On The CD
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,,
MU ~
MU
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.,
,,
ES
MU
GS
...
ES
DS
G!,
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. ~
. ~~
MU
MU~
3-=-"'"4------0-----0- .:::.........-3
GIS 05
05 o ~
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\.
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MU
o
,,
ES
G!,
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E5
1
F5
gliss
,,
MU
MU ~
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ES
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e !,
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DS
o~ ~
3~.------O--------.'-""'"
ES
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GIS
MU ~
1
MU
MU ~
\.
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0 #5
1 I ~;
G5
MU
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ES
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G5 G~
0
5
~.':"""'::-3
G#5 G5
3
1
0
5
0
B!:.5
3
0 - -1- - 0 -4
5
F5
5
G#5
113
On The CD
,
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MU
G
G
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3-3-3-3-3-3-3-
G5
J,
@
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3-4
e-
3- -3 - 3 - 3 - 3- -3 - 3 - 3 -
"
...
.
,,
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..
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. .""
MU
G
G
,,
5-<1-5-4-3-
~.
e 5
"
G5
..
,,
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..
~
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~~ '
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"q.
MU
,,
5
3 - 3 - 3 - 3 - 3 -3
'
...
,.
MU
>--2
C5
85
8 1>s
115
Creative Guitar
...
,
,,
,I..
MU
G
0
".,.
"
ES
DS
c#5
3-----"-4-----O------O-4.=::-....c-
oJ
ES
ES
Gi'
Gi'
GS
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;:::
MU ~
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MU
:::::::
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MU~
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o
,
G ~5
Gi S
ES
05
.
,
' '-i-*
MU
MU
7"'"-<
".,.
ES
05
E;S
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i
aM;
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oJ
as
ES
~4------O--------~3
ll ,3S
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FS
ES
""
:::::::
;
i
,~,
MU~
8 ....
5 ... ..... 6
3"""-=-4-----0------0-4"""""'-"
ES
G5
G;S
G#5
E5
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,,
".,
116
3-""4~
ES
G5 G;5
ES
~.
G;S GS ES
aM;
ES
FS
ES
Gi'
GS
On Th e CD
~ 6~
A
"
~ 6~
O~~~~~~;
oJ
,,
,,,
MU
I'I ,-,:!
, CO
MU
CO
,,
,
,
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r-------
II
F5
6---,
--. 0. 1
,,
,,
, .,
CO
MU
CO
~ 'p,
MU
,,
,
,
.5
,.---
6--------.
~ 3~
3~
~ 3~
~ ~ :FI~ ~ :
I~I :
--=
o.
MU
CO
,
CO
MU
MU
,,
~ ,: ~ i i
i
co
MU
~',
F5
6~
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_ 3~
-,-
'5
,,
,,,
6~
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MU
LL
,,
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,
Of
MU
MU
1. :
CO
,
'5
N.C.
1 17
AFTERWORD
potentia l. Remember
to
keep
exploring
you r
118
Creative Guitar
CD Cutting-Edge Techniques
~~
I.,.
oJ
0
,,
3 ~ r--
~~
1.1.:~
CO
MU
CO
MU
. 1i
MU
G
G
,,
3
3
.5
11,17
F5
6~
,,
MU
MU
CO
CO
3
3
G
0
,,
.5
11,111
.5
Bbo
6~
'5
"
.----- 6 -----,
II
oJ
0
,,
MU
CO
MU
r - 3 -, r--- 3-,
,- 3 4
MU
o
,,
--3-3-3
1 1 1 1
'5
114
111,24
3
1
3
1
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