Professional Documents
Culture Documents
Play Acoustic
Play Acoustic
.'
.,
'"
Play
caustIc
Edited by
Dave Hunter
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Play Acoustic
Edited !;)'
DeilY H Url/If
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600
San
,'dition
200 .~
Harri ~(m
Franc i ~cu.
Street,
CA 941 07, US
l.'v\'vW_bac k b!'ilt!XlOk~. m
I
lin imprint of The M usic PlaYl!r Networ\( United
En tE'rtainmenl Media Inc:.
2.1 Union Court, 20 -22 Union KUiUI. Lonrion. SW4 6JP. England.
www.backhentlJl: com
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ISBN 0-87930..53-2
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Copyright 2005 Balafon . Copyright 2005 in the tex t and musica l examples belongs t o t he
authors of the Individuill sections. as detai led on the conten ts page. All rights reserved. No part of
th is book. covered by the copyrights hereon may be reprod uced or copied in any manner whatsoever
w ithout written perm ission, except in the case of brief qUat<3tions embodied in articl es or reviews
w here the source should be made clear_ For more information contact the publishers.
Ni y<! I O,nCllnC
.<-< Tony Bacon
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John Mo-rrisn
Paul Cooper OeSlgn
Origination by Solidity Graphics ltd and printed by Color prin t Offset (Hong Kong)
050607080954321
all Slart ,'(/ With t h" , mall -b" d l"d , gu t-suu ng , flat , wl'pffi ,nsr r\lmentS of a
It
Gt' rman .mm'sram, Christia n Fr,..:I u <-h Marton , who was bui ld ong g Ull ars almosr from Ihe
l ime he
am~ed
III
New Yurk In 11'1 33. A"""d 37, ask, IIt:<l lut h,('r who hu l comple ted n
apprt'lluccslup a t 0" " of I! ump"" mo:st rc:spo::ctt:<l g ui tar- ma kers _ Sta uffer, on Vienna
l\hrtin (1lm c
to
to
lo n~
C. p.
Ma rkneul.archcn , Saxony (,,"'" C;"rma ny, t hough formerly East (i t rma ny). He was hell-knt
on ma ki ng hiS ma rk on th" yuung ( ounr rys st tlngtd InSlrllmen r rnule. H e d ,d thaI, a nd
more. By the
IH~{I!;
Ma non was stl lmg gu irars (l('slgnN along new h nes that would
tl'VOl ut lOnlSt' Ih" p"rfor manc(' of Ihe ,nSl rument , and whic h ,ICC sull ("("hoed In t he
c.."'trun,unal d"ralls of rhe ,au majorit y of fl at-tops :)Vallabl!.' t(xb y.
In t ht lat" 18305 , Maru n h ~d moved his family and his busillt"~ In n,,,rry 1I, 1l ,
Ptnnsy lva nHl , an,\ C' enlUall y to ne<lcby
Nazar~t h ,
fam o u~
addr",s
n "r 51O(e (despit(' the rl'ioca ti nn, how"v" " gUlIa" we[" stilliahtllt"d as ht-ong mad" In Ntw
Yor k unlil th(' end o[th" I HOO.'i), From tim tim" onwa ,d~ , t h" maktrs gUItars ,a me to look
more hkC' (he Stea( Oat -t ops th.y wmdd "v"lltually spaw n, and ltss I,kt ,hr o ld -world
minstre ls instruments (hut t arl y IHth C"!lt Ll[Y Eurof"'a n
gu' tar~
restmhk. Marti n simplHkd IllS stylIng c'>Il"d,,[ably, d ropping tht Sll r>("rtlU OliS or namt" n1 ~ 1
wood wo rk ~nJ l'inborat~ inlJYs o n all Ou t ti, ,, ,,,,ca'''>Ilal di ~p Jay o r Clls!.Om-o rd t" r mOtI"I ,
while lflSld~ he
Instrument .
evoJ~ed
cnn 'ifuul<lna l d"tatis th at would pave , he way for the mod ('r n
T he move from rud , mennry 'add." hraclllg fO the funn ... d bl1Jrong of Spanish c!aSSKllJ"
gUitars of , he r, m" (about the o nl y Span ish g uita rs. !(";lily) mad ... hiS sm<lll ef lflS tt ulllent~
mtlr" ton ..fuJ than most of anythlflg l'isc that "'as a~al la b le , wIllie the "volUtlo n of hi' X
bract"<! toP$ o n ,h(' larger guHars had a more complex im pact nn th""" mndds (upahll",,,,
Ahhough the full po tenll~l of t he dC'S ign would ht-com" fully realo~"d on ly w udually, th "
sturd y c rOOKd bmclflg for mat all owed both t h" lor-..!.:"s and th" gu,tar 's top to ht- th ,nn" r and
IIJ!h tt r, wh Ich In (Urn Yi elded mor(' rC'Sonan ce alld volum" o n th" J!ut -S[fu n~ ,II Ulfa" of th ..
day. W hen Mar lin would e~ ol ve to pr..:lom lllam ly st"" I-stflng prod un lon .. arl y ,n t h.. n,,'1f
C"ll[lIry, (hiS X. bracing wnuld be r"udy tl) tak" Iht strain w ,thou t ""cessHarlllg any ronedampt"ning th i( kclllng o{ th .. VIbra t in g top or w,d" nlllg of th e internal bra(es ThiS rcally
was a des ign [or the {Utu,t, and o n" of the
man y ingredi"nt,1 that madt Marti n /l1l'ta rs,
fot many y~a rs, ont of the mos t forward ltkl kin,ll make,s III
Wh~n
~xis t c n ((' .
ill
---
I ntrOt"ill(~d
and
wou ld
r(' ma ln the
~ yS(~m
WI1_' O;"S[ahl" h.,d . Th.,y rangt"<l from p lain gUl fa's w llh
s lmpl O;" binding and f.,w or no InlaY$ , 10 .';llIrars WIth fa ncIer abalonc purn ing, pos'tion
mat kns and rosetto;"S, and Inclu<l.,d modds wll h ha5IC bu t clegan t hCrrL ngbonc trim and
snuwfl ak ., Inlays in bt-twN"n . fiven at th(' up p(,r Iev('L how('v(' r. Ma rl in g unars werc mostly
SImpler and mort" auster"(" In d('("orn llon (han som(' of t h{" p<'1)- rl -pac kcJ showplITCS of oth{"r
makers_ Th., (' m p hasis was al ways on soun, l and bUI ld <j ua lny. and C.F. Man m appart'li tly
",,"w rx<"t_ss iv""y orna[(, d ('(oml ,on as pOle nt la ll y ge l ling ,n th{" way of thcse morc Impo rt alll
goals (as do many of [odays lOp m ak crs of bol h flat-wps and arch tops. n IS wonh noung).
U nc(' on place. the look o f Ihcse n um oc red Styles wou ld S('{" f('w ch anges for the followlllg 90odd Y('3 rs . u n ril ' hc Impa{! of Wo rld War II ('v(,Ol ua]]y (orc.... J some chdnges of ns own.
In rhe earl y part of th" follow lllg ("("muty t h(" n()lI()n of Stllllg lll g gui tars with M.,d
st arted gaining popUiMit y, but Mart.n was
Martin
manufactur~d
r~lauvt'ly
s low
to
th., !)(ca,,,,nal u Iswm -ordet gUIta r 10 la ke sted str ings. but irs first
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~rI"S
lfi
popula r ilawai Jan m USK of , h(' (1m ... In rh,s way, the forma l that wuul <lllt'",mc Mnru n's
srock
In
and on fan
II
(ho u~h
off... mg s u, .. 1 _< [TOnss nil , he- \ow l.("$( of Irs standard 'Spamsh'
hod,w 2- 17,
ill
Ihe day
would n s(' upwa rd from tht' hmlUm , (OO, B)' the ea rly 1920., Martm was
~I yk
gumlrs, t h"
m ~hogany.
and by Ih(' ('oJ of ,h.. dad .. st .... 1 st nngs had spread rhrou}(hnut , he IlOc PS
r h~
to
S"I: ur~ ,
yo u (an s('(' th(' stram of Ih" ;oppl ,eu ILon of steel strin;;s
d~Wt't:'
to a
It~
guitar.
roou m the gemkr 1'\11 1 of IIllf, ,n th" fo rm of a subtle archi n;; , or ' beJl ying ', Hound the
of t he top illst be hmd th(" hndll" Many newe r g tl itars will
~"hlb , t
the same
ar~J
symp l om~.
I"SptcialJy those wll h PM(lClllarly th In tops a nd light braCln).! - but J( 's not n("(:es\.udy a
CauSl' for co ncern. As N or man Blak" put It , "N('"e[ tr USt a g u itar WIthout a belly, " An.1 whl lt'
thoSl' sl<'l;'l Stri ngs mlly apl)('af to '''St a gUI {;or's struCl ural ,n(t"g rlty, d'l'r .. Iso get II wllllmg
wit h a f... t hroatier "o)(e (hao anything gu t (ould ever maoagt', and call ra nl (ulllrJy ht-Ip
[hoS{' (hill_ topped , lig hdy-b roc("<. llht -rops sIIIg s wet' dy inJITd.
HavlIlS
and m faet
w t".. th..-.rcJ
bot h the man. lol m and uk ulell;' booms of th t" ("arly pa ri of , he (ent ufY,
Its
of buS Iness III C'3Ch craz" that all ow('d th(' compa n y
ht'yd.l)'
In
low~ r-~ nd
accrpttlnc(' of
.[ ~ pr~SSlon
.-" pa l\d.
(OJ
the
er~
me~n t
an m.H rllment, wh tlr Martlll ltsdf honed borh nrw anel .. ,," I lUg
tlm~ .
~iattjn g UItars w~!'(' nnw M"[( I'fl/o: In (o (t n ,,,n const ructional and de<;;orat,vc standard_
lhat haw' rt'mamoo fumOllS am ong afk lonados. W h,J(> , h., most aiforda bl .. mo.:i('ls
remai ne<! all -mahogany
Jo(ll'tars.
tl1O' n..1(1
rUlll:
sId"", mahogllny " ,,< I.:, fost'wood fi ngt' rlxlllrd ond brl(Jgr, and a spru' top. Sprun' was
tilt' standard throughout rhe range fur th., tonall y c ruCIa l pan of the UlSt rume n r , bu t
W('ft'
to .. ,[ahl'5h'"g
to
p ush thl"
boundaries III (fuClal waY$ For a tim .. rht" 000 _ )U" a m,d-sLlcJ g UItar hy today 's
standa rds - had Mil t h~ comp nny ',\ lur;;:r sr 'conc('r\ " mudd . In llmll y at t h.. rt<Jursr of
g U Itarist
W:1S
;Id aptt."d
al
t he enJ
of th ~
I 920s to carry
a n~ c k that ioill~d th ~ hoJy at t h~ 14 1h fl~ t t:lthl' r tlmn at rhe 12th, as was prrviousl y tilt'
standard , which resul ted in th~ 'O rcht'st ra M(.d~l N OM deSIgn . Ov~ r t h ~ next few y~ar,',
thIS longer "t'"k woul d bceomt' , randard on mll,1 Ma rrIn model..
Th is t'volutlon had also ],rou,l:hr ro life the Jarllt'SI y(' t of Ihe Marti ns , alt hollgh a ' lIon _
Martin Martin' of si gnifica ml y W~~ I ~ r Ji m ells lolIS had exisud (" r a f('w years already_ In
191G j\fanin han made a lHl~ of unUSll:1IJy la r/j~, rhl c k- w'listtd , ",m('what p.:ar-shaf>t'n
)i:uitars at th ~ 't'<J ues! of HI, trumt'O! rC(;lHt'r I h ~ Ol,v(' r Ditso tl c.ompany. T hese guitars,
resemblanc~ to Illc profi lt' of ,lit' IAtE;(' Sm"h warsh,ps of th., .am(, name. W hd., tht'y
ordt'~
(0
prove
th~
m~lit .
In
the lal., 1920s the DitMln company chan/!.,n ha nds and nast."d to oroer g UItars from
Ma tti n, so Marlin tnok up Ihe flag Itsr lf, and by 193 1 was offering 0-1 and 0- 2
D readno ugh ts und e r
HS
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~um,"g bIg Sl uff hul h on rJd ,o and ,n I(l rg e dan crhal ls across tht'
COUn try, and fI'I:"'" larxe InStruments wrr(' O('(l r-mSlant successes wJlII
many pro.~ ,,~b n~ the volumr rrq U1 rcJ
to
Dreadnough t, qUIckl y Sl't t h.. ,tan<laru for both boommg cou ntry
rhY lhm gunar and spC<'dy blut'/jT3sS flatplckmg, ann till" body styl t'
g rew 10 l1t'com~ Ihe mOSt popular ~cousuc shart of all .
H avln/! prO\'cd thell plat'e III the markt't , tht'S(' models finally
appt' a r~d In rhe M:1ttin (a t alo,L; u ~ In 19j5, in tht full standard lan,L;t
of St y It' s 18
to
prcxll\('tlo n modd, a
/!\ltlH
nc,"1y ""
JIl
th(nughulI! tht' ronge hav., usually pro.'ed Ihe most pop ular
AI tilt' height o(th., hl,ll-band eru. oflhe 1930s andeatly
I 940s, Marli n flm..d with archt ops, whI ch
W ('rt'
proving So
WAS
alI't'ad y domg
10
Ihr low . . { bo ut , writ' d ubbed ' D r~an nough g ' (or the"
..
SurVIV(' , ht- urll v.,rsal cla mpdo wns t haI t ht' wa r mt-ant [or Amt'ft (an gUlt ... -m a k~ n , but
would Ih ro\l(' a nd r., ma," , ht- mos t r<'spo::u'(1 aco" 5t ic bra nd the world ovt-r T ht- n >lnJXl ny
would bUI ld somt' ;:r.,a t l! u l['.. r~ asal u afte r ,h., war, 11K), but no model would agam q ult('
r...ach tht' " p" omc of Irs fi)fm ~oug h l 10
a rg uabi ~'
lIa ft"u~
l on~--aba nd "nrd
ebon y
wetc r<'lIlstated ; for . ht sa mt' r., ..sons, onl y on f(, fl o' nm.,rs could be sou rnd , a nd ulhl lnne
n )uld nn longer be
4 2 and
4~
ob(~ on('(t
In , h., q ua nt ities llt'cJ('d for t h., ti alH1rate trim r<'q uort"d hy St y)"
11 5
sin,., '" l ~aH t he m idd k of tht' pr.,v IOus cr mu ry, bur On(t' s[()(-h had d ri ed up
If
(o uld nn
lontln uht"" , furt he r su pphcs fro m tht' f"ll~1I Eu ropean natl OIl aft.,. t he war. And ,n a
co nSlru ({ lo nal l h "n/l~ , a trcnd fo r uson tl ht 3vy gaugr sted s(rintls ilk t' t h "., ~ flu <'d to big
OPI'<:ISITE PAG~ A
arch(ops fo r(~d Mar tlll to Stop scall opln tl I t~ top' support bnlCrs In 1944 , l ~avjn g Ih('m
th icker an, l ht- r't'r abl~ ti l support (h e su aln of a whopping .0I Jj " or . O l ~ " sO't , W ith 111('
Martin
heavy
t'n tl r~ s h ~bm\g
ducker hmces d Id at
top
l ~a "
to m ctlJU m
w~ a t
rha.
y~a" .
{on"nu!'d
to ,~t th~
&
w ..stern a rt IStS
moJr l's [>oSllIo n as rhyt h m g Ullar ma Ins tay c" . riecl ove r
1010 roc k'n'ro ll (hrnugllOut t he 19, Os. than ks in no small
p:on to El\'l s Prtslt'Y 's .,arl y !.l_S( of a 0 - 18 a nd D-2 H. The
fol k boo m of rhl'
boo,lt d d'l'
s~lcs
ma k n , a nd t he
[,1.1~
t h~
e m hraClng of
~ Jlnplt'r
things -
r Oy
t'a rl l ~r
tha t
a ge neral
w a_~
W ('t'('
It,
modds of i O or
fol kocs' 10n';IIl/ol. 0 .. (h ... bae k of thIS CI'llZl:, t ht' com pan y
successfull y Inrroc! uc.,d , ht' aus tC"r<' 0- 16 N Y and tht'1J 002 1NY (NY for ' Nt'''' Ym k', md lcallns g Ullars stylrd aft er
t h.. SIm ple IIls twm cnt s I'roo ucr d und er Ma rl in's New Ym k la lx-I III . hO'
.t'lIl tm;;! uced a n um br r of Olh.,r 12-frl't mood s , nOl pr...:i"r reIssues as
tf)d ay, bu t g ult ars , ha. (a ptu r.,d ""me of the Ima,!;,; of mnd tls of t he
M od~l.,
m (Jr~
,uch
~s
w,;
Hm()~),
a nd
k now th" tc rm
1 92 0~
and 19 30s
t n(' 0 -1 8S and D-2HS, and ot he r 00, 000 and OM Iypcs found favour wnh
thall a fcw Iratl(' rs of tht' f"lk scr ne _ oncJ ud m,!; t h., llk.,s of Pe(e Yarrow und TOIll
Pax ton _ und th(' dcm\ln d for thr s., r~ trH des ig ns was st(urecl . T he mid -1960s ai'l) sa w t hc
11
Martin deadnought
enth\.lsia~t.
0'1
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!lIGHT A Martin D-35 from
1968, CIHt1UI Tom
whh h is D...adnought.
e pitomised the ....1d-1960.
'.xton.
,m md unio n of the D -55, """h a r(', u rn 10 light", b ra( '"X and a (h rc('- p H'C'" rO'.... """od hack
nmn::ived as a wa y of c"m ba'lng a slio rt llg(' of Ur-.. zol ,an fOSl"Wood plan ks w,d" ,," oug h for
t hl" ma king of trad lu o nal (""0-1" ("(:(' bac k~ . Ma rr on ', gran, lest J rC"adnoux h t t H' n rNUrllcd
to
m Ol"("
In
In
rt'spons,bk for "liS big d .. nr .n rh ... company's prod uction I... vds . bU I t he aCt"'.'llr
mar kn was ('tta lllJy slOWing. Mo re pc ru n.. m fur IO<Iay'5 pla ye rs ~ and 1;u, mr
huyns -
IS
IS
q ua lHY was ,\!JppmS r h rou~hollt t hese yt-d r., h n~ of t he brand nOle this as " n ~
of the JOWt'SI t'bh, In Mar uo's ovem ll I m pr~"~l v~ ac h ievement . At tht'
the decad e, Ma rlin had Bddcd a
roS"Wl~>C! pl a t~
" tart
of
anu ,,]so mHt ast'd th r thi cku C'.\s of til .. ~ n cl s of t he top bmces, all in an apparent
bid
to
to
tops dlS (oning lI nd .. t th t' r ~ n S l on of h('~v j ~r "!ring ,!; aU,I;es , but they also
d ampe d their VDICt"
wns lcl~mhly,
coflS!ipa tcd sou nd and f.. ~ 1 lfl n(' w ('xaillpi t'. of tht' d ay.
Anot her fa, lur, o nt' rh nt Man lll co uld do not hing about , drew a h ilt'
......---
000000
Jll
m any fX"Opit"s
Ind ia n tOSt' woo<1 fot t he, r g UIt'. r bal' ks, Sides and fillgo>rbuards. I't'w
pia}".-" would h;w(' noted II at t h.- limo:' _ and in fact rela ll vt'ly kw
a[ an y li me could n:". llsli ca lly 1,Il'oofy any g T.-a. sunic <lIffr ro:'nce
I)t"[wrr n ( he t wO tyJ>t'll' - but Hmzlli an
womr anOlheT
12
,0
Mor,l;wlls hr rr mgbo nf_ trJmm~d Marri n In th(' form o f th~ HD-28. h s insmm
13
GUITAR HISTORY
~u(c{'ss
when
It Cdm"
tecov .. r}" -
f ht'
to
aCOIlStl("
,ks'gn and tr im, a nd - "frt'. a lew yru('S of re"dd jlL\l m ern and
bU5lnt"ss
srnltt'g.es.
[ !it'
I'('(ov('ry
WdS
fi,[ a n,w yrars . In 1982 th .. cnmf'llOY sh'Pl'>I"<1 only around 3,OOtl guita rs, It'Ss t han 15 pe r
celli uf
I t,
ach l(C\"rml'"1l1 of JUS t I I }... ~n; prrvlOus. ThiS was prcuy much ( ht" honom ; rht"rt'
IS
w~r~
also
1~5so n s
IC'1l rfled
t h~t
hard limes,
In
th"
th~
prod uction
mod t'l~,
a~:1I1n
bm oner
10
to
of th('
V"'t' prrSld(,1l!
to
mo,'r on.
to
both rh(' combu\eu ,' Ul-l-~'S~S of su m", n('w stanuard ~nd Iomllt"d
t'd lfl on CuStOIll Shop modds, and
./I.kxi ca n_ mad~
fO
stan of th", d~("lId",. litH (h('r(' was more co lnp"tition in Ih", wings,
HlO, W hll", aCO USI1C glllln rS w('re enjn ylll g a
r~n",weil
populanty,
larg t' bt{"'s of rh ar ch('rry were !x,ing tak"n by morr affordabk but
_.u ll h',L:h -'1 lmhIY guuars (rom till' I lk ~s of Taylor, Takamine, and
(){h~ rs . Thr plam 16 S('[I(,S gUl r ~r "ffer"d a Mart in at the lower ('nu
of t h(' upsea k malker , but thar sldl m('ant n hJgh -l'ud pnc" la,lS as far a.s many pLa~'ers '
a sl m p k but d l'gam -Iuol.:. n,L: Drrad nooght. It savoo 'fl.'t' b y "mploYlng Jammat('u sid('s _
bu< lh'C(S ,,"'('f(' conctm t"d. Martln 's rt'ply to (h(' )lfl C(' war a mi", ln 1993
though wit h a solid sprue",
10 1'
ami
m~ho~"1lny
In
In
k nockt"d a Ol,!! chunk off ('v('n til(' D- 16\ pm I' rs,L:, and playns took up rhe n~w, mort'
afford abl" Martin m th(' ,.
dtove.~.
n~w
g~ml',
by marktrm,l;
vllllagt-sryi eil or cuswm -u('slgnoo modt'Js und("r fa mous artIsts ' names and caHill,!! rhtm
'Slg narure F.d JlJOn gu it ars.
Th~
~ x u~m",)y prec is(' anu so metlrn~., al,,, " CllSfOm- moddcd \Ipmarket Mart", rl'''"U~S , and us(',!
14
,.
Ihe slar pla yer a.~S(";J ~ I"m< w nud gr p n n n)S " I' a no rrh o r two furt hl'T th an ('~'('n a ~rnml nr<1
re ISSue ""g h , comm and . Th., I,ne rn-!<a n wlf h a n daoor;>(!." (j("nt" AUlry D-<15, and progl'('SSN
to
,"dud .. an Enc Claplon 000 4 2 EC. a Many StURn H D40MS, j ml m lC Rodge rs 000-
4S) II. , j O'ln lI a('7. 0-45)B . Marti n D rth y OOO- 18 MC . ( wo Paul Simo n m odels (t he OM -42 PS
and mort' affordable PS2), anu mn n y. man y morc - wnh nl'w S ,gnal,,", arll <t S an n,IUU(..d
[W , ( ('
y.-a rly
10
du s day.
T he l'ot' rp(" f uaJ , nICft'S I III 01<.1 Ma rtins was further consohdlted III 1996, ", h".11 t he
spo radIC vonraJ.;t' re lSSu(" l )' pC model s o ffcrttll h roug h the yC-dfS were S ' '''''O a n offi ci~J llllt' as
rht" VlOfa!<(' Se n es. O ver t hc next {('w yea rs prc-wa r features such uS v ' n l a~::t' My lr tun .... , V_
sharo("d nf.'( ks, aged -loo k h'((lu(' r. and - wh ere appropr mt .. - ht'rringi>oll t t ro m ap[)t'ar ..d on
modds s\ldl as t be lID-28 V, OM-2IW , (){JI)-2HVS and HO- 2HVS (bm h wIt h
D - 18V, OM- l il V, OO- l !'!V, a nd Om)-2H Ec. (a
production Vlntug ..
s..,, ~ ,
KUlta r
ra t h~r
1.,,_, fan q
1 2 - fr~1
n..ck$),
!l m ~
follow throug h th .. y~ a rs, and t h.. SUI~~ would n..come huge ly popul ar WIth i'layer~, nnd an
.."ormou,
A"
_<u(T~_' S
th~ ~nd
broud~r r a n g ~
of
t h~
of1'l<Jt h I and 16
S", roe~
J a mln a r~d
s Id t's an d bae ks, (he all -m ahogany 15 Series, and eve ntuall y the ('ve n
s.. rl~ ~
m()(I",ls h ud. "".h tops o f ("Qmpos ite wood fi bre. Men nwh ile, funh er
less .. xpt"nSlv" X
V ln ta,,~
fo r Marrin .
001
only
lOps
spruCt', hur BmZllm n rose wood bac ks and SIdes ou models III Sl yl .. 21'i a"d 45 _ (II"
such ("QuId be fou nd o n a Ma rtm
liavlng filled o nl y around
In
fir~t
u m..
3,(){){)
, he m Id dle pa rt o f t hat dt'Cad .. , Martin hUl lt mort' than 280,0 00 gU ltal"$ t hrou~h t ht COUI"$('
of the (1)905. I" the n.. w m, ll.. nn ,u m , Ih., com pany's success ap pears ' 0 ~ con" nu ,n,o.: AI>aCt',
and - wh, le th.. co m pt" lIl1un In hOl h
h lJ.: h -~ nd
and
thall ever - t h,$ 1 6H- y~a r-"l d cu mpa ny fina lly sms com forrahl~ and confidr m AI nCA rl y
(' ~ ('ry le"d
of t h.. m ... h, Play .. " In th ", r thousa nd s sti li d r('am of on(' d ay st rummIng a
10
CIBSON
Whtr~
10
m claSSIC elect riC g uitars ,h"ll for its acousti cs. Bur th is fellow _> u.vivo. from th .. l )lth
ri~ a ll ed
m~rk~t
M.alm] in
dU lon g th .,
y .,ar~
th ~
t h~
when you consid,' r that fi )und~r Olvdl .. Gibson actually inv~nttd tht archtop Wllt ar, a nd th ~
com pa" y that ,'a r" ..d nn h.s nam .. h rou,lih! th .. formal to I[S uO! th on (I('s lg ns oflhc 1920 $
a nd 193(l$,
~PJte
lIS
_l ub<l ~ nll al
)~lt ong
wa~
legacy, G ,h""n is a coupit' o f ,l; t'n ""m tl ons you n).:t'r . han
h,)rn In Chal c-auga y, Nt'w Yo rk , in 18"56 w h('n c. F. Ma ll In
Ih.. pa<: .. for th.. X- htand fl al- IOps o f fh"" fUfUrt' 10 hiS N e w York
City and t h.. n P.. nnsyl van.a works hops. Aft ... r movlOg to Kalamnoo , MIChIgan, 10
th .. ) RHOs , how.. vt' r, GI bson pursued a n eO!l ..... ly dlfferem course of aCOUStIC
InSl rum ent d('sI!>n , one rar more ,n n ur nced by the g reat ' -lOlinmakr rs Ihan by , he
new d ,r('(" tl Ons 10 la(gc frett oo Instruments Ihal wcrc al ready
pro~JIlg
successful wll h
,~ h a pt"
from IWO ccn tre- ;oiOcd pl"n ks of sohd wood - spruc~ for t h.. lOP', usuall y wa ln u t fOf t h..
bacb an d sldcs , Th e ca rved arch form ..d an onhH.. n rly strun g 'trun" r~ fu r th ..s..
15
"nundho.uds, so , h ~ t bnlcmg could I,.. kept to a m in imum and
no t OV(rl y Impede
acou.~' 1C
<l lffc rencc from ' he f1 a l - lO~ of th t' day, (heS(' are htop gUit ars
W('rc also filtro ngh r frum Ih(' sIa n WIt h stcd strongs such as
G ibson was u." " K lin hiS mandol ins (far and away t h.. most
populJr f!"elt...:! InStrum .. nrs of [he day, as they wo uld r.. ma",
for a couple of d ..c",d..,. mord. T heS(' G Ibson g Ullars <"am..d
rountl or
oy~1
d iffere nt look InK "t< lTum ~ntS, but on close examilla n on rh.. "
dcs*n and IU" StT Unlon d,(fe red from pop ular fla c- IOlps '"
al mns t ~\" .. ry dt'm, 1.
Ih" lowe" oo UI .
Il ~a rly
to
II
prof[~sJOnal
IxforC' alllp ldka w .n, and Ihls carn cd through Ifl to t h.. pn .. ra,
whcn G lh,un 1Ir<-hrol'" [n[('rl.'<.l
ti, ......
f~c
II
tilC IT
prom on .. nl l.-ad
In
}(u.mr mark('r (ha( was barcly th r.... t.. ne<l hy ano[ h('r maker for
10
10
meet Ihe
de ma nd for hiS lllStrum~ IH '. a COT>$OTll(lm of m usIc SlO re Own~ r, and lawy(' rs boughl up t h~
fI ~h(s
[0
hiS nam .. and f",m",,1 , h(' G,bson M"nd(,IItl-Gu,ta, Man ufacturing Compa ny Ltd,
O rvIll~ m~ r~ ly
"" a co nsul(Ant. T hts rdatlOIl,h,p W:i5 sho rr-h veJ, and he soon
~ 'hHr~holdln;(
deat h in 191H , hu t had no [unher hJlld" -I '" ,ntlllt'n(".. o n Ih ~ g Uitars th at bot~ his nam".
Th ~ nt w ('ompany r.lmlX'd up pr"du( tllm . off(' Tlng (wo Jines of guitar., in thr..., sizts and
a ra ng~ of dl"co!1luve styk~, (h~ ,o(lnd -hol ... 1 ::"yl(' 0 ~ nd o val-holed Styl~ L Tops connnUl"<!
to
I)t' .-a n.'I"<1 from solid spru, .. - th .. m o~ r pOl'ut~r wOO<.! [or boc h Ij"aljtr arc hrol' and flat -
top ,l;uitars
!O
Ih,s day - a nd t h.. b'K k$ and sid('s were suI! (,/ wah"'t (titoll,l;h, o<ldly, (hiS
wa~
pu bli(ised as Ix lllg mu pk l. G ,b" ,n <oon c hangcd 10 backs alld ~Id ..s of h",:h , and finall~'
.... t tled on ll( tual mapl .. III th" la,t' 19205, and thIS rem ai n, Ih .. pr..-.. mint'n! ""00<1 for che
b3(" Ks and SldC"S of ud"" p ,,:ullal)C While th (' ca rved , aRhed ~pnl("t' top cxhlbns an
on ht'Tt'ndy warm. TOund ..d t"nal"y, maple's \Olce IS IIgh t .. r, b"K hl .. r, and mor(' dcfinro.
Toget her. they off~r a filII , "cit sound wLlh good nm .. d ..fin or"m, whl(h _ p:> n ncrcd wn h th ..
ImprcsslH'
~ol um ..
of Ih(' brl-:er G ibsons _ pTOv..d ,U<l th.. q llal ,ro('S tha I many profeSSIOnal
to
pt'rf..cnng it. His own dcs'gns U\corpnr~r..d an ,me,lo:.m l It.,dgc WI[h Strlllgs andlll r..d ho;h",d
the
saddl~
pi t c(' m rhe S:lm (' woodell plat.. , as on rmd,"onai fial-tops, and a falfly shallow
n.."" pic(h to alt ow an acce ptably Inw ,m nl-: h('lgh ( o ~ cr the ]englh of th~ fin;; .. ,hoard
l lavin,!; tab n,l; hlS ca rved_ar<; h d~~igns from rh ~ wo rld of vlol m -ma bng, II js surpnS1ll,lo:.
16
"
upon cons ulcmrlon (hat h(, .1 "ln'( foll ow rh ,s fo rmat furth!;"f, .. m ploYIn,lo; th .. .'t"1"" .... r.. bTlJS<
and la,J,>J('("(' arm0j.:Crncn( of (hose Inst rumenrs. (oul'ie<1 [Q a mort'
to
In(r("aS('<.1
"He bccommS
(' ~ ('n
of s mogs Qv(' r
to
bndg~ .
~harpl y
rh~
"'",T ..
<lnmg
b rodgt' , and
loud('t and mOTC w oeful S llHars. ("ve n thou,!;h mus. of rht' la,,I!t's[
Sl.'l tkd In lit around 16' ['"..thrI than the massIve 18" o f SOrn(' of O rv,llt- (j ,h'0n's
w ~~
,uil G, b,O(,', most popular proo uct, the company <j\lI ckly
d~.,, !; n
carv(~d
sc roll - Ilk (' 'ho rn' at Ihl' up per hass hout of some fancy Styl" 0 /,:U lwrs
o f I<)()S nnd afrer, was an l'xf f(' m(,l y pra([I("aI, .. ven inge ni ous r&:,.." ""!]
"f th~
t,,: blt
bo ut ar t he other s!tk of , he nec k {"n ei . T h IS was tht" fi rst common ly ",.. n 'rutaway '
dt'"S lgn
Prod ucuon CUIAwny , teSlgns woul dn 'l r{"Ol. I' I'("Ilr um ll lat'" In th,. 19l4k OUt In
1') 11 , JUSt a f{"w y(':lrs nfter I h,s Sryle O . ano rher Gihson d ..sig n , th .. L-4 ,
IntroJ UCcJ a look that 15 e( hOC'<.! far mof(' III arch rops down t ht" y.-an; [han
a nytlung
pre~lous l y
If
hoi{" of the d ay ra dle r , han (-holt'"S - I hlS despI te u s L Serrcs tag alonj.(s id .. th ..
round _holed ml.d .. I~) T h" 16" gU Jl ur hud a mof(' symmctrlC"di body shape' and
a plain'" d ... ~~, and ap pt-.rled 10
pl~ y ......
who
w ... re
commg
to
app r('(la,{" th e
(~,I"',"-made
flat - w I" H" 't'" arroved ill t h ... late 19 10s, in the form of
th .. ehtap and h:'$ I(" ' Ar my N avy ' modd, whlrh waS
a. m~d pfHn~nl~
a\ serv.cemen
sta t,o nt"d on dmy a r.e ( I'>$t ofW" rld Wa r J. 13ut these a re a me re (oo t note
Jfl
til{" comp:rny's
17
=~
hlsw ry wd ay; a (ar mort' $Ignlfican( Jndoplll(, l1 ( o( around th .. sam t' t lmt' was (~ ibso n
man agt' r; ' bor on).: of mamlo lon vJt(uoso
~ IIJ
fadin,l.l mandolIn cra ~C'. Loor went SOlll(, ""JY lo wMd dUIllJo( t ha i wIt h hI S refi nM creat ions (hiS
~ -~
e~'e r
el.lth(-slrlllgC'd HISt rumC'lI t 's (' ra wa.' .-tI ll o n t ht' wane More sI).:f1Ifiu m
to
a ny h,stor}' o( the
acOU StiC g un a r IS Loa r"s d t'vd npm .. nt 'If t h.. L-5 g u mlr of 1922. oTlgllla lly concc I"""d as
br).:<:"st mt' m hl""r of
own Tlg h(.
A custom-buitt Gibfon
'Nidi: LIKM', wtth
Through
III
ns
By C'mploylll,f! a pa n of (-holt'S In pia,'" nf t ht' 1.-4'5 oval 5Ou n(lhok. the L-:'> too!': the
';0 Yl'ars before , and It H!l"tlf porat..d ,." h~ r rd'n .. ml'n rs hc's I<il's. A nl'W tone -ba r bracing
popu lar~-.nd
g u lUrlst of h
til('
arch lOp g un ar yet anot he r ' It'p towa rd, Ih.. Vltl' In that had Inspm:d O n',lk G ,bson nearly
'FIoNntIM' ct.a:wlrtion,.
from 191L WCM W".
famous for
nC'w mando lin Imt'. but ",,~ )f1 put f"rward as a G ibson flagship
til l."
system . fcatutlll~ two par,, ' l ~ ' brans rlln nln l-: und .. r (h.. tOp from b<xly end
day,
'Tlp-~
to
offe rtd" l,v .. lier ' .. ~ ro n s .. : a floa rln ~. h ",~h t .t1d' ll Stabk bri dge "lIow"d play ...,
n.. TUlips'.
Hec k Joi nr ,
to
d.. te rmin ..
bmh 't "n.-; len.-:rh an d hl' lg hl , (or oplJ m um (wd l. n.. arl y) Intonation and ani on: and a
,ad i<: 21 n.. w
TI,.. , ..
In
I h~
n ~w
~d, u srahlc
p lay~'
adJlIH m .. nr of nt ( k how.
(j ihso ns wr n' Ih" 1110$( finC-t LJll'lbk. pre ciS )()Il-udJu..,tabl .. gui tar> "Vtf madt' , and
n.. w ,I; .. nd y .-: rad ll ~l l'd 'Crr m onu browu ' sun bu r't f'lIlsh, th .. y
u p th .. advanct"<1 nl''''
brand of choicC'
In
pla y l!l~
~ u lta r
as an
l(~l ked
L-4\, and
wa.~
6 ,t
1Il~{fum .. nr
t ht husintss , roo.
th~St'
I!Self a$ l ht'
l'''l'ula"t}, ro k("("p the compa ny a ntl~t. '" ma nd"l lll' , H awa IIan gUit ars. an, ] ban/os (n{"\l'r a
G ihson slrong su tt ) also hdpt'd (u ray (h..
As
li S
It..
a.~
b, ll ~
fi n; r prop.. r flar-rop ).:1.1I1ar III 1926 III the form of tlu' slmpl .. , nO","
I n ~t ru men r
bC'l le~('
a.~
d "", r - h u. st"rvl c("mcn. coJ[l',!:l' 5\uJl'nt S, blu ..s belte r" and t'v"n a f..w (ou m ry
and ("Owhoy Sl n,J.:("1"$ Wl'r(' plpy,ng (heS(' flat -tops. SO G ,b."", muSt han t houg ht
it had ht-. rt r jum p on thl' ba ndw3,f!on. JUSt t wO y..-.", la r" r (; ,],"Ifl
acccpr~d
t hat
a q ual It }' flat-rop was a " iab l" proouet. and sign.-d up N ic k Lucas, tilt fi rsr
' ew ,(]"d ,l;lI Ha r Slar, \'S a Sl,f!IW tu rC Jrt ISI. Th" NKk I. u<:as model dch ur t"<i w irh
I.h t same hody SIC nnd shaSX' ns the L- I , but wd.1 sl~ !lI fi,.a n tl )" d .... !"'f, so p,o<iu ct"<1
'ich . loud so und (or iu s i ~e . Th,s MUl t" r r...u. h"d Its ~Pl to m t 1n 1933 , With a
<'llIlt~ (I "~ r
rO';~w"od
Alrhou!o; h
Ih ~
makt ts, m .. , .. ly ro
~ Urv I V('
Ifl
If!
r"' ru nst ro com p(' tI {lon from n('",comcr Eplpho ne , G ibson (,oldly
'ad~"anced'
from 16-
{Q
la r~('st
17", T hiS mau.:- tho.' CU ltlll8 mapl .. -Ix od loo anhwps t'v~n
rh~
oo ndsta nd
For a time'
li S
t h~
body S'~l'S, Jnd G ,h!>lIn pu~h ..d rh" ~ nv~lol'c ~v~ n furrhl'r by ("('ru mlng (()
18
,t,
~u p<" r
1939:
lI n n l G ibson u umJ>C'd
tillS bJ l tlC ha nd s d ow n b y pu re-hasln).: i:! p ip hnnt' , b ut for now t h" com pan y h ad
win
malll t" " ,,,,J Its pos it IOn as kaJ lng a r<:htop -ma kn hI' VIrt Ute of dt's lg n a nJ
M...."",h,[.. , G ibson 's most S<.'n o us llnd lo ng - Iast in).!; foray
("Om ", ,n 19 H wid, rh,> HlI md uc tlon of the rou nd -shoul dt'T<;J
q ll~ I I\ ~.
I nW
WI[h 3 16 " In ",<" [)I 'u t Tim on e model was [,(, placcd by two ,n 19 \6, th ..
J-n
Jumbo,
and th ....
Adv3fl( ..d j u m bn. b l h cu rned t he sa m" body shapt and 16" WIdt h , b ut I h.. IJ I[.' r ((';l. (U rcd
n~''' W'K>d
s l dl'~ fi)r
[""I. and
All rh .. wh, I.. , !I.t' ,"" m""ny "'.IS h,,"mg rC'Jsonab lc success "" rh
II.<
rh~ Gt' n ~
th ~
II m ore curV:lceOI' S dl~ n [ht rh, ( k-wast(".-l Dreadno ug ht look . and was a
a~ t h ~
'I,
w.:'s t ~r n .~ t llt
$t flk m~
Insrr um ... nt
I h~
a fl ~ r.
[h,S
III Ill " "d fall, y scri pt fin g(' rboard name Inlays as
(.() Ull tr y &
!()
c ustom
Au try 1)-45). T his 17 !lJt -IOP had fOundt'! ho urs l h:lt mJcll'
" !l g ~ r
lur m III
fllf slIl glll g <-owOO) R a), W hHlcy (no dOll hT a rt" p'Hl'It'
,e~k W
{"(I,WIll
rol led
III
from on to
or anot her.
Wo rld Wur Jl sl' lw,>d G rbso n's prod uct io n. bu t dldn 't hair It .. ntmly ~ ..;
It
d id l1uII of
, o m.. ", h.. r mak .." . St...,l , hm tug ... s t(''-! u, red g Uit arS to ht- hU llt WIt ho ut (tu., ,-rtx!s. bUI
G lh$o n ,nIrW uI ... d , .." .. r. 1 """, m"d d s Il onelhdess . notably rhc ) -4 5. ) -50, dnd Sc ,ul hc rn
J umbo Wor h WlI rn r a m rl lfo( ~ t " l11 " " '" Ilf lll ly ent renched as t he ./-:1t:./-:mJ: J:1" r--. \",(, ' J" lour.
t he er:l o{ Ihe g t('a,
", hoJ>J> I n~
we re
OI ta l o~ u d,
emer~ l n~ mor~
bUll t_'" or
fl();I \J ll~
and
mor~
o~ e r
I..ad" r ra rd y "",rlll"d
mod el~
r~ b {J vd y ~ 11l{)()t hl y JlllO
fla, -, op
JIJ
1ll1l 1 h ~ ,m ~ ll ~ t
100 Wlfh
pe rfo rm('f
p(l l n ' ~d
os
reco rdmgs, A
~n
C~ [J\'"
ti,,, j - \ 1-I5 ,
i fld lJd ~d
" OW
"mply
t h~
III
nppcun nc('
) -201J), t he e)-
UHa WJy and ('pl i')ll<11 pic k up . and ) - 160 with smnd a rd p" k up 3CO\IS [I( , h llf
S~ ks
B\"~rI~s
mad ~
brnc
on m,,,, y
~" rl)-'
~ n d ~ ll E v~ rly Urnth~rs
~.ul y
IY(i II"
")!I n c! ~d
of G lh wn's j Ulllhm and ,mail e r L Sc ri{'s !l"t -tOI'5 (n(Iw ' 1.( ; ' for
1 \I ~ r
of Ih... b t ... 1<) 50s \l nd ('ady 1960s . G lhson "u em l"'" dK id"d
""" ys Ihut w(.uld ulti m ately o nl y
m~ke
rh"lll
l (".~ ~ d"~lTabl"
to
0 11 d l ('
fol k hvt ,m
m a n ~'
mo..l .. l, ,n
'u pgnde'
bmh
111
des l~n 1II' t"J: ' tr r p<"ts " t"d thmug h m uch of ' ht' n,," 1
' 0 a ran~"
10
,," ha r " " ,m m<lnly l'" n"d"rt'd tht' ' full leng th' 25 n:- of ' hr Mar" " s tand ...d (..."ne- e"e n a
lu de long ... r), a n,', so m..
III
'1 ul r ~
a hit s hurr" r. 11m us fiat -tops. ho w,,'(". rh.. {"O, m p__ ny ",,,I<.'d
on a 24.X sca k -lf;" n).: , h (no, '1111t" t h" 24 X [h.lt .s usuall y ,-! uQ( e{I). whIC h off~ " "" , II}(hd)
eas ,,' r p b Y ln~ feel Ihan rh(" lon ..... r Sl lIn ...
l ~"g [h
less pow er and vol um ~, all .-Isc h.;-.n... ~ '1 l1al , a nd ")Ill ~ li mes a \O uch less harmo n I, Sl'lI r kl ~ ,,",
well.
A hClgh t-ad juswbic brld g ... fin ed 10 many fla[ - wps in \ \j5 7 se r"" d m aml )" lus t ' 0 dt'adt' ll
19
["So nan.,"
''''1''''''''.
t'ff"rt_, to
bran ng an<1 a r{,lnfornn..: roSt'wO()(I hro d.t: .. plat(' ,n 1970, (I ,h,,,,,, - und e r nt'w ow nt"rs
Ecu adoro an
1971
to
Co mi" Jn ~'
Lt<1 (ECI.), soon r(' Oa ml.! Norl on - ht-xan d uu b llng IfS X-hraClng on
(}u ~l, ty
com p~ n ys
In
'h.- lact"
1977
In
In
s.-"..~
fo uled. Certa inly th(' <"I'.m l,, ), o f G ibson d ('( rtl cs su ffe f('< l too u nd" . Norlin
In
[h"
19 705 and carly 19805, b ut t he tC.'(l ffiC ot'\l r ly snu ff...d our [ he co m pan y"s gr.-a,
,l(ouS tiC kg;'cy en tIrely
N OtlH'
h~ d
T('nnc-~(' r, In
h ll w~ vt'r,
Norlo n
w ~s
G ihso n soo n w",nr lht w:' y uf u t ht'r mu ~ i (a l lm[r U m~1It d ,v ,~ io n s t he com p any Iud
b''l'n se llll1 g off. Radw r th an
change p robab ly
H ~n:ard
S l'~ rt'<l
h ~ ral d ,n ll l h ~
(J,h son
t h ~ l ()O-y~a t-o ld
cI"ath of
~(0 l1 S11($,
"
r('~ m
s tl1d,,,~ to
of
fn~nds
brand , (he
In 19 8 7
m~t
wh o had
th .. ailin g company,
th~ y
at
tnmm ~d
hough t th",
~ u lt ar
nru r by IJo;,ma n soon of( 'r (har, lIo7-'."ma ll , Mo ntana, wa. ev",n furl h",r
from Kalam 3tOO (han
N ~s hv .J k ,
th{" sah.-a(Jon or G Ibson a(OuSt ICS, and $oon th{" fint'Sf such ms[ rum .. n"
HI 30 or 40 y{"a rs were (olili ng OUt of th e new W{"Sfl"Tn wor kshops
I n th", ",a rly I 9 9'Os IIl no"~uvt' St ~ r ~nJ StMb u rst cu taway models
and
apply ,[s
~lt't
nam ~
rost'wood- hod , ~
trn-!l(oU'l1l
[II
)-60
j)r~!ldnu u~ llt
a t hot h
g rtattsr rtnt'wtd Inlnt st ,n 'ntw '
20
~ "d~
rully
(~ , hsl1 n
In
aJ v~ "u,J
at"",,,U"
waS
bral k~ 1
"tT~ r~cl
w precisely detailed
rt''''U~S
pa5 f
f (>V . Si"J
thou~h[
,hey'd
IlCQlI$f,{" al"("h ro]>s. In 1 99~ . rh(' Nash,,; II.. Custom Shop hrough t On ' a
flt"Vt"
''''''Ul' of (ht'
fully
19)4 L -
5, which was (0110",'(... 1,01003 hy an 1.-7 ("u taway from th .. lmzt'man f:uwry
G, h$on ', rent w,.. 1 suc("('ss
In
rh('
IlCOIISI (
markt"l
IS
norh",,!;
l iLa-
:1[
,h.... od of ,h.. last (t'nlury. n u t has h rough t a n umht'< of XU:31 mudd, I>a( k fmm d, .. h rilik .
and offen'! som.. ~()()(1-50Undln,lo: n"",,, <1"Slgns ht-s i.-l",s. And of ("IJUf'<t' tht'
3'-<)U.'[I(
b rJurh I~
onl y a J,>O n .on of rh(" ('ffo rr s of a com pany . hM ha5 In crtas in,l:ly conn:n tra. "" on th .... I.., u lt
mar kfl
s '"{~
I hf daw n
of am l' llfi{al lon. and (f rral ol y 51 0 ((, rh(' arroval of (h(' f'rsr I... ,
o'u die
p~~1 j()
"l u~ll1y
(Onlm UfS to
rr~(h
to
swy.
I'~ u l
1 ~()1.~ma o
0ff'0m[ ""(if
model, built
un An SJ200 Custom
In 19]7 for country artist
21
In
lfl
t h .. C" n Cr., of the Aml"fl can gUItar Indu. l ry In t h.. ..arl)' 10 mld-1900s was Clu c-dgn, 1lI'Ilnls,
H1 m "-~~ man ufan u rmg lnm s ut k~> { Ane! althou", h no <I("ta iled fITo rds "''' 'St to back "I'
sU~' h a d aim,
In
0/ ti ,.. ll affitcS w dl nor sound [... md,.,!! w pl ayt'rs of today who h aven "! yet dabbl...d
In
the
history of t ht' 'nSlmmC"m, hut glJll t' J,k .. H armony, Kay. W ;.sh hurn and paren t company
l ynn & H('aly. [h(' Larson Brotht'r.~, and K.. gaJ romh,nt"J [0 ma ke the \V ind y City a ""fltahle
cI" ar in/ot hOllse fo r , he bu rgc"<llllll g >1~-M Tl nx Dunn g thIS grea t m H,h. "s r"rn ~ it )'\ hoom y"a Ts
m l~ h r
thn "
still h ave
~n
mnT" ("nJt'
a~
<"' hl(a~o
In
t han
,f:u lt ~n ,
wa.~n't
b ut It
for wa nt of rrym~,
[h~
18 80s
1920s g uit ars u.e ~ r"',1( [h" G t'Or~e Was h burn hl1><'1 a" d m h" , hrand s of rh e Lyo n
&
to
I he
lIealy
company t'>rm .. d Ma rtin 's h,t;gfS t n V'IJ In tb~ 'l u.d,t y flat- top m"r kct T hey also provld.,J
man y
ITlOf"
affordabl ~
,ns rnlm e ll t5
to
founded by t' )rm .. r l)"son reI's George \'V',I,h bu ril Lyo n and Patri ck H e"ly ill the lat t I S6(h ,
initIall y
to rH ~ iI
'nsr rum e m s bo ugb t in (ru m <Hh" , mak.;' rs, hur by [he earl y IS HO, w",
offenn); gU Ita r,; and orh," It ems mti ll uf~ ((~H.-d at ItS own nt'w facl h ly,
W a,h hu rrl, wt' rt' n" v(', as well m,lde ,I. "'bre ill'. th "y W"ft' ext remely ble wa h m,,, t
modd" If' lTlo~"n)o( from (coss-hr:.lc lllg (~h" k ,,,, wn as ' la, lde r' b raCing) 10 t h" >trun g yt'l
mus ical X-bra'- 'n)i; pa l(c rn , and m ~dc
Vi rtu .. uf t h" " fac rory-h lll l' on gltls ... er'lL' Mart,n's
ha"d crafts manship, n Ut th('y WCfC J.x.l tt'T~UI [ ars {han many others of t he day, and I he y (-amt'
III
a mnJ.(e of c urrcnt
sh~pes
and d .. w Ta",'" sl yies th:lI cou ld C'<jually luft' any playr r who
'r~n
as dt'S I;l: n Ie... ders nell I lO y.. ~1'\ ag"_ Tht')' were mamly small.
bod ied ",_,u umt m < w" h rounded Jowe r hou t" narrow walsrs, and propo ru OIldlly
n~rww
sh"uld .. rs of I h.. sryks rang ltlg fWIll wha t w" woul d today consider 'parlour
s{()c ks of ",I"j SI' TlKC and Bral , l' J n ro",wl~>d Sum.. collenors coday get exci too
about hi ).: hly dt'Cora mf Cil rl y WJ,~h b u' n ' m( h a5 th .. G ra nd Conce n modd 309,
with d al>orat.. fingerboa rd 1I1l.lyS
mak .. r's insuu mcflt s werc s Lrn pl~, alf" ITS t har (0111.1 bc sold ~c ro,.s th~ u)(I ntry '"
,l;tnl'tal stores, musi c ,I h" t'" Itac h' ll,l; sl\ld,os and vi a ('m:llog ue hou , .. , for far Itss thall
th e 309'5 lofty
Mod d s
pro,t,
to ", ~dJU'"
st oc k in (fadt' th rOU,I; h rht hmn d 's fin e e ra, uml w" r.. al." th .. main offecltlp of
ot h." Lyo n & Ht'aly hm nds su ch as College Lm", J upit er, u..keside and American
Con,,, r ... a ru rr. a lt hou gh n fe w for ward -loo k l!!!; lar!;t'r IIlstrumems wl're
("'(:a, ion al ly offtrt... I, such
~s
t hc
I ~'
to
( he ma rket by filUT
years, aod ... a$ a Ill tic I~rgt'r Ilo<'Sld .., T h..s.. were fCIIlgt' drons, hO"'t'~'''r,
and " n a ca ugh t on HI any n umhr rs.
Washhu m ', m, o;l,,1 off~ f("/o:s wc re t nmmed J own aft"r World War I.
anJ wert' g"n" rally I..s) .. Isho ra t ~ ix's lJes, bUI the 'l uaJity of rh,,&<, glucar.;
lIlcr(-'"~sed
:I
Wider
~mploym"nt
of
rh~
x-
brJc lllg tha t had Ilrt'n ~ 1\bnm sta ndard for 1110[" t han 50 y""rs hy then, a
1I10' C wl" eh ",I.", madt'
r h ~m
t'as , ly \Idapt ab le 10 th e
n ~w l y
22
d" Ulv~ r
a top Washburn
mOod!."1 of rhf l<) lO~ r har "'ILSo ly fl V3. I ~ a Ma rtin 0 - 1 H or 00- 2H for ro und. (onSIrI.K!J o n q uu lO!y
fl'llC IOO Il
o ( the 1"'''''' _
~ 'IJ
In (it" 10\(' 19205 Ihc Was hou rn hrand underwent a num bt- r of o Wlln slllp
m~ nag" rlal (h~ ng c-s ,
a nd t hiS
~"('n('n).lIy
H t:lI ly's
m an u fac-r u f ,"~
L& I I (OI1I "'U(-d for a li llie 10 m arkc t , h(' gUit ars , It sold o ff irs
eO[ l f('
10 Clucago's 'loo k Brot hers ,uSt a yffi r later. Tonk marknt:d J _It. Stewart _bUl h W .,ts h bulO S
unt , l Ih (' o nsc t of t hl." G rea t DcplX'ss lon st'llr t hat ma nufanu ru n ut of bu" n.. ~s , (h('11 fJrmoo
out g ..ut.,t, p rod uction
t hc I'Jlh('( moT'(" dowo marht 1I. ... ,I(al. Rt'ga J ",,,-, /ounJ.' J
10
lnd ,,,n.lI',,I,s ' n 1!'19 6 anJ IIIO\ .... U 10 ChICago ill 1904 , aftt'r w hic h It was
1 1 ~~j y
stl'am r ~ f()
p urdl ~,, ~J
In
by an
l ",~
Th m ugh the yC:l CS th:\{ foll owt'J , howeve r, or m,unr aln ..d a
L& H 's Wa. hb urn g UII MS, a nd Regal wa s :lgam:l separare t'm lry from rh at
rapi dl y ,hssol vmg co mp., n y hI' Ih" t Jm" II wok nil t he bu ild lllg of Wash bllrn - bmn <led
gU Hnrs for Tonk Brot he rs,
R q ;a! gu ll ars
w~r~
mn rk (!(" un d" r a Wi d" ran;;" of mlle r uamt'S Gnd ud lllg mnn y o tll('r
Tonk Bro til('t s bra nd s. l'neo n & Ih y, SI,ngt' ri an d , I{e",rd ing Kin g and ndwt s), and
mos tl y wo rkm anli ke h ur w(' I1 -hu il r ,nHr um en " , Eve n prior
Ihe <.j U,I!,ty
ou l
bUI
oft h~ b~tt ~ r
to
,I\{ ~ KI ~'a l ue
w~ r~
s lt~l( h ~d
to
lurn",!,
W<lS
anJ popula r wlIh n w ,d~ mng~ of stu den ts ami shallow-po<,k"too pruf", s[{)n"ls a llk~
Rq :;ll . bu llt Wns hburn s
W~ l'(' n ' (
~ ",- h ,
bu t wert' g(nerally
kss~ r
lIlsrr urne nts than the y had oc...n lhroug hom mOSt of rhe makt"s prec"d mg I",tury lla >'lIlg
swd l..d to
m a.~~l ve
proportions by lh(' la[e 193&, Regal s utTnM bad ly cl urm)o( [h.. WM y..atS
and em" r,lo;...d mainl y uff" rlng d" wnm .. rke[ /l ul -tnps and arrhtnps Wao; h bur n hm nd ..d XUll a rs.
hu t com tn ut'd tQ sl ip down Ihe q uaill y ,<-alt'< und vamsht'd
In
\'W II, w hol .. . h.. ,r ma n ufan ur" r 01 " ,mt' [en y..... r.. d,dn'l su r" ,"e m uc h pas. ,[
In 1974 B("( kman Mus,('II,1 Ind usm ,,' of l<", Angdes putchasoo Ihe r'g hlS 10
\'as hburn nam .. nnd QPpl,t'<lu
I/)
a ranx"
I h~
of baSl~
Ort lcr Im ports com ,ng In from J a pan t hrOllgh th t' 19RO, and ,nto
G UJ\ ars
In
eo n win~d
. h~
N at l'"('
tlt~ 199(),~
;,tld Oryo nd
,~C lles
of
respected models, mcl ud lng rh.. li k..s of t h.. D-Ill ' Wildw ood'
r(,, ~ w,'J.OJ
h r" lg ~
and
fj n,l(~rl",a rd
Har mony was fOlll1 d .. d ,n Ch,(ago ,II 1l'l '} 2 by yet a nolh er G erm an lmm'grant , W ,lh .. lm
J .E Sc hui!7. , and soo n aft ... {hat b..gan tI,t' a' ''Kiatlnll w][h t he growmg Scars cnrnl ogu" and
23
It 10
W"w
lOW
gUi tars. llll' bUI ld q ua lifY " f Harmony ,"~lrt1m('rus I'\lrd y matched t hose of Gibson Or
Maru n , or "'veil " f W,,-,h hu rn \ mon- .. kvnred mo<irls , but t ho;-y wert'" gc ncl'".lUy m uch iX't!<'r
thdn tht'lr la[<', r" p u [at,on ml ;; h r it'ad you to bd lc\(' taJay. II.trmoll)' waS bUI ldi ng gUI[ar~
for sled ,{[Jogs "- .-arly as 1899, Gene Auny. Roy Smc.::k. Jlld BraJ ky K",kaid nu m bered
~mong ItS
t'"dof",mem anlsrs; and un ll l Ih(' 1.><1.S$ IOP; of th .... bund Ul I h... mid- 1970s m a
'rcoodgmg ' Im pon " , , ,," IIIn!; Korean-mn.le mSHumcnts. all ItS An)(,Tl cao-ffiad e afoU.\tll.'
wcrt:" COnSlructN "f all solid "'oo.ls O n
en.lbled It {() I:.md Jo: u orars
In
fOp
rh" ha nds o f ",Iayr rs t h al G ibson or MMtUl J U~I cou ld,, '( , ....,. h
c r:> ~e
,,,I.,s booms, and , he SU I'(' (l ont' b rand n.unr - JC'I ulr..d by H ar mony In 1916 - was a
maon,ray of hudgel and mId _range
mahog any H awJllan gU Hdrs
In~ trunl~m.
J Pp" J r~J
V~g"b() tld
l' ~ t" (_ l an
alld
Y"""
,n
rh ~ r
~ur,., rr un r
()r hrr
to
1 930~,
and carly 191\0s, 'lild t11~ ullu,u,,1 a IUm l!llllm- mmm tcl HolIday Coloram" senes of the
1 9~Os,
And III a n unu,udl lalt' ral ,h,fr . , ht' , .. rm .flXly uh"lUlf OllS Sovc['{'ign Dreadno ugh ts of
(.h~ar
~w "n
and w.. lI-madt' Japanj'w Imports o f the carl y 1970s offe rc..J
~ales
sold off. It has (.hang"d hand, a f"w II mt's SJIlCe, o nl y 10 aplX'ar 011 vd flOuS ranges of A"an
"llpo n .
n "~''''
T ht: $t<;- Ib nam,o had. along with the SoV(n 'Sn b""' lId, I,...,n a ,ra ndby of tht' OS("lI.r
s<'hmidt compa n y of Jcrscy Cny, N ew jrr"y, ",llIdl "'J.' ... h ..... Sr... r. '''pplin frum tht' !'ady
19()('k unr,1 rht' sale o f liS gUI tar fanory III 19:1), "'hllh r"sultN In th"
nam"~ ~on,l(
a("qulrt'd
hy Harmony III 1938 O SCll r SdmllJI "'d.' a rr'P""'rrd mak.,r, rn ll("h on rhe Was hburnmJn u fJltun"~
~ U llJ rs
of t lo ..
"~ rI )'
nevcr attamed Ihc famc of th t g<;" lI t ' <lIJ)' 1<;"., wrll -hu ol { - h ut lar).;:e r, and loude r
models such as tilt' li-strlug g u .t;.Ir /a mou., ly p1.'yee! hy
rhe six- and 12-s tn ngs
pby~d
H lldd,~
Stella
many othcrs. N OIlt: of tht: ()" a, So: hmll-If - madl ).;: ul fars havt'
~ch lcvcd
p"rlo~p.,) s[:H us wIth playt"fs o. co llj'cro rs, b ut Ihese Stdlus h"v e ri sco abtwt tll" c rowd - C_
Ii", at I.. a-,t - thanks w rh r" claSS IC 3COUS(!( bl" es
"ssocimi()!l.~.
I'o r rlt("a<les, Kay WaS s111ggJllg ,t OU I nL'Jriy blol w lor blow wllh Ch ica).;:o bud).;:t! ",'al
H ar mony, and n<;-ve ' ach,cved (lIllIe the same .'Jks numbt'rs, bu r lOad" a ml /l htr rlt"nt 10 tht
ma rk<;- t nont'rhelcss. If
a n}'l hJll~ ,
br~n d pmb~b l y
ht-trt"f
rrpu tatlon for qu a!.! )' du nng mu ch of II , l'lO -plu'-y('ar run as an i\m('.iran Iflstrumenl ma kr r, al' houg h from as ea rl y as tht' 1')20s Cjlfl.tluumn "f Som" of th" com pan y's ,l; III rars
uf't'n Ifl cll1<lcJ !hc usc of d umble IJmI!1J t ~' rJlh"r rhan th" ~ul id woods rhal Harmony
ufllVl'rsall)' cm pl o}cd. 111(' Kay 0"",., H.' rlf, h""'''''rr, on ly ["a m" about on the 19205 whcn
Hcnry KJ y K uh rml')'I'T iO lllt.;I th., Stromi)t"r,l;- VII"JIl'" Company, whIc h h",1 e~ol,,('(1 OUI of
the G rocshl compa ny found ..d In C hlla,a:n on Itl90 (Nolt that tha( St rom berg-VolSl nC! .... as
~ com pl ~I "ly d iff"r~fl[
1930" th"
'11<'(r~s of rh ~
~ ro" nd
th~ d ~pr<;-ss'on ,
gUItars.)
~rchlOp
rs t ~bhshed
K~y
M usiral
rhe 1930s we rr a bIg lIme fOf Kay In a numkr of ways: thO" wmpany
" ff" rrd ~nrythln,l; from h',I;h -e nd arc h rops with carved sp ruet' topS to budget-hut' I lawai Ian
24
and Spamsh
arcbtops we,,,
Ofte!1
lh ... n,..XI c hOl(t" down from wp -r:mgc makes 11kI.' Gibson. E p,ph()Il~ ,
Strombe rg of Gr("[s( h. whol" II ranJ.;C o f I1nr -wJ!s co ntinued to fill StuJ(:llt an d nnViLl' 1I~ ~d"
In 1<)67 Ka y wa' so ld to Vako. the larg e ('[cnne g ... itar, Jmpllfi~t and r~.''''laW '
IllJll ufauur,,' and rO~"fh'" fh<."M" g rC'a1 Chl cugo Illanufan ur<." rs /"ldt:d
In
1961'1.
re p utaTI on
to
anO\h~r pJl r
of Am<"ncan I'tu, (a r
nnd steal more tlMn a few CuStomers from Il<.(h of tIleS" !',..at milkers
Tht"st man ufaCl UTc rs succ('cJcJ ("deh ot her ,II th" . ame f:o.nury. !'rom . he 19.305 [0 t he m,d 19~Os.
to
OVI"
In
particular;
surpfl 'HlJ.; ,uc{',, '~ with ",'\('h of the three v<."ry ~h ffcr{'m populnr ty pes
cI"s.l l c~l, ~ t (
~rr{'!\'h
h.1Ck to
An~s(aslOs
25
Epam inon <las - kno wn as "Ep" _ took ove r u pon h" d,,;l rh
Sta thopoulo c hanged
In
II
"' ~ In
,1;""'" to bt- a
tOp
t il t"
back of ,I S success
wh(,11 tillS
~I X-M r "'g'
Ix' al mo,~t
10
19 1~ _ In 19 28 rhe Hous{' Of
In
li S
O:II:rn~ lI y
not far off those of the m ,,' Il1t1( alld :tdw t)wl ...:l,,:N p reml('r rnak ('r of such Instrument s. But
t ht Nt"W Yo rk com pan y's g rowms ] " t " f ~ tar pJayus soon md lc:lI n l , h31 many were wilh ng
o~ cr
to ,hoost'" an Ep .
In
a G, b." ",
()~ ('r
and m any
Wlt ~n
Iht' yt af) . I' ,,' p holll." arc hrops " ould Ix- pb yN, mostl y
JOt'
othe r~ .
la rg r~ [
o n G ib,on's dornin~nrt' ra mt
Spa n ~n
I ",,~r
m,tdd s 'IK h
a~
rht lI \ackswn r
ofl;, ri,,!> rni cl pr ict d opl lom flmher do wn Ill<' nw r k~t . A, d~,ulh"d Ln t h ~ G inso n st'Hio n
all< w~ , th ~
d ", ad~ .
b..... J m~
11
and hy rht' nt"" r y(";lr ha<lupped til{' si l (' ('" li S IW" 1 cit....., b ll'lI 't" o y anorhtr ,nc h. EI"l'holl"'s
f.. rno us Frt'<] ut' nsawr lal lplece anl v({J 1Il 1Y'19, ~nd m an y mod d , 1>t'(-3rnt' 3V3llab k In blonde
m L940-4 L. All of th" uppt' r rdns, rn\ld" l ~ of tllI~ pt" fl od we rt" ma<it" to wry hig h sl anda rd~ ,
Ea rl y pc-n oo Epl Hat . wp, aren'l r"mem h"n:d
\UC
compa ny nlJdl" som ... fi n.. mod t" , T h.. IT l)(o lu:<'r o f 1939-12 and F f 2iO Dl"lux.. CUlaway
of ell<' ...... r.ly 19S0s art' n ct-Ilt-nr Jp rge fl,1( ' lops made III roug hl y 'J um bo' and 'su prr~
sty l.-~
Juml,.,
r..spt"cII"r ly, a ir hough Ihe Fron lle r und T.. xan ofth .. 1940" 30d
~a r ly
19S05
by
pl~ yt r5
g UJ t~ r,
~r .. " 't
or ro llrn ors. Eplphonr 's 'gold en r ru' r.... ll y rnltmrN that of t h..
pop ul.. nt y
w3n~d,
-01 dId
(U
d l , pu l e ~ ~ nd
(wh .. n [ht
~rar h O l'o\)l os
p rodu c tion
loo k o vr r again)
(0
\0
Wh l' t(' Ih(' b mnd ap pcared m a lll l~' on mo re afford abl.. Va rl3t""'s
of I"X,s'Iflg GIbson acOuSt,C J nd cic-n n c d ..slg tJ s, whilh d id
n'malfl US- bU Ilt u nll J 1969, 'J< tda y, rh.. " am .. , .."d ..,
som('wha( fUfl h('rdo wnm Mket , gr-..lltJg
ASIan- mad ..
who mIght n('v('r JITurd 111(" tJrl )! ltJaJs a for m of a(c("ss ro a f("w
(; ,I", ,,n fl at -lOp modt'ls, as wel l as ro som(' n(''''rr
tr(J ub j~.,
das.~ "
fifl~ ll)' did in (h~ Iwm .. a~ ..tn ,ndt')w n<i e ll( r m ily. C G . Conn purelus{d
Eplph(J fI ~
fdt ltlry hud J.:'V~ 1l hlt t h '" anOl hn ,i.: rt:a t Amr rican gU ll ar nam('
PIlI'sh Immlwanr Al D ro flS(' was Ih(' m an be hmd G UI ld, dnd hI"
gU ld ~d t h~
pl dtl f cru, h Ln 1972, afte r wh >r h for mt r .,.,(' I' rcs,,!<-"m L('on 1'rll <ook. the helm.
26
[0
III 1969 It movffi a,.;a m w W..,t .. rly, Rhode Island. Mronwhdt' , in 1966, ow,wrsillp pass('<.1
(0
In
(0
to
_ whIch s't:nalJ('<1 Ihe ("Iosu, .. uf th .. W ..,{trly plant and a shIft of I'rod UI " n" I" Fender"s
factory III Corona, Cal Iforn Ia UUI d""p,tt' all the uphC:lvaJs, GU I ld n.. vn ... " d"' ''' I:1)1 Ih"
apprcnabl(' d,p,"
that
qUa l lf)'
l~rg(' r comp<'Utors
tw o
I t'
"(,alht' r('<.l.
GUild 's vcry first Off('flflJ.;S compro, .. d a rungl' of fi JI-tops. from I h.. lar;.;.. 17" N .. vauc f -
()UO-~ llCJ
to
11_.3tl 1llld th, srn'IU -bo<.hnl F_20. T ht'tr SpfllC., lOp_' a nd mapk Sides wur of w l"i W<M>J, but
til.,,, ba,ks we re rn"d,' from [:lmlnat("d maple
had
~nOlIJo! h
'tru,turJI rlgld,t y
was dtfin"t'ly
m art'roa l~
to
of lamlnJt~d wuods
~d"Jnll'd
II fo,
\1 , " .'(
o r labollr In
t .. rlllS
"I'
prt's~nl
( o n~tm<t"l1lal
~(JUlld ,
app r~(.",bk
A -~~ O
tcdulI<.J" r, Gudd
~nJ
proved n
jo,nt,j h r a s'm<i:or J ohnny Sm.th Aw,mJ ~ Cousl1c-dec lr i( ar(-hrop when thJt tOP
("ndorse mt' nt wa, 't',u rt'd). T h.,w
sa"ings III
t~dHl'qU C
j"U
player's
ot hen too k hold w,r.h play.... imnwJ ' ''ldy, and Gudd 's
f<'pmar,on SI',.,ad q mddy !\tully pl .. ~'e rs (ound Gml d offe r.,,-l a 'h.." tlf both wod,ls '
altern at ,V( , s r,addllll)! d." " abl., G ,b-.oll
~ Ild
br-"~lIlg,
nl'"(:k, and the more fr('(J utnr opflon of "",","'<M.d, a mort' o\f3run- hk(" fi.-arurt"
GUI ld 's MJrk Scm' s of d ,ISSI('(I1 ~ \l orars arrov..d m 1961. and funhe-r Iml'l()rranr ml>Jd.,
w~r",
add..d to t he lIne In 1963. IIldudlllg rht' n-4o and D-50 D f<'adllou,!:hIS an,llh., 1'- 2 11
and F- ~12 12-strlllg IlJt-Wps. whIC h W("rt' Jom e<'l a few y..... r~ late r by Ihe- bl,!: 17 " I I - _mns
m,Jod~I,
rh al would lxt(>!ne t he mosl popu lar of t h., ir type " " t he- mark(',
fur thU I
h r~O'd. LlfI t~
~1."u,tl' m~ k c cs
"Ionl-: w'l h ma ny
,h ~
tI,,,,
aCOlJst){'
ar~hwps d l ~p1><'arcd
contran~,:l ""~r
,n
G
~
b<~) m
pw,jun,on an,i q uality _",t' m {() 11,,"(, siabilised agam, and tht G"dd brand nnw
In~rrl1m .. flt'
F (' n d~ "
prov,d~s
n~ver
,VO" n back :11 Ill<' tOp of Ihe mark(,( - albt">c tnoscly with llo3 ting
form "f a IIurnbu of
::.c-n~'
.l ..d ,nlng
Gujkl - b r~n(kd
modds
d~"gn~d
magn~.. t'c
:1,(,
by the g re at contcmporary
(If'
htll p-
makn Rullt' rt B.' nc-i.ku o, ,lnL! o th (" r aCfual llt: n....-letto mood s hand -b uilt ,n th t' (;u,ld
l.UHorn Shop tAud.'r el...<'
A th, rd
w"h
~It"<:
N~w Y~) rk
super~l!uo n
Cfl, ho llow-uodies Ul the rock'n "olt yt'ars , srcm....-l for a umc co be ahlt' ro
and
hU IlJ~)l;
III
N~w
G r.,ts~h
company hrJ.:an ma nUfll(( U"ng ardn op and Oal-top g uita rs wh"n t h""e
(0 bc
t~klOg rh~
'c~
~ppcarcd
IH ~ - w,de
Jnd dd ux(' b, nd ,ng and \,o$ ,,,on ma,k.,,, , had chI" powcr "nJ g r~ct of any "f t he
bl,!: G ,bsons or
Ep'pho n ~s ,
an d hr< am., th ..
~hOl CI'
fl"~'"
I )'An,l.:~ l i (", nt
hu.ld~rs
,n Iht' ge nr,'.
They nee "np"'5s',"e gu 'tMS. cerralnly, and p,,_,Se,S all chI.' right lllg,td,t" n" , hut reIJ ti"riy
27
28
..
ftw have ~ur~lv.x1111 grta r pl~Y l og (Onu HJOll . GrN seh flat-lOps d ,d n' , far(' much bt-Ut'T
( h !."
<II
q ual it y .~ta krs, rhou)< h som(' hu ~(' beco me c"II ~' {lh l(" fnr 1It'S!h!.'lI ( n r hi~t"n( rt'aS{1ns,
((lUll,'!."
Inn,!!:
spawn .. d
a p<:rhaps
t'>tltil..;!
In rh,s
smgle styl .. 'Jf plaYIng. It ub Aylwil rJ , J oh n 1..0;- VOl, MauTlcc Dupont and Sht]ly Par ks ni l offe r
,n~trumt'nf$
on rh e 31'proXl mJ le S.. lm <:r- Marc afer n d('slgn. as p lontt rt'd mort" t han
7~ YUts
"g", an d rakt'n up by Rc m lM rdl a lmoll t Imml."diatd y after J{ S arr Iv al on tht sec nc.
Marcafl' .r, W<lS "" h al,un -hmn lut hl(' r anJ {oncen (cb,s ical) ~uir a"st. whosc rebllvely
mn, cal {ks,~n i J" <I~ w ~ r~ taken up l1y l...o ndon mus IC stnr~ ma na).(tr i\{o n ()~VIS and p r()!ll(l t ~d
to
H enri Sd mer, h ~"d ofthr ~ normous French sa xophonr mabc., as a so un d ba$is for u g "'tM
of ,he samc bnuld , Thr Srl nwr fan or y in Franc ~ began lim'trd prod uction of thc ""t.umtntS
In
late 193 1. :lnd th~ firSI mod els arrived for s"l~
In
mos tl y by jaa pl ay~rs. alrhou,.h Ma(cafr rri himself fav()u rtn rht gut-s iting- vanallts,
J.' d,d
a few ot h er cla.,~a al rl"yt fS o f rhr d~ y, But th e ,t"d-,mn ,; mod els were unilkc ally th in,; rh "
m~ to rH y of i a ~~" rs Wr rr srru mm 'ng a ( the tun" . T hr y wer .. - an d rem alll _
o f gu lt~ r ('n(lrrly
Scl ml-r-Malu frrro ,nSlrllme ntS "IT larsr-bodi ,"" , flat-wp gu it ars, nftt,,, With a l) -)h~ l J('d
or round " 'u ndho l ~ plac<'<.1 under l h"
S troll);'
mooels Wrrr o rog ,naH y b Ui lt w,th ~, n "l ar wood('n 'rt'50nawrs ' mou ntr d undr r tht' " [Op5.
,m"nd .. d ' 0 au] " rOjCHIOn and y"lumr , If an ything. thcsc usu~ l! y damal-lt'd .hc tonc of thc
!o:u"~rs'o wh,ch t hcy wer'" Iit trd . and I'lllye n s,mply ['('m ov"d t hrm , or cliSfom-orJc ret.i ncw
JS
,$
mod ... l. such as th e COIlCe rt ( wit h t hr ("Ufawa y). Espagllol, and c.t as.< iq ut . AI!
g ut modr ls
("()S '
(t
" trt(" ,
to
h,,,
timr h(' loo k up th~ m~nuhuurr of r('t'ds for music al in.\1tuIl1~nt" a nd dabhlt-d on
p la'[1( Jns trum (' nts. !lxpt'r nnr m, with plas(;cs 1<'<.1
to
whi(.h l!l (rud un,, 1 a plastic ukulrlr In 1949, and the famous M accaf~frl rlas ri c gUit ar s on
(11 ('
u rl y 19~Os l'x'sPI( e (hei r apJlt'a ' an,r an d t he , r genual pe rcr ptJO<I [,ocIay, lnsrqlm("n[S such
as [h" ,\I :({"{af,rro G- 30 flnt -wp and (, -40 archrop - mou lded frum a ma,efl al ca lkd Dow
Sty. on - "'rt(' l'.es(' nt N as s.' rwu, lIl'tfUffi(n (5. a nd were even [ak"" up b r a nUffi her of p ros
II>
'f
contln u("<1 to oITcr ~ " umbr r of downscaleJ pl~sl lC g u lta.s throu,i: h the I 960s. bu t Ih('se w.. rt'
no longe r , n( e" dt"d as profr s5,onal -grode pldyers' HMru mt nf S. In I hc 19705 and l')XO" Ma.1O
Mac(a fcH' flH ""'onaity r(turnet.i 10 lut hI'''''. and n'"n produced h,s Sc l mt' r-My l ~ w"odt n
G ~ psy jan gu ' tars axa,n, first as Ihe
CSt G yp' y
(Ill
Sllm m('tfi l' ld. and man uf3(fut('d ,n J apa n at t h~ H oshillo faClory, whert' Iha nrl );tu[<, r) ..... r..
m aJ e), and Id, .. r In coll~berll tl o n wit h hlgh -t nn New York ma ker J oh <l M{l n t... l(-()nl'.
Macca[ctrl d lrc1 , n 1993 at the ag-c (,f,;}l.
29
..
Meanwhi le , S"lmt'f h a<l (()n r lnu ..d nOf only w rnan llf..nllr"
w"ta"
hy Ma'Tah;,r r i, hut In fun mak .. . ml"t'S) IW prox '" 1M pt' rfr({In}ol tn t hrttd T h" n' mpan{s
fn..
(0
f t.t'
rou nd and fin:tlly to oval, And SWA p p<:<1 (he- llfl't' ( nl"C k for 14. T ht' moot'l was
n('w l)' J ubtx-d thc M oJHc )au, and With t h iS shape' and nam c t hc Selmcr )au g uit ar
ac h lc"oo ItS ul u m:ltc form _ a dllng act ua ll y <j UIlC d iStinCt (rom anYlhmg Ih:ll
C'C'r
gra<oo
Ihc d rawmg ixKIrd o( liS onglllalOr' , wh os( na mc was o( cOurS(' by now removcd from
any way. So>lmer d os(-.:i
JlS
gUIta r works
HI
11
ABOVt.
A BOWLBACKED WONDER
O vation 's
owner
Selmer instrumclMb.
C.h~rl~,
H.
K ~m~n r~turn"d
W h" flrq
Gmll
I()v ~, th~
III
MUltar, and
<tru~k
upon a
f,,~out~Gle
trad ,tio na l dt"s;gll. tilt' p ror0rypt's rt"Ct' ,vt'(1 a surpr's'nf(ly ", ntllus,,,-<ti( rt'spOIl'~ from til" pro
OPPO~IT~
playtrs Kam an who saw tht"" nl , an,I, lw I'ro< IU("I'0n mod, ls that roll("d out from 1966 also
ga ined a sw ift and w,de acceptance. Charl'e Byrd . brry Coryell. Jerry R C(~!, AI [), M("oia
and Adrian ut:g have all plnyt""d OvA (Ions through mu ch of th(' ;r (3r(>('rS. hut Glt n
Ha llaJ('('[
"ari~'
anJ hiS uS(' of tht"" Iflstru mt"" 111 on hlS popular TV show. gavt"" tht"" brand irs b'ggt'"St
boos!.
T he LI' r1~' sou nd and smOOl h performa nce of modds such as the CLaSS Ic. Legt""ll<l, Custom
Legend, Pa<ema l..e r 12-~trJng, and 11),lon,sI Clng Country An tst rl';lllcJ ("v{"n t hat of Maron
~ nd
Gibson III the ea rly 10 nud - 1910 s, w!wlll hC" <j uJ l rty o( t hos(- g UJl;l rs ... a~ dechmng and
JlMII )'
pl ~~eTs w~r.-
d .... r1)' wlli i ng to Ify M">lllC"l h mg n{""w T hey wer{" proba bly hdpcJ along
III d o ;n,s.: so by [II.,~ O vat,on . m ,d lt'v.,! pm ", I~' , ""'. In [91~ O v-.. wm ,ntrod uced the
m",., affo,d ab l.,
App[au ,~
brand~,
11Il ~ ,
In un
and was
as(~ndt"d
TO
rh~
",ffi)rf
"~ 'n
30
)!.\lIt"r~
p ld yt rS as
[) 'sp ro,;,,)!. th" )!.t"t"ral ru lt' fllat :myrh, n;! It<s ,han ful ly 'ol ,d -wolld ",,,,"run;on m.,a"s a
d ownma,kt t ,t"Slolr, ,ht" ;\damas
locall'u
Thl"S(" ;llso foun d , h.. or mu rk. and soon Ix-camc bot h the ch oin.. 01 many pm.... and a mollel for
e nr h uslastl c amJt{'ur" to "'p,rt' en
Whi le so.....
pl~y .. rs
f"und
lM " .. d
rh~
sound of t hese gmiMs u Iin l.. 'ynth.. ,,(', rht' F. hfl'S lli;1(
[ (jilt' .
nIH
soli
Scf1C~ gJV" th .. uomrany ~om( thm ~ to promote to ~uJtur Ullin-furs who had lmdlllOnaJly
pur,u~d
th ..
fI.)
stay.
to
.,l~,
,m., fr"m
fi r,r road
rh ~
tilc- rofY
fO
In
1'UIIJ"
Th~y W~'t'
fht'
a i,,,
ft r~ r
Ani DiFranco
~"r:afldt"<i
Hav,"f.:
,mrruvln,o.:
fO
Ihana IS I)('$r kno wn for liS b r(..ud r.. "jo:" "f "Ir<;trl( ,o.:u il ars, whl{h fi rst (a m,' In rrum 'n~nI~
as q ua l"y 'wp ,es' of m an y Am~rm." d~ ,,}o: ns III rho: carl)' 19705, bu t Ih .. w m r" " }' ha' 0...."
mak ing 3(OUSllCS slneo: the 19;0, I han~7 flar-tops first OCC:llllC k nown in [h~ 1'$ m:unly ~
dnent 'coplrs' o f (', ib~"n :.nd M,lffl" d~S ',I;: ns [hat shaJ o ... cJ tho: compa ny\ de" Ir l( ' of fha!
tIm e, BU l more nrig l!l JI r.,nIH l,nt'S , suc h as fhe all SOhJ-wOfXh
'I((IU$tI (-
31
..
inno.'atl~e
dt:nric AE. Ragtime, and solId-topped Arowoo<] S('rtt'S of tht' 19HOs. ot th ....
M ASA or Talman modds .If I<x by. offer gooJ :Ilterna u"l's
d ,ff<'rt()f . Mos t
lhan e~
J ap~ n
to
to
Ko ['('~
t herl." slOel."
AI.. a['('~ an d t hl." ullm ark('t Alva rez Ya ln
hJ ~"
a rangl." of q ual ,, )' eorry an<1 mld-I .... " .. I a'OIl 'lm_ f" r
m~ ny
h'~h-l'od,
all solld -woo<ls modl'ls mad .. '" , ,,tally m lg mJI .JeStS-0S by AY that flval almost anyrhm,!;
produn...1 10 the USA o r Eu mp.. i\o" tI":r J ap.mo.'"c 11I:o.)..<'r. 'la ka m lO<', has I'tO",dt"d yt l
an<lth~r qu .. !I!y Jl t e rnJtI~ (' t h~t h~s (,\"cO lu['('<'1 many p""
away frum
mark~["
long-lasuo~
J upIlIlese makers.
Y:II11 Jlw
und w:.s
o wn
Ix~an m~k,ng
m :'lluf~ c turln t:
~UII:lrS b~
lUlU
.{S
wdl know ll in
!o:(K>d-,'alu~
mad t'
ort~ lIIal
rIJ~t:
g uu ars avadahk,
~ "t"~
models followoo,
dlJI
}(a r~ .
Jd"JIKt',j
ABOUt Bru'. Sprlng, 1.,.,,, pictured
in 1993 with his Yamaha in an
.. nu~u,,1 bl~tk finiSh . OPPOSITE "A.a
A Taylor 115CE trom 2002.
fl"~r
hd,ing waned. O "e r {he l>aS I dt" ("ad t' :.nd " hJlf,
~'H
APXs, , ol .d-lOpp<,d G D c1ass.cals and l)W J)r .. :td,Hlu!<hts, dt:c<>rdu\'e aod "ersallk CPX
Compa" s.,,,t"s, and CSF parlour t:ul(ars havt won lots of ta", Mt:anwhile, Korcan mak er
Sam .(" k has pu t !o:u.tar.,
frt'fjl1t:ntl y
lJnd~r mh~t
1Il
I't n.'.~so v ..
de5 rmt"d to wopt: out US_mold .. tn tr~ Ie..d acoust ICS, l' it' nfr of hom"-t>T<>w n
I'.feht:<l ""l id n> mpt"t.t u", 1m any upmark('t mod('1 Iha! (; .h"'>II, (, OIld or Martm can
prod ucl.", '" rl'r ms " f "mnd and bUl iJ lj uJI,ty, If not 10 numht-oc
WESTERN PROMISE
E~eo
for prod uc tion volum .. , how .." .. r, " "" US make r hJS put up ao
upp.:t m iJ-r:lnge br:lc )..el s. nce fhe m ..]-I9l'U k Until (lut of all
tht: ..... rly 1970s, ccO{['('d around a
G u. tar; has grown ,ntO an
mMtumt:I1tS pt"t
d~y
ama~ l0l'ly
("~nrury,
wh .. h r.vals
bbou r-~v>ll!{
pmdm.u o"
32
a ni saos SCl'n.. of
asfOun<l lII~
C'aSy-gO IO~
~ lIy
t~dll!iq u~s
h.n~s
~~~~
"%
J0I1g""M~bl "h..J
nc('(/ 10 a u"",,!t'
fWO
, unt"" larjo: .. ly rh"uu/oth a ( umhonanon of Tay lors <It-Slgn senS/.' and I. lsr ug's hU$rn('SS ileum('n ,
bm rhe pair (t'rra,nly rrnrod a SIH'n UOIlS I('arn m ,l( cun.'(' ro gel from Ihe (ompRny, I"" rl b on
1974
In
wh ..n rh .. y a r<' [('.lay Through Iht" w urS(' of ,h ... l"arly 19805 ,he com pany {''''ol v(''<1
from hu,ld",}( r.l[ h.. r Manda td Jum ho and D 't'adnOIlJ.(ht stylt- ,l; lI orars '0 l'f()d unn;r.: a ran ~t' of
~ll"~
nrl,!o:' na l nt' w sll apt" d"",,,,,d mamly hy Boh Taylor h, ms("lf T h" fi rst of .Il('st'
In
appt'",..d
In
rh .. rurm of it
~rnnd
(lm~
In
rh ... for m of a
d~no " n;; wood typcs, bo< ty SIte :,nd shape, and styhng,
of tht"se ,
to all
on~
es.~bl>s heoJ,
Slg uaUl rt' 1>1\)(1.-1 12-,u,ng - w, th 'flanen ed' , Sel me r-j ,k" cu taway and
lun or' g~
and
I'
dt"s'l' o
few )'eau L,t<,t tn 1')'.16 Taylo r mad., fu r, her w .. ,'", by Hl t wd uung th .. 4011 ,!,,,t",, the m" 't
,o l ,d - w(~)(h
XUll ar
at
tha I Mat(!Il and pkn ty of (Jth.r m" k~r~ w~ re ",k,,,,I; nOl ",e_ In tllt' la tt' 1990, an d !',uly In
the (oil() w",).: dt"(~d .. TJylo r "ff~r...:! a numlw r of'lweial "Slit" I,nt's rhar .... ,'r.. funn .. r fh a n
~ I mos t
a nyd"n,.: tht" mah'r had prod",...:! p rev iu u.ly_ Tht' 15th Ann,,,.. rsary XXV-D R
D rt"'dd nou).: ht
X".ra,.,.
~nd
, hat foliow..(1 "" .. r(' madt, w,th ddux{' wood choices (mclu d mg Ta ylo r s usc of some
11 01('
.11" ml Jy Ih"m{"s to J
mn gl." of ""d{"rw,u (t
dl's, g n_~
to
to
leadc rs
gUlIar~ J
Y"Jr,
m~ k"'g
hJ'
H '.. 2 ~
boJ,,~d and ( r:l Yel- s,,~d denU"~Il< ' AI , h" I,m .. 01 Wtl t Hlg, Taylut \ , taiT nl ""a rl )'
XIUI Jr
lur ~mJ II
400 CUr!!
th~ d,k"uwl~J~~cl
HI
After TaylM and Ma n ITO , !ll .. Tan)m,l u>mpany, fnundtd ,n :-~~rtlt", \Xla~ h,n gron,
III I '-)'-)7 ran
Jj r~ady
J.1Y da ,m
l)(',ni( tht t h, rd
to
lJS A Th .. ( oml'any's foorS sft' m IllS f a I' ttll' b,r fu rt hl."r hac k [han tim, as thl." Tn co ma
fa, oJot y wa. o tah l,sht,.! as a wood processor and occasional ma l er
awusr,cs for ot her hra nds, pnm llrily \'qashburn, Two of "l\ocDlm,\ (jrst ,,{f{'tongs , tI ,t'
m ~d'um - hod 1('"
C \ (. Ch,d and
for ,hl.",r o(fs("l, (('a r. trop-sh"ped S() unJhoks posluoucd at til{' ba_,_,__"d ...
hom , , hl.", r pln. n M(II'e, and ,he, r ItIll'f{"ss,V/;, sound and bu, ld '-jual,ty "t tht,
P"C..
S"Kt'
nn n ', k d an .mp rC-SS1\'dy wi d" rJ ng(-, IIldudong t h.. ilorem "' ..-Lu ta wa r
F M 16 and EMI O, (he Lauren a J ulx r-dI."M!(ned E s.,,,,-"", , the EUZ 24 wHh
Fl ra~llmn
ros(wooJ back Jnd "d.." Jnd many mm-.. , totaHin}!: mort" than 70
IIlS l rum ell (S ,n Ihe rJng" SOUt .. I99X Tacoma 1.,,-, a l" , .,/k..,d ,h" fort",xn mJd ... OJ)"m p' d hy Tawma 100" of mure
mJke r's
O ,h~r
affordahl ~
d~",W"
hnv~
m\l\,.. d
Oil
f~ lr
to pf,,,l un' morl." ont:, na l dcsif:ns, blll most atl." still paymg homagl."
to
33
fhal ).; randdadd y of th" A m~ r!(J n fhl-top. J illi oftrn topping If, as (tWlr reviews ,,"d star
to
~ nd
Cr u ~
&.m..
,ndud .. (ur
rH
(m
R IChard IlooVCf. Brucf Ross, an,1 \'(I ,lIm m l)avls fi.rm..d rh .. Sa nta Cruz G UJtJI Company
S~ m:l
III - }CP
Cnu, C'II,forn,a,
(I u ,~kly
197(. , and
In
w~ rt'
look on!,: fur a ion I., mor.. llla ll I he u adH ional brands
( .1\11 I)
p~n
(() I h" ,r
w ,d~ r
finJ.;e dHl<lrd w,dth at t he nut Other models had su htly ,nnovalln: tw, sts o n clasSI" des'g ns
l'x tr~
bu more al'peahng
(0
s~ "ou~
nu ~ed
playO;",s: t he
u ch..-d
b~ck,
~mall
but d""p'
,I: ,t',tt
MartllllG lbson -sryl O;" m(H'I"I, ,hat f"I I"",,,d "'"ul d prov e Sam" Cru,,'s re al bread 'n 'bun{' r but rbey showed ",har th .. makn '01,1.1 d .. ,
name pb)'crs, And by off!'"n>:
models, wllh siO(
h ~ad~r(.K k s
~!ld
~ a Ullfllll y-mad"
f{'",
and 12 fr" r, , I"", ul d,,, bod y, or the lx'l uufully appom ted,
p rewar-st yled Vmtage D , Sanra Crtl? (nvw sol"ly "wnt'(] hy RKha rd lIocwer) is oncc agam
pmvid , ug" b reed of "imlg(' acouSlic I har can ', t',"I Iy he "Inaon"d rlsewhe,e,
NOlle of theS(' HldqX'nd('nt mo l ers ,s a 'ou, I).:(" opn on , tot n''''''', and ",m" - t he smaller
wnt k~o"p' in p"rtl<ubr, whu(' each guita r IS IIkd y ' 0 rt'{"t'lvt' some aU"nt",n frum
"fl'
till'
plJ~t"1'l> h",,~
cnmt
to
wonh TO he ha,1 ,n a well -madt', hJnd-<fufted JO,US IIC Illstruml"nt. and I h:u rhe ITlIlm of
Jusllfiable 'l"xpt' ns lv{" ).: u orar<
noth ing rlS(". rhe I,s! of "ar playt",' whH h"" .. ,.old nil thCIt M' or G ' brandC'<1 a{Ollso n 10
phly Sllmnhlng from
r h~
an."" I,q uf
mJ kt r~
J U<"U
rnakas , the modern upst arts , an d Ih"" As,an f1v:o.k IltJ{ xrca l g Ulrars have ben cOflung Out
of Ca nada fo r
d,,~ad~ s,
and of cou rse many of (ht, foun d, r) of rh~ American art of stnnged
lkrwt~n
&.
dJ ~'J",1
(Omi'an~..
(Ov~r~
self-named
fir~t
Jllstru nJ('n t~
of j''an l..arrovt't-'s
rhO;" m.'I'" ( nn,ldlMl hu dde r' h a", got Ihe ma rkn "'Til covt'rt'<l S,neO;"
fou ndoog h,s H armony L'lo cu srom j.:ulfar work-hop III Montrcalon 196 8, Godon hM Mn
responsible for la unchmg an
th" a, m of pro",don~ good
anyone who doo:-s n 'l
ta~_
Th .. r<,sult.,
ou rs{and ",~
l.arT"'""
h,,~e
,ml'rt'S}I~"
souml m~
br~lIds ~ nd
ha~'e p~ld
of( Jnd ('"Jell o{ 111(> makes und ... r rht" 1.a:"Do n mhrella pmv id ..s
ftJ ually
34
..
al'lJNrs to hot-
~'e ry
m ud ., a class,cal ","tar ad apted for st"d -slr lng pla ying. W lu,h
, ~not
to
say Llwy are hal f ba ked con versi o n lobs: t he ('\u ly v('rs 'o ns of Ih('s(' w(,r(, upmark rr , (u, r,' mh a~'t'
m:lde Insu umenn Ihul pc'rformed stu n ningly, and th(' produc llon mod('ls . hat
foli owKl
are s(l li Irnpl\'S$IVe J*rfo rmers, wit h a snappy {'('spollse and full VO,e(' T ht' coml':lny also
off" rs Dr....... d n.)ug hts, lum bos, UO modds wit h 12 frels
mod d thar ha,' w"n
solId _wood
\0
n.. t- to p m ade In N orth America ~I the li me of IfS ' m rod u(flon , an.1 fu n h~ r ).:00.-1
ha ~ e
fo ll owed, all al ig ned wll h Ihe Larr ivee des.g n et hos and , he /<OOI t SOllnd
of rou rst'
m~ans
t h~
rt'aslng COSt of good ent ry-level gu itars man ufact ured III N o rth Am erica a nd
ev ~ r
rh:.! Im porfln " /l u lta r< (rom (j ump" co th" US a nd Canada has r"rely Ix'e n :In
pl ~n !y
r~ , I""
COllline nm l milk e rs S\J( h as Hutn" r, 1.(,, '''' , (-,oya, Eko, Fra m", :lnd Hag"tri ,m p",vJdt'(j
Europ<'an and Brit is h play ers w;d1 1I1C full ran ge of awus{\c fyl" :S fo r
dt rad~ "
(h Oll l' h
rh ~y
arc bi d e seen out side EU fOp(', Gc rnl:ln y's Lah 'wood , Fi nl a nd's
L mdola a nd lh(' C/,('( h Repu blic's Fur( h arc large r bu il ders wo rrh y
of" 101 of resp('(t
tod ~ y,
hi g h-end makes ,
to
N o rt he rn lrd "nd 's Lo wden probabl y has the bes t rep ut a t ion ,
O ~" r the (ourS<' of lIS 30 -y('ar history, Lo,,'d en has g ro" ' n
b r~ nd
pl~ye rs
lIke
RIC hard T hu mps/III, I',,,rr,, B" n' u'a n . J an Akk" rman, Jacques
Swm:m, Michal.'! Ht'<l/<es, Da Vid G ray and ut h"fli _ Aft~ r a num l,..r
of cUSlom-bul lI e(fo rl s, G oorg(' Low(len got run n ing as a prod uction
ma ker ,n Ihe I'rop('r sense III (h(' lat r 1970s, In 198';, aft"r some
ycars III whI ch the g uit ars ,.;ere bUill III Ja pa n, G oor",c starred a
fac\Ory III R:mgo r, No rt h(' rn Irdan<1. Un forl unatei y, II ran ,nlO
mon{'y tro uble ;Ifter only t hree ye;lrs lind changed hands. Gror).:e
ga ' e Ihe new co mpan y a bc{'nse (0 bUild hIS desig ns , But in 2003
lhal ag reement came to an end , AI th(' st art of 200-1, wha l had bee n
l he l o wden Guaa r Com pill1y c hang ed its nam e
Av alo" hilS "OW droppt'd
I h~
n isr lnn lve bral ln,ll, and sra rfed al{ aln w il h a
Glrge l.() wd tn , mt'an wh,le ,
\0
Avalon GU I(atS,
n ~w
ra ng",
jl roJu(ln~ ( h ~ ~u lt (l.rs
d('$l~n$.
al o n~
rhO' lines of
Lowde n has stcC'nxl :lwa y from til(' ClaSSIC Mar li n X - bfl\Cl ng slIIn'
1976 , uSing Iush' ad hl$ own modi fi ed A -b ruCi ng sysl em Ihal , for one Ih, ng, hdps 10 pr('v"or
IXluml ne", In
'O .. g lllal
Dread n, .ug h l~
S~ fle~
J)rt'a(! no u~ h l
J)
S~ ""s
t h~
nlm p:.o ny
d"e~
shape'.
T h,' hig h q ua lif Y of a num ber of g rea t Bfl tl sh l\lt h, tTS workin g w d ay War"''''' I,' gre"t"r
cove ra~ e
Th ~
b l osso m ~d
In Iht U K '"
and WI!h g Ul( a rs from t ne l,kC's of Ma nso n, Broo k, !'ylde , Ihvt Kin/< , Tom Mart" ,
M ,~".
Ul1d
35
SJlJPPHl~ ~("t,
nM, mOfl;"
~n'
ad<l~d
or 'mport d u tl ..,
fO
RESONATORS
Befo ... l-lu lfaflsIs "cn' bro:l,.kasun~ tlKlt plJymg t hwu,I(h a 1""1"'0('1 SI'(,"" k("T ("on(' (oupl cJ 10
It
(on<,s of Nat, on!'] ,l: UH ars umq ue bUllt - m JU'u'U~ amph finlt"m 'yst('m T h ... p rinCIple- IS
II.
m'W III "; ,-"n., lila[ rnlar;;ts rht "'''rauonal ene rgy
drowned OUI flat-tops .IIU..! atd a "p' on IllI r.."",,;;I), luudn handHands, th IS sdf-projecung
dcs lgn was a rn dalioll.
Born oul 01 an Id""
rI"v,,~c!
by
txforc
l<l
N~t, on<ll
to und~rI
jll., t a pear
build hanjo" In fnct rl1 (' S\l((('SS o ( N auo nal"s (ri -COlle r<'Sonato r !;Ulta', and th"
slugk-u",,, d"s,!,n, tl1", wn"leI soon (ollow (roO) l)()pyer,,'s bre"kdway company l)"h""
would
,,,",~ W
thauks
to
Impmw"wnb in "o[u mt' thar ,ht,y o fft'l'('d O,",'f (rndJll ollJl gUlta l'> , Of u m'_.... hy only tl1t'
I", ddl" of tht' nr>:! dt'("ad(' Ih(' tnere~slOg l,rn jeu- ,)( d~"<trK
SUll'"~~l-,
.. mplificatlon
soun.1 wou l<l surVl' e down the Y"JI'S .md " lOu,,, popular today th an t've' ht-fo["("_
~,I~,r .
would soon also be m~dl 01 lxll b rJ"), and (ar" .. d rhrt'(' rh m spu n -aluminIum cones I hat
0lX'"00 towa rd tit .... "'SId .. ha d , "I ,h.. hildy, WIth I h,-,If ""11('":< ....5
Y,hr~IHln~ 1\;~I,onal's
f{'S{III~
On a thrcr-polIIt bmlg('
slyles o ( JIIcr.. asiu~ d .. mrat,,,n. n\lm ht-, .. d from :>ryle \'s I'la lll body to Slyle 1's d .. i>oral~
nor.t1
engravlll~~,
ava , l:thl~
w~ r ..
w,~..J"n
I'lay ..d
III m\lnd or S'1,,3'e n('{k, the lall er (ar mon pop ubr
l:tl'-~ Iyl ..
"'"h
s~ m t'
H"gC t mnrke{
Jll
Ddr ~
lx'com .... rh ..
to
hlu .., pl"yns' favo"rllt , whd ,' Ihe Dob ro h:ls gcn .... r"lIy been the ulu ..,!; r",,,
,Iid~
pla)".. ,\
,l( uir" r of ,- hoin', In rill" face of (IllS woo:x.! -boJ i('J "v~lry, N~tlOll~1 '1ui,kly ,ttppt'd ,n to
make its own more affordable .liIIg1c-(Olll "",..,kl, .,, l)()th w(w,d "nd mrrai- as well as many
mort'" dccor"ll"C "ersiOUS of ti l(' I YP': - ~IId """r th" y.. ar" Ih .. r.. h," ht-(' n no ('nd of confUSIOn
hetw('e n the 1"0 males am ong
pl"),~ ,,
parallel h'SlOflCS
NJ(.onal offcroo !"('sonmor gUltJfS Ut, t, 1 1941, bUI durmx Ih .. war yt"a' S tht'" company
evohed U1IO the
wide r_ r<'~dll",1(
th e electric g u'tdr
the-
m ~r ktt ,
Th .. D"hr" IMm ..
but tlo"" ..
T".'O'
h.l~
ha~'"
rr"pp.,.d u p lIndt'r a
I'1Jn~{'
of owners III
Illst rurnE-nt compa n )" "'ll", 1,)1(), M.. ~n"'hl k , norh wood - and met" lb,xhcJ Ifl-conr
and slIlg l..-H"'" r.."" In ma n y (IIOJ.:lnaJ
I ,,~h
Na"()n~1
ty pes arc
a~a lll
being made to a
,randard hy rh .. NatIonal Re,o- Phon J(" COm pJl'l y. (oundoo on S.JIl Lurs Ob,spo,
C.al ifm noa , III 1989 A mnl'e of smaller mak .... rs arc Jlso curru nly producing Slm,lar
d .... ign . wh,l .. hudJ.: .. r \"'rSl ons of bot h m .... ta l and ",nod Cl'SOIlJwr ~uJta rs ar., dVd ilubl ..
fmm A" an ,ml"ort hran.1s 10k.... O~ark and Vint,,~e, Al l CMI t.oke ~ lll tl .. p r-.ot lle ..
In
t h., h"nJ.: uf, hU I t h", ",,"ncr of them wtll sou nd E;orFl'tlUS wllh ti, .. fight mu{-h
t ~<hnlqll"
36
- and d l "ffer rhe loudest acouslIc pcdormJlllC o f th", ull plugg .. d world
~~I
"".I
37
anoth('r,
[0
J('E:"t('(' of cross fen II ' SMlOn h<' rwt'O:' n ,ltt'nr...s wday ",mm.-n"," A_, .. gU IIJrIS\ you
stand 10 ocn('fi, ('norm ously from d lt mSJ>U"lU 1on Offi.f.-.:I hy pr"~'i"lJs ly unfami l Ia r t"ro IlS. ) J.u
('.Ill mAu,' llec blu .... s, cooOl ry Clln mOu('ncc rock. JA~ tln Can m Auenn; p"p. Afm .." Ian IIIAu,-n
Jda .. . and on LI !:O('$, In II o(';' r" nfin 'f C van Ny of com honar ions.
rollowll"~ ( h~plcl'S
The
offer n groun.hnS
(0
In
hoo(" your sk d ls
In
you r :lb,hty 10 I' n c o m p;)s$ a w hole r,' of,'C of m usICal mOO<.ls. N t w comt' rs
have
(hance
~ hap l n
t hat
Upt'II~ t h~
1)I . ,k ,
It "
t h~
,," ly un ...lImed
~t
In
[f)
,1;""'"
1'1.1 ) 1J1~ wi l l
St-..n..J
(" ha pl n rar .. ~s a I"lI n,,~ of I ~,s"n' ,,,,,..d en pl.ty.. rs rallgJllg from novice
!O "dvanet~ l .
~;,(
FYI,," r h ~
mos t skd ltd pro should 1"1(' flhl~ h) r~k~ away a ft"w nt"w tm.h and u,dull'lks from ( hcs(' p,lg('S
Gl yen Ihe sp~n' " lI ow<-<.1. none
of rh('-~t"
ehap r n~ prt"t~",h to
(!Il J
Style- .
ei lh er, a ll houg h ('ae h otTers rh(' skil ls n("{'<le<l co rn ak .. you n",fJd~nt '" tht" .!w "n". II on('
or (I
of t he new slyl('s r('~ ll y !"i\OS yo u . you "'illl">t' wdl ~<]"irp"d to bt"gi" <ll"'p"r study,
num ber
f( ",
II('W k l(, mn HHI C.. lru- ii(' h to your ll~Xt blu~, gIg. "nd blow yOl,r
ow n bolmdan('s.
to
In
most of wh" ,
~ou
vast , t hr. prom~r ",,,n'r ht t"xhau.'>t l v~, but It w.1l gIve )'OU enough 10 ~"("I you rhrou;: h
rll.- fullowl ng ehapf~'" You 'lI find fu rth.-r g Ulda'K" On any new symbols or mstrun rons }'ou
t"ncounr("r - pa [llcu larly In mOil;" ... 1VW1(ffi nOlatlon - wlthm Ih .. <,xpbn~tm) " .", JCcoml:t;' oy.nj.:
rht" "Xt"rclSt"$ rht" mse lvt'S
All (')[crc 'Sl'S, or he r rha n I h05t" of pu re rhylh m nOlat i" o , willi", r<'prtcS<"nto:J '" bbth s(,lnd;,r<-l
OOt~ flOII
an, l fAh ; wh l lt" s.om~ symhols aft" (Om mon to bOlh sf-t.. m_., "'hns ~ H' uSt-J bnly
or rhf- o rlwr. W h, lt, many t')[crn$l;'S w ,lI mclude SIIJ.;;:eI..d ('hord, fi"
~,.,-ump:"" rnOIl
0 11
00('
below Ih('
bonom tab 110(", chord box("s wI ll 001 always !-X. g,Y.. n, unless t h.. ,-hord" t hl'mS<' lv("~ J rr til("
pom l 0( (he st ud y, or t h(' au t hor f~ls It WOIll,t he part 'Olla riy h .. ll'fill w I""v,dl' "' m ~ g Ul d",\ec
aboll t unfllmiliar chords. NOl e (,Iso dl~t iodlCalio ns of rhyth m w.l1 bt 1(Ivtn unl y III Ii ,t' 'tandJN
READING TABLATURE
A eo ml' lr t.. courS/.' In rt"acil n;: mU SI( ,n 8fandard llmation would t"k.. mor .. !'p;l(" tlwn .s n~ ail nbk
on Ihe Siaye of mUSIc dll'('("lly aooV(' rl. I, enables guirarlsts ",.(h flO (rad, ( ,,,nal mu~i' - reading
sk Ills 10 play C)[CrclS('S r"<'j.:a>"<lIess. If you'f(' n('w to tab, th", key I" ,in t , w nml'.ttt" that II US('S
no t lll..h\lonal 'notc-s ' as such but C'a rrr c-s nu m hcrs In th" i, plact", t har " " mad .. up III SIX
hOfl~on tal
Imes mstClld of fiv(" and t haI 'I Glrr+es no ekf or k.. y "~ natur.. t:ad, of ,h. sa
r~prt"ot'n ll ng
th(' low E-su lIlg . To hdp you rem em ber wlu(h ""'Y IS up . Ihe nmes of rh .. op.. n srrrn~'
,h~
('xern~
10 'ailernar(" ru nml-:S ,
Jrt'
H~~~
I h~
ah nt'd SI Tln!,- n()[t' valu.,.; WIlli", ,!!:'''~ " ""[t"ad , as '" (he exerc ise '" DADGA D (unlnj.: (fi,l: urt'
I, \)I)UIlm ). N uml,.. ,", " n I h.. 1111... ",dlL"-l .. ti,t"
~t ro
fr~t
wh, l ~
Figure 1
39
Th(' majori ty 0[ notauon s} m ools atc us..'d to mSt ruCt you III the llu;HlITS of Gngcr mo,'cmcm
OC<..JUlIl_'U to playa P'i'Ce wIth tile wm:t. t '{,-d '
l he nmatlon -or sI ti ng trt'l n umber ."mb,nJtltl' " III d~ lau - rd h you whi<-h ' K>t", to sound,
!Jut wnhou< .I.., ,ymbol, It ""ould be' n.,..Jrly Impo"-,, b l.. m d.,[t'rm",.. [rn, subdN I"-' of pla}'l ng
partKu l~r 't}
IinkJl ~ I t
to
IM,tO'
III
aclue...:",.l al doe peak oi th .. l~nd In t.lb, d ,.. ~nh 1'11k.- th .. , [am "l' nm ..
{tJ
,~
tilt' not ..
t."<j uac", to t h.. !;":,,nd nm .. , ",,.. n r""""I' h , II .. l", nel m" f, nxt'r s laY' at (h.. "' m~ frt"
' UL" insr m n, you to
.:~:
' ~ n<i
( fi ~u!"('
up'
(fi~ (l rt'
- - _................................. _ - - ,,.-..,.
r ' , ;1 [
I~ :
~
...-
. 8~
" Oil
oj
"
II
Figure 3
rt'lra...-saJ1:' ",I(n,fi<:<i in
- r :r
g~
B~nd
1).
th~
2).
(141m) 14
Figure 4
If "(
...
,
"
Figure 6
..............._ , - - - - -- - - - - - _ . _ . _...
W/he n che prt"-bend n(lte " not tu
., ..,
"
"
Figure 5
_ _ _--....... ...
m,t ",,..,,ion m
(fillu n: 4). Yo" w ill also Stt an ul""",I" .. lown al"("h !-otlo,"" norc-s whl""1"(" t h(" symhol ...."Ou ld orn..rw.<,("
dash WI(h an Il n-bcm nOf(" on a h,pll('r StrlnP (fif!un:' ~ ). ' '''11('\"1:" an IIp-OCnJ IS iml""nu{".J as mO\"1:"
of an Infl<'("fIOfl. wirhOll f a condudlng norr
'>('("
(hC"S<"
(0 liS('
(II('
form
1 =ind(""X
(figuT("" "' ).
fingrnngs w,1I ge nrro ll ) only be F I" ('o for the first = '1mpk
(0
aVOl<1
Gliss G liss IS shon for ghs.s..l lldo, (he term u ~1 ill cI,' ~S,c~1 Ill105ic to muicmc ~ slcady shdr
OCl" C'C1l nOlCS, In more COIl\cm por.lry lim ns till' lC'l. hll,'-luC " oJi('ll r('[crrw to as a 'slide ' or 'Gnger
sli,k', but ,till indicaced
a.\
'gl", ' in
go up or down
(Ilgur~, S and
!old),
\X' ith a gli" fforn OI'~ [lme CLl Jl,"(her. ~ 11 ... n Ii ,y m b, ,1 _ " mlbr to thdr Ils.ed to i[]dic~ce ~ belld
- appear> in
rh~ ,c~ve .
th~n
!h~
l ln~ In
the tab,
ch~
",,:nnd
so m ply
"O[~
A /,:1;" ' rm uol p lacl bef<l<~ or 4ftt'r a "".'lIt' nOfe (fill" rt'< 9 and 9a) [I' ll. }~)u to , tid .. to nr (n,m
an ulIsp.,u iil pm.h , but to bnd on til.. "Ot.. .Lt,,en,
""n Klllar fret art" ",di(:at...d wI t h" I,nkln!, 'I,d .. and rh .. ahs.-n<~
._ _ _ _ _ _ _ _ _L
- -,
.0
n If r
u" . t ., __ - _ _ _ _
g~ne r~ tt-d
WIth a
p l~k..d
. 7U
,,
"
.,0
~
Figure 7
art"
Figure S
Figure Sa
/f
Figure 9
=,
'" ,
Fig ure 9a
I nr('rpr~r'n.l! wh ll h "I"l'<.jum"ll I~ o..'iXl on tiK' J Jl'cn ion of tnt- mu<ical li nt', A ><.""dms nOl l'S are
ham mem l, and !l~nclll1.1! IIOtt-. are pulled olf . Th,s app li <"S wh(', h("r a ph "'<4-.t' " {(>w U)
ham m(', pu ll
g('nt'r:u~
(fi/lu,., 10) or " 1.lUnd lt."l.! "'nh a p ick st roke' (figu rt' 1 I).
;m.-
ind IG. tt-d by ~ d mm onJ -sha!X"1 "01t' III Iht' " ......
:l(com pro n,cd hy a Na r harm ' d o....n'" '' alld ~ bruk.,,, lilli' cXlcM mg tOC kn;:r h of , .... n.a rmu" 'l...
d urar 'on Th(' sam ("$ ,nd '(lIrN ,n ,h.. ta b by d .... let lefS -Nh ' follo"'...,j by a hm !.:!'11 I, nt' (fig u re J 2).
Arnfin al harmof"" c< - I~ "" ("l<'m,rm..:J il) {relllllg .. .Klle and da mpll1J.: ,h(' sam .. sm njo; 12 f rt't~
higher - a rt' ,nd ,(art'd on In., Slav" w It h [h.. t .... ttt'd notc in paocmh('S('S and (hr dampt"d (hJrmofl K)
note lfl the sha)X'
of a ,hamond, an on ",,-., h'lI t..,r, and aLm m p.lIlJ(.J by (he l(,((M" 'r follow ed b)' (t..,
fn 't no.unOC'f (fi.!!urc 13). In (hr ran, rn,s 'S ",.;I ,ut.,.) by u"n);, a num ber (or th(' focne-I rl()rr fo il ()\\"",",
..,
., 'i ., 'i
I
~ "
- -----.---.
Picking Symbols P,ck " mk~ art" md ,e.. tt.-d ",th t,,o t} pN of s)'m hols T h" ,), art" not
u1Uve~U y g " r n 10 arl ~roc 'SC"S, nnr arr K"orr",Uy induJ.,.) wlK-OC p,ckl"!; d Jl't '(flon ,s eflr ,...1 m
r---
Figure 13
- = downstroke "
Figure 14
=upstroke
" ~ rtJ(al
lIod,(,I flng th" w~) tIle' p ick shou ld !low (usnally from Inw nm" ., rr lllg
11",
slaV.,
In
lugh
In
lfl
an arrow
Rhythm Patterns Lmrs ocp rrscfl fl ng pu rr rhYTh m patt.,rns, w ,tI",ut note ,alurs for plTch.
un ur III a ~oupJ ~ ~ )f difl"'rm t forlllS (partln ol a,l y in
(ht
rhyt hm f"'tt~m, pJ Jy~d by drum s andlor )X'TCm Slon arr cn Kia l m the ge lt ' ". TlwS<' O);I Y br
rrpr~""ntffi a,
on" - Io ",, 'Hav e, with o..-:ut v'11ues g iven f"r insrnlm r nt (fjJo( u r~ 16). or as ll(Jrlll ,d fi ve-
1",(, ~f~Vt'S w uh ht>"1 va lll~.' ,;,Vt"11 hut 110 pitch iuJ ica tion or ordinary nores fall onJo( .t Il Oil th .. .'Jm~
S!-"lCC 10 Indl Cal r a lack of p" "h " .. Iu" (f, tl ","" 17), T he corrco imerprr latl on of I"a( h will Ixexplain",1 ",uh on rhe re leVll.Ilf md ,,',d ua l
L hapt~n; .
Triplets Wh;lf('\'rr rh!:' rhy!hmi <' valu" of th,,'r nJllst iw em notc'S (WhKh . of ( onrst". " a lway., th!:'
!.l!lle for ("ach no re on a rhl"' -norr ,l;fOu pin ,;), trl p l~1'i are inJic-J tctl b y the ntl m br, T and lon k'''t;
brncke(5 abovc or brio\\' rh!:' appropr,art" not"" III t he .'[,J'-" (figuoc 18).
SIm Ilarly. "" h('f('
~x{llplt'C$ (K'CU r -
III
I
!
. L_
""
I~
J,*II--~~
]~
: :: :
"._
Figure 1 S
Figure 16
"--- - -
~I
Son_2;3
Figure 17
___ r --
:c:
rI .
,=
~ .
r"\ .
~ I I I I
Figure 18
------------~--TI~
41
- --
Figure 19
m~ J...,'S sell.'"
mlllO! ch" rd s.
Cu sta rt wah
N,'rO(~
som~
m.l ,OI"S ,
fh ~
'~ad'
A, you tack I" ,h(' shap<-s l h"" k fha r t<teh s{[Jng th"t , hould I,., soun, lll\g
thl'
f, ,,~n' ar~
pbc~,
play
~~(" h
IS
S0l1lJd,"!; W h.. n
'""''"f from
('!lough, ot a f ....fl m}( fing<'T lOud" u,.; and rhel"(for(' mu ong an ad jact'm $rro ng.
A spet-ial word muSI Ix- 'kud ahm't rh" sha~ for B, 8m , F and K m Tht'S(' 111"01,,.. play'",>:
" Ixo rr"" hut rou (~ Il I.lSC th~ vt'rS",,, wl fholll dw rL.dl [,.. rrt' fi>r now. ull ul Y('l.lf fi llgt'r:.
I(.. r
u~1
,,
,,,
1,
WJ
5 1 3 5
5 1 3
1 351 3
,,
,,
I,
r1J
8m
,,,
135 1 ] 1
1 5 1
~3
Master the chords on this page and you will have the
most common major and minor variations at your
disposal. a long with some barre shilpes you can move
up and down the neck to create diffenmt chords. The
numbers beneath each of the chords show the role each
note is playing. A basic: 'triad' has a root note (1) which
gives It its name. The other two notes. the third (3) and
the fifth (51, occupy the third and fifth steps in a scale
built on the root. More complex chords add extra note$
fTom the SUole.
1 5 1 I] 5
,,
[1-+++-1
1~
1 5 1 i3
1 13 5 1
I'
"m
Elm
Em
l-
F-
1 3 5 1
5 1 3 5 1
151 151
1 5 1 3 5
, ,
51
~ 351
1 5 1
~3
5 1
jIl
SEVENTHS
Tht ntH most com mon g roup o( chords i, l h~ """tllt h.\ , ! I"r~ are two typ'" fotrneJ hy adding
it
single llOle
to
v~t, i()] ]
will
t h~
gi\'~
YOll a
nu t. Tlw
Ij t tl~ fin;.;~r
( h~
In
an d 1'7
difter~nt
h~ rr~
r h ~ harr~
chord s.
and
m()v~
The maj or .,,,,,,,m h chord has a , idle, ,,,,, nd than tlw fir8t typt'. Again. b",t tlw Bmaj 7 and
Ema j7 if yOll fi nd l he", d i!Ti~u lt. Th~ F#maj7 has t h~ advantag~ "fl"'int; a m ()v"hl~ ,ho rd t hat
docsn't h ave a barre. M"k~ ,,,te chac all {h ~ st rin;; , that , ho u ld he ""u odi ng art. ot h ~rw i""
YOll
SEVENTHS
,
A'
I-
0'
i 4
15 1 3 17
1 3 1715
1 5
15 1735
~7
1513 f 71
MAJOR SEVENTHS
0'
1+ '
Dma/
-I
4
-
4
-
1 5 '73 ;71
13513 \7
,,
,,
1 5 7 3 5
,,
1 5 7 3 5
II
1 573
I,
1 357
1 357
1 57 3
Gmaj1
, -+
1 3 5 7 3
1 3 5 1 5 7
45
USING A CAPO
In ord er to make playlO).! In f[,!lOcul! k"Y$ ...AlS' .. r, /olU ,fur"rs u_"" a cl ..",c.. l nown as a 'capo', TillS
may look I,ke a mN ,('v:d IOs rru nl('nr of lon ur.. hur , all a KUl ta n 't,
It 's
u" .. of
It ans as a (In.! fi n!,"!.'! substi tu te wll(' n hold ,o,l: a hMrt', or a l rt'matl~..,ly It COUl bt' rhnugln of as
a rn"v~ble nU l. If a key would norm.1 l1 y m ('9.11 lo(s o{ ha rn: chords (and an w-h m); hand) th.. (:> po
ttl
:\ . Ej,
pl~y(-d
Auual p m -h:
A,
8,m
Cm
Am
8m
th .. capo at
I'll l
~m u on('
oclow
10
I h.,
C"po IV
s h ap,~ :
O r. for a n cx[(cmc
Cm
0,
E,
Fm
F#m
G#m A
C.m
Ix>
E,
Fm
Am
W~
u >uIJ d o it
0011("'$1 .
8,m
Cm
Capo VI II Sh3pt"S:
Om
Em
th~
'lilT
'"
F
11 ... 1.:
':-.111
Em
",m
A,
'om ~ t h il1,1(
Fm
Ac
Auual p ll d l:
o r d own a kty
r. I1)'
II .
Much eas ier, and ir rou nd s N: rrtf "x.! And Ih:\! \ nut til .. "" Iy "'''Y
Ac n wl ])If( h :
11 111,0.:
whlth
'~""";
\0
W Ill
chanFc. Th,s IS
c ~n
w" h rh" two ,l( u itars p lnyln,o.: rh.. sam.. ( hurd, 10 1,0.:11 und I"", :
Am 8m C
Em
Op"" <.hord,
Am Bm C
Em
Capo VI I shal";".5
Dm Em
Am B)
1\ct u ~.J
pi lC h:
G uita f I
I h('
hnsl C m ajo r choo:ls - ",h.,r., " pp "'p ro a{., - co m llet shapo's th::o t
" n n'l m uch more dIfficult to play, Slmp l(' sonp ca n mk., on :..:Id"'" [t ns.on and afm'''pht're
I lt r" art' thTft' mhef types of chorJ that
h uildt n;_ TI lt ml1luf
T h" Bm7 will
Sl'v~ lII hs
ar<' tile" mmor ' "('('Sion of , he 1\7, B7 an.1 so on prtv iou sly shown
46
;)1'('
fi l\S~t
If yo u ("k(' off the bo rn' and mov., tht" iin,l!"rs t"'I> frt"f'
wllh F#m7 IS ol' llon,,1.
hna\lS~
uf
nut('
fO
t h~i r
T hc Asus 2 and Ds us2 >ll'(' pop ular oc.::a usc thc rcvcrsc
tx lr<::llro
haptX'ns: )ou juSt lift a flngcr 0[1 a suing that would usually
b" rr~
withi!] it
lx...:aus~
i nclud ~d at~
lher~
t wo firs t
a r~ uni 'l u~
i nv~ t';i on
" hur(h -
(~ IB
th~
sam~
pi tch.
oft~n f~alur~
in a(ouM i,
,,, ngs. Fir' l i nv~ rs i" n ,im ply m~an~ t ha t t h .. roo t note i~ not the luwes t in the c hord , rhe "third'
i ns r ~ad
abovt ir is p layed
_ rhe nNe that is two tont's h ig her t han the rOOt in a majo r chord. Try
these out and karn tht' ones you l.i ke rOt your own p laying.
,,
Am'
, , ,Dm'
..
II
.
Ftm7
II
,,
,,
I4
I
---
I4
.1
G,u~4
,,,
, , ,
e,
f- -
-+
47
'.'
w
EFFECTIVE ACOUSTIC CHORDS
Ffm 7add 11
,,
- - - -
09 add 11
- - -
,~
----
8m add 4
,, ,
II I
-
I
'm',
' ,
"
,'m'
Am add 9
'Jj
I-
I4
r~
f-,
.,
A add 9
Fmaj1add 11
,,
,,
II
;I
Om'
,
I
I
IJ
I4
,OJ,,
OIFf
0 _"- _
C add 9
.,
I
Amajl
I
I4
- H -
I
I
I
48
~4d
STRUMMINC PATTERNS
N o w rou lJ;lvt' plrllly ofrho rds
(Q
to
str; nb"S_ Alc hllugh 01 .s poss,h l(' ro st ru m wit h yo ur t hwnh or t he uppe(Sid .. " f your fi ng .. n: . thobo;st
m ot'
f(,.
5tra'ghf-on rhyrhm playing is prod uertl b y usi " g a p ick , or plectru m . ThO's .. small
pie(:~ " f p lasm" are- h.. ld oct ween t hu m b and {oreli"g er (doll 't lJ."" you r.second fi oJol .. r ht-<-auS<'
Sl rmg wi t h
1\ aI
cwsSt:S , h.. fi ng'" af app rox imact'ly II n g lll angk. Most of t he pick should bo' I;npp"'-! _ rh .. , ..
((>
COm ..
th ick n.. '~s . I'm a(ousr ic si ru mming a th in olle is {,olSit'S! 10 ',.,g in wil h and mlxh. XIVt' Tht' bIoST
wn~ for janx.ly hUT nor-roo a~ rcssivt rhyth m p laying. Th ick pi("ks pu r u p more rn lSla nc('
link
mor~ ~ffi}ft, w h i l~
sr ru mmin;\o: an ion is mos(ly (rom th~ f" rearm as il han).;s off the rop of Thc g u iTar bu r (he harK!
wmClimcs conr ributts a lietle for emp haS I'.
of g, ~.od strum mi nt( ran he su m ma rised as follows : ntn ncss of tont , :Ivnidi ug
T he cssc nc('
to
k ~t pi n;i;
to
OU I strums,
Exe rci se 1 Me-IS us srarrr:'<"! , Hold down an E m ajor chord. Tap your foot, count
or set a
metr()nom ~ !!"trl/j
to
ytHme- lf,
trl
4/4,
wh ich m"'J n." f" u r burs to t:a<"h bat, St rum clownwa rd s every other btc-.tt , I ht' n (tn ~3('h he-al , rhe-n
twice On .,lKh l>t'lll (e lgh, h-nortl or q ua vers), then fou r l imes o n "'.teh btat ( 16th-note:s or $/;'m l-
quavt'I"S). l)ept'M ing on how fast or slow you 're going you may fi nd . ha. s trum m ing rwO("t' and
/l.ur t Imes 10 a btal IS roo Jifficu lt JUSt g oing d ownwards. Th .. answt"T IS to sfru m {Iown and up ,
how wlrh r:ach cxampl., somt' serums are I3 k"n away; Ihc ("hord
I~
til
, he fas, er the te mpo the- longe, a gap you Oln it"avc. W il li IV , here is the JO lroU unlO,(I of p 'tt t'.
10
JOtlled pai r bUI not the ~"nd . Inst"""" tho: fi rs! laSIS for . he le ngr h of time of bot h 1101 ($ , In
on ~
or a mixru rt" of slrufll lll ing panerns. Your choice will d t:-pt nd
Ij
J l J
VII 1
, , , , ,
LJ J J J
t
"
LJ J J J
J
I
rl
VIII J
l' J
J l l l
~-~ -----
.L
J l l l J l l l
IV
--_.. _-!
, ,
,
'" J,
----j
VI I
J J J J
I t
l' J
l'fl
J
IX I
49
J
t
l' J
t I
.Ffl
I 1 I
ffi
~L' ...
IS
u sua ll y th ..
f"I)1ir
exerci se 3 . l b is
IS
is known as
il)'k
a ,,cLl-lmown chord
I n ex erc:ise 4
h(" bass nOH'S all;' nor a ll roo t n,,(.-.I, though t h.. tech mq ul'
(hl'no<t'~.
.'
,
"
,
Inrro
10
to
l he sam!.'.
exe rcise 5
IS
'0 " ... T ht' H il ls And l;df Away' arc cXlJ rn p lo:s of
p ,d;:'n 'SU\lm .
"J
CD1 TRACK 1
"
"
Om
'
-:-
"J
s how~
~tK h
th~
d l. " d
F ,nl;~rs t y l ~
:,,~
rhu mh looks
aft~r th~
p lay ,n"
I h~
g~!I ~ r~t~s
~lCampl ~s u~
a C chord , a
wit h its COOt on thc fi fth suo ng. You can f, nd Vlm aro ons of t h~", palttm.1 for
mot notes on t he (o unh or SIx th stron).;!. OhY'o" , ly
t h~ m"r~
rh~
striu6'S
In
fi ~(;-st ri ll"
c h()fd~
chorcl
wi dl lil(""
II.
XI V is
to
f h~m
b lu('$ pa Ul'rn
In
exercises. E:mmpks XI -
~ l wobar
50
rh~n
ti r tilt" o l hl'r
nOle~ to Lt .
d ; ~,des Into
rill" f('{"1 of
1
COl TRACK 2
II
'"
IV
VI
VII
VIII
i~~==~~:=,
~~~~
,
IX
XI
12)
f-------c,- ' ,
1> '
emajl
XII
XIII
i~~=:::::l
:=:-~':::='=:;:::::=
,.
XIV
..- ,)
i
.51
1
Exercise 7 i, a
In
12.3, 1 ';6 . Tah ' It slowly a r firsr , t h.. n b Uild s~ and pb ~' ad InCi llitu m um;1 }'OU ,I,'t"r rht" hans
of it. It will fed
nTot"t i ro~'(" ,
Ih,~
Exercise 8 also srarrs on A m",or hur '" eh.. lae"r bars moves up the ncr k. NOI' e.... rh .. way
the open B-sn ins ,s ust"<1. In .. .ally t h..
patt ern is brok.... n up and [ ht" p.[ch
ord~,
",>t.., ar..
" I......,
CD1 TRACK3
J,... 9(1
'm
Am
'm
Am
,
.
-r1
,
0
Am acld9
E/O#
Am
-..
-..
-.L...J
52
l.J.-'
'-'-J
c.
Bm
r- iJe
r-iJ
rT1 ,..
0 -
F s us2
'-'-J
l.J.-'
c.
-.L...J
, ~,
1
In exercise 9 a sLrnpk a$Ct'ndln/o; fing.. r-pick is applleti to
numbt-r of m ~"r.;itlns are ust"<l
ar~ fitst
(Q
jOin
chnrd S.ju('n("
In
wh Ich a
In
nOI ~ afr~r
l(,w~1 In
InV('fSU.m
(lmld." in wh ich
s ,~ n (f) ,~
Ihl'
Ih..
r. (, h of th..
fo lk p lay ing_
~ hord
p in ho
is at th e
bouom. Exercise 1 0 also uses sam(' (ommon In versions hu t til(' , j, rt'n" m of picking is
r('vcrscd , N Or Kt a l ~() that two no tes arc sound .,..'! tog .. th .. r for each g rO\I!' of 'l ll a"t'fs ;11 bars l -.3.
L,k(' 3/4, 618 tLm .. lends itself to up-and-down pa tte rn s like Ihis one. Exercise 11 is anorht"f
common prog res, ,,,,, with" descending h.1SS Imt:, Exercise 12 (ovrr Ih.. pall")
pl C("C With
IS
a sy ncopated
al r.. rnating th umb piay.og rh(' bass "0[6 (markcJ P). Tht' pmw~sl on i ~ ~,mi la r
(Ul
to E"'(,K 'SC 7. I.("t t h" Ollt"s r lll8 for ~s lool: as l:JOSs, hl".
COl TRACK 4
J 98
I
CO, TRACK S
Am
GIB
GIB
'fA
GIB
'mlB
COl TRACK 6
J . ~ 65
,,
0
,,0
, ,
'-3
9#
, ,
,
0
,
~
,,
o
,,o
:;
Dadd91A
,
,
, ,
'm
G'
53
'-=-
1
J - 68
,,
-1\
" i
,,
r,
,-I,
, , , ,
Am
c /C
,,
r r
-
1- "
,
"
,
i
, -,- , ,
CD1 TRACK 7
r
0('
, , ,, ,
Am
r _r r
-
i
, , .-(.
, -',, , , ,
,
Dm7/ F
_,1_
J = JO[l
J)
.,
CD1 TRACK S
J = M!
.'
L'
Amaj9
54
ALTERED T UNIN(iS
5cnndard tllning _ EADGIIE - is a won derfill (-o mprom i><: that allow" a guirari,t
many keys, despite its bias (Oward E mi nor. Many acousri ,- guirari\Cts,
work in
to
new tones by altering this luning. Somc pbyers srumble on alttrt'<i tIlnings by d~b.ul t -
showed thcm how to tune lhe g"itar 'properly' so rhey simply u><:d their
strings to an op<"n chord (Richie I [aven> ,md Jon;
and
( ) th~",
Silti ng to mind)
tun~d
the
n~w
chase.::!
tunings consciously
!O
cm"bte tlw droning effens of non- Wes t"rn instrum"nts such as th" si tar,
or
to
make ir easie r
to
t h~
~nd
improvi><: a mdody-
~f irch(' ll
~ar
fo r
at
s timu l at~
your
t h~ m ,
with
aneudallt risk of broken string s and iffy illlonation. Sccond . if you find so me htautiful
d10rds you had I",uer wri te d ,em down . Rcmcmbt'ring cho rd shnlX's in (c n c!i fftrtnt tunings is
t h~
pi",,.,,
r~gula rl y,
but
wer~1
\IS
ell on
th~
I)
string
j, detuIl~d
s~!!litone
to C!", givi ng
f,fth ,trill/<: at the fou rth fret and lower the olX'n D
um il [he two art in n ill e (ro g t't hack ro stanclard reverse rio"
p n )C~" ) _
dominam nim h chord. l'vt supplied tiJ.;ht (-hord \Chapt, and two sho rr
lh is wning . Exercise 13 is a ri ff wirh a hl uesy sw ing rhythm hu t
to
by a
~xen:i,~,
'()m~
to kct p tht bass nott st cad y and fit lhe higher pans around it. Exercise 14 i~ ~.mpl ~ upwa rd
pickin/<:_
ton~s
n,~
idea is
to
pby it s lowl ~ and let tht strings ring so you can hcar (hc unorr hodox rhord
ca'L'<ed by t he alt~r~d tutlill/<: . If th~se give you some ne w ideas, you can makt"' up your own.
EAdGBE CHORDS
A
~.
"
, , am
0
"
..
I
55
1
DROPPED D
Th~
mo"t famous smg k -striu!; altnallun IS known , somt:w ha! n mfusmgly, as 'Jropf"'d It , Mol'('
(h ~ (
with rock players b..'c('ust< th., ho rrom (h rC'C suing., rnak" a pe wn-chorJ und the l"w
j(
I~
pup\llar
l)
,s g ooJ
stri ng D w ith
Upi' ll
fou rrh su mg fOI un ulrl' rna( ,ng th u mb It"dmiqu,,_ Th" frt' tung hand " th us fnx to move
whe,,,,,,,,
,I
wants on (ht' net-k. This tu n mg prfl\l un .':S m u,-h dt"q'(" sou nJmg s ix-string D and
Om (Chonl> .
In exercise
15
th~
f" urt h and sixth opo.' n stri n.-;s ar" played by the thumb. Abov\' th(',e,
a se rieS of thirds awl f"urths move up anJ d ow11. Th is is on", way of erc"t in,!; an acwmp;lnim cnt
fur a "oice.
T he th umb o nly ah r rnau:s on the hrat ,n tilt- 1118 PlC"t:l' II I e x ercise 16. Abovl', tht'
fingl'rs [ rt't a
s ln~lt'- notl'
d('("ornu~l'
to
J = lJ8
"
CD1 TRACK 9
J ~
d J
lJ
IJ
.J
.J
(JUr
ti rWrW
r tir 11 r 11r
". ,
, , ,
,,
,
rako
, , ,
""
0 ,
, ~,
Dmal7
.--,
~,
--<>-0
'~===
5--
D13 (no3rd)
I
CD 1 TRAC K 10
,,"
, ITl l
, - - J -.
"
,,
,,
r
7
10-7
.-,
r - J - -,
i
,
gliss
7--5-7---S"'"-::"4- - 2
r
,
' --0
56
i
OPEN G MAJOR
After the ~ "'gl,,-sH"'g alr"r'JClun "'.. havt' Orl<'n fll o mg P!U1 )(, f, wtwrt' rh" srn ngs art' (un(, 1 fO
m ak.. a sImp l.. mal' " ~ ur m ,nOf (hord . Each of the- SIX srri nh'S is t uned
(0
(i
(j
SU IIISS fi'Uf. thl't't' and tw\>, so [he:- Hm ,ng IS creafc<1 by lowering strinh'S SU:, {j~(' an;.! one <Iow n
unul they cornt' en d ... n~J r"'t of those: t h fl!(" nOfes . tnt"" <ll sranct"" is mt"":"l~um.11n st""!Il.rQnc.-s
-2
-2
-2
0
T h., .m mhi.~ rt" p l11("!lcal d ft'< 1 of Ih is Hln in!; i ~ th at ,1 barre p laccJ acn)!;s Ihe lOp r.~e st n n~:'s ,I t
any f.t l w,1 1 cr('a[t"" a rool position m ajor chorJ . The Ihr."" chords nttdt-d for a 12-1...... pru~rt"~ " o!l
and many olher 501\f:'s will be fo und on th e "p"'n .-r rin!{." at the fiftrt and st'v~nth f.t"I" w"h th"
1.2[h fret giving 'Ill oetaw h 'g her. Sm >llM harmoni cs are alw availahk ar frtts fivt", !;<"v!.'n and 1 2
by b yi ng" fi n~er ~I C roSS th t" sm nMs rI !{ ht O~'~ r th~ mttal frt l hut nor pllsh, n!,: rh(' m against tht
{rei board . Strike II I ~ ~trings and Me nd y pull the fin w" away an d you will ht'ar Ih t !,:hosrl y. 1x'1l -
Try holdll1g duw n eh., second free on [ht" fil"5 t and fOurt h srrinh'"S (an ocean") 1U1d m ove t h" up
Ix-
adJcJ by the other I' "g,n;. Th., first t h~ I hord nuxes ht low ind,catt" how ,hiS 's don!.'. Th('
t"nmg is JI.", u,,,,d
tu
a.~
;II
Sl ont'S clasSICS such as 'Brown Sugar' and 'Sran Me Up'. U"" a capo wit h all "I""'n tu ''' n,l: " Y"u
w ,sh
kc.-y. O]X""n G w" h ~ (""~P" at [ht- third fret hecom .... opt"n lib ma/vr
OPEN G CHORDS
,"
(0
t-- ~
,,,,
.~
Am ad!f4
I,
--1
o
o
Em"
o
3fHH--H~
t~
57
1
DADGAD
Ailc[{'J [ lI mn,,~ ocrJ nm ma ke a Slmpk majOr or rn,n<.o< QrlOon cho rd. ' n A DGA ) ' is on" o(t!w
tunmg. In fan,
It 'S
pl~y('rs
m ls lt:adIn~ l y
,he
F.n~l , sh
in f O
folk
' m, od~1'
btcl"n .-ailed a
smcc-, IIlcluJ .ng P' Ctr<, Bcnsusa n, {or whom II '5 now 'Sland ar<l run i";,:', and
Pa~"(" ,
In
who uS<'<.! " for 'he m 'J.;h ry 1.("<.1 7KP CPI( ' Kash mir
lIere af{" som e DA DGAD chord 00X:('$ for you 10 strum or fin gt' r-p.rk.
To condmk , exercise 17
IS
fun p i....:"
WIt], lots of be nds and J"COr.l(Jv(' h~mm('r-on lpu l1-off figuTl's typlCal of rht" sty le known a.
'("Ik hamqu .. ' It ,hould bt, p layt"d Wit h 0 ~ l lgh tl y sloppy louch. I n kcrpmg with HS hum orous
~ P"'{
t he ,ru m
allud~.,
{"
DADGAD CHORDS
07
OS
o ,
llau',
Dmaj1
'm
---.
II
J no
-,
J ,J
'-+'
~~,J" '"
.'
If
co
,,
Of
'( l"
of
,"
eo
------{9)------i9r-8'----!- o
"-<-0
,=
, ,,
0
0 --0
,
4-
,~
:1.6,U.a 2
I I J >, I,,,,,
-
l'f
--
oU
au
0
,,
"
(9)----1gr-S"'""""'"5- o
.u o,JoO
58
,~
, ,
~ l
{;U 'l j
pr
""
"o~
'.
1
,- J ...,
-k -'I
.'
,..-,
jU~:
OF
"
,
,,
,
J.
'"
4-2 0 2 -4
Hold bend
"""
(5 )---14
~ I
>--<>-
,
,,
, ,
,....
. --0--0
,
-
1'_ J
J.
-
"
'L~
>
,'==l:~'
",-
--
"Ii
9 1'55
..
,~
n"
,,
<rO
3 ---{4 r---3"",
,
' -'-
r--R
.-:1.
"t
r
2 -4 2 0 - 2
,-r""I
"
J~
1'-
......,
r "p "
J.
,- J -
,rr [1 U
&l='= ~
if
>-.
b,n
'-0- '-,
"
0-0....
gliss
>Ii."
"
, 12 ~
"
--"" 14
a lempo
Nal harm
-"J\~
,
""
"'
59
o.s I
I
I
THE EXEROSES
A tempo indICation Hl "oc:u s pe r mln utc' (hpm ) IS ,!.ll Ve- il fur .w:h ""<:I<-j.",,_ W it h a mNn>nOm ..
s{~ w .
T ht,,;e do
ca ll
nOl
l\C(:~ardf
II
app ly
to
Indl("atl on~
( '''(,"15(" .
ar" g In
be low
d,ords or chord s for a backm g. 10 he-at Ih(' full lonc -colour of r hest" ("X("ist"S .1:("1 a fri.-nd w play
~orJ
RHYTHM
ut \ ["'g ill wit h an easy-tO-pJ d)' roc k ligu rc thl t Ius
IE>
exercise
a lt ~rn a [ ..
to
1 . p luy
t., :, stc.,J y
somewh~ 1
J = 1:/"
_I$.
'I ' c~
"
,,
,,"
, , , , , , , -f
, ,
,
.-4
. -,
0- 0 - 0 - 0- 0 - 0
~ -~-
;!
2- 2 -4- 4 - 2 - 2
4~==
0- 0
O -o-o ~
"'-
"
,
CD1 TRACK11
= ' :15
l
62
wh~ r" t h~
to
Ilott
rhyt hm has
B~ rry to ()asi~_
har- l in ~,
OlW .
Th is syncopiHion _
[0
Exercise 3 sho""
arc illtmd uced t hat
~ ,ub d ~ yet di,tinnive third vuiar ion on rh is the nll', wlwre cwo nores
t~ m pora rily
n or~
On(('
again
(0
135
- G-
"
,
,"c
,
-,
~f
~f
,.-<>---,
~~
~~
I ~~-
=-4 ~J'
" "
, ,
Pol=:
. -----<>----0---0
p'
~,
"'-
~~
0-----<>
D
",~,
,
,
""
,",
-~
ol
,,
,,
'1-
~#
2 ~2
,#
2-2-2
~#
,#
4-------{l-------O---3- 4-
1
j = f(XJ
~
"
,#
",
, ,
,
(&Ie)
63
Ex"rc,s"s 1-4 worl.: w<,11 In rh.. k.. y of A ma ,or. Jill! whar If wt' v.a or to p lay r h ; ~ rh yt hm fi g urt'
in ot h" r h -ys? T ht' ans"" er IS ro wn " t'rr I{ Imo a fl'('((('d fi.!(u r<' Wi th no opcn sr r i ll,l,'S. Don 't worry
i f yo u fi nd th is a bi t o f a SUI'(ch at fi rs!. Drop your t hum b well Ix-hinu the nITk. 1ba. will help
~'ou r frl"Hi nt: ha nd open OUI.
prog=
,on (chords I, IV
~ nJ
Exe rciH 5 sho ws the boosu:' ngun' fo Llo "";ng a common chON
V
In
B majo r).
It
(0
pItch II high e r or
low... r. Song s lik(' Sral us Quo's 'Paper Plane : Q u('('n's 'N o w I'm I lef{" and Super Furry All1 mals '
~tarti .. g
k~y
~ l h\1Il1
eN
th is
w,
.",
.!
'I
..
...
64
c h ~ng("'
in
t h~
<1m
2
J = mr,
,,
,
,,"
.'
;/
,,-----.,
,~
"- '"
, ,
I"n
,;
,;
,;
,,
",
"J.", ==-
,
~
,,"' I-,
"' ~
" "
" "
,
,~
,-
1( 1 - -10 - - -10 - - - 1
10--- 1I t - - -
,.,,
I-~
" 1 ;I
;I
J-
" "
.----.
"
"
" "
.---.
, ,
,,
, ,
,, ,
"
, ,,, .,
' -4-4
c\
, ,
,
,"
:1-,,
, , ", ,,
,
I '
,,
",
65
L-__~'.~
" rda({.j
Ve r S101l
fiN
Q(nl n;
on rhe lusher
(0
t ry
I I In
,temg s
and I.
C major.
Exercise 10 IS a variaC"," relatt'd t o F.x('r("OS(' 2 ""h("I'(' ,he fi nt.:e[,!,"OCS u p o lle aJ di u o nal (" 'I .
I bc note you addoo w .,..u;-h chorcl, n F.Xt'rnSI' 9 IS k no"m as I h(' sunh of til(' cho rd . I f we add t h..
foun h as w,,11 as t h.. ~;xr h
lack a
rt K,t
WI;
1-2
nott'_ Thl~ I~ ~uAA ..su,,1 on hars 3--1. I. IS l.105s.blc b Ul awkwa rd : th" I,ttl.. finger m lJ.~1
bold down lh .. ilK'! a nd d am p I h.. fi fTh smn,l( In exercise 12 a ['('J.ll ed lgu rc ad ds th.. f..urth
Ihe
root
t WO
~('ry
Exerc ises 9-1 2 wi ll r~m' n<l you of rhr Rolhn" Swncs, Ihc Faces, ml<l l he Bbck e mw.". _ g 'M,d,
tJm~
'C,Htin,l( SU rt ",,!'
_.
~r~
'nnJe'lrJ ru nJ n~ VCrslOns o ( fio "~s d mt ,,,-~ ur in " p"n tIl n <n,t.:~ (tht'
,
--"
I ~
,J
.-.
66
2
Apart from ,h" A chord in til(' 1(I5(
resu l{.~
tX(U11p ll".
WIt h d,('St' 4/6, 4f9 shap('s IS G . In exercise 13 bar on(, add s jus t th..
SI x t h ,
bar twO
tht' sIxth Jnd I(,urt h, b.:u th ree tht '\lIll h and fourt h. and oor <1 s ho ...'S " common pull ...,ff fill
maki ng g""d u.o;o- Hrth.. tlpt'u ~trI "gs . L.Slcn
to
CD 1 TRACK 'IJ
67
.J 1I4
,
c
",
,
"
,"
:l
,,
3
G
>---5-0-0
3
> - -3
3
,
3
--9
,.--.,
0-<>-<>
'm
Am
.-
"
-.
9 --0
~==
,
D
8m
2
Exercise 14 shows how nt'" d in rs ca n I,., had o r Jo:ivinJ.( t ht"S/.'
Bar
IwO
h;J.s un E "'),on- w" would ""I~'I an F... and har 111('("(' has an F wheft'
we would ('xP'\
RHYTHM FIFTHS
Man y of tilt'" ab,"",.. t'K ..n: ._
'nlC"t""j
from E-B, A-E and D-A. Th .. f""1(.,("[ fift h Isr rur ial 10 rod : g uitar. It has a bare, lough, "!SS<'TlI Vt'
souoo and w [,' rJ ' O:'lo .,l ny
~ m"u m
It
{omprd l" r~' ''''' ,,~k pl ay ,"" . \'(I h, l(' rhl'S<" all' ('mplo~'ru by Ill,my pl..tyHs :;" a "'t'>l1\~ of k .... p"'M
1". ..IVy. d"<,,,,\...:1 $Ou nds fro m overwhelmi ng th(' mix _ as <call hapP<' '' wi lh a d "(" n~ fllll-I-.:' II'{-hord , for
N o(i ce t he 1.lJn" t~IIC"~ . I1v~1I oil an a("(Jus ri c' ).; \li rar , he f1f~hs ro ugh en up t he
,bm p mg (to give more t li ud") . rh ythm fIfths an;' a surpr is ingly djv~rsc 1001 whICh occ un: in
roc k, lll ~t 31. l1\ml-.: , new W :IV ~ UIIU il run/i ~ - h ~ard in tht" music of cvrr)'one fmm SounJg,on.icn
m Dc"o. If yOll pby all y (',rrn "f to .. k, yo,, ' 11 find a uS(' for ,hem weiner o r tI ler.
In exercise 16 d~ m p a ll !h~ Strltl/i S on brats two and four. If you use you r IIHk fl ngc r \\)
(OCt , hc lug-hcr of lilt" t"'< , II( 't.._, on ..ach I ~~or
It
w ill lie flat enou gh \\) SlOp mOSt tlf t ht" '{ ri llS'
sound Ing wl"" " t"t"d..d . Tu d.,m p r h~ 10....1.. no!c Jm ! le, ,he SlfJng co me nCf d'e t' ''gl.' rb"ard bot
kee p r,)ur
fir~t
fi " g .. r on Ir .
Nor l~ ! h(
F'j occu n
In
!:,~~~~~~~~~~~~~~~~~
,
- > - -X- X- X- X
lI'- -' - -X- X- X- X
. - -. - - X- X- x- x_--',, -_-_C', -_-_-- -','--c''----','--c''---"---', - -, - - X- X- X- X- 3- -' - -X- X- X- X
' - -' - -lI.- X- X- lI.
1- 1- - X- X- lI. - X
69
shows how U2's !;UU3(JS( Th ... Edge ""gin u .... a tU /l h fift h wnil an
opc'fl
17
G--5H1ng , wh 'ch ;s
ch.1.r.JC( c[isu(' of his gUltar piarmg and a sll!n ,finl lU F...: mr <Jf hl~ hand's 501.",,1 in )I;('neral.
Exen::ise 18 glVt'."; t.L~a fifth w.th an opt'" (~ -stfl nl! ,nsl(l.. If. As fOU move' r h... fi fth thl."OJX"fl
G forllls J,lTcrem rdauulldllp" ",,, h th .. mhc-r nut.... , w,th a ffiOOl lr df('("t.
t WO
twO ofX'1l
strmgs. N "tKt'
ur an..! d own
re."n.. n< ..
[I . ..
r.f[h~
In
u )'
It>
as possIble.
Fl[th~ also mmbin~ IAId l
exercise 21 !()unh.,
J-
I! -A (a fourth) . Fourt h,
l
~
l oJ
(Let ring)
.m
",
-I
oJ
"'mb,n~
10:<
"
,,
,,
,
t1, i~
b.:"t:ur ,, ~~
,'pP<'~ r HI ])m f"ur, but wanh out f,>r th~ way OJ">t'n
,,
,,
,
'm
r
o.
G'
70
. Lo
c,
"
J - 88
-0+
r1
I
I
.~
(Let ring)
,
"o
,"
,
.--,
,
'm
'm
'm
, -----<>
-----<>
4-2------1==
, -----O------C>
'm
n-
Am
8m
-.I~-.I
-J
iJO
.
#~4
"
,
,"
12 -12-------9
10 - - -10
'=1'
A IC~
",
"
"
,
,",
,
,
-J
, ,
~=m
0-
0 1'
.,.
F(mC
-'~-.I
\#
I~
75------5
1
"
47~~~~-- 4
2
-----<> 0
' 1'
E maj 7
\#
,
III
A /C 1
AI'
0----2
~=1',
010
\,-.
:!~~0
# . -<'
.~8
~.
~~=m
S------S-------!i==4 5
3- 3 - 2
2
Ale;
-.
0 1'
102
,
"
3
5-------5_______=::==
;!~~~~~~
,
,
~
3----{3 r - -3
l ----{H - - -l
3
1
3
1
3
1
3-------3
1
71
,,
HJ8
R'
,,
,
, ,
, ,
, ,
C ~.dd9
G add8
E~ .. dd9
A add"
If
Y'MI
.;-hords
If<.
exercise 22 art' need I.. nr sf",!("h," ;: pmcr " .. an 5P'(' up a 5("(]ll("nn' of fi fths. Tht)'
~u m mCf$.
only
~ rfln~
l all";
, hrtt
gUIUttlSI ~
h Jl ~
maJOI' or m inor cho ru 'I hiS bUllus u'l'IT li y 00 th e fif' hs. addmg
but u 's a crucii'! il;.Jdu loo. cha ngmg die mooJ of the ,hord ul'ilmall ca ll y
bc,wITn m ajor :md mmor. Tnad~,ltt' rosy to play Jnd k nd themsdvt'S 10 rhythm pa n s. fil ls. n[fs
J)
d,,'rd
Ill~kr
trJ~us
to I~~m c","pllCat~d
not~
whi c h rtlllaillS
form d iff('rell ( rdarions hi ps ","uh ,hal D. Walc h 0\" for ilw opr n ' op Slnng
(J il t'
Ill ClVr<1 up th~ nnk III "(: h,,,<1:11 riff Th ~ ' )I)t' ll 1) ''''11 1< r~ m a,n~. all ~xalllpir "fa 'p",lal ' not" (a
exer<ises f u lly.
,...'
[("J
~
-
L
72
o9!no 1rd)
Cminf1)
Th ~
:l(
all d ' woo ThiS si mpk hill df(:(: ( ,v\' OJ'I " V.1 Ch 's (1 5(-,1 hy P('fl' Towllsh('n ,1 in many Who SVllp.
lI
.4
fl
IJ
I'
I4
"nd evcn
2
Thcrc at'(' (hI'('(' major (rmd shapes un {he:-
f Op
I) ,
." mlJ ar "jr..... l ~ In FOl'US:S S~ J~ I.l ( m I ra) and W ishOoot" As h's ' 131{)w;,, ' Fr",,' Th<'re .o re ;llso (hI'('('
m inor (roaa
sha pt'~
= U4
"~.
"
0 -----0
-=-
0)
,,
i~~
"! -:::.::::i!0
F(Dm7 )
O)/D
0-=-<0)
, ,
.--,
, ,
,,
~!!l
1~
,--.
,"
,
--
, ---:-
: ~ ie
.----c.,
~
owo
J
.'
,
,o
o
, ,
,n"
~-
,,,
0
F(Dm7)
,,,
.~
!'"
0
AallS4
~~~~l
~~~~
G
G sUS4
--
CD1 TRACK M
~-
,,
!:;;;;
,,
,
'g
'''d
0
73
J)
Slrm~ moJif'ks t h(' lr sou lld at t..,rta;n p,,;nt.', turn ing tht"
I'll mi nor t riad ofl:mr one IniO a Dmaj7 chord III oor two.
Exercise 26 uses omlor and minor (rlad shapt" a.. d~y ",x u r o n stri ngs two , rhrtt :I n.1 fou r.
ThiS r ,m(' t h... pedal note IS A.
p it k in,!; t{'("hn iq u('
too
M~ rk
I)
him to uS(' triads jur sHng.' I,k.. 'Su ltans O f SWing' ark l '1..,,-1 y
\'(' m t"r',
as
10 exercise 27. II "'as easy fot III '" w('/1<"_ m ud. lk<:a u.... h .. was pluckmg rhe suings wit h
h is t humh , index fingc r and ffiuJJ lc fingu [lilly. TIII~ [.m.. r hr ft'
I)
no pt"<laJ no[('.
CD1 TRA(K 15
,
"
F:m
DmaJ7
Am
GmlD
GmID
0 9 l no lrd)
CmID
8miD
!XJ
OfA
,
" <I <I
F~m/A
J <I
<1<1 '
8 mf.
.'lno 3.d)
74
<1<1
<I <I
<I <I
At(no3 .d)
~
8 m/A
**
A
2
" I:JO
~-b-
,
,,
B,
Om
,,
..
,0-,,
gliu
"
B~
Gm
Om C
,, ,,,
,,
,,, r;
lc.;: ~~
B,
~=
-~-
B,
..,0-,..,
,,
:!==
FOURNOTE atORDS
SomCWl"I('S I( 'S nOI n('("C'Ssa ry t o ,ndU<l., Ih .. lowe, stri ngs. \'("ilh a st rong bass l'n(' It cun
Ix- suffi Clcnt for the gUlIa< [0 play chom s o n t h", top
Two PnncC'S'
IS;I
'stub' g Ul t.tr chorJ on oollS I wo an, l (ou r, as in exercise 2 8 . A bri g ht, d (C.t n
~nd
dr um . Listen
to
;I
<.-:II.
"(tt'll
Donors'
to
PUI a
(Olle IS
use<1
SIt wl l h t he sn3rc
m" ny 1960s !.Out =-or<l5. ("SpeCIa lly from Mmnwn. wh.,.t' the IlIg h Slab
W/5
, M.
,,
,
,,
"
"
.."
..
"
""
""
..
,
,"
"""
"
o
..""
"
""
A
75
""
""
1~==
"
"'l=
so n~-t"t:.111gill~ i ~
th~
work. ThO'
n~M to
sa m ~
rhan);t a
throughout
oars 1-3 in exercise 29, yet tlw d""d" Wmt.,u bd"w dlan,,<'. To h ~ar tht "fft", r t ither get
S0 mt~n ('
to p lay the root notes ofG, E m; " " t, A nH um ari d C , or play rhos", (-hords on );wtar or
wrjtll'II
pJrt .
Th ~
dam" ,,,,,
n ~ll
of ,h{' wtinell G-G.ud change <OH IO th .. ug h a ,tays t h.. 'am,, >W It sou nds d, ffe rt'nr in each har.
RIFFS
A n IT IS a mCllorab l( p h,...."" "f tlt't,,.... " <onO' nrul
full r
cnergy of the song, and ;, gtn~1"'41 l y ' ''I'"'ar.. d as n ("('mraJ "hook ' oil he gU Ilar
almost all guitar m LL"," fmm 19')0s rock 'n'roll lO con wmporory
I,k., ""gg:u: , soul, hlu .., and /Olk ; Ilwy 'l'(' Ihe
paru. It ,['& an- 'lulck
10
wnle and
l~m,
bUlldm~
n u - me(~1.
p;lrt .
RIffs occur Ul
an,1~ r""at ru n lO
pl ~y
_ and
~ ha"n.,.
r; A U J). Bars
r h r("~
s~m,'
["'1lI310nIC
sca ll'S u ..... d Ii" It .... k and hi m" I.,ad. Uars on., an.-[
fO
Ihe prev.ous
jX nWtOiIi C sc-~ k
t h~
B:. -
'" exel"cise 31 This exIra note is cal Jt:oJ a f1att~ lI ..d fift h and
It
sou nds
ffi(';ln.
lb,s nOle
aJl()w~
a riff with
< rt""r!!l~
",m ,con..
n o t t's _
in
t hIS
t wo
c .,~ , E
mov",m("nr .
EIE m inor arc popula r k.,y' (,,, t ht" li Ultar h.,, :lIIs<:, . h", srnn).;> art' natu rall), biased toward E.
II owe-'cr. a pentatonic
",-a l~
A, A pelltatoniL minor ( A c:
o ul
(ai,
J)
ht" play .. d from any nOI(' , S",Cl' (hc s('cond lowesl open suing IS
AS c hord in hitrs ( wo ,md four, ~!\d th .... fhu.,llt"<l fifth (~) that ap['t'ur.' 111
fiJUf.
Fifth, a rr IXlp u lar for "f($ . In exe rcise 33 dl" !l{t hs ~re str~nild''' II..d by tlt~ op"" A and
E , m "gs. You can It"ar th,s in rock h,nds I,k" 11-"0 Liuy ,lnd Iron Ma.dcn.
76
J - 86
"
,
"c
,
~~ .
~~
=;I; =<I'
. ..,..,.
,,
3-------S----5
,,
,,
~ ~
"c0
7'
-ll- .
. '- .-
, , ,
, , ,
,'-r-
,,,,, ,,
"0)
- 5- f-7
,---.
') .
, , ,
,-
,,,,,
J = !K)
'"
677
5-=-':7= r-"
r-" -----'
-----'
,
5--3
--
~*
3---5-----6-1
=j =
,, ,,
,,---.,
, -,-
~-
eo "
7 5
I-~ 2- 2
5 -1- H - 2
---O-----O---l~ ---5
0)
<>-<>---<>--<>
., ,
;-
,..;;11
,- r'
, , , , , , , ,
.,*
c"
0
,
, ,
..,
'-r-
. '-r- - '"
,
c
,
86
"
,
c.
,
,
,,
---<>
",
.'
,
~ ~
,,.....,
,, ,,
,, ,,
,---.
,, ,,
, ,
,, ,0---,---'
,
77
3-
~
I
lJ'~.' fift h" t(lUrtns ( th ~ pain; of ro ot." h~ r" with the same fret
n u m f-x,r) amJ ()(taw's (har, two and four). Tht' riff s~q\l~nc~ in e xe rcise
35 """ t'mnhs .
Fourrhs han' rh(' ;' o w n fl avour. They a rt Its , stahle than fifths !->t-rause t he
ro [11('
lOp (WO
suing s,
llS
ri M) t
l ~k t'p Purpl~
more new waw. The ir slightly 'oricntn l" color WaS ('''pioit("<i by Teitvision on
Al "r'll</~
ln Win gs' 'Band O n The Run '. Meanwhile , hands like 1.K<i 7"'PI)<:'lin have
for,l;~d mt'm()tabl~
Al li.m, and
rock son gs from riffs huilr on ocraws, nor unlike rhost in e xercise 3 7 . Th is tYr'" of riff is
{'sptxially effc<::tiv{' when the gui,,,r and bass are togerhtr on tht" ri ff. lktavt' riffs ran also mak~
a good <l(c-ompanimclll during" verse structu re, as in exercise 3 8 . Bars 1-4 ftaturt aha,;,
figul'(' of an octave {hat fillls
to
the flattened seventh tlnd (hen tlw fifth . In bars '5-8 a variation
introduces the Ilmt enuJ fifth note p reviously featured . Iiel"(", it 's the
o ,
,J
,
""
,",
~ ~
,2------{1-----2
, ,
,,
,
,, ,
,,
,
"o
,,o
,
'I
, )
,,
,,
, ,,
>-----<-----.>
>-----<
~.
82
"
,,
,,"
,
.
,
,,
5
55====4iSj---7
r--
,, ,,
,
gliss
=e3
T
78
... .
,,
,,
:I
2
J = !If!
Dmaj7
,
,
"
1"
,
B,
-,J - D J = &4
"
~
;I
,
G
,
,"
, ,
"
, ,
"
>-(3)
, ~
, , , ,
B~
., ~
I~
, ~-
c
,
,
,"
""
* *
, ,
~,
.
r
, ,
>-U
~*
, .,-
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"
~.
, ,- , ,
c
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~)
.--.
D
, ,
, ,
~.-
~ t r ing_
In
J \" ,.., o ve r 0 IS a scn k k nown as rh," <M ,xQl yd,an mod,,' , You can (cad more
ahout rhls mod<: lat" , in the chaplt: r. lt J,{fc-rs from th(' D ma lor Kl\1l" ( I) E 1'/1 C; ABe l) merely
in havin./: , h" so"v.. m h nfJt ..
fl a tl ~nt'd
10 C. TIllS effcct
IS
IS
lillie
"" '0
n" " mllly_ l.ik ~ fi ft hs and filO n hs, d 'e $uspcnJ oo fou u h chord , t"xp lorrd on exercise 41 . IS
t~ k.'~
t rl~dl(
Sus4 {hord, (.,arurt 't m n"l), "1 I h,' W ho's 'P mbru l W il.anL T. Rt"X\ 'Cadillac' , Arg{"nt 's
Lt>n nun '~ ' I1~ PP}'
exercise 42
SilK., Th~y
1 -.~ - 5 -6 fiilur~,
.,
.,
!Il
-:I :I'
r-
,,
,
,
' Pr~(!y
to
dt'mrat~J
14)--12-11
--
-2-2-2~~
o 0 0-0--0---0-
~~~==
I
CD1 TRACK 16
80
,,
= 8~
C/,.
.:-::"
-t
"
,,,
,
5~-5~5
5-!l----5..-..
!~!
7 -7-----11
A .....
,, ,, F-jl
, ,
~
~
"
...
0111$4
I l!=~==
S3
3- 2
2 --0
D I IIS4
J = JlJI)
g!iss
110
J = "0
Dsus2
2
Th(" t("t01 'chroma u c' ,.,f"", w th .. u .... of .. xrrn nO fl'S (h~{ do not belong to t il .. h~, as
("m plorru in
exercise
45 . (:hmma " ,- r.ffs haV(' an de-me-fit of su rpnoc about t h"m , Th,, ~ OIn
'>Qu nJ 'jauy ' -a.~ ,n P m " Floyo ', ' Mon",y' or rownr,J lhe- e-oJ of I k ndnx 's ' 1 It'), J''''' - f l t sin isr.."
USING INTERVALS
AlrruJy w("' v(" played und,;r,
, h~,
major SCCtlud (C-D). majnr ' h ",1 (C- F), l'('rft,(1 fourt h (C-F), pcrkct fofd, (C r.). major Si nh (CA), rn~)or St'v"nrh (C_ B) and I't' rft"(f oem\"!;, (C-t.) . We I..."" S<'t.1I ho .... fourth, and fifths a,~ ust"<1
In
rhy t h m s and ri ffs . Stocon.]s and scv("nths HC not h,,'mOnl"u.~ "nnu)!h hI[ (onst"(Ur"T p laym~ ,
()na~'''s OIn th ic ke n a melody or mdo..hc pllr:"", '" H " ndrlx did m 'Th ",] Srone From The
exercise 46 uSC a pICk and yuur middle fin~" r, or damp any strmgs in between and
just us(" a pick, Octaves lend th",,,,.. lv .., W , I,d,n,; "I' or down, Exen:ise 47 givts yOll a
bU I
Su n ' For
chanc('
'0 praClICe a 16th_n" t" ' I,"m .,f 'dHmlit..:!' "Haws. II.I \H(" all (ollr of Ihe other sttl ng'
wan
your flTtrin;.; hand , thell S\tUIll up Jnd down III ';"l\I PS of four with tll(' first o[ eaeh g roup
acct"n r,~I. \'(fhen )-'ou get cnmfot{abl" With th" YOll m n fry ( Url ,n,!: QUt some of t he [reltro 1611",
( "0(
exercise 48 _ but
exercise 49
show, a way flf j.l.. nemll n;.; a 12.strln;.; drC'C1 on a SIX-'l fIIl,!;_ It rt"<lui,,,,
III Itsdf U", a pick anti a fin~"("1 and let st rJllgs rmg as I"ng a, )'f)U
/o( tt"a(
}-l .. n~mf\
, k ,1l hudd",
In
I
,
T
;;
J ~ :4,
O
"
Qli55
~-
= ,
82
.~
.D.~
S4
,
"
,"",
"
>
.~
.-
~~~~~~~
,,,,,,
, , , , , , , , , ,, , , , , , , , , , , , , , , , , , , ,--.--.
,
,
,
, , ,
, , ,,
,
9---9-----g.----g
-----9-----9-9
,~~
-"-
>
,
"
--.--.
,,"" - , , , , , , , , , , ,
, ,
..,
:0-
, , , ,--.
,
, , , , , ,---.---..-.---.
, , , ,
,~
, ,
,
,-
, ~~
80
<1-
"
J = iX'
r-
r-
.;
,,
"
,,"
.1
, ,
c
,
,
"
,,""
r'""'"
~-
,
,
c
r-I
, ,
,
'm
0 -,
,-
>---,
c/O
,
, , ,
- 0-
r
,
, "
r'""'"
,
,
0 -,
CD1 TRACK17
.-
, ,
,
' - ' -, - 0
Am
83
.-.
0 -,
-,-
c/O
, ,
,
'=
~-
100
~1 2
,
I
,J
= UN'
n ,
..
.-.: ,
,,
,,
,,
, 5--->-E,- - 5- 811
c
,
G
, , ,F
B~7~7---+-=::=
810-815
Om
Em
I
J
'W
T
100
f:u- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
~~
'~~~~~~J:
~~~~~
~ ' ~~~~~~~~~
".
. ~'~~~~~~~
~.
84
(Qu r h(..J un yet are ,!l"x-is and sI xth". Until havt' maju' alld
m mor forms. A m:J ,or thlrJ IS four S<'mIWIlCS (C -E); a m ' oor thu'd ;s . hrt't" (C-I:'). A ma l'" ." xl io
's
IU IiC
(C-A);
~"('I\C'('
l n~"('rcJ
fi n~('r
srron).;s.
Wllh Irn- firs. fi oh't"r; ,hoM, ondeml. h art' {" hoot rh.. ..... ~,Ild
[Q
[I)
uI>4 '1: h .. ,
m:J ,or k('y. localc t he n('w key 00\.... on Ih ... st"<:ond SITing an'] pl,'y rht' ,'lm .. so-qu(" n{ t' frum
trI
[I . .. , ..
gUl d .. fi nger ;, t hl' :<t'\~.,nd, willch pl~ ys all the notes on thc lowcr smnl' ; thc s('(:Qn.! SH mg norts
arl' ~I ( ll n fi..,,1 or S<'("O lfid fmo"r. If IllLS w" r" pl.,ytd from tlll' sc"cmh frcI you would h~" e rhl'
samt
not ~s a~
In
~x~r,
1St" 50.
B rown - F.rt'! G, rt
~ nd
he, H~&l
fo r g u itar f d l, and
'T h l ~ Ch~rmin"
Man'
\"~
j,,~d
[h"m. TIl"y
(~n
lit" pJuytd
~ Idl<' r
dw h~r m o n, ( vnlu(' uf n o t~~ d<:"ptnds o n th" u nd~rlyi nJ.: harm ony. ChJng~ til<'
harmon y and YOll (,ff('Cll vely ( h" n,l;(' th(' not(~ tv(" n if t h"y stay sti ll. Exercise 53 ha. a IW1lbar ph raiK' III {hlrds. F.a("h {,me rh(' chon ! chan,l(<:"S It wi lt ~Jnd d,ff",.. nr. Try 1..,nl"'U'lIg tlu.
Exercise 54 ,s
;J.
1fI
~ flngered
fir.. . o r th .. t hird T il .. k"y nm" fur th~ ~~'1Ul ,,(e .s on the first sI ring at I he Slanmg pos," on .
Ti ) l ",n~I')(_
rillS
to anmhl'r mUJ"r k.,y .~ lfnpl y find the new key note on the first stt ,n~ ~nd
Exercise 55 I ~ thl' rq u,,,,, I.. nt ,,",q...,n~ .. on D maj" r " n Ill.. ,....,ond Jnd fourth SIrUlgS. Th~
,I;<l ld .. fins .. r " thl' 't't nn(l wh ... h p l.. )s all d.., nut~"' on III~ low~, ~Inn~ ; the S(",ond s, rmj:: notC'S
ar~
.. " h.. r fi n;t o r th Ird fi nJ.:~ r If t h,s ",.,r., plaYN from I h~ "'g hth f,..,t you would h~~e I h.... sam e
nuttS as ,n t'Xt' r("ISt' 54 . Slxl hs af~ al .." usa! fnr f,ll .. and I.,...d ""I,.. , I houg h tho:y d on 't sound "s
swt"t" t ~s rh ,', ls. Sou l "u l mn~t ~ r"\'r <:roppr,,, ,,,nownN fi'f Ill'
r'ot: o rd onl'~
u.",
85
.
In
exercise 56 th .. aJd,uo" of a ("<!upl~ of c hroma!O( Sixth . em u b tes Cropper 's slinky f..., L
IS Y
'" mooc h.., {", hn,'l Ut' . ha. ("Iln /:N: Slm pk to rn.J.S ICf, bl.ll has an ..",nem .,! )' "ffeniv..,
T h ,s
mcl(x.llc f""l wIt h a Im l ....",I'll hl uesy ).:roovc to It t OO _ a nd II usuall y YIelds p'~,,{ iv .. .....s ul ts
l)
chang .. (Uu ld
pt'Ill.lWII K
h~ve
(tt.. n~.....
In
Exercise 58 /;lv<"_, US" look Il ' som(' rh,rds com bnltd WIth a n opt''' G-su ing.
CI.. vt-r rill"':" "fh y ma kt'S
m
II po~s, blc
In
l('(hlllqu~
III
T h~
In
Ni~ h l ' ,
E nll nor str~ddle tI, ~ opt'" Co ,tr 'tI~ (rh(' m, dd le:- not~ of an E mmor {hord),
to ,'p"~
to)
St'l'
~ "d
~ .e .t"mm, ,,~n,
is a5'>OC iawJ with tht" 12.m n.L( ",und of The Bytd s' ROt,'N McGuin n , Pt:tt:, Buck 's play; ,,!> w,th
R .E.M. in t ht: 191">0 . , Johnn y Marr s work wHh Th(' Smiths. and
m an ~'
,no,
1')9(1s. Th., L.a\ 'Th .. 1'<;" Sht" (;(l('$ ' 'S " SIII"<',b (',,"ull p l( .
J angl., " a .-1ffi n, sh ,mmery, n ng Jllg l:u lt a, Ic' );I U,(' , a,ded hy , m tam mg dti:-n s I;k",
nunpre....,,,IO, chorl.'s, ",00 an<1 Il'verb. anJ IlccJ Ulg Ul ... m UIl apP""a" h to ch"m shapes and
1(0
pICk ,ng.
nug (oUI l)o('t wttn , han}(t'5 . w h ll", chonls art' Hl m .....1 IntO
arp(J.:J.!;IOS. ,11(" 5lrJll!,;s pJCke<.t 00< at ~ [1m"" a, ryp,fi.,.-l by exercise 60. T h(" shJtxs C:l n
Ii"'- - - - - - - - - -
J n"
- -
- --
f"
In
I h(" roSh l
(ODl n ;( .
- - - - - - - - - - - - - - - - - - - - - - ____________ __ _______ _
"'"
86
Um
Am
Ix-
J = to2
~
=!1=
=1"
- . \0/-
.~
,
"cc
,
, ,
,----.
,
,
9*_
,
,,, , , , , ,
,
,
, , , -,-
J _ 112
,J
,
"
,","
~=i~l
,,
,
,- I'
-~~.
,,
o3 ~ !~~
0
10--8
(3 )--5
12
1 0~~ !&~
Am
120
r * r *
Cr
,~
,
"
,",
,
,
C.
,
. ~ ~4
'I
,
-3~
,,
,,
-3~
'I
1.
J = I :J()
....,
,
"c.
," ,
(1)1 TRACK18
....,
...,
~
"
, ,
, ,
,
--<0'
, ,
, ,
00
0/-.~
,
,"
,,"
,
, ,
Am
'"
, ,
'0'
,
G
'0'
0
--<0
'm
Am
87
"
,-ho rd
to
ol h.. rw lst" fui rlr ~ l mJ>k progf('ssiol\ ~, ~ "d d lJ I \ I h.. way 10 "-j'pruru;-h exerc:ise 61 .
Makt ,;00<1 ust" of up and d own j>Kk st rok,-s:.L~ Y" U WtJ Vt amlJn}ol tnt- srr;o.l;s. N m K{" In oo r dl l"ff'
t h., 'harp ..ri :er of h~ v lng t hr.'{" nm,." "'6(11 a I'm., llP" rt al l ~)tln. l m.l; a' oncc. 11(';)[ Buck 's p ngl.,
m sn" )o;s such as 'RadIo Free [ U[(IPC' frum til., al bum ,\Im'mlT an.1 'u ood Ad "- IIT5 ' from F.,hlti 01
T he
/?'1!';QHJrrnal0 R
Exercise 62 demonst ra tc'S anotll<"r (II ti ll"", '"".,av"'l1 P" k mll pa ttt'rns. Wll h 3 h~rp elTen
Ifl ha r )I't. Not ice , he 1m rcwclun loll .)f th .. "p"u L Itlm th., I), h,*' In 00r-s one and IWO, 311d the
ho llow r m~ of the ASU52
In
b~r St" Ol T" k ~ (" r~ I hal :111 r h~ norn In oor SI X ling as long as they
In exercise 63 chord ,h"pt'., a r~ d.. VI .... d a""ay from firs t poS tllOn so th,,, open sttmg., ,-a n
com bine with h ig h.,,- l r.,n .,d no(~' . ThIS offt' rs a p l t".ISI "'~ cont r~S t
to
C01 TRACK 19
D'"
J
DI{"" 3rd)
CDt TRACK 20
J:.!()
(LeI ring)
OfFI
A ."
.'
D
88
OfF .
Em
~."~-------------ARPEGCIOS
Tht' ,an;l(l" slyl" pluys , hI' nOlCS of a ( hor.1 00(' aft", rh" m hrr If> !,"CoC't,l((> lin
''''l"'o(',I;;I('' ''-
A'I'I',I;Io\IOS art: filUnd dst'wheri' III roc k a.nd pop gUl m r. T h~y art' nuu~J III .\OIl~~ such as Crt"am 's
'HBdf.:(', T ht
y(ju ,,~ .
Th(, fil! ur,,~ on exercise 64 ,,"ploil th e sli gh .l y murky t()n~ of luw d"rd s on Ill<: gui 'a,.
I \ry~n "d.,m~ '" ' j{W I
To You' and Nirv~tna 's 'CoOl(" As You Ar,, ' d" like w lsl', In exercise 65
moS! vf lh .. a'l"'li/:;lO" art' oosed on ~ trill d, bur ward, f' lr tht' C: il rn 7 '" l>~r stv('n .
,w
-,
TJ I J
TJ I
.I-
,
,o
, ,
,,
, ,
,
,
o add9
,.
"
,
,"
,
D
,,
3-{3)
...
, ,
"'
"
.-
G ..... j 1/ 13
Em ad d9
' 3- 1--:-2
,
f-:--s
8m add4
,
,
,,
..
,...
~. ~
J=
89
to
~ I so
I" A n", f>t')l:in wl(h " 'I " jng Ml"')i:)(io_ Thl' (r l ~J i" ha r f;>llr o t
"'h"I" SOil>:.
wl ()~
exercise 67 "
IjfiJlb,~,
play~d w 'lh ~
"rJ h '- th .. nores ar. nm 'I nltk "Iwx t thcr hut rr;'ll")Jl.l ll y Olle afrr r r h~ Olhcr, ell hu by pu, h," ;;
Ih .. PI( k r hrou)(h d ie Mrlllg_', '" 'm l hn,l( " Ih.-
= 105
'.
.
'
-;
Am
0 1'
'm
'I'
, , un G
1, r-
'
rc
"
,~.
0--<"
~-;.
- ,
D
90
pI ck ~n. 1 (w o {i n~tr~ .
Arnie GIS
-r
'm
L
7--{l')---5
,
,,
,
Hn----<
,
-.:-'
'm
-=
~-;.
~ -
,~
.-
r ~ 1. ~-~U
Am
=H
,
d",
o
~
wIt h
OlD
..
.'
~ I--
n Oll' S
r-,
,-,
, ,----<
,
Am
.,~
2
LEAD GUITAR
PIa Y Ifl~
kru.1 ~Ulrn r
("om l'el ~n r ly
.s a matt", "f l",.. ruing a small num ber of SOlI("S nod :>("al ..
p:1l h"(tl$; mas l ('r l~ , he al l of ht-n.I, n,l: and [,,(I-han d tKlmi'-ju...s like ~, bm(o, h.1m m cr lfl,l:-on ,
pull.ng-off HI" I slides: ;\nd gmd uaJiy fi nd In); om which not"" work .Wet any
,!:I~('n
chord
SftjU('n(\" .
BENDS
Exercise 68 {('1l w rcs fou r of rh(' common",,! }",nd" " n .. pt'r bar, arr~ lIg.'J on or.it-r of ,he,r
In
fiSt'
brcako.g~
pitch. (P layers d o OCCl\S lonally Ix-ncl furrh",. than th rtt se m][(",,,,, _ bu t sl rm,!:
IS
always a risk!) In ~~c h bot you flrst p lay Ihl." rar,l:('1 notr hy f,H t; nx il ; til"" you IxnJ t he p rev Ious
nu, .. up . Th" 'rmmt," y,)u r ca r C'ach lIme
" ,h ..
fll,allju~rt .. r-m ll e
j,()
on the fi rSI hr,\( In Ex.6H rh" [,.,nd s a ~ all done with the thirJ fi ng er, WIth
on the sam(' st "n!.; ht<hmd If. Th"
thum b on
t h~
Ih ~y
nft' nn
Ih ~ n
on
Exercise 69 d lSl'lnys n
!;flp .
B~IIJs
pb~'ers
st Ili
m~k(' !.;oo<l ll S~
of
in man y styk .
d('I'l'ndltl~
yo u play
~ btr,,,
m ~all S
(~
t h~ rotH
Jl
( WO
nort'1' d ow n
litt le fi of,'<'r barre , n.nd N: nd ""th th.. thIrd fi n,!: .. r WIth fi rst and S('('ond SlIp po , ,,n/!
belulld It, You ('~n also ('19y Ihls p rQ).:f't'ss ion hI tti ng all th., nu["" a[ OnCe (o r a shgln ly ~[, fTercnr
{ttl. T he note on th(" tOp Strlllg IS you r root 00'(', Selen th., mm nm., (Uf tI .... chord you wam on
[ h.. top
~t n n8 ,
(0
t h.a t 00(1'
H""- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
7[;
"
,
,,
, ,
.-.n
"
"
"
" "
" "
"
" "
" "
..
'"
" "
,ss
13~13
= 8fJ
'h
gliss
b~
"
,u
9 .... "-11
"
"
12--13
91
rJ~
'"
13--14
____ J ---'
J = 102
92
2
It IS poss,bk 10 push n Ix-n<l up n S("Ol IfOn(' ar a tim/:" ,n o rdn w gH a st'lj uell(" (,f nOIC'S, as III
III
oor 2 ,s pushcd
up finr
{O
su ppl",d by tilt' I !Ih (nt On til<" tOp sUlIlg . In bolr (hrct"" rhe "bL 'S ust"<l ,n
" d m p f't'(!
fil"lit
"'xu", again
In
ll~~
E. You 'lI
Stt
rt"v~ rst'
T I... bt-nt I:
bar fi,'"
Exercise 71 "a
T h,s .. ~t'r"'*
{O
ha~C1l't
't~)
THE 'CASCADE'
to
up onc or t wO less. Exercis e 72 is a fri l,lt'f (a~'ad ~ down [h .. A p" lItat<lIlil mi nor SCt,le. You 'll
notice righ l away how d Ie C\lsc:l.,k hd ps fO J.: IVt [h.. im p r.." io[] t hat you 't/.' not just no n ning
down a scale. blJ( p layong- a mo rt' (o nsid(' f(,,-j lead I,n t . Exercise 73 is uti eighl h-note easendt
dow n Ihe sa me sca le. In bnr IWO Ihl' thff"ntd fi fth (F..,l i., add~d to mah tilt" A blLlcs scale. Bar
three is tlw
~m e
eMead e ,d e:\. S f~rrm ,L!: O[](' str ing low~ r than ha t m 't". III lxo r (ou r Ihe s~ m e
If
"
93
= 00
r ---
,.-- - - 3 - - 1
J ---, gliss
L ____
J ____ -'
Hm--------------- -------- ,
gliss , _____ J ---- ,
gliss
gliss
gliss
L ___
J ___
= ~
88
.'
- t::S
,
gliss
r--
94
,---- 1--,
gilss
___
Exercise 74 "
il
f h rt't'-()<!a~ E blu." ""al~ ba.,,,d on th., E pent aWII ;\: majo r (E {l ~ G# Be,)
In
rh "
("a5(:
found 'n 1=1 io:1mar solos rh,1{ ,k-f'V" from 1950s rock 'n "roll.
AI''''' from $frl n/-: -n.:.nd lng , anor h("r dt'COrafion USCtI hr lead pl ayers is
( 1"(....
l ilt"
hammeN.n/ p uli .
(;ii 1\
REPEAT LICKS
I.ike ,h(' (I\S("nd(' , r h(' rt'1)('(t! hck '5 a way
I S 10
make
that
:lIT
It
e xe rcise 76
liSt'S
st"vt' rnl
based on a t r i:I,1 M"rk K nopJlrr uSN.! (his id ea V{'fY d [cn ivrl Y:If rhe clost, of 'S\il rans
OCSwing', In l he r it:'hl plac~ , :ls in his m crgcl;c s.ol o, these n Oll sou nd m orc dynamic and dnvlflt:
Ih""
tila!
the shi ft up" mill<>r t h ird _ ~ f:,"o ur ite tri ck of J immy Pagc.
.,.--.
Am
H-o- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- ,
.J
r
,
J -~
----- J -- __ -'
95
J -" - - - J --_-'
2
OrKt'
t'lCtl'{"'$l'
77, try
S(]Ut't'llnt:
ont' m"r.. n , .. un to
cn"
\...,a(
THE MODES
T he pcmalOOJc pattcrns
<II'('
the most used by rock ~lu ta nsIS. A bnd look at ,hc grou p of scales
su~t:" St
some
('"~ t l'll
plaYln~
Cllll
over.
The Arolmn moJc, exercise 79, .s also known as the "a(Ural m inor \.Calr. I" A "would
tx- AB C D E F G . L,slen [or the saun<"SS of t he s.c<onJ anJ SIxth of thIs scale (n anJ F).
Contrast clu.'rci!.C 79 wnh Ih .. 11011-0)0.1.1 han lloillc mi nor s('.Ik m exercise
seventh now i.\ ra ised a
!;cult' - E F G # A -
""", iwllt' .
W ~et
an
Rn.. k
m"J~ ,
0 01 ("5
of
IhlS
of as the natural m ,no, w " h " .,h"q",n~d sc xt h II lJ C. !) E F# G . It c., fa vCf" rt"d h)" ("..a rl"s
Sama]] ~
cn much dhi s I.. ad p lay'n;.:. Exercise 82 shuws rh.. PhrYI<,,, n mcKl". wh i, h ,a n I,.. thou); ht of
as a na tu ral minor wah a flat"n,,..!
Spanish sou nd .
Th ~
~rcon d :
1\ 1"11, C J) E F (; . Ma ny pl ay .. r,
mn<;,d~t
j{
to ha\"~
Atuli an. 1)."" 1Il ;Inc! I'h r)"I< ';ln ar" a ll m,nn r mod es.
' - - - - <I
6 -
---~
_ _ --'
~ fL ~-..
,,
,
,
, ,
.... - - - - 6 - - _ _ --'
.'
,
, , , ,
Am
Dm
96 I,
7----8~5-
~ .
fL ~ fL ~
Am
.-.
,
Dm
, ,-
2
J
02
Am
J - 8IJ
, ___ 3 ----'
'--- .1 -- -"
D'
Am
J;.; /</0
:Ft~
~ ~
..,~ .~. ~
IT
~=-
'' '-
,,,
,
D.
Am
SU
-~
S-6- S -&--e--e
,
Am
~>->
.,
, ,
7 -8 - - 7 -5- 5
Am
""
, - 56'5
Gm
97
Am
Th" r" a n.- t hr.... majo r mod('$. Tilt' Ion Ian IS ou r
m~l()r S<':lk ( ou
S('~(' n dl :
vanw.,
It III
G : GAB C D E F# G ). The
ptlSlt H)IlS
[U
p rngt=~I{)n_
The LydI an mooe , exercise 84. ,s lilt' IUJ)1lr ",::.1" w,[h a r:mt'd foun h; GA il e N D"
FIJ G . T tk'
1':l1!>C<l
fourth g'v<,s
till S
In
D a '1J A. ust" n for lh., bI....sy suund " f t h.. halfbt,nds. W h"n rou
all' work ing om " solo "Iways chC'C'k the chords yuu 'll.' p layml> ovt't If ( ht: pmg n.-s' '' lO IS '" "
smglc key,
W ll h
no oJd dlOrd.'.
f"'rhaf\~
Just du,
adJ u"m~nt
of one nOft.
..L
, 0-1-
"'''
"
'"
"0
,"
..
, -,c,
,
, ,
(5) - -7
' I'-
,,
"
=
'r '
'"
,
"
~ -
--!l-
,,
,,
" - -'
., ,
-.
,
,,"
,,
.-a , , ,
.,
.--,
0--
1 _~
~
(- .
, ,
"
, ,
L _~
LL~
, , , , ,---. ,
98
.--,
2
,
I :?4
;i
;I
;i
~*
"
,
,, ,
0
,~
;1_
.) ~
" _;I ;I
,
"
,""
, ,
( ':;----i3)--3
'm
lJ~
..
-,- ,,>----0 , , ,
<-2
"
eo
12
,~
14
" "
1'1r- t ~ ~
Fe
I'-
'" ,.-,
,
""
,,"
~
,
"
lJr-
Fe
'"
12
Dm ajl
" "
14
'" "
12- ( 12)
"
"
-r
'"
12 -11- 9
" "
,,-
Dmaj7
"
"
( ,..)-
.-.
- -
--
"
au
au
BU
:,' ~~~~~'
~>-~'~'~~~~'2~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
,
15
12 13
12
10
10
10
12
11
11
99
3
RHYTHM
We' ll begin wIlh a sIIlg k .not(' blll<"!l ,d (~. Exercise 1 h~, ,h., J'~III K t i"" '~ w"'g"'g ' rh yt hm
SO of( ' I } hea rd III blu("S . III 4/4 " "'~ "al ii bt-at l .. 11 bt- d ,v,d...:! ,nto two "'gh eh- no{..,. (qua"" ",),
or four 16t h ' IIott'S (St''''K.l lW''''''' ), und "" " n Th .. 4/4 ba r "I' " 'g h th-[\m...,; - cou ntoo a. ',," ,,-and
(w(KInd th ree-a" d
111
r... k In bl u..~
It "
"'",..,
JllI O ( h~ ("ginh.".<'s . Twu "'Shl h' ''''It''< .I Tt' d, u., p l.. yt'd ..., ,I til .. fif'O{ wa., a quartu -nm" and
r h~ ( h m 'HI1t' -u ud -u h
~lgnJl ure -
It '~
lll H - whl t h ""r''','>t'' t h" Bm /" 1' ...." .. ,,' "",.u, ,,,, ",ad",); wt: wi ll u'<t: 4/4 fur Ill"'"
of these exampi..,. and add , h .. d' ..... t "'fl tt> t rt'at th" rhyt hm ,.., 3 ,hum,,', disp l3yrd 3"
r. . J
COl TRAC K 21
.'
,
,,,
,
~ ~
\"
.'
\"
,,
,
,,
,
l'
~ ~
J ~
\7
-0
,-
. -0
C-- .I _-,
,J ,J
. -0
-n
~01
, , ,
,...-,- ,
---
--,
J-I" "
, ~~
0--0-----0------(1--5-0---3
1)-0-0-0---0--5----=0::=3=
,,
,
A
"
102
-, - ,
T h,s
t'xampl~ "
,n A Ill J]or. whOK scale IS A H C# [) F. F4I ( ;#. In ha r " " ", YIOU "" II SIX a C
IS
,~
liN",
311 F
It clashes w,t h
w l ,,~ h
(/l("
un. lerlyin,l!
ha r m""~' 11OlSro
on the
bar IIl1le thr re IS G , ",IlO("h IS rh .. /la[u:n~ d" ro of an E m ajor coord. L,s't''' fi,. , ht'
In
',,,ugh'
Th,s ryp.. ('If ~m.K It'n ..t .. p m g n "SSJOn w, lI sound h'O().l If " IS dt;ubl..d by
bass gUItar J us. Ob it! a .lm m hta t and away yu ... go: JI\Sum bl ucs POW("f rroo~
al:1'OS$
~-6 ,
smgl .... note 1200{, Ihls lime m E. \'<farch OU I fur th .. .'Y IIl"I"U IOll
7-1'1, and IU-I I. LIke exerCIse I , hissoun.ls,I<....d wht' n d"ub lo:J wlIh
a IxISS gUl mr. If you wanr [0.:;010 over .,11),.." ["t the bass com in u('
Chord sy mbols Arc g ,ven on rh"
..x~Tr i.",
m"rdy as g uid{"5
to
play i n~
t h..
"",[,,[ t'd
t....
p l~yor,,,
OVl'T
'Ih get J Il COldy wste of chord al hlut's rhythm yn ll <ca ll tty pl d)'ing throug h [hI." ('xt'rc'i>t' nnt w, th
d ,t _'t migh t chord fo rms !xlow, h u t us in,.;
[h~
.'
,
- J --
"
"
. - ,J
'1*
~.
"
-
~
,"
,
0
4- - 2 -2- 2-
t-O---O--4
. --2
)--0~ 2---2
,~
--
-D- i, I
oj
,
,"
,
~ ~ ~ ~ " .J
0 -<>
'"
.I
, , ,
,
'
~ ~ ~ ~;
.r-z-<>
".
,- -2- , , ,
,
,
103
4- - 6 - 4-
,1
.n
IfT I
~
..
fl 1 I
,1
I~ r
.~
(01 TRACK22
,,
,,
,
,
0
I
~
1 - -1---0
.
, ,
~.
.--. ,
0
.~- r-~2--4
~~
I
I
104
THE SHUFFLE
H.,r., 's ,h(' (':Isy rhythm figure tha t yOu will fiud at th" sra rt of tht" ' Rock & Pop' M'Cr,on roo .
, $ t il" ~ h uff1" rhyt hm _ Watch om for Iht" var.aI' on on har fivt."
a thmlul oo r 12 . NU{[(l: t hat in hru- t.,n Iht" musIC d()('$ nor rer urn ro I)
as II d,d on
s,~, ~ nd
('~('t'('IS("
1. Stay m S ,," Ii fur twu ba ni is a val " I altt"rnar,~t" al , h,s 11O'n! on a 12-bar.
bar blu('$ ,n{O;1 fr('urd figure w,t h n" 'op.-n sumIY' , If you fi no th,s a bit of a sl n' rd, d rop your
,)('Ca.. TillS w, 1I hdp yo... fr-.:tt; ng hand opt n om . F.Yff"(" ,St' 4 show$ ' h('
' Ixx>~ 'f' figu r(, S(;Irtl1lg wi th Ih.. n~JI nm" un th.- f, fth strt n,t.t.
C0 1 TRA( K 2]
,
e~
_ , ,=-r, ;
"1- 1-
:1:
~ ~
.J
,"
,
, ,--<-. ,,--.--.
,--"
0---.--.
,- ,-.- ,- >-,- ,
-5-t-~--5
,
~
,
,"
0
-!-
..
7--T--::-:_
,
10--10------'9--9
5-
I " ., ., ., .. .. .. ..
, ,, , , ,
7--9
9
7
-! 5--!J1--S--S--S
9
~_
5--S
;I ;I .. ..
5 - ..I..-~
G
.-,
, , ,,
'l~=I
, 105
~~- 5 - 5-D
Id.,~
'" Co m at"' , ,)lit" "Is lie Gars, sta ru ug on til{' s;" l h SlrIng .
~{rI nJol
fo j.(\1 1l' In
the- Sfarl . Onct"" yoo VI. gtlf <h("$( do .... n you1I t-... eq o' l'pffi
I~
to
n . -,J )J
,, ,,
] ]
,
,"
, ,, ,
5---5- - T -7---5
3
3
3- 3 - 3 - 3
G
,,,"
.'
,
,"
0
] ]
, , ,
3 -3
,~
, --0
~, -
,, ,
7-0 ~
, --0
3 -3
3--3-
,,,,,,,,
f-5
3 -,
.,- , , ,, ,
.~
,,
,~
, --0
,,
:~=
] ]
~,
######
, ,, ,, , ,
10--10
,~
,~ ~
,
3
:~=
I
I
D
106
3
THE IV-bill-I CHANGE
In h lu<" .
(x.\wtcn til" fi rst no\(' of Ih/.- 5("al~ and th., fla{(""fil tlurd
IS
If (l("' "U"" on "".. ,,[ 1 1I1t'~. III slll~k-not (' niTs. in kad so los and in {-hurd.-. M ud dy W alers , fot
("X~ m l'lt.
f.."r ur..,. .e ht'JVlly '" SImp hk..- "Man n Ish Boy ', and H.- nar;"
""ng~
Exerc:ise 6 IJ k..,
flan t'nt'd du rJ bl ut', nou- or chord . In oor on(" It occu rs as sin,lotlt' nm !."S, m bar IwO as Ihu'ds,
troad~, "",I on
har ~'X as
,,~ m~
the
that
a.~
1 _ I V~ lI r chan;.:~ .
S<:"" ~", h
dow n
ha r fi ..... r
In
In
r hmd "
tJ<l"COM"
,!II" f'c t we get pMt of G 7 an d hy m<lv in); (h~ m up on~ jc"t pan of A7.
C01 TRACK 24
,,
1"-
~ ~
,
n ..
"' \'~
,
-.-..-.-.-,
A
:J 'j) J = 100
,;
-. ,
D'
"
,
,, =l=
J ,
.,
, ,
,;-
1 1
'" '"
,
.'
~ ~ JJ
r-
0-,
0
0
r-,
J J
--OJ
.'
,
,,
,,
,;;.
,-->
;/
, , ,
107
"'
;/ j
--<>-----<>-.
TURNAROUNDS
hlu(~
In many
m:u n l~
t.'Oln~
(ha l I h .,
do wn b y
12-ba,
IS Il;'a(hln~
liS eno
~ nd IS
a b"u { (()
up. Th; .
IS
,hi:-
~ n()U.l( h
YO\l (an pIll Ihl'I!] illt" a I.,ad 80 10 at thi.' cno ,)1 ,,~~h 12-har. HI'I"{' a r(" c-if: ht ty po< J I {ll m ar() u nfh .
,,'\I,'n m E and
I m a~ , nc
""rrr<~ nl S
nt>r" of p
( !Ill.'
in A .
1 ,l ay~d
t h ~,.,
exa m pits
ha rs 1 1-12. WI"" n playm,ll turnaround fig u,,,,,. " '" altnnar c pic kinO': strlk" {he lowr,
trl p ict w it h
a duwnS lroh and t hi.' up"". "" U' w it h an u pstroke. III exercise 8 rht"
nvrt' mO"1:$ down Ih" th ird slrm,g " IonC'. Exercise 9 .iisplays a Ih,rJ mOY lng d nwn Iiv- st"Cond
an,1 dl lrJ s( r lllg'_
Exercise 1D IS an (.,(jually d Ye..."', .. tu rnaron n, I, and IS much I,k.. "~"" ' '''' B hu r WI t h an
ascCUJ IIl": m ,wt' m(nt . Exen:ise 11 " ,,1:;... I,h ' ('xcrciS<? H eXL.. pc
SIx th, 0" c h ~ firs, and third ~tr" 'S_' 1\ , , h l ~ 1'0 lO! , you shoul d I",X ' " U, S<.'\' , hr sub tle " J ri~t i{) "
wall wh l( h rh is
se('mi n,.~h
Exercise 12 cont in ues our r"pl ll mw.m o f turnaro und" wit h a p,,, ,(' rn h l ~ h cr up the u..ck,
wh,. h t akn ", I"an rage of thc Up"" w p I: srro n..:.
I I.. r~
:,,~
Oil<'
to
of A mator.
J
......,.......,
.'
,-
1-----,
r- J
'"
.:
~ ~~~~~~~~~~~~'
~~~~~'~~~~~'~~~~~~~~~~~~~~~~~~~~~~~~~~~==~~~~
,
~
,,
~
"
,,-C:r--,,
6 -6 5
5 --4---------4
3 - -3 -
1'-2-
~
,
J
,
- ,
, , ,
I
~
"
-J ~
3----<
3
109
I'u li -offi;, g";n~ d",,'n t h", E pt'n t ~}I" ( mmor senl e- 10 hn;t I""" ( ,, ,n . It IS similar lO tilOM' twa r<1
throllJ.\hoUf Srt-v ,.. Itar VaUS IJ;l " 'S ' Rud e Moo.!' , ~I'k l ' 5 ,l(t-U ' ",l( yo " In W " ,me fanner p layonj.; of
[h iS h"('ncrnl1y s;ml'l.. ftlrm . O ..... k ou t mor(' o f Va u~han 's pl ~ymj.: flor furthe r to'Xampks of hof1'00Jdcd f urn3rou",k
out w h le h
nor('~
12-b.u S<:<lucn(('.
F ~'
o~e r
~n d
rellt:0 10Il JC
!lm ~s
llHllor Oil E is F.
- E A ,md B
nrt lilt"
(j
A II 1)_
s~mt' .
Two
n ll -hnr ,n F. m ajor tilt .,... r pKks up the G and ]) 'hhl<:" not ..,
hut acc., pt, thi s dash as the bJu c-s sound . H<:'rt' a rt' tw " "f'i<'" 'tnJl~ patl crns (0' (h,S sca k . Tht'
'i.""" lld J",_, a small CI<!{' Jls,on! o
If
'---- J ----.
'---- J -- __ ,
In
'--- J--,
i: ~~~~~~~
--O 3~~'=:~3~---O
~~~~,;.~~'~~.~~,---O
~~~~,;;~~~~~,~---o
~~~~~~~~~~~~~
~
.3~-~~~~
., ----c~~1
- 2 - ( 1 - -1--------2
11 0
Jnsrt\<! d p JayUlt; !It., "f'i<'ll B slrin/-:. thc S-.1.m{' nott" " /i"lnd
--
.,
,
2- 4
"c
,",
3 --------5
3--------5
E bl uos scale
I
I
~ ~
,-
I-
I ,
"0
,,"
0--' -
, ,
E pentatonoc major
,,
,,,
#~
, -,-
,
,
--"
:3
- 0=
111
lIS
wh~{
,nc blul's SGl Ic . In a solo , h Is flaflt'nHI fif' h ("lln I,., ~ I'p...ached t' ither by (relt ing
or by bcndlfll-: a not l' up .o i.; ,11(' df('(", IS slt;: hrl y (I, ifl:", .. nl wl r h each
Exercise 16
pUI S
0{
~ppmach.
5Oml:" of wh~ 1 wt" JUS' len rn",[ In w :1n u m , using thl:" sca.l e noft... III firsr
pos lrion . N orin ' r ha. t h(' 0l'~.. n SI " n~$~.,f , ht- ;:lIlmr - E II D Co
pcfll afOn;c mi n.or. Thl5 IS o,w
I"(~son
why F.
'$
, hI:"
m~ "t
I}
Ii - hav ..
~I I
Eac h har 5.ans wlI h a ha:;s nOf('. 1.(" r h,s rong r hrou.a.:hout r h.. har, M If will givt" a umlt"xl (or
thl' lead notfto. No(O(l' , hal bar s('v(n h~s . h.: Il{l.It~ 1 fi B' no'" [!to, wh i,h )"ou will I""g,n
fam il iar
,1 5
C01 TRACK 27
,-
,
0"
,,
,.
0 - 2...4 -
'--<>-----0-'
' -0
-- J --
...
, ,-.
, ,
-.
, ...,
~
~,
"....
r--_
,
"
,,
,
-.
---'1
~
"
--- J
-;::.;..:; F-r;
gJiss
.'
'--"I'
r-,
. , .. ~.,. J-
-,= ""
-
,,
J ___ ,
h, r-r-, ,-. J
-0-
.'
fi nd
.,.
.,
,-- J
,.:.:.;
---,
.J\-
..
, ..., ,,
~J~
J_
~ b-.l~'\ '
...
2---12r-o-- l -"2
~"
,
".. ~ -
11 2
........ -==-.:.
Tht'n- IS also a
scalc- urllwn umx:tly from [he ma jor SClIk. E pcm3tOIll( mJJor .s " Fit
",,/11<'
d~sl" l1~
~o()d
D~ .
p"m~\On I C's
mUlor 1'0<.1
major forms lO lldJ !! r.:-~('r "u uest 10 you r s.olos. lI ere arc l wO open sl n ng pmu;-rll$ for t h,s scalc-,
Th(" Sf'(:onJ has 11 sl '!!h~ eXlenSlon [0
It
~'1m('
OIO!(, IS
fou nd al the' foo rt h {tet. Ttll~ ('~I Jbhsh('S Ihe h~nJ III Ih,rJ pos" lon.
(.I('m~)nK
E pentatonic malor
,
"j
rh ."j o ft h~5(' scalI' IlR tt ('rn s ~,I, l s ,m ('''f ro nor r: 0 . T h is is rht tlat rt n l~1 th l,,1 no . W('
11 3
~n(1.
T h,s hrt-:l k
lxC"~lLq'
t il .. music
of the
ba t (cu.
It IS
"",,,'(I)" a rnll-!lnd-an~ ,,.. r [e< hn ,'l" t', wh.,rt"by th.. fi rst {j " ..
1-.3. 'j and 6 m3kt' a l,h r<lSO' t har " 'an<lAIrrc,,:I' hy w hat.. v.. r fi.I I"",,,_
t\", t'
Iha t th.'
p.:,n raron'(- m inor will nm )unOIl$ 1>1.'<"$)' a' " d ... " on a rna/or k .. y h"'cm,,, t h.. n Ul..... at ... no
( ~,m l"' r ..
E na mfa l m in'" - E
I;~
(; A B C
wn h E lK'nl arom{ m inOT; E G i\ 11 D. All dw '''HI' r'S nurl's ar.. In rh.. form ..r.
.f th .. p ..... ~
,'O U arC soloin!: o~rr uscs any of the three m inor chords of Ih,' major kl')' (on E th esc art' F# mmor
G~
t h~ p<'llta\,)!ll(
""llor Will c1,(sh with (hem JIl :lll UillicsJrn bk Imln ner. Th("
,.
JJ - JJi
. = -;0
gllss
,...,
"'~
,'"
.... 3 .. ,
r --' .
3 .-,
'''' .I
gl/n
gliss
J ".,
, ... .1 "
,
,
,,
it
' h
~.
~.
"
,. ,
.,.
.-.
,
"
7--9----7----5
11 4
'U
'"
~Jl~ ;J
- , .-.
, ,-
3
('R$l('sr sol"uon ,.. ru '-'-'" th.. P<"O(:ltOIllC ma lor
3 . Any Ix-nrlliomc mlnO' "-"I,, pan.' rn mO" N ,Iown th rtt f",rs will ~ u tom:ltlCl\ lIy (uo .... n
n~)t
II(ote. Rrmembcr Ih is
[0
sw,t(Ch
",,,It'S
It>
III a solo.
mor~
not e sound s ah'\llnSr t h.. harmon y. By t hiS met hod you get an " P l'rO'l. I:ltl.l n 0( 'chord (Ones: (A
sml ,lar app roach ' 0 hasie 001..,,,.1( wli l be [".Ike-II
S('.lll' tiM !
oclon~ to ..... ch
,,,,.. , a , hord
1_4
lO
I h~ s u~"s
In
d~
notcs on t h..
of rhto th . .... (-hurd. ill t he 12-00 . W ht"n .."n yu u stoke one of (0Cst-
whIC h it ixlonJ.(s, . har nole ",,"",hiS a sIron!: fi r. Not ,c.. on IJoa n"u la' here m bars
p b ced on E. the rimon).: of rhr ru n t hat leads up (0 a n t\ .n oor fivr JUSt uS the
CD1 TRACK 28
r-~
.'
,
,,
,,
, ,
(51
,,'
b.
" , L
"
(5)
.,.
, , -,,
,,,
,,
-,-
. -6-0
- 0-'
.'
,
~ J
,,
0
,,
.L
~ J ~
0)--,
,
, ,
, ,
.,
.,
Exerc:ise 19
rr~-'~nt' th., ,am~ ~xr~n,j()n box bur w.[h a f~w notes add~d -
either hy frenin);
or hy !",nciin;; - that lit within the l)(lx. WI:' art ,rill worklng wirh a smal l ar~a of rl-1<:'
frtrlx~ml
to ).(tr tht ma"imum mus ica l poss,hilait5 our of ir. This solo IS full of nhw notes_
Another imporrant rule ro rememher is rhar tvny pOinraron;( minor scale sh",(,s irs nores with
rh( Ix'ntaron;, major of rhe not e a minor third
ilbov~ or (f hrer
J)
exe ...cise 20
rhe solo mows th e pMrerns up for tht C and]) ,hord,. ("ISD nore hert rhe melodic tl t m(nrs
rhar [he J)(nratollic major bhws sha res with country gui{Jr stylts: (h~ ma.n con[ras[ .s [ht
radi(ally
,,
rh r[hmi(
f~('I. )
gHss
diff~r~nl
~.
;~
j#-
6,
~,
'.'
,'", , ,
'"
, ,
,~-
,
"
,",
,
" -- J
, , , ,
-, ,
~,
--- ,
-4-----:;=
,.
"
,,
c
,,,
, ,
,
"
, ,
"
IL 'IL
Ow
'"
-1=1.
=bd
'"
, , , ,
,---<
116
, '" ,-
, '" ,
,---<
"
, '",
'------- .I -----'
"
,'",
,. .
,
"
,,"o
,
, , '"
,,
"
,
"c
,,o
,'-
,'",
.'AL
.,
~.
, , ,
,.
,
. .t
"f:
,-- .1 -
, ,
,
, , ,
,,",'
-'
CD1 TRACK Z9
,,"
~ I
0- -
'r,
,
,"' I - '"'
...
,
,f-
"".
~O
.'J.
-- J . ,
- ,
g .u
_f
>-,
/!
3 ---'
5..-7----3
,-
, ,
' \ - -
'""
'0---,
,~.
,~
" tF
/!
;'j,~ _,
17
eo
~ f-
,,
10 12
"
"
eo
11>-10 11
eo
, " ,
" ,
l-
..
eo
.,
11 7
111
La n
><'q llcncc of answering ph ms('i; , Exercise 22 ,, ~ n,,[ h .. t '<hord ron,,' <'!<am pl .., th Is ti mt' III (~ .
The
st ~rung posnlo n
would
Slat{
been added
is d",
t'~ I .. r",i"n
p"nlat<.lnl C
at t h.. tllIrd (tiel : t h .. ><.al .. pan t' ''' fi" , hal '~/o(I "':11 ahov" rhe .,.,.(""ist". A ~",roan f has
to till S
W I) :, ,
l~)m mnn
"f any
I) IS
Marl
from 1il:J1 not ... II .., .. t h~ ~""d nnl t' '.' U" '" ' [",Ut onK I hut' ,Io: 'V(,S 1\ pt' n taton ic major.
,
ee"- '
,~
.'
!..
~L
----;.
e,
11 8
f f{'<S
,
,
,,
,
,,
"
'I'
'
II'
l'
'I'
"
,
,
,-
"
"
"
"
au
au
,--.
,-.
"
"
1
G
' 3 5 (4) 3
"
"
119
3
_h
j'J ..
'
, 1'~ -
.'
,,
o
,
J J> J_ 52
, ,~
\1' . - .
' l'f a
'--- ./ -.. ,
, ... J .,.'
'", , ,
'"
'"
:;0- -
'- {n---o
8 - 1& -8-10--8
.- .
5- {S)
, t-'"
.~:t
-1'_ , ~ !
J<~
, ... J .. -'
-J -
-,-:-8-=10 ,
,'" ,
,
,,,
,
SO
, , , ,,,,,
SO
, ~~
Jl
~.'
...'
....,...,
,- ,
r-8~1o-t1
,,
,..,;
,J< ql'--.
I'
~c...
,._ . J '---
,~,
------5_1- (7
~J
, '--. J ._.,
. -----<
,o--e
9t~
=.J,
, ... J
120
' '-<4
".
. -,
, '. 3 - __
,
,~,
. I'~
, , - ,
-'_J
-,- ,
' 0-
-,
,-,
- ,,
S-e- 5
SO
..,;, '
5----3---iJt - -
- .1 - -
>
~ . ~9~_iI
rc9d", .91'h
~ J ~
~ ... J
---""---7-10--7
".
,"
,
.-<
1' . 1':.
gil$!
' >"'7
r'
J-
'r
~.
J ,.. I
..
,
,"
~, ~
,"
SO
'"
,-. ,";.;:::=
- 0->
, .-, ,
ttl
m,)..~{
plu~"fli
th ..
t n. n~I U""
11-oor.
-,-
1#1
,,"
, ,--. ,
~I<
~--
,
,,"
,,
,,
,- - J -- ,
"
=r
11---"5) -7
, ---- J .."
.. <#)'" iI
, ,
, ,
, , ,....
"
._-- .1 __ .J
au
7- 7--t
-~
'.
, ..,
, , ,'-
~,
. '.'
I<
au
",
f'
Be
,, ,
~' -
8 -7- - 5 -7------g
'"
r.~ ,. ~ ,.
"
,
,
.1---,
,
,-, ,
II '
c\,.
..
,,
j
Be
"
""aI's ot
-...J
,
,,
~ ,,othr
"
r~
Exercise 24 show,
I' luy hll r "",, III ...",-h '-"5<' , followo:-rl hI' any ont" of , h .. F. h.1rs.
lJ . J)' J
- o-!,J,
,,
na" '~3 {t: {ht: I- IV (han,l!.(" (h("f(" ,he- ("h3n.l:t" 'S from A ' 0 I .
JIl~ k ",,I;
,-hord IV ,n bar fo"t: , ,.r bar (Wo if if is a <] u i("k --{"han,l;" hlut:S_ Th .. fi.,.. ''If"IUTlp les ,n
,~ a
II ' ,
.,
l!.~
'--- J
Be
Be
, , ,-, , ,,-. ,... , , , ,
--_~
B-S
, , ,-
121
,
, ,---. ,
..,~
3
INTERVALS AND QUARTER BENDS
String b.:nding "a signifiun l pan: ,,(hlu.... I.. ad rl ~y ms . '1'1 .... usUJllx-nJs al'(' up a scnlltOIlC or
a who l" w nt: ; snm" p lay .. ", I!" h ,~h .. r. t huu,IIh I"'~rd y
ahll" CO bend (' it ht'. a srmiwn.. o r
IOn ..
Oil
p r;u ton'
III
dll~
IS
impon am to IX'
htctwttn p layin,ll a C a,llains. an A ct.! .rd (Ih .. fb n .. n~ th Ird) or a C , (d ,,, normal durd
K"me m!w, ,n., g()ld~n n,l .. of!"'nd. n,.;
nth", fi ng ..", d nwn, w hnt: .... "" ,hlt', nil
alway~
ellt'
I~
JIl
A).
Hlu ...s ,l; u imr also .. m p loys a l>t'n,1 al tu .. Uy small .. , d u n a ,;o,nllwn .. , t he q UJ rt er-tonc bend, and
moo t aronS[ IC pl ayn s ("3n m ak.. 1,1lt'",1 u, .. of ,ht'S<' w " h h u l..
morl" t han a ' smll<l~ ing ' of p,tc h hu t" CAn
Iw
~fft'Cro\'~ .
dlffi~ ult y.
doubl~-,to",
is shown
III
exercise 26. They at(' mostl y tiurds. bUI (here :,re Slx( hs ,n oor fom.
MINOR KEY BLUES
(il{'
[otm and 6 1" (imc', whel'(' the re ~ I'(' tWO be,ns in eHch oor ~nd each
r...",-,
dividr s into thttt. Notic., t h~t d,, hJ lf b.:l\d ,n bar one becomcs a full bend in bar
fjV(".
27 is in all
do"g~t~oJ
Alt hough ,Om., of d,e ph ra~s "ft JX " WI(>llic 1Il 1li(,r (A C D E G ), lhc['(' "re ~Iso oors li kc (,.g ht
'P .
,p
I' ,.
I (kl
,.C
,
12! ,gr,
12
,'"
" "
12 -12
,
122
,""
" "
.,
,,:
'--- .1 ----'
'SS
-'
"
"
10- 1 0
II amnu ms to h llk
,hroug holll exercise 25. Ano, hN {'xAm p l(' of som(' 'YI' I(:.I hlu('s
10 - - - -10--8
10~
"
J so
Am
Am
Om'
~.
SO
SO
SO
,
Am
Om'
'm'
Am
, ' *.
Om'
I '
eu
Zr--
8 -1 0
"
Am
"
Am
123
3
Exercise 28
'S
.,dV'dn<h-l
harmon y.
For , ht' firs. fou r bars. you pluy ( hord font-S , hat s'w tht full !l .. ,." ... of rh .. chords Hal'S
~Ilt<lf 'he pro~IOlI but ~tllft
and rhe
n a tu r~1
compkx ,h,1J}
0:< '" 1""1,,1solo. As ...n h the pr, ~O<Iu, <,,,,,"o,t', horh t he l>('fll Wnll,"
WI'
~-8
u~{'d.
()
Will e suggcSlJon,
tI,,, ..xampil:
.trt'/j'"''''
"'t' SOmeWh:l1
mol'\'
nod
~ml!k
nou'
filJ~
sh~~
lTIj u,Tl'
) '''U
(.('tung hand th um h. II 's a . I, ff('!'('nt SOrt of rh yrhml(" ftt.1 t han we h">,, yC-t c-ncoull u,rffi " " ",
t hat you 'v., d.,~ .. I"I'''''' a 1-'00<.1 b luc-s H)(abu lary, ,"""rd a f.. w hoI';
J-
(0
,
Am
D'
.-
.--~
D,
Am .dd9
.'
,
,,,
,,
, ,
, ,
, , ,
I'
J ~
8,
,', I--'
, .-, -
Am
D'
. 1'J!.
I'
,,'.
.J
~-
---
'"
,-.
, , ,
0->
D.
.1' I'
~, -
-,
Am MI di
."" .....
*1'"*
,
,"
, ,
" i<
Bm7V5
"
, , , ,
-,--'
,
C9(1I0 3 rd)
G add9
"
."
"
~
C9(no3td)
124
Bm7 ~5
H i<
Am
,-
3
,
n
.) )
CO, TR ACK 30
';:, ~~~~~~~~~'~~~~~'~~ff~'~~~'~-~-~-~-~'~~~'~~~'~~~'~;;~~.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
,-' - -' - - 3-2-----:r--1
- -'
-4--4
..
3- -' - - >
-'
,,
"
.J
.J
.J
.J
\.J
.J
'J
('"
"
,
"0
,
F
F
.--.--,- ,--,--,--,--,
,--,- .--,-->------>, ,
, , , -,--,
rl
J -=
-
.---.--.
.---,--,
,
, ,
,, , , ,
-p-~f.
"
lio-
-0
0---.--.
.,
0 - - -.
0------.
,
.,---,
J.
.~
0------.
~.
~J
.l
,,
,
3- 3 -2
2----------1)--0
2- - - - - - 2 -2- - - - - - 2 -2- 2 2 -2
2- - 2
2
,.--- J
.'
.'
,
,
, ..
,1' J
-0-' H.
. Ll b
' "l
,,--.,
~ r
.-.-,
2- 2 - . 0 -0
,.
2 - 5 - 5 - - -4
"
>- ,
0 - 0 - -0
0 -.
,----->
,>---,' -----,-
~,
"
125
1
".
"
_ IN)
"
,
""
,"
,- ,--.,,
,
, ,--.
~
,-, ,
0-----0
~
r-
,,, , ,, ,,--.,,
,
,
, ~,
,- , " ,"
,~
,~
....,
,...
"
,,,
,,
,
' ----.--.
,, ,,--.
,--.,
, ,--.
FP.;
,.
8_
8
8
8
8--11-----9----9-----9
, " ,
,
,
i-
'-'-'
,, ,,
'r--!
"r--!
,, ,, , ,
"r--!
'r--!
, ,
~ r---8
,~
,~
, 0-0
,~
, ~
,~
, ,,-
"
"'"
.J
,~
, ,
;~
'-
i-l, , , , ,
,0-, ,
"
,
, , ,, ,, ,,
,
"
10
11) 10
10--11)---1..0 9
9
0-0-,
-ii-
0-0-,
,~
~
~
"
,
,,"
,,
:~9 ~------:
,
,
c,
"
, ,
, ,
,,
,
,
10 - - -10-- 1
10---10-- 1
, ,
9----9---9
'r--!
B ~;
"
,"A f - - -8-8
'" "
~f---?
10 - -10
10--10
10 - -10
10--1 0
10--10
10--10
1()------10
1()------10
,--.
,
,,,
,
,
,,,
,
:----9
,
c,
126
10--8
,....,
, ,
,0-, , ,
~
,,
,,
,
'I'
G'
:n
.J
'--
:-9
,
Q----lo--8
I'""-,
::-,
,, , ,'--'4,
, ,,
,
G'
,,,
, , ,
~c
,,
,,,
,,
.,
--
JJ
"4
1 3 H
5 17 3
-r r
1 5 17
"'
mM
, , "'
,,
5 H ]
3 H 1
1 3 H
mM
,.,
J
,5 1 t3 17
1 15 17 13
,,
1 3 17 19
,,
13
,,
1l
11 3
~7
9 5
3 .7 9
3 H 9 5
17 3 13 1
1 3 .7 9
\7 3 131
CHORD BOXES
I ler(' an' a numht-r of movaPl .. (hurd tyfl't'S d out art> usefu l
III
In
d,lTl r(' Ot
[(MIt
" "tt'
(t he I) ~''' ... n and. wht"n you playa 12- b:.or. try occ-.,s lonally su hswu rong , h.., .. fur t h.. ,({aigh t Jl1ll ;ors yOll wou ld or rn-rw lsc p b y.
When p b ying w " h a !>nnel 1)r a 1M" sUl t~ r II IS not al ways ONCSSMY to play fu ll ch() rd~_ Th,' d omi n ant seve nth ( 7) troads
arc uS('ful for Ihl S p urposr and for purr on,.: ,n w
",I", for a rh yt hm .c e{fecl. Nor ln fhat w mt" of them are mi ssing ~ roo l flo tt , wh ll-h w,lI
diminished seve nth ( 07) chord ;s an oddi ty - l"",uusi.' .Ill y d Jl S flOlrs on 1><.. trtared as rh.. rom! T he mino r71's , alSQ
kno wn a., the half-d imi lli sh(.J chorJ, is a colO ll rful vari ar iu n on ,h ~ u.u~1 111II",r sevemh . The fl a!f('nt,<1 fifth ,s t h~ ,am~ note you would
!.,.. p l:t)'m/\ " " the bl u~, -.;alc f(IT th~l kc)"
Th~
7#9 (no,,' p" pubd ), k,l(own as t he- ' I-lend ri" chord' ) /ol,vt',
su~ro t ut~
Tt'al...J~~: the
7, 9
IS
m U(';Jsmgly d,fficu lt '0 fl nllt' r ,," t ht' su't" r so t hey arc- oftcn fO\In.:1 ,n m n.,m pl"rt' fonus They
127
om OfTI'll
IS
also good ro
list'
for
.a:t'rr,"~
10
~rop5
frt'rho.~ r.-1
1\
WI( h
pJ~m y
It also pfov"les
In
K" '"8 wh i]" you pid, ou r mdody lint', wlrh rhc sl ,de on h'glll'r smngs. 1b srr imooIX'" 0 you
nttd
to
to
hIgh ro DADF#AD.
In exercise 1 you wol l SImply Ix- k nrnmg how ro hold 11K- slidt', and whel'(" 10 place i, on
rht 5[ [ 1I1g5 in onkr rogCl n good sound wuh proper im onation. P ut theshde nn your left pi nki e.
As YOlI pl ace (he slide on the string _ in
in this tu ning) - usc
JUSt
('nough
tillS
pr~.'~u t~
(0
I h~ f~t ,
COv('t only the stri ng you ute phoY II.g _ t ht- E-q ,, !.g. Play
til
make il sound a.
d~ an
,~(mlld
n()n-slid~
I"'tw~~n t h~
f.N, l.h
p laying.
u.,~ th~ s l i d~
stev~nth
dom inant
In Ih is exercise 2 you woll Ilt' sl.d,n/lllt' t"' .... n , h .. nur~s uf th e dum inanr S>t"ven rh .Kalt',
during wh ich "''' will a lso pr.nln anl,tn .. r Im p<) rrant p.. rr uf slid .. p lay.n).(: SlnnI' d ampt'nmg .
Thi . can he
a" hi~vM
wlrh hc;.l h t h" lefr nnd rI g hT harl<1. In th IS (ast\ Iry !cHi ng your !cft mdex
fi ng'" !St nd y tou,h , ht' sam\" S(rl ng thaI your s lod" IS p laYlo):. Th IS ' S a real sub tle manocuver
h~n}.:
st ring nOise assoc iate"! wJl h shdc p lnymg, P lay the scale asccndi ng and dcsc{"ndlllg. The sl ide
should Ix- III conslant COntact WIth I hc strmg as
It
tlI'K"
to
u llw~moo f"'l ""'~t. K""p"'g ""'S"'''O, prt'll.'ur" " al.... ' ~."ry Im po rtant; If )"U move t ht sl.d t
<I.'
Jfl
~ cry
cxeltlng and
t'v()(,~ lIve
wuy of uslllg
I h~
shde. In exercise 3 you w,lI piC k Ihc 1\011" one" . tlWII shJe baL k anJ forth. Makt' SUl~ dml
notes you ure slid iug ftom .. "d I" ar~ pJtd .-pt'rft.<t. Y,lU c~ " Lh"ck Yloutste lfhy pbYlng the ",m e
notes fre u (d wit h yo ut fi uger
"a. ttui ninj,(
((J
not~
t"X~tciste .
BASIC RIFFS
Now k r's sra rt g('{ti ng Il1 tO the thongs Ih al most of you arc I-' robab ly reading (his for. Exercise
4 d isplays a cool slit!t" riff fo r rlw first fou r bars of a 1 2_ n~ r bl ues. In open (linings. sllch as opcn
J)
and G , YOIi w,ll hear a 101 of rifTs ccn( cm.l on th e 12(h frel. You m n actually break tlllS
b.~rs an'
frer, rhlo s('(ond two-bar sect IOn gO('S <Iown 10 thc th l....1 an.1 fi ft h fTl"ts and some open D -smnj.,'S
- remember, you ha ..... three opc'n D-sl n ng~, sn ynu c-.. n b~t a lot of m il .....S" Out " f t hem . Finall y,
)ou do a m ult i-SHi llS shdc ha(k li p
t(o
Ihe 12th f",t . Th.s kmd of p layinS eyokes the nat ural
<jual ill es of sJ><"fi'h, WJl h h'Shet "'g l~t"N and low" r ~S 'SI "rs . W h"ntyr r Y"" p laya "" I.., slidt' or
otherWIse, try to th in k of haYlUg a
<jllte'lions, Slattm~n ts. . Avo.d chall .. r nnd monOlunl)US ft'S"",m~t'S; ]>I"QI' ''' will tu nr YOll ou t
H".t 's a n ict' sl i..l .. ph rast' for th .. IV chord on
:l
on Ihe fifl h frer, wh ic h , If you w<, r.. to play all SIX sr rm~s, wou ld g ivt' you the enti re IV chord
Exercise 6 rakes you form th .. V chord ro tht, IV chord . Th ... V chord IS foun.1 at rhe seventh
frO'I nnd a.l(aio, rh .. IV chord a ht, fifrh. l\Qrh d .. ,s l"mm l'l c
you
130
CMl
~t' t
~nd
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Exercise 7 IS
play tlot J'~'<'nJUlg ba,;s lm e:- lmu ~ ny fi n~"('r to p la y t he accompanying nw lo.l y '''.lIt'S on rht' hl,l.;h
IU lloo to
D he rr).
12-BAR BLUES
Exerdse 8 ,. ~ I"'pl y , h.. I.."
hl u.. ~
,!Ut""lt'.
rh~th ",
bu t
I t 'S ..
tuu r ..x ... r~l,* s you worked on .. bo..:' {ombme..! IO fO on!: 11- 0."
!o~"("l h('r
1.,.,l luf h()w , h...... ph,CI., .... wurk wg .. t hu. O therw,r.t' IT--coro youf5Cl ( p b YII'f! a shuffie:- rh)'l hm on
J)
(wI[h .h.. "I' p rupnatt' , hmd (. h~ "g ..' . " f ~()ut ....). arK! then
pC.lctl!.C tll(~
ALTERNATINCi BASS
lI en.'
IS
n 16 bM fin~('rpi ( kin~
exercise
P'I'CC
hi
9 yo u wilJ !tnd thln li lt (he slid e no tes h~ ppe n on rh( hi g h E-s mn ).(, whl( h h ~ lp'
slJlll'Ji{y thillt:s. J{ y(H.! h"v~ nevc' r tried pby ing nn ;lirern;lt,n g hass wah an auomp: L" Y"'1-(
mckooJy (his will prove a bit of II challeng e, but u "s a lor of fun . NotKt th ~ n i("r A an d (, ( hord ,
ill tlllS turlmg. The.l e chord voic mgs will gi ' T
~o u
h~1'''1IC1
SIm p ly pbC lllg th e .11J(k (WCf " II SIX strmgs a( the fifth and seve-m h frns .
JJ
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120
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134
" 0-
7~"""'3---2";r""3
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...
anot her 11bM bl ucs, Exe rci se 10 mak~s a g(~ .J mm p JunCII( for n solo
s; n,!:t'r/ pt' t fotlllt't, 11H.' o p<"lling rlfr. rC'p<"alN In t he (h i,,1 hM (mt"aSucd and , lI m ugh"u t . IS U .... ay
lIer...
1.
ti,,, dt'~Kt'
of hrt."'dko ul! up t h.. rhythm and gl" ulg n smgl'r a b('(';lk. Roh-rr Joh ns"n " ",,-I
~cry
[ullo,
!,,,, th.. ''f't'lUng 11< 1.: . yHu r ,[,d.. wI ll cO.-('[ , h OC(' strings. G BF (runt'C1
"".11 r lay a H lpl .., rhyd .m wn h a strumn u ng a(uon. In rhe 11.h h.lt you ha".. "" " diU
rur nu ruu nJ (tl u_, t il " " a><.t' nulIlg ,ll s, ....Jd of Jc's u'1I<h ng). WhKh shou ld g'~~ }~'" a ft'w " PU"IlS for
,.,...-u [ ,,,n " f th .. 12-1"". >n.j ut'llW
Now . h'lI )'"'' h<l"" a r,,,,,,t' Hi d a"" , open 0 sh u" lic b al your dIsposal, yuu t an JI.. " try
im n( han,l( .n).: fU rna rou nd , and p h t ...,..,. ("'III mOM of l hes<' cxnno;cs 10
yom own compOSI t Io ns
1'l",I(1n
rht- sl yl..
In
OPEN G TUNING
From hnl' " n nut w,'
blu~i>r,"s
by mally
D, _
" .. nl' playt'r' rn L..:- ln fl ud it .:-asi.:-s t
lO
'm "I" n
G (b y
tD
al t h.. 1,1th 1'1'<'. 1), tlll'n bringing (be R-suoll,Lt ha(- k " I' fmm A to B (G -
L~a"t'
pmh Y" u J.:I'! w ht''' Y"u p lutk d, .. or"'tl G -s tring , (N ote th ,l( for
('tl.S('
V(
r.",t' hl'llOw tI ,(
"'''I '''U..
tu , .. fl'r tv rhl' st nn,.., oJ ,on); !ht'lr p, [<- h.". frw" ' t JuJarJ t uning ,)
In e x erci se
~lIlI p k [.if
sl nn}(-damllt'nln); ' <'< hnlqll .. , ' ' ' Ill); t ht' I.. f( h.uod ",d(o" finb'H
wh ile )'OU play I h.:- rtff You ('lI.n alsv p lay eh " .. if'
rr-m3 11lS
III
(0 ~
In
[0
' V .. m p l"Y
y,"u r
~ea"datd culli ng
rln. "f d ,.
t ypo.
)011
h(';l r In
1I<>t..~
b~1
'rail' III J
t "U-"nJ -r<'Spo11s('
p h r.lSC, Try moving . h(' sll, le o,cr only r ........ ~rr"'J.: you ar~ play"');. a, yuu m()~~ (rum E-slnng 10
B_slrl n~ '" G -' lrI ng Ex erci se 1 3 IS Ihe 'TCS l'o ns,e ' 10 rh~ 'rail' '" u~n ' ..... 12 N "tic(, l he
ph rJ';III~
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=;H
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C01 TRAC K 44
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10... 12
10-1 12
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CD1 TRACK 4S
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135
nt h..., ,"x t"ni ", 13, " [owe-. Th .. "'ypual ,,(,h .. ,;"nr.. , a nd III til""" .." .. m p !'" ~'OU
h(":l.f how ,he soon,1 of sl ll l,' p lay,n...: I'('SI.'mhln
p il l'S
ft.",
to
, he ,wo licks fO,l:Cfhc, to show YOll how rh(y flow as a SIn,l(I ... mUS Kal l int' - always mUff'
UUI u.,g ll .
r(";l (
Ik l<1
h lu ("sman .
I, 's a l so a ).;00<1,,1"0;-
Slart if >'OU have n("va p la >",[ a mdo.! )' a~-aJnsl a S(':I.t y OOss. The ("xa m p k Slarrs our Wl, h an
ciS hrh- notl' b:.SoS TIff, , h<.'" o b:'l( ks off (he hass fO 'lu arr.:r-ooll'S (r h.. I'u lst") and a Sim p l.. SIO,Io; I.. nm"
s lid .... r iff. Many Dell a hlu("s m('n """,[ ,USI (he' . hum h an.1
fOf
fi nJ,:t"rp,ek ln,l( In
rh .s exampk you can p lay Ih(' mdo..l y norcs on die' hIg h E-strl ng wI , h you , Indn< fi n};n
jn Ih"
In
h~ r
you
rhar
~xam rl ~
13 rhnt 's a
b:.1SS
p l~)' ", ~
C ( hord lrum
sl~ nd .lrd
r h~
altern~l r
m~ans
o n~ n o r ~ ,
h~,
a moumtul St)llnJ
JUS!
lih, In
~ nd ~hd ~ . o .h~
F~!'r(' I:K' ,~
r~l"'at' <It
not~
bar I') ,
Wh~n
CD1 TRACK 46
gNu
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136
to il.
stuw, and you can work " Inro a <1 ....,1'. w u lfu l h l" n rh:u
gllS!
ro
lutllnM ~ nd
Exercise 17 has so nw of rh~ fl'(-I of l)l lnd WII I, .. J ohn'un" . In M)' Tim~ Of Dyjng '
St" ..
}'Oll
p laYing
CD 1 TRACK 4 7
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137
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rT~
5
COUNTRY LEAD SCALES
Th., A S(-"It" r,<" nrat onl( I'M lem Qudm('<J on diagram 1 b<-low migh t look fa mi liar. l oocrJ. the
Ii".. 's hap';" ho"t"S' (as lahd kd abovc and octow
if nor id{'mocal,
(0
Me
pc-nt~(Otuc
SC"d le pattCnlS
hoW{'~{'T,
~IJ{'
of lh mb~' so emphasIS('
on<h ",du~l
p;lw:rns
~ou
th"
ag~ill.,t
AII~rc
Jll
terms of
~ Il<l ~nos,\,
a ,I" W, , .. )'It'a(lnl{ A- I)- II - I) , hurd pr",; t\ssioll, p mctlM' sh lfrlng licks r.., rwI;'"("n
~ rl oJ. foll rr h
and II
l)
how
,(~I~ pa tt ~ fI" ).
w("~Yl1lg
moJ.r,n~1
11l~[ ch
prof",, ,iollal, ,)ft~1l n~!o(orlar.~ cno r,i cha"I<I'S hy m"r"ly f(',;urg, rne,ng a prt- Icilrlltd I.i ck. phr,lS('
or
p'-ltt~rn d"'wh~r~
on
t h~
fingrrlxmrd . H (y
If If wo rks . lise or !
m~ IOf
Tl'~""d l .
is (he Slx! h of A ,s al50 til..- I hlrd (.f D . R<' nLenLbo: r d,(,ugh , m u mry p l. y" '" "ft"" m~ll"h th" suI"
10 the- choN , .:g. A fiJ ,or P<'n lau" ,,( '" .1 .. t"r A. I) m. ,,,r P<'ll!a!",,,, ",..I.. fin I), and ma)'l .... L
c _ mur.. un
wh " h lar .. r T h .. , on,lue)onx hat will m3k .. fur som.. tro cky
" II
",m.. h ,~h
I.....ill
fj~u r'"
h"ft".
A
1
Cf
3
pr~r r r
th ~
pi{'k ,n,.
E
5
Ff
6
pl c kln~
In r..,rw('<;n rh t
nor~r'on ,~nd
rnhlarurt
'S 3 down srrokf (i n acco rd ,)[lCc wJl h Si xtC<'l1 th- nOt l' pic king) whi le occasionally JI 's an upStroke ,
which fcds natura l for (ight h_llOh'
hamm,rons and
puJl -o(f~ ,
~f(),w<'~ ,
to
k('('p
It
u~
GSHAH
'I[
liB
filE
--'-=-1L
,
I
,I
0 '" Root
ct " 3rd
""'
~
-:.:."
E SHAPE
140
A SHAP
3/G
4ID
51A
SHAPE
C SHAPE
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,"n
,..
Om'
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L.;;J "
6 ,<;. 7"6
,v , , ,
~
.--->-
H"'- - - - - - - - - - - - - - - - - - - - - - - - - - - - --,
gMS
. ":'", " ~
gilU
, , ""
,~
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CI..,n lone
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gli"
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1"'1
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141
5
THE A MAJOR SCALE
diagram 2 1",low - and , here arc, bcrausc I t of[('r!i I ll,'
fi n~(t'rhonf"('
ExamIne I he an:'lI of f he
which corIT!;ponJ
dCJ;1TI'S (i.
[I,
rho- nm rl),:h r u p
al
whtort' rh .. S("3 \., sroops art' sho wn"", arabic numocrs ( 17),
, hc $even , k~n:'(" of r h., major $C1I1 ... and m-nn', chords b uilt from d lOSt'
10
I II. IV, V, VI and VII). Th,s IS rhe- haS'3 of t ht: SlK" II..d ' N ao;hvill .. N um ocrs
System', So, ill r hl'" kl'")' of A m RJor you mIl'''' "xl""-"' m fi nd ""m .. or all of t he folloWJfig chords
A (I). R mmor (1 1m ), ell m if1()r(ll l m) , I) ( IV), E (V), I'll mono' (VI), whil., d ... VIJ chord , wh ich
m USIC,
IVvu M
;,5 sevent h (")(I (,05IOn5: ImaJ7. lI m7 . lII m7 , IVm aJ7, V7, Vl m 7 (and
V ll m7~5,
also k nown:ls
'hal f d imin ish",n. St"t' If )'01.1 can p ick OUI so me shap"'s of chord s fro m wit h in t he overall scale
patt ern - they' re all then;!
Now ra ke a
h ~)k
A B
CI
F.
3
G'
7
4
A
8
I
b7
B
9
C,
10
11
porfl on of r he S("alt- hiJ.:h l lg hrs , he r.. lall on~hlp I,..t w...,n t tl.. '" " .. ' (t<.~)t), t h ord and fi ft h of the
S("a le as [hc d om;oan ( chord tOOtS As ro... Will hav .. l.. arn.,.d "I""",h..n, d lere 's more wl l hUl {';Ich
m ajor scale t hao slInply t haI SQlle Itsclf.
W h il e t he A majo, SC-dle run~ from A 10 A (and so-on from OClave (OOClan " righ' ti p t h.. n<'(-k)
o n t h" nec k d iag ram and as o u{I" It"d Ullh(' <>Xp la n;o IOry ch;on. we {';In also cons' n KI ot her mn,it"'<
by playmg I he lIoteS of A ma ior bU I sta r\l n~ from d, fT('rent d(',I; rt"C'-s of t hr SOII ~ _ On" mod .. [hal
IS ocGlsionally uS('ful III (ou nl(y pl ayong IS E M lxoly. ll llo . fouo. 1 h)' p lay ing fm m U w E in thl'
A major scd le (1lI g hligh t<'1..l by Ih(' roman n umcl'fIl s 10 . I,a,l; m rn 2). E M ixo lyd ian p rovides a
usefu l all t rro at i," fot .wloing OWl t he V _ t hat IS, t he E chord - of so ngs in A major. Exercise
2 ()ff~ " some A ma jor lid,s arid p h r~,,,,,
{(I
furt h~ r
Ilf
21ll
31G
""
t,
,
C-Clf. iO
_:tl
51A
6IE
142
;3rd
CJ-r---
>!
l?
7
0 " Root
:'1
'" 5th
12
CD 1 TRAC K 53/54
J = 120
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, ,
"
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,
,
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eo
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8m
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,
, " ,
,,
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,
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11""'-
"
nlf
Clean lone
glis~
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1 2-14
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- ,.
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1)--1"
CHORD VOCABULARY
I-+=IFH
' I+H++I
'm'
r=
~
Ell (DfE)
'm'
Dsus2
Ell (Dlf)
Bm7 is the 11m (' minor two'). E11 is th e V" . Try playing them
in various orders: I, IV; II. V; IV, II. V. I; II, V; I. IV ... k . . p
composer I
143
., 5
LICKS IN THIRDS AND SIXTHS
In "dd,u" "
p layi ng"
to
slII,!;lc-- llOH' $olom,f: and wm .. (-<lmpl.." 1..,11<11118. a g rrat deal of COll nt ry Itca<I
t"X<,<- utL.J
on Jou bk _SIOp5, 1",0 001("$ p larK! wf("th ..r . TIlls IS Jone pnman l~ III seal t"<
mad .. up of pair.; or d u rJs or pours or $1 >( l h5 nsCl'nd ,n;; anJ d .sn,,,dmg die
n nt" om" asc t"" dmK Im m toOl to 00:1:1' (', prt ' n.~1
IlIdJOT
dl~r
scaJ('
.. ,
Statl ln.!:
to
r m~
Tn
\0
In
th .. A
p lay"',!!: th ..", up and d"wII t h~ """'\-1. 011 JlI suggrs t rd Srrt n,l( ;; rVU I'In,l( s (ii"e g roups of adl'lCCm
strmp ror rh irds , fo u r .l:rn IlP' " t " ~x l -but-(JIl" !X\1rs ror slxrh s). l r t~k .., ," m~ p tallicc to
THIRDS IN A MAJOR
SIXTHS IN A MAJOR
Horne f or
V (E1)
Ho"", t or V (7)
Horne
Home for
tor t (A)
Hom.. to<
V(En
Home f or V (En
"AI
H o m ~ ' or I
Home tor
V (El)
Home f o r I (A)
Home to<
V (H )
Home f or V (El)
(A)
~owe.
BOD
s tring:
S<~I . of
144
F<
Highe. s tring,
s lJrth$ (from
Hhome H )
GI
Go
in A major
F>
GI
~ow.r
CJ
fJ
G!
string:
5
h~s),
m.. m" n ..... tlK'm on all sr'In,!; r"" ro,,!o:.- (and, ocyo..<1 t har , in all
"' Of t. a """pi.. of J if{cffm Srotl l'ln,!{' nnw, " ml you" 1I soon [(":1 m
You shou ld constmllly mon itor
w h~ t
Ih ~
chords
til
d"c~Sll 't :
'"or nm .. 0' secondary 1'0"" $ '.If ,..,,, ,luuo,,, as wrll as tht "hom .., fi" the th ml and fifth
OfyOllt
th ~
physical aspens of
fi nt.'('n:~1 ,\f
~t r .. t,-h (lower
sh~I""'"
rh ..
~, m ..
yO Il
th~,~
n ()t~
string fin;:"r..d tWn fn-Is hlghcr. Simple-r ,t ill. So.' rnc (XIln nt;s rtqui,..,
~houlu
womc jn tlllt.vt'
Exercise 3 lays oU{ an ext,' nuN run In {h,rd5, keepmg t he dou hlt'-~T"P" to the lug hl"S1 t wo
pairs of SI {lngs, With single- not ... licks ],nkln}; I h"m . Follow 1h(" I'("commt'n(I...:I l>t>nds ~ nu g hsscs
chord ~om pan; m"nt to chec k how r h.. I"ad rullS Mlund
(" hd,' s)
to
ail~ llI st
the d l:lngN;. Ik awa rt" of I h.. IW(>-S ltl!lg p rc-hend to)wa ,d l h(" cnd of !-on r t wo, and nm ice
th ..
llrl~ f
yl't dTcctive
llS ~
~l<er(is~s
til<'
lhi~
( I' Jp tcr.
S<:"<jllt'n,.e
mer~l y
sc ~ ~n.
rcpr('s<:'nrs
" n~
part ic ub r
I"lt' rmu t ution ,ond th c I>os, ihili t ,t", are almost c n dk~s_ It miilh t l>c a good "k... , thNd<)((: , to
n, . ,J I~
arou nd furth er fur a whole , 'I rt'lCh OUi Iht" row mat<=tla l that th iS ("l rc .sro ~nd tilt' Il(-ck
( h~
= so
Cloftn tone
(oomprossad)
f
!
"
,,
,,
,,
,, ,
gliss
gtin
,~
~~
I'
I'
t-~
,"
""
""
., .
"
11""'13
9 7"'11
"
13
1214
"
4.,.. , 8
"
15 - -15.,.., 7
II
.--..~IIaS
~,
"
--
' ~ 11
10~77
11
- ,
----0---5----0---7
12-14
13 14
lr=
' 1m
..":;-~ rc "'"
'i~
',. --..,,0
"
,
,,
,,
.",.
"
12 " - - / '5
U '--)
,,-
-8
lH12)
12-14
12
14
"
145
______~~~
5
l akmg
u~ I1lm ~
I h... kc)' of A " "'Jm Th ...... all:' rhn:... non-dmtomc chords - 1\ 7 (17),
art'
I)
_ along with [ h.. m" .... unusual Dm add9. A/e n and E7fG u (Ih.. diag rams for , he Ia uer Ihl'' are
g i \'~n
"" th.. Fdnn/< pa).:( w hdp('flsc the way). s.,., if ro" (";1.0 f. ml ways of m alching thew eh.)'>:.1<
"sing
t h~
~ 1 1'('i\(ly
outlinl'd.
you ml,1:hl fi nd of part ic ula r ;Ilt.. r.." th~ ~1("t ,h rtf nil , his A ,wIT so unds g .... at
lor E7 (V 7), WI) ; as yO\1 "by bHS n ine through 12 you ' ll b.. pl ay'n;: Mlxo l)'d ian si xth s. wh ~tll('r
you bm",
It
o r no t!
Nut .. that alrho",," rwo of Ihe chorJs show n "ppnmr ap pc'ar [0 hi: 'slash chords ,' they art' III
(art
JUS!
"",.. a nOt,. fha, nn ', ~ chord tOflt' . smh "-, a 1lt,IE (as uS(~ 1 for the d l'll matlc prtlult imatt' d .oro
on C; arfh Brooks ' 11"..- "..-rslon (,r ' !1r1t' nd, In Low PlacC'5 '
using sixth, '" A maJ"r on ' '' ff(' rc n< j.Xl'iJl ions ,ak.." frum tht'
page. You r
~a r
YO\I
" I'(
aWJy
(0
sticking poila.- wllh ,h .. non -.I' nroolC cho rds "btwe, but try dlt' m ill ]{
~ nd $I.....
how you d o.
"",
,-
....
&
_~ .-.-rr. ~
1-::;,1!1
"
"
-, , !
.'
,
"..
=-
"00
,
A
"
.~::'"
"
,
"oo ,
1~11'"
11
11
--.....0
', --"'0
- -
~ ...;~
4- - - - 0 -5- - - 0 - -7
5
7
'9 ~ 12
"
146
,
~';i
C~~~
-~
12--(12~ 12
12- 14
14
.
,.
RHYTHM CUITAR
Turn;n).: Oll r alto'mnon w rhy thm g UItar fi,r a ~haugt', let 's beg-Ill wit h thl.' class" b lu('t:mss -sryl",
strumm ,n}: I ~"l{f ~rn In e x e rcise 5 . Y" u m uld s U u m t he full chord . !luI h('[(' JI 'SII. 'i:mss-("hord '
fiJI'
Om iMId 9
0
0
E7fGI
,, ,,V
'---'
,1
,,
'-
,,
,o
,
,,
,, ,,V
L.-J
,,
0
0
,
,0
~o
L......J
'I
, ,
---<>
, ,-
"
:::;-,
,
c
'
0 -,
.f1l- , ,
,
,,
::r
. ,,.
",,, "
"t;
o~~iI , 0
,J
Moderate
, ,
Clean Tone
'
"')
,'I
CD1 TRACK 59
G'
,J
,
,,,
,,
,,,'
~1
f~
,w
,,
,
UpcOnllllg
Om1add4
,,
,
D: 7
. ~ ~.
,:{;>-0
, , :::;-,
c/O
147
,,
,
, ,
, GIB
,-'""
,
.....
,
,
-,c
a~a"', ~"d a Im ro ( I.,July ariKulatt" ti,., "oCe, "f t h.. ,-hord,_ It's a
sluw ballad t hat wdl glV.. YUlI ,om.. n"l',' -I''' king I' r:l(
~r..
tH-.,
(.n uff",. , T h", 'rak ..! ' arl:"o 'r roc k-sryl ..
hard rock stylt"S; rat h",r, rh"'Y'rl:" control I...:! ~I,,!(' sr ruk ..s (most Qfr" o
In
Il k",
a dQwnwar.1 <IIf("("t;Qn)
TQP st'SS,un ,ltuiraris t Da o o Hu ff wuul<! l'r.::.Oahl y Bo ld v, hra rQ tQ c",rtaln chords (t"Sll("(" ialiy susl
t Yr"'~)_
Exercise 8 takt"S us ru t h.. kt"y of I) maJur, If yuu th",k th", rakt"S art" too g ra tultuus , srah
at trn, ,-h<>rch m", .. alT u rar.. ly Tht"r"'$ a r.,,,1 sb sh ,-hurd '" har fou r: G/A , whIch is a 'churd
synonym' uf A I I - tht"y 'r" slm, br
Of
" I(-nr lea l sou nds nUl spd kd , li Ri:-ll."orly, (Nore: tht" roo,
nort" Qftr n [",ods rQ bt- 1 l(' rn" v,~1 ~s ht.-,ng ' h" bass nOI" , as show n ro rhl' tight of rhl' sbsh. )
SOLOING
Exercise 9
IS
!O djO [
pentato nic or A major ",ale (I"" e'pt'(.LQ ll y Oil d, ,, I,.,kout f"r Ie: I\-l,xo lydian sOLltlds ovn E7),
sUlll!>Ut,nd ing, third, a"d ,; x( h" wild" d,t'(kml> ou t " Iml., 'dll<:h" p 'L kL ,,!>' amd lh" "dd
pi nched harm on ic. Jf yo u 'r" u niJ md iar WIt h th .. I,LIt., r, .,k ,p ah"ad a pag", Thi, ex.,rc;"" j,
to ug hl'r
nt] ~cou,lj C
t han on elt'(UL( , b ut (h" r.,', ",111., hm cou ntry p lay tng h" ""
CD1 TRAC K 62
Clean Tooe
Moderate
f=E
"
I-
'"i
;:r
"
Fn
R-1
, ,
"
Dm7add4
CI
~~-,.
"l et ring
fliP
"
:=
,,
, ,
"
si m,
ell
"
:=
,,
,~ ,
"
,
.--{.
O- iO)
~.
"
,
"-
I=J
v
v
3-
(3)
G add9/ B
Il;
"
,
.....
,,
,
,,
C9 5US4
148
'I
G/B
A~
)
, ", ,,1
_ !,1
rake
Bt.. ... 2
Am'
"
,,
,,,,",
,~
D ' '7
, ;::,-
"
,- ,
"'
- &-
r
m..
(+ TA Vlb)
, ", ,--..,
CIF (F maj9 nD
A_
1-5
3rd)
151
5
C01 TRAC K 63
120
IntrO/Plekup.
,
,
"
(Mjf8ln Solo)
gliu
~"c
I
"
I
Let ring
- '.
'.
,'~~
rib
""'r
"
"
F 'L~
Beh inel
nut bend
"
, 1-1'--------..
,~.~
r=- ----.
A
}
A
'I
F;m
,.~
I~
'"
"
~~~:-- rc~
,
,"I -
BU
,B
BU
12-{14 }---12
12-(14)--12
F:m
"
11- 9
BU
"
1? - - - (12)- t4 -
Bm
H"' - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
eu
(CO)
r-su
"
r"l
"
i.,~r---~~~~,~~"~~!!~~~~g~,f==;!
~~'~~G~"'X~'~~~~~"~,~.>-~,~~"~u~.~_~_~_~:~~~~~~~~~~~~~~~~~~~~~
..
9Hl0Hl1)
"
"
149
hi:- t'vt"n intlu{'oIT<l ehcl Ark " " In( =1,01'1'. h(, llS(-d
1950s _
rh urn hp id :ers, mduJIIlg eh... Atkins, :::'H'uan Smit h. Brem Mason , and Jerry Donahut', 115(' ar
y()U rtwn I'llk(' II sJow ly _ and d o,, 't thmk ahO[l{ t his 1<I"d of
!,b y'"/-: 100 much. tUM de"d"" you r mOlor s ko lls whi le- ker:-plUg d ial alt.. rnat ing hass pa"em
st("3<iy. S~ i n!: of wi nd., th.. I",,,~
" OIt'S
get
t h..
.1'1" wou nd
10
'm pr<'s~,"C
tool, and Ca n ","" n,j ,l; rt'a. m Ihe r ,~h r circu m sta nces.
SW "'.Io:
some work
lllW
It It 's
It s also impHnam '" ).;t"f ' 0 J.:Tl pS wu h clo:s..-J p':lSOU""S fHr you r Trav i~ pH"kmg - . har 'so barr<'
chords . Exercise 11 ,s ,n .Iit' kry
or E m,oj or bu t sn,.t. ,m t h~
th" r~'t of th .. cho rd sh~lX"s ( ardull y u.CJ u., ~ tli e fi l1};t"rll1,1; S and vo innss m ay be unfamili~ t
you.
or at 1t"aS[
to
u nnpc((cd. It .h"uld Ilt" t yo" r rh"mn and finselS worki ng wel l tog" t hH aftH a
Exercise 12 inuoduc('S hybfld P" k ,n>:, wh ,eh m volv('s using a pick plus fing"rs
"hc, rd s or arriC\lla te patterns ~ k al\ly
,,,,d
to
grab
p lC kin,l; . rnr eIT"m ngly, Al ben u t' ,." , 1 Dan ny ( ;arron 113V(' bO\h (cm ured tI ,e u", of tilt'" pinky
wh d " I' lucl<o n).;. will eh IS wr) u" ",mmo .. (~ rht txl' lanar.o n o f n g ht -hand I' nger
<.1.,,' for
ffi J )
ro rak(' ,{ slower d,a" ~uggt'>ot..d a, firs ,. and h r(':l k dow n (hr md ,,,,d ual - .ti,,,,, w wo~k our any
w y g hc-r lICks bt'fi,rt" Iin k ,nJ.( r ht"m all rogrthr r. Ont<' )'00" " Il<ll 01 all rugt"lb.- r )"Ou1I Ix Im o
sollle pn-tt y "ncompl isht.. 1 coy mry gUitar pl ~Yl1lg . s..'fIlt" of I h~t" h.-nds art" gOIng to lak(' rt.":l l
work at fi rs t, tsl'ft"ially w ith m rd,u m <IT I ",~v,t"' 'm n~ Strs. and WI{h a wou nd G III genua!.
K""p at ,I - Ih .. dfofl w,1I pa y oIl
T h.s workoll r should rc mllld you "j >t'vt"r.. I ... ~.. a[ p,r k.. rs: C h("l . A llx-n . Dann)' G-dttOn , 8 ,,,,, r
Ma..."n and maybe a h ,m of [);lII n ll ufl ~ t tI't" vt" ry <'n,1 ( ;{)o. 1 lu(k - ;lIltl r<'m('m bcr: If you don ,
p OL k ii , ,t won, J,:r! bell er!
J. 70
CD1 TRAC K 64
Slight 'wing
150
elill
5
J - 130
C v II
s llghl PIIltn g
c-k~l~i
.'
,
Clean lone
....... ,
All : : "
UIO
,,,
,
".
r1
,....
1"
,
"
eva m
,
,
, ,= ,
,
I ,~
I)
..:./
..;;
~
r.
I""':l
i.-'
: 0 0rake
os,
,
, ,
gll$$
Let ring
(G7)
/"'i
(D7)
m
'- - - )
(0)
.I -- ~ ' ... J - ,
PB (BD) L8
..,
fi
il q
CD 1 TRAC K 66/67
N.C.
CD' TRACK 65
0
BD
(to G)
151
gliss
li1
I
C01 TRACK 68
S5 awrox
- 0- "
"
,
"
,",
r-..
m,---:'- ,'it -, , -
, ,
Ill]'
1-;'
I
, 0
IIlp
, , , , ,
,= , ,
f'
N.C.(G)
- 0-
,,
,,
,,
I', ,,
fUm.to
nif
, , ,
,
,
,,,
----
!lip
,,
,
,,
~,
Dsus4 , 9
.,
0
rake
.I
-
,,
-~
1\ raka
'.~I'---"
,, ,
"
. l
fJliss
;.
N.~
,00,
(A7)
00 "X1t
H"'-----,
/>Iatharms
('
A7/C;
GID
Freely
Cm6/G
,
, , ,
or
1IIj'
,
"
,",
"
~-'"
N! harmS - - - - -,
T19
P a
10---110)
1L
~ (11
T19
A"
152
"F'
,
,
It
, ,
n ; '-
=1'=
---,
,---<>-
'm'
DfF'
T1 9
L ___
T19
P ~
T19
T19
t.. ; ._
T19
t.. ; '-
~
L
AO
7(19)
N.C.(DmaJ7 )
l ___
7(19)
7(19)
7(19)
, , , A" ,- , = , A" ,- , , , ,- , , ,
l ___
fliP
, ,
T19
, "
" ,
~ ,,
A71G
""
'"
, , =
, ,= , ,,
"
'--.
, ,
" -----
Loco
N.C.(G)
N.C.(G)
11
,
,",
,,
Cm/O
, , ,
.~
7(19)
7(19)
7(19)
7(19)-
5
Exercise 13
I\r k ln$
rt'Spenfully d('(tI(3tcd
to
eh..!
II comc>s [() whar Ch~t us..-.J 10 ca l l 'f.llsr ' harmm" cs. Tech noca l ly sp.ak",,Io: . all art ifiCIal harmon;,IS I he n's ult "f frHtint: a not c
5('\'~ mh ir~t',
filr cxampk.
lkr("s how yo u play art ificial harmon 1<"S: fr~t a not"", then tollch rour Jnd .. x f'llgu ge mly omo
Ih(' pomr an Deta,'.. (12 frets) lx-yond ,r , and pluck it lIsing y()u r rh umbpj,k (nl<ln y 1"""01'1(',
,odud",,, th" autho r. JUSt uS(' a Ilu pllk) whllsl poss Ibly also pluck lllg a no rmally
(1'("(((~ l ll' lu(" kcd
. m ng - wh Ich 15 typt(a ll y two or rhn-e sl flngs awny - U<II1~ your th,rd fi np;t'r.
(Iam pll1~
ThiS p;enri"
h~ rmon, (. lhrou~h
dt'~lgnJllons
" f .. H(.,e ~ n OCI\l\'(" away fm m "" hcl"(" II IS frt"II..,;l "",II prrxl ucc a sofr
I h., samt' p r<'Il""("SS th~ t gl"cs yuu " f"'n-'t r1Og h3rmonocs al Iht' 11 11. fl"("t . 1bc
111
C~
IV
dam p
d.~
worh a numUH 10
." nng.
On t' \It C.ht'I S rriends and colbhOr:1tors. Tommy Em manut' l. (an f".'ri'mn thIS tcch ni'l"t' ~l
I'!; hrnont; ~pttd , and il 's am af.;ng 10 h.-a . Tht'rt'.1 ""ill.' " lor of (,;,,(hnl( ally dl"llcng 'ng stu ff on
offi,r h.. r.. , So pracli><:' slowly '10.1 ,,,,.. fully, d lt' ll work up
[0
sj><~'1
CD1 TRACK 68
slower
n,
, \'\
no
no
no
'",
T16 1"":'\
'"
,,~
"
0~
"
.:
IIIp
""
OlD
,~
'"
~, :
""
.."
JIIf
,
,
A7/C:
-1: '-
taka
-c_"
rake
7=1-t
,~.
CmID
NalNnN
15~
-----,
" I
I
nif
""
:;
!4 ----4-(1
( A/. 7/G
,
,,
,
,
' :,.....I
sim .
,
,
, ..
'",
"'
2 0 -1i -1
2 0 -19- 5
Uro
1..
IIIp
-- ---3(8)
rak! _ -'
j 12
'"j' 12
'"'
153
""
Fpp
,or
6
PICKING TECHNIQUE
Exercise 1 wm bll'ICS rh ~' lh m ami sinJ( k -no(c playing
rt"~ lliar
~ ff t hO'
dow n- up m o>'('rn .. m
tel
fl:upi{"bn~
t eclu,, "Iut'
Ik SlIl"\." 10 rt'nl(.' m/x" w ust' d uwnSi rokC"S on the downl"'''-l and upsrrokC"S on [he up[x.~!. Try m
}o(tr rhe samc P"I."" UI bmh ,h .. stru mming and th .. pKk,nH' Exercise 2 1IluStral~., L." "'II
'hamm ~r-o ns ' to
cmn bon~d
tI '~!1
lh~ IlI o h ~ r
p,!{"ho:<l nOll' .
exercise 1
rhl"n pluck , luI ;..un.. ,m nx w"h fhe {rclung fl no"',,( your I..f, hand, $OtJnJmg th.. IllW..' no,t'
on [Oc o(X'n M''''H. No", I,'r'$ ~"C'I sta noo wit h
p laym~
m ostl y On a song l" 'tro n~. To Jum p -sl ,HI yuur rlKh t hand, w(" warm up WOIh exercise 4 , wh ,ch
uodudt:., a m(Oa,U!"l' o f r('I'I('~ I''<l nUl'"
"..t
(', V". pagd works fu nh~r IOw"rd b uold",.Ii )'0U' rI g ht hand (("cillll'lU"',
wah rq >ffi. in" melod ic I'"tt ~ rr" f; ~ us,ng on one sIring . TlI ~s" wlil :dl ~t't"m s'mpk enougb "flU
f~w
passts, but Ihe rq:lt' UtH) n "f ' l1(" h "x<'IT ises
.'<t:"Mly rhythm ,IOU an l'\"~" p ul".. - ;s cruc ial [or u~ ~dop"',L( f h~ )mm ma and (Ons"l"'''' y
tt't
hn ''l ut.
C01 TRACK 69
,
,,
,
",
,,2-
'i
t-o-o---o-o-o-o
"
'i
, "
'i
CD1 TRACK 70
.~#
,~
,
,,
,, ,
-
."
~~'"
,,
,
,
,
"
._"
"
>-<---
156
0-'
-0
""'1
.~
_"
", " :1-", "
I
1--<-'
c
I
~
3--
"
,
" " , "!-
If:iijI;fi'-'''' ':t:4!iBfil ~_
!:
" ,
g
<
~;
It
I' ;
"
B
~
.-
"
I'
~I
U
I:
~
"',
~)
p~
I:
[>,
fro) .-
.-
lit
I:
~
r .-
.-
r
I'
0:
.L
.-
"
'.
tr-
..
0:
>
1"0 -
t> .>
.-
l' .-
>
IT
0:
"
\"
II
0:
T'
Ilf
I:
.-
.~ ,
.L
L
w<>~o
.. ..,
I.
.-
,o
1"0 .-
I
l'
0:
>
.-
1> r:
....,. ~
,,0:
,.
>
:0.,
0:
1'''''
tT
~;
o
>
0:
I
I
1"0 .-
IL
... "'",,<
T1>0:
It
I
r--
en
.".. >
I-
0:
0:
'.-
>
r .-
: +
0:
-r
i
I:
0:
0:
- l
I:
1
"
- i
I:
I
I:
I:
f
i'
0:
f1,-
"
I:
m" .-..
>
It
>
0:
.t>
...,
Lu
0:
.-
t
i
w.
>
I:
.-
0:
~ tl
I:
L
I:
l'
>
"
I:
>
"
~
fl
0:
n .-
',-
0:
.-
I:
0:
r
I
"
L
I
"
1010"0 .....
., "
CO, TRACK 74
"
'
,,,
,
"v
" 0= " v
0----4-----0--2- 0 -4
=2-0----4-----0---2
"
"
'I
. -<>-">-<>
'I
, ,
~
"
>-<>
"
.-.--2-
CD1 TRACK 75
r--,
..,
..,
I""
I""
.,
..,
1"'11"'11"'1
1"'1
"
.. ....
-,
" "
"
"
"
"
"
r
CD1 TRACK 76
,/
,,--.-r;~
, ,/
-i ,/ .. .. ,/
,
,"
,
, , ,
'I
" "
,~
"
158
"
"
2- 4-{1-----2--4
" "
"i'/
"
",
c
.
~
4--0--2--4---0-----2-
" "
6
THEGRUN
Of all t he ~( a ndard " ,-ks " ".,..-I
In
m'l'il
of rh"
ge nrl;'. Exercise 7 la k.., Ih,s phrase th rough sorlie chord chan,.;~_ Th,s Ikk .s WI{I('ly oS(,\j
both m pu nnuart' rh(' rhythm anJ as a m elodIC 11111' ,II lead br.,,,ks. Exercise 8 0n ' agaon oSC"S
md".-I,c ph raSt"S Ihar 'n (1'(' nroumJ olle IX' rucula r 't rmg_ Yo,,'11 fi nd tbar If'S ('as.er at first to
fi ..-us your rI}:hl- hanJ p ock H'lg on a sing l" smug: m m bln;0,l; ad )act"O( SlrulgS IS mol'("
( hallt'''!o;'''Il. T hIS t'Kt'I'("1S<' follows a 'c ycle of fift hs' dw.rd pm,a.:rt'ss ion ust:il on raggy ronj.:S [,I;.e'
Exercise
;' 1'("
lillI(',
"'"""S Tn Ik
1.o1>t"S()fT'l(" . Exercise 9
10 IS a Sim ilar. slep- wI~ m.,l"doc pat l n n , showi ng u p on many songs \lnd 1111\('$,
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Exercise 11
bl uesy slu r
In
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rht" las. lint'. N"x,. 1,,1\ c-hrt k "U! a ~ 1 1 'fo ll... r' [,,:1.: t lUI I fi r>t hea rd u!i(xl by lloc
In
exerc:ise 12 Try
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row
11\
wson~s
on b r.,..b
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tlltt' ..
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to
top
of the
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all\"l\ t ", n
t,. f,\m
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p Lck d Hl'Clion.
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CROSS-PICKING
Exercise 15
of Scruggs-sl),k Will" ph,y'o,ll. r... rh~ ps (he most m:('g n'lt'd "'HIn(1 ,n
fll l'aSU l1.' is sulxt,v,d..:! .n ' ...0 ;;: .....mps of t hree nm{'S,
hl \lt'~ rass
mUSIC Each
Sl ro ng a(ce ll! WI th .. fil'f nOf(' of ,hl' grou p . Th""" un I... ord .. ,,,,,1 ta htr (1-.3-_9 or 0 -3-1),
th~t
here , we pia)' c l th ~ r dow n-''i)-downldown - up-Jow nldown- up . or dnwn -down -ul'ldo wn ....townup/do'V ll-Up . TIlls PUI' rh .. "1'01"1,1( and wcak ,l(C('ntS II, 'III<'Xpt'( ftd plans. fo r :l vcry <'xclung
~ n(1
Bluegrass Blues
Th .. hlu<:'S
hl ll~'
IS
an Im lX)n ~ 1ll
h rt'a k , or a, an
C('I11['''' .... m
).;Ulhlr St y le
tine, wid)" l1"u(.u "v,'mh flOCr anr! dissonant t hll'..!S , whidl .an bt, u,ed as an Inr m,
Outro,
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Blucgr:ISs b<i nJO I',on(.'(r Don Reno
in a b lu(g ......'\.~
lie W:IS
co n u.'lI (.
m usl(~1
'G u lt~ r
I'layt'd 12-lxo l bJu<1l 1,1,.(' ex ercise 17. A hot fi na l lin.. i_, a ""1)' ()m m()n way 10 nuolll
..",-" .. m.. n , Dr tilt' .. nd
tlliS,
also on d w
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HOT ENDINGS
)o:'''litr p la~ ,n!;
"muoso pICk",!: In {h.. h r..ah , and u ll m-hot cndJOg IHles an' charactHISttC ,,( t h" 10:.. 0 ....
Exercise 19 g,vt".. annt h.., hur (nd, n.: 1'0(' on , h(" slyle- o( Cla re nce Whitt, fi,r breaks.n ,hr
kCf o( e. f\ uu ' , h.. I" . I.. h" uf 'cross-plck mg" ,n dK' fl n,d mo:~sun .
Exercises 20 and 21 ,IIU$rrnf(' stili more ('ndmf; imC'S
JIl
bluq: r~S>.
$Iyk , along Wll h fi ddl .. [u n...,. an,1 h lut's m llSI C, (rom wh ich
,dc-dS . Exercise 22 ,~ a ,-hroma1lC 'ChUHlC" " ff Ih'lI 's nca rly UIIlVt'rsa] III the Jangua).:t' of
n~ lpllkmg_
Tim..
to
pm ",m.. of rh ,s I(>;>romg
work
(0
In
' TI ",m~)Jl\
mel"di,' id~a thmu!,h a long se ri es of YUl el.: churd ,h~II~'''' i( 1~ 11If( r"" w >O<l p ra(t l("t at makmg
)'()s iri oll sh, f[s wnh )'ou r left h,llld
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o( infl w:u,n tI,a! tog"d,,,, m.d".. up tilt' hlllt'gra" , ,,I"on,1( Myl.. 1(, a [" ''''t'nu l, ",,,I,,dil, and
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~ 7
SEVEN BASIC SOUNDS
N uw that we\'t" st"'t'n the dm'clI()n
YHU haw to k-arn III oruer 10 ~{'t
JJ~~
J r~
a~
1~ I 's
I lllno~
,,,und~
'" all
I h.. m.. ,,,, . monor, domm;lnt . J,mlll ,slwd. JJlIII'" ",,,,, nth w Ith
rh, .... ( major, mmor and durrll llJm) "lUnd':ln- t'-'I'(<cuuly ,mport Jnt U",-' th" , ;"t h and th .. fifth
'trl n~ W
local{' t he' nc-aITSt I't)on , m Ul<h 1111: al'p ro)'roa r(' sou nd and you will bt, aul ..
Major
Sounds
RODTON
6TH STRING
Gmaj7
In
plolY Ju,t
If )'ou
(U n
Minor
Dominant
Sounds
Sounds
Gm'
Gn
I
fH--l
I
I
I
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ROOT ON
5TH STRING
I
Major
Minor
Sounds
Sounds
Cm.:!j7
Dominant
Sounds
Cm'
"
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i
170
(719
Diminished
Minor J'\.5
Sounds
Sounds
.
-Tfll
G"
, Gm7f5
Jj
I.
Suspended
Augmented
Sounds
Sounds
G7/S
G9sus
I,
F
-IJ
Diminished
Minor 7, 5
Augmented
Suspended
Sounds
Sounds
Sounds
Sounds
(m ~5
( aug
1
-
U sus
1-.
I,
h
171
tlwy sou nd
;Iot rt'a!
<jUll l,t y of I h.. ( ho ... J (m ajor, minut or d"m,n.lnl), Th,"), wor k 1'n-a1 plJ)N .. 1()lIg~ld<, a In" play..,
wh" fill . in r ht"
1"00{
o{ t he d lOrd
MAJOR
MINOR
,,
G.... j7
c':-"h~--{'
Gm'
DOMINANT
,,
,,
,,
',d
'"
, (maj7
_I
',d
,,
Cm'
H Id
,,
lj
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II
''''
i1th
'"
C1
17th
11
II
--rJ
II-V. PROGRESSIONS
T he IJ - V- I (2- 5-1) P'OP CSSh1!l IS (UW ,, ) d ,.. m",t wl <k ly lI s,:d in j,l a . Wh~n rou t~ k .. H C major
III
(h e
will I,..,
emaj7.
Om7,
Em7.
Fmaj7.
G7,
Am7,
Bm7~ 5
dld l , 1M!..'
I~
(; 7 and
tI .... '0"" - (I ) (-hord IS em:!) 7, A 11- V- I on tho- k..y of (. .s; D m 7. G 7, dnd C maj7_ H ",... " a 1';tJ.(r
of a'lsor[M II- V_I pattcrns. I would Ml,lo:.l(~St $r a rl on~ OUI by IIlJSI( r ou,!; th" two ""am plts on the
WI' l on~, t h~fl proceed to (Jd, ,,' I h~ r~maon lOJ.( I 1rO~ """~lons. 0 "" "f tn., <:xam plts uses 11
,ul,,[otu'~
, ub, u tu ro on will
172
I~ ){h
II
,,
II
,,
(maj7
'-f,
,,
Cmaj9
-
"
I4
--
--
II
v
Elm11
I4
Cmaj9
I4
il
.,
II
EmIl
[1l
Omll
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II
,,
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ii
51
GO
(majn
~.
,,
I ~
,,
,,
GO
II
-
II
--
HJ
II
,J
(619
--
173
.--
"="='
k ry'~
m 7 J~
7~';l
(.hnrd ,
I h lll
a mlllor scvcmh or
ml llor mot h chor,l. In em , he $('(1111'on ' "'Qulcl lw I)m 7~ 5, (";7, a nd C m 7 _TI,.. first twO examples
"
Dm1,S
, Gm'
G11S
II
"
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,
14
"'"
- -
1-
f--"i
---
f--.;
'--
---
I
Minor II-V-I progressions on the upper four strings. no roots
,,
"
Om1!S
G7tSl'.l
"'"
Dm llS
GM
,-
"
,,
(m'
'l
l-
II
S{1.'
, toolVI' w the nexi sound Wllh gICH ' Ol("e l('fIdong. Pm"'$(' i->y r mn~ I" "'''',t.;
OUt
UPPER VOICINGS
work
10 r ht, nl':Ht'$f
form
w h~ n
[<)
174
,-.
1.._
Major
Minor
Dominant
sounds
sounds
sounds
,, "
,,
,,
Gm'
G'
--r'
-~
-.j
Gmaj7
l""-
Gm>
r-!,
, "
l-
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1
Gm9
'I
, "
11
--;
,,
Gmaj7
II
11
Gm'
GO
11
-!
175
1
I-VI-II-V PROGRESSIONS
Th"" anot h" r pa{{<,rn of (.'q ual ,mI1Ortn nc('. A 'l OKk 100.k m t h.. "..""n chords
(d ,aton;," harmony) ",h"w~ Ihal tilt' chord ,1"11 OC(U I"es
ttl("
Ul
A I-V I- II -V in ern, k"r "r C ffiJJ". would be: emai l . Am 7. Dm 7, (; 7 _ You may IltlllIT t here IS
on ly
OO t'
dominant rhurd
In
a k.. y, bUIlt
Ill!
Ihe kl'y
III
of C, creates {t-ns"," thaI r.. ,, )I ~..., ' " til<' I chON, Cma)l. You can <10 th .. sam .. thIng wIth any
cho1
In
th .. h:y by
{ f ....
Dmin7
G7
n~lv ..
to Ie Th is is ull...J a sc'COn<iary
domlnanr and [hat 's how 110.. A7lh" nJ Will be cxplalnc.1 In tilt' follow ;",!; """Iut'ncr:
Cmaj7
A7
fO
()f
'Tht-
I-V I_II _
Ahl ~'
and
Ti pp '''!>' (a ll iu the rhyt hm c h,' n~n 'A' Sl.'('r1<.m) and ' H av~ Y"'l M ~l M iss]ones', T"rn~rOllnd
In UI"e' (h,t two Lars) and '5(. ThO!llns '. Try rh('sc' rhrl''' four-,hord I-Vl- II - V pauerns (right)
to h~"t d,~
souud of A 7
re~oJving
to Dill 1, as w(,11 ns ( ;7
r~,,,, lv,,, ,, to
i, mad~ up of n~ Jt" and g Ul(.k tones, t h(' 5(,(,0".1 f~afll r.. ~ added {ellSiou_" and {he t hird tlS('~
llpp.. r- f',ur-st tl u!:: ,'oicln ...'5 .
MOVING FURTHER
Und .. ~(and,n)ol JU_" a few (.nn(.epts I,ke dla(onIC hllJ'mony, r..-ia{ ...-I M'nmds and fifths, sublht
fi ft hs and (-hnnl fam" ,e, Oln hdp you produce some harmon,cally H'm plex chord
M'<.ju....lCes.
Th ,s may take" whilt" '" und .. "'t-..nd d~ ~ruug hl y, b ut don 't Ie! (h ,s d,S('oum,l!1' r'ltJ fmm
flxlI
m ....m~ Ihey urc- basc-J emlrc-Iy on rhe nOtt'5 of rh .. m~Jm s...~ le m,d alll hn-c ha"e Sl"veml
notu on comm on . 'Jb<." S('cond , Ir,o;:ft.... ( II) chnr" ha, subdum,ndm ]mrmony, m""n"'}.;
shaft's mos l of llS
nOI <."S
1<
dmmn:om harmony, A II -V pattern ,s ,m l'Ortarlt h"",a u..~ " ,rn p],C'l; " key, A dom lllanr chord
Lan
I", prl>Ct'<kJ b y its !et ned II chord , a fiflh ~h,,'~ or. flx,t $1Ioee the dmJ of one
dmnin:om chord IS the s.ame as the srv(nrh of n n "r h~r d"m on ~nt d,,,rd a tntone (thrC'1' whol ..
not .. ~) away, and "Ke v<,rS:l, dlCy nrc cons,dt'r(,,1 suhsr,n, r..s for "ne anoth"r: G 7 _Db7.
Ch ords with upper t ~n"ior " ,;), 11 \IIlJ I ) don 't atY('(( t h. h.l~'(' '1 l1al]( y of,pund , Crn 7, Cm9
and emil are all m,nor fllmdy ,hords unJ UI\'
176
Th ~
major famil y
ondud~s
l1..t _
. '______ ~__ ,_
I-VI-II-V progressions with root and guide tones
VI
Cm.:Ij 1
"
"
Om'
,,
( majl
A71 5
"
-'
'"
,,
(619
, , A7151 9
"
Om'
, , '"
II
177
SONCi FORMS
Finally.
10;-[ '5
pl ar somt"
tu nt"S~
T ht'ft' art'
fh~
11,.. ,,<- fi, rm, you shou ld maste r: ja:tz blucs, m;oor
tunes [rom
T~
Ja11
hl u("S fi,rm
I~
u...,.{ on man y
Pad.:cr. Wcs M om ,l';om<'r)', Son ny Roll ons, T ht"lon "" Monk and many urh .. rs .
gt"f
JUSt
som e rhythms
to
them
\0
."
c,
."
."
."
178
b y Charhc-
mrn chCS<.'
~h
Offh!',..
t'X .. rc,~""
to
LL'>t"
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c.
CUtu;S
p<.'l'S{"ocrnncc. NOll ct" fha t no rhyt h m, al? W"t"n ht"fl'. I'ur n,,,. ..
you'\"('
~ou Learn
(a fak(' book' ow ncod h~' .. ~..,ry Jll1.Z play .. r, conl ..lIung h unJocJs of
Rra/ B6<IJk
."
C02 TRACK 1
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CD2 TRAC K 2
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(67(:9
G7(15)
G7(~5)
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ESSENTIAL RHYTHMS
1.<'['_, wi!': abou t h"",
ttl
p l~ y
I ht' (jvt'essc ll u al rh yt hms t ha t Will not 00 11' help you w l, h fht' rh rt'O"
~ lIo,,'
you
to [u llcuon In
m USICal sryl..,.
EXIen:ise 4
IS
a rhyt h m ("all...:!
' fi lU'
('xcmph!i~
(he Ii f1 11 me
"gna 'lln', and " a r hyt hm }~)u ' lI t..,;, r 111 pl,," tf of da>;s iL jan . Fou r 10 t h(' bar IS (f\IU," on.11Iy
playt"CI "" , h all d ow ll,tmk .., "" I h.. ("I'.Uft.. Hltllt"S, som ('uilles wll h t he occasIonal upst roke on an
.. ,).:h [h _n<)l .. fi,t t'mpha',_.
In
'u&"-'(
Ch;lIlg.'5
accord mg
{O
dl(' nm(' .
I, offen wor k) 1lt'~1 wh .. n ynu ~ r.. .,uppl yll1~ , I" , w n" (no bass pld)'c{ or d rum m"f) Of for p ko ymg
rhyth m
WU I ~ r
charfS on a
h ,~
hand - t hmk h nld,t' G ' tt'L Su m .. w nes chords change ;.s fllSt IlS
one pc: r lxal , whIch mh's som(' fancy fin)<(' r wurk , hut hn(' w~ ' 11 st fU m Iwn b.. " as~ m~ t !l\utOO
Stnt1i's to get t he rhyth m down , th en "lay two n:u s w irh a r hord
tWO
I)('ats . As
ItI
th e pr~~ ,o u, cX"rcisc, us.: b"sic chord forms or thas.: YOli haw alrt'ady Itarn t'{1 t' l st'wh ~ rt' Altr.
y{)u ' ~e ~"t
to
Exercise 5 ,s u ' IJn w,du' As you might guess it 's in 311, bu t a jau ",,1 h z also wtl rh
/o:'tat ", 61H, IU', d oubl ... it "p. Also , nOte the importance 01 t he rests lor rh e f(,(,1 of rh" rh yrhm ,
I\tf'\'a t lh ~ (wo ban; Ullt,] yo" S"t a fet:! [or it. After you 've got this dow n , tr~' it on rllt' srand ar.i
runt'S 'AI ,('t' In Wuud erl alld ', ' Sl""...,ur ', 'So rnedJ)' .i.\i y Prince Will Come' and 'WlIldows'
Th., 'boss" nuv,,' rhy t h m
If'
a sn m ha
ilt" ,nJ.: fast('r W hdt' t hr ... arr ma'l y v~ " "tn"" ,,( Lot'" ""d Btan ha n rhythms usoo III jatt , t h ts
'S a ~ rt'a, OJot' ro stan OUI with , ~nd ,t , ~ m ult ,-(u nct i" nal. Lls t"n OUI {or , hC'S(' rh yt hms In , ilt'
sra nd ard run('$ ' l\I ut' IlOS"ia ', 'O nr Notr Sam b,,', ' Wavr ' and 'Trist,,', all o( whICh you can karn
)'otJr$Clf, (Gt'( ,k'('I'I('r lorO r ht'st rh Yl hms
In
T he t'asy way to op proru:h 9 '0011 . <1' tS to play I ht' rOOI OJO hea rs oot' and r hr.... O n I......"" tWo
and (our pl ~y Ih,' 'IOtt'S
or lilt' chON that an- Idt 00 , ht' J), G and B st ronJ(S, as t"Kt'm pl tfin"l
In
Many ..d d
I .'
,11 11"
~'glll' tUr~~
(1!ll
as a pu W31t ~
In
In
a d as.,, ~ ian tun" III ~f<l t h.1I m'l~t (If you will rct: og mSl'" , and a f!ooJ one (0 l(';lrn on )'our ow n
""~."
11011'
IMPROVISATION
Finall y i t's time to m ove' on to whar many guitari sts think of as rh",
",ss"n("~
implOvi S':l1i(JIl, Wt" U swrl by tal king about soloing 'over and 't hrough ' rht c hord chan,l(t's
$(~ k
m "d(.... Th(" y ;I t(' : D Dor wn, E Phrygil,n, F Lydi an, G M ixol y<tian . A Aeolian, 1'1 l.ocrta n W,, 'U
l("arn mor(" at,,")u t mO(.k s a litt le latt'[ In th(' eh" p ('[, bur for oow leI 'S u S('
'f
Since a I1 -V-l ln C tll~jor is b uilt from the 1lO1<'S of (he scrond, fi ft h ami fU()t of t h.. .'i("A I.. , "m pl y
p ia), 1l()(t~ o{ t he C Major $('J lc Ovt'[ ~Il t h occ changC'!;, The scale ge ne('1J("l (he harmony And I ht'
~h"rd., Im p l~'
S<..... lcs
Wh , lt' p luy'ng a C maJm ...... Ir ma)' nut make you sound lIke Joc PaM ,
and md ..d .( way
to! '["".ITt
It
w, lI
oc a fBJ rl y C'3sy
18 1
bHt~r
,hang~s
is to
Churd-
diff~renr_
r<:fI("C[s the sound of each chord in" 1I-V-1 progression. For the II
<:ho[(L D m7, play in the ]) ])or;"n scak" - simply" C "'<ljor s<ale sum ing on the sKond scak
d~W~~ :
D- E-F-G-A- B-C-D, Over rhe' V (hord, G 7, pi,,}, G Mixol ydi an . which s(ans on the fifth
d~w~~
of th., C maj or S(-ak. Irs scale spell ing ;1: G -A- B-C-D -F.- F-G . Over [he J chord. CmaF,
)'()ll'r~
back
th~ory
of improvisarion \lsKl in jan guitar wloing. \X!c 'Jj <""1'10[(' some wnys to
a I;trle
betr~r
to th~ n()t~~
of rhe C major
sCll ~ _
th~
Righ[ now, however, kt 's break down ,omc more ekmc-llls esselllial ill jan soloing. We han'
already (alked abow guide tones - the third, and sntntb, that d .. fine
- and chord
seal~s,
wh ich
r""~al th~
th~
",:a l~ ,
MELODIC EMBELLISHMENT
Arpegg;o, outl ;n" th" targ"r"d chord
"mbdlishm~nt approach~,
th~
[h" chord
ton~' ( nMlt.
ron~8
chromatic-ally,
srale-wi~ ,
abov~)
and mel"dic-
f()llowin g ~xe":i,,,-, ]'"e ,,,~d a D m7 arp.eg,l!io and hav~ ,hown ",v~ral ways to approac-h eac-h
chord
{()n~
to I""duee a more melod ic t"fff'{'t. By wmhinin g nores rhar are chromar;nlly "hove
and below rhe mrge[ed (-hord tones, our playing h<-<:-om es mort" melodi c and st ill
defin~s
rhe
harmon; , sound of the , hord , in this ,a>e O m! . Exercise 9 wkt"s a 'chrom,l(]( below '
approach to the chord wile (gu ide wncs arc i ndicwed br arrows in the exercise ), Exercise 10
uses a sole lOne abovc approach, whik exercise 11 combines the t "'0 in one appfOilch and
exercise 12 combine, them in another. Exercise 13 u,~ , a doubl~ d,[()",a ti c boolow and
><:al~s
w ~ ' t~ g~ttiug
~mboollishm .. Ilt.\
will g el
Chromatic below
.;
,
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182
,-----<>
,-
t h~ ~,,~ntial
to
th~se
melodi c
approach~,
mor~
m mp lex
approach~s .
fe~ls,
starring wieh rh e
C ma jor, we'U use our four-bar II -V I prog ression of Dm tn 7, C; 7 and ema j7 over II weat
ways of building your ,010 lines,
Play lhcm individually to hear how
~a"h
t h~n
shift~ hetw~~n
approac h worh,
hallg of it , r",:ord the cho rd prog ctsston for as many hars as YOll like and fry playtng along,
There isn't a wh ole lot w say abollt {"arh exercise; you JUSt need to play [htough riwm to
hnr and feel how each approoch works , Exercise 15 st'lr lS uS olT simply hiu ing the gu ide
wnes; exercise 16 takes it a step funher, linking third, and sewtllils, Exercise 17 uses
'ouave displacemelll ' to ru n dow n from t he 11 toward the V, then jump,; to the ()Ltave atld rutl,
down to the I, wlllle exercise 18 uses an nample of 'alte red te n-,ion ' in the flatted ninth.
b[~ez y to
outline minor
s~veflth
arpeggio, over
ri]{' changes , Exercise 21 t: ets you r Ilng~rs str~tching a little fu rther with 'i nterval leap., : and
exercise 22 outlines .lome short hops in lines made up of jumps between fifth_"
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"',ie'll "I'Jp up Out I I tNh niqu ." lur d",,-!upmg !"IZ IHI .." w,t h tllrn:
(, "T,
"<hurd u ...,r <-hu rd ' r..d"" q ut' , "'hKh la}".' (h'frd. on rop o( o:-a< h Urh.,f Exercise 24 11S('~
'mut'!, m .. l"d" rift... "mllar w
I in .. lI}, exercise 2S
II ......
!'"J'
h mh .. ,
In
'''ttt .
m OH "
mJk~
a g r{':l[
AlthuuJo::h t h..", .. r.. "on h' .. ,,II ht h-nUT ..... h .. , .. Ion .., rn" ... prt"Try 'wlfrl}" a. fas'", ,('ml''''.
"'p"'-iJll}' wn h ",mr 0' th .. unl.t mol",. ronal It'ai" rt"qIUft"<L so mk .. your (lm..- and 1:0 at rhrm
,[ow ly
.It
'r'(~d
w " h Pr.l(l'(('
(02 TRACK13
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(H2 TRACK 14
3- 0
COl TRACK 15
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186
, ,
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,--->
, ,, ,
>-
-,
"'Ill help
t!\.;l\
~ou
the
who!(~ t one
gre-.. d y
J1J
'" know
SC".. i...
tIT
ob~IOUS
to
u (~ t h.. maju.
",-111" ,
~ lId
It>
~ ny
k.".
H i v~
til
W i ll
m~J()r,
(lJ d you
but Oilel'
( l "n, a n)"~1IJ e
hrlefl y d'sn lS$t"l"I .. a rl .er on dlls 5I'( II On , YOIl find Ih.. 5<' modes in any key hy p tlpn}! th .. majl>T
Kal .. In
r h~ r
h 'y h ur sm rro n" on t'a(h suhst:<]u('nr note rarhcr rh an on rhe rwr (I ). Thus
emaj7
C Ionian
D Dorian
E Phrygian
F lydlan
G Mixolydian
A Aeolian
B locrlan
Om7
Em7
Fmaj7
G7
Am7
--- -
Bm7,5
So , he fo llowln,l( .... Iar'onsh ,p ",ouM }!'H' you a modal app r()3("h to 5(,lo,n,l( ovn uur F.. m,l ,ar
II _V_I chan,,~ on
<.
major
Om7
use:
G7
G Mixolydian
D Dorian
emaj7
e Major Scale
C mcloJK mU)or 's ;,n (".lSy Vana llOll of C mJjor, sim ply: C-D -E,-F-G -A-8 -C. Two moJ<'S th,L1
'II"(' extr~ m('[y \lM-fu l un' bUIlt fn)m the fou n h alld St'vent h do:gft>eS of the C m('[c)(.iIe mInOt K,lle,
'1111'y
~rc :
F Lyd '~11
.,7
B7 #'),
f) Lmlll",la,d s(,de'
T h~y ha~~
~ I,e r~-J
and B
l"Il m ~
~7
lypes~
pl" y 8
,~d lff~r~nr
half-srq> d,m on,slwo:! scal(, I, k(, C- O-&. -F-G-b-Ab- A-B-C g()('S w('11 owr a C dlm, nlshed chord
A h~if-S l ep ",hok-s tep ,jiminisil"d smk ,\~ning on 8 works over lhesc chord (YiX'S: 117.9.
B7#9.
87."
BU .
PI~y
of that type. Ro:mo:m bt'r chords art- scak-s and .cak.,. a,o: ~ h{Jtd . One 11111'1'('5 the <"lt ha. For
exam ple, I()()k at D DorIan - th.. II()tes of tho: SC"J ie revea l (he chord <j ualillcs :
D E f
R
I)
,3
GAB C D E F
,7
GAB C D
11
13
al'pcar an (X"1a"( ' 1"""'l'r lIS rhe sl ~rh), N ow look al a G- a lren..l dom loonr Kale o\-"l'r a G 7 chonl
G A,
Root . 9
"'
C,
M3
G7~9,
D,
G 711f9,
'"
.5
G7~'i ,
F
#5
.7
187
chords from (he fir sl fom bar> rqx'Jt throughou l tach lour-bar line, though you Can try
()f
tape them
to
to
play~d
in oIle comilluou,
etude, As alw"y" ,ran olf slowly al fIrsl then build speed as you get tI,t hang of it. SfX""J in
itsel f isn't thc objITtive;
wc ' r~
looking
to
h~rrnonic
h"nd y bag oilines (d erived from scales and mOOes) to US~ a, irnpruvi",ciollal buildit'g blt,,-b
apply
to
Try
to
work nut
approptiat~
Lhall~n,l;~, r~f~r
[he5~
lick>. I
hop~
to u,~
pag~
YOll haw fun ",i[h this c"crcist ,md i[ helps you to master some 01
rhos .. grear lines lhal you'vc heard yom /,l\omilc ani , ts phl)-'.
CD 2 TRACK16
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A, an added
some of
to
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12- 10
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189
8---6
5----6
8---6
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ARPECCIOS
w",
Ix-
that
'$
Djaool,'O had a sIron.!: (cn tkn("), fO 1'1:1("(' em p hasIS on rh l;" SI xt h and n lOth .:;h" m m o.,,; (Ill t h..
kt")' of C . t h .. s",rh/13 . h
.$
A and rho;' " 10Th IS I . Tho: SIn h and n m th Wnes art' noly m Ildly
dIssonant . hut sine.. rht), an' OUfs,(k of . ht' hns" m ad (11.")1 , fhm'! , and fifrh ) th." hd p
some harmon IC mf('Tt'Sf. Th,'
W { ....~ I ..
619 sou n,t (holh ma jor and mInor) IS Mltl"t' m d y f"'rva"" .. "' d ",
p laymg of Dpngo :md hI S G ypsy (Ont (' ffi l'o mr,t'S. Ma lor S("vt' m h and mmo, """.. ni h chord,
bcc:lmc more common
In
ocoop (b,)( followed , l)an~O'S la rer rl'1::ord lfl)(S lflcorp() ratt SOmt
(he
DORIAN MODE
I" '"-,a,,t's,
Th ~
Its "nh Ka l" d~,Io(r~., l' a "'m ] ton~ h] ,.: h ~ ,. ~ mJ)or ,1I["rva l ,,,dt~t dt~n a rniuo t. TI,e majot sixt h
p r~fH'txI _
I)
k~~'
Nutin' that
l"ko,;an ,.;-al r
h",~
'''1( ''
th ~
".,~ J"
" bu olt
a.~
<>I ,
th" C. mal'"
Dori an art' mad .. up of , h., MOlt 1,,((-hO's, rhO' o" ly d,ffi,l't'n('O' "
_~ixth
"""/0('"
sca l~ .
So C maJN and 0
Exercise 5 d"m(Hlstratt"S
a Dor;an-h.'lSt"(1 I'Mr{"rfl r ha, I) lan/,:o u>o:<1 Exercise 6 dO' m" nsr rar".; h()w Djaog" u..,..) a
mmbmar;oo of Do roan scala r Mel mmor 6/9 Arpl"~ 'o ,<1(':\5 ro I,nk a Cm6 chord ro 3 G m9 ..-hurd
m2 TRACK 17
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C02 TRACK 20
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C02 TRACK Z1
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193
MIXOLYDIAN MODE
Wl.... n p by'"j.; ow r domlnam chords , I) lan~o (('!Jed h(-J"ily o n ,he M""oiyJ'JII mode, s(,(,1I III
SC-llll to llC
~"""lIth
(th ..
lIu t ...
III
J .. grt....
d.., 'dmlluldl1(
sou nd' IIwl 's ucs lrJ l>l .. fur J u""" ,.", d ." rd,
N otice- tlwt
SIIlU rill.
tilt'
UIIJ
G /'.1 .",,,1)'<.1, .. ,,
arc rn Jlk up 0/ t h( s., ml pHd ll~ JgJll i. d,, "Illy d, lI"r<"l1u' " [h"" u.,age Exercise 8
Je-monslt<ll cs
G ,\1 , .. olydi,ln
rU II
tI,,l, h" b w .. (
DJdogo .. Iso 1r<"<j ulI,tly lIn pJ,,),'d , h" 'bt-l",p M Ilr.,,]ydJ dn ...... 1.. wilt'" pJaylll)l ""U d"mmJnt
d",tJ~_
r5 n:t s r t"fl(tO { ~ n
ht"
r",( ... 1
"-, fdr Ixtd; .. , Lo"" A r m ,non).:,"- 1927 '01" on ' Hvrrrr Than ThM '. I)lan).(o. who was h(",,,ly
m."k l ~!,-nSt\('
add.
\t!\
chord tone-. will Cdl on the b.:.,\, The' P""'Ill~ Wile' Ldl, III lxtwe~'n the ,~~ellth .,,,ale Je~r~~
,1S
dc-moll\u"l('d in exe rcise 9 III doc Mllmlydiall b,:o"r ,ul~ you ).:,etth~ n.>t
,>11 [h~
ul-' the L-",tSlc IUuctUt(' oj ., J()] ll1!lJm , h"rJ JnJ dll'rdor., .. r., d\~ ,tWnW, t tar).:,t"t n"[~'
Exercise 10 ~h()w, I",w DI" "I''' u,,,,J (I'l A M ,,,()lyJI~1l bd )(), " .. It" <'~t"r ..n A7 ,h,.rd
r.:~ol"" 'g to
Dpn,!:o u,...J numt"w,,, "'1'..... ,1:"" I h,1! IM).:,t"1 Ih~ thfr~n .... 1 't"~ .. nch , n,nrh , .~nd I "h (ho , .]
m".,~
Exercise 11
I
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"
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194
"
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TRACK 22
~
12 -15-
,
.,
,
.
.. ;- ,*
, ,
"
CU2 TRACK 23
,
,
, ;-
'I
1"'1
, -j-J ...
I
o-,~
--2-,
.,
"
"
D'
"
" " " " ", , ", " , ", " ", ,- f..',--.V ", ", " "
,
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195
C02 TRACK 24
8
HARMONIC MINOR
Tht' harmonIC m mor scak w .... au ''''''J.:r.oI p;' rr of tl l a n~o'5 sou nd. 111(' IUlrrm",;c mmo, ",-al.. IS
,<lcmKa l
In
(0
[he llJ IUr:li "''''0', With .h.. ('Xrt'prlon of a r:1ISC'J sc~ l'n t h "'-OIl .. d"g lrt: , d .. m onst rnf(~ '
exercise 12.
T he f"" 'scJ sn<"mh "-OIl.. d ..}ol ...... allows for SHOrlg n:-soJUU<>II
to
k('y of 0 m lllor loa m ",,,,! , t h.. ,....'.. nr b SCAle . k gl'C(' IS CII, wl", h " Ih" Ih,rd r hor.1 f on ... of ,\ 7
(Ihe dommant choN
whIc h
.$
III
n.. ttt1l.J
[he
I)
liS{'"
fm-
harmonI c m lllOr 'w.., a mm", ( hor.l, Iw mostly uscd II lO ad",.-v," d"" 'dommanr sc:'Vtmh ' aoJ
'na u rncJ ll ulth ' ""UlKI, "v~r d"m.nanr chords , Exercise 13 d .. mon_,tratts how D)ango uMXl
th e han n,,"1<.
DIMINISHED ARPECCIOS
I) ;"n..,:o also m" ,k
l),m ;n ;s ntd
~nd
donlln~ lI t
fiJt1:t'II("(1 ,,, ,, rn
" j
th~
aq~'..,:).( 'os
h,w" nearly
th~
,am..
p; tl.h~s
(tn~
" f t hl:" flM tt'n 'cd IlJlllh dl(!fJ t""l". Jj YOI! as(t'nd a ,I ,m,o,sncd 3rpcgpo" S(!lIl c,m .. aw~y from th ~
root of any dommant d,,)tJ , yo" wdl :llIrom~r1("ally
g ('(
llll' Jesll'~bk
,""vl:"nt h and tl~ H t'ncJ !lJllth <. hord ! "n~ , Exercise 15 llSl'S" dJllll n;siU'd arJ'<'~gi() to Ijn k an
A 7 chord to a D m 6!') <J,ord
Exer-cise 16 w..:, a (I,m,n"h..d atl" 'J.:J.:' O Wl( h some chrom~{K .. m hd l"h m l:"n r to Ionk a
1)7(\,9) chord w .. G m 7 (hurd. In a ) ,m,la r m~nor, b .... l usong ~ d,H .. r..nr app roach , exer-cise
17 uses
~ dirni ",~ h",l 1",,,,,1 arl't'g g 'o 10 lInk iln A 7<t.<J) (hord to a 1)6 (hord .
CO2 TRAC K 27
-,
,,,
"
"~
, ,
. , ,, , " , "
.'
--.
~~
' - 6-
"
:=
A 7 ("'I,
, ,
, ,
I
, , ,
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,-6
"
, -6
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fi
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,
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Dm
196
8
,'i
- D-
,-- ,:
Jf,
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-.r
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-I
C02 TRACK 26
-~
....
"
"- "
H
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CO2 TRACK 27
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,C02 TRACK28
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7-6-;-4
_ c.!
Omaj7
197
/L
H -'
8
CO2 TRACK 29
'I
'~
e,
'~
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1"'1
1"'1
C02 TRACK 30
'- '~
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' - '~
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1"'1
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t=::L ~
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E ". qH ~ ' ;. ~
're
'i'- H' ;, ~
e' .. ~r.,,,~
,
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0
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12 13
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198
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1""1
10"-12
""
,~
v
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" "
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10 12
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'j'-
"
PICKINC TECHNIQUES
rhorrl ,
It>.-
flfdl , f1am' ned $('v('Of h, and l]anen",' JlHlIh of a G dom lnam chord . The sa Ol(" ('X;1("I pam-,,, ca n
~
ust.,,1 (I>,'('r a
mUlOf choed
to l-'X'(
t he root , flalt cnru third. fiall (,nru fifth , anJ S' Kl h chord
root"$. '11(' fim l NI('l1 fi f, h olTC-ts an <:-If oxl lve J issonanu' t haI D pngo also UM'<I ('xlcns,v('ly.
N OI":c Ill(' SW('('PlI'lg fig ht -hand p IC king polt t'rn used m Ex('rnsc- 18 (up-,Iown..d owndown) Dlango IIst...1
!Il lS
I""Hern (0
ach i('~'l"
srOlrnlanl "Bossa J)oro<.lo , Th '5 !"lITem is commonly used by DUi ch G yV5 Y !:UJlnr v,rruoso
Exercise 20 d C'm onst m tts another pi ck ing pmtern Dj ango used eXl cmivdy. It rc):>c,, ' s 'he
suok.;s d own _d nwlI_up W cna[~ a .~y "..:"patoo ~ff~n . WhO'" u""d ill (()lIju lln ion wi,h chord
tul "jI('
~ff.n. Ex~r68" 2.0 also II~S (' hurd ro"t'.~ that I):'dll'~ ~h~
eh" rd proWt'ss'o n fur lh~ 1fl.St. t"j;hr mt"fl.Sllrt"s of ]lp"!'os d asslC (Um l'OS 'rl on M,nur ~w'n.'l~
i!.
';"~
,-.v
t,. ",,.~"I".
' 0,.. ..
.,.. ' .
Of'!.
I.
C02 TRACK 31
f
~II- ~
of'!.
,~ =-
,
0
v
,-.~~ ~
~
"
, ,v
1"'1 ,., V
" , -,-v -::-.-.
", , v , ""'- ~- " " v " "
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7-----5----8---5_____=_
Am
-'
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Am
199
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,
--. J
--_~
C02 TRAC K ]]
.,
.J
,
,
0
, ,, , , , ,
,.~~
a '- ~ ~
, , .-,
1-6-4-5
200
'oj
7--5 4 --5
,~ -.
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,';~t-,
1"'1 'I
f-
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7 1-4-$
"-.
,-. , , , ,
2-3 -7-
(N(n ... Ih'lI till' Ilrsl clown slrokt' " ah't fll )
VIRTUOSO TECHNIQUES
Exercise 22 demonstrat es a G mllior ~nd<lsurt' pmlcrn that Dj ango m adt' fr"'lut'lI! uSt> of. An
... "( I<>surt' ',1 w hen ]'o u cm bc-l lish a ("h",d to n., by playing" note :ltx)V~ ami 1,..1, \w. Ujdn..,-o often
u .... d d, ... p'lI\c'rn {() ac h.('\,(" a I. " hen,n ,'! f...l! d"ubk -,imc dfen .
Exercise 23 demon sr ral<'$ a '''''''-; <If asc., ndmg arpcgp os, D lanj<o ,,_I tlu s ' ypt' o f ,dc-a
" fttll T I.. ~ rxon lCuiar H'rs lon work ~ w...l l ,,"~r 'd, ydHIl chang("S' chord I'r...); r~~s,,'''' T I,e chord
symhol.l ab", ... t he
m USIC:lIT'
Ih('
mOSI
fir('
on ly a
fi nd Ihal lh" ld.,a works well over num\'rQUS ut h... r ~h"td pmgrc-ss,ons liS "'0:11. Play t hrtMJgh
I hl'$(' ... xrrn~ a ...ft ... " as you can (0 OCcomo: f" mll ,ar Wl l h ti, ... slylr and rcd of Gypsy jazz, th ... "
try pll ttlllJ.; $Omr rhyl h m;,- m,d mdr.odlC H,b,s (OFl'"Ih\'r for yo" "..! t
,
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,
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Dmaj7
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re
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3-5-3
ii,
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C02 TRACK 34
.,
201
, >-,-
9
CHORD SCALES
Exercise 1 drmonsrml('S a D major d ,nrd '<Cal,, _ N Ull er tha t r('g~rJ kss of tI .... dW>r<I , rht' IWO
tOP string' (A an,1 D) rong OU I. TI ... dron" pm;-h("S
~ h()rd
3 1'("
111('
acrU.l l
t"nt's art' norattd wllh d, ... Mt'ms dnwn . Th,s 'S one of th e !Hany dmn,,-I,kr ",fft"c!'\. rha, an.'
I~fr-han d fi n,,{,TII1b'S.
teJ'Y to "enir-vI' in DADGAD (un", );_ Also rah, no\(' of 11)<' <rgo"O)mj,-
'rh", ,, wi ll a llow yOu to SW lt , it (.hn rch 'l,,; r k IY:l1 (as, l CJIII:>.", (N"t~ : In rhlS and all Olher
u~rci.,,,, . th~
rhord
n O lll c nd.llur~
J",', not
tah
()f
d ,~ DA I)(~A[) r ll n m~ 1 ~
I~l b [I,t'
Ihml (hord ront', so II ,s nl.',d ... r ma ,t>r nor mi nor J'.Iany CeltIC
nhscm
al(Q~:.,tI ,.,r
a(""f ll~ l ly
Ix- a
l~
Ib.,.: P'l"(" dron~ at"(" also ",.. utra l, '" rh..... chords strongl)' Ifn pl)' , h.. ",und (If
iin,.:~r
S.'ll' UJ
llllison i.1 lh" sam .... x~n pitc h pho)'cJ 0" two ,trinl" s,mul r:l.11("ollsl y. "fh., umb r...! and mronafl on
diffUtIK", l",lw..., n rhl' twO ~umg"' prod ll{,~~ a I'knsonf
II15Uum ..m.' MKh
~s
Ill.(>
12-stflng
'c horl.ls
'I"m ,n,S{'.. nr ot
).;u'tar ,
sli rpnslflgly, ha~ ~15V Ix":om" ~ Ylcry popular iosr rumen ( In Insh
dt-m""~[rau:s r h(> ]) M, xol~J '~n
<fl~u
"""'t.)
Exercise 4
, ("I .. pb )'t:<1 as u" ,\.Ons on tI'l ><.1.""d and rhord str'op The
u """" piu'h..s art nOlalN WIth !f,.. " ,[toms " I'. rht 01her d ron, .' U"'lo.'S art" "oraft"<1 wllh (heIr
,,
"""!>'
d ul {"lm("f".
F(lF<
~
"F
"
'm
!!lID
' 1m
2fr.
I '"
,
,
.,A
,,
"
"
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"
II I '" 1
A/e#
Bm
Mr.
7fr.
11
1" .
C02 TRACK 36
.
~
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o
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,
0
Dm
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Il
II
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204
,,
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,
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,
,,
,
Gm
!fro
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0
0
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Am
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,
BI
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fl r
r
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"
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Dm
\II'
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IOff.
Th" M ll,(!lyJ J ~n scale- ( Ill th(' k('y o( D : D -E-F# -G - A-H-C) is on,' of tilt" m,,';! ("(,mm'lIl " al.,
Ht'
"111'; n~ltCI1t<.1 sC''C mh scalr JegIT(' g"'Tli ,r a d ,sr,ncfl vt' w und T hf"n'
o'mmon on Jr ,,11
Illl ." C
J)
I)
IE I- ( ~ A B <.
I: FN (; A
Ij
C.
Th .. r"'fu r-~ I mln", M.~ I .. .., ~"rn "'()11 111 p"pu l.!! musIc ,mJ shou kl Ix- v('ry famlloar T h ..
I)""ao '>4"1,, d,ff..,..; fm m , h..
na tu r~1
m, nor
III
, hat
](5
h,~h~ r
Th .. r........1 ,,~ fh , c>ll .. d .." n .... prudlJ< ..." a d'St lllt ll ve sound , WlllCh IS ("xtITmd y pcn 'a,s l\'(, ,n U I I K
muSIc. A nd th .. m" IO( , nt l., ",,( nlU f.' " tht' m",( n)mm o" sea l" 1Il We stern m usle Try ad.lplln).:
n:tr(O!j,(, 4
f"
natu r~ 1
DAI)(jA i) t.:u" Mlsrs :llso fn.-<)u.-nrly ffi ak .. "'" of thi rds f"',L:t',.,J " " th ~ .~~.....""d "n<.l dutd
st nngs. Exercise 5 d.... olOmttlUcs a m"lor sclk ill rhirds . Try ~fbp t! nl' rh ", ~x~ r"", U' III,
PJl chcs of the minor, Dori" n. :.nd M lxolydian sca][,s.
C02 TRACK 37
-p.!
,
,,
0
0'
,,
,,
0
,,
,,,
,
,
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,
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D'
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mllt'
,
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5f
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,, ,
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-----:E
0
12
0 -'
1()------9
7
1:Z---11- - 9
11~_ t--~4
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5- 3 - - - - - - 2 - 0
-0
-0
205
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,
7
. -0
9
THE REEL
Tht, mOM commo n CeltiC Jann ' rhyt hm " th .. rn-I on 4/4 r,m... Cd n c lIcompanists genera lly
aVOI d a ' ....0 -1::. "... ,
r.,.,l
which [t'",h '" !K)und III,,," i\m('r'C'(In 'O ld Timc ' and blucgf"dss music.
t .... .. accom l ~'nlm('n(
d, .. ba..1(" rhyt h m fOr rt't'1$ , sr m ,~h( ('g h rh.nO(C$ p b )'cJ With alternau ng d ow n and
up st rokes. TI ...... m i. .. chom .s only sl rlld. on dl(' first oou of llX' Ixor. The n.'JillJ.JIl ing btc-.ItS a...,
p b )'oo on ,he dro" .. stri ng' ulll y
ocmg t OO loud and
()blr u.~lvt'.
(fi r~f
'cllck ' they pm d uct' i_, part "f r h~ ~f hN" oi e t'l l ic m uSI C.
Exercise 7 d~mnnsr m U'$ anOl ht, way 10 play "n c-iglll h- uote rhyt hm. Ins[.,...d of
strum ming " n l)' tht' top
J oh n D"yl ~
ar~
I n n~s,
YOu st rum onl y the !xISS notl'S Oil nmsc o.,ats. Pau l l)radyand
playi~
(1.\
a ll Jcc~ m .
, m ngs ,
Exe...cise 8 g ives yOIJ till' m dOOy ~ lI d d lOrd , f<>r a p"p,,\ar I ri ~ h tunl' ( aliI' I 'The Con gress
Rn' I', in [he key of A Dorian. M", t .,flh .. u("( .o mr nnomt'n r
r~vo l~'~s
d lOrds (I and "VII). a common panem "' ( .. it It mu sI< . Tht' ).ten",d s.x rion (an also Ix p!ay(-<..I
w,th rhe S>lJllC lwO chorJ . . ll ow~ v<". Ul A J)" " an ["nt'~ C~l l>( musi e'ans will (rC<Jucml y rep lace
tll:J. [
, he
(1
til l)
lL~.J
tlus way
chorJ. TIllS
maJ<Or ( hord s rhrou"hQll! thl' (Lrmngeme ll( are nO( nal ura!
Deman (wh ich 1= an 11# ,n tfl., k.. y SJg naru r.. ). Th('y
are common ly
m~ j or
M,xo lyd ,an ( whi c h h:u (h{" same ke)' sig na ture as A
~ nd
M('
CO2 TRACK 40
,-~I
I ~
-~
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1'6f',
CO2 TRACK 41
D'
r urrrr
f UUU
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206
..) ( 1.
to
lIlI.1J
mm
brl.
9.
CD2 TRACK 42
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,
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--
HP
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---<---<>-0
Am
mffi
mm
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C IO
f1liij
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o
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Am
I'" I'"
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o- o - o--=----
51r
Am
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14k
G
IEffi 2fr.
him
207
Am
Sf.
9
THE lie
Anorher wm mon CdrK dann' rhyt hm
tIme, whIch
~'V{'~
I._
Jll
a("(l"nI~
In
off/.
" gs. you m ust usc a do"m -ll p -dow nldHw n -u p -dow" .. rru rnrnmg pau e[fl. Th. > pant'to 1'1I1S a
strong aO:l'TU n 'ery , h l"<-,(, ht-ars , whI ch" ....... ml ul whom pl.ymg III 6Jtl
lilliI.'.
Ib,s ('xc-roM' usmjl; ,he hass srru mm ln,l; . !"("h n'II"t' uSt'<! III ex .. n. .sc 7.
Exercise 10 demon .. ""f"'; rh.. m.. l"dy and d,(" J s 1<:.( a pop ubr In.h J'F' n!.llt... 1 "East ar
G k ndarl '. Th is runt' "
In
IS"
major
In
cxercoS('
I) m~Jnr
r{'\"ol ~~
In
"round ,h..
nHrm~ l ly
occur in th e l ey of])
rn~j(}r. lt IS bo rrowed from the D M, xoly,han O1o:>< lt, and I~ """i t<l u.,~ t., SO",O: h~rm(}lI1c ,me res!.
Th~
whar
to
melod y nn tho:
m ~k~
"st, th~
it
{ h~
pLI)'cd on the
m () r~ idi()m~ti L f{" th ~
jig pi ck in.l(
yo" ,,),taL n
rff(}rJill~ I~
ra{t~trI
j~:nny
not~t i nn
wilen s
alto:t~..J
l S,' t:llj,~ r
,"s much
,L,\
Ih ~
C02 TRACK 43
,
"
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208
to
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9
C02 TRAC K 44
.,
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0 -2- 4 - 0
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CD2 TRACK 45
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CO2 TRACK 45
J
1'-,-
.-,
0
0
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Exercise 11
a n" ";t'r-tyl ..
I'
~,mpson
~s
u~..d by Cd
~,~
.'--,-
1-' - '
' B~I"sh
0
0
,
,
0
0
play,"~ .
hy ad d rnl-! a ",mn'
nol,'
10
ere","
".pIN
rhls H'( hrl!(ll'(' ,lot's"" wor k o n Ih(' gllllar as w('11 as if docs on rh(' fiddk, tlUH'
r"" II!, on~1
'-
Uso- ,,(r h.. [lA ' Xi "l) tun in).; "llow, "n.. m nt''' ' '' a n , h, lull
' harp sl yk ' ,l:",ra r
m ,l(h as poss ,hl('. Th(" OCfn \'l' I(''( h ''''l ut" . w h oc h IS e:-asy
IS uS<.~ I ' n
In sh mUSK,ans
I'b}'~~1
("all(~ t
arr~n)o:.. rn ... m
, - ,
----<>
~~
.~
,--.
,
",'-
IS
H,!wl"'~ r,
~n d
Qlh" r
mclo..llc IIl s,ru m(,IHS . e('hlc t:UIlHISlS havc ,k"js.:<.1 numcrous ways 10 ,m,ral\' Iht,
smmd of" roll , 011<.' of whICh appl.' "rs in the S-(cond half of ba r fo ur. A co m bina lJ Oll of hamme r.
011.1 , 1'1.l11 .... ,((, :."d pll.hod II(\t ~' ( r~"t~.1 lh~ tripl~l -'<"lUnd of" roll.
2 11
LATIN
by Nestor Garcia
In La t on m usic, th .. g Ullar, I,k", d""
c:ow~ lI s,
p l~U(>. i~
Ins(rum~n r ; th in k d rum~ .
us<-d as a p.'n'"uSSJon
to
a l'.. rr\lssion i~t wou ld. In rh,-, ,-"nrt')([. rnU't uf tI ... g u ml[ p"ucms art' based on paHo:-m s from
p,ano and
th~
COUn.<'S
<. andE .
cl J\('
mu,,~. 'I1H:-~
"-5
l"O("tOI"'OO
(on~,d('rt"d
th\")'
,lIT rdcrrn! (0 as 3:2 or 1:3. T hi S m t'rt' ly r.. ft'!"l' w til .. num[:..,r "I til) , hUll C hlts ill (",l(h bar.
Exercise 1 shows ,he IWO baSIC tYlX"S of rI~vt' ,on dave and rumlm da>", Aw~ )' from liour
j,(uiwr aml ill ally possib l" ,\ l\u,I\lOIl, tllp 11 dave rhythm w,(h your fI,I(h[ hand whd" kC'"pUlj,(
rim" , in quarrC't-uot"S , with y,wr left lwnd , Then reverse hand s, (J'v~ wr irr",n th" ,nn d,, >e in
2:, as rhi, i, [h" mmr ,,{)Inm()n i,mll u,'lxi lor eh,l -dtl -c ha and mJmlx> ,
in ,:2 a, wdl- ju,t rev"r",
th~
Hllt(~
tho\l~h
on J downbeat ;
th~
upb"at.,
J'
hi
t<J
u'"
It
Exercise 4 is a line ha_i on t h" l'llI f[C' tn pl.}'..::1 by [ h" 'In." cubano' . out lJllinE; a 5C('ond
JIl\C[SJOU C major mad Somefl nl('S )'Oll can find " on
I)
Th,~
,\ u...-d pmnanly
mOIlt Ullo', thc olJC:;1 form of whm we know roday as sal",. Tho. I",..
J~
(0
play 'wn
~:j
,;,on
dave. All (he s,,/sa J nJ mam bo patterns al'(' oosed on $On moflt \l no pau<:rns.
H unJreds of l u,= anJ st}ks al'(' base'll on rnc- I- IV- V chord p mg n"'s,ul> f""l"r. ,Jo",cr. on
m~Jor
or IIunOr (lJ~ Ollf. 'Il1f(-C chonls, du"cc on"trs,ons and tw~lvr k<:}", rq UllI lOS ptl.'>,Jblt
C'..
n Iranspt"'" th .. lim; m
exercise 5 o~er many "Jtia\1ons of the m . T hc-n add wm ~ of th .... ~ rhyt hms and yuu ~ r.. d one.
\'Vh~t ~boUl J
>lartlllj,(
to
b ,t o( lapplllg a( the sam c u me? Perhaps a 1:3 son .-la\'<: ' Sunday alt"rr"MHl is
ltMJ k Dl.I.'Y
ttM)!
It \ " asy 10 Lh." lf;e IntO ~ m, nor fetl. ,( you ignOf~ rh<: tri" k '''f finj,("flllg .
Ju,r rak<: Ih" thirJ, (}f th~ I und IV dlorJ s ~nJ il.Hlcn them , t"b ng th~m from maj(}r thltd, 10
m in(}r thi rd" a, in exerc:ise 6 , Try tfan.' pusing til" ll\,ljor ri{( from E "cr<:is~ 5 ro orh<:r kry' ,
rhen trans l'OS" ir into rh .. minor a ... h", b.... " dOl, .. lie r.. fi,r ){)u. If you also slow rhc tcmpo <lown
co so mcrhing around 70 - 100 hl'm, Ir ht-"o me ...
is " tradition,,1 music
Son Clave
by
Ir'"
LUWllO,
Rumba Clave
C02 TRACK 46
C02 TRAC K 47
U IF
2 14
rr
'I I
CD2 TRACK 48
5on,.I_ 2.3
CD2 TRACK 49
mCrC l f
r
C02 TRACK 50
. . . . . . . . . . . .=======. . . . .
~=-
-=.-
===:::~
---===-.:':'.:...::
CD2 TRA(K 51
I,IV.V
.-========== - - - - - - -..
T ..=::::======:=:====~
....................... - - L _
C02 TRACK 52
I,N.V minor
Cm
'm
'm
__._._-"
G
_.....
2 15
{Q
1(
om l1fi~
Exercise 8
J.auJl ja"". You
mont uno iine. 11us IS ou(."o( d,<. must ~OrLI"'Otl JXlttems (oulld III sak.. J.ud
II.
ma~
}OU
C1In usc
It .. Iso
11\ "(UI
um ... lt OutLmh
mon (U no fall5 on ,h(' "t wO $.d(" o[\ he c1a~c (Ihe- OO{ "llh t wO note'S 11111 ). and the syncopaloo
bar of rh{" mOIll uno falls on Ih('( h l'C(' $H.k ' of Ihe cia"', I low )OU usoc the c1 J'c umxtlon dq:cmh
on whether the mtlod ) of the
lUll",
I~ III
t h~1I
pld)'
Ih~
Ime
' ''~r
<"th .. r
JITI'<.IIOII
It
fh~
to
h ..
th"
mom~[){
ju,t
tr}
It
(1: $ or j:2).
claw, b\lr
re m ~ m h<-r
15 ,.
m.~nr
is just " srartin g po;nt . It malll \ain s the same chord progrcssion as Ihe prnlou s example
2:3 all d
~gills
wirh
from
t h~
orgall ri ff
Hl
S>lnrana's
, ~rslon
Conccn t ru \~
C02 TRAC K 53
I.V.V.! mino<
_..........._
2 16
- - - --"
L:_ _ _ _
C02 TRACK 54
"
,
o
,"
"
"
,"
==:
Dm' ==:
12----(12 )---10
.,
9 - (9)
"
'"~
(91
.,
...::=-
,"
----------'----------C02 TRACK 55
-===------------
--------____ .... L. __
,.
---------~
--
111 II I IVV
13) - -10
!.........
.~*
,.
""
,"
,
CD2 TRACK 56
.J
,
,
,,
0
"
,"
,
,,-
"
"
-------:.::::::=:::::::==----cn
--~:----=-------=------
2: TRAC K 57
! ,,
,,0
"
--------
2 17
Exercise 12 IS gomg
pl ay<:,<1 o n " piano; here
to
II
add som/!
nt-tw('('"n thumb and (jng .. ", h.-rt' , ," d<;ln ', "'orry If U lakes a bit of lun .. toS"! sui ng_ Ih'm "mht-r,
th,s is only a
Playing d urlllg a
a }:;ood
SI.'IlS('
f'<'1"l-us~ion
It
5(110. IIk('
>erCUSSion '>010.
111is
or u m bal('.
,r nexCSSMy
IS A
r"'luJrt'~
It
"AhL
i~ J U~{ "n,,[ ht" ncerc,St' to rc, n fot((' ~our rhythm. TI", tim .. it nutl in.., a
C7 m:lmbo III 2:5 davt' (rrm .. ml>t' r'J. Trnnsposc It. You would u.W d ... ,am" panl!fn uvn, for
- - ------
--
d,~
bll1~'
--------C02 TRACK 58
'/
Am'
--------------
2 18
p rng rrssion,
~{)U
Wl l h a nicd y ~yn(opa( t'd rhyth m If yuu.... playing this onr a con,l(a ",In, b., p""p"rru 10
fi,r fi,,(" to
,l(fOO'"."
f.-"
mlllulCS
thIn k II ,,,,,nds e~s~, but you' ll n("('1.! fO na l ly fiKUS,,1I )-u" r pb Y' ng, boxauS(' rt.t' ,,,101M woll Ute
play IIII') )'X ,ut' rn. and fills that w,l l throw you "ff on no time.
Exercise 15 and 16 an rxn ml,lt's o(lon"" u,.,d in mambo and dneha-cha Tah note of
til .. U't' "I' OC t:l'cs. with fingers
(l ilt'
h~nd.
.~ ta rt
play ing
t hem , [()wly (')0 bplll. em ri lll('j and work up m 1:20 bp lll. The fi rst (')[01.011'1(" ( an ht- pl ay.. d o .... r
"'m 7- D ~
uf o".. r
JUSt
---------
--- -----~
C02 TRACK 59
_ ==
e,
~:----..::===::------------
~___________
____________ J
---------- -
-------------
0>2 TRACK 60
,
,,"
,
"
,,
,,
,,------.,
,,
,,
-l-
,,
,,- .,
,,
,, ,,
'-----------:::::::------==:::::::::
--
,
,,
,,
"
"
._---------------------------~
""
12~ 12)
9- (9)
",
"
( 11)
, )---0
\
~
1- (7)- 9
em'
Dm '
CD2 TRACK 6 1
,
"8- 9-
"
_____________L'_
--r
('02: TRACK 6 2
~
,
,,
,,
"
,
Am'
I.......:
,- <---->
")
D'
-----------------
'J-',
Am '
7---{7)----S
4 - (4)
D.
- -------,------------ ----------------~
219
AFRICAN
by Kar; Bannerman
L, kt
a~
co" or h", series In ou r W orld M lI-'IC- c-hapf(' r, I\(' '':';\n m USK h~~ It, mm.' fa, from rhC' gu Jl a[
"'f:
know i( Fo r lll l~ re"",,,, , It \ ,m l'orranr 10 Ix- "''''ar(" t hJ e mud, of (h i~ . ryk of p la)mg has
btt n ada pr~1 for chI.' g u" '" d""1n t ht' yroars, a nd would or 'gltl .. lI y h~ , " btt n 1'1"1('(1 on a mo rt'
[ ,..dot lOn al srrmgru
T h" kora
.S;)
l1l~tt u m"IL[ .
[l':Id 'll on,,1 St'nt'xamt'"a n mSn1,.mcnt ",hidl ~ m bl", " balal aIka
In
~hap(.',
US"'K a tar};.:' }(ou rd a~ a bod}. It dut', . h,,\\'t" '~ r, have' (ons,uc[Jb l> m",.. '[f lO,I;"'. whirh a~ pla) cJ
In '"
to fo llowmg w,lI
SIKYI RHYTHMS
T he h .. a.tb" .. t ,,[ Sikp and m05t A[rK,Ul m U' lc ,s .o
[eJ'O'''. We will us C' a drum lIladllllt'
to
Exercise 1 IS a slInpk thr~~_ I'~rr rh ythm YOII c:l n ~('t "P \() a<:mmpany yourS('lf wi t h .
O th~rwi ,~ .
if you don 'l havc a (Jrum m~1 hlt1 ~ . yo u (ould play the bell rhythm with a ro in on an
empty honk as is done in w,',( Ai rJ( ~ On lt' yO\1 have- p rog nllllllwd ,t ill (a '","h""a ' is a shakn.
i""dt'nrally) Iry
\0
fed tht' rh yth m <0 rha. YO\I hca r Ihe- p:<lI em 01 !h~ n.,11 . an<l not rhc four-
("(X"'''$t
u nlll td hgibl t' to {ht' u n," .r ' ~I<'<.L You h ~ H Ul d"~'~l"p a f..d fur (h ,s m usic to pld) it r'gh t
Traditiona l Tunes
"I hl" InU,t dHn r trans lat IOn tha t I (~11 mdllag .. 01 {h.. fu lk l une M Ulll unde ' (pwnon nc...,j ,\ j om _
Illou-dt'y ') {hat ,..~ ' t(" ~o,"g to 1001.. at III'W ,, ' Hap py i\la,lp<a l Dwarf Exerc:ise 2 gl\'~.' I"
til<' Illd"dy. t h~ , honlS r{"'jX'allng th te"" II rn~' l rom h~ r four onW;lNs . PIJ}, it w,th a hap py f.,..lmJ.:
,mJ r"" " rd " . alon,!; wirh thr d r um p~ tt ~ rfI you ha" ~ I' rogmm mcxl. fonr or IIvt' tim..-s_ \X'~ 'II uS('
dll.' as {he oo, k.n;( TO p r:lCt iS(' ou r m ht'r t')(~ n
" I";
It "
choi~e i, impor,,,nr to rcram (he 11,lvor of S,ky, Play (h~ A minor widl a cnsp anJ
ri,!; ht plectrum ~n"m , and th~ 0 7 a b u k l OI.)~ll. li )ou ' r~ u.,in.l( a 4- track. record Ihis onto your
tape as \1;..11.
Yon llld) iind t hat wh(" n YO\l p lay e xe rcise 4 , )'OU wil l start to [cd the
A(tJc~n
v; l,..
com m" [hwng h ; wh at O s ih,sa usexl (0 (ail U' ''-l fl )<o.S rh yrh ms fha r cxp lode \I; it h hap pIn..-s,
ProlCUSC jt wn h your t'vt r-("xpand lllg oockJllt: tl<.k
plcrtrulll Or fJ nt: .. ,..,[y l~ . pran'$C ' T un III dl<"fI.'\" flow, ur dan(~ , ro ~'O\l r rJsh( -hand <lu ion. Ldl_
hanJ fingt'rillg' a rt' SlI,I;J.:t'S( ,ons onl)" fp th u mb , I: ",dt'lC , /J1 m ltl.! lc). so chcrl.. them OUt and [ht'n
make n p rour m md_
22 0
CABASA
CONGA
CD /. TRAC K 64
c-
c_
, ,
,,
c
,,c
-- 3 --'
,~
- (3)----1
--
'"
me
'-i'
0--(0)
, -,- ,
o-iO)
--,
r --
I-
'"
-3~
"cc
"
---{2)---O-o
,,
I
Mumun
mund o
.-,- , , ,
'"
0---0-----:2-----:2-
j----2---------O-----0- 2 - 2
,,
,,
,"c
,,
Am
= 1:'''0
-0-'
~ --------- !~
4 _
(4
m
m
C
A
AmiD
.,
G'
,
","
CD2 TRACK 65
I lli - 120
1-------{ 1)
10' - -
GID
22 1
on TRAC K 66
C0 2 TRACK 67
m,
~.
C02 TRACK 68
- tOO 110
- - - - _..........._----_... _-_._-----,
C02 TRA( K69
COWBELL
~~tfr-~-----~==i<---_rc=--=:;-----,r_---r_-------_1I
SIiA KER
CONGA
,J
.....
222
bJ' II
PL1}' the
groo~"
1II
exercise 5 smooth ly and 10 (,m(' to (h(" bac k Ing tapt' and you "" II ht'
st~rt lllg
Jll
h,utth b.,.tt, yuu Wi ll boo p l.lymS I h., ,Crl., as an A~h~n u wou ld re~ lJ y pby it. We al'(' USI!ll: t he
,\IIxnlyd, .. " m od .. hert', a.. I h.. I' IS n.. tu r.,l, alld tins Coin be USt'd as a {Ool for solOIng .
"<.ta~ ..
(a
JIl
~lm , IH !o;"ugeo.).
Exercise 6 IS" IYP' ('al Palm \'(110" gum" sol" m m >, which you could jon ' up to E ~crClS('
'j (as ,h~ <t~ rr of ElC~rr,).t' 'j anct ~I'lct of
.ou r, i,~
(; im ply),
Th,s d ow nwa rd
T h~ p hra.,~
m ()v~ m~n '
Afncan mciod ,cs (sec CXWClSC I). Notc also how b reak ing away from
i, '"
f h lrd.~ fmrn
ll d\
bea t adds more Ch al'\lctCr to thc li nc yo u 'rc play ing. T he li ne a lso cchoc$
[h~
q(iin l.
1'1 0 1'1 -
r('soiv ine: !I"HII C of Si kri. wh ich IS ty p iCa l of the vast m aj ority of Afno n n1\I $'C fo' m s. CI~v(' r
use of yo u r Wh,1Jllmy l:w r to sli de i1\l 0 dw nOtC5 w ill give
} OU
HIGHLIFE RHYTHMS
Our basi' rhyt h m for tim ~t yl,'" fou nd ill exercise 7 . It can not be o,clX'm phaS,a'<,i lUS t how
( ru~i~1
rhythm
IS 10
m~ kc
suI'(' rou gn
Jl
~urt' tht' temp" "wmfi,rt<lble; an ye h",,!; (rom I (JOup'" to 12()uplll w,lI Ix Jinc.
Exercise 8 " [he m.,locty from th~ "'Hlg ' Yaa A m porL,~h'. which '~ a ~tury J OOU I
Make
n~w ly
marrot"d
hml~ i\ ~
fh~
p l~)
In
young.
Jlong to,
,-------------------------------------------------------------------------------
. .i.
C02 TRACK 70
BRIDGE
J
Cho
.- . "- ,, r- r-
yaa
mpo -
'-
j.a wan
- 'U
~ -5-----fi-=i'S)-7=in-I--e
yas _ mpo
0
0
yaa - mpo
rosa
yaa
.~
..
la _ wtln
mpo .
--<,
5---(5) -6-
j.a .
wari
- -
yato mpo
,~
-----8----iS1
nSa
6-<1
- wan
------------------------------
!,
223
._____J
(6 ) -5--{5)------3--3
Exercise 9 15 a 1)'P;,,,J Ampoosa h glllla r f:NXIvt'. Pm(tls(" II WIt h your fhrt ll m ""rion, slnwl y
at fiNl. g rad ually b uddmg up Ih" tcrn r>o unlll }OU (81l ('("(leh 110bpm comfortably. Es<;('nr,ally.
II l~ a fingerst)le Or "" o.fingcrs -;lIlJ-pk ('lrum groo'oc, ~USC" some of Ihc "oi("lll"~ arrunpb)".. bJ... wIt h" pJt"urum J lon .... In ....
th ..
pr..domi n;om ,
om
lJM' whJlt'\t"
of
,.,
lumf<.rt-..blt'
;'p"wned songs
rt'I~ I.:d tu
rm~, o..-<:J US,- of dll.' domJllJ lll mfiuencc of Ihe kol'll and
Jut ... -~t ylt' ilt'Humt'm ). Ill<' ['Sln.lund two-unger pic kmg
,IolrtM,,"t'~
l)O't\H'tll
" fTll".
n~~ou r
~11
sl~k
IS
""'r
" CSI
IllS[
ask
Highlife Jazz
Exercise 10 is a rhythm hc k
third)
~lld
dOllUllant se''Clllh ch ords. 1 kre we arc mov'"/I Inro ,he "r<:'' ofhi/Ihlif.. hi ,!; hand, and
lughlife jazz. Tr,. lhe more compkx chords "'f1!len LlIlde rncadl as " j<luier variation, T h" i,
more big b,'nd hlghlifc , 'lS Lt L,ses these crossover , hords. T he essencc of Aml'ons.ah i, r.. m;n""
in the mdoo), lines, rh ythm and bassi me, Usc a semi-mu !",!. snappy pkorum styk ro
rh~,thms
Exercise 11 IS a
~'ou
!) pocal
alt~rn,, ( e l y
mak~
th ..
w ,th Excn:;S(" 5_
dinuOlshed chord oS >cry r('Jllm, sc('nl o( Ihe lon,l]il) of sc\cnl! mdlF;enous harmon Ies and thaf 's
wh)
I! 'i
uS<?J . Tills ('xercoS(' IS [("all) <.julie i "llpk Swrt w'l h (he dl mm.shed [road an<1 Jusr mov.,.
':lfl'
nf '~lUl ~"m
pld)t"<i in "1)(lh,. rn lKh 1,1.. ... dlt'" pl~ }l.,J by Sine Cropper al the
b)'.'\am dnd I)J"t"
Fmally. exen:ise 12
syncopation and
d~'
polyrhy r hm~
}( ",~
nl"ffi 10 Ihink of nOTo:':S. hars or ph rast'S Th,s" mil"" 'adakamu ' sly I.,.. as "
adaptcd from rhc I'h ra<tn}( nf rhr
224
Iht
a,t(a.n'r Th .. ,t(mrar, 1'"... tI.'iO" um d ynu r.. ~ l ly ft.t.J iI, wh .." you d un'l
<;()ua~ ho~ ha,~
dm m:
ad~bmll
m.,.an, 'box'
i~
!~~~~~~
-T=====::=:==-=,
....
- .' - --r
, , ~laJH~l
CD2 TRACK 71
c.
._
L_______
1------------
,
j
".
COZ TRACK 72
~-
I
I
a-:Rlm=r~ -r51i
12 - - - -1
10 - - -1
C11UI
j-
------..~
,....---.
~J
,"
,
12
10
C1
G1
_----::::=:--=====________ ...-___
~
c/o
"
1
12
1 _ _ 14
1
12
14 ___ I.
12
12
J ~
a~~l~S! r3s~--r2
4- 14
12 - 1 -
Dm l l
A71 UI
:=:~
14
'2
1 _
1
10
'2
10
2_
10
10
12
10
G.
Om7
:====::::::=~
~-
-,
,
,
,
5- - 4 - - 2 -3
S
3 -2
00
F6
3
2
,, ,,
,----.,----.
,
AO
GO
F6
,
, , , -,. -<)
>--,
~)
3-----1]---Q--l -
,-
c~_======:===~
CD2 TRACK 74
225
KLEZMER
by Michael Horowitz
I n the Old World , klelmer w~
pt'rform~
u~
J1lSuumenrauon , mol" norabl y a 1)'0100. bass, ancl dru ms rhyr hm section. 'Ibc gun ar IS a very
m OSt
Irn llll[e
>i:ulnms r s
19805
whar [ht cymba lorn, and later thl.' p mno " 'ould
~\l!f a r
(e"tUII."S
fi n,!;elOStyie g uita r ar rnn).:r mr n rs of klcz mcr HInes , [}.l v,J Fiunynski's electric guitar work ... ,th
j,,~~,
rock and
mHaL
RHYTHMS
Exercise 1 uelllOnStrat t"S
th ~ m,!,t 00,' ;(' kl ~z m~r acmmpa n imenr panern . the two -Ix-at oom -
~nd
th~
Mrok~" ,
~at;s
In
~vrry
art' p layt'd w"h a d owns rro ke i1Ild the ("hord is sound cJ. The
u naecemt'd bt-~tS ar.. playt'd WIth UrNmk .... and Ihe chord IS mute<:1. TraJ Jl ionally. the pmno
wou ld p laya straigh t ""m _]h rhyr h m , whde (he dru ms p la}'N thn S}'llcopatru rhy thm. It
works w" lI , how.,. ....,.r, to p lay (',eh('f of these rh yt hms
011
SIm u ltaneously.
G har mOniC sea lr. So If you ta ke any harmoni c mmor SCI\" and Matt from
)'ou 'll
ha,'~
f~yglsh
th~
Itll~rval
fift h
(I'.,
of tilt>
'<Cal ~ d~g r~ ,
tu FII) pmdures
a very d;sti nc{!"'e sound. N ot Ice rhe un us ual key signature, wlu eh hilS two lI .. ts and a sharp_ Th.s
III
alt~rru
~Iso
Dor ian
:\(.'al~ ,
th~
Ar~b ,
of the A harmonic s.cale, .0 if you takr any harm onir .seal .. and
~[a r[
i~
yOL/1t havt lht' pitch~, for th~ M "heberak ~cal e . Th e sharp fourrh seait' d rgrce (G _) and rhe
natural si xth scal .. de/iret' ( ll )
sig natur.. , which ha,
"nly"n ~
prOOu c~
unusu~l
C()m mOn among J'-'w i_<h mu<tcoans, hu r 'S also us('(1 ,n some for ms of Romanian m usic.
226
k ey
fllO'i!
CD2 TRACK75
1"'1
'oj
','
1"'1
I""
','
"
o
~
, - -, - - , - -,
~ --'-- t -Om
','
I""
','
1""1
,----0--,--,
, - - -, - -, - -,
, - -, - -, - -,
, -- ~,
, - -, - -, - -,
','
1""1
','
,--,--,----0
, - -, - -, - -,
,----O- -X----6
X----6- -,----<>
, - - -, - - , - - -,
, - -, - -, - -,
o,_~_ t --'-- t ==--'''----"
t--'--t==_-_'' --_lt----o--t'__
5f
'.
"
,
"c
,,"
,,,
,, i
"--
\'
X -----l5~5~ X 5
X -ti~ 6
X-t;
7~7~X 7
'"'.
II
~- ~
~=
~=
i-l ,- f=J-
S-:;::{S}-X
'i
" i=~~"
5
X-ti"16l- X-ti
X 7~1}-X 1
X
X
7_ 7~X
7
5
5~5r-X
,,
7- m - X
'i
"i
6-X-----6~6)_X
r-!
~= r-r
,r-5
-i=~." "
I
\'
H~r
~= ,,
7 ,-
X 7:::f~X
X-----l5
5 X-----5
'
X---6 _ 6
X---6
X
X
7 7 X 7
S- s}--X-----5
,-
~=.
i=
Om
, SfI .
C!)2 TRACK78
227
ODESSA BULGAR
i\"ow WC'f(' going
mdod~'
to
put
I{
~11
and 3CComp.uIlm .. nt for , h.. (Ia,",c klC'lmf'r none Odcssa Rulgar', A 'bulgar' is one of {h..
{ ),P"~
of kl .. ~mC'r
{lIn~ 1 s
pl.. y.,J on
'~UlI'
S(~le.
pla~'eJ
fO U
on ly lilt
ehord at the
lhe mcasuf(' and then IdY nur NnIlCC' . ha. on rhe r('cor<lmg rhe rhythm
OCt"('('Il the rhythm, d~ mon '''J[.,J .n
..x~rnSt'
at a qui~k t .. mpc.
sw1tch(~
b..~"'n"';.::
of
..........-..---...,
CD2 TRAC K 79
----~-
Om
w,m
5k
II'
Om
" ,
1}5"
Om
'I~fr_
22 8
, !
~
,,
,
,
, , -,- r ' ,
1---0--3-
" 5fr.
tH:E:
rlWl
..
,I
,,
,
, - >- 1-'
-,-
I-'
"
Om
5f
..
"
.-----2
,,
, .-,
Om
rtPr'
,
.,
rumS!'
2-,
, ,
,-
"
Om
2-,
Om
I'"
a~fr-
- ---------------
229
2 - 0 -'
- 2-
11
DAD(iiAD TUNINC
Let 'S stan wIth a [, .. ,10 a t DA1X~ A() ~'"' )'ou ',,<, onl y rClu ncxl th(' first , -=o"d, and -",,,Ih
st n n!."S, e..-erydll ng yo" knnw fl'f)rn smn, br,[ Wlllllt! ( an sull b.: app l.,J {() ,( r"'IiS I hrrt , h ,u r,
aud fi"e. If f U" play th .. C ma ,or seo l..- 111
exercise 1,
"',at l l)' tI ..... ""me a. If rhe J;u,rnr was n('vcr ['(", u,\<:"d . Y(.u
dOW II th... fingerh..,ml to I'I~y
In
~ouJJ m"~,,
<"cry l.('y. lu lJ you"J lIe" ,,( k"" ,., t h a t yu" w"rt' 10 a n alf nna. t
(UllIng.
SlIllIbrly. It,S havr a look a! ,h(' C G - D'i (D') IS a D churd w,t h nu third ) p rogrl;".sSIon III
\h~ \ ynu 'n.' III DADGA D dot"n ', ("h~ nJ.:t whnt ,hot- n Otes for
the", m ach com e o n . h(' Strongs III '-I U" ~U" ll, alluwmg f Ull Ul p lay rv<"ryrh"'J; you a.lrl'01<.ly know.
O f COllrS{', slmpl )' ph.ylllg d'N:d-I" "" ' ''''' , al.., ~ nd chords
alfl'mare l unmg-.
SO
Itt"s d,t"l. k om
'S
Exercise 3 ,h"w" th .. ""mI' ,'xru:r C m~lor s.calr r,s Exe rnse I, but tlllgned w,th t h~ '" ''
of 01"" 11 ' trill)o;." whi (' h 'ns ran riy It'nds a bIgger so und ,,~ It "lIow. y"u
to
longe r. Exercise 4 adds 0 IX'n smllgs (0 , he G :'nd 0 ~ h()fJ ., "four pr~"ioll' .. xamp l.. , ": ,,,,n);
the re,ulri,,); -"HInd a mil ch hlgge r nnd m o<' ' C.I(U)'lllllg <jU,Li.l y lh all "an Ilfe a('hl""t d USln);
sta uda rd tU[lin..:.
T hi, ,am .. ("<) ne<" I" call he app),cJ
l()
th at ,{rwg' fin, r and 1,,,(, an: u llc h ~ nf,'<'<.l, M(!<' lJlI pmt~lItly, how""" r, '!rI ngs o n.. , two, an,1 rhrt"C
to
"",11<11.
,U""d"wll
p lay on rhc (01' , hfi'(' slflngs In >lJlld. rd Hill",); ca n 1'1.. appl ,...,I. as long as rou k('('p m
J ", h()I.-~u:p
id .. nr ica l ilnge[mg pallan ,0 a md ,or ",a t.. play...:! on rtw 101' , hl"l:-,(, stn ng~ m stJ.nJ J rd ,uJl m.!:
Exercise 6 ~hnw~ a
I)
C ]) A (hord I'TO,l.:I'('1S '0n. an,1 ~ou 'lI not lCC t lw t thl ~haJ>b aft' fdmil iar
to
Exercise 8 . v~ry ." ml lar ro ou r ]>T('~ 'OUS DJ\ J)GAD ' Llmpl.. (I::"l' ttl~l' 2 ), but p layed
In
O rkr,..y rumn,!;, ( .( ; IX ;( :1) Notc I hal II US('S , he- $;oIl1C 'x~< t t'"S"flns ~ nd "'t~r.":J I.. , ,,"ly mnv.."
0,",' [ Olle su ms T hi ~ IlIu,tmro;s how, e,'cn Ihoug h , he- groupmg "f ,trll'S' u,ed fi " [h.. ~" .. tC"t
,s tu nlx]
to
dj ff.. r~ n t Ilmo;s, It ft-a tll rt'S I h~ 5:' II1C ,mcI,,~ ls ( Iounh.~), It,ultm.!; in r h~ sam~ rda"v~
chords. whi,.h a r~ now F, C, nnd G . Exercise 9 shows t hl' p r"Wt's"",,n WIth :hid...i O),.. n
,ui ng s. lkt,allSt" wt 'ro; srdl d cal mg wah Jill llil lM Ill tcrv"k a ', aI,,, ~asy tn play saks on srrm;;s
tWII.
f Oll t.
Exercise 10
r.
!fl )or
p r.. vious t"xampks. if 's ll11 crcStong ,0 ,:m"par .. till' , n. lo: wllh <''''''(IM ~,a s I, IlJll s ,rm~s how ,h ~
v("ry same no,es may t"lJ
is changed .
'.'
G
,
,
232
1
,
C
,,
G
,,
.,
,
"iT
,,,"
,, ,
,.
1-
.,
CO2 TRAC KBO
rH
.,
I "
,,
,' I-, ,
C02 TRACK B1
"
,,
,,,
,
,,
i'
,
...I
,,
233
,,
11
.1'
O bv;omly, there are IIITH t,. to h"", mm h m mm()n wound you'!'t' !<o; ng to fo nd fx.(w('('"n
variou. (uni ngs. G m",or {um ng (1)(j IX;lIj, J) o nly has ont' p..ur of sninh'"S (Ihird and fourth)
thaI arc
idenuc~ 1 to
10nc. wlueh aliows you rn USO' , h.. $anl(' prl n("lple m("nuoncJ in re Lal lon co the first and Sffond
smngs in DAOCAD. You 'll also nolO("(' rhat G m .nor and CGDGCD (O rk ney) only d./fer by
IwO sl tinb'"S, crt""at lng I" h ,,(famIlIarity from 00(" 10 , h(" ot h("r.
fu you Sff', II 'S wnn h th .. ..ffun of looklOl'= InfO s.m.laIllI CS oct,.,crn tun mgs. By all mC:l lls.
Bill i
10 m.... lyse what \ at h",nd and so-.. Iww mtK h of what you al r..-ady k now .s applicabi(".
On~
of tht tkmcms
t h~ t
l'HII1 ~r!1pmary
traditional SlyleS sl.eh as Trav(" pH k,nl{ ar .. vlfr\l all y defont,, 1 hy '''I-'t'f lr ivc a}(crn~ting bass not cs.
W hile this
t cchni'-lu~
sratic if appliccl
"tI"rs
[h ~
to oth~r sty l ~,
I nfhl~n ('('(1
bal"O<Juc guitarists >ud, as )"1,,, R.. nbnurn b~;':~ Jl 115 1n,l( mon' flow ing bass lines , often adding
rhythmic <Hi; ",ell ha." harm.",; (
van~. y
Exercise 12 add., a m.. l"dy and ~ Im plt, harmo ny. and . (""en th ough we h,,,"e n', 3 Iter<xl, h~
bas ic t wo-oor bas;; l ; fI~ "f Ex .. n IS/' 11, Wt' now hnv(" a sim ple (,.g ht -oor tu nc, wluch .s a ~ct.o"
or m y com l""iwIn ' .. irs. Smll ... NOfl ("(' how even thouS:h 'First Snul .. .s pla y"" in DADGAD,
t he t Ulle i~ in t ht' kt'y of A minor, ..kmons (f\l(" lg how u 1t"rnut~ tu"' tllIS n m I,., ust:<:! in k~ys 0.1... ,
t han tht"if obvious, open-sHlllg ton.o lll y.
goollS
\0
usc J.lTerl'lI! snmgs and I"IS"'OOS on Iht' fin).:ctho.~rd to play the samc melody.
C02 TRACK B6
r-1
~
, ~--I\
fi
234
..L-.:L
r-
11
Lt-t \ hav~ a h ~,k ~ t I ii.. t"x c.. rpl,i ,)f my COrll P:lSil i() o 'I k ( Red 11:,,(' m exercises 13 an.1
14. TakI ng advamagt' of d ... "fl"11 smll/is ava, lab l.. in G mi nor [ umng , I begin by pb Yl ll the
f.f1Sf
t h.. va"M 'OO (t'xt'rr ,sr 14), wh u,-h (I,ffi.rs from anyt hi nx filUna on l h.. full ,om pt""llfln ItSl' lf. I
srarr rht" mt'lOo ly on fll .. ope'n rh ,r..1 sm ng , and rhOll:it: a mnr.. syncop:u..d rhyth m
aqlt"g,ltIOS as an acc;:om l';1n,mr nr . I
a l~,
~"ry
d<"(:.d.,.-l ro
mv"lv~
In th .. conrt'Xf of I h.. emu'.. compos" "," (wh ich follows nn t h.. fi .ur pagt'S ... ft~ r d)(' n,' x1 ),
tht'St' t'xamph:'$ cou ld prov ,"'", rll .. has,s fur I WO var iat iuns of an 'A 'tx. I "''' , "," d wh ile
~. dd
..
"
,
,
,o
,o
o
G
~
-
r
1-'
7::(7} -S0
,.\,
r:f r
1r ~21=o
0
r E.- __
r'
0
0
J J
r , , p-r, ,
>->--> ,
7--(7} -S
, , , ,-
', -~-::i~
- 0
- Igj
rFi 1"1 . r1
r-.::o ,...,
r U-r
5-5-5-4-1"4)
5 -S
r tN
0
,~ o
0-
~O
3- (3)
CD2 TRA(K 88
,."
r r r
r ~~
r::r r r . r
.h-J-
H '
r r
0
rr 1'-11 .i
~g
CD 2 TRA(K87
Jl9 1'-111
7-17} -S-
mt'lu.;ly
"
Ji:1
1>-111
,-<>- ~'-----<
235
11
NATURAL HARMONICS
[..tet 's
" Ott"
hJ r,"un ,,~ .
il'('l
aho,'c rhe (n-I (rd ther than bt-Illnd ( h.. (not , :I.~ f " l! wou ld If wlUl rc<-1 (0 push d own and fn-I {h..
r m~rng .
~tr"'g ""~
fUll ",,,uld
I h.It ~
n<)rm~ l ly.
IflCS.
T hCS(' harmonl( not ("!> ut e ....""~, l ~ J\'a,lahl .. ar ch .. fifth , St-'"t'm h . I lrh. 17lh , anJ 19th ftl:ts,
and w' lh a h l lk rillCS<;- yuu 'l] /",d d'JI fUll t ,m also ( OOX (hem OUl of (he I1lstrlJJnem " ' m h",
p<lSlllons. M any ft"' ! ~rn porary f m;;.. "ry'" p layt'rs wil l oftcn st ru m all SIX ~tfHlt::S wh ,l" lingn m)(
" h,umonic p.,SII"", lII,tt'.ld (If p lay."...: rln Ol'CO si n n,!: chord HI dll
U l{ ~ rrodt~
tor
m n",,Io; ,
qn,lo;t ..
Mld ",~
nott'S as w t' li
a, "r*n "ho rd s, and;l!; [heS(' r Xllmplcs ,I how, lJ II "(["II b.. "a"xratO'd Into mort' involH,,-l sect IOns.
236
(j
11
CD2 TRACK 89
- D- r h
- ,.-:I
,"
"
t-;-
8. 16
,
0'
,,"
,,
....
,
"
]\ J J J
r , , ~-f,
,
.-, , ,
2
r-= r-, -
r U-F
"
r
-
(0)
, ,-,
4---i4}-------4 -
'-<0
:~"
"
,
,,
,,
o ' ~~'o
r r
,)
-, ,
4- (4)
.
u-r
j-2--2i 2 r-o-1 0
r,
"'...., ....
,-<7)
, ,
, ,
7-(7)
r
2 -<> ~
-{,
,,
,-
2-;2
.i --r
0-
r r
lo-t1Dr - - 1
.-
r r
II '
r-= r-, -
0-0-;'
r1 r--T-,
U~F
,
, , ,,
, , ,-<,
"
..., ,.., 1"'1
7---17)--------8-
rR rI " n
, '~2
g- g
, ,
7-; 1}----8 -
!o~lii
t. ,~_,
,Q5-Hn
r U-F
Jt::;
'j.
~,,,,
,, ,
Il9 J'J"l.J
i
r r
'2~~Q
1-'
7--{7}---B-
Il=i , }Il l
~r
I\-
10
-r1-h
,, ,
3-(3)
237
,-
I
I
I
c;;-;-;:,;;,c,;-';;-l
-
,..
.J
r IJ,=
Ef"r
-
N . JJ
,.-
.J
V I
Pf
I
J
I
I
238
11
CO2 TRA(K 89
'" r1 III
f'
--ii,
,
,
0
0
_.
,,~
,N
...., r-r-,
r~ r
f'
, ",
."
Q~ ~ ,
--
>-i'
"
,
~
, [d J L
r-
O ~
---2-2-3
0-----;'
"
"
.,,
--('
,
0
"
,
"
]l J
,
,
0
0
"
.J::l -=
f
3
Jl= if'll
--
;~~~f
)-0--=;=
r t. __
>-< 3)-------0
7~Jt---------80
t&='io
-3
Jl=i if'll
J J
3
3
-32 - 2 -.
>-3
,,
.J"""R
p-j
I-l
~
:~:
Jl=i if'll
r"11"'-1
J --Ll
VI
12'-1 2'---8 8
1111
99
,0
3 -{3
r
-
7 - i'i')- - -8
.J"""R
r ~ ~-
2 _ ~t-O
o- g
n=
FTl~
r U r r
.---..5~
IHOJ----it-
0-(0'
3---(3
~
239
11
C02 TRACK B9
.--.~
2~2-4 i ll
,
0
0
0
r
r
r
UU- r
r r
5-5;:{S
5 -------5-4-14
0)
0<0
3 - (3)
"
.' r ~'F
,,
2-(2)
",
--
,-<,
" -
0 '(0)-0
J i ll
c
"
= ..
,,o
, ,
')
r
,
l' J
,,, :~==
,-
..., ,--..,
r~
0
0
0)
"
l= ~l
"',92
i"i
,,
" "
"
":f
12--1 2 - -8
,-.
0)
-,
- ~
, // , 44 -1 J
,.....,
3---13)----------{l-
,.-,
r1~J4 I
, --o ~
0)- - - - - -
"
7--(1)-7
7 - (7)
.n= -
- 11- 10110
9-""'--9 - 8 -"(8)
8--(8)
'-'
- ,------<>---,
,, ,, ,, ,
, ;
;;--
--4=.~
O{O
I1l-fJ ~ ;
!!
"
r
U- r
r-
-~
0 - -(0)
(2) -0
,
240
0)
,
0
,
--
11
SLAPPED HARMONICS
W h.1. If ~'()Il
rht, dft'("l (ofharm on, c n<Jrt"~, h ut you r fn-{{ ,n).l haml i. bus r .. I...... wht' rt' lUI rh ..
W ,l m
I lOW S
R ~I .
~s
IIws(- pJay('1'5 dd"in<"<l , h(' (cxh ll l<IUl'. Wi t h ... Ioulc bl! of PTlI( UO: . sla p!'(".! h~ nnoOtn (~ n Ro ld a
~ffil l
makm~ . hr ir ust'" a
fl ng .... rslyhsls
As a l ('( h o'(IU{' thaI 's OOt p~ rl of.tIl- 'Sq,'Uvia-appro\'cJ' ~I of ru les. II helps gT('al ly 10 han'
, he ,ltlv:lIl"'gC' of s.cclllt: somOOllr uS(' h:ormom c slaps bl-forc m u.' ml'l ing 10 ~pply t hem yourself.
lJ owever, a lltde
('xpcnm~nt:l ll n !l
"to
to
rcs uk~ In
lilly
(IS(',
har m ClIll(' I"",'tll )ns of t h~ fin~~ rb'"lrd , 1I_'IIl~ th .. f1 ~,h)' fXlrt of the fLrst d'I' ,t 01 a If " l>~r I tel\d
to II ,,. .. ,t h,.r
my
I nd ~x or ml dd l.. fin);l"r, oft"n alt .. rnar in.>: brrw .... " th .. t W(\. ()'K,. a.>:", n , Ih .. F.l( t
that
15, I
(whI ch w .. rNllrn t o now) off.. r a qu,ck I-..)w .. r (" hord ,.n t h..
rt!
II ....
f"lInw ..d by a I b h ftN slap ,.f {h.. " I.,..n ' ..Hmd an d th ird str",gs w ,t h m y " I'h t - h"nd m,d ell ..
fin,>.; .. t
O.,n l lnu,"~
{O hold Iht, c hord , I now , lap , Iw tl()trom , h ",:(' smngs aj.(al n worh my roJ.( hr-
YOll
r do SO anov('
fO
pKk l n~ ha nd to sl np I hc Sl rll1~S dlrtCl ly abov(' , hc harmon ic pos;"on , h." you wIsh 10 ;\("SS. If
CO2 TRAC K 90
,
,
l_
,
"
-- ,,
,
,,
241
11
In
i;rl<l~
mck on
DADGAD ). Exercise 16 startS OY! wl I h a {,)u r-oo, phmS(' of >t [,JI~h tfor ""a rJ Ullh'<'rpKj,anj.: ,
th .."
u.""~
~ .gh dl
fi)lI()wlII~
;,r ...." .. m h
frt't~ . 1
as"'"
with mr ri)olh t -hand ' ",1.. x ring.. , an otrJvr ab'I~'" d ... f .... n ..d "ou-'. d out
frt'L I u", my fight-hand m,.i d l.. fi nX'" t" , t iP tilt'
n t'Ct""-'l t a tlll!;: a sw ift mnv"m .. nt
1,.,1"'..... 11
"pt'"
,~ , ,It
I ,lap.
C02 TRA(K 91
"i"
II.H. """',
.' ' I
"0
0
II.H . _
, .
, r-
' ~~
!;
,-.::
-'-'=l:!
~&-&
Ii
5
3'7"-5 5 5 5 5
3'7"'5
5
5
5
5
242
,.... .:
~l
....
---<>-O-~
---<>-
,,
,,-.,
s-:~=
~ -~-
qq ~
q- -
R. H. Har m .
:~~
~~~~
-i~
3r -3
....
g~g
o-o=- 0
'--L ,'
, ,--,
5
3":;: 3
IUt H.... m.
,,
,,
,,
RIGHT-HAND FRETTING
W hc-n )'ou firsl l{'";J.rnc-d
(0
pl.ly Ih.. sU lt~ r, you w .. r.. probably wid [hat """ h,,"d
and lh(' ot h('r ft,r s tru rn mmg m Pltk lllg . In moduli fi ll~ .. n.[ yl .. play"',i(, fh .s may h.. "nly
parllaUy n u('.
p.Ck lllg
u<."lsl ,,"all y
to
h.. )"Ou r
h~"J .
Let's h~~l u I,~,k ~[ exerc:ise 17. whleh nllls ists of alll)t h(". shorr (")K(" 'P' from my
compos' tJon
~rh('
Wlu k
Ih...... 1):1."1<
II>
to
a stand ard ham m~r-on wllh .h.. It-ft hand. , h'$ has ' 0
",d.. , co <."a" ou t [ h~ so u nd
n ~,tffi ft h
fi n~n
I)f
ha"'''''''IIIg Oil and r.. l.. a"tIl); rh... h .." and fourt h ~t r m1' 5 a t toc 5("(:00<1 {IT t "'Hh m y kfl twnd
dUrl llg , h.. f ..st . wo
h:I~ , t h~n
5wlf chlflb to ham lllC r-ons aml p ull -offs {or til<' shon mdOo.hc
phmse- in .h, rhlrd hat. Th e ('nu'e SCC u on is phl)TJ without any '1l01ll1d1" pI<k lllg nr
1)1lt'
t()
th (' sprt..... 1
~ t' u m rllll lg .
or nOles. it wou ld be diffi cult, if not illlpo,s iLJ ~ , to pb y u''''g " " tIllJJ pJ Jyl llg
.t(hn(I"('S,
A n:)ml,I(' ( ~ lmnsniption of 'The Groomsmen' l<,lJ"w-,
I"
"
0
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C02 TRA(K 9 2
11
C02 TRACK 93
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CO2 TRACK 93
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C02 TRACK 93
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D MINOR TUNINC
Now 1.. (\ Wflt ll ll:' InW [) m inor 1,," ,nJ.( ( DA D !'''! , w' fh "" m .. '''' ''''pr:; frum m r Iu"" '7 Y"a rs'
It ust'S a sim ilar ro}!;hr _hand f,.." ro "J,: ,,,rh n,,],,,,, , .so We" 01'1 .." pi" .... t hat ,d ..a f" rth .., along Ih" way
Exerci~s 18 to 20 slw;>w . hrt,(, d,tT('I\'m apPl'OIl("hn to pia yln).: rh.. sam.. s<nio n _ Exe rci se
18 C"Omh'n("S TI~ h [ _ h~Il< ' {reo,"/.: w " h harmonIC slnl'S, wh dt" e x e rcise 19 shows [h.. ph ra.....
9.
S("..nr h and , hlrd fll:'IS "" r h tht" n ,l; hr- h.l n<i
Ihe sam " nOtCS coul d ensoly!-.t play(~ 1 WI. h 1,,$[ Ih" I..ft harKl, hut th .. ackl'!lnn of <I )o;h l -
han.1 rapp mgs /.:""{'"s ,he paSS:lg(" ~ 5Ho ng(" rhyt h mIC {("('I.
BEHINDTHENUT BENDS
You w,llnOltCr that ('X('lcis.c 19 ~ bo introduces a new w,,), (0 'Ix".! ' " llmc, By pushing sl<kw:tys
Oll
th .. St'mud
stri,,~
to "<.hi~",~
tnh " iq ll ~
nlll
""
~tl~H
~"ll " ds
rh:1f
"m.!,.,
!h~
Whl~
ti] .. "'loud SUi llt; i. dropp"d mak~, rh ls ar rl" ~! I"n" lot ea"ef.
p" k~ yo u,s~lf " " th~
til(
d,~m
)~ '"
(lI lt
"~t th~
WII lIlg
way to
1"'<',,'. a lld
S(~od id~a to
If y"ur gU Itar's
beud thcm
ta ke a liltle praClICc
lI U1 I>U't Cut
to
,h'-" )I"u ml,!(h t find that you r t;Ulur d"'c'Su't stay'" Wnt' atter tI",
ma..tt'n-d ( h" I,.,;-h n 'q u.-. how..",.. r, you 'll find you"",lf wlIh a ",m p l.. n .. w lid,
CLASSICALSTYLE TREMOLO
Alt houg h nash)' tcch n'q U("s such as hJ rmoll oc sl.. ps or Iwo-hanJeJ luppmg oftCIl !---"(,I all Ih('"
~ lI l'UIIOU , t hl ~ an:
of tlot''''
da....~K.d ( rt-In"l"
IS 10 aJ d P (
to m,
p" k lllF
t h~1 (J Il ~ IW
II1~()l v(.,.
'11m
/X1I1' T11
You Can pby exercis e 21 '" ully I U" ' Ilt:, SUI,',' It'" ,)11 ~ song k SITIng, but for thl" S,1l..C of
r",,,,illg "!I
.."am plt',
u""d
to
rio .. neKt
eK~fl1p i~~ ,
to ~a,-h
I",m,!; ':o"",,,!;ru-d'
248
tu llt' y"u r
ul", u'"' hammer_"n" and pull-"f/." Ul':,"ug " r.. p.:at,,[,k phraS(', If your fingcr:<; arc
11
C02 TRACK 94
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C0 2 TRACK 96
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C02 TRACK 97
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3-----0
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249
1
MIDDLE FINGER SNAP
T h .. " " dd t" (i llb"r > "~ p
L,
.I
su" pk yet lugh l y ("({('('tI~(' tC'C h n.<.j uc for pro" " lm,l: rexrllre an, 1
pl~ y(' rs .
I~
put ro ,Io; r"". llM" n " [ II.. ,Io: lJl m r by Pl.'Y""" MOlh .. , M ~ n '" S' II1 p"'''' a nd Ste ye Baug hman . In orJ er
ro,i;rt {h.. forr.. n.-c""",1I.ry fi>r , .., ("""" 1.. 1,,)(0'( 11[,,,11 (1/ d", m,ddl .. I' ng.,( ~nap . ( url l he fi ng!.'r up
,nro fh .. pal m of yo.,. han.-I, a nd , h.." rtol .. a.o;e
11 :1.'
~"Iu m ..
Y"" g~t
,I yo .. ......
to
till S
{h d ang m otiOn
to
hH om."
of t t.., slr ings w it h t h .. bac k " f th .. m ,ddl" fll1gt' r',. 11.,, 1 III tillS w~y.
T ry " Iaym).:. exercise 22 by a l u' r!l~ u"", 1,..1"'.... n u." ng ~ ....g uJa r t hum b-st roke (p) 10 p lay
r h~
fou rth srri nJ.; , and r h.. m .dd lt' fi n!;... "Hl P
II>
Illt [h .. I lu rd
SHU'l;: .
If y"u rt""~lly
Wd ll(
10 oc
shc k . you can rry hi T ri n~ rht srnn.: AT 11"1(" har mon ,( ~ pvr :..v" , l ahl ~ ~ bov" whHe a 24 t h (ret wo uld
e" pt"Tlm t m iug , b ut g ettlllg til<' d J,, (\ of h!(tll"lg a h", mon l( nOTte wit h rh.;
tLI' g." .' l]a p is worth the d l' ]T[ .
Exercise 23 put, t he
aJ d iti o]], th .. big chord
to " low Call ow.
or C;
at th~
tr~l!l()J"
J'm~("r
dcm,)!\s t t~ ( CS
fo r('~
Sf"n ).'.
run "" j
m inor.
Play th roug h t h" !.har te r as ,,(t, I' a" u<''''s >J ry ~ uJ III you r o wn (]me . ~ nd J,sn'n w as manr
of th.. t: "' ta r;'h mt"nt HonM as yo" UUI to hra r hllw
YOll w ,1I ,,,,,n hav.. a wh.. lt" n.. w
250
,, !'.t",,~ 1
t h~ .....
of a m ,ddl ..
11
,
m'
m'
m'
m'
m'
m'
CD2 TRACK 98
m'
m'
CD2 TRAC K 99
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251
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55
Th .. n ......... ' vn rht- rwo <...ns p,l(kat-,<,<1 w"h ,h,s book aTt' all p lay<'<l :oml r...-nrrl ....-l by rh .. aurh<..rs rh(msd ws,
"xet-pt f"r th.. Lar .n an.! ,,(.,en n S('(" lIons of ,he '\'(forld Mu.~ic ' d'~p( .. r, wl"d, w .. r .. r.... rli.rm ... l ~n'" rt'("vrd.,,1 hy
RoJ ';r.I;S . In al l ta,;.. ), rht- mUSI(IlJ t'lm m p l('$ ar{' ,he copy n g lll of I h.. aUlh" ", elf ti, .. "" p""I IV" t hap' ....:; (n'.. pl
o( {ours( (tor t h... ,,-(a~ l<.n .. 1 f1<1n -.-upyn J;h l(..1 ' rrod u ,on3r lu nes uso:-J , whcTt' ti l<' .lud,o l'S h... v.. IllP)' II };llI '" thtarrnn~emcn t s). CI .. a.: tnnb . n'" nt - IOs ~ n..:1 rhylhm [rocks w{,[{, nOI usc-d {'xc rpl whn '" ""tOO To '''J I.: ", th .. llt'l;t LL'"
of rh .... spac .... on t h.... CD. w'" hJ~'" dl<lSt'n '" 5" pp ly m usic [ ~cks ma in ly {o r I h.... {ll<' rclseS lh al you
hmr p layed t o undl' rst dl1J lul ly Eat h l,srlO}; ht-};.ns w ,[h [h .... [r:1(k numocr, foll(),,,,' J by t h .. ." .. 1,,, ,, J " d
U ",fl,St'
n u mbcr Iha t .t'I> ""' ''' ..... IJ t .., w IIdd ll ,,, nnl n ur,'S fur so m e nacks com e "fu;r , h" l , III .tIIl,t typc:-.
CD 1
,
,,
,,
3
6
7
"
"""
"""
"""
'"
GNting
Getting
Getting
Getting
Getting
Getting
Getting
Getting
Getting
Getting
Rock &
Rock &
Rock &
Rock &
Rock &
Rock &
Rock &
Rock &
Rock &
Rock &
Starte d.
Started.
Sta rte d,
Started.
Sta rt ed.
Started,
Start ed,
St.. rted.
Started,
Starled,
Pop.
Po p,
PoP.
Po p.
PoP.
Pop.
PoP.
PoP.
Pop,
Pop,
Ex4
h5
E~7
E~ 9
Exl O
E~1 1
E~12
Exl 4
ExlS
hl6
h2
hS
bl1
hl4
blS
h40
El49
b60
h61
E~6 l
"
""
"
Blues. b l
n Blues. Ed
Bl ues. Ex4
Bl ue<;, h 6
Blue<;. h 8-l l
A series of blues
turn<lround, plllyC!d in
succession
Blues, E~l5
27 Blues, E~ l 6
81ues, Exlg
Blues, E~20
8lues. Exl9
"
"""
"""
""
"""
"
.,
"
"""
Bottlene<k. E~l
Bottleneck. E~ 2
Bottlene<k. Ell
Bottlene<k. Ex4
Boulene<k. ExS
Bo ttlene<k, h6
Bottleneck. Ex7
Bottleneck, ExS
Bottleneck, e.S &
bad"n9
The riff from x8
plilf"d with rhythm
guitilr backing.
8on lc!Occk, E.9
Bott leneck. E.9 slowe,
herme 9 played
slower,
Bottleneck, El l 0
Bottleneck , E~ II
Bottl ene<k, E~12
""
""
"
"
"
,.
"
"
"
"
"
"
60
62
6J
64
""
67
Countl)l. hl Melody
and rhythm guitar
ba(~ing.
252
"
Country, E.1J
Th author~ tun t>
Thetude '. pl<lyed
'rubato' w ith
improvisa tion "round
bars 11 - 14
""
"
"
""
""
""
'"""
""
'"'"""
""
"
Bluegra,~. E~19
Bluegra~s,
ExlO
Bl uegfass.
E~11
B l uegras~. E ~ 22
Blueg rass. h lJ
Bluegrass. hl4
Bl uegrass. Ex2 5
CD 2
2
,,,
,
,
""
"""
""
""
"
7
8
""
""
"26
27
""
Gypsy
Gypsy
Gypsy
Gypsy
Gypsy
Gypsy
Gyp~y
Gypsy
Gypsy
30 Gypsy
Gypsy
l2 Gypsy
Gypsy
Gypsy
"
""
""
""
""
""
Jazz.
Jazz.
Jazz.
Jazz.
Jazz.
Jazz,
Jazz.
Jazz.
JaZZ,
Jazz.
Jazz.
Jazz,
Jazz.,
Jazz.
""
""
58
59
62
"
"
Ex6
E ~8
E ~1 0
Exll
E~13
h15
E~16
E.17
E~ IB
h 19
E.20
E~2 1
Exl2
E.23
celtic. hi
Celt ,c. hl
)7 Celtic. Ed
Celtic. h4
Celtic. hS
Celt ic. E~6
Celt ic. Ex7
Celtic. ExS
Celtk, Ex9
Ce ltic. blO
Pennywhistle melody
With gUltilr
accomp;Jniment.
CeltIc. Ex 11
Arrilngem ent f or solo
guitar.
""
""
"
"
""
""
"
"
"
""
"""
""
"
"
Latin, Exla
SOl) CliNt> rhythm,
47 latin . Exl b
Rumba (lave rhythm .
l at in, Ex2
13 wn clave rhythm
With 'cascara ' timbale
p;Jttern ,
Lat,n, Ed
Se..le pl.. yed to
approp/ate batking
rhythm (Note Ihat,
be< ...ne of the
importance o( the
specifIC rhythm in the
L<lIIO genre. all
followil)9 Liltin
e.eroses are pl.. yed
against the
appropriaw backing
rhythm.)
l .. t,n. E. 4
"
"
""
"
L~tln, E~S
l at in, Ex6
Latin,
Laton.
Lat.n.
l at in.
l aton.
l <lton.
l at in.
Laton.
Lat on.
Latin.
EK7
ExS
h 9
h lO
h ll
h l2
hIJ
Ix14
h I '>
E~ 1 6
African. h I
Sikyi rhythm on belt
cabasa and conga.
Af",:an, Exl
Plilyffi to sikyi rhythm,
(No tc that, bt>(aust> of
the Import<l nce of the
5~cific rhythm in the
African genre. a l/
following Afri(~n
eXerciSe5 are played
against the
approp riate backing
rhythm.)
African . Ex]
Africa", Ex4
AfriC<I". Ex5
Afrkan. Ex6
Africa " . Ex7
H''1Mfe rhythm plilyffi
on bell, (db.Ha and
rongd.
Afroc<ln, h8
Played to highli'"
rtlythm (as are ..11
following ..).
Afro(an, E.9
Afr ,ciln. E ~ IO
AfnC iln. E~ 11
African. E~ l l
Kle zmer. h I
76 Klezme r. b l
77 Klezmm. Ex]
Klezmer, h 4
Klezmer, b5
'"
"""
""
"
""'"
"
""