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FEBRUARY 2014

Todd
RundgRen
The driving force in 70s-era
Techno rock Talks abouT
influences, gear, and recording
Techniques in This classic
inTerview from 1977

W W W. G U I TA R P L AY E R . C O M

liTTle feaTs

lowell george
and Paul barrere
george benson

ocTave soloing lesson

Plus

3 free song TranscriPTions

ll
Learn about a
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4 | February 2014 | GUITAR PLAYER VAULT

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February 2014 Volume 4, Number 2

contents

from the vault


8

Classic Todd Rundgren Interview

A driving force behind 70s-era techno rock,


Todd Rundgren talks about his influences, gear,
and recording techniques in this classic
interview from October 1977.

12

Little Feat

Guitarists Lowell George and Paul Barrere in this


feature from the August 1976 issue of GP.

Gear
18

New Gear

(from the February 2014 issue of Guitar Player).

oN the NewsstaNd
20

GP February 2014 Table of Contents

lessoNs
22

George Benson
Octave Soloing

(from the August 1976 issue of Guitar Player).

26

Steelworker
Johnny Hilands Blast Furnace Bends

(from the August 2002 issue of Guitar Player).

sessioNs
38

The ever-popular TrueFire Lessons

traNscriptioNs
40

If You Talk Too Much (My Head Will


Explode) People in Planes

50

Blue Moon The Marcels

54

Rue de la Guitare Jimmy Buffett

Todd Rundgren - Page 8

GUITAR PLAYER VAULT | February 2014 | 7

classic interview

8 | February 2014 | GUITAR PLAYER VAULT

october 1977

GUITAR PLAYER VAULT | February 2014 | 9

classic interview october 1977

10 | February 2014 | GUITAR PLAYER VAULT

october 1977

classic interview

CLASSIC INTERVIEW
from the October 1977 issue
of Guitar Player magazine
rundgren & utopia perform initiation in 1977

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classic interview

12 | February 2014 | GUITAR PLAYER VAULT

august 1976

GUITAR PLAYER VAULT | February 2014 | 13

classic interview august 1976

14 | February 2014 | GUITAR PLAYER VAULT

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classic interview august 1976

16 | February 2014 | GUITAR PLAYER VAULT

august 1976

classic interview

CLASSIC INTERVIEW
from the August 1976 issue
of Guitar Player magazine
little feat plays skin it back live in 1976

GUITAR PLAYER VAULT | February 2014 | 17

new gear

N ovax 25t h aN N iversa ry Mo del


A nn i e

Goodies Limited production of 25 instruments, each signed by Ralph Novak, the


inventor of the multi-scale, Fanned-Fret concept. All models have ebony
fretboards, Fanned-Frets, Novax proprietary individual bridges. Available in
swamp ash body and maple neck with three single-coils (Lollar or Bartolini), or
mahogany body and mahogany neck with dual Bartolini soapbar pickups.
Price $2,500 retail
More Info novaxguitars.com

eve Nt ide

The Mix ing Link


Goodies Studio-quality microphone preamp plus effects
loop in a compact stompbox form that fits neatly on a
pedal board. Makes the world of guitar stompbox effects
available to vocalists. FX Loop - Effects send/return
accommodates balanced and unbalanced signals and
interfaces with consoles or guitar pedals easily. Works with
a wide range of microphones including condenser and
ribbon microphones. Guitar amp output and headphone
monitor output with separate master volume control.
Price $299 retail
More Info eventide.com

sup erM egau lt rag ro ov y


CA po 3 fo r MAC

Goodies Allows guitarists to learn songs in their iTunes libraries faster and
more accurately. Automatic chord and beat detection. Guitar chord box
display shows how to play the detected chords. A bar/beat display, plus a
metronome count-off for practice. Independent speed and pitch controls,
so musicians can listen to fast licks slowly, or change the key of any song. A
spectrogram that allows guitarists to see bends, slides, and vibrato in songs.
Price $29 retail
More Info supermegaultragroovy.com

18 | February 2014 | GUITAR PLAYER VAULT

Seymou r Du nc an
D irty D e e D

Goodies Captures the character and responsiveness of a classic overdriven tube


amplifier with elements of distortion, fuzz
and overdrive combined into a single
wide-range pedal. Incorporates an active
EQ for 12dB of treble and bass boost/cut.
A pair of MOSFET transistors evoke the
tube-like harmonics and lush sustain that
only come from dangerously pushed
amplifiers.
Price $119 street
More Info seymourduncan.com

H u DSon elec t ronicS


Stro ll on

Goodies Hudsons take on the


infamous MK II Professional
British fuzz. Hand-wired onto
a vintage-style stripboard
using only the highest quality
components. Carefully matched
germanium transistors, biased

Wo rlan D Gu i tarS

for the best possible tone.

Prair ie

Attack (fuzz intensity) and Level

Goodies Sitka spruce or western

(overall volume) controls.

red cedar top. Honduran mahog-

Price $269 retail

any back and sides. Honduran

More Info europeanmusical.com

mahogany bolt-on neck. Ebony


fretboard. 24.9" scale length.
Price $1,950 retail
More Info worlandguitars.com

GUITAR PLAYER VAULT | February 2014 | 19

current issue

February 2014 Volume 48, Number 2

Heres whats in the February 2014 issue of Guitar Player, on Newsstands Now!

Riffs

Jim Hall Remembered

RIFFS
Soren Hansens must-have touring gear; Craig Lociceros top Spiral Arms guitar moments;
Steve Vai, Joe Perry, and Eric Johnson at the Rock and Roll Fantasy Camp; Jim Hall
remembered; and more!
DEBO RAH FEINGO LD

Jim hall with Pat metheny.

By th e GP Sta f f
I n t h e I n t r o t o J I m h a l l S m ay

1983 cover story, Jim Ferguson and Arnie


Berle wrote, While most jazz guitarists
are bebop-influenced and therefore somewhat alike stylistically, Jim Hall has managed to develop an approach rivaling that
of Django Reinhardt, Charlie Christian,
and Wes Montgomery in individuality.
Inspired by tenor sax men Lester Young,
Coleman Hawkins, and Ben Webster, Halls

24

horn-like solos are either passionately lyrical or abstract and angular, but never predictable. Yet hes equally know for the notes
he doesnt playhis work is unusually
sparse. And Halls playing always reflects
the gentle warmth and thoughtfulness of
his own personality.
Hall had an extraordinary career that
saw him work his melodic magic with
the greatest jazz musicians on the planet,
including Sonny Rollins, Bill Evans, Ella
Fitzgerald, Ornette Coleman, Ron Carter,

COVER STORY

Chet Baker, Steve Gadd, and many, many


others. Along the way he made a profound
impact on scores of jazz guitarists such as
Pat Metheny, John Scofield, John McLaughlin, Bill Frisell, and just about anyone whoever played a lilting melody.
Jim Hall passed away December 10,
2013, less than a week after his 83rd
birthday and the world and the world
of music are poorer because of it. Here
are some of Halls thoughts from his 83
cover story.

G U I TA R P L A Y E R . C O M / F E B R U A R Y 2 0 1 4

gpr0214_riffs_ko3.indd 24

12/23/13 10:56 AM

Features

50 Badass Blues Solos You Must Hear!


The GP staff runs down our list of 50 classicand soon-to-be classicblues breaks.
Bonus! The all-time greats are also represented, with their no-brainerfamous tunes as well
as some lesser-known hidden gems.

ARTISTS

XXX

Dean DeLeo Jim Campilongo Henry Kaiser Pete Anderson

LESSONS
Under Investigation
A thorough examination of a particular style or player. This month: King Crimsons
Elephant Talk.

Headline

Here is a subHead, it is about tHis long

KE N S E T T L E

BYLINE

36

G U I TA R P L A Y E R . C O M / F E B R U A R Y 2 0 1 4

gpr0214_feat_deleo_ko2.indd 36

12/20/13 11:53 AM

Guthrie Govan
An introduction to blindingly fast strumming.
Youre Playing It Wrong
You might think you know how to play classic riffs like Satch Boogie. Heres the absolute
real deal.

Gear

T esT d rIve

Fretboard Recipes
Major Scales Pt. 2
Rhythm Workshop
Bending in Rhythm Pt. 2

Musicvox
MI-5 and Spaceranger MVX-30 Studio Custom

GEAR

TesTe d by T e ja G e r k e n
In a world where vInTaGe-InspIred TypIcally means

M I- 5

that something is a copy of a classic instrument, Musicvoxs guitars and basses are a breath of fresh air. While pretty adventurous
stylistically, the company successfully blends myriad influences
into something totally coherent and functional. More recently,
the company has ventured into amplifiers with the MVX-15 and
MVX-30 combos. These stylish, tube-powered amps are a welcome addition to the Musicvox line, so I was intrigued to check
out this new guitar/amp set.

What happens when you take a few parts Rickenbacker and Mosrite,
add a good dose of Eko, and then sprinkle a little Les Paul Junior
on top? One outcome might be something like the Musicvox MI-5,
which appears to have elements of all the aforementioned classics. Lets take a look: The MI-5s asymmetrical body is made out
of mahogany, and our review model was finished in a color thats
not unlike Gibsons TV Yellow, with painted-on black binding,
a couple of racing stripes, and a triangular pickguard adding to the

124

New Gear
Roundup! Three new Eastwood electrics

G U I TA R P L A Y E R . C O M / F E B R U A R Y 2 0 1 4

gpr0214_musicvox_ph1.indd 124

12/20/13 3:52 PM

Ernie Ball M-Steel Strings


Andrew White Freja 1022 and Eos 110 acoustics

Hot ScoopS! First Look at 2014 Gear reLeases


g u i tA r P l Ay e r .co M

kinG Crimson DeCoDeD PLay satCh BooGie the riGht Way

Musicvox MI-5 and Spaceranger MVX-30 Studio Custom ENGL Ironball


Stompbox Fever Spontaneous Audio Devices Son of Kong
Stompbox Fever TWA Great Divide
Whack Job 1967 Goya Rangemaster 116-SB

>Badass<

Pete Anderson
Henry KAiser
deAn deLeo
Jim CAmPiLongo

You Must Hear!

Undiscovered
Wonders
>crazy Tones
revieW The GreaTs
FEBRUARY 2014

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Fable Fighters Whats the Big Deal About Jumbo Frets?

ChATTER
Carl Verheyen on Performing
Craig Anderton on Technology

12/20/13 10:48 AM

20 | February 2014 | GUITAR PLAYER VAULT

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lessons

22 | February 2014 | GUITAR PLAYER VAULT

august 1976

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lessons august 1976

GeorGe benson tears it up live on take five

24 | February 2014 | GUITAR PLAYER VAULT

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lessons
In his genre, this kid has more
control over the
instrument than any
guitar player I have heard.
Steve vaI on HIland.

26 | February 2014 | GUITAR PLAYER VAULT

week, thirsty
tourists who
stumble into Roberts
Western Weara

ND S

EXPLO

N
N
H
YH
O
J
I
E

our nights a

LA

august 2002

funky, fabled honky tonk


on Nashvilles infamous
Lower Broadwayget
a special treat. Bearing
down on what appears

EN

BL

ST

DS

to be a tiny Tele, a large

B
-F U
RNACE

young man named


Johnny Hiland fills the
long, smoky room with
quicksilver runs and
whining bends.

GUITAR PLAYER VAULT | February 2014 | 27

lessons august 2002


overused it and my finger bends were getting
rusty. So I decided to play my steel licks with
my fingers. Danny Gatton is my number one
guy, and he never needed a Bender, so thats
good enough for me.
Three years ago, when Redd Volkaert left the
Roberts house band to join Merle Haggard,
Hiland slipped into the lead guitar slot. Since
then, he has earned a reputation as one of the
hottest country pickers on the planet.
Hilands story is compelling. Hes legally
blind, but that didnt stop him from dropping his history studies at the University of
Southern Maine and making a nervy trek to
Music City with less than $100 in his jeans.
Though he hasnt finished his first solo
album, Fender recently signed him to an
endorsement deal, and Hot Licks is releasing
two Hiland instructional videos.
Its great to hear people blow across
changes with fast pentatonic scalesI do it
myselfbut my whole thing is imitating steel
guitar, says Hiland. I saw Ricky Skaggs perform when I was ten, and something clicked
in my mindI had to get that twangy sound.
I was vaguely aware Ricky had a B-Bender
in his Tele, and Marty Stuartwho also had
a B-Benderwas another big influence, so
I spent my formative years learning to play
B-Bender licks with my fingers. I had a BBender Tele for a while, but I found that I

Yank the Chain


According to Hiland, you can emulate a
steel by learning a few basic grips. When
youre bending a high note and holding
a low onesomething steelers do all the
timeyou have to pull the bend toward your
feet, he explains. These three moves [plays
Ex. 1a] come in handy, because they let you
play across chord changes.
The first bend implies an A triad with its 3
(C#) in the bass. As you stretch the third string
away from you, notice how the top note shifts
from the root (A) to the 2 (B).
Your 1st finger makes a whole-step
bend, Hiland explains. Steel players have a
lever or pedal assigned to this root-to-2 shift.
The second bend suggests a D triad. This
time, the low note is the 5 (A), the top note
is the 3 (F#), and the bend moves a half-step
from 3 to 4 (F#-G). As before, pull the note
toward your feet.
When youre sliding this shape up or down
the fretboard, says Hiland, referring to Ex.
1as final grip, you sometimes need to bend a

 4  ( )  ( )  ( ) 



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B

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 4

= 76-100

B R

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14 (16) 11 (12) 9 (11)


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9 (11) 9

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13(14) 13
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B R

B R

11(13)11 9 (11) 9
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7 (9) 7
9

28 | February 2014 | GUITAR PLAYER VAULT

6 (7)
7

B R

12(14)12

(I)
A

B R

14(16)14

(V)
E

Ex. 1c

If theres no beautiful melody flowing out of the solo,


than its all hogwash. Johnny Hiland

(V)
A

Ex. 1b

Ex. 1a

whole-step to stay within the scale. This move


suggests an Em triad with its b3 (G) and root
(E). Harmonically, youre shifting from the
root to the 2 (E to F#), and you get a dissonant
sound that begs to be resolved. Using these
grips, you can also work through a V-I change
in the key of D [plays Ex. 1b], and you can go
all the way down the neck, like this [plays Ex.
1c]. This is another V-I move, but now were in
the key of A, and the bends alternate between
grace-note and more rhythmic sixteenth-note
maneuvers. To be more melodic, stagger the
low and high notes [plays Ex. 2]. I love pretty
licks like this one in G [plays Ex. 3]. The open
string adds some sparkle.

B R

B R

4 (6) 4 4 (6) 4 (6)


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lessons august 2002


these in slow ballads. The last sus4 bend and
resolution on the fourth string is a classic
steel move.
Ex. 5 also features harmony bends, but
this time the sus4 bend and release happen on the fifth string. Try stringing both
examples into a V-IV-I pattern in the key of
A (E-D-A). First play Ex. 4 (V), then Ex. 5 (IV),
and finally slide Ex. 5 to the second position
to nail A (I).

Double Trouble
Hiland often bends two strings in harmony, as in Ex. 4. The phrase begins with
a pair of whole-step bends on the third and
second strings. Now that theres no note
below the bends, stretch the strings toward
you. The key is to freeze your fretting-hand
fingers into a fixed grip, and then move them
as a unit. I stole this from Reggie Young,
admits Hiland. He plays beautiful lines like
Ex. 2

(V)
E

Slip-Sliding
Steel players whip out these really fast licks
along two strings, says Hiland, playing Ex. 6.
To play them on guitar, you need to master
pre-bends. It also helps to understand the repeating dance that occurs in the first six beats.
Ex. 3

(I)
A

 

B R

= 84-100

= 84-100

Country swing
3
=

 

 

(IV)
C

 

(I)
(IV) G
3
3C

9 (11) 9
(11)

11

7
9

(I)
G

4
3
 3

( 4)     ( )  
4


 


 4   (  )     ( )   

B R

T
A
B

6 (7) 6

21

2
B R

T
A
B

Ex. 4

T
A
B

= 84-116

2
3

 (( ))
B

1
1

B R

(3) 2 0
0

4 (5) 4

11
11

9 9
9 6 (7)

( )
2 

1
1

9
9

= 84-116

T
A
B

8 (10) 8
9 (11) 9

7
7

 



3
 4 ( )   ( )    ( )     ( )   (  )    ( )     
     ( )

 4

= 60-96

let ring - preB R

l.r. - - - - preB R

l.r. - - - - preB R

l.r. - - - - preB R

12
10
9
7
(15)14 12 (14)12 10 (12)10 8 (10) 8 7

l.r. - - - - preB R

(8) 7 5

l.r. - - - - preB R

l.r. - - - - - - - - - - - - - - *grad.
B

(7) 5 3 2 1 0

2 0

(2)
0
*Bend behind nut

30 | February 2014 | GUITAR PLAYER VAULT

7
9 (10) 9

Ex. 6

T
A
B

B R

4 (5) 4
52 (3) 2 0

 4 ( )  
  ( ) 

 4

4
3

10 (12) 10
11 (13) 11

T
A
B

B R

Ex. 5

 4       
( ) 

 4


Country swing
3
=

 4   ()     ()  


  

 4  

= 92-112

After picking a note on the first string, drop to


the second string for a pre-bend, release, and
shift positionsall with a very fluid, almost
mechanical motion. Give yourself some time
with this one. Steelers just slide their bar from
point to point and use a pedal for the bend and
release, but guitarists have to work a lot harder.
Notice how each beat begins with piquant
major- or minor-second bends that release
into sweeter major or minor thirds. For maximum sustain and steel vibe, dont lift your
fingers from the strings until you reach bar 2s
third beat, and carefully observe the accents
and let ring markings.
Do you like that behind-the-nut bend?
asks Hiland. Jerry Donahue owns that technique.

e
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lessons august 2002


Cluck and Shift
I do my share of chicken pickin, says
Hiland, as he plays Ex. 7a. And its more
than a cool effect, because you can use a

ghost note to get from one point to the next.


In bar 1, notice the muted cluck on the
and of beats two and four. This is what Hiland uses to mask his shift from the twelfth
to the tenth position, and then from the tenth
to the eighth position. If you use your 3rd
finger for the cluckas shownyoull be
set up for the next series of notes.
Bar 1s first pre-bend covers a half-step,
and the second spans a whole-step. Bar 2s

closing moves are classic B-Bender fare. To


make those last G-A bends a bit easier, back
up your 2nd fingerthe one thats doing
the workwith your 1st finger. In Ex. 7b, we
adapt these moves to D7. Play both examples
with a country-swing feel.
Ex. 8 is another cluck-and-shift gem. This
fast E7-D7-A7 lick features three pre-bends
and releases, as well as two transitional
clucks. The clucks let you keep the rhythm
flowing as you first move from the tenth to
the eighth position, and then from the eighth
to the fifth position.
Notice bar 2s pair of triplet eighth-notes.
Splitting a beat into three equal parts can provide a rhythmic source of tension. In this case,
tension builds in the middle of bar 2across
beats two and threeand is then released
with beat fours quarter-note.
Triplets give you a rolling sensation, Hiland elaborates. They push the lick forward.
Pull the final sus4 bends (bar 2, beat
three) toward the floor, and for maximum
twang, keep the G ringing below them.

Speedy Tricks
You can play fast without much frettingfinger commotion, asserts Hilandwho
proves it by playing Examples 9a and 9b. If
you think about it, steel players dont move
their bars for every note. They find a position and pull several notes out of it. With
this approach, your picking hand does the
quick moves.
The secret lies in the left-hand setup.
In a single move, fret the first, second, and
third strings, and then instantly follow this
clamp with a smooth pre-bend. Once
youre in place, the first four notes almost
play themselves. For a full-on honky tonk
sound, pick the treble strings with a reverse
roll (ring-middle-flatpick).
Ex. 10 lets you create a shower of notes
using essentially one fretting-hand grip per
measure. This sustained bend occurs in both
bars 1 and 2first in the fifth position, and
then in the third position. In this lick, use
your 1st finger to play the ghosted clucks,
and dont let the second-string bend go flat
while youre holding itit has to ring against
the higher tones.
In bar 3, you need to simultaneously grab
all three treble strings before launching into
beat one. Its worth the effort: This clamp
yields six notes, including a prolonged bend
and a crying release.

32 | February 2014 | GUITAR PLAYER VAULT

august 2002
Ex. 7a

Honky Tonk Hands

= 120-160

Country swing
3
=

 () 
 ) 

(
  ()     

 4

 4
 

  A7
1

let ring - - - - - preB


R

12

l.r. - - - - - - - preB
R

10

(15) 14 12

T
A
B

l.r. - - - - - - - - - - - - preB
R

(14) 12 10

(10) 8

9
8 (10)

Ex. 7b

= 120-160

Country swing
3
=

 

  D7

 4  ()    ()    ()   ()




 4
1

let ring - - - - - preB


R

10

T
A
B

lessons

(12) 11

l.r. - - - - - - - preB
R

guitarists, Hiland uses a hybrid picking


technique (Fig. 1). He grips a Fender
medium flatpick, and uses acrylic nail
extensions on his middle and ring
fingers.
Hiland peppers his lines with twoand three-string oblique bends. (In an
oblique bend, a note is bent against
one or more stationary pitches.) To give
his bending fingers maximum support,
Hiland parks his fretting-hand thumb behind the neck (Fig. 2). Notice how he
momentarily mutes the unwanted bass
strings with his right-hand palm.
When stretching a high string and
holding a lower one, Hiland pulls the
bend toward his feet (Fig. 3).

AE

l.r. - - - - - - - preB
R

(11) 9

Like most hot-rod country

(7)

7
5 (7)

Ex. 8

= 96-138

Country swing
3
=

 

(V)

(IV)
D7

  E7

(I)
A7



 4  ()    ()     ()     ()  () 
 

 4

1
4

let ring - - - - -

10
12

T
A
B

l.r. - - - - - - - - -

preB - - -R

(13) 11

8
10

Ex. 9a

l.r. - - - - - - - - preB - -R

preB - - -R

(11) 9

5
8

(9) 7 5

R B

6 (7) 6 (7) 6
7 5

Ex. 9b

(IV)
D7

(I)
A7

  
 4    ()      
( )  
   

4




= 116-138

(9)

5
5

Fig. 2

l.r. - - - - - - - - - - - - preB
R

1
1

let ring - - - - - - - - - preB


R

T
A
B

Fig. 1

10

(11) 9

7
7

10

7
7

Fig. 3

GUITAR PLAYER VAULT | February 2014 | 33

lessons august 2002


Sweet and Sour

clamp and pre-bend in place before the


downbeat. Once you start picking, the
only fretting-hand movement occurs on
the third string as you alternately release
and bend.
Ex. 11b is an inversion of this hot-rod
E7 lick. The technique is the same, only the
position changes. You can play these back
to back in a run, says Hiland. And if youre
playing a fast bluegrass tune, these licks will
turn a few heads. People expect the standard
flatpicking style, and this fast right-hand
plucking takes them by surprise. I love to
explore this angle because not many guitar
players do.

When steelers play a burst of fast notes


like this, says Hiland, playing Ex. 11a, its
often from a single position. Their bar stays
still, and the melodic moves come from
pedals or levers.
Whether played by fiddle, steel, or
6-string, the sextuplet sixteenth-note
rhythm that powers this lick is a staple of
country shredding. Get your three-string

If I had to choose a favorite bending


lick, it would be this one, says Hiland,
picking Ex. 12a. I can picture Ricky Skaggs
standing on a P.A. speaker with his purple
Tele, playing to mea little kid in Maine.
Its dissonantyou get a half-step between
the F# bend and G above it. But thats where
your picking technique takes over, because
you alternate between the G and F# . In
context, it sounds cool.
To prove his point, Hiland plays Ex. 12b,
a snappy A7-D7-A7 phrase. In bar 1, hold
the F# bend for the entire measure. In bar 2,
adapt the notes slightly to fit D7: C# moves

Ex. 10

(V)
E

(IV)
D

(I)
A7

 4  ()  ()  ()    ()  ()   ()    ()    ()   


     

 4
= 112-132

hold
B-------------------- R

T
A
B

(9)

(9)

(9)

hold
B-------------------- R

(7)

(7)

(7)

 
 

  
 4  ()  ()  ()  ()  ()  ()  ()  ()  () 

 4

6
6
6
E7

= 56-72

1
4

10
12

T
A
B

hold
*prehold
hold
B------R B------------R B------------R

10
10 10
10 10
10
12
12 12
12 12
12
(13) (13)11(13) (13) (13)11(13) (13) (13)11(13)
*Pre-bend from 11th fret.

Ex. 11b

  ()  ()  ()  ()  ()  ()  ()  ()  

 
  4

 4

6
6
6
T
A
B

E7

= 56-72

1
4

12
15

hold
*preB--------R

(16)

12
15

hold
B-------------- R

(16) 14 (16)

12
15

(16)

12
15

hold
B-------------- R

(16) 14 (16)

12
15

(16)

*Pre-bend from 14th fret.

34 | February 2014 | GUITAR PLAYER VAULT

12
15

(16) 14 12



14

hold
B-------------------- R

Ex. 11a

(9)

(9)

5
5

lessons

august 2002
Swing Shift

down to C, and G moves up to A. (Horn


sections use such contrary motion to create their tight harmony.) One thing doesnt
changethe F# bend sustains throughout
the measure.
Ex. 13 shows another way Hiland balances the sweet and sour within a lick. That
first bend and release is a total B-Bender
move, he says. Harmonically, youre releasing from G to G7. In the process, a sweet
major-third (G-B) drops to a tart tritone (FB). The next bend flips the processa gnarly
major-second bend (D-E) relaxes to a sunny
major third (C-E).
Ex. 12a

As you bend the open G, lock in on the


target A before adding vibrato.
Ex. 15 combines several techniques weve
covered in this lesson. Check out the sly fingering shift in the pickup notes: After playing
the harmonized bends and releases with your
2nd and 3rd fingers, slip into the seventh position to fret E-G# with your 3rd and 4th fingers.
In bar 1, play both bends and releases
with your 1st finger while sustaining higher
tones above. Use two fingers for bar 2s
repeated G-A bend, and for ultimate spank,
pluck all double-stops with your middle and
ring fingers.

You get extra sustain and chime when


you work an open string into a lick, says
Hiland, playing Ex. 14 with a relaxed swing
feel. If you pick this carefully, the open E will
ring against the behind-the-nut G-A bend
and fatten up the sound.
Here are some performance tips:
As you change positions in bar 1 (and of
beat two), use the side of your picking-hand
thumb to briefly mute the strings while your
fretting fingers are airborne.
Use your 1st and 2nd finger to push the
nut bend up a whole-step.

Ex. 12b

= 138-184

 D7     A7   





 4  ()  () 
 ()   ()  ()   ()  ()  ()   ()   ()  ()          
  

 4
Freely

3
1

9 (11)

9
8

(11)

9
8

(11)

9
8

hold
B-------------------

9 (11)

8
10

= 96-138

Country swing
3
=

 

(11)

8
10

(11)

hold
B-------------------

8
10

9 (11)

9
8

(11)

9
8

(11)

9
8

8 7 5
8 7 5

7
7

5
5 6

Ex. 14

Ex. 13

1
1

hold
B-------------------

9
8

9 (11)

(I)

hold
B-----------

T
A
B

(IV)

3
1

(I)
A7

(I)
 G7

(IV)
C7

 4 (  )     ( )        
 ( ) ( ) 

 4
3

7
6 (8)

T
A
B

 

1
1

5
7 5 (7)

3
3

let ring - - - - - - - - - preB


R

4 (5)
5 3



A7

 

 4   () 
 () 

4
  () () 



= 104-126

Country swing
3
=

(I)
G7

T
A
B

(9)

l.r. - - - - - - - - - - preB
R

(6)

*B



(2) (2)

*Bend behind nut.

Ex. 15

= 88-120

Country swing
3
=

(I)
E7

(IV)
A7

  
  
  ( )  ( )     ( ) ( )
 4  ((  ))     (  )     


(  )   

 4

 

 

2
3

4
3

T
A
B

9
9

9
7 (9)

7
9 6 (7)

10 (12) 10
11 (13) 11

7 9

9
9
8 (10) 8 (10) 8

9
8 (10)

GUITAR PLAYER VAULT | February 2014 | 35

lessons august 2002


Solo Sense
A solo is more than just stringing licks
together, says Hiland. I have students
who try to play every lick theyve learned
from every artist theyve heardall in four
bars. Theres no fluency there. Listen to the
vocal melody, and base your solo off it. Its
important to make music, not just practice
riffs. Record yourself playing 10 minutes of a
I-IV-V rhythm patternmaybe throw a VIm
in thereand then start soloing over it. See
if you can take yourself on a musical journey
beyond the average country solo. Im always
thinking, How can I spin this into something
beautiful? How can I tweak listeners ears?
I want to give people something they dont

expect. Instead of copying Brent Mason,


Vince Gill, Ricky Skaggs, and Steve Wariner,
I try to intertwine what Ive learned from
them. Its like braiding a rope. g

Johnny hiland throws down on


all fired Up, live in nashville,
tennessee.

Hiland on HiS SteelworkS


[Both Telecasters sport Fender Super Bullets,
gauged .009-.042.]
My 5-way pickup selector is wired so
that position 1 is the bridge pickup; position 2 is the bridge-plus-middle clucky Strat
sound; position 3 is the bridge-plus-neck
Featuring three dual-function Visual Sound stompboxes,
Hilands pedalboard is simple, yet flexible.

classic, dual-pickup Tele sound; position 4 is


the middle pickup; and position 5 is the neck
pickup. That Tele is my pride and joyI get
an instant smile every time I strap it on. The
Monterose knobs and gold paint are my way
I have two Fender 65 twIn reverb
reissues, says Hiland, and two Fender
Telecastersa sunburst 1998 Collectors Edition, and a gold-sparkle 2001 Custom Shop
model built by Jim DeCola. The sunburst Tele
has an ash body, two Joe Barden pickups,
and a vintage-style 3-saddle bridge. My gold
Tele has an ash body, a C oval neck
which is a little chunkier than a typical Tele
neckthree Barden pickups with a 5-way

Waiting for a good spank: Hilands Twin, Custom Shop Tele,


and 98 Collectors Edition Tele.

switch, Jay Monterose large-knurl knobs,


and an American Standard 6-saddle bridge.

36 | February 2014 | GUITAR PLAYER VAULT

of saying that Im a Danny Gatton fan.


On my Pedal Train pedalboard, I have
a Boss TU-2 chromatic tuner, a Voodoo Lab
power supply, and three Visual Sound pedals:
a Jekyll & Hyde dual overdrive, a Route 66
overdrive/compressor, and an H20 chorus/
echo. I use the Route 66 for light compressionI dont squeeze my toneand set its
preamp to feed the Twin a nice, hot signal.
In the studio, I use a Shure ULX P4J1 wireless
system, so I can move around without getting
tangled in my cords.

AE

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people in planes

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people in planes

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