I9 NIN0¡£8 0F N08I0, VI0£0 â JåN¡kå0k8 0N Y00k 00

|
±og JLNI ±o1±
LK£g.go[LS $1g.qq
ü0kl0'8
0l£åk£8¡
00I¡åk
BLACK
¡å8
MACIC

ü0N
åkN 8åN¡åNå'8 0lå88I0
å
8h0ü8¡
N
0FF£k
AII TBE RBYTBH & SûIûS FtIIY TABBEB!
Bost
80JJy
Bl

ühItt
u
In¿t6n
o
I6
s
ss6n
06r6k ¡r0cks styI6 cIass
Fl08 åll ¡hI8...
h0¡ 000N¡kY
06t y60r hn¿6rs ßyIn¿ WIth
NashvIII6's ßashI6st IIcks|
£kI0 J0hN80N
FIcks, strIn¿s, amµs â m6r6|
¡å88£0|
0l¡INå¡£
Cla
FIN0£k8¡Yl£
8ach's 86
s
0rá6
si
In £ m
ca
In6
l
r
10r/te/ µettetas
GU|TAPTLCHN|QULS 1UNL 20l2 £5.50
\|t|.ajer|ma.|c+| j|ece. tej|+¡ -
||ae., j+tt, |+t|a, ceaatr¡, le||&mere...
¯2012 FMIC. Guilo is a iogisloioo liaoonaik of Fonooi Musical Insliunonls Coipoialion. All iighls iosoivoo.
IK| k|| K|# kK|1!
´
!|K||!
ju1tJju1Iurs.con
'uro 2012 0uitar1echniques 3
COVERVERS¡ONS ure sLrunge LhIngs.
OILenµeoµIe suy, ¨WhuL`s Lhe µoInL In
doIng u cover versIonII you don`L rudIcuIIy chunge IL?¨ By Lhe sume Loken, II
you rudIcuIIy chunge IL why noL wrILe u newsong unywuy?
BuL LhenLuke u cover versIonIIke Joe Cocker`s WILhA¡ILLIe HeIµ ¡rom
My ¡rIends: uImosL unIversuIIy Iuuded us unImµrovemenL onLhe SergeunL
Peµµer orIgInuI (uILhough¡ Iove RIngo`s nuIve rendILIonund Lhe µurILy oI Lhe
bund), IL`s vusLIy dIIIerenL und yeL mIghL noL huve sLood uµ wILhouL Lhe
sLrengLhoI ¡ennonund McCurLney`s wrILIng Ior suµµorL.
AnoLher number oILenhuIIed us beLLer LhunLhe orIgInuI Is LhIs monLh`s
muInLrunscrIµLIon. CurIos SunLunu wus und Is u huge PeLer GreenIun, und IL
wus Greeny`s Lruck SuµernuLuruI IromLhe JohnMuyuII
uIbumAHurd Roud LhuL Lurned hImonLo Iong,
susLuIned noLes und InLurnheIµed Ieud Lo Lhe Mesu
BoogIe µhenomenon. WhuL ¡ IIke ubouL CurIos` Luke on
u hero`s work Is LhuL, whIIe he und hIs bund Imbue IL
wILhLhuL deIIghLIuI ¡uLInIeeI, uddIng newmoLIIs und
LexLures uIong Lhe wuy, he does so wILhLoLuI reverence
Lo Lhe song und Lo Green`s ownguILur µIuyIng.
CurIos IIILs PeLer`s meIodIes InLo u newreuImwhIIe
resµecLIng LheIr orIgInuI InLegrILy. ¡L Lukes u generous
PXVLFLDQWR GR WKDW DOO WRR RIWHQZH ¿QG WUDFNV
LrumµIed under IooL or sLeum-roIIered InLo submIssIon
by bunds or µIuyers LhuL seemLo huve no regurd Ior Lhe
µIece oI work Lhey`re muuIIng. JumIe HumµhrIes
Lubbed IL und IL`s greuL Lo huve JumIe buck InLhe mug.
As u bIg CurIos IunsInce hIs Dud Look hImus u seven-
yeur-oId Lo see Lhe greuL munµIuy Lhe AIberL HuII In
¡ondon, IL wus hIs µerIecL re-enLry Lo GT.
AquIck word Loo ubouL Lhe UILImuLe ¡IngerµIckIng
PuLLerns IeuLure LhuL TrIsLunSeume hus µenned Ior us. ¡IngersLyIe hus
become so ImµorLunL unuµµrouchLhese duys LhuL II you don`L knowLhe
EDVLFV DQG LQGHHG D ELW EH\RQG WKDW \RX¶OO ¿QG \RXUVHOI OHIW EHKLQG 6R QRW
onIy does TrIsLundescrIbe hIs Toµ 1oµIckIng sLyIes wILhgreuL cIurILy, Lhe
µIeces he`s wrILLenLo demonsLruLe Lhemure mInI works oI urL InLhemseIves
LhuL you`II huve greuL IunIeurnIng. As TrIsLunsuys InLhe IeuLure, geL u IewoI
Lhese under your beIL und you muy dIscover u whoIe newdIrecLIonInyour
µIuyIng. Enjoy Lhe resL oI Lhe mug Loo - us usuuI IL`s µucked wILhgreuL sLuII!
Huve Iun- see you nexL monLh...
ü6Ic6m6
W£ WlLL: b.|rg ycu t|o .c.|Js
|rost gu|t.. tu|t|cr ovo.y ncrt|,
|.cn t|o ncst |rsp|..t|cr.| c| tutc.s
Ou. t..rsc.|pt|crs .||| bo .s .ccu..to
.s |un.r|y pcss|b|o, cu. |osscrs .|||
|np.cvo ycu. sk|||s .rJ cu. ccvo. ´|
.||| p.cv|Jo ycu .|t| |cu.s c| p|.y|rg
|ur \o .||| n.ko ycu . botto. p|.yo.!
1he 01
100
h00k8
0F ¡0I¡I0N
F0k £6.60|
86m6 6f y60r r6¿0Iar
0¡ t6chnIq06 6xµ6rts...
P£7£CALLAR0
Pete'smanycredltslncludeLlonel
Plchle, AnnleLennox, ChakaKhanand
Shlrley8assey. Heworksregularlyln
thestudlo, onTvandlnthewest Lnd.
MAR7lNC00P£R
Atutor at 8|MM8rlghton, Martln'sPock
columnsarewrlttenwlthstyleand
commltment. Hls2006albumStateOf
TheUnlonlsavallableonlTunes.
7RlS7ANS£UM£
Oneof thecountry's topsoloacoustlc
muslclansTrlstanteachesat ACMln
GulldfordandworksaroundLurope
wlth1ackleOatesandMlkeCosgrave.
S7UAR7RYAN
Stuart lsHeadOf Gultar at 8|MM8rlstol,
teachesat 8athSpaUnlversltyandlsa
topsoloacoustlcgultar vlrtuoso. Hls
debut CD, TheCoast Poad, lsout now.
SHAUNßAX7£R
Oneof theUK'smost respectedmuslc
educators, Shaunhastaught many
whoarenowtoptutors. Hlsalbum1azz
Metal washalledasamllestone.
ßRl00£7M£RMlKl0£S
Gulldhall andPoyal Academytralned,
8rldget lsaPoyal Collegeof Muslc,
examlner, arespectedclasslcal player
andawardwlnnlngbluesgultarlst.
SC077Mc0lLL
US-bornScott runsthe8AHonscourse
at 8|MM8rlghton. HlsbookTheGultar
ArpeggloCompendlum andsoloCD
Symptom|mperatlveareout now.
0AVl0M£A0
Lx-edltor of Gultar Technlques, Davld
lstheUK'stopwrlter of gultar tultlon
books. He'salsocurrentlyworklngon
thefollow-uptohlsalbumNocturnal.
MANU£LAHLÇVlS7
Manuel lsasuper Swedlshgultarlst
andtutor whotakesover The Gultar
|nstltute'scolumnfor ñvemonths, wlth
agreat newserlesonpentatonlcs.
PAULßl£LA70WlCZ
Oneof our greatest rockgultarlsts, Paul
playswlthproglegendsCarl Palmer
andNeal Morse, andlsamost welcome
regular contrlbutor toGT.
1AMl£HUMPHRl£S
Longtlmefrlendof GT1amlehasbeen
busyworklngalongslde8rlanMayand
KerryLllls, aswell asplaylnglnthe
orchestrawlthPhll at wwP¥.
CHARLl£0RlFFl7HS
Gultar |nstltutetutor Charlleñrst came
tofamelnTotal Gultar'sChallenge
Charlleserles. He'salsooneof theUK's
toprock, metal andfuslongultarlsts.
PHlLHlLß0RN£
TheUK'sorlglnal magazlnegultar tutor
Phll'ssomethlngof alegend. Agreat
player heregularlyplaysgultar lnthe
Queenmuslcal, wewlll Pock¥ou.
lGGUEUOOdUMEUO1U
1erms, conditions and excess apply. Allianz Musical |nsurance is a trading name of British keserve |nsurance Company Limited (Bk|C), a wholly owned subsidiary of Allianz |nsurance plc.
Bk|C is authorised and regulated by the Pinancial Services Authority. kegistered ofhce: 57 Ladymead, Cuildford, Surrey CU1 10B. kegistered in Lngland No. 3O7622.
|n tune with your needs
Public Liability with Personal
Accident cover now available
Allianz Musical |nsurance provides specialist policies for all types of musical instruments.
Public Liability with Personal Accident cover nowavailable
Policies are tailored to suit your individual needs
Call nowor visit us online for a quote
O8OO O48 OO64
www.allianzmusic.co.uk
Allianz Musical |nsurance
||lKälää /"ä|
ïl||" 8lîI|K||lîî
L£SSONS IN7RODUC7ION 53
Lord Sldwell of thls parlsh lntroduces GT205's
all-playlng, all-pranclng lessons sectlon!
30·MINU7£ LICk8AG 54
Slx fabulous llcks ln easy, lntermedlate and
advanced levels fromScott McGlll.
8LU£S 56
1acob Qulstgaard takes us lnto the muslcally
brllllant world of sllde genlus Derek Trucks.
ROCk 60
Martln Cooper takes a reverent look at the
playlng of the late, great Ponnle Montrose.
CR£A7IV£ ROCk 68
Shaun 8axter has even more ways to help us
become more creatlve gultarlsts - thls one
feature ls worth the cover prlce alone!
HO7 COUN7RY L£AD 72
Andy Saphlr wlth a cool newserles showlng all
those fabulous ñnger-twlstlng Nashvllle llcks.
1A77 76
Pete Callard shows some great ways to put all
those newchord volclngs and lnverslons lnto
actlon ln a muslcal context.
ACOUS7IC 82
Stuart Pyan pays trlbute to ban[o legend Larl
Scruggs wlth some gultar-frlendly ldeas.
ROCkSCHOOL 86
Charlle Grlmths goes a llttle darker thls month
as he lnvestlgates ways to create and use
chords (harmonlse) wlth the mlnor scale.
W£LCOM£ 3
Can a cover verslon ever oust the orlglnal!
7H£ORY GODMO7H£R 6
Our resldent egg-head Davld Mead answers
your playlng posers and technlcal teasers.
7ALk8ACk 9
we're lnterested ln what you have to say about
gultars, gultar muslc and Gultar Technlques!
IN7RO 10
Latest news, One-Mlnute Llck, Hot Por Teacher,
30 Seconds wlth, what Strlngs and more!
AL8UMS 92
The top CDand DvDs revlewed and rated.
7A8 GUID£ 94
Our terms and slgns - get the most fromGT!
SU8SCRIP7IONS 91
Save hassle, tlme and money and get Gultar
Technlques dellvered to your door. So easy!
N£X7 MON7H 98
Clapton/8roonzy Hey Hey! And loads more!
'uro 2012 0uitar1echniques
8UDDY WHI77ING7ON PAR7 1 62
The wonderful texan blues gultarlst has some
treats ln store wlth thls excluslve serles...
||lI1K|î
· CONTENTS · J UNE zo1 z ·
00V£k ¡kåN80kIF¡I0N
8LACk MAGIC WOMAN
Santana 16
1amle Humphrles transcrlbes thls fabulous
track from Santana's early catalogue. Learn all
the gultar parts [ust as Carlos played'em!
8F£0Iål F£å¡0k£
UL7IMA7£ IING£RPICkING
l0 vltal Patterns ¥ou Need 24
Trlstan Seume oners a superb look at the
plcklng styles any modern gultarlst needs ln
thelr arsenal - great muslc pleces to learn too!
CLASSICAL SHR£D: MO7AR7
Llne Klelne Nachtmuslk 42
Paul 8lelatowlcz arranges and tabs for electrlc
gultar one of The Master's most famous and
lmportant pleces: A Llttle Nlght Muslc!
¡kåN80kIF¡I0N #3
CLASSICAL: 8ACH
8ouree ln L Mlnor 38
8rldget creates another solo verslon of
a famous classlcal number for your solo
repertolre - thls month 8ach's 8ouree.
¡kåN80kIF¡I0N #z
|
|
\
|
|
|
`
V
|
´
|
A
|
|
|
|
¯
|
A
|
|
/
|
|
¯
|
A
k£00låk F£å¡0k£8
lI8¡£N,
l£åkN
åN0 FlåY|
AII song und Iesson
Lrucks cun be heurd
on Lhe CD!
N0ü0£¡
0¡0N IFå0|
Check cut Apple's
Xewsstand lcr the
01 paçeturner
app!
9
0
0
0
|| .o· ·o ¸·eo| .o·||·¸ .||| |·eJJ|e o·J ||e ·o·J. ||e·e .o·
o|.o,· ·o·e|||·¸ o·o·oo| |o .o·| ||e ¸o||o· |·|o. o·J o·oo||, || .o·
|· ·o·e .e|·J |e, o· .e|| ^·J ||o| |e|¡eJ. ·ecoo·e ||e· ,oo |o.e ·o
¡·eco·ce|.eJ |Jeo·. ·o || ,oo Jo co·e o¡ .||| ·o·e|||·¸. ||· ¸o|·¸ |o ·e
·o·e|||·¸ o·o·oo| |.e o|.o,· ||oo¸|| o| ||e ¸o||o· o· o·o||e· .o|ce.
·o | ·|o·| .||| o .o|ce. .||c| |· o··.e·|·¸ o· ·|·¸|·¸ o|o·¸ .||| ||e .oco|
o·J |·o· ||·e |o ||·e ,oo co· |eo· o ¡|oce .|e·e o||e· .o|ce· .oo|J
co·e |·. |||e ·oc||·¸ |o··o·|e·. .||c| ||e· ·eco·e ¡o·| o| ||
0U0!| |k0M !k|K|Nû ûU|!kk!: 8k|kN Mk\ 0N Ck|k!|Nû NkkM0N\ ûU|!kk ||N|!. 8¡kB 80080 B|¡|...
IJªªt¡
äªJmª|Jªt
|cst ycu. p|.y|:gpcso.s .:Jtoc|:|c.| to.so.s tc ¯|oc.y ´cJnct|o.,
´u|t.. ¯oc|:|ouos, 30Vc:ncut|St.oot, b.t|, bA12b\, c. on.|| no.t
gu|t..toc|:|ouos,|utu.o:otccn ycu. .|s||s ny ccnn.:J!
Q ExampIe IracI Iaken
!rom TaIking 0uiIars by
David Mead, pubIished
by SancIuary, IS8N:
1-B6074-620-9.
Price: £9.99 (UK),
$14.99 (USA).
q&A
Star|lIIlk |k|ll
8loclstot ote ç|v|nç out stot 7C lettet
one ol the|t ct|ll|ont µeJols eoch
month. v|s|t www.cloclstotomµs.
co.ul onJ tell us wh|ch you´J l|le,
shoulJ yout lettet ce the lucly one.
0uitar1echniques 'u:o 2012
Iatt Iam||e
0ear !|ecr, ûc4mct|er
|'ve read lots of artlcles about
[azz scales and how to get non-scale
or chromatlc notes lnto your solos
but | [ust end up confused wlth
all the blzarre theory lnvolved. |t
seems that ln order to play, say, a v-|
run you have to throw a swltch ln
your braln and start thlnklng ln an
entlrely dlnerent key and scale type
- and probably for only half a bar!
Can | challenge you to come up wlth
a really slmpllñed way of looklng at
lntroduclng on-scale melody llnes
lnto [azz solos!
Mott
| .|..ys o:¦cy . c|.||o:go, V.tt! ¯|o
|.st t||:g |J .occnno:J |s t|.t ycu
stcp |cck|:g .t t|o t|oc.ot|c.| s|Jo c|
t||:gs .:J t.y tc |ccus c: .|.t ox.ct|y
|s |.ppo:|:g c: t|o |.otbc..J |: .o.|
to.ns .|o: ycu ..:t tc .JJ . ¦...
|.vcu. |:tc . \| c|c.J c|.:go
|o.sc:.||y, | to:J tc |cck .t t||:gs
t|o ..y | ..s s|c.: by 'co |.ss
yo..s .gc .|o: |o |:t.cJucoJ no
tc t|o s|Jostopp|:g p.|:c|p|o 'co
s.|J t|.t .|| t|o c|.cn.t|c tc:os ycu
:ooJ ..o no.o|y . |.|| stop ...y
|.cn t|o sc.|o tc:os .:J sc, |c. t|o
ncst p..t, .|| t|.ts |.ppo:|:g |s t|.t
ycu.o p|.y|:g t|o s.no k|:J c| s|.po
c: t|o |.otbc..J . son|tc:o ||g|o.
t|.: ycu .cu|J bo || ycu .o.o us|:g
c.J|:..y sc.|o tc:os Obv|cus|y, t||s
..s . go:o..||s.t|c: .:J :ct . |c.nu|.
|c. so.n|oss ¦...|:g, but |ts . g.o.t ..y
tc oxpo.|no:t cvo. b.ck|:g t..cks || ycu
Jc:t ..:t tc got bcggoJ Jc.: .|t|
.|| t|o t|oc.y \|.ts nc.o, |ts . ..y
c| oxp|c.|:g t|o ¦... |.:Jsc.po .u..||y
.:J :ct |.cn . .|c||y toxt bcck pc|:t
c| v|o. \|t| t.b sc .o.J||y .v.||.b|o
:c., | Jc .c..y t|.t .o.o b.ooJ|:g .
go:o..t|c: t|.t .cu|J ..t|o. |:J t|o
t.b |c. scnot||:g c: t|o |:to.:ot .s .:
.|to.:.t|vo tc .c.k|:g |t cut t|o gccJ
c|J |.s||c:oJ ..y |ts cc:vo:|o:t, tc bo
su.o, but |t Jcos:t Jc .:yt||:g |c. t|o
o..t..|:|:g s|Jo c| ycu. nus|c|.:s||p
Sc |ots |cck .t . |o. ox.np|os c|
|c. s|Jostopp|:g c.: bo put |:tc
p..ct|co bo.. |: n|:J t|.t |: c.Jo. |c.
t||s |:|c.n.t|c: tc .o.||y |nboJ |tso||, ycu
:ooJ tc oxo.c|so . co.t.|: Jog.oo c| t.|.|
.:J o..c. bo|c.o t||:gs st..t tc boccno
|:st|:ct|vo .:J :.tu..| scu:J|:g
|: |x.np|o 1 |vo cut||:oJ t|o \|
no|cJy ||:o |: ´ n.¦c. \o.o us|:g
c.J|:..y ´ n.¦c. sc.|o tc:os tc ncvo
|.cn t|o ´ tc t|o ´ .:J t|o.os :ct||:g
cc:t.cvo.s|.| t|o.o .t .|| |c., || .o
..:t tc .JJ . ||tt|o ¦... tc sp|co t||:gs
up .o c.: Jc scnot||:g ||ko |x 2 |c.,
|ts |npc.t.:t t|.t ycu :ct c:|y |o..
.|.ts |.ppo:|:g |o.o but .|sc t|.t
ycu soo |c. t|o ´ sc.|o |.s boo: bo:t
cut c| s|.po s||g|t|y tc .cccnncJ.to
t|o ¦...|o. vo.s|c: A|| |vo Jc:o |s s|Jo
stoppoJ, ncvoJ c:o |.ot tc t|o .|g|t tc
.ccoss .: |:bot.oo:, :c:sc.|o tc:o |:
ny t..:s|t|c: |.cn t|o \ tc t|o | At t|o
ncno:t, |ts u:|npc.t.:t .|.t |nJc|:g
|.cn . toc|:|c.| .:g|o, ¦ust |cck .:J
||sto: .:J .g.oo t|.t |t scu:Js ||ko t||:gs
..o ncv|:g |: . ¦......Js J|.oct|c:!
|| | :c. oxto:J t||:gs .|t| |x.np|o
3, .o|| .JJ . ccup|o nc.o c|.cn.t|c
tc:os |:tc t|o .u: .:J |o.. t|o o|oct
O:co .g.|:, |ts bog|::|:g tc scu:J ||ko
¦..., but .|| |n Jc|:g |s stopp|:g c: t|o
c..cks |: t|o nus|c.| p.vono:t
As | s.y, t||s |s:t scnot||:g t|.t
ycu|| bo .b|o tc Jc cvo.:|g|t, but |ts .:
o.sy o:cug| t||:g tc oxp|c.o .|||o ycu
p..ct|so, ¦ust ncvo scno sc.|o tc:os
c:o stop tc t|o .|g|t .:J ||sto: tc t|o
o|oct t|oy |.vo
||:.||y, |o.os c:o | n.Jo o..||o.
(|x.np|o 4) |n st||| t||:k|:g ´ n.¦c.
sc.|o |o.o, but . ||tt|o oxpo.|o:co |.s
t.ug|t no .||c| :ctos | c.: s|Jostop
tc g.|: t|o o|oct | :ooJ ¯.y |t, bo
p.t|o:t, ||sto: tc .s n.:y c| t|o g.o.t
¦... p|.yo.s .s ycu c.: tc ||| ycu. |o.J
.|t| pcss|b|||t|os, koop c: p|ugg|:g
...y .:J .|o: ycu |:.||y |:J scno
k|:J c| |uo:cy, t.ko . |cck .t t|o t|oc.y
bo||:J |t c:co .g.|: .:J u:Jo.st.:J
.|.t ycu.o Jc|:g +cu|| p.cb.b|y .g.oo
t|.t t|o p..ct|co |s nuc| o.s|o. tc |gu.o
cut t|.: t|o t|oc.y!
!tr|aq|aq Ihe 8|aes
0ear !|ecr, ûc4mct|er
¥ou probably recelve a lot of questlons
about bendlng strlngs, but |'mtrylng to
play a blues rhythmllck ln L whlch calls
for the thlrd strlng to be bent up
a full tone at the 2nd fret (A to 8).
The problemls that lt hurts! | can't even
get up a full half step before my ñnger
[ust glves up. Have you any advlce on
how| can make thls happen or should |
send my left hand to the gym!
Pete
|n guoss|:g t|.t t|o ||ck .o.o t.|k|:g
.bcut n|g|t bo t|o c:o |: |x.np|o 5,
|oto |su.||y, t||s |s . ouost|c: c| t|o
|.ott|:g |.:J g.|:|:g su|c|o:t st.o:gt|
tc n.ko t|o bo:J .c.k cbv|cus|y
bo:Js ..o nc.o J||cu|t Jc.: .t t|o
o:J c| t|o |.otbc..J .|o.o ycu.o
|g|t|:g .g.|:st t|o .|g|J|ty c| t|o
:ut but |ots .u|o cut . |o. t||:gs |.st
A.o ycu .ttonpt|:g t||s bo:J c: .:
.ccust|c gu|t.. c. c: . gu|t.. .|t| .
.cu:J t||.J st.|:g` ||t|o. .||| n.ko t|o
¦cb |.. nc.o J||cu|t .:J .: u:.cu:J
t||.J st.|:g |: . ||g|t sot s.y, 009s c.
010s .||| n.ko t|o ¦cb . |ct o.s|o.
|oxt, .||c| |:go. ..o ycu us|:g tc
n.ko t|o bo:J` |vo ¦ust p|.yoJ t|o ||ck
.:J |n us|:g ny socc:J |:go. (|.st
|:go. bo||:J tc st.o:gt|o: t|o bo:J),
but | c.: .|sc n.ko |t .c.k .|t| t|o
t||.J |c. ..o ycu p..ct|s|:g t|o ||ck`
A.o ycu bo:J|:g t|o t||.J st.|:g up
tc t|o p|tc| c| t|o cpo: socc:J st.|:g
b` +cu Jc:t :ooJ tc gc ou|to sc |.. |:
b|uos .s |ts .ccopt.b|o || t|o b c: t|o
t||.J st.|:g |s s||g|t|y |.t
|| .|| t|o bcxos |vo no:t|c:oJ ..o
t|ckoJ, t|o: |t .o.||y |s . n.tto. c|
g.|:|:g st.o:gt| .|t| t|o |.ott|:g |.:J
|:go.s v|. p..ct|co, .:J t|o bost ..y c|
p..ct|s|:g |s tc koop .ttonpt|:g t|o ||ck!
Measar|aq 0p
0ear !|ecr, ûc4mct|er
what's the dlnerence between a long
scale gultar and one wlth a short
scale! | keep readlng the tech spec of
gultars on websltes and they seem
to vary between about 24.75 and
25.5 lnches but what advantages/
dlsadvantages are there for the player
ln chooslng one scale over another!
Co/ln
|.cb.b|y t|o ncst |nnoJ|.to|y
:ct|co.b|o J||o.o:co |s t|.t c| st.|:g
to:s|c:, ´c||: || ycu .o.o tc put t|o
s.no g.ugo st.|:gs c: . |os |.u| (245)
.:J . St..t (255) ycuJ |:J |t o.s|o. tc
bo:J st.|:gs c: t|o ´|bsc: ¯c oou.||so
}ål
\lslt www.4aºl4mea4.aet te c|ec| eat
0aºl4's |ee|s aa4 se|e C0...
my chord vocabulary, but keep
ñndlng myself golng backwards and
forwards to a chord book and trylng
to memorlse seemlngly random
unconnected shapes. |s there a system
you can share wlth us!

¯|o |Jo. bo||rJ c|c.J oxtors|crs .t .
b.s|c |ovo| |s t|.t ycu ..o .JJ|rg rctos
|.cn . c|c.Js .o|.toJ sc.|o tc t|o b.s|c
t.|.J |r c.Jo. tc .JJ |..ncr|c cc|cu.
As .r ox.np|o c| t||s, |cck .t |x.np|o
6 t||s |s . ´ n.¦c. sc.|o .|t| |ts t.|.J
ccnp.|s|rg t|o 1st, 3.J .rJ 5t| rctos
|r ´ n.¦c.s c.so, t|oso rctos .cu|J
bo ´, | .rJ ´ .rJ t||s |s t|o |o..t c|
.ry ´ n.¦c. c|c.J, .ry.|o.o cr t|o
|.otbc..J |t Jcos no.r t|.t .o |.vo
|cu. sc.|o tcros |o|t cvo., t|cug|, .rJ
sc n.ybo t|o.os scnot||rg .o c.r uso
t|on |c. |r . |..ncr|c ccrtoxt
t|o tors|cr bot.oor t|o t.c gu|t..s,
ycuJ |.vo tc stop t|o g.ugo up . rctc|
cr t|o |os |.u| .rJ st.|rg |t .|t|, s.y,
010s (St..t us|rg 009s)
|r t|o .ccust|c .c.|J, |crgo. sc.|o
|orgt|s ..o |.vcu.oJ boc.uso |t no.rs
t|.t J.cppoJ tur|rgs ..o nc.o .ccu..to
|r to.ns c| |rtcr.t|cr, but tc bo |crost,
| |.vo cro c| o.c| .rJ t|oy ..o bct|
.o.scr.b|y tc|o..rt c| ny subto...ro.r
b.ss no.rJo.|rgs!
Sc t|o .Jv|co |o.o |s tc gc s|cpp|rg
.|t| ycu. oyos .rJ o..s .rJ || ycu
||ko t|o |ccks, scurJ .rJ |oo| c| .r
|rst.unort t|or |ts p.cb.b|y t|o cro
|c. ycu .og..J|oss c| |ts toc|r|c.| spoc
8a||6|aq lxteas|eas
0ear !|eer, ûe4met|er
Can you throw any llght on how
to learn the theory behlnd chord
extenslons! |'m trylng to expand
_ ¿
¿

,
, ,
,
, ¸
,
, ,
,
,
G7
3 4
6 4
4
6 5
4
¸
C
5
_ ¿
¿

,
Ex 1
,
,
,
,
,
,
,
G7
3
6 5 3
5 4 2 4
¸
C
5
_ ¿
¿

,
,
,
, , ¸
,
,
,
G7
3
6 5 3 4
5 4
5
¸
C
5
_ ¿
¿

,
, ,
,
,
, ,
, ¸
,
,
G7
3 4 3
6 7 4
4
5
¸
C
5

1 3 5
3
0 2 3
0 2
0 1

C
1
0
2
3

1 3 5 6
3
0 2 3
0 2
0 1

C6
1
2
2
3

3
0 2 3
0 2 3
1

C13
5
5
3
2
3

Cmaj7
1 3 5 7
3
2
0
0 0
0
2
3

C6/ 9
1 3 6 9 5
3
2
2
3
3 3
3
2
2
3
_
¸
¸
¸
¸
¸
¡¸

¡
¸
,
¸
,
( )

,
,
,
, ¸
, , ,
,
, ¸
,
0
0
0 3 0
3 2 0
2
2 4

,
,
,
,
,
,

,
,
,
,
,
,
¡

¡

E
0
0
1
2
2
0
|/kM|||! 1·º
'uro 2012 0uitar1echniques
cct.vos c| t|o sc.|o |ts no.rt tc bo
s|np|o., but scnot|nos | .crJo.!
¯||s |s t|o b.s|s c| .|| c|c.J
oxtors|crs, rctos |.cn . t.|.Js .o|.toJ
sc.|o g|v|rg t|o c|c.J . s||g|t|y
J||o.ort |..ncr|c |uo ArJ usu.||y |ts
o.sy tc .o.J .|.t |.s boor .JJoJ v|.
t|o c|c.Js t|t|o, t|oy.o ||ko s|c.t|.rJ,
sc t|.t . ´6/9 |s no.o|y t|o ´ t.|.J .|t|
bct| t|o 6t| (A) .rJ 9t| (|) .JJoJ |r
|c. o|oct .rJ p.uroJ tc |t cr t|o gu|t..
rock (|x.np|o 8)
|ts t|o s.no sc.t c| |Jo. .|t| n|rc.
.rJ Jcn|r.rt c|c.Js, tcc A|| t|.ts
|.ppor|rg |s t|.t rctos ..o bo|rg
.JJoJ tc t|o b.s|c c|c.J |.cn t|o
.o|.toJ sc.|o Sc |r t|o c.so c| . ´13, |ts
. ´ c|c.J .|t| t|o 9t| .rJ 13t| rctos
.JJoJ rct .|..ys pcss|b|o tc |.ot sc
|x.np|o 9 |s cro pcss|b|||ty
Sc cro su.o ..y c| .vc|J|rg ycu.
ccrst.rt .us| b.ck...Js .rJ |c....Js
tc t|o c|c.J bcck |s tc |cck .t t|o
b.s|c s|.po ´, ´n c. ´ .rJ .JJ
.|.tovo. rctos ..o rooJoJ tc |t |.cn
t|o su..curJ|rg .o|.toJ sc.|o |t Jcos
no.r t|.t ycu |.vo tc krc. ycu. sc.|os
.|| cvo. t|o |.otbc..J, but t|.ts .|.t
p..ct|co |s .|| .bcut!
kwkwar6 Memeat
0ear !|eer, ûe4met|er
|t's taken me a long tlme to learn a
plece on the gultar, but now |'m left
wlth one awkward posltlon change
that [ust defeats me every tlme. |'ve
dedlcated many hours gettlng thls
thlng up and runnlng and |'m not
golng to let thls one element of lt
beat me! Have you any advlce for
worklng the bugs out of a plece or ls
lt [ust down to even more slog ln the
practlce room!

|su.||y .|.t |J .occnnorJ |o.o
|s t|.t ycu |sc|.to t|o t.cub|oscno
c|.rgo, t.ko |t ccnp|oto|y ...y |.cn
t|o p|oco .rJ p..ct|so |t sop...to|y
|c. . .|||o |ts . b|t ||ko .c.k|rg cr .
|.u|ty n.c||ro, ycu |rJ t|o b|t t|.ts
Jo|oct|vo, t.ko |t cut .rJ |x |t A|to.
. .|||o t|oso ||tt|o Joncrs torJ tc
gc ...y by t|onso|vos, but || | .o.o
to.c||rg ycu | .cu|J bo c|ock|rg .
|o. ct|o. v..|.b|os, tcc ||J ycu .c.k
t|o p|oco cut |c. ycu.so|| c. t.ko |t
|.cn . t..rsc.|pt|cr` || |ts o|t|o., .sk
ycu.so|| || ycu c.r ycu t.ust |t A|..ys
.ononbo. t|.t t|o.o n|g|t bo .r
o.s|o. ..y, . nc.o |cg|c.| |rgo.|rg c.
. J||o.ort pcs|t|cr cr t|o |.otbc..J
.|o.o |t n|g|t .c.k botto. || |ts |.cn .
t..rsc.|pt|cr, |rJ .r .|to.r.t|vo vo.s|cr
.rJ |cck .t |c. t|oy |.vo rct.toJ .rJ
|rgo.oJ t|o t.cub|o spct |t n|g|t bo
J||o.ort .rJ t||s ccu|J bo o.s|o.
|| ycu Jc ycu. .oso..c| .rJ |rJ t|.t t|o
t..rsc.|pt|cr |s cc..oct, t|or .osc.t tc
p|.r A, .||c| |n .|..|J |s nc.o t|no |r
t|o .ccJs|oJ!
|r |x.np|o , |vo .JJoJ t|o 6t| rcto
c| t|o ´ sc.|o t|o A tc t|o t.|.J .rJ
c.o.toJ t|o c|c.J c.||oJ ´6, ycu c.r soo
.|y 6t| rcto c| t|o sc.|o .JJoJ tc
t|o t.|.J oou.|s ´6, .|g|t` Or t|o gu|t..
.o |.vo tc ccnp.cn|so . b|t c.|rg tc
t|o ..y t|o |rst.unort |s turoJ .rJ
t||s no.rs t|.t .o n|g|t |.vo tc |o.vo
t|o cJJ rcto cut |r |x.np|o s c.so
|vo cn|ttoJ t|o 5t| (´) sc t|.t t|o A |s
.v.||.b|o cr t|o s.no st.|rg, |ts st||| .
po.|oct|y uso.b|o ´6, |c.ovo.
|oxt, ||| .JJ t|o t| rcto, t|o b, |r
´ n.¦c.s c.so, .rJ |r Jc|rg sc .o orJ
up .|t| . ´ n.¦c. (t|o .c.Jn.¦c. |s
p.osort |o.o tc J||o.ort|.to bot.oor
´n.¦ .rJ ´, ccr|us|rg|y, t.c tct.||y
J||o.ort c|c.Js)
¯|o .o.scr .|y ycu scnot|nos |rJ
runbo.oJ oxtors|crs t|.t gc cvo.
sovor |s boc.uso ccrvort|cr J|ct.tos
t|.t .o |..ncr|so t.|.Js us|rg t.c
£x 1 £x 6
£x 2 £x 7
£x 3 £x 8
£x 4 £x 9
£x 5
. ' .: +·¯ J·:' 2·:¯ ¯::I ' .+. I JJ¯
www.I1VcANÜON61UNcÜ.OH.LÕM
www.MO61ÛHAÜAH.ÛUMI1Vc
ÕVcH 1ÜÜ Fc6¯1VAI 6IU¯6 OF FUH UHAU6
UK's largost musio oompotition íor original artists

in partnorsnip witn
wrlte to: ´u|t.. ¯oc|:|ouos, 30 Vc:ncut| St.oot, b.t| bA1 2b\
Lmall: :ov|||on..to:,|utu.o:otccnus|:g t|o |o.Jo. ¯.|kb.ck
N0k8£ 000£
wP|TL ONL AND w|N A PP|ZL!
¡ sLurLed µIuyIng guILur In qLh grude,
dILchIng cIussIcuI µIuno uILer 8å0 0l0 0åY8 nowuduys Lhe µILch wenL uµ. As weII us LhuL, some oI
heurIng HendrIx`s AxIs: BoId As ¡n my youLh durIng Lhe '6os ¡ µIuyed guILur (jusL u Lhe bunds such us The SLones dIdn`L boLher LunIng Lo
¡ove. ¡ gruduuLed IromBerkIee und cheuµ one) In u Iew'grouµs` us Lhey were Lhen cuIIed. concerL µILch - sume resuIL. So muny oI us sµenL u
G¡Tund wus u µroIessIonuI Ior u Good cruIc buL never mude IL Lo Lhe bIg LIme, Lhe greuL deuI oI energy runnIng uround IIke heudIess
Iong LIme. Then ¡ sLoµµed µIuyIng. medIumLIme or Lhe smuII LIme - unIess you`re chIckens ImµorLunIng Lhose who we LhoughL mIghL
AbouL Lwo und u huII yeurs ugo ¡ µreµured Lo IncIude beIng InLroduced onsLuge by knowLhe rIII uL Lhe end oI Lhe chorus In TIckeL To
wenL Lo see one oI my IdoIs, John GIorIu HunnIIord. Then IIIe, u morLguge, kIds und u RIde, or some such LhIng.
Mc¡uughIn. As ¡ suL Lhere umuzed wur goL In Lhe wuy. ¡ knowLhere were worse wuys Lo sµend my
once uguIn ¡ LhoughL, he`s 1;-18 BuL u couµIe oI yeurs ugo, youLh, buL ¡ envy Lhe euse wILh whIch InIo cun
yeurs oIder Lhun ¡ um; ¡ don`L see duLy done, ¡ boughL u IewnIce be uccessed now. There mIghL huve been u
uny reuson why In 1;-18 yeurs, II ¡ guILurs und sLurLed µIuyIng cerLuIn excILemenL In Lhe Irenzy oI LryIng Lo
sLurLed uguIn now, why ¡ couId noL uguIn. ¡L`s u bIL unInsµIrIng gIeun Lhe smuIIesL LhIng, buL ¡ µreIer GT.
be cIose Lo whuL he Is. The jury Is µIuyIng by myseII buL Lhe DanseIIe PenryMcNu/ty, 8e/fost
sLIII ouL us Lo wheLher ¡`II meeL my dIscovery oI your exceIIenL
record
pIayer
gouI buL ¡`msure LryIng hurd. muguzIne heIµs Lo sLuve oII Lhe l tememoet |t sowell -evetyth|nç|nl|nthose
The Iundscuµe hus chunged zo boredomoI µIuyIng whuL ¡ stuµ|Jsonçoools, eventhouçhyoulnew|t wos |n
IoId Ior Lhe beLLer In Lerms oI uIreudy knowover und over A, lonJsoon. AnJthete wete twotyµes ol
InIormuLIon. When ¡ wus sLudyIng uguIn. However, one oI Lhe electt|c çu|tots -´toys´ onJthose thot
uL BerkIee ¡ LhInk Lhere were over recurrIng comµIuInLs LhuL ¡ see In cost l|tetolly 20weels´ woçes. AnJ
1¸ooguILurIsLs und Lhey were jusL Lhe IeLLers µuge Is LhuL Lhere Is Loo w|thtoJoy´s ovetoçe µoy
VWDUWLQJ WR ¿JXUH RXW ZKDW WR GR much InIo Ior Lhe guILurIsL nowso stonJ|nçot ovet L400, thot´s
wILh uII oI us! LhuL he need noL IuII buck on hIs own the equ|volent ol otounJ
AILer buyIng Lwo Issues oI GT, resources. So µIeuse uIIowme sµuce Lo L8,000lot olenJet 5ttotocostet
¡ ImmedIuLeIy subscrIbed und Iove LeII your younger reuders whuL Lhe good (|n´69l tecoll o5ttot wos
every Issue. ¡ jusL reud Lhe requesL oId duys were UHDOO\ IIke! someth|nçl|le L180onJmy
Ior more IusIon und musL requesL u AdecenL, µIuyubIe guILur wus hugeIy weelly woçes oµoltty L9}l AnJohyes,
comµIeLe Issue on SLeve Morse exµensIve - und ¡ meun serIous money - buL us hounJet|nçotounJw|thnounJetstonJ|nçol
- someone In my Lwo yeurs µIus oI weII us LhuL.SheeL musIc wus jusL LhuL! AsIngIe why yout çu|tot seemeJ|ntune w|thth|s sonçout
reudIng your mug hus noL receIved u sheeL, comµuruLIveIy very exµensIve, InsLundurd wos ´oetweenthe ctocls´ onthot, moJe the whole th|nç
whoIe IoL oI coveruge. An urLIcIe on QRWDWLRQ XVXDOO\ WUDQVSRVHGWR D ÀDW NH\ IRU WKH suchoµolovet. we hoven´t ment|oneJthe JteoJeJ
jusL hIs sIgnuLure sexLuµIeL IIcks convenIence oI 'reuI musIcIuns` -Ie hornµIuyers - ´eçç-sl|cet´ oct|ononthe çu|tots we (ot out µotents} coulJ
uIone wouId be greuL. ¡ umuIwuys evenLhoughwe couIdsee onTVLhey were InA, D, Eor ohotJ. lt´s owonJet we cont|nueJout sttuççle ot oll out,
bILLer uL Lhe Iuck oI overuII µubIIc u guILur-IrIendIy key. Numedchords IoundLheIr wuy l|le you, l´mvety çloJl J|J.
recognILIon ouLsIde oI µeoµIe In Lhe onLo Lhese very sIowIy durIng Lhe `6os; guILur µurLs
knowregurdIng SLeve Morse. were noL gIven, evenwhenLhey were ImµorLunL soIos.
8¡åk l£¡¡£k FkIL£
AcIussIc exumµIe Is Lhe RoIIIng GuILurs were jusL noL worLhoI consIderuLIonIL seemed.
Co· |·|e·J· o| ´oo·J ¯ec|·o|o¸,
SLone µoII IIsLIng Lhe 1oogreuLesL MosL oI us µIcked ouL our sLuII by eur, buL II your
o·e Jo·o||·¸ o |o· ||¸|¯ec|
guILurIsL oI uII LIme -IL dId noL cheuµ record µIuyer dIdn`L sµIn uL Lhe exucL sµeed Lhe
|o·J/|·e ¡eJo| |o oo· ´|o· |e||e·
IncIude SLeve und ¡`mµreLLy sure µILch chunged, IeuvIng you In-beLween keys. And II
.·||e· e.e·, ·o·||
LhuL musIcIuns were Lhe µeoµIe who Lhe recordIng sLudIo sµeeded uµ Lhe song, unIIke
voLed Lhe IIsL!
¡eL me be cIeur, Lhere Is no one we coulJeventoothe v|ol|nµotts |n w|th|nh|s kocl set|es. 7honls lot yout µrogresses ¡ cun go buck Lo µrevIous
who beLLer reµresenLs Lhe besL oI l|lo´s Jonce lot çu|tot. AnJyout |Jeolot leeJoocl -onJçooJlucl w|thyout Issues und µIuy µIeces LhuL were
humunILy, much Iess musIc, Lhun oVotse sextuµlet lesson|s çteot - m|ss|on, youmoy well çet thetel ubove my skIII IeveI uL Lhe LIme eLc.
SLeve. Anyone who suwThe Dregs µethoµs Vott|nCooµet coulJJothot ¡ Iove Lhe muguzIne und wouId huLe
IIve suwsomeLhIng LhuL mIghL never ühå¡ å 8IN0| Lo be wILhouL IL us IL hus been u
µuss LhIs wuy uguIn. HuvIng seen ¡`ve been u subscrIber Lo GuILur PDMRU LQÀXHQFH RQ P\ SOD\LQJ
Lhem1¸-1; LImes wusn`L even
SIeve
TechnIques ever sInce ¡ dIscovered Pou/ lormoso, Ontorlo, ConoJo
enough! And you don`L wunL Lo geL Morse: IL In Lhe 'qos. Thunks Lo eBuy ¡ now
me sLurLed on howseeIng ShukLI on
amazing
huve Lhe comµIeLe coIIecLIon oI uII we´ve tolleJooout µtov|J|nço|nJets
IaIenI
my z1sL bIrLhduy chunged my IIIe! LVVXHV IURPWKH YHU\ ¿UVW WR WKH lot yeots onJnevet çot tounJto|t, loul.
P5chuy/er Co//lns lll, 05A currenL Issue. ¡ umhowever lnJeeJ, out ownC7collect|ons|ts |n
runnIng ouL oI µIuces Lo µuL Lhem. teçulot cotJoootJo|nJets, onJs|nce we
lt sounJs l|le youote onom|ss|on-onJ ¡L wouId be nIce II you hud u sµecIuI leeµthe C0|nµloce onthe covet we
not oooJone ot thot. we hove o|ç muguzIne bInder seL uvuIIubIe, us s|mµly oJJmoçs unt|l the oox |s lull onJ
Vclouçhl|nonJVotse lons onthe mosL bInders onIy hoId 1z muguzIne thenmove ontoonewone. 7he hles we
moçoz|ne onJote constontly th|nl|nç Issues, und GuILur TechnIques Issue use ote 100mm(4-|nches} w|Je onJ13
ooout howtocovet themw|sely. lnloct 1¸, or 1q In some yeurs. Anywuy, ¡L ot 14|ssues s|t n|cely |nthete w|ththe
th|s weel we hove oeenJ|scuss|nç wouId muke sLorIng und usIng Lhe C0s onthe covet. we looel themw|th
wh|chVohov|shnuttocl tottonsct|oe mugs u IoL eusIer. My GTcoIIecLIon yeots, |ssue numoet ´to´ onJ´ltom´, etc.
onJote com|nçtothe v|ewthot l|lo´s Is more oI un encycIoµedIu seL LhuL ¡ 5otty lot suchonon-comm|ttol onswet
|
|
\
|
|
|
`
0once ot 8e loµµy m|çht su|t. consLunLIy reIer Lo; us my µIuyIng toyout vety vol|Jquest|on.
'u:o 2012 0uitar1echniques
· GU¡ TAR TECHN¡ QUES · J UNE zo1 z ·
0uitar1echniques 'uro 2012
THEGU¡TARWOR¡DIosL Lwo
pIoneers IusL monLh: hrsL umpIIher
Iegend JImMurshuII, uIso known us
'The FuLher OI ¡oud`, pussed uwuy
on AprII ¸, und Lhen BerL Weedon,
uuLhor oI Lhe hugeIy InßuenLIuI
LuILIon book PIuy ¡n ADuy, IeIL us
on AprII zo.
JImMurshuII`s Inßuence on
popuIur musIc Is ImmeusurubIe.
JImsLurLed ouL us u drummer
durIng Lhe `¸os beIore openIng hIs
own musIc shop In HunweII, WesL
¡ondon, In 1q6o. Two yeurs IuLer he
Leumed up wILh eIecLronIcs
upprenLIce, DudIey Cruven, Lo Iorm
MurshuII AmpIIhcuLIon. The
compuny grewund expunded ILs
runge uILer LukIng on bourd Lhe
needs oI `6os rock musIcIuns -Lhe
MurshuII sLuck, Ior exumpIe, wus
creuLed uILer dIscussIons wILh The
Who`s PeLe Townshend -und soon
Lhe compuny`s umps becume
synonymous wILh Lhe sound oI rock
musIc, wILh eurIy users IncIudIng
bIues-rock pIoneers HendrIx,
CIupLon und Puge, who puved Lhe
wuy Ior uII oLher rock us we knowIL!
Muny LrIbuLes huve poured In
Ior MurshuII. ¨Very sud Lo heur LhuL
JImMurshuII hus pussed uwuy,¨
suId Queen`s BrIun Muy on Lhe
MurshuII web sILe. ¨JImmude u
huge ImpucL on Lhe deveIopmenL oI
rock musIc, Lhe exLenL uImosL
ImpossIbIe Lo ussess. ¡L`s hurd Lo
even ImugIne howdIIIerenL IIve
rock musIc wouId huve Iooked und
sounded wILhouL LhuL IconIc
monoIILh - Lhe MurshuII sLuck.¨
¨¡ consIder myseII very
IorLunuLe Lo huve known Lhe IuLe
JImMurshuII,¨ udded ex-Guns N`
Roses uxe hero SIush. ¨NoL onIy dId
he creuLe Lhe IoudesL, mosL
eIIecLIve, brIIIIunL soundIng rock 'n`
roII umpIIher ever desIgned, buL he
wus u curIng, hurdworkIng IumIIy
mun who remuIned
Lrue Lo hIs InLegrILy Lo
Lhe very end. HIs work
eLhIc wus unequuIIed
und hIs pussIon
unrIvuIIed.¨
¨JImwus u deur
IrIend und ¡ umvery
suddened by LhIs
news,¨ udded
SwedIsh muesLro
YngwIe MuImsLeen. ¨BuL, every duy
¡ pIug In, In Lhe sLudIo or on sLuge,
he wIII uIwuys be Lhere.¨
BerL Weedon worked wILh muny
successIuI urLIsLs durIng Lhe 1q¸os
und hIs begInners` LuLorIuI book
PIuy ¡n ADuy, hrsL pubIIshed In
1q¸;, becume hugeIy popuIur,
seIIIng more Lhun u mIIIIon copIes
worIdwIde wILh LrunsIuLIons
uvuIIubIe In u dozen Iunguuges. BerL
wus uIso Lhe hrsL BrILIsh guILurIsL Lo
enLer Lhe UKSIngIes churL wILh
GuILur BoogIe ShuIße (1q¸q). He
Inßuenced u whoIe generuLIon oI
musIcIuns us dIverse us Hunk
MurvIn, PuuI
McCurLney, ErIc
CIupLon und MIke
OIdheId.
¨There`s noL u
guILurIsL In BrILuIn
Irommy generuLIon
who doesn`L owe hImu
greuL debL oI
gruLILude,¨ suId BrIun
Muy oI Queen.
8erI Weedon:
guiIar IuiIion
pioneer
JimMarshaII:
"The FaIher
U! Loud"
|
|
´
¯
O
|
|
A
|
|
|
|
S
S
/
A
|
A
V
+
|
O
b
|
|
¯
|
|
|
´
|
¯
/
´
|
¯
¯
+
|
V
A
´
|
S
JImNarshaII maJ6
a h0¿6 Imµact 6n th6
J6v6I6µm6nt 6f r6ck
¿0Itar m0sIc
¡h6r6'sn6t a¿0ItarIst
fr6mmy¿6n6ratI6nWh6
J66sn't 6W686rt a¿r6at
J6ht 6f ¿ratIt0J6
7womusic titans wavegoodbye
ßonus
ßIues
1amtracks
lochmonthltomnowonwe w|ll
oe µtov|J|nçlout hve-m|nute
oonus jomttocls. ll youJon´t see
the Vl3s lollowthese |nsttuct|ons.
loµthe C0|ntoocomµutet onJ
use yout hle-otowset - Vy
Comµutet ot w|nJows lxµlotet on
lC, l|nJet onVoc - tov|ewJ|sc
contents. (5ome Vocs m|çht tole o
l|ttle o|t lonçet lot the J|sc tolooJ.}
¥ouw|ll see ololJet colleJ
´8onus_Vl3s´ whete youw|ll
hnJthe jomttocls.
1
Hendrixymajor sIowy(A)
Thls ls a great one for those llve
Hendrlx lmpersonatlons. Close the
curtalns, standlnfront of the mlrror
(full woodstock regalla optlonal)
andthlnk Amlnor pentatonlc, blg
bends, powerful vlbratoandtotal
abandon. Pelease yourself tothe
moment - lashlngs of stadlum
reverbanddelay wlll helpnoend!
2
Swingingstomper with
stops (C)
Por thls stralghtforwardrocklng
blues lnCall the standardscales
apply (mlnor andma[or
pentatonlcs, blues andMlxolydlan
scales etc). 8ut try andcome up
wlthsomethlnglnthose stops - a
repeatlngrlnor motlf maybe.
Sounds easy, but takes some dolng.
3
Raucous Stonesyrocker (£)
¥oudon't needanythlng'clever'
here - lnfact that wouldprobably
spoll the vlbe. Somlnor pentatonlc
(or blues scale wlthlts addedb5 - 8b
lnthls key) ls probably better than
ma[or. Andlnthose turnaround
changes, whlchgoGtoA, Cto87,
why not create some bass-note
arpegglos (beglnoneachchord's
root andsllde lntothe notes, 'rln' or
'leadllne' style, rather thanplaylng
the arpegglos as brokenchords.)
Thlnk Hendrlx or ZZTop.
4
Funkyminor (Cm)
¥oucouldgoslmple or
sophlstlcatedhere. Cmlnor
pentatonlc wouldwork great, as
wouldCnatural mlnor (CDLbP G
Ab8b). 8ut selectlve Dorlanwould
adda nlce edge (CDorlanover the
Cmchord- CDLbP GA8b- andP
Dorlanover the Pmchord- P GAb
8bCDLb). wlththe turnaround
changes - Lb, P, Lb, Db- why not try
unlsonbendor octave rlnldeas -
Curtls Mayñeld, |sley 8rothers etc!