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250 DECEMBER 2015

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blues-rock
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transcribed
Classical
Learn ’O Sole Mio, aka
the Cornetto advert!
style studies
DOKKEN
With George Lynch
CHRIS REA
Classy British bluesman
SYSTEM OF A DOWN
Off-the-wall US metallers
classic tab! ALlAN HOLDSWORTH
JOE SATRIANI Undisputed jazz-rock genius
Always With Me, RICHARD THOMPSON
Always With You Learn his brilliant acoustic style
Learn one of Joe’s most
beautiful instrumentals

ISSUE 250 } DECember 2015
the
finest

Welcome
guitar
Just some of your regular tuition
you can
GT technique experts... buy!
richard barrett
One of the best players around, Richard IF YOU’RE LIKE me you’ll own a few one they play best on – and pulled out
is adept at most styles but truly excels in guitars. It just happens, really: a desire something a little off the wall to go
the bluesier side of rock. He currently is awakened for, say, a Tele when really through this month’s issue?
plays with Spandau’s Tony Hadley.
you’re a Les Paul kind of guy and, before For instance, do you still have the
Shaun Baxter you know it, there’s another case vying instrument you learnt on? Or is there
One of the UK’s most respected music
educators, Shaun has taught many who
for space in the house, studio, bedroom, something lurking under the bed that
are now top tutors themselves. His Jazz etc. Jason Sidwell, Stuart Ryan and I hasn’t seen the light of day for yonks,
Metal album is considered a milestone. call it ‘getting the worm’ – like an ear that could do with a restring and a bit of
jon bishop worm of a song you can’t get out of your TLC? If not a guitar, how about re-
Jon is one of those great all-rounders head, only with guitars. visiting an old pedal (I also did this with
who can turn his hand to almost any I mention this purely because I dug an old Japanese Boss Blues Driver that
style. No ‘Jack of all trades and master of
none’, he nails every one with ease! out my ES-335 the other day (the one in I’d not even set eyes on for 15 years. It
this picture) as I simply fancied playing sounded brilliant!).
Phil Capone
Phil is a great guitarist who specialises in
something different to my P90 Goldtop The point behind this seemingly
blues and jazz. He teaches at ICMP in or maple-necked Strat that have been mindless waffle is that the different
London, writes for GT and Total Guitar my main squeezes lately. Everything sound, or the feel of an unfamiliar
and has published 10 top tuition books.
changed: amp settings, pedal neck, can get the head in a different
les davidson controls, gain structure and space, and perhaps inspire one to
Les has worked with Mick Taylor, Rumer, whatnot that I’d set up for these push on; you know, knuckle down
Jon Anderson, Pete Townshend, Tina
Turner & more. He also runs a recording other guitars, all went out of to the sound of a new you.
studio and teaches at BIMM London. the window. But I had a Try it, and let me know
charlie griffiths
ball playing it, and in how you get on! See
Guitar Institute tutor Charlie first came some ways it made me you next time...
to fame in Total Guitar’s Challenge sound rather better.
Charlie series. He’s also one of the UK’s
top rock, metal and fusion guitarists. That then got me
wondering: suppose
phil hilborne GT readers put away
The UK’s original magazine guitar tutor,
Phil’s something of a legend. A great their favourite Neville Marten, Editor
player, he’s currently touring Europe practice guitar – the neville.marten@futurenet.com
with the Champions Of Rock show.

pat heath
BIMM Brighton lecturer, ESP product
demonstrator and all-round busy
Don’t miss our amazing digital edition
musician, Pat brings you six cool licks
each month in 30-Minute Lickbag. Guitar Techniques’ digital edition is now even better!
bridget mermikides
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
examiner, a respected classical player
and award-winning blues guitarist.

Stuart Ryan
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs
throughout the UK. His latest book/CD
The Tradition is available now.

andy saphir
A top teacher at the Guitar Institute
(ICMP), Andy is a phenomenal player in a
host of styles. He mixes just the right Tap the links Animated tab & audio Play the videos
degree of flash with consummate taste. Finding your way around the Songs and lessons have the Certain articles have
magazine is easy. Tapping the audio built in, with a moving accompanying videos full of
iain scott
Music tutor and session guitarist, Iain feature titles on the cover or cursor showing you exactly useful insight and additional
has played with a host of big names, the contents page takes you where you are in the music. information. Once again, tap
including Brian Wilson. He teaches at straight to the relevant articles. Simply tap the ‘play’ button the play buttons to enjoy
The Institute and runs his own studio. Any web and email links in the then you can fast-forward or video masterclasses on your
COVER PHOTO: OLLY CURTIS

text are tappable too! scroll back at will. iPad or smartphone.
john wheatcroft
A phenomenal guitarist, John is a
master at all styles but a legend in Gypsy PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition
Jazz. His new album Ensemble Futur is regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas).
out now on iTunes and Amazon. You can also find us on www.zinio.com (Please note: Zinio editions do not have interactive tab or audio).

December 2015 03

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guitarists’ stalwart: the Pentatonic. plus much more. part 2. Jam Tracks and more. Part 4  62 transcriptIon #1 Nev picks his way through another editorial. Iain Scott looks at major and minor chords. the talented jazzer looks at the minor blues. November 2015 5 . HARD ROCK  78 Say hello to Mr Scary as Charlie Griffiths picks apart the guitar style of US metal heroes Dokken and their main man. JOE SATRIANI talkback  6 Always With Me. and arm yourself with some very cool new riffs music reading  92 Charlie Griffiths injects some metal into the manuscript by reading below the stave. intermediate and advanced levels. Acoustic  88 blues-rock bootcamp 12 Fifty years of fingerstyle virtuosity and Richard Get to grips with the five shapes of the Thompson is going strong. 30-minute lickbag  52 BIMM’s Pat Heath has six more great licks at easy. CONTENTS • C ON T E N T S • DE C E M B E R 2 015 • Do you know the five Pentatonic shapes? LEARNING ZONE And can you play them fluently? Lessons Introduction  51 GT’s music editor Jason Sidwell introduces another feature-filled lessons section. FEATURES REGULAR FEATURES VIDEO CLASS Welcome  3 NIGEL PRICE. he looks at how to use both pick and fingers Albums  95 to create an incredibly versatile technique. choRD CAMP  76 In the first of a brand new series aimed at building your skill set. USER GUIDE  96 transcription #2 COVER PHOTO: OLLY CURTIS Get more from GT by understanding our easy-to-follow musical terms and signs. that was made famous by Elvis and Cornetto! Pentatonic Boot Camp. reveals his flawless technique and touch. rock  58 Martin Cooper dissects the heavy riffs and odd time signatures of System Of A Down. unbelievably. Always With You 24 You tell us what we get right – and wrong! Steve Allsworth guides you through this space-age classic as it. CREATIVE ROck  70 Shaun Baxter take a different look at the Pentatonic scale using three notes per string. New guitar CDs reviewed and rated by our very own Roger Newell. blues  54 Les Davidson looks at the man from up North with his heart in the deep south: Chris Rea. In the final instalment of this wonderful series. Eduardo Di Capua O Sole Mio  44 Next Month  98 Bridget Mermikides transcribes a Clapton. jazz  82 John Wheatcroft tips his hat to the incredible COVER FEATURE soloing style of Allan Holdsworth. Session Shenanigans. An iconic track from Satch that Lick. Pat Metheny’s Have You Heard. Green and Taylor: John Mayall’s quintessential piece of Neopolitan pop opera guitarists. George Lynch. One-Minute 30th birthday. Subscriptions  68 Save time and money – get GT delivered! SPECIAL feature #2 BACK ISSUES  94 SORT YOUR PICKING PT3 Missed a copy of GT in the last six months? Hybrid picking  34 See how you can get it here! In the final instalment of Phil Capone’s series. That Was The Year. says Stuart Ryan. reaches its Intro  8 60 Seconds.

com using the header ‘Talkback’. Ivo Peters Road. Future Publishing. we thought unobtrusive parts that work in chords and rhythm in some pretty Price’s recent video series we’d ask him to do it. never mind the played that very take! But do you repercussive out-of-tuneness realise it’s almost five years since problems on cheap guitars when Gary died? We lost him on 6 going back to normal tuning. Even progressions in issue 227 is shuffle piece. comping in a trio. and since transcriptions of the definitely worth a look. John Wheatcroft acoustic column in which Stuart MORE RHYTHM PLEASE! interesting voicings. I subscribed to invaluable in February and would issue 222. Have most people got the extended outro solo – I may even time to detune five strings from have been at the gig where he standard tuning. This is mainly because of all repertoire as each lesson As Richard Barrett is a fine seems to be their ability to play the styles we cover. So. looking at it. but it should yesterday and came up with interesting rhythm parts – some become a proficient or even great prove invaluable to your chord exactly that solution. But over the endeavours to put the chords acoustic player. per se. your way Derek Martin would also need the D tuned up to an E. Sadly. What hefty features. Yes. Bath. And also thanks for the chosen. too much tension for a classical I won’t spill their beans as that’s guitar. He Firstly. it’s running a great feature on Gary. Nigel styles of blues. but our sister G# but I don’t want to tune the A magazine Guitarist will indeed be and D strings up a whole tone. Stuart Ryan soloing. As it happens. Milton that it’s time for a bigger feature I’ve been reading it I basis of some of your Mermikides did a great Bossa Nova on the subject. let me thank you for a feature on soul chords I found comping and big band playing in also did a short series on old blues great magazine. and it ACOUSTIC BLUES? sounds great! would be useful for jazz. him by? He’s surely one of these Life’s too short! islands’ greatest ever guitarists Alan Beecroft and deserves a bit more praise than he gets – IMHO. got me thinking technically. In fact. There was a wrote a superb feature on jazz Ryan sometimes covers blues.marten@futurenet. Email neville. So February 2011 and I was here’s my tip for anybody wondering if you’re planning tackling this: play it in E major by anything special to remember tuning the A to B and the G to G#. With my tuning you don’t not my right but. It will the context of the ensemble. I do take your point. Then there was old rhythm front. and in 206 we covered I know you have a monthly personally struggle with Western Swing. TalkBack Post Guitar Techniques. it’s a slight faff but it’s not walkways and long outro solo the end of the world. guitar for years but only Alex Leigh months so try ebay as there’s a only for acoustic blues players? seriously for the last surprising market in old GT Now that issue I would buy! couple. DYING SWAN? GARY MOORE I was looking forward to Bridget’s Thanks so much for running a transcription of The Swan and tab of Parisienne Walkways then I saw the queer key she had (GT249). But the ragtime GT about a year ago to help me love to see something similar in feature on sophisticated chord examples in your recent blues progress musically and other genres. as well as the A to B and G to We weren’t planning anything G#. Bridget replies: Alan. of the genius of the best players player. issues’ time! 06 December 2015 . and Jacob Quistgaard’s guitarists.. I don’t mind tuning the G up to commemorative.. and superb at all simultaneously interesting and years we have also looked at into context. BA2 3QS. where I in issue 202. our excellent Four Levels Of (electric) been playing a bit of would be welcome! back issues only go back six Blues that you did in issue 240. Michael. so I’d love to see would be a few Blues Shuffle contained at least as jazz comping as well as look out for a pearl-inlaid DALLE / PHOTOSHOT different rhythm parts and much rhythm as lead. Also. something like the definitely have. I’ve noticed in It’s certainly true that we copies. That newsstand in a few especially some examples that the Ultimate Rhythm Guitar lesson said. this Michael Donnolly the magazine that there cover a lot of lead month we also begin a new series is naturally a lot of focus playing and the on chords – I know it’s not We were discussing this just on lead playing but less on techniques and theory required to rhythm. Martin 000-42 gazing progressions focusing on chordal did a great article in issue 193 on we’re not that bad on the out at you on the playing in different styles. suffice it to say tune any string more than a it’s going to be the best coverage semitone away from its standard note and mostly it’s a semitone thanks for running tab of of this great and much missed musician that you’ll see anywhere! down – three go down and two go gary moore’s track parisienne So keep those eyes peeled! up. I’ve excellent jam tracks feature in GT237 too. last month’s is a cornucopia of great be a cover feature too.

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etc. I vary keys and tempos as much as teens. The ambiguity of not embrace or avoid? having a clearly defined harmonic Instrumentals can be as wild or as centre can be very hypnotic. then react to that. typical song structure if that’s GT: Three iconic instrumentals that what you need. high-gain ones. Then again.. letting the top line suggest GT: Anything that you aim to changes. harmonising melodies? GT: Is it a typical song structure of I do like harmonies on certain intro. GT: What about key modulations? GT: What can an instrumental That can be very effective when provide that a vocal song can’t? used to release previously set up A certain ambiguity.. how useful is Bill Nelson with melody plus a string arrangement studying a vocalist’s approach? his iconic Bepop by Lee Hazelwood. I was drawn Being a person who learned by to the atmosphere of guitar ear. E-bow. Bill Nelson GT: What is it about guitar a more melancholic or sinister instrumentals that appeal to you? feel. ES-345 guitar vocal lines. in. Sometimes I’ll make a was still at school. Shadows and The Ventures that GT: Any favourite modes? inspired me to play. in place to get a starting is from. The challenging in any key. possibly Midnight. It doesn’t carpet’ is how I think of it. you prefer for instrumentals? within a post-modern context. hero! I’d also have to cite a Other times I’ll put long lines down in my notebooks. verse? lines. You just put something. reference to an historic guitar sound and touch made the abstract realms. He was a phenomenal and It often begins with a drum or reverse guitars. GT: Favourite keys or tempos? inspirational to me in my early approach or inspiration for you? clean. jazzy. extreme filter and possible. listen to Main percussion base: ‘laying the I make it flow from start to finish. no. Then in a torrent. I simply in the way! Electric guitars play what sounds right to me. an enigmatic tension. without constraint. good. probably out now and can be bought take inspiration from areas other music is without because of my optimistic outlook. Shadows track. so I take an GT: What are your views on ‘anything goes’ approach. a scene in a film. something ring modulator effects. I shamefully admit that I instrumentals and the fact that wouldn’t know a ‘mode’ if it kicked there wasn’t a pesky singer getting me in the shins! So. changing is from. It can be a title jotted boundary But I use minor keys when I need www. or what genre it operates MICHAEL PUTLAND / GETTY IMAGES moving it about until it looks matter which tempo from track to track. We asked some top guitarists for their take on this iconic movement. but because have inspired you? they’re unhampered by vocals. Then I’ll go into more and a sense of time and place. great keys easier to write in? Bill’s new album. then it doesn’t which means not putting tunes in matter which era an instrumental placing furniture in the room and the same key together. to a particular era. a chance to interpret achieve a very trance-like effect by mood without the lyrics dictating sticking with one tonal centre and a specific interpretation. great music is timeless. It was Duane Eddy. This month: Be-Bop Deluxe and solo artist. I tend to I favour major keys.com 8 December 2015 . I owe my Deluxe Gibson I sometimes think in terms of career to hearing that track. Plectrajet is point.  there’s Chet Atkins who was GT: Is there a typical writing I use a broad palette of tones. Things can be easy or years old. era or genre it GT: Do you find minor or major anything. direct from his website at than music. There’s no more or less I’ve loved instrumentals since difficulty in writing for minor or taking up the guitar at 10 or 11 major keys. it can add a richness and a Instrumentals can conform to a different texture. Hank Marvin’s approach. delays. verse. When creating an album meticulous player. a reverbs. tremolos. Street Breakdown. Young features a strong guitar GT: For guitar. Intro INSTRUMENTAL INQUISITION! Instrumentals have supplied some of guitar music’s most evocative and exciting moments. but set simplest melody shine. Duane Eddy’s Because They’re the sky’s the limit. sounded like liquid chrome to me. letting ideas flow GT: What type of guitar tone do sound. John Coltrane and Charlie memory that conjures a mood.billnelson. leaving pauses where a Duane was my first ever guitar singer would pause for breath. chorus. I whole range of possible guitar perform live in Wakefield when I Parker’s ‘sheets of sound’ just try to conjure up atmosphere sounds. you can quality. together that couldn’t possibly be I’ve read. the which I loved after seeing them sung. straight as you want.

G D A 13 14 14 16 . Just were Hofners. On one madcap Tuesday I picturesque village on the outskirts I plough through it all in an hour could be worse. I stop in Tuesday: Up at 6am. M2. I arrive at the We rehearse for 10 minutes. Embarrassment is alternative use of this noun when tempered only by the fact that our deployed to describe a wannabe’s percussion player is delayed too. M25. I sight department stores in the West 4x12 cab. It day. in my glorious miles of tedium and I’m home. major.. Jason 3 3 3 3 3 3 3 ~~~~ 3 Becker and Tony MacAlpine use similar ideas. Back in the day The guitarist’s guide to happiness and personal there’s no rhythm section. This month: J is for ‘Journey’ singer. look back at Monday’s feeling of When I hear these words mangled being done in with nostalgia.mitchdalton. I’m quick. augmented. In ascending ©»¡•º œ œ œ œ œ œ order. We’ve gone to the pub. that’s it. Back in actually flog toothbrushes. Up with the reach the pinnacle of showbiz lark. suppository upon the person in The M25 has been biding its time question. & 44 ∑ . Mitch Dalton is one of London’s week-to-view diaries. I gaze out Curtis Schwartz’s Studio in info at: www. At least I don’t performed on six one-hour of Canterbury.uk PHIL HILBORNE’S ONE-MINUTE LICK GUITAR TECHNIQUES MAGAZINE 2 5 0 Phrygian P D ADominant ONE MINUTE LICK LICK Arpeggio Lick . But enough to Islington for a 9am TV session of Simon Cowell. in at worry. then prepare before making the call. Yngwie & Malmsteen.. The ‘journey’ in its traditional inevitable M25 accident and I’m sense for the purposes of late for a 10. series. This series is the As it happens. My point is merely that if one is Session all week. 75 miles of I’m employing the word mortal motorway combat. Sussex. 4 5 9 9 major/dominant 7 and the sixth E 1 to minor. Drive to most sought-after musicians. These Whitstable for breakfast. Methodical E practise is the key to mastering this. who is apparently booked on Everest via any number of backing vocals somewhere. second. I will say that. One hundred the car. End. A2.30 start for my own the modest entertainment project with the lovely Russell that follows. enamoured of the misuse of words Obviously. This avoids diminished and ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ augmented arpeggios and results E7/B Am/C Dm œ E7 E w ~~~~ œ œ œ œ œ œ œ œ œ √ #œ œ œ œ œ œ œ # œ œ œ œ œ ..” The sound on every corner. I sit in a sea of metal for two Shenanigans minded to pursue this professional hours. However. More say that times have changed. Vinnie Moore. is named after a popular brand of into a sales rep that happens to played on two or three sessions per Emergency caffeine and off to a footwear. And now it puts the boot in. a comfortable set of composer’s rustic residence and read the gig. #œ œ in a great sounding (and easier to play) arpeggio sequence. Southend-On-Sea. “Don’t yourself for the long haul.30am. Dartford and a half and. Keep the sweeps clean E B 16 12 15 12 12 17 12 13 13 12 17 13 15 15 13 19 16 17 17 16 . I emerge at 1 ‘o clock. minor. parked untypical week from last month. It’s all there in Bic. I meet Peter Green.by Phil Hilborne Here’s an alternative way of harmonising E 7/G # œ œ #œ œ œ œ œ œ œ œ E F Am the Phrygian dominant scale. Here is part of a not last episode in the current TV point in the week. The one about the GP who beginning to think I’ve morphed effortlessly and inexpensively and Monday: Up at 5. 7 4 5 5 4 8 5 6 6 5 10 7 9 9 7 12 8 10 10 8 changed the third and fifth to G D A . At this like a regular commuter with a day patience. The band’s all here. diminished. Done in. diminished. 3 ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≥ December 2015 9 . harrowing account of the battle to Wednesday: 6am. I’m not a fan of the Stone. Except least two senses. 17 and in-time – palm-muting will help. Intro I ’d like to make it clear that Ardingly. Or when men were men and Gibsons fulfilment. I’m actually job as I drove into town.co. Drive emotional obstacles. the harmony of Phrygian Dominant is: major/dominant 7. I arrive at 6pm. but don’t rush ahead.. I wait as long as I dare guitar pickin’ game. in impolite society it’s as much as I Thursday: The John Altman Mitch Dalton’s can do to resist the urge to Big Band with James Tormé at The substitute a truss rod for a Palace Theatre. at Angel studios. and even on the top floor of alarm clock fed through a Marshall the meaning of it all. keep particularly funny hours. We digress. I am no more one about the sleuthing cleric. # œ œ œ œ œ œ œ œ minor. I like ‘challenge’ or ‘workshop’. There were times when I felt wheels and a catering pack of overdub my performance for the who is in the audience. Another 100 miles later studios. fourth and seventh chords but E B . I F 3 3 3 3 3 3 3 3 have retained the first. commercials in six different Crossing. in every basement days you’d be wise to invest in an at the Kent coastline and ponder check was at 4pm. there were studios get here when you can. Suffice it to occasional terror.

52. the music isn’t good. And sometimes a set of 10s to GT: Do you still practise? GT: Is there a solo you really wish GT: Do guitar cables really make a rock out. 32. GT: Is there anyone’s playing (past hands going on non-gig days. Like all musical lesson you ever learnt? December. Read it. what a thought. record called Good Time – featuring Adam Nussbaum on GT: And what are you up to at the GT: Your house/studio is burning GT: The best gig you ever did? drums. Before he jumped into his limo for the airport we grabbed a quick chat with legendary blues. Lesh. i am amp fickle. I can play very mediocre bass and technically lousy drums but my time is okay. John Scofield GT: Do you have a type of pick that you can’t live without? JS: No. a particularly special project next have on your guitars? JS: Medium. but almost all of them JS: Fenders. I turn it way up. I don’t know who. but I couldn’t afford I practise along to a play-along be dead. will mean a that’s ever lived? guitarists I guess. at least better. I am proficient in music as a language. I also have a duo with how do you set it? good. I don’t different reasons. JS: Practise makes perfect – or new recording with a different JS: Not me. but we Americans spell you had played? difference? What make are yours? with a C. yes. GT: Do you play another instrument well enough to be in a band? JS: There are a lot of really bad bands out there so. we call it dinner. John Scofield: GT: If a music chart were put in ‘Proficient in music as a front of you. normal sized and heavy. JS: Yes. I use regular music store picks. singer/keyboardist Jon Cleary JS: I am amp fickle. GT: What would you most like to be or present) that you’re slightly GT: What was the first guitar you Playing is a ‘use it or lose it’ remembered for? jealous of? really lusted after? situation like many other things. and out again. GT: If you could put together a with drummer Bill Stewart and valuable. Mostly just playing but I Lester’s Young’s solo on Lady Be are better than others. JS: My new album Past Present to salvage? that I have loved many and all for came out 25 September on JS: Oh. JS: I’m living my fantasies. etc. play saxophone. JS: The Kingston Trio. like all ‘jam’ gigs here and there with Phil JS: D’Addario 12. I JS: Generally. group and concept. I’ve played bass before on one of my records. jazz and fusion player. album. JS: I won’t care at all because I will JS: For sure. what would they be? JS: Tuner pedal cause I need to tune up. Intro 60 SECONDS with… A minute’s all it takes to find out what makes a great guitarist tick. write it. I couldn’t even GT: Do you have a pre-gig warm-up Impulse. I turn off the bass track and moment – tours. could you read it? language’ JS: Yes. Happy to say play standards. i turn it way up. colleagues and friends: Joe Lovano also a few others that are way more really enjoy what I do. i fall in love summer with [jazz pianist] Brad Mehldau and there are always GT: What strings do you use? so easily. I’ll be touring GT: What kind of action do you Guitar is impossible. 20(P). 10 December 2015 . etc? down: which guitar do you choose JS: I have no idea. You can find it on YouTube. who bassist Larry Grenadier. play the guitar? play to write and play to keep my Good. them at age 12. I pretty much practise JS: I make my students memorise JS: I use VOVOX cables and they GT: Who was your first influence to every day. We’re or money? nightmare? would the other players be (dead touring it now in the States and GT: What’s your favourite amp and JS: If the drummer isn’t really or alive)? Europe. 16. and out again. I have my AS-200 that I narrow this down to the best band routine? it features some of my longtime can’t imagine living without but or project over my career so far. Govt Mule. 42 guitarists. GT: If you had to give up all your pedals but three. I fall in love so GT: What’s the most important and we have a few USA shows in GT: Who’s the greatest guitarist easily. I’m really proud of it and know. What’s the choice? Love GT: And your worst playing fantasy band with you in it. RAT pedal and wah-wah. Next year.

Hooker inspired jam in A using And Dancing regular tuning or take the plunge and tune to an open A chord (E-A-E-A-C#-E). the MC2 is a very stylish production. first time and is won by BBC newsreader Natasha Pentatonic (E-G-A-B-D).. It has a pair of Rio Grande Zebra humbuckers. there’s lots of space to practise your maps and hundreds more tracks. part. try mixing A minor Pentatonic pedals with a distinctively 50s look but a 21st century delivery. For free scale Millau Viaduct are opened in London and France respectively. which is First part has the rhythm guitar This acoustic blues jam tips its hat essential to access all the features it has to offer. leaving you lots of space to work nicely with your favourite STRICTLY COME DANCING AIRS FOR THE comp. London. You can also message us Other sad losses this year are Dimebag Darrell.co. You can also subscribe to www. Ray Charles. heavy rock. overdrive and delay. acoustic headstock with a distinctive cut-out at the end and all the Speciality: Blues and classic rock hardware is top quality and gold-plated so. No wonder they’re causing a stir.com.5 million F# A). For the (E-F#-G#-B-C#) and E reclassified with Division 1 becoming the Football League C7 chords you can use C Lydian Mixolydian (E-F#-G#-A-B-C#-D) Championship and the others becoming Leagues 1 and 2. Peppa (E-G-A-Bb-B-D) and the E Minor B-D) and E major Pentatonic Pig premieres on Channel 5.. arpeggios will also help: E7 (E G# B D).com/ at Christie’s auction and raises $959. Ferraris are made. Laura Branigan and Johnny Ramone. You can check out unhealthy drink products to teenagers. subscription and other offers. rock. the Daily Mirror publishes might like to hear.quistorama. With a single Jensen but before long there’s no rhythm to Chicago style blues and will 12-inch speaker this baby is seriously loud. visit ERIC CLAPTON SELLS HIS BLACKIE STRAT 16th-note funk strumming technique – as well as your soloing. E Blues Mix E minor Pentatonic (E-G-A- Kaplinsky and her dance partner Brendan Cole. Instagram and Facebook. interesting stories that Nev. Certificate it’s expensive. naturally. dominant (C-D-E-F#-G-A-Bb) for good measure. £26. Coca Cola sponsorship of BBC’s Top Of The Pops’ find GT ON You can befriend Guitar Techniques Magazine credits is cancelled as it is deemed unsuitable to promote FACEBOOK on our Facebook page. a three-a-side Styles: Blues. Knowing the PRO-HUNT CAMPAIGNERS BREAK INTO THE and for B7 I’d suggest E Harmonic minor (E-F#-G-A-B-C-D#). John Peel. where for extra flavour. Valve driven with solid-state rectification it has a power rating of 60 ➋ Swinging Jazz Blues (Em) ➍ Acoustic Blues Shuffle (E) watts and offers three channels and a five button foot switch. instrument shop Tel: 01233 647474 Email: chris. (we try to answer as quickly as we can!) and Carl Wayne (The Move). fingerstyle. Johnnie Walker returns to Radio 2 after receiving treatment for cancer and Fender E-G) and A major Pentatonic licks. Cardiff‘s Wales Millennium Centre is opened. the coroner’s inquest into her death and that of Dodi Al-Fayed is opened. enabling you to riff along and maybe even break DANELECTRO BRING OUT three Wasabi out your slide finger! For scales. solo or both. upcoming issues. but also A MEMORIAL FOUNTAIN to Diana. Jason and the team have spotted. Offering (A-C-D-E-G) and A major distortion. as well as A on Twitter. of Education Levels: Beginners to advanced. studio. Just like the cars. See you there! and classy then the David T McNaught Vintage SC Singlecut guitar (below) may be just what you’re looking for.I.youtube. teaser licks and details of a letter where Diana alleged that someone was trying to kill her. Or find Quist and his jam tracks celebrates 50 years of the Strat with its 50th Anniversary (A-B-C#-E-F#). Intro That Was The Year. Danos. even ask us to post links to your own projects IF YOU WANT SOMETHING UNUSUAL (which we do at our discretion). American Stratocaster. Happy jamming! is stolen from the Northern Bank in Belfast and it’s an important year ➌ Funk Jam (A) for British architect Norman Foster as his designs for the Gherkin and In this James Brown-style funkout Jam tracks by Quist. Jam Tracks Tips 2004 Use these tips to navigate our bonus backing tracks ➊ Boogie Blues (A) You can play with this John Lee Diana.bailey@righttrackmusicschool. Mixolydian (A-B-C#-D-E-F#-G) A Dorian (A-B-C-D-E-F#-G) and ItALIAN-BUILT BRUNETTI AMPLIFICATION and A Dorian (A-B-C-D-E-F#-G) good old A Major scale (A-B-C#- arrives in the UK with an impressive combo built in Modena. QuistTV to get all the latest tracks and drug and alcohol rehabilitation centre. Qualification: Diploma M. www. A7 (A C# E G) and B7 (B D# House of Commons but it doesn’t prevent the Hunting Act 2004 banning fox hunting in England and Wales being passed. football matches are scale (E-F#-G-A-B-C-D). perhaps adding some A Mixolydian (A-B-C#-D-E-F#-G). Use E minor Clapton-style blues shuffle licks. great tracks we think you Princess of Wales is unveiled by the Queen. the three pedals are well equipped with Pentatonic (A-B-C#-E-F#). Built in the USA it’s hot for teacher Your Teacher essentially a boutique LP style with a set neck and an arched top but the body is one-piece black limba and finished with a diamond quilt Who: Chris Bailey Town: Ashford maple cap.uk December 2015 11 . RGT Grades if desired up to Grade 8 Sight-reading: Beginners only Charges: £16 per 30-minute lesson Special: Fully equipped music rooms.000 for his Crossroads Use A minor Pentatonic (A-C-D. D-E-F#-G#) on the E7 chords. controls and linking facilities and all for a reasonable outlay.

Play } PENTATONIC ON THE CD TRACKs 4-13

Pentatonic
Boot Camp Part 1
Want a few cool new Pentatonic licks that don’t sound just like your
old ones? Richard Barrett takes you to the source where all
the great riffs came from. Be prepared to put in a little time!
ABILITY RATING EasyBeginner/Moderate ✪ ✪ ✪ ✪ ✪ out with A minor Pentatonic Shape 1, but
moving through most of the others as the solo
Info Will improve your…
progresses. It’s a great exercise to listen or
Key A Tempo Various CD TRACKS 4-13 Fretboard knowledge Improvisation/Composition Coordination
indeed play through it and see how many
shapes you can spot, however briefly used.

M
any hardened guitarists don’t really with these; it may seem like a big task but, Though we’ve chosen the key of A for this
know their Pentatonic scales. They remember, we are only dealing with the same study, the same shapes can be transposed into
may say they do, but I wonder how five notes, just in different locations. The any key, by simply moving them up or down
many can play all five shapes of the principle is the same as learning where to put
minor Pentatonic really fluently? If you stand your fingers to grab a chord without having to I don’t play
guilty as charged, stick around because we’re look – conditioned reflex, or ‘muscle
here to change all that! memory’, applied in this case to sequences of
pyrotechnic
The Pentatonic scale is the five-note staple notes in a pattern visualised on the fretboard. scales. I play
of blues and rock guitar. Literally thousands The best way to acquire this facility is by about frustration,
playing through the five shapes regularly –
The practice of perhaps a couple of times a day over a patience, anger.
scales solves the sustained period, rather than trying to take Music is an extension
greatest number of
too much on board at once. As you will see,
there are many ways to use these patterns,
of my soul Dick Dale
technical problems and it would be a shame to fall into a limited to different locations on the fretboard, as you
‘comfort zone’. Playing through the shapes, would a barre chord. For example, take all five
in the shortest you’ll hear how each is derived from the same shapes and shift them down two frets to find G
amount of time five-note sequence and, as this happens, your minor – take it up four frets from there and
Andres Segovia ears will help guide your fingers to the right
notes, which is exactly the facility we’re
you’re in B minor. We’ll look more at playing
in different keys in part 2. For now, stand by
of classic riffs and solos are derived from it. looking to build and expand upon here. your beds, Pentatonics ready for inspection!
In this two-part study we’re going to start by Most aspiring guitarists get comfortable Isn’t that what they say in boot camp?
looking at the five shapes of the A minor with Shape 1 first – and it’s not hard to see
Pentatonic (A-C-D-E-G). This is often mixed why many get stuck there. It’s arguably the 5
6 6 4
up with the ‘Blues’ scale, which is almost most well used, featuring in pretty much any 7

identical but contains an extra note (Eb in this classic solo you could name, though usually
key). Firstly, check out the five fretboxes on not exclusively. Jimmy Page’s solo in Stairway
Gain Bass Middle Treble Reverb
page 14. It’s essential to familiarise yourself To Heaven is an excellent example, starting

Technique Focus
Alternate or economy picking? Solo 1 is a pushed Strat neck pickup tone,
Some of the examples make great exercises for improving picking and hand-to-hand coordination. Most chosen with David Gilmour in mind and with a
were played using alternate picking, starting with a downstroke – but in the slightly more musical context medium slapback echo (250ms) for a bit of
of the demo solos, certain groups of notes can suggest other approaches. Fig 4 (playing in groups of five atmosphere. Solo 2 is a Les Paul, using the
notes to a phrase) can be played with alternate picking but also consider using a single downstroke to bridge pickup and more gain, for a more ‘Gary
articulate the fifth note in one group, then the first note of the next on the adjacent string. Effectively, you Moore meets Eric Johnson’ feel: no delays, just a
are picking two notes with one downstroke. This is economy picking and has many uses. There isn’t a strict short room echo. This same tone is the basis for
formula, but be aware of it as an option along with legato, of course, where you hardly pick at all. the example, with the gain rolled right back.

12 December 2015

PENTATONIC BOOT CAMP PT1 { PICKING

Eric Johnson:
uses Pentatonics
in a particularly
personal way
JOBY SESSIONS IDOLS / PHOTOSHOT

Stevie Ray
Vaughan: almost
TRACK RECORD We could list virtually every guitar album ever made. certainly wailing
with Pentatonics!
But try Eric Johnson, Ah Via Musicom; Gary Moore, Still Got The Blues; and
Stevie Ray Vaughan, Texas Flood for three different takes on the Pentatonic.

December 2015 13

Play } PENTATONIC ON THE CD TRACKs 4-13

DIAGRAM 5 SHAPES OF A MINOR PENTATONIC

EXAMPLE 1 shapes 1-5 In Sequence cd track 4
This example ascends Shape 1, using all possible notes and strings, then shifts This is a good exercise for those who feel lost when venturing out of Shape 1’s
to Shape 2, where we descend. Working up to Shape 5, we then reverse all the comfort zone. No need to rush this; just set a comfortable tempo – no matter
way back to Shape 1, using the same ascending and descending approach. how slow – and play the example as accurately as you can.
GUITAR TECHNIQUES MAGAZINE 2 5 0
Richard Barrett's PENTATONIC BOOTCAMP
GUITAR TECHNIQUES MAGAZINE 2 5 0
Richard Barrett's PENTATONIC BOOTCAMP
GUITAR
Fig 1 TECHNIQUES MAGAZINE 2 5 0

©»ª∞ œ œ œ
Richard Barrett's PENTATONIC BOOTCAMP

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& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 ∑ 3 3 3 Shape 2 PENTATONIC BOOT CAMP PT1 { PICKING E 8 10 B 8 10 8 10 G 7 9 7 9 7 9 D 7 10 7 10 7 10 A 7 10 7 10 EXAMPLE E 58 Groups 10 of Six .CONTINUED cd track 8 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ 3 & œ œ œ œ œ œ ∑ 3 3 3 3 œ 3 3 Shape 3 E 12 10 B 13 10 13 10 G 12 9 12 9 12 9 D 12 9 12 10 12 10 A 12 10 12 10 E 12 10 57 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 & œ œ3 œ œ œ œ3 œ œ œ œ œ œ3 œ ∑ œ œ œ œ œ & œ œ œ 3 œ 3 3 3 3 ∑ Shape 4 3 3 3 3 3 5 3 3 E Shape 4 12 15 B 13 15 13 15 G 12 14 12 14 12 14 E D 12 14 12 14 12 14 12 15 œ B A 12 15 12 15 13 15 13 15 œ œ œ œ G 12 14 12 12 14 14 œ E 12 15 œ œ œ œ œ œ œ œ œ D 10 12 14 12 14 12 14 A E 12 œ œ 15 3 12 15 12 15 œ œ œ œ 10 & √œ œ œ ∑ œ œ œ œ3 œ œ 3 3 3 33 3 3 œ 4œ œ œ œ œ œ œ œ œ œ3 œ œ œ3 œ 3 3 3 3 & Shape œ 3 √ œ3 œ œ œ œ œ 13œ 15 œ œ 13œ 15œ 12 œ15 œ œ œ œ œ 3 3 E & 3 œ 12 œ14 œ œ œ œ œ œ B 3 12 14 12 14 œ G Shape 53 D 12 14 12 314 12 14 A 12 15 3 12 15 E 12 15 Shape 17 515 B 10 17 15 17 15 G 17 14 17 14 17 14 E D 17 15 17 14 17 14 17 14 B A 17 15 17 15 17 15 17 15 G E 17 14 17 14 17 14 17 15 √ œ œ œ œ D 13 17 14 17 14 17 14 œ A 3 17 15 17 15 œ œ œ œ E 3 3 3 173 15 13 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ Fig 6 Fig 6 ©»ª∞ 3 œ œ œ œ œ œœ 4 œ œ œ œ œ œ œ œ œ œ cd œtrack 9 ©»ª∞ œ 3 & 46 4thsœ œ œ œ œ œ œ œ œ œ œ œ œ 3 Shape 5 œ œ œ œ œ œ œ œ 4417useful œ œ harmony œfromœ all the œ there too. 17 15 17 15 E Shape 1 5 8 Shape 10 2 8 17 15 B 13 5 8 5 8 10 8 10 8 G 5 7 5 7 9 7 9 7 E D 5 7 5 7 5 8 10 8 10 7 B A Fig 6 5 7 5 7 5 8 5 8 10 8 10 8 ©»ª∞≥ ≤ ≥ œ œ œ œ œ G E 5 8 5 7 5 7 9 7 9 7 œ œ D1 5 7 5 7 10 7 ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A 5 7 5 7 & 44 ≥ ≤œ ≥œ E 5 8 1 ≤œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ ¡œ ¡ ¢ œ £ ¡ ¡ £ £ œ œ œ œ 1 œ & œ Shapeœ œ œ œ œ œ œ œ œ œ œ œ œ œ œShape œ œ 2 œ œ œ œ œ œ œ œ œ œ œ œ œ 5 œ œ 8 œ 5 œ 5 œ 8 8 œ10 10 8 8 E B & œ œ œ œ œ 5œ œ 7 Shapeœ œ œ œ 5 3 5œ 7 7 5 7 9 10 7 8 G Shape94 7 D 10 7 A 5 7 5 7 E 5 8 Shape 3 10 12 Shape 154 12 B 1 ≥ ≤ ≥ ≤ 10 13 10 13 15 13 G 9 12 9 12 E D 10 7 10 12 10 12 10 12 15 12 œ œ 2015œ œ B A 10 7 10 7 10 12 10 12 10 13 10 13 15 13 œ œ œ œDecember G 9 12 9 12 œ œ œ E 10 8 10 12 D5 10 7 10 12 10 12 A 10 7 10 7 10 12 10 12 œ œ œ œ œ 19 œ 10 8 10 12 œ œ E 5 . œ œ œ ¡œ1 œ £ ¡œ 17¡ £14 £ B 15 17 15 positions on adjacent G strings... Thin Lizzy made extensive use of this kindœ of Pentatonic œ EXAMPLE œ 15¡and17¢interesting £œ pairsœof notes ¡ £ playing œ œ & This is a very E ¡ œ œ £ ¡ device. Curtis Mayfield. SRV ‘double-stop’ style. This usually results in a ‘4th’ interval 17 14(four notes (though 17 using 14 two guitars) and it is also a very useful starting point to learn Shape Shape 2 D apart A ¡ ¢ in the major scale) but there are some occasional 3rds hidden away in 17 14 17 14 17 14 that Hendrix.

CONTINUED 8 5 7 5 7 9 7 cd 9 track 7 9 D1 5 7 5 7 10 7 A 5 ≥ ≤ ≥ ≤ 7 5 7 E 5 8 œ œ œ 1 ≥ ≤ ≥ ≤ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ œ Shape Shape 4 E Shape 3 10 12 Shape 154 12 B 10 13 10 13 15 13 G 9 12 9 12 D E 10 7 10 12 10 12 10 12 15 12 B A 10 7 10 7 10 12 10 12 10 13 10 13 15 13 E G 10 8 10 12 9 12 9 12 D5 10 7 10 12 10 12 A 10 7 10 7 10 12 10 12 E 10 8 10 12 5 œœœœœœœœ œ œ œ œœœœœ √œ œ˙ œ œ œ œœ œ œ & œœœœ œ œ œ œ œœœœ œœœ œ œ œ œ œ œ œ œ œ √œ œ œ ˙ œ œ œœœœœœ œ œœœœœœœ œ œ œ & œ Shape 5 E Shape 5 15 17 B 15 13 15 17 15 17 G 14 12 14 12 14 17 14 17 E D 14 12 14 12 14 17 14 17 15 17 A B 15 13 15 12 15 12 15 17 15 17 15 17 15 17 G E 14 12 14 12 15 12 15 17 14 17 14 17 D9 14 12 14 12 14 17 14 17 A 15 12 15 12 15 17 15 17 E 15 12 15 17 9 EXAMPLE 7 Demo Solo 1 cd track 10 Designed primarily to demonstrate Shapes 1-5 using quavers and semiquavers. Bars 7 and 8 feature some work up swiftly to Shape 5 for that final bend. this solo gives a bit of musical context too. ˙ ~~~ œ œ œj œ œ œ. . j œ 20 & œ œ œ œ œ œ œ œ œ œ j œœ œ .. 4 œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ & ©»ª∞ œ œ œ œ œ œ œ œ œ œ œ œ 4 ¡ œ ¡ ¢ £ ¡ ¡ £ £œ œ œ œ œ œ œ œ œ œ &4 œ œ œ œ œ œ œ œ œ œ Play Shape }¡ œPENTATONIC ¡1 ¢ £ ¡ ¡ £ £ Shape 2 ON THE CD TRACKs 4-13 E Shape 1 5 8 10 2 Shape 8 B 5 8 5 8 10 8 10 8 G 5 7 5 7 9 7 9 7 D E 5 7 5 7 5 8 10 8 10 7 B A 5 7 5 7 5 8 5 8 10 8 10 8 EXAMPLE G E 6 4ths 5 . œ œ 1/4 D5 A ~~~~ D5 1/4 œ ~~~ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # A˙ œ œ œ œ ¡œ £œ ™™œ ¢œœ œ ¢ & ˙~~~~ œ⋲ ⋲ œ œ œ œ œ œ œ œ œ œ ~~~ œ œ œ & ˙ #˙ œ ~~~~ ' ~~~ ' 1/4 ~~~~ 10 12 10 ~~~ 10 12 E 1/4 B 10 13 13 10 13 10 10 13 G E 12 10 12 10 12 12 9 12 9 9 12 10 12 12 14 D B 10 13 13 10 13 10 12 12 10 11 10 13 A G 5 12 12 12 9 12 9 9 12 12 14 E D 12 12 10 11 A 5 5 E 5 E5 √ ~~~ œ2015œ œ œ œ œ œ œœ œ œ œ œ. 1 œ œ œ œ ¡œ £œ œ ' œ œœ œ. Note the groups of three around between Shapes 2 and 1. for shifting position once you have these shapes down. which in bar 2.. j œ j œ œ œ œ ¿ œ œ œ œ~~~ œ E5 œ √December œ œ œ œ. settling there until bars 15 and 16. œ œ ˙ œ œ œ£ £ ¡ œ . ˙ ~~~ œ œ œj œ œ œ. œ . then some sneaky groups of 5 in bar 6. £ BU ~~~~ BU ~~~~ (10 )~~~~ ~~~~ E B BU8 8 5 BU 8 10 8 5 G E (9 ) 7 5 7 5 7 9 9 9 7 5 7 5 D B 8 (10 ) 8 5 7 7 5 5 7 7 7 8 10 8 5 7 5 7 5 A G 7 (9 ) 7 5 5 7 7 9 9 9 7 5 7 5 7 7 E D 7 7 5 5 7 7 7 7 5 7 5 A 1 7 7 7 E ' œ. which very deliberately demonstrate the possibilities shapes can add freshness and vitality to this well-worn scale. This solo shows how using all five 6 xxxxxxxxxx ascending sextuplets. œ œ œ ˙~~~~ œ œ ‰ œ œ£ œ ‰ œ œ œ ¡œ œ œ œ œ œ œ£ £œ ¡œ £œ &4 œ œ œ œ. Bar 11 slides a few 4ths hopefully. 6 xxxxxxxxxx Fig 7 Fig 7 SOLO 1 ©»ªº ~~~~ ~~~~ ©»ªº4 j Aww5 ~~~~ œ œ œ£ œœ œ A5 SOLO j1 œ œ œ œj œ œ œ œ œ œ ¢œœ ¡œ œ¡¡ œ££ ££œ œ¡ œ¡¡ œ œ ¢ ¡ & 44 œ œ œ œ œ œj œ œ œ œ œ.

this example is stylistically more (which is actually based around Shape 1 E minor Pentatonic. Fig 8 3 ' œ œ œ œj œ œ /' 3 SOLO 2 ©»¡ºº /' w ~~~~~ ~~~~ A5 1/4 j œ 14 6 & 44 œ œ œ œ œ œ œ ˙. fitting with the aggressive and rhythmically a little more adventurous with its triplets and underlying E chord). It’s this playing ‘across the beat’ that can make what is essentially a on7ascending groups of five.. & D5˙~~~~ D5 ⋲ œ /'' œ œ œ. Bar 2 really nails those quaver triplets. œ œ œ œ œ œ œ œ œ œ œ œ œ 14 3 œ œœœ œ 3 3 ' ' 6 BU ~~~~~ ~~~~ ' BU 1/4 1/4 E 5 B 8 ( 10 ) 8 5 5 8 5 1/4 G 7 ( 9) 7 5 5 5 7 7 5 7 5 D 7 5 5 7 7 7 5 7 5 A 7 7 5 E 8 15 1 D5 . played in groups of dotted/swung rhythms. œ~~~ œœ œ œ œœœ¿ œ œ . Bars 11-12 feature some angular 4ths. j œj ˙ ~~~ œ œ œœj œ œœ œ. ˙ ~~~ j œ œ jœ . œ & œ. 12 15 15 17 BU BD BU ~~~ BU BD ~~~ ~~~17 E ( 21)~~~ B 13 15 15 17 20 ( 22) ( 20 ) 17 17 20 BU ~~~ 19 17 19~~~ G 14 17 BU BD 19 BU BU ( 21BD ) (19 ) 19 17 19 17 17 E D 12 15 15 17 BU BD BU BD 19 X B A E 13 15 12 15 15 17 15 17 20 ( 22) ( 20 ) 17 17 20 14 17 15 17 19 ( 21) ( ) ( ) 17 20 19 21 19 17 19 17 17 17 G E B 8 D 13 15 20 ( 22) ( 20 ) 17 19 X 19 17 19 G A 14 17 19 ( 21) 19 ( 21) ( 19 ) 17 19 17 17 17 D 19 X 19 17 19 ' E A 8 /' E œ œ 8 ~~~ ~~~ / 14 œ œ ''// œ œ A5 œ œ œ œ A5 œ œ œ œ 14 œ œ œ & ‰ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ~~~ œ œ œ ˙ œ # œ œ œ œ œ /' œ ~~~ œ # œ œ œ œœ œ œ /' œ A5~~~ œ 14 œ 14 œ œ ~~~ œ œ œ œ 14 ‰ œ œ œ œ œ œ œ œ œ 14 & ‰ œ œ œ œœ œ œ œ œ œœœœœœœ œœ ˙ œ œ ˙ œ #œ œ œ œ œ & ~~~ œ œ œ ' / œ ~~~ /' 14 14 5 ' ~~~ 5 6 5 5 8 5 7 //' 5 10 8 5 ' ~~~ 5 5 8 5 ' 5 E 5~~~ B 8 10 10 8 10 8 5 / 14 14 ~~~ G 9 7 5 7 5 14 E D 10 8 7 7 5 7 / 7 5 7 14 B A 8 10 10 8 10 8 5 5 7 E 10 8 7 8 5 7 5 5 5 5 6 7 10 9 G E B 11 D 8 10 10 8 5 7 7 5 7 7 5 7 5 8 5 5 G A 9 7 5 7 5 5 5 7 5 5 5 6 7 D E 7 7 7 7 5 7 A 11 5 7 ' œ œ œ ˙ ~~~ E 11 j j œ ~~~ E5 œ 1/4 œ œ j œœœœœœ œœ œ' œ œ œ œœ œœ j ~~~ ˙ ~~~ œ œœœ œ ' œœ & œ œ œ j œj œ œ œ œ œ œ œ œ œ œ œ œ Eœ5~~~ ˙ E5 œœœœ œ 1/4 œj œ œj j ~~~ œ œ œ œ œ œœ 1/4 œ œ œ & œ œ œ & BU BDœ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ Eœœminorœœpentatonic œœœ œœ œ ~~~ œ œ œ ' 1/4 ~~~ '' BU E minor pentatonic ~~~ E 10 12 B ~~~ E minor pentatonic 1/4 8 10 12 15 ( 17 ) ~~~ (9 )BD BU 7~~~ G 7 (7 ) 5 7 5 5 71 9 BU E D BU BD 7 7 5 7 5 7 5 5 0 9 /4 10 12 BU B A 7 7 5 7 7 7 8 10 12 15 ( 17 ) E G E 7 (9 ) (7 ) 5 7 5 5 7 9 10 12 B 14 D 7 7 5 7 5 7 5 5 0 9 8 10 12 15 ( 17 ) G A 7 (9 ) (7 ) 5 7 5 5 7 7 5 7 7 7 7 7 9 D E 7 7 5 7 5 7 5 5 0 9 A 14 7 7 5 7 7 7 7 E 14 EXAMPLE 8 Demo Solo 2 cd track 12 Again. œ~~~œ œ œDecember A5 ~~~ 3 œ . œœ œ œ œ j œ œ ' 1/4 œ œ . œœœ¿ œ œœ œ &√ œ œ œ √ œ E5 œ œ~~~ œ œ œœ œœ œ œ œ œ. œ œ œ ¿ œ œ œ. leading to Shape 1 A minor Pentatonic descending in groups of four as up to groups of six between bars 3 and 4. Note bar 9’s economy picked groups of four simple idea sound very swish. E5 œ œ œ œ œ & œ œ œ œœ œ œ œ œj œ œ œ œ œ. œœ œœ . ˙ ~~~ œ œ œj œ œ j œ œ j . œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ œ œ œ œ œ œ # AA˙ ~~~ œ œ œ œ ¡¡œœ £œœ ™œ ¢œ œ⋲ œ œœœ œ œ œ œ 14 œ œ œ œ œ œ œœ ~~~ #˙ ™œ ¢œ & ˙~~~~ œ⋲ œ #˙ œ /' & ˙ œ PENTATONIC BOOT CAMP PT1 { PICKING ~~~~ 14 ~~~ 10 '' 12 10 10 12 E B ~~~~ 1/4 10 13 13 10 13 10 ~~~ 10 13 5 ~~~~ ~~~ G 121 12 12 9 12 9 9 12 12 14 E D /4 10 12 10 12 12 10 11 10 12 B A 10 13 13 10 13 10 10 13 E EXAMPLE 7 Demo Solo 1 CONTINUED 10 12 10 10 12 cd track 12 14 10 12 13 10 12 13 10 12 9 12 12 9 9 12 10 13 G E B 5 D 10 13 12 10 11 G A 5 12 12 12 9 12 9 9 12 12 14 D E 12 12 10 11 A 5 5 E E5 ~~~ 5 √ œ œ œ œ œ œœ œ œ œ œ. then doubling three. designed primarily to demo the shapes. Bars 5 and 6 put the emphasis sextuplets. œ œ œ œ œ œ œ 2015 œœœœ 21 œ.

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actually. alternate picking. or simply feathering the pick or touching the legato. but then delve into those of this can be the enemy of any variation in Harmonic minor and Melodic minor too). It’s worth taking the time to listen to perhaps a hint of things to come. For a deeper analysis of parallel chords. whammy bar similarities between Joe’s 2004 track If I opportunities to vary the sound and approach. unique rhythmic section – that you might not have noticed Rubina – named after his wife – was before. This accessibility propelled Surfing to rather than as a means to an end (a criticism become a platinum seller and launched 6 6 4 easily levelled at many of the 80s shredders). even in Always With Me. Rather than using diatonic relative major and minor (where all the front end of a clean channel Marshall. It changed guitarists. it’s easy to forget that it was general music-buying public. that when that song came on. subtle and deliberate ways that haunting melody and astonishing solo no one ever writes Joe approaches every single note. Viva La Vida. But when Info Will improve your… Fluid legato technique we got to the studio. check out GT248. touch and beautiful melody from the master of space-age guitar. Joe’s fledgling career.” way for instrumental guitar music prior to I’ve always spent Although this track is well known (and very Joe’s 1985 album Not Of This Earth. from Duane Eddy to Freddie King. but all the infinite. so it was a bit of a guitarist of his time. however.. Study what Joe does and make it your own! always used to benefit the song. always his ability to pen a great melody underline this point. Coldplay. tapping. Although many forced to settle out of court with Satriani after revelation. sweep playing Joe Satriani strings in a lighter way. Technique Focus Pitch axis theory Joe was still using his famous Kramer guitar Although this song only moves simply from B major to parallel B minor keys. those purveyors of suddenly it was not like a rock band. it was a lot of time on nostalgic for any guitarists that grew up in the Satriani’s experiments in sound and melody (his use of modes in his writing is legendary) my records with 80s) there are so many hidden gems – from the African style rhythm guitar in the playout that saw him become the pioneer. beware of too much distortion as other mode (try experimenting with modes of the Major scale to start with. prior to getting his Ibanez endorsement of Joe’s key compositional concepts: moving through different modes based on the same root note (this and it’s likely that he used a Boss DS-1 through is often referred to as ‘modal interchange’). Play } ROCK ON THE CD TRACKs 14-16 Joe Satriani Always With Me. there are many picking.. were different sort of canvas. hammer-ons and pull-offs. echo-y kind of a thing. 7 8 Every melody was easily singable. dynamic and tone from your fingers. 24 December 2015 . had paved the guitar instrumental. ABILITY RATING Moderate/Advanced ✪ ✪ ✪✪✪ as Joe elaborates: “I thought it would be a very deep. the chords are the same) the unique construction of the new parallel scale will give you a whole new set Although it’s high-to-mid distortion with a of chords. Always With You was crowd-pleasers such as Surfing With The another tribute to his wife and originally Gain Bass Middle Treble Reverb Alien on his follow-up album (1987). Steve Allsworth guides you through the flawless technique. Whether it section. Satch sued Chris Martin and co over our thoughts about what we could do with a Hank Marvin and Jeff Beck. scoops and dives and more. it neatly demonstrates one here. lush. As if to album. finishing that. Joe possessed all the modern rock techniques that we now take for granted: about your rhythm be slides. This is a great way of conveying a completely different mood and can be used with virtually any humbucker. with its approaches. These were Could Fly and the band’s hit. Always With You As Joe Satriani’s astounding ballad approaches its 30th birthday. it was a that saw him become the premier solo supremely singable melodies. effectively what I think were to the Nashville-tuned guitar in the minor making solo guitar music cool again. This is started out in a completely different direction. pinched harmonics. it turned out that all Key B/Bm Tempo 144bpm CD TRACKS 14-16 Two-handed tapping coordination Unique chord shapes those arpeggios sounded better completely dry and direct and that all the drum A lthough Joe Satriani is rightly arguably what helped Joe bridge the gap performances that Jeff Campitelli had played renowned for his amazing guitar between the average guitar aficionado and the on actually didn’t fit… It really helped the chops.

although since he has released so much excellent material. a good compilation is probably the best way to get an overview of his work. Always With Me. The Electric Joe Satriani – An Anthology (2003) and One Big Rush – The Genius of Joe Satriani (2005) are both excellent. Always With Me. Always With You { JOE SATRIANI Joe Satriani: helped revive the guitar instrumental Duncan McGlynn TRACK RECORD Many fans’ favourite Satch album is The Extremist (1992). Always With You is from his 1987 album Surfing With The Alien. December 2015 25 .

PMœ7 8 5 8 9 œ7 9 8 5 8 9 œ0 œ6 6 4 6 œ6 œ4 G ∑ . B add11 & ## # J ~~~~~~ œ Ó œ 9 œ Ó J THEME Badd11 ~~~~~~ œ .. 5 & # G#m7add11œ œ D 9 9 9 9 6 6 4 4 F #7sus 4 F# œ œ œ œ œ A E maj 7 add 6 ## ## œ E 7 2 œ œ œ œ œ œ œ 1. . so your enemy here will be unwanted string sounds creeping said..Joe Satriani . PMœj ‰ j j j œ 13 œ œ œ # J E maj j ~~~~ J ˙ . 5 . B E maj 7 add 3 E & # # # 34 œ œ4 œ4 œ2 œ4 B 3 . j # & December ~~~~ 4 Œ œ G #m7add11 . œ œ B A j œ œ Œ œ œ E maj G E 6 4 j ˙ 6 j œ 6 8 8 F #˙sus 4 9 8 6 œ œ 4F # sus ˙ . 5 4 4 E D G #m7add11 9 # 9 9 6 # 6 4 4 . 6 œ œ œ F #sus 4 & #### Œ ‰ PMœj ‰ œj œ .# Œ G #m7add11 D 18 # 4 A & # œ 7 add 6 œ ~~~~ . ~~~~~ Badd11 ~~~ j œ œ.. 5. œ Ó 4 4 j ˙~~~~~~ A Badd11 E maj 7 add 6 B add11 # # 4 0 œ œ .MAGAZINE 2 5 0 GUITAR TECHNIQUES B add11 E maj 7 add 6 3 . 9 . œ ‰ j J ˙ . B # 7 & G 4 6 D E . 9 .4 œ 7˙add 6 œ F #˙sus ˙F #. G 1.. ∑ ALWAYS WITH ME ALWAYS WITH YOU . 44 4 ˙F4.. D E 4 A 3 .C. œ Ó B 5 7 G 4 D E 0:25 A 6 ~~~~~~ ~~~~~~ B E 4 5 5 7 9 7 7 5 4 5 G 13 4 D 0:25 E ~~~~~~ 6 ~~~~~~ A B E 4 5 5 7 9 7 7 5 4 5 G 13 4 D E E maj 7 7 add 6 # F 9sus 4 Badd11 j ~~~~.. it could be argued that it has a 6/8 feel [Bars 1-12] There are some pretty challenging chord stretches throughout due to the handclap backbeat (this is certainly so in Joe’s live versions). œ œ~~~~ 9 . . add11œ œ œ œ œ # 34 N. œ œ œ4 G J 8 D E 4 A ~~~~ PM ~~~ PM4 PM 4 ~~~~~ B E G 18 6 4 6 6 8 8 9 8 6 4 D E 4 4 4 ~~~~ 4~~~ PM ~~~~~ A B E G 18 6 4 6 6 8 8 9 8 6 F #sus 4 G #m7add11 F # sus 4 F# D E 4 4 4 4 4 ~~~~ . ALWAYS WITH ME ALWAYS WITH YOU . œ 2 4 œ 4 # œ 4 œ 4j œ ~~~~~~ Badd11 E 4 maj 7 add 6 2 4 B add11 2 #### A B 2 j6 œ 4œ ˙ 6œ 4 0 2 œ G E 4 4 6 4 3 D9 & # # THEME Ó 4 J ‰ j œ 6 J 2 ‰ J F sus 4 J œ ~~~~~~ . However. œ 7œ~~~~ .C.MAGAZINE œ œ œ œ œ E maj 7œaddœ 6 œ œ œ œ . j œ9 œ7 œ5 œ4 œ Œ œ3 œ œ ˙4 . so you could feeling it and reading it two different ways. # # # #INTRO B 34 N.Steve Allsworth & ©»¡¢¢ . the melody pickup comes in on beat 3 and the time base is much easier to through and fret buzz through unsure fingering. œ Œ œ3 œ E maj j œ œ 7 add 6œ œ F # sus ˙.. add11 E maj 7œadd 6 œ Fœ#sus 4œ œ œ œ œ . œj ‰ j E G 6 4 j j D 13 & # # œ œ œ œ Œ ‰ ‰ J J ˙ .# 18 j Œ G #m7add11 œPM Œ 3 F # sus 4 ~~~~ .Joe Satriani . . the bass notes read in crotchets rather than dotted crotchets and quavers. . B E 2 2 . E # j j œ8 œ œ6 4 ~~~~~ j ‰ 4j œ4~~~ j j & # # œ .Steve Allsworth & ©»¡¢¢ œœ F #sus 4 œ œ GUITAR TECHNIQUES ∑ 2 5 0 # B # # #INTRO 3 œœœœœœ œœœœœœ œ œœœ # 34 N.Joe Satriani . # œ œ ~~~~~~œ j ˙ œ ‰ œ F #sus œ 4 œJ œj œ ~~~~~~ 0:25 & ##### œ œ .Steve Allsworth GUITAR TECHNIQUES MAGAZINE 2 5 0 ALWAYS WITH ME ALWAYS WITH YOU . 6 œ œ œ F #sus~~~~~ & ##### j œ œ œ œ j Œ ‰ j ‰ j œ~~~ . B add11œ Ó THEME Ó Badd11 ~~~~~~ J ‰ E maj 7 add 6 J J ~~~~~~ E œ5 œ ~~~~~~œ j ˙7 j œ . F sus 4 ##### A B E maj 7 add 6 5 5 4F 2 7 7 0 2 œ œ œ œ œ G E 8 8 8 8 6 6 4 4 œ œ œ œ œ œ0 œ œ 1. 7 8 8 7 8 8 0 6 6 1. You might end up are compressed and EQd way down in the mix on the original. B 2 3 E G 4 . 5 & # G#m7add11 œ œ œ œ E majœ7 addœ6 œ 4 F #sus œ œ œ œ Fœ# œ œ œ œ # # G# #m7add11 œ œ œ œ œ œ œ 4 œ œ œ 4œ œ Fœ œ PM E & # # # PM œ œ œ E maj 7 add 6 # F sus œ œ œ # œ œ œ œ & # # # œ œ4 œ4 œ2 œ4 œ6 œ œ6 œ6 œ4 œ2 œ4 œ2 œ4 B G D E œ4 œ œ6 œ œ4 œ4 œ œ4 œ3 œ4 œ4 4 A œ0 6 6 œ2 4 œ2 4 B E PM 2 4 2 2 G 9 4 4 6 4 4 3 4 D E 4 6 4 4 A PM B E 4 2 0 4 2 2 2 2 G9 THEME 4 4 6 6 4 4 3 4 F #sus j ~~~~~~ E D 4 4 6 6 4 4 4 4 œ . so whichever works best is fine! remove them entirely without really affecting the vibe of the track. Play } ROCK ON THE CD TRACKs 14-16 PLAYING TIPS cd track 14 [General] Although this is written in 3/4.Joe Satriani . D E A . & # # # #E maj œ 7˙add 6 œ j œ F #˙sus 4 œ ˙F . E maj 7 add 6 # # # E maj j œ ~~~~ .Steve Allsworth ©»¡¢¢ INTRO F #sus 4 # # # #INTRO N. & ©»¡¢¢ . add11œ PM œ œ œ œ œ œ œ œ6 œœ Fœ sus 4œ œ . GUITAR TECHNIQUES MAGAZINE 2 5 0 ALWAYS WITH ME ALWAYS WITH YOU .C. PMœ œ œ8 œ5 œ8 œœ œ œœ œ8 œ5 œ8 œœ œ œ œ6 œ4 œ6 œ œ # # œ œ # # . ∑ 33 œ . œ 7œadd. That this section. œ œ œ E maj add 4 Badd11 J6 j ~~~~ ~~~~~ ~~~ œ8 .. œ 2 E œ œ ‰ E majj7 add 6 J ‰ Jœ F #sus œ 4 œ œj œ . 6 œ œ œ F #sus~~~~~ #### j œ~~~ B A 4 5 5 7 7 5 4 5 œ. ~~~~~ œ œ ~~~ œ A E maj 4 Badd11 # j ~~~~ E œ. PM PM œ6 œ4 Œ ‰ œ4 ‰ B œ6 J ˙. œ œ œ & # ## œ4 J ‰ J œ J œ œ6 ~~~~~~ 0:25 Ó J ‰ œ 9 7 5 4 5 j . œ 7œadd j ... œj œ œ œ 7 add 6 # œ E œ ˙. # # # # œj ˙6 œj PM 4.. E œ8 26 2015 ˙6 ~~~~ Œ 7 ˙2 . 4. E maj 7 add 6 E maj 7 add 6 # # # # E maj .C. PM 9 5 9 9 5 9 œ 6 4 6 œ2 4 4 .

œ œ œ √ jœ œ 6 œ œ œ. E maj 7 add 6 E maj 7 add 6 # # . j œ œ œ œ BUœ BD œ œ œ. B G 6 4 6 6 8 8 9 8 6 4 D 4 4 4 4 4 A E 18 F #sus 4 G #m7add11 F # sus 4 F# ~~~~ . up. œBUœBD œBUœ œ œ. If anything. œ. Œ 7 ‰ J7 ~~~ ‰ 9 9 9 11 ~~~ 7 4 5 5 7 9 11 12 12 ~~~~~~ B ~~~ 7 9 G 4 D 7 9 9 9 11 ~~~ 7 E A 4 ~~~~~~ ~~~ B E 4 5 5 7 7 9 9 11 12 12 G 29 D E 7 9 9 9 11 F #sus 4 A B 4 5 5 7 7 9 9 11 12 12 j ˙~~~~~ œ ¿ E G B4add11 E maj 7 add 6 D 29 œ j œ. & # # # ˙ ~~~~~~ œ ~~~ J E . & ##### œ œ. j œ œ j ˙ œ ˙ Œ ˙. ˙F #. œ œ ~~~~ ~~~~ # # #√# œ j ˙ ¿ œ œ nœ œ nœ œ #œ œ œ E 33 & ( #) B add11 j œ. œ. Always # With You { JOE SATRIANI E maj 7 add 6 F sus 4 Badd11 #### œ. œ. j J œ ~~~~~~~~~ ˙ . J ‰ J & # . j œ œ & # ## œ œ œ Œ œ œ ˙. ## & # # # Jœ PB18 ( œ œ J œ œ œ œ œ BUœ . the first rhythm E feels slightly more ‘dragged’. down. A œ #### F #sus 4 E j ˙~~~~~ œ ¿ ‰ √‰ j J 29 B add11 E maj 7 add # j œ.˙ Œ E maj 7 add 6 j ~~~ j ~~~ F sus 4 ‰ œ œ œ œ ~~~~~~ # # # # Badd11 œ œœ œ j . E B & # ## 12 14 11 14 14 14 BU ~~~~~ ( 16 ) X ‰ ‰ (19J ) ( 18 ) 16 19 18 18 ( 19 ) ( 18 ) (19 ) 19 16 BU ~~~~~ G BU BD BU BD BU D E A 12 14 11 ( 19 ) ( 18 ) 16 18 18 ( 19 ) ( 18 ) (19 ) 16 BU ~~~~~ B E 14 14 14 ( 16 ) X BU BD 19 BU BD BU 19 G 33 D E 12 14 11 ( 19 ) ( 18 ) 16 18 18 ( 19 ) ( 18 ) (19 ) 16 A B 14 14 14 ( 16 ) X 19 19 F #sus 4 (√) E G D 33 B add11 E maj 7 add 6 A j œ. œ œ œ ~~~~~ ~~~ Œ ‰ œj ‰ œj œ . Œ E maj j œ~~~ œ ‰ œ ~~~ ‰ œ œ œ œ œ œ œ œ j œ œœ œ j . œ ˙. 6 œJ œ 7œadd œ J œ4 Fœ #sus œ œ ˙ & # # # ~~~~~~. down etc). 3 ~~~~ PM E B 4 5 7 7 9 7 5 4 2 G 4 6 6 8 6 4 D A E 23 2 xxxxxxxxxx 2 xxxxxxxxxx F #sus 4 j ~~~ œ œ œ œ œ œ 2 xxxxxxxxxx Badd11 E maj 7 add 6 ~~~~~~ j ~~~ œ œ œ# œ # # # # Badd11 œ œœ œ j œ œ. ## & # # # 19J œ BD December 2015 27 E œ 18 œ 16 œ BD J . J œ ‰ J E maj 7 add 6 F #sus 4 œ œ œ ⋲ œ œ ~~~~ ~~~~ # #(#√# ) œB add11 J œ ˙ j ¿ œ. ‰ 16J œ~~~~œ œ ⋲ œ E 19 15 14 13 11 14 12 11 . It is difficult to perfect every time and even Joe has morphed it into a much easier triplet figure for his live shows.~~~~~~~~~ ˙. ( 19 ) [14 ] BU ~~~~ B X 0 14 ~~~~ 17 G BU 3 D 19 ( 21 ) 19 16 15 14 13 11 14 12 11 BU ~~~~ E A B E G 37 D E BU 19 ( 21 ) 19 17 ( 19 ) X 0 16 15 14 13 11 14 12 11 ~~~~ [14] 14 A B 17 ( 19 ) X 0 14 [14 ] G #m7add11 F # sus 4 F# E G D 37 (√) œ E maj 7 add 6 ~~~~~~~~~ œ E maj œ7 add 6 A # # # #G #m7add11 j œ. œj ‰ œj j j & # œ œ œ œ œ PLAYING TIPS J J ˙. œ œ œ œ œ. D A E 13 Always With Me. mainly due to the staccato picking on the triplet. j ~~~~ œ. E maj 7 addœ6 œ n œ œ3 n œ œ # œ F #sus 4 œ œ œ~~~~œ œ ⋲ &# # # œ œ.4 F # sus ˙F #. œ. j œ ˙. cd track 14 [Bar 25 and Bar 127] There’s a really subtle difference between these two [Bar 32] This tricky adjacent string grouping is probably best approached via ~~~~ PM ~~~ PM rhythms. susœ œ œ # # œ j ˙~~~~~ œ ¿ ‰ √‰ j J E maj 7 add F #œ 4 œ. ## E 37 J œ œ œ œ œ F # sus 4 & √) ## œ ( J œ E maj œ7 add 6 J ~~~~~~~~~ #√# #) #G m7add11 œ œ. j œ œ ~~~~ ‰ J œ BU˙ ~~~~ ¿ œ j œ œ n œ œ3 n œ œ # œ œ œ & # ## BU 19 ( 21 ) J . ~~~~~ outside picking (up. & œB add11 œ œ œ œ 6œ œ œ œ.

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PLAYING TIPS cd track ⋲ 14
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3
[Bar 39] Joe tends to play this figure with three fingers, sliding through into [Bars 41-42] This country-inspired lick needs to have a little ‘finger roll’ (where
BU ~~~~ ~~~~
3
BU
the 11th fret, producing virtually an identical effect. Choose your most natural one finger ‘rolls’ over from one string to the next) from the first finger in order

( 19~~~~ 14~~~~ [14 ]
way, ensuring that youBU
E don’t
( 21 ) rush into
19 19 the D# (11th fret, first string). to avoid
16 nasty note 15 bleed
14 13between
11 strings.
14 12 11
B BU )
17 X 0
G
E ( 21 )
19 19 16 15 14 13 11 14 12 11
D
B 17 ( 19 ) X 0 14 [14 ]
A
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E
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G
E 19 ( 20 ) (18 ) 18 16 16 16
D
B 19 ( 21 ) (19 ) 19
A
G ( 20 ) (18 ) 16 16
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F #7sus4
41
MIDDLE
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3

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j E madd 9
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52

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4
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7
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5 4 5 7
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7 5 4
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Always With Me, Always With You { JOE SATRIANI
9 7 6 7 9 7 6 4 7 6 4 4 4
G 49
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Œ Ó — — ± œ œ œ
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PLAYING TIPS# œj Œ Bmadd Ó 9 — ± œ œ œ œ œ œ
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cd track 14
œ œ 2œandœ3, from
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. ofœquintuplets, triplets and 32ndPHnotes should
~~~~
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±± ±± ±±
indicate that#this section — — ± œ œ œ
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[Bars 49-52]
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fairly free – and not a little challenging. A good trick bar 51. This will help visualise smaller, more manageable parts of the whole
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4 xxxxxxxxxx

Play } ROCK
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ON THE CD TRACKs 14-16
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88

30 December 2015

' ~~~~~ ‰ œ ~~~~œ ‰ E w/bar w/bar F # .. œœJ œœ œœ E œmaj œ . 4' ~~~~~ ˙ . œ œ~~~~~ j œ œ œ Loco œ ⋲ 4 œ7 œ4 BD & # # # BU E B 19 BD 19 œ 16 21 ( 23 ) BU BD ( 21 ) 19 ~~~~~ 21 [21] ‰ œ BU(œJ8) j œ œ œ j December 31 G 6 (8) 6 BU . ' ~~~~~ & # #F # sus ˙˙ ... œœ œœ E maj 7 add 6 œ œ D 92 A œ œ œ œ œ œ œ G #m7add11 œ œ & # #F # sus 4 œ j œ. 4scoop J. œœJ22 œœ4 œ & # # # 5 12 œ7 9 œ7 J7 E 9 J2 B 0 4 4 7 7 9 7 9 G L' L L' L D E A 4 4 7 7 9 7 7 9 B E 5 12 0 5 12 0 5 12 0 5 12 0 4 2 4 7 7 9 7 7 9 G 94 E D 4 2 4 7 7 9 7 7 9 B A 5 12 0 5 12 0 5 12 0 5 12 0 4 2 4 7 7 9 7 7 9 G SOLO SECTION F # sus # E E D 94 4 2 4 7 7 9 7 7 9 ~~~~~ 5 12 0 . ~~~~~ ˙ œ ~~~~œ B 5 412 w/bar 0 5 F12 0 w/bar5 12 0 4 B 2 4 7 9 7 9 œ. œ œ~~~~~ œ B œ E œ œ 97 Loco # # # j Eœ œ œ œ œ. œœJ œœ œœ E œmaj œ œ 7 add. 5 5 # # # # œ Lœ œ Lœ œ Lœ œ Lœ œ L L Lœ œ Lœ œ 5 F # sus 4 Badd11 œ œ œ œ & # # Lœ Lœ Lœ Lœ LL LL LLœœ œ LLœœ œ 5 F # sus 4 œ œ œ œ œ œ œ & # # # ## # œ Lœ œ œ Lœ œ œ Lœ œ œ Lœ œ Badd11 # F # sus 4 œ œ Badd11 œ œ œ œ # # œ L œ œ L œ œ L œ œ L œ LL LL LLœ œœ LLœ œœ œ œ & # # # # œ Lœ œ œ Lœ œ œ Lœ œ œ Lœ œ F # sus 4 œ œ œ œ œ œ œ œ Badd11 œ œ œ œ LL LL LL LL LL LL LL LL œ œ7 E B G & # 2 12 0 2 12 0 2 12 0 2 12 0 11 12 œ0 11 12 œ0 9 12 0 12 0 LL LL LL LL LL LL LL LL D E A B E 2 12 0 2 12 0 2 12 0 2 12 0 11 12 0 11 12 0 9 12 0 7 12 0 G 90 E D B A 2 12 0 2 12 0 2 12 0 2 12 0 11 12 0 11 12 0 9 12 0 7 12 0 G E E D 90 B A 2 12 0 2 12 0 2 12 0 2 12 0 11 12 0 11 12 0 9 12 0 7 12 0 E maj 7 add 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ G E # # LL LL LL LL LL LL LL LL œ D 90 & #### œ A E œ œ œ œ œ œ E maj 7 add 6 œ œ œ œ œ œ7 addœ6 œ œ 90 # œ œ œ & # # # ## # œ œ œ œ œ œœ œ œ œ œ œ œ LL LL œ œ œ œ œ œ7 addœ6 œ œ œ œ œ LL LL LL LL LL LL E maj œ & ### # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ E maj LL LL LL LL LL LL LL LL œ & # ## œ0 7 12 œ0 5 œ0 7 12 œ0 œ0 7 12 œ0 5 œ0 œ4 12 œ0 E B 9 12 12 9 12 12 G LL LL L L L L L L L L D E A B E 9 12 0 7 12 0 5 12 0 7 12 0 9 12 0 7 12 0 5 12 0 4 12 0 G 92 E D B A 9 12 0 7 12 0 5 12 0 7 12 0 9 12 0 7 12 0 5 12 0 4 12 0 G E E D F # sus 4 G #m7add11 92 B 9 12 0 7 12 0 5 12 0 7 12 0 9 12 0 7 12 0 5 12 0 4 12 0 œ œœ .. use a light whammy bar scoop into this between thumb and first finger) is ready to down pick the slide into the (and bar 98’s) 6th interval. j Fœ# œ .. scoop ˙ .. œ ‰ œj œJ œ œ œ ⋲ œ œœ œ j j j & # (#√# #) œj œ œ œ œ œ œ Loco œ ~~~~~ B œ ‰ œ BUœJ œ œ BUœ j ⋲ œ 2015 œ & # # # # œ BU( 21œ ) BDœ (19œ ) 16œ œ BUœ . scoop SOLO ˙ ‰ ‰ ' ˙˙ scoop œ # ˙ scoop √ B˙˙ Jœ. Fœ# œ. œ Jœ œ19~~~~œ scoop # ‰ ‰ w/bar w/bar & # # # 12˙ . 6 Jœ œ œ œ œ œ œ œ j œ. ' ~~~~~ G √ F˙# scoop E # # # # F # sus √ BB˙˙ SECTION œ œ D 94 SOLO SECTION ˙ ... J œœ 4 j E œ œ œ œœ . œ A # # # # ˙˙ . scoop œ J SOLO œ 94 √ ˙ SECTION œ . 6 œœ 92 œ ## # œ œ œ œ œ œ œ œ œ œ G #m7add11 œj 7 add œ œj œœ œ 4œ LL œœ LL LL LL & # # # #F # sus œœ . 4' ~~~~~ Jœ. '' ~~~~~ w/bar w/bar & # # # #F sus F˙ . J œj œœ œ5 12œ œ0 œœ7 œœ7 LL LL LL LL œ5 12 œ0 œ5 12 œ0 œœ4 . double-stop at the 4th fret. œ . your pick (held [Bar 97] After the double-stop 4ths. œ A j # #(#√# ) œj Eœ œ œ œ œ œ œ G E F# œ Loco œ ⋲ œ œ D 97 œ ~~~~~ ‰ œJ œ œ œ B A j j & (#√#) œ Eœ œ œ œ œ œ. scoop ~~~~~ ~~~~~ 2:12 ˙ ˙ œ œ Jœ # # # ' ~~~~~ ' ~~~~~ J scoop E & 14 14 ˙ 2:12 19 ‰ ~~~~ 16 J ‰ 9 ' ~~~~~ 11 ' ~~~~~ B 9 scoop 11 scoop 12 19 16 19~~~~ G D 2:12 12 scoop 14 scoop 14 19 16 9 ' ~~~~~ 11 ' E A B 12 19 16 ~~~~ E G 97 ~~~~~ E D 12 scoop 14 scoop 14 2:12 19 19 16 B A 12 19 16 F# G (√) j9 E 12 E 14 14 19 19 16 ~~~~~ E D 97 B B 11 12 19 16 œ œ. A 7 7 ˙ . œ œ. Always With You { JOE SATRIANI PLAYING TIPS cd track 14 [Bar 95] If you tap with your picking hand’s second finger (i). œ A œœ E maj 7 add 6 j j œ œ œ œ œœ G E # # # # F # sus LL œœ LL LL LL œœ . Always With Me. œ ~~~~œ œ . œ # # &# # # œ œ œ œ G m7add11 œ œ..

~~~ Gradual E ~~~~~~ BU 21 ( 23 ) BD ( 21 ) 19 BU BU 21 ( 23 ) ( 24 ) ~~~~~~ B G 11 [11 ] D 4 6 4 A E 110 F # sus 4 THEME œ œ~~~~~~ Badd11 E maj 7 add 6 Badd11 #### œ j ˙~~~~ j œ. j œ. œ œ œ B #### œ œ & # ‰ J ·· 3 3 NH E 11 BU BD BU BD ( 12 ) ( 11 ) (12 ) ( 11 ) 9 9 ~~~ B 7 12 12 12 11 9 11 9 11 9 7 9 7 5 G 9 D A E 107 F# # G #m/F # F # sus 4 F# √j G m . ' ~~~~~ ˙ . ˙ . œ œ #### œ ⋲ œ œ œ Loco œ # œ ‰ j œ œ j & œ J œ BU BD BU BD ~~~~~ BU BU E 19 ( 21 ) (19 ) 16 21 ( 23 ) ( 21 ) 19 21 [21] 4 B 19 16 7 4 G 6 (8 ) 6 (8) D6 xxxxxxxxxx A E 101 F# #### ~~~~ œ œ œ œ œj œ œ œ n œ œ œ œ E # œ j œ œ nœ œ œ œ #œ œ j j j & œ œ œ œ 3 3 œ j œ œ. scoop ˙ J œ TRACKs & }# ROCK scoop Play # ˙ ‰ ON THE CD J ‰ 14-16 PLAYING E TIPS 12 ' ~~~~~ scoop 14 ' ~~~~~ scoop 2:12 14 19 19 ~~~~ 16 cd track 14 B 9 11 12 19 16 [BarsG104-105] Joe demonstrates his blues roots in this excellent B major finger double bend (bar 104. Most of the tricky rhythmic control is needed from the third strengthening your fretting hand. beat 3 and 4). ~~~~~~ ~~~ . ' ~~~~~ SOLO SECTION F # sus 4 w/bar F# œ ~~~~œ œ œ B œ. . œ ‰ Œ œ œ & Œ J Œ J ~~~~ ~~~~~~ 2:32 E B 4 5 5 7 7 9 7 [ 7] 5 4 5 2 G X D 4 A E 115 32 December 2015 E maj 7 add 6 F # sus 4 Badd11 # # ~~~ . E 97 F# (√) œ œ œ œ~~~~~ E B j œ œ œ œ œ œ j œ. E #### ˙ ~~~~~~ œ œ œ œ. which by itself is great practise for D Pentatonic A lick. œ œ œ œ œ œ œ œ œ œ œ~~~ Eœ œ œ œ œ. œ . œ E BU BU BD BU 4 BU 4 ~~~~ B 4 7 4 4 G 6 (8) 7 6 4 6 (8 ) (6 ) ( 8) 6 (8 ) 7 6 4 D 6 4 A 6 4 2 2 4 [4] [4] E 104 ‚ ‚ œ. w/bar ˙. œ œ œ # œj ‰ ‰ J¿ œ œ J . œ œ œ œ~~~ Loco ~~~~~~ & # J J Œ Œ œ œ ˙. √ # ## ˙ .

so try phrases in isolation and then put them together. œ ‰ œ œ ~~~~~B add11 j ˙ œ ‰ ‰ œ œ œ œ œ j œ. œ E maj 7 add 6 j œ. E ~~~~ B 4 5 7 7 9 7 5 4 2 G 4 6 6 8 6 4 D A E 125 #### B add11 ~~~~~ . œ ‰ Œ Œ & # œ J J J œ J J J E ~~~~~ ~~~~~ B 4 5 7 7 9 7 5 4 5 G 3 4 4 4 6 D A E 131 # # œ œ œ œ œ œ 3 6 & # ## ‰ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 E B G 8 9 8 D 8 9 11 11 9 8 6 8 9 8 6 6 A 9 7 6 7 9 E 136 #### 3 B5 3 & # œœœœœ œ œ œ œœœ œ Œ Œ ∑ ∑ œ œ œ E B G 3 D A 9 7 6 7 9 7 6 4 6 7 6 4 2 E 138 December 2015 33 . . . F # sus 4 THEME œ œ œ œ œ œ~~~~~~ Badd11 E maj 7 add 6 Badd11 #### j œ œ With Me. E maj 7 add 6 E maj 7 add 6 #### ~~~~ j œ œ œ œ œ œ ‰ Jœ ‰ œJ ˙. E 115 E maj 7 add 6 F # sus 4 Badd11 # # # # ~~~ œ œ . JOEœJ SATRIANI œ & # œ ‰ Always ‰ ¿ J Œ Always J With You ‰ Œ Œ œ ~~~~ ~~~~~~ 2:32 PLAYING E TIPS cd track 14 B 4 5 5 7 7 9 7 [ 7] 5 4 5 2 X [Bars G136-139] Joe’s final passage of slippery legato is great for your ‘square stretches. j œ. j ˙~~~~ j œ. œ œ œ ~~~~~~ ~~~ & # œ J œ J œ j ˙. J {. j & # œ j ˙ œ ˙ Œ œ ˙. this lick is more about the destination notes than the rhythms D 4 on’ fretting A hand shape – avoid angling the fingers to accommodate the larger in between. Again. Œ ‰ œj ‰ œj œ ‰ œj ‰ œj PM E ~~~ ~~~~~~ ~~~ B G 4 6 8 8 9 8 [8] 6 4 7D 6 4 4 4 4 4 A E 120 F # sus 4 G #m7add11 F # sus 4 F# .

‘fatten up’ your solos. 34 December 2015 . and Wayne sounding as if by magic. This list is just the tip of the hybrid The benefits. And Eric Johnson. Bluesy you to focus just on your technique and Page. The final workout (Ex 18) how hybrid picking needs to be an essential embarrassing pause where you put the pick features a melody harmonised in block triads. if you have amp channel switching. remember that the only way to technique. Hybrid double-stop themed exercises. Examples 5-8 Technique Focus Picking hand technique The settings above are intended as a starting It’s important to ensure that. Wide plus a solo chorus that illustrates how Hybrid picking is basically a mix of authentic phrasing can be achieved using fingerstyle and plectrum techniques where Hybrid picking is a hybrid picking in this context. your remaining picking hand fingers don’t mix of fingerstyle and Finally. Fingerpicking passages can practice patterns. the focus is less about velocity and across the strings. So if you keep all Back off your guitar’s volume to clean up your your fingers tightly clasped together. or you always anchor your remaining fingers on the guitar then tone or. or maybe thought of it as a examples using the pick plus your second country player’s thing. As with the picking challenges covered in the previous world of possibilities. all of which are worth their and how these techniques could provide can be sounded simultaneously without the weight in gold when playing in duo scenarios. then it’s definitely time finger and are based mainly on a variety of Gain Bass Middle Treble Reverb you did some serious re-evaluating. would normally. you’ll be able to give all those tired just huddle round the pick but are also used to sound the strings. Like any other where your remaining articles. Zakk Wylde. there’s something for you here. practise the settings above on your clean channel but picking pairs of adjacent open strings using your pick on the lower string and your second finger on the keep the preamp gain as low as possible. Ritchie Blackmore. Play } PICKING ON THE CD TRACKs 17-35 Sort Your Picking Part 3 Hybrid Picking Still promising yourself a better picking technique? Well stop dreaming and make it a reality! In this concluding instalment. Jimmy string jumps can be played with ease. SRV. SRV-style licks with that high chord tone highlight any issues that need attention. If you’ve grouped to build your technique gradually. James Burton. As a warm-up routine. Brad Paisley. part of your technique. down on your amp (and then lose it). In Key Various Tempo 225bpm CD TRACKS 17-35 Controlled double-stops Keyboard style comping potential examples 9-12 you will learn how to use both your second and third fingers with the pick to I n the two previous articles we explored the picking is equally useful in comping or soloing create cool jazzy comps and pseudo concepts of alternate and economy picking scenarios. ABILITY RATING Moderate ✪ ✪ ✪ ✪✪ introduce hybrid picked lead lines featuring the same ‘pick plus second finger’ approach Info Will improve your… Versatility – more gigs! and covering a range of styles and settings. are playing with a clean or distorted tone. Over the decades there have been to sound the strings this with daily practice. ‘iceberg’ but clearly illustrates the wide range The examples in this article have been of genres to which it can be applied. more about versatility – as well as showing be seamlessly integrated without that keyboard style riffs. The higher. opening up a whole new plectrum techniques Pentatonic licks a new lease of life. are immense. Eric Clapton. Pick the strings simultaneously using a pinching motion. In this final raking effect caused by the drag of the pick Examples 13-17 illustrate some useful scale instalment. Phil Capone demonstrates how to radically expand your playing potential using pick and fingers. use you will need to make some minor adjustments to your basic technique. your remaining fretting hand fingers are free to move independently. whether you’re a novice or you already use Krantz. plus a couple of triad based. 5 6 6 never been tempted to experiment with Examples 1-4 focus on easy hybrid picking 7 3 hybrid picking. hybrid. Double-stops or three-note chords fingerstyle riffs. as you can see. increased speed and accuracy. Playing through all of many famous devotees including: Chet intervals that would normally demand tricky these examples with a clean sound will help Atkins. keeping your picking hand in position great players sound the same way whether they above the strings in exactly the same way as a fingerstyle guitarist would. hybrid picking evolved over time fingers are also used master any technique is to incorporate it into rather than being ‘invented’ by one specific your playing style immediately and reinforce player. while grasping your pick firmly between your thumb and first finger as you point for some of the more overdriven sounds.

December 2015 35 . HYBRID PICKING { PICKING PT3 Jimmy Page getting ready to hybrid pick blues-rock licks JAMES FORTUNE / REX ROBERT KNIGHT / GETTY IMAGES James Burton: TRACK RECORD Try these albums to hear hybrid in action: The Best Of hybrid-picking Ricky Nelson (James Burton). Hiding (Albert Lee). Deep Purple In Rock (Ritchie country rocker Blackmore). Images And Words (John Petrucci). Led Zeppelin II (Jimmy Page).

C.. œœ55 œœ33 œœ œœ55 œœ33 # # œœ44 œœ55 œœ33 œœ55 œœ55 ~~~˙˙ B G D A EXAMPLE 2 Hybrid-picked 6ths . picked œ œ sixths œ 9 œ7 œ9 œ7 œ5 œ7 b œœ œ5 œ3 ˙ œ œ8 œ6 œ8 œ6 b œ4 œ6 œ4 œ3 b œ4 j œ3 1 . 3 4 œ œ œ œ œ œ œ 8 œ 10 œ œ 11 œ 12 œ œ 8œ œ œ 4 1 2 & 4 .. ©»¡ºº . œ≥m5 œ 6œ # œ7 œ 8œ œ 10 11œ 12 13 9 7 5 œ4 œ œ3 œ 6œ œ3 œ œ4 œ œ. 5 G 5 B 5 G5 F5œ # Fœ5 G 5 B 5 G..C. Ex 3 Walking tenths E E 12m m 10 8 10 8 6 8 6 5 6 3 5 3 B 10 8 6 8 6 4 6 4 31 4 3 1 G ©»¡£º . Aim to keep your picking hand steady and poised in position above the strings to minimise movement – efficiency is the key here. 10 8 œ B 1 œ ˙ G 3 D A 1 bœ Swing .N. C 5 B. œ œ # œ œ œ3 œ œ2 œ3 œ0 œ2 3 œ0 2 0 your second Dominant workoutfinger throughout. the ¡£œ your Swing b b ©»¡£º b œ second b œBlackbird n œ for the sound G 12 7 n œ upperœ note with 3 be sounded simultaneously. to A œ them 8b œ using 6 8 abregular œ6 4 pick 4 . ~~~ œ œ œ D j A 4 œœ55 œœ33 œ5 œœ33 œœ œ5 œ5j œj œ3 œ5j ˙ . 5 G 5 B 5 G5 F5œ # Fœ5 G 5 B 5 G. 5 G5 B 5 GUITAR b b # b YOUR PICKING b b œ œ Bœ5 G5 b j .SORT YOUR BPICKING b5 G5 B b5 B b5 G5 ©»¡ºº G5 F5 G5 BCapone ~~~ j G5 C5 44 stop & bTECHNIQUES . œ0 0 0 œ œ œ œ 0 0 0 0 0 œ œ œ œ œ œ œ œ œ œ œ 4 0 0 œ œ 1 4 & 4 . m m .. œ 1 &©»¡ºº 4 C7œ œ œ G 3 œ œ œ D 10 F7 8 7 8 7 5 7 5 31 5 . 3 2 3 0 2 3 0 2 0 0 2 3 0 2 3 3 2 . ≥55 ≥33 5 33 œ5 ˙ E Ex 2 Hybrid picked œ E B m m bœ 3 G ©»¡ºº œ œ 5œ œ b œ œ5 œ3 œ4 b œ 5 j œ 5 F75 . œœriff œœMAGAZINE œ œœ œœ2 5 0œ œ # œ Philœ Capone œœ œ œœ. Ex 3 Walking¡¢5tenths ¡£ œ ¡¢ b £œ n œ œ œ œ # œ E B & 4 Swing . œ ˙ œ 10 b œ œ œ 3 œ1 ˙ B Ex 2 Hybrid ..N. C7œ.. 4 . E Ex 2 Hybrid picked sixths E B m m œ.b5 Gœœ555 Bœ3b5 œ G5œœ55 F5œœ33 # #Fœœ44#5 Gœœ555 Bœ3b5 Gœœ555 C5œ5 ~~~˙ Ex 1 Double stop 5riff 3 3 œ 3 œ 5 ˙ œ œ œ œ œ5 Bœ3. 1212m≥œ 1010≥mœ œ89 1010œ œ89 b œœ67 œ89 œœ67 œœ55 b œœ67 b œœ œœ55 œœ33 ˙˙ œ 8 œ6 œ8 œ6 b œ4 œ6 œ4 œ3 b œ4 j œ3 1 j 10 œ A 4 œ b œ 7 œ8 œ7 œ5 œ7 œ5 œ3 œ5 œ œ3 œ1 ˙ . œœriff œœMAGAZINE œ œœ œœ2 5 0œ œ # œ œ œœ œ œœ ˙˙ œœ œœ œ œœ œœ œ œj œj œ j ˙ .. 5 G5 B 5 b œ œ œ Bœ5 G5 b œ ˙ j G5 C5 44 stop & bTECHNIQUES . 5 5 3 1 5 & 44 . œ Ex 1 Double GUITAR b œ b œ ©»¡ºº C 5 B.SORT ˙˙ œœ œ œ œ œ œ œj œj œ j ˙ . œ5 œ5 œ3 œ œ1 œ5 cd ˙ track 18 . 20 A EXAMPLE E 4 . Ex 1 Double stop riff GUITAR TECHNIQUES MAGAZINE 2 5 0 C 5 B b5 G 5 B b5 F #5 Phil b5 G 5 C5.. 5and≥3clear when .≥5 m0 ≥2 m0 4 0 1 0 2 0 0 1 0 0 0 0 0 0 0 0 0 # œ4 0 œ0 0 œ1 0 # œ4 0 0 0 0 0 0 0 1 0 2 0 0 .out SORT YOUR the upper PICKING note of each double-stop. & 4 . SORT YOUR b PICKING œ B. 12 10 œ 9 10 œ E 4 3 . ≥œ7 10≥ œ 9Thesound # œ great on the guitar but it is nigh ¡10ths b œ 1 they need w of 10ths). œ œ œ œ œ œ bœ œ œ ˙ .. 4 6 7 8 10 œ # œ œ C97 7 £ œ5 b œ4 bGœ3m bDœ4b Bœ1b # Bœ2 . Cœ≥7 ≥ œ # œ œ F7œ ¡ œ # œ œ Cœ7 œ £ œ b œ bGœm bDœb Bœb # Bœ . ©»¡ºº 5œ 3 5œfrom 5 finger picks. easy when using hybrid. upper notes throughout. 3 &4 . 0 downstrokes... as before. in3 CC... E & b 4 . D 5 4 5 3 5 A 4 . Ex 1 Double œ œ œ œ ~~~ œ œ œ œ œ œ œ ˙ ©»¡ºº .only 4 Phrygian œ dominant workout 8 6 3 & 4 # œ œ œ œ where œ œ # œby sounding Ex 4 Phrygian So far you have ©»¡ººnote played ‘pinched’ double-stops œ œboth œnotes areœ 0sounded wouldœbe0tricky œ œ simultaneously. .5 2 4 1 2 3 1 2 3 0 2 3 0 2 0 0 2 3 0 2 3 1 2 3 2 . B G ≥ m ≥ m 0 0 0 0 œ œ œ0 œ2 œ3 œ D .. leaving your pick to play œ œ œ œ œ œ 0 œ œ2 œ œ3 œ # œ1 œ œ2 œ œ3 œ ˙2 . ©»¡ºº 0 0 0 œ 0 0 œ 0 œ 0#œ œ2 0 œ3 0 œ 0 0 0 0 0 0 .. Cw lower Exnotes with your pick E 3 Walking ™ œ 11 12 13 ¡£œ b œœ ™œ b œ œ ¡¢œ6 b œ3 n œ4 .C. .¡≥m5 Dominant 8 6 5 4 3 E Ex 4 Phrygian workout ™ E B 6 7 8 10 11 12 13 G D ©»¡ºº . 5 œ 4œ # œ D œ≥mœDominant œ œ œ workoutœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . ≥œœ55 ≥œœ33. . œ 5 œ steady œ œ 5 œ œ 3 œ b œ 1 jœ 5 b œ 3 œ œ 3 œ œ œ œ œ œ b œ œ œœ ˙˙ . A E E B .. œ5 œ2 œ4 # œ1 œ2 œ3 œ1 œ2 œ3 œ0 œ2 œ3 œ0 2 0 œ œ œ œ œ œ 0 œ œ2 œ œ3 œ # œ1 œ œ2 œ œ3 œ ˙2 . w35 b œ n œ D A ¡ ¡ ¡ œ b œ ¡ 4 1 2 .. œ D 5 3 4 5 3 5 5 5 3 5 3 5 5 3 5 A œ œ sixths œ œ œ œ œ œ œ œ bœ œ œ ˙ œ œ ˙ œ œ œ b œ œœ œ œœ b œœ œœ œœ œ b œœ œ œ œ ˙ . Pick the static open E œ 2 œ4 œ 1 œ2 œ œ1 œ œ œ œ œ œ œ free œ œ E 0 0 0 0 0 0 0 0 0 0 0 andEx B G open 4 B & 4 notes Phrygian .C. this œ #the œ œlowerœ 0melody œ 0 # œwith to0play0with0regular picking but is quite œ0 0 0 0 0 0 0 0 0 ....the œ 5 aim œ œ5 your C7 ≥ œ 5 œand~~~ G 3 3 5 F75 3 3 œ œ œ b toœœ keep œ œœ3 picking œ4 b œœhand ˙in positionœœabove These 6ths have been 3 the relevant 3 Mixolydian j 5mode3 of 5 each 5 chord.b5 G5œœ55 Bœ3b5 œ G5œœ55 C5œ53 œ Bœ31b5 G5œœ55 ˙˙ 5 3 3 . 8 œ6 8 6 D 10 8 7 8 7 5 7 5 3 5 3 1 10£œ 8 #10 œ ¢œ 1 œ 3 £œ w & 44plus.. œ5with after each note of the bass melody. . Play } PICKING ON THE CD TRACKs 17-35 EXAMPLE 1 Double-stop riff cd track 17 ThisGUITAR classic rock riff in the style TECHNIQUES of Ritchie Blackmore MAGAZINE 250 illustrates how much tighter power chord riffs sound when played with hybrid picking.5 C5~~~ # Philœ b Capone œ .. . generated Sixths just sound clean played with hybrid picking. This example introduces syncopation œ œ œ ˙a static upper melody N. there is no delay as there would be when dragging a pick across three strings to sound them. Lower notes are Phil Capone played with your pick (using only down-picks) while your second finger picks. w5 A C37 5 6 7 F7 ¡ 8 £ 11 12 4 E & 4 . . 11Once again E 5 6 3 5 £10 œ£ 5 #illustrated 7œ E 10 9 7 9 œ pianoœstyle ‘walking’ B Tenths (a 3rd m octave) m 6 technique. E 4 0 1 4 ≥ m≥m 36 December 2015 . 3 5 6 7 9 7 5 4 3 . 12 . ≥œ5 œ6 # œ7 œ8 ¢10œ b11œ n12œ 13 ¡£œ89 b œœ67 £™œœ55 bb œœ44 b œœ33 ¡¢œ6 b œœ3 #n œœ4 . œ3 œ5 # œ6 œ7 œ8 ¡ 10œ #11œ 12œ œ b œ . A E E B G D . B G b œ œ 6 3 4 . 3 when Ex 3 Walking tenths œ5 onhere3impossible . C3 œ G D ©»¡£º ¡¢mœ ¡£ œ # œ œ ¡ 10 œ œ w .≥ m ≥ m 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4 0 0 0 1 0 4 0 0 0 0 0 0 0 0 0 0 G D A .5 C5~~~ B. w5 Swing ©»¡£º .N. E . G5 C5 j j j E B G b 4 .. A E E 6 5 4 3 Ex 4 Phrygian Dominant workout ©»¡ºº 3 5 6 7 œ8 10 œ 11œ œ12 œ œ œ # œ œ œ4 œ 1œ œ 2 . D # œ œ0 A E 4 .. œ œ œ œ & 4 Cœ55 Bœ3. # œ5œ œ œ œ œ . œ sixths œ theœ 5relevant œ œ bstrings. C7œ ≥m ≥m E Ex 2 Hybrid picked j ©»¡ºº 12 10œ œ8 10œ œ8 b œ6 œ8 œ6 œ5 b œ6 j œ5 3 F7 œ bœ œ œ ˙ . D ¡¢tenths œ ¡£ while simultaneously œ # œ b œ the ¡¢ œ‘pinching’ F7 Care 7 based on œ finger the 10 8 b œ (think ofœ The¡¢Beatles’ first four 7 bars 8 G of m 7 a512-bar D œ 7 blues B 5 progression 3B 1 5 play œm m œ w A & 44 . C ≥ 7 ≥ 10 9 10 9 7 9 7 ¢œ b œ n œ F7 £ 5 7 3 œ 5 3 C 7 G m D b B b B C . 3 cd track ˙ B G .. Cone œto play 4œ #3œ particularly EXAMPLE 3 Walking ¢12 10ths cd track 19 . Lower notes 3 are5sounded with5your pick while your3 second œ....

8 9 E Let ring ≥m Let ring ≥m Let ring Let ring œœ ) BU BD BU BD BU BD BU BU B 7 BD BU BD E BU œ œ ) (12œ ) œ. 2 3 œ0 3 2 0 3 0 2 3 0 3 2 0 3 5 œ. œ 5 œ œ . m . 7 7 (9 ) J ‰ J ‰ ‰ . ≥ . œ #œ œ nœ œ nœ œ œ œ œ œ œ œ œ œ G D .. Pick#the 4 m.. E December 2015 37 . hybrid picking really enhances generic 2 xxxxxxxxxx authenticity in this style. ‰ œ œ theE sound is somehow sweeter.≥ ≥ A 5 E ≥ m m m ≥ m ' 1/4 E . In this example hybrid picking allows you to get closer to the sound of a pedal steel guitar than could be achieved with regular ≥œ ensuring ≥ œ thatœmyou ≥allow it toj ring œ of#the œ & 4 note J bend with your œ second finger. G & D A E Let ring Let ring Let ring Let ring BU BD BU BD BU BD BU BD BU BD BU BU E B 11 10 (12 ) ( 10 ) (12 ) (10 ) 7 7 ( 9 ) (7 ) ( 9 ) (7 ) 12 7 12 (14 ) ( 12 ) 7 ( 9 ) 12 5 . œ5 n œ3 5 œ Œ 3 5 3 3 & 4 . œœ.œ /' Double time groove ©»¡ºº G # 14 & 44 . 2 3 0 3 2 0 3 0 2 3 / 0 33 2 œ 0 33 5b œ 3 5 œœ 5 œœ5 3 5 . œœ œ ˙ . EXAMPLE 6 Pedal steel style licks cd track 22 ©»¡ºº G Double time groove0 0 0 0 5 3 5 3 D 0 2 2 3 0 2 3 5 5 5 3 5 j œ A E # #≥#upper . œ #œ G 4 & œ œ. œ œ. BU BD BU BD E E j # # # # œ. œ7 ⋲ 8 ‹ œ8 œœ99 . œ5 œ.. ... 7 7 (9 ) G D A . Ex 5 Chickin' pickin' lick . œ # œ œ œ n œ œ n œ œ œ œ œ œ œ œ œ œ 2 xxxxxxxxxx b œ. œ n œ . bends. m œm ‹ œ œœ . 3 3 Œ Ó 1/4 G 0 0 0 0 5 3 3 & 0 5 7 . nœ œ œ œ œ. G # 4 . but œ ofœeach mœ ≥ œ mœ≥ A 3 7 mj ≥œ m ≥œ 3 picking. E E B #### œ œ ) (10 j 11 10 (12 œ œ œœ œ œ œ (10 ) 7 7j ( 9 ) (7 ) ( 9 ) (7 ) j 12 œ (14 12 7 (12 ) 7j ( 9 ) œ . œ5 œ. ‰ . . œ œ for the full ≥ duration ≥ ≥ ⋲ ≥ lower note J Let ring Let ring Let ring Ex 6 Pedal steel style licks ©»¡ºº Double time groove BU BD BU BD BU BD BU BD # # # # 4 . œœ. œ œ. 12œ œ5 œ . E j 5 ( 5 )j œ j B œ 5 ( 7 ) ( 5) ( 7) œ 7 8 G D A & ‰ J ‰ 4 (4 ) 2 4 2 6 7 . 1/4 B 3 b œ. œ. œ œ œJ œ œœ œ (œ56) (4œ) ( 6) œœ 9 œ ˙ . œ œ œ ≥ œ œm ≥œ D ≥ ≥ mœ ≥œ . m ≥ ≥œ ≥ A E ≥ m ≥ ≥ ≥ m ≥ ≥ m ' m 1/4 # .œœ ‰ Double-stop bends 0 3really come to life when played with hybrid1picking. .0not 5 only are both 0 3notes 5 clearly stated because they are picked simultaneously. Use the picking indicated throughout – (‘m’ indicates second finger as used in traditional fingerstyle notation). . Pay particular attention when playing the hammer-ons and pull offs: these need to be performed rhythmically accurate throughout (ie not as grace notes). œ A5 E œ. 3 E ' C G B 3 Œ Ó 14 . œ E œ œ œ œ œ 5j ( 7 ) ( 5) ( 7) œœ œ œ œ œ 4 B (5 ) 5 3 5 j J ‰ œ ‰ (6 ) (4 ) ( 6) (4 ) 2 4 .. G ' C # œ 0 3 5 b œ n œ3 œ5 œœ5 5 3 B œ5 œœ œ5 œ3. œ œ œ œ œ œ nœ œ œ œ œ œ bœ .. œ œ Œ ' Ex 5 Chickin' pickin' lick ' 1/4 Double time groove E ©»¡ºº . G 3 & œ œ œ œ nœ œ œ œ bœ œ œ œ œ . HYBRID PICKING { PICKING PT3 EXAMPLE 5 Chicken pickin’ lick cd track 21 This archetypal country style lick could be played with regular alternate picking but it just wouldn’t sound right. 0 2 2 3 0 2 ≥œ œ œ m ≥œ œ œ m ≥ ≥m D A 0 3 3 1 ≥œ E m ≥ m ≥ m ≥ m ≥ ≥ ≥ m≥ ≥ ' 1/4 E Ex 6 Pedal steel style licks B 5 3 .. œ5. j œ 6 7 D 2 œ J A E m m ≥ Let ring Let ≥ring Let ring œ B 7 BU BD BU BD œœ œ.

C. 7 . 6 9 7 5 bœ 6 9 n121211œœ . ≥ m ≥ m ≥ ≥ m ≥ m ≥ G 14 16 œ D A E 14 ⋲ ≥ m ≥ ≥ m ≥ ≥ m ≥ /' # œ .C. # œ b œœ6 œ5 œœ6 ‰ 38 7 7 7 6 7 6 7 5 6 6 6 9 # œ G 6 ‰ œ œ bœ œ ‰ 6 6 5 6 8 D 5 A 7 .... j 9 & # # nœ œ G 7 7 4 7 7 n ≥œ œ n mœ ≥œ mœ ≥œ mœ ≥œ mœ ≥œ œ mœ n ≥œ3 0 D 5 7 5 0 0 A 5 7 7 5 7 0 2 E œ Ex 9 Hybrid picked jazz comp ~~~ B b130 B b7alt E b9 D9 E b9 E dim7 ©»¡™º Swing 7 j 7 4 .. B 2015 j 87 7 8 8 8 7 8 67 5 6 8 8 œ ‰ b œ œ5 n œœ4 œœ5 ‰ œ œ 7 b b 4 .. 12Eœ7 1/4 œ œ œœ œ 1/4 ~~~ E 12 12 12 12 A7 1 b œ # # # # 4 . b œ b œ 6. œ œ j œœ œ 12 12 12 ~~~ 12 14œ 12 N. œ 12œ 15œ 15œ 15œ 12œ 15œ 12œ 15œ 12œ 15œ 12œ 15œ 12œ. B G D A & . œ 12 15 & 44 .. it also gives the phrase a more fluid and relaxed feel. The picking used here is complicated by the use of slurs.. Play } PICKING ON THE CD TRACKs 17-35 EXAMPLE 7 Minor pentatonic lick #1 cd track 23 Hybrid picking can be used to replace the up-pick that occurs in regular 16th-note alternate picking. m ≥ ≥ m ≥ m ≥ m ≥ ≥ '' ' ~~~ Ex 8 Minor pentatonic lick #2 œœ ' ©»¡™º Shuffle . G D A E & m ≥ m ≥ m ≥ ≥ m ≥ m ≥ m ≥ ≥ m ≥ m ≥ m ≥ ≥ 14 ≥ ≥ ~~~ ' . œ b œœœ n œœ œœ ‰ Jœ Œ ... This 14 12approach nœ ‰ has been used by many famous 4≥ .C. B 12 12 n œ œ12n œ œ œ œ œ œ œ14 œ œ œ12n œ G 12 12 D 14 A œ E m ≥ ≥ ≤ m ≥ ~~~ E 0 E7 0 0 0 0 0 ~~~ N. m 14 ‰ 14 D œ A 7 E ≥ ≥ ≤ m ≥ E # # E7 œ. 14œ 15 14œ n12œ 14œ œ 12 /4 1/4 œ œ nœ B 12 12 14 12 œ n12œ 12 12 œ œ n12œ ‰ G & 4 .. 14 12 œ 14 œ 12 14 12 14 E ≥ m ≥ m ≥ ≥ m ≥ m ≥ ≥ m ≥ ≥ m ≥ ≥ m ≥ ~~~ ' / 14 /' ~~~ . œ 6 œ œœ œœ œœ # # œœ œœ œœ œ 6.C. œ ⋲ 3 Ex 7 Minor pentatonic lick #1 ©»¡¡º . œ œ œ œ œ œ œ œ œ œ œ œ œ œ # & 44 .. 14 œ 15 14œ œ12 14 œ 12 œ 12 ‰ 7 . This not only makes 16th passages like this example much easier to play.. œ bœ œ nœ œ œ œ œ œ nœ B Shuffle /4 1/4 cd track 24 G 12 14 12 12 14 12 12 14 12 In Dthe first bar of this14 example14an upper14 melody note 12 14 (E) is sustained 14 and 14 then re-picked 14 12 14 against a simple 14 blues ‰ 14 lick. œ12 œ15 12œ 15œ 15œ 15œ 12œ 15œ 12 œ 15 œ12 œ15 œ12 œ15 12œ œ 14 œ16 œ15 œ16 œ14 œ12 œ œ œ12j ~~~ E 14 œ œ 14. Ex 8 Minor pentatonic lick #2 n œœ ' œœ ' œ~~~ œ ©»¡™º 1/4 œ œ œ œ œ E E7 EXAMPLE 8 Minor pentatonic lick #2 A7 1 #### 4 .. œ œ 15œ 16œ 14œ 12œ 14œ 12œ 12œ 14œ 12œ 12œ 14œ 14œ E B # .. ' 1/4 ' 1/4 ~~~ & # # n œ . . œœ7 œœ œœ4# # œœ œœ b5œœœ b7œ 5 7b œœœ. G 7 9 b ‰ œ œ bœ œ œ ‰ ‰ œ≥ # œœm œ≥ ‰ nmœ ≥0 œ2 m ≥3 ‰0 J Œ D & 4 œ œ A E œ ≥ m ≥ m Ex 9 Hybrid picked jazz comp Let ring B b13 B b7alt E b9 D9 E b9 E dim7 E ©»¡™ºDecember Swing. E # 12œ 14œ 14œ 14œ 12œ 14œ 12œ 14œ 12œ 14œ 14œ 14œ 12œ 14œ 12œ 14œ 12œ 14œ 14œ 14œ 12œ 14œ 12œ œj 12 B 14 œ œ 10œ 12œ .œœ5 n œ5 œœ7 0 b œœ n œœœ0 b œœœ n œœœ E 0 0 0 0 0 B b 4 ... so make sure you play this through 3 with a metronome before you play along with the backing track. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. # # B œ œ œœ œ œœ œœ œœ4 ‰ . slowly Ex 7 Minor pentatonic lick #1 ©»¡¡º N. 10 ≥ ≥ œ blues and jazz guitarists and it will take your playing into the deep freeze (ie making you sound super cool!) so it’s well worth further Be sure to E 12 observe m indicated ≥ swift m 16th-note ≥ m ≥lick. N. # # œœ b œœœ œœ œœœ ‰ .. m ≥in themfinal≥bar for that &the picking A 14 12 experimentation.

pick. ¡ jb œ¡ œ¡ 5¡ 4 b œ œ jb œ œ¡ ¡œ3 œ£ Swing G7 D bm7 Cm7 G7 3 C9 F13 b b œ4 œ3 3 2 Œ œ5 E b 3 .. 4 ‰ œ œ 4 . Chords 3 0 soundmcleaner and syncopation becomes tight m m m ≥ m ≥ ≥ and snappy. E a a ≥ 3 B Double time groove 6 8 ©»¡ºº .C. . œ œ œ œ œ œ 5 5 j nœ œ œ 13 . . ¡ ¡œ5 . . b & 4 . A B E 3 3 3 3 1 1 G D A E 3 3 3 3 1 1 3 3 ≥ a ≥ am a m a ≥ m ≥ ≥ m m≥ E B . ≥.. 7 . œ . ££ œœ Œ Walking ¡bass with ™ chords j ©»¡™º . b œ3 . leaving your second ¡ œ≥n 3œ ≤ . B œ13 œ8j Œ Ó ™ ©»¡™º .. This has been using œ œ œ œ # œ Use. ‰ œ2 ⋲ 0j2 . œ ..C. G ©»¡ºº . stems up for melody notes) to clarify the picking.. In this example each three-note chord is sounded simultaneously using your pick.C. . Use the suggested fretting- hand fingering (bar 1) Ex 10 Walking to allow bass with the first double-stop chord to sustain over the second bass note. . œ 3 Ex 13 Minor pentatonic A 3 in fourths 3 3 E &©»¡ºº a ≥ a m a m a ≥ œm 3 œ 3 œ œ œ œ œ œ œ œ œ Œ Ó œ œ œ œ œ œ œ œ œ œ b b 44 .. œ # œ œ . b œœ . C notation œ≥j mœa œusing. ≤ ≥C9‰ n œœœ≤. second finger and third finger as indicated. December ≥ œ. this will b œ œ D 5 7 5 5 7 4 5 7 7 7 10 create Ex the A b b 4 . 3 œ œ œ œ3 œ œ 1œ œ œ 1œ œ3œ œ 3œ ≥3 ≥ m m . œ6 87 Œ Ó A E E B 4 G D A . œ ©»¡ºº . ‰ œ œ 5 ‰ œ 3 œ œ œ # œ œ œ .. œ # œ44. ≥ m7 ≥ 4 54 43 3 2 ≥ m3a ≥3 N. .. œœ. C7 bass œ⋲fingerstyle œ to play‰ the traditional fingerstyle notes. 2 . 0 1 2 œ3 B 1 3 & 4 . . £ £ œ 7 œ œ 5 5 5 5 œ 7 7 #œ œ 4 4 5 5 œ 7 œ 7 6 # œ 7 œ 7 10 12 8 J . 6 6 Ex 12 Hybrid picking E 6 fingerstyle4 3 2 1 4 3 .. There’s no need to ≥ ≥ ≥ worry about damping the unwanted open strings either... œ œ # œ œ n œ œ ‰ . chords ©»¡™º Swing Bm7 G #m7 Am7 œ # œj œ 4 xxxxxxxxxxA m7 Bm7 A m7 j jœ j œœ # œ œ 4 œ œ ‰ œ œ ‰ # œj œJ Œ . ‰ œ j œ . throughout and your second and third fingers melody & 4 Ex 12 Hybrid picking Double timeœgroove œ œœœ œ œœœ œ œ œ œœœ œ œ œ œ œ œ. Ex 10 4 jœ & 4 . Use your pick to play the bassline. n œœ œœ ‰ b œœ n œœœ œœ ‰ œœJ Œ . written Ex 12 D HybridCpicking fingerstyle 6 3 2 1 C7 F F/G 2 1 6 It’s perfectly4possible A .C. G D EXAMPLE 9 Hybrid picked jazz comp A 7 7 4 7 9 7 5 7 4 7 5 7 0 5 2 7 cd track 25 5 0 0 . 5 7 5 5 7 4 5 7 7 5 6 7 10 12 ≥ 8 9 . Aœm7 Swing # œ œ™ œ Aœm7 # œ Bm7œ G##m7 œ n œ œœ # œj 12œ œ # # œœ 10œœ9 . 32 . N.. 2 2 2 2 2 2 2 3 3 3 3 0 1 2 3 4 5 3 2 b b 44 ≥ . œ‰ œj œ œ‰ œj œœ ≥ œ. 0 3 3 2 œ 2 2 . ‰ b œœ6 Œ n œœ3 b b œœ4 œ3 b œœ2 œœ1 b œ4 ‰œ5 œ Œ ¡ œ n ™œ 3 œ5 ‰3 n œœœ2 . b‰a b œœ Œ n œ b bœ œ bGœœb7 F7œœ Œ Dm7 11 illusion I-VI-II-Vofwalking two simultaneous bass œ ‰ œ Œ ≤ G7 parts. E Applying hybrid picking when comping jazz style can give your performance that elusive pianistic quality. ‰ b œœ6 Œ Ó B 6 3 G 7 4 3 4 7 D . & b 44 . . # # # # n œœ œœ œœ œj œœ œœ ~~~ œœ & n œ œ œ ‰ . Traditionally.. ‰ œ j œ .. ≥0 1 2 m m≥3 4 5 3 2 ..≥F/G œ ≥ œmaœ. E 6 EXAMPLE 10 Walking bass line with chords cd track 26 This example illustrates how a simple two-chord vamp (Am7-Bm7) can sound more interesting when separated into bass line and chord stabs. bfor E Double time groove 6 ⋲ 4 3 2 1 4 3 1 6 ©»¡ºº œj down to play conventional fingerstyle comps using hybrid picking as this Chet Atkins-style example illustrates. mN. œ Let ring E B . E Swing . œ3 œ1 œ œ œ31 œ œ œ œ œ3 œ1 œ œ œ3 œ1 œ œ1 œ 3 œ1 3 œ œ3 œ # œ œ 1 œ3. this 4 xxxxxxxxxx would be played fingerstyle.. ‰ œ13j œ œ2 3. chromatic approach chords 5 j & chords 7 G7in brackets) that5 ‘walk’ 7 unison 4 Dm7 with 5the bassline. Œ2015Ó ≥ & œ œ œ œ œ œ inœfourths œ œ œ œœœœ œ 39 Ex 13 Minor pentatonic . 2 œ1 œ œ3 2. 7 8 7 8 8 8 7 8 9 7 7 6 6 6 5 6 8 6 5 9 8 12 11 . D N. 1 0 ≥1 0 m Ex 13 Minor pentatonic in fourths 1 1 1 1 1 3 4 5 3 1 . nœ œ œ œ œ œ œ œ nœ œ HYBRID PICKING {œ PICKING PT3 ~~~ E B 0 0 0 0 0 0 . Ex 11 I-VI-II-V walking bass & chords E This example builds ≥onBthe a previous idea of using hybrid picking to play a jazz-style walking b7 (indicated ≤ ≥ bass≤5comp. ˙‰ œ . ‰ b œœœ1 . œ‰ œœ ŒŒ ÓÓ ™ b 4 . 12 Bas138 9 . n œ33 œ12 ‰ . œ bœ œ œ ‰ œ œ b œ # œœ œ ‰ ‰ bœ œ #œ œ nœ œ . 1j 1 œ œ œ œ œ œ œ œ 4 .. # # œœ œœ œœ œœ ‰ œœ œœ œœ # œ œœ b œœœ b œ œœ. ‰ ¡ œ . œ Ex 10 Walking bass with chords & 4 ¡ . œ œ œœ ## œœ œœ nn œœ œ ‰ .. G D E . j nœ . .C. œ55. œ . EXAMPLE 11 I-VI-II-V 5 walking 6 7 bass 0 and 5 chords 6 7 4 5 cd track 27 . ‰ œ13j œ œ2 3. m6 ¡ 3¡ 4 3 2 1 4 5 5 5 3 ≥2 1 1 . ≥œ6¡ 7a b≥œ4 œ34 54¡ œ43 b œ23 œ12 6 bœ œ33¡ 4 a ≥£ ˙≥ m33a ˙1 32 .. EXAMPLE 12 Hybridjpicking fingerstyle G 3 j 5 3 4 j j . F13‰ b œœœ≤ . cdn œtrack . # œ4 œ5 n œ3 œ1 . 28 & 4 . but using hybrid picking makes it easy to switch between single line playing (ie soloing) and comping. œ . b œ n œœ ‰¡ bassœ Œ b bGœœb7 F7œœ b œ Dm7 ¡ œ nœ œœ .. as you would with regular picking. b œ ¡ ¡ & Ex 11 I-VI-II-V walking & chords b œ œ œ œ ˙ n B bœ7 ˙ 3 . ‰ ¡¡ œœ . . ≥3 m2a ≥œ 0am2 ≥3a m2 0a ≥œ m2 3 2 œ 0 2 33 2 œ 3 2 œ 3 œ 2 3 œ 3 œ 2 3 ≥3. œ œ 5 . Ex 9 Hybrid picked jazz comp ©»¡™º Swing j B b13 B b7alt E b9 D9 E b9 E dim7 bœ nœ b 4 ...your . œœ œ . B ‰ Œ Œ œ ‰ ‰ ‰ ‰ Œ 4 9 G D &4 . ≥œ5¡ m5a# œ6™ œ77™ œ0 œ55 5 # œ6 œ77 # œ44 n œ55 A E B ≤ 5 ≤ ≥ 4 5 ≤ ≥ ≤7 ≤ ≥ 15 m 13 11 9 12 10 . to play bass notes œœ basœœindicated.. 2 0 2 ‰ œ12j œ 0 2. E C C7 F F/G N. b 4 . £ œ Œ œ œ Œ œ ## œœ œ ‰ œ £ œ œ œ œ # œ ‰œ œ # œ œ ©»¡™º œ # œ Bm7 œ™ œ Aœm7 # œ Bm7œ G# m7 œœ ## œœ œœ Swing 4 xxxxxxxxxxA m7 œ nAm7 œ j j œœ œœ Œ œœ # œœ œœ ‰ œ œ # œ ‰ œ œ # œ n œ ‰ œ œ ‰ # œ œJ Œ . G7 5 3 clipping any Avoid 5C9 bass notes: 6 7 F13 let them ring ¡œ œand third fingers to pick out the chord œtones.≥ œtwo œ œ (ie stems œ systems œ œ œœ F œ aœœ. Bm7 Am7 j j E 15 5 #œ œ 11 ¡ 5 ™ 7 j 4 . G D A . œ . 4 .≤ It is≥also slightly ≤ more≤ complex ≥ 1513m≥ bsince it introduces 11 12 D bm7 5 Cm7 G b7 inF7 longjas possible. œ œ. . 6 5 7 6 6 5 7 6 7 6 7 6 6 5 7 6 7 6 6 5 5 4 6 5 7 6 8 6 9 12 . G D A . m≥B ‰b13b œœj Œ Ó & ©»¡™º 4 ≥ Bmœ7 jb œ G7œœ Db œm7 Cm7 E 5 6 7 0 5 6 7 4 5 b œ œ j œ Swing b œœ¡ œœœ b œ œ Œ ‰ œœ b œŒ œ¡ ¡œ œ£ ˙‰ œ . B 10 j m 4 9 G ©»¡™º . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .

.. 53 5 43 5 43 3 2 3 2 1 0 1 0 0 1 0 35 5 7 7 9 8 1110 14 15 1312 10 10 93 9 . œ F œj œ F/G œj œ N. E a Ex 17 m triad riff SRV style ≥ B b7 A7 A b7 ©»¡™∞ Shuffle œœ n œœœ b œœœ œœœ G7 C7 C7 G7 œœ n œœ # œœ n b œœ . Keep your picking hand steady with pick and fingers poised above the relevant strings throughout (this example is played 5 along the second. 3 . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ . œ # œ œ . Cœœœ œœœ œœ œœœ 4 œœ œœ œ œœ ‰ œœ . Double time groove ©»¡ºº Cœ œj œ œ œ œ œ œj œ C7œ œ œ. b œ . 5 7 A E E B . N. December 2015 œ n œœ j œ.C. N. 57 78 1010 78 5 5 5 5 5 7 7 9 5 7 5 5 5 5 3 3 3 5 3 3 3 5 5 6 7 8 5 6 . œœœœœœ œ œ œ nœ œ œœœœœ œ w œ . 3 3 3 E 3 B 5 G D . œ œ œ œœ ## œœ. œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœœ œ. G D . Notice that the second finger always picks the higher note of each 3rd. ‰ œ œ œ .. G D . 2 3 5 3 2 5 3 7 5 3 2 5 4 7 5 5 4 3 2 7 5 5 3 3 2 5 3 . Here the picking is based on regular alternate picking 2 2 2 2 2 3 3 3 3 0 1 2 ≥ 3 4 5 3 2 butAwith no up-picks. in alternate picking technique.. œ œ œ . œ œ œ œ nœ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ nœ œœœœœ œœœœœ œ ww E B . major 3rd use first and second fingers. œ œ j œ œ œ œ œ œ œ œ CD# œ œœ n œTRACKs Play & 44 }. 1 0 1 0 1 1 1 1 1 3 4 5 3 1 .C... . œ œ œ .. replacing the G Mixolydian ≥ ≥ ©»¡™º conventional up-pickN.bœ . hybrid picking not only makes the picking a breeze. entirely Ex 15 Arpeggiated triads ©»¡ººArpeggiated Shuffle Am E G D F C G E Am Bm C D œ Dm œ œ E œD m œ E Am 4 . œ # œ œ œ. œ . œœœ œœœ œœ œœœ œœ œ œœ œ œ œ œ œ œ œ œœ œœ ‰ œ b œœœ b œœœ œœ œ œ bœ œ w . 40 Ex 17 # ¡ œœ n™œœ ¡¡ œœ SRV style triad riff Shuffle 4 . ‰ œ œ œ . 2 3 5 2 3 5 3 2 5 4 7 5 5 4 3 2 5 3 2 . G D .7 6 5 4 3 2 0 2 7 9 10 12 15 14 12 9 . 3 these are replaced 3 and executed 3 instead by the 3 second finger. ≥3 m ≥5 m 7 . 3 A E 3 5 7 7 5 3 5 3 2 E B 7 5 G D A .C. this will ensure your delivery is effortless and accurate.. œ œ œ œ œ œ Ex 13 Minor in fourths œ œ œ œœ œ œ b 4 . 5a 7 9 7 7 7 .C. .. controlled piano style delivery when playing a quick succession of triads triad riff ≥ ©»¡ºº (three-note chords) as required by this example. nn œœ œ ‰ . & 44 .. You’ll find this much easier to play if you fret the upper notes exclusively with your first finger – so. it also allows a more musical and relaxed delivery to be achieved. 3 6 3 3 6 6 3 3 6 3 . œ œ3 # œ œ3 n œ œ3 # œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ 3œ œ œ œ œ œ3 3 œ 3 3 3 . œ ‰ œ œ . œœ throughout. ‰ œ œ œ . m≥57 78 1010 78 5 5 7 5 5 5 7 7 9 5 7 5 5 5 5 7 3 3 3 5 3 3 3 5 5 6 7 8 5 6 . # œ œ œ œ www 3 3 3 Ex 15 triads 3 3 & ©»¡ºº4 Shuffle #œ 3 œ 3 œ 3 œ 3 œ 3 œ œ œ œ œ œ Am œ œ œ # œ œ œ œ œ 3 œ #3œ œ œ3 œ œ3 . œ . # œ n œ œ ON THE E B .PICKING ‰ œ ⋲ œ .. 2 E 3 5 7 7 5 3 ≥ ≥ m m EXAMPLE 5 15 Arpeggiated triads cd track 31 This example would be quite difficult to play using regular alternate picking. . 3 3 1 1 3 3 ≥ ≥ a ≥≥ Ex 13 a Minor pentatonic m am ma in fourths ≥ ≥ m ≥ mm ©»¡ºº N. ≥m ≥m 3 5 3 3 5 5 3 5 5 ≥3 m3 ≥5 m5 3 3 5 3 .7 6 5 4 3 2 0 2 7 5 9 7 10 9 12 11 15 14 14 13 12 10 9 9 . www & 44 .. Amœ œ œ # Eœ œ œ nGœ œ œ D œ œ F œ œ C œ œ G œ œ E # œ œ Aœmœ œBœmœ Cœ œ Dœ Dm Eœ # œ Dœm œ Eœ œ œ . and to play a minor 3rd use fingers first and third. w & 4 . A E E B 5 6 8 6 5 3 4 3 4 6 8 6 G D A .. G D .. Œ Ó œ œ œ œ œ œ œ œ œœœ œ œ œ œœœœ œ. . ≥ m5 a ≥ m4 a 4 2 2 0 0 1 5 5 3 3 1 1 0 0 5 7 8 10 15 12 10 9 . œ œ ‰ . The ‘burst’ of 16ths in the fourth bar3illustrate the effortless fluency that can be E 3 achieved when applying hybrid picking 3 in this way. 5a m 7 ≥ E EXAMPLE 16 Piano m astyle ≥m atriad riff ≥ cd a track 32 m However Ex 16good your Piano alternate style picking technique is. J E B . . m2 2how≥ easy . œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ Ex 14 # 4 . 17-35 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ Ó &©»¡ºº4 . this isCa common keyboard player’s approach and one that is all too often neglected œœ ‰ b œœœ œœœ œœœ B by œ œœ œœ œœ œœ œœ œœ b œœ b œœ ww & 4 . . Notice also that diatonic major and minor triads (using notes exclusively from the key scale) are used exclusively b7 guitarists. ‰ œ ⋲ œj ... to play #Mixolydian mode in thirds &©»¡™º44 . œ . b b 4pentatonic . ≥ a ma ≥ ≥ G a ≥ a 0 This useful workout illustrates D m 2 0 ≥ m 0 3 3 2 2 m m it is to play notes on adjacent strings when using hybrid picking. & 4b œ œ œ œ œ œ œ œ œ . A 3 5 3 5 5 3 5 3 1 EXAMPLE 14 Mixolydian E 3 6 mode in 3rds 6 3 1 3 cd track 30 ThisEx 14 Mixolydian example m spans themode ≥ ≥ m m m in thirdsCAGED shapes one and two. œœ. it is not possible to achieve a tight. third and fourth strings). ¡ œ #œ j # œœ œ .. Ex 16 Piano style triad riff ©»¡ºº œ œ œ œ œ œ œ œ œ B bœ7 œ œ œ w œ œœ œœ œœ œœ œœ œœ Jœ œœ ‰ œœ œœœ œœ ww & 44 . A E 3 6 3 5 3 5 3 1 E 3 6 3 6 3 6 3 6 6 3 1 3 B G D . 3 5 3355 33 5 5 3 5 5 3 5 5 3 3 5 3 ..C. A EXAMPLE 13 Hybrid3picking in 4ths E 3 3 cd track 29 E B 1 1 1 1 3 1 1 1 3 1 3 1 3 4 5 3 1 . . 5 7 9 7 5 6 8 6 5 3 4 3 4 6 8 6 . 3 2 2 3 2 2 3 2 0 2 33 2 3 2 3 2 3 3 2 3 0 1 2 3 4 5 3 2 . ‰ œ œ œ . œ œ ‰ œ œ œ . 5 G D A . E B ..

n œœœ œœœ A5 A7 A dim7 Dm œœ œœ b œœ œœ œ.. J œ HYBRID PICKING { PICKING PT3 E B . The whole of this section should be played using your second. Because all of the notes are sounded simultaneously m ≥ the riff has an organ-like quality that would be harder to achieve using conventional picking. Ex 17 SRV style triad riff B b7 A7 A b7 ©»¡™∞ G7 ™ Shuffle œœ œœ n œœœ b œœœ œœœ œœ n œœ # œœ n b œœ . EXAMPLE 17 SRV style triad riff E cd track 33 a This example illustrates how effective hybrid picking can sound when used to play conventional blues riffs.and SORT thirdYOUR PICKING fingers to sound the chords.. . œœ ‰ œœ n œœœ . n œœ Œ Ó œ œ. The tune (bars 5-16) uses a block chord harmonisation approach where a simple blues melody (ie the top line) is harmonised using three-note chords (a mixture of triads and partial GUITAR TECHNIQUES MAGAZINE 2 5 0 Philpick. 4 3 E 3 a m ≥ EXAMPLE 18 FINAL WORkOUT cd track 34 The intro (bars 1-4) uses hybrid picking to create an authentic Mississippi Delta blues vibe reminiscent of Robert Johnson’s pioneering style. ™¡ ¡n œœœ ¡¡ œœ £¡ œœ ¡¡ œœ # œ n œ # œ n œœ œ œ œœ ‰ # ‰n œ bœ b œ b œ œ b œ . 3 5 6 5 2 3 5 3 7 8 10 11 10 8 6 5 4 . œœ.. 5 6 8 6 5 3 4 3 4 6 8 6 . A E9 SOLO œ œ œ December 2015 41 # œ # œ œ œ œ œ . œ œ nœ œ œ nœ œ nœ œ œ #œ œ œ J J J J E 5 5 5 5 5 B 7 7 7 6 5 5 5 5 4 3 2 5 G 7 7 7 6 5 5 7 5 D 6 6 6 5 4 4 7 5 4 3 2 6 5 A 5 6 7 E 1 a m ≥ ≤ ≥ a m ≥ ≥ # œœ n œœ. G D A . œœœ œœœ œœ œœœ œœœ œœœ œœ œœ ww . œ C7 C7 G7 # ¡œ nœ ¡œ j œ œ j œ. œœ Ó œ œœ œœ ‰ n n œœœ & 4 œ. D9 A5 A7 Adim7 D m A E9 # # # 4 œœ . 3 G D A ... n n œœ œ MELODY # # # œœ œœ œœœ œœœ œœ œœ b œœ n œœ ˙˙ j A7 # œ œ n œ œœ ‰ n n œœœ œœ œ nœ œ ˙ Œ # œ ‰ n œœ & œ œ œ œ J E 5 7 8 9 7 5 5 4 3 B 7 5 7 7 8 6 5 5 7 5 4 3 4 G 7 6 7 8 9 7 6 5 6 7 6 5 4 4 D 7 5 7 3 A E 5 # # # n œœ œœ œœœ œœœ n n œœœ œœ œœ œœ b œ œœ œœœ œœœ œœœ œœœ D7 A7 & œ œ œ nœ œ ‰ œ œ nœ Ó Œ ‰ Jœ E 5 7 8 7 5 7 5 7 5 B 5 7 5 7 8 7 5 7 4 5 7 5 7 5 G 5 7 5 7 9 7 5 7 5 6 7 6 7 6 9 D 4 7 4 5 7 A E 9 . Ex 18 FINAL WORKOUT INTRO ©»¡£º E9 Shuffle n œœ. œœ œœ œ E7 œœœ D7 œœœ n œœœ. & 44 . œœ œœ b œœ œœ œ. œ œ œœ œœ œœ œœœ œœœ œœ ‰ b œœœ b œœœ œœœ œœœ ‰ b œœ œœ œœ & 44 . E B . 5 5 7 7 7 8 9 10 10 7 7 8 5 5 7 5 5 5 7 7 9 5 7 5 5 5 5 7 3 3 3 5 3 3 3 5 5 6 7 8 5 6 . 4 3 5 5 5 7 5 5 3 2 4 3 5 3 4 5 3 8 7 9 8 10 10 10 12 10 10 9 8 7 6 6 5 5 4 .. This will be much easier to play when using the suggested fretting hand fingering and then simply moving the riff to the 8th fret to transpose it to C7. Capone voicings).

and double-stop riffs (bars 27-28). œ œ & j œ œ œ œ œ œ œ 3 E B ' 1/4 5 ~~~ BU ~~ 5 G 5 5 6 2 2 4 5 7 ( 8) 7 5 7 D 7 A 0 4 0 4 0 5 0 6 7 5 E 23 ≥ m ≥ m ≥ m ≥ m ≥ ≥ ≤ ≥ m ≥ œœ n n œœ œœ œœ œ œ D7 N. n œ œœ ˙˙ Let ring rit E 7 8 7 5 B 0 7 8 7 5 8 7 5 G 4 5 5 5 8 7 5 7 5 6 D 3 4 4 7 4 5 5 2 A 5 7 3 0 E 26 a m ≥ a m a m 42 December 2015 . back 3 œ # œœ œ œ j 1/4 3 # œ n œ œ 3 3 ‰ n œ œ œ œ #œ œ œ n œ J œ.. n œœœ œœœ œ. A7 C5 A5 # # b œ œ n n œœ œœ U 3 & # # œœ n œœ œ œœ œœ œœ # œ n œœ j Œ œ œ 3 œ . SOLO # # # œœœ E7 D7 A5 A7 A dim7 Dm A E9 œ œ œ ‰ œœœ Œ œœ œœ b œœ œœ œ œœ ‰ œ œ œ & œ nœ œ nœ œ œ #œ œ E 7 9 10 9 5 7 8 7 5 5 5 5 5 5 B 9 10 12 10 7 8 10 8 5 5 4 3 2 5 7 G 9 9 9 7 7 7 7 7 D 7 5 4 3 2 6 A 5 6 7 E 13 a m a m ≥ m ≥ œ #œ œ œ nœ ~~~ # # # # œœ œ œœ nn œœ œœ # Ÿ ~~~~~ A7 œœ nn œœœ # œ n œ œœœ œ œ œ # œ œ œ n œ œœ œœ n œ n œœ & œ œ nœ ‰ œ E 8 9 8 7 5 Ÿ ~~~~~ 5 8 9 8 7 5 ~~~ B 7 5 5 7 7 6 5 G 8 9 8 7 6 6 5 6 5 8 9 8 7 6 D 7 5 7 5 7 6 5 A2 xxxxxxxxxx E 17 m ≥ a m ≥ m ≥ ### ˙ œœ b œ œ œœ œ. œœ œ œ œœ œ.C. chicken pickin’ (bar 24). Have fun! .CONTINUED 7 9 7 5 7 5 6 7 6 7 6 9 cd track 34 D 4 7 4 5 7 TheAEsolo incorporates many of the techniques you have studied in this article. There are also several instances where hybrid picking has been used to replace conventional alternate picking. # # # n œœ œœ œœ œœ n n œœœ œœ œœ œœ b œ œœ œœ œœ œœ D7 A7 œ œ œ nœ œ ‰ œ œ œ œ ‰ œJ & œ œ œ n œœ œ œ Ó Œ Play } PICKING ON THE CD TRACKs 17-35 E 5 7 8 7 5 7 5 7 5 B 5 7 5 7 8 7 5 7 4 5 7 5 7 5 EXAMPLE G 5 WORKOUT 18 FINAL 7 5 . œœ. & ˙ Ó nœ œ œ œ nœ œ œ œ nœ Let ring Let ring Let ring E 5 5 5 5 5 5 5 5 5 5 5 B G 7 8 7 5 7 5 7 8 7 5 7 5 7 8 7 5 7 5 7 5 D 7 5 A E 20 m ≥ ≥ ≤ ### nœ ' A7 ~~~E 7 Lay ~~ j . œœ œ. hybrid picked 6ths (bars 17 and 19). static upper chord note over a minor Pentatonic lick (bars 9 21 and 22). œœ b œ œ œœ œ. As always take your time and practise each section separately (building tempo gradually with a metronome). œœ œœ œœœ n œœœ..

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The song came loose criteria include a huge second and its rights sold for a by Presley. of course. I’ve used drop D tuning in the key so that the characteristic I t’s very common to categorise almost any (a 1898 entry to the competition) had multiple bass ostinato is playable under the lyrical western music up until the 19th century as contributors. Bridget Mermikides transcribes a piece for lovers of a certain brand of ice-cream – and Neapolitan pop opera. Key Various Tempo Various CD TRACKS 36-37 Ornamentation Melodic phrasing For this arrangement. piece ’O Sole Mio. The contact The melody was on the string should be both flesh of the fingertip inspired by Di Capua’s and nail simultaneously. technical challenge here is to keep these three sophisticated. More recently. Neapolitan song. Such is the case with this month’s It has. been bennett and. 44 December 2015 . But its singers such as Enrico Caruso. lingers on our taste buds melody. ABILITY RATING Moderate ✪ ✪ ✪ ✪✪ accessible yet with a disarming grace and emotional power that sets Capurro’s romantic Info Will improve your… Separation of melody and accompaniment lyrics perfectly. immediately ULI DECK / PHOTOSHOT TRACK RECORD The most famous recording is by Luciano Pavarotti. You need Cornetto kept the tune to work on finding the right length and angle of in popular culture. the lyrics are from a poem by melody and chord punctuations. since become hugely popular. It can take a bit of time and experience to get it just right. Or you may want to check out Tony Bennett’s big band take on It’s Now Or Never (1972 Victor). then it’s given the (the then uncredited) Emanuele There are versions ‘classical’ label. Play } CLASSICAL ON THE CD TRACKs 36-37 Eduardo Di Capua ’O Sole Mio Written in the late 19th century for the Festival of Piedigrotta. of course. It’s very useful to be able to play this Eduardo origins are as ‘pop’ as any music Di Capua Beniamino Gigli and Luciano completely in time and then use your musical you could name today. nail to produce a clean warm tone. this Italian melody utterly irresistible smooth and gleaming. Caruso. In fact. It is a Pavarotti (whose recording of sensibilities to pace the melody expressively. these Mazzucchi. as well as Tony Technique Focus Bennett’s big band Nail care version. pay particular Festival of Piedigrotta’s annual songwriting received a wider audience when its lyrics were attention to the melodic ornaments (eg bars competition based in Naples. If your tastes are more classic. which won the 1980 Grammy for Best Vocal Soloist Performance. Enrico Caruso’s 1916 recording has serious charm (The Great Caruso Vol 1 2008 Classic). high-art repertoire. ’O with entirely new English lyrics. Bridget arranges No Tomorrow and Elvis Francisco Tárrega’s Capricho Árabe Presley’s It’s Now Or Never. Look after your picking hand fingernails! It’s very a long-running UK important for tone production and control of advert for Wall’s technique to get your fingernails sorted. or the melody adopted 31 and 38) and fermata signs (in bars 31 and from 1830 to 1926. range of diversity in terms of mere 25 Lira. It also For added expression. that is a song written for the the song won a Grammy in 1980). then you need tour of Crimea with his to maintain the condition of your nails with Presley to Pavarotti. has been notated and. pavarotti and tony musical culture and populism. Like one of today’s hits. it can be found on Favourite Neapolitan Songs (Decca 1979). especially if it uses orchestral Capua (1865-1917). such as in 71) where you can rest on the note musically Sole Mio Charles Harrison’s before continuing. The ‘classical’. which is often performed and recorded a cornetto advert! assumed to be part of the operatic countless times by Italian and the tab captions will help you achieve this. Down From His Glory. Caruso to violinist father and is an regular filing and polishing to keep the nail edges Cornetto. Italy that ran translated to English. Tony Martin’s There’s NEXT MONTH Next month. If it seems somewhat Giovanni Capurro and the music by his friend. as well as instruments. the Italian singer and songwriter Eduardo di elements appropriately balanced and distinct.

GUITAR TECHNIQUES 2 5 0 Bridget O SOLE MIO GUITAR TECHNIQUES 2 5 0 Bridget ©»§• ¢ œ 2™ 5 0 Dsus2 O D SOLE MIO Em6 E m7 2 ‰ J 2œ5. ¢ # œ œ £œ D 11 2 2 B /D & Dsus2 œœ ™œ œ œ œ ™œ œ 11 ¡œ £œ œ ¡œ ¢ œœ œ #£BBœ/D/D¡ ## 3 ¢ # # Dsus2 ™œ œ3 £ ™œ ™D . œœœ2 œ œœœ ™œ œ ™œ . B 7 3 2 2 G 0 D 4 ™ 0 0 E A B D 10 8 7 05 0 3 0 3 0 5 3 3 ¡ 22 2 0 2 2 2 2 3 0 G 1 2 2 0 0 E D m i m i m 4 m i a 2 4 m i m 0 i m0 a 0 Low B A E string tuned to D 10 8 7 p 5 p 0 3i p 0 p 3 p 5 0 m 3 2 3 p 2 p 2 0i p 2 p p 3i 2 2 0 G D B 10 8 7 0 5 2 p 3 0 3 5 2i 3 3 2 0 p 0 2 2 0 p 3 D1 G m i m i 4 2 m m i 4 p 2 a m i 0 0 m i m0 0 a A Low D string tuned to D p 0 p 4i 0 p p 0 p 4 m p 2 p 0i 2 p p 2 p D0i œ œ D A A sus2 0 D 60 D 2 D sus2 2 ## œp A 0 0 0 2 2 2 p ¢œ p œ p ai p ¢ £ œ pp œ œœ a D1 m i m 0i m m i m 2i m i m a œ 0 2 œ œ œœ œ œ p œœ œ œ Low string tuned to D & œ 1 m i m pi mi p m i p m a m pi p mi p i p m i œ ™ œ ¢œ œ Œœ A to D Low string tuned A sus2 p pi p D 6p p Dm i p p pi p D sus2 p p D pi # Aœ . ’O SolE Mio { Eduardo Di Capua PLAYING TIPS cd track 37 [General] We want to make the melodic line sing in this piece. ™œ £5 œ 9 ‰‰ ## Jœœ7 ¡ B G D œœ .. œœ . œ œœ œ & ## £œ p p p œ œAA sus2 œœ œ œ ¢œ œ D 6. œœœ œ œœ Œ ™œ £¢ œœœ œœ œ ‰9 E & & œ 3œ œ2 œ œ 10 10 12 10 ŒŒ 9 œ5 . playing over the middle of the soundhole and continue hand fingering accordingly. œœ œ3 E 0 œœ . £œ3 ™œ ™ . D6 m i m m i m a m m & # œ ¡œ £ œ 0 0 0 6 m p i p m œœ i D aug p Em m p6 i pE mmi7 œœ a œ m p m œœ i p D/A p œ A7 j # p œœ .. 5 œœ23 £¡ œ . If you using rest stroke for the melody wherever possible. ¡ œœ . œœ œ Œœ œ D˙ ™7 œ œœ œ œœ œ œœ ¢œœ œœŒ D .. 7 7 7 7 œœ JJ ¡ E A 10 10 12 10 9 5 9 9 7 6 B D 5 0 7 5 3 0 0 7 0 G 16 2 7 E D 4 10 10 12 10 9 5 7 5 7 9 9 7 B A E 5 7 5 30 0 10 10 12 10 9 5 7 5 9 9 6 7 G D B 0 5 7 5 3 2 0 0 7 7 0 j D G 16 4 2 7 7 7 ¢œœ A E m7 0 0 A7 D7 6 ™œ D 4 7 ™˙ 0 œ 0 œœ ™œ œ œ œ œ 0 ˙ 0 œ ‰ ¡œ D # A 0 0 6 & # ™œ˙ . SOLE MIO # # ©»§• ¡œ ¢œ œ ™¡ œœD œ œœ . At leave the finger resting on the third string while the bass note is plucked. £œ œ œ ¢œ œœ . I have indicated the go carefully you should see how this works for the first 8 bars.. B 3 2 3 7 G 2 3 6 D E 4 2 3 2 0 2 0 5 2 4 5 5 0 2 2 0 0 A B D 3 0 3 3 2 2 0 2 0 5 3 5 7 G 11 2 3 0 0 2 6 E D 2 4 0 3 2 0 0 5 2 4 5 B A E 3 5 0 3 2 3 2 2 0 2 3 2 0 2 0 0 5 2 5 3 5 0 7 2 3 0 0 2 6 # G D 0 3 5 3 3 2 0 2 0 5 3 5 7 ¢ B D G 11 Dsus2 4D 2 3 0 0 0 0 4 2 5 6 B /D 0 2 ™œ œ 22œ œ ¡œ 2 0 0 £œ œ A £œ D 4 0 0 4 5 ¡œ ¢ œœ œ 3 D 0 2 2 # # Dsus2 ™œ0 £œ A 0 2 2 0 0 ™œ ™D . œœ . œœ œœ œ œœ œœŒ £œ ‰œ D ™œ œ œ¢ £J & # ™œœ . 0 œ œ œœ . œ. ££ œœ œ ¢œ œœ & & # 44 ‰ 10J 8 œ5 .. œœ œ œœ œœ D/A œœ A7 ¢œj œœ œœ œ œœœ œœ œœ œœ œœ ™ ™œ . ˙ œ œ # ¡™˙ . £œ œ œ œ & # ©»§• 4 œ ¢œœ . ¢ ™œ A™ 7 œ˙ œ œ ¡j œ œœ œ œœ œ œ œœ œ œ ‰œ‰J ¡‰œœ December 2015 œ 45 œ ™œ ™œ . œœ p i œœ p ™ p p i œ œ œ p œœ p i p œ œœ p œ œœ ™ ™œ . œœ œœ . ¡œ œœ . £ œ™ ¢œ œœ œ Œœ œ œœœ œ A sus2 D D sus2 D & # ## œœ œ œœœ œ0 . in bar 2. For example. œœ & œœ2 . & # ## œ3 . it also increases security and tone control. œ œ œœœ œ £ œ. £ œD Eœ ¢œ œœ œœ œ œœœœ Dsus2 Em6 22 ‰ ¢ œJ ™œœ .. œ œœœ œ œœ . B 0 3 5 0 10 7 G D 2 0 2 ™2 0 4 4 E A B 0 2 0 0 0 0 2 3 5 0 0 0 10 8 7 5 0 3 0 D G 0 0 0 2 0 0 2 E 6 m i m m i m a m m D 2 2 2 4 4 B A E p 2 0 0 p 0i p p 0 2 p 3i 5 p 0 p 0 i p 0 p 10 8 7 5 0 3 0 G D B 2 0 0 0 0 2 0 3 5 0 2 0 10 8 7 0 5 2 3 D6 m i 2 m 0 2 m i 2 m a m 4 m 4 E m07 2 2 G j A 0 D aug E m0 6 0 0 D/A A7 0 0 D p 2 p i 2 p p 2 p i p p 4i p p 4 0 œp œ0 0 D # œœ œœ œ ¢œ A 0 0 0 0 0 0 œ œ ™ b œœ¡ œ œœ ™ œ ™œ . Aim to keep the is needed. œ œœ ... £œ ™œ ™œ œ. & # ™œ˙ . ™ œ œœ œœ œœ £¡ œœ32 œœ œœ .. ¡ œ ££ œœ ¢œ E & 5 œ œœ23 ¡ œœ œ000 œœ 3 œœ œ00 0 œœ 5 2 œ52 œœ5 .. œ œœ œ œ5 . D6 œ D p œ œ œ œ D sus2 D œ ¢œ œœ œœ œœ . down on the adjacent string and leave it there until the next note or chord leading to what would nowadays be called a chorus at bar 17. The bar 20 you will need a barre across five strings at the 7th fret and bar 22 will finger is then already on that string to pluck it in the middle of the D chord need a four-string barre at the 2nd. ¡œ ™œ ¢ œœ œ œ £œ £œ œ #£œœ ¡ # ## ™œœ . I play the E melody note rest stroke and melody nice and smooth (legato) and the accompaniment well articulated.. œ3 . œœ0 242 ™ œœ œ00 œœ œœ . ™ œ Eœm7 œ œ. ¢œ œ œ œ pi œ œ. ¡œ ¡ # # ¡œ Dsus2 ¢œ œ ™™£¡ œœ œ œœ Em6 £œ œ œ œ m7 œ œœ .. bb™œœœœ¡ œœ . œ ¢œ & ## b™œœ¡ œ. ™œ œ œ ¡œ ¡œ ¡œ ... œ ¡œ £ œ j D aug Em6 E m7 D/A A7 œœ D aug Em6 E m7 œœ œ. This kind of technique can be used a lot if you organise the picking warm rest stroke. 5 7 5 œ0 4 œ0 œœ œœ5 . 2™ œ œ œœ œœ2 œœ ŒŒ8 œœ œœ32 œœ E œœ . picking hand fingering for the first eight bars and I often leave the finger [Bar 9] At bar 9 we get repeat of the main theme with a different ending. œ œ œ D 16 0 0 0 0 j œ œœ œ œœ œ œ œœ‰J ¡‰œj 16 œ ¢œ œŒ E m7 A7 D ™œ # # EE¡mm 77 œ œ œ Aœ . 0 # #TECHNIQUES ¡œ ¢œ œ œ œœœ œ GUITAR TECHNIQUES ¢ œœ œ œ Bridget £œ œœ œ £œ & ©»§• GUITAR O™ SOLE MIO Bridget 4 ¢œ ™ Dsus2 O£¡ D œ œ Em6 œ E m7 œ ¢œ 2 ‰ ¢ J ™œ . Start with a on beat 2.

all the previous verse 7 D 7 material and7 then a nice neat ending. œ œ77 œ œ 7 5 œ œ œ56 œ œ œ B 11 ¡ œ65 . Enjoy! A 0 0 6 D 0 0 0 0 16 E m7 ¢œ œ ™œ A7 D j # ™˙ œ ™œ œ œ œ œ œ ˙ œ ‰ ¡œ & # œ. 2 5 5 5 4 D # ¡œ œ œ œ œœ œ œ0 œ œœ œ 0¢ ™ £ œD A 0 0 0 0 0 & # ‰ ¢j ™ £¡ œœ œœ œ œœ D 36 œ œ œ Dsus2 E m6 E m7 # # ‰œ œ‰ œŒ . œ œ & œ œ œ œ œœ Asus2 A6 A7 . œ œ œ9 œŒ9 ™œ7 ¢ ™ ¢ œ œ œœ ¡œ œ œ œœ5 ¢œ # # ˙œ3 œœ2 œœ5 8 £œ œ ™ œ˙3 .7 œ œ A œœ œ £œ œœ ™D ˙œ . ™ œœ . œ ˙ j œ œ œ A 5 œ œ 5 ™ œœ D 5 0 0 & œ œ œ œ ¢œ œ ™œ 26 D # # œœ ¢œ ¡ ¢ ‰ ¡œ œœœ œ œ œ. œ œ œœ2 œ £ œ . 11 Dsus2 D ¢ B /D # ™œ œ ¡œ Play# } CLASSICAL œ œ ¡œ ¢ œœ œON THE£œCD œ œ £ 3 ™œ £œ ™œ ™ . D 5 5 E A 9 7 7 9 07 5 5 7 5 B D 2 5 8 7 5 G 36 2 6 6 2 D 2 2 5 5 5 4 A E 0 3 0 9 9 7 7 9 07 5 5 7 5 0 0 0 D 0 j B 2 5 8 7 5 3 G 36 2 Dsus2 D 6 E m6 E m 76 2 ¢œ 2 ™œ . œ œ œœ œ £ œ. œ0 D 5 7 7 E A 10 10 9 5 9 7 B D 7 5 7 5 7 G 31 6 7 7 D 5 4 7 7 A E 0 0 0 10 10 9 5 5 9 9 7 D B E m7 7 5 7 5 0 3 0 Asus2 A A7 0 A6 7 A7 0D G 31 ™ ¢ œ œ0 œ 0 œ 6 7 2 7 ¢ ™4 œ œ œ ¡œ œ œ œœ ¢A7 # # E˙0m 7 œœ œ D 5 7 7 £Aœ6 0 œœ 0™D ˙ A D & œœ ™ Asus2 0 A ¢ 0 œ œ A7 œœ œ œ œ œ œŒ ™œ 31 ¢ œ œ œ ¡œ œ œ œœ ¢A7 # # E˙œm. Things continue much the the bar in preparation for7 the A7 chord on beat 2. œœ2 œ 10 œ5 . œ0 7 5 D 8 7 7 5 5 J E A 5 5 10 5 B D 5 11 7 5 G 26 7 7 7 6 D 8 7 7 5 5 A 5 5 0 j E 6 10 5 5 5 5 5 0 0 U D B 5 8 11 7 7 5 5 œ7 œ œ7 G 26 œ0 ¢œ 5 œ ™œ5 7 D 7 7 6 D # # œ5 ¢œ ¡ ¢ 8 ‰ ¡œ œœ Uœœœ . E¡m6 œ œ œ Dsus2 Em œ #December ‰ Œ ¡œ ¢œ œ5 . œ E 9 9 7 3 3 2 3 5 5 B 8 2 5 G 7 2 2 2 D 9 9 2 2 4 4 A 7 7 0 0 0 0 0 D 0 0 20 2 Acoustic 2 Acoustic £œ G m6 D A7 ## b™˙ œ ¢œ b¢œ ¡œ œœ œ ¢œ ¡œ £ ˙ b£¢œœœ œ ¡ œ œ œ œ 2 Acoustic & £œ œ œ œ G m6 D A7 # # G¡ m6 b™˙œ œ œœ ¢œ‰ b¢œ ¡œ œœœ œ ¢œ ¡œŒ £œ ˙œ . œ2 œ œ3 œ0 46 & # ‰œ 10 8 œ3 3 ¡2 œœ0 œ E B 7 3 5 . œ ¡ œœ3 œ ™ œ. œ œ œ Œ œ. œ œ œ ¢ Œ & œ œ œ œ # # œ ¢œ ¡ ¢ œ œ. ¡œ ¢œ œ . ™œ œ . œ œ œ œ j Œ œ. G 7 œ50 . œ £¡ œœœD œ ™ œœ . œ Œ œ œ œ J ‰ œ. Œ bœ ¡œ œœ5 œ ¢œ ¡Œœ £ œ˙5 . b£¢œœœ ¡ Œ œ. At bar 41 there is a repeat of G same 2 – notice the fermata in bar 31 and4another one right before the end. œ œ œœ œ œœ œœ7 & J 2015¢œj ™œ . œ œ & œ œ56 œ œœ2 E 7 9 7 5 5 7 B œ œ2 7 œ30 . b£¢œœœ57 œ ¡ E & # J 8 10 œ5 . œ. 2 œ0 Œ9 œ œ0 5 œ0 4 œ0 G 2 6 œ30 . TRACKs 36-37 œ œ £œ & # œœ ™œ œ #œ œ. 0 2 0 œ0 œ50 . œ & b™˙ œ œ J œœ ¢œ‰ £œ ¢ D œ œ œ A7 œ œ œ # ¡ œ6 . œ5 ‰8 Œ Œ œ50 . œ œ œ œ œ œœ œ œœ œœ ¡ Œ œ. Uœœ ™ œ ˙Dœ . œ 77 œ œ 9 7 œ0 œ 4 œ Œ Œ9 G 6 7 œ30 . œ ‰ J¡ playing tips cd track 37 [Bar 26] A full barre is needed at bar 26 so it’s best if you play the last A note [Bar 38] At bar 38 you will need to put down a barre on the second quaver of E 10 10 12 10 9 5 5 9 9 7 ofB25 with the side 5 of the 7 first 5 finger 3 as a hinge bar. œ œ ‰ Œ10 9 ¡œ œœœ5 œ œ9 œ ™œ Œ E B & 7 œ 5 7 œœ5 ™ œ ˙œ3 .

0 J 7 3 3 5 3 3 0 2 3 B G 2 2 0 0 D 4 4 0 0 A E 0 0 0 2 2 2 2 0 D B 0 10 8 7 0 5 3 0 3 5 3 3 2 2 0 2 2 3 G 41 2 2 0 0 D 4 4 0 0 A 0 0 0 2 2 2 D 0 0 0 2 2 41 œ œ œ A A sus2 D6 D D sus2 D # ¢œ œ œ £œ œ œœ œœ ¢ & # Aœ œ œA sus2 œœ œ œ œœD œ œ œ œŒ œ D6 D sus2 D # # œœ . œœ œ J & œœ œ œ œ œ œ œ E B œ. œ œ œ . œ œœ . 5 23 3 2 3 œ2 . on page 46. œ 10 Œ8 7 œ5 . 0 0 œ . œœ œ œ œœ £œ œ ™ ˙œ . œ ¢œ ™ œ œ œ. 5 7 œ 9 ‰9 # œJ7 G 2 7 D 4 7 7 A E 0 0 10 10 12 10 9 5 5 9 9 6 7 D B 0 5 7 5 3 0 0 7 0 G 56 2 7 D 4 7 7 A 0 0 6 D 0 0 0 0 œ œ œ ™œ 56 E m7 A7 D ¢ # # E™m˙7 ™œ œœ œ œ œ œ ˙ œ œ œ & œ.. 5 7 œ 5 3 œ œ 10 10 12 10 Œ 9 œ5 .œ œ Œ œ. £œ™ ¢œ ¢œ œ. œ & # œœ œœ œœ œœ œ œ œ œ œ œ œ œ5 2 œ. œ œ œœ œ & ¡£ œœ œœ J œ œ œ ™œ œ. 3 20 0 0 5 2 3 5 6 7 D 4 0 0 4 5 A E 0 2 2 2 3 2 2 0 0 5 2 0 D B 0 3 5 3 3 2 2 0 2 0 5 3 5 7 G 51 2 3 0 0 2 6 D 4 0 0 4 5 0 2 2 2 0 0 B /D # A D 0 Dsus2 D 2 ¢ 2 ™œ œ œ œ ¡œ £œ œ 51 £œ 3 # #Dsus2 ™œ ¢œ ™œ ™ . E B G œ3 . œœ œ œ œŒ œ ˙. œ œ œ & œ œ œ œ œœ œœ œ. 7 5 7 5 3 7 G 31 6 7 2 7 D 5 4 7 7 A 0 0 0 D E m7 0 Asus2 0 A A7 0 A6 A7 0D ™ ¢ œ œ œ ™œ ’O SolE œœMio ¢œ {£ Eduardo ™ Di Capua 31 # E˙m 7 ¢ œ œ œ œ ¡œ œ œ œ ˙D & # œœ œœ A7 œ œ œ œœ Asus2 A A6 A7 œ œ œ œ œŒ ™œ ¢ ™ œœ ¢ ¡œ œ œ œœ ¢œ # # ˙œ . ™œ œœ œœ . œ œ E œ 10‰ Œ8 œ. œ œ œœ œ œ œ œ œ œœ . œ œ & TIPS œ œ œ œœ track 37 œ3 . œ œ. œ 2 œ ¡2 . ™œ œ œ œ œ E B 2 0 0 0 2 3 5 œ0 . 3 G 0 0 2 2 D 2 2 2 4 4 A E 0 0 0 0 0 0 D B 2 0 0 0 2 3 5 0 0 0 10 8 7 0 5 3 G 46 0 0 2 2 D 2 2 2 4 4 A 0 0 0 0 0 0 D 0 0 0 46 3 j 3 D aug Em6 E m7 D/A A7 # œ œœ Dbaug œ œ œ œ œ œ œ œ.œ PLAYING œ cd Refer to music captions E œ 9 Œ9 7 7 9 7 œ 5 5 7 5 œ œ3 . œ œ B 2 5 8 7 5 G 2 6 6 2 D 2 2 5 5 5 4 A E 0 3 0 9 9 7 7 9 07 5 5 7 5 0 0 0 D B 2 5 8 7 5 0 3 G 36 2 6 6 2 D 2 2 5 5 5 4 A 0 0 0 0 0 0 j D 0 36 Dsus2 D E m6 E m7 ¢œ ™œ . œ œ œ œ œ December 2015 œ 47 & . œ œ5 . œ œ œ œ œœ . # ¡œ ¢œ œ œ œœ œ œ œ œœ œ ™ £ & # ‰ ¢j ™ œ œ œœ £¡ œœ œœ œ œ œ Dsus2 D E m6 E m7 # # ‰œ œ‰ œŒ . ¢œ ™œ ™œ . œ œ œœ b œœ œ. œ & # œ œœ œœ Em6 œ œœ E m7 œ œœ D/A œœ A7 œ œ j # œ . œ œ œœ œœ . œ œœ œ œD œœ œ ¢ œ œ œ B /D # & 3 ™œ œ œ œ ¡œ £œ œ‰ #£œ # # ™œœ . ¡œ œ. œ ¢œ œŒ ™œ œ œ œ œœ A7 D # # ¡™˙ œ ™œ . œ œ œœ œ £ ¡œ.

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.. pretty ballads............... Bath......  rock legend.......... funky dance numbers musician’ is made more real.....54 Les Davidson looks at the playing of a UK pop- rock star who moved over to the blues – Chris Rea..................... stylistically savvy.......... Blues.............. good tone............ broad chord vocabulary... Iain Scott digs deep into the world the main musical numbers running As you work through this issue..70 Shaun Baxter looks at some interesting new ways I to play Pentatonics using three notes per string..................................... Rock .. this month playing a gorgeous minor blues.......78 Charlie Griffiths rips off his shirt to get into the and uptempo rockers...... During a short rehearsal break..... alongside a great sounding countless performing and minor blues....... System Of A Down – or SOAD! video........... intermediate and advanced levels..... keep creative and maybe I’ll faced with a chord chart that see you on a show reading music.... BA2 3QS... need one guitarist so working with another versatility) to Pentatonics (theory).......... had on a show alongside another guitarist................... the gamet of chugging eighth-note your progress towards being a ‘360 riffers..... Many shows only on offer from hybrid picking (chop mood of 80s rockers George Lynch and Dokken............... ’O Sole Mio (fingerpicking chops)..... he told On me he’s been a heavy user of video! Guitar Techniques for over 15 Join Nigel Price as he shows us how to play years...... schools to one-on-one lessons).... 76 The show was pop/rock based with hire-able musician I was working with now........62 Jazz guitarist Nigel Price continues his masterclass.... Learning Zone Future Publishing..... he read notation and enter............... teaching situations (big stages to Page 62 November 2015 51 ....58 Martin Cooper examines the playing of alternative US rockers.... recently had the fortune of working pubs...... In a new series.............. the incredible Richard Thompson............ So every musical base was ticked. We’ve plenty HARD ROCK...... improvised with admirable creativity... ability – creativity – is a must when Good luck... Then John Wheatcroft delves into the mystical world of solid chops...............92 requires solid rhythm and sometime in the Charlie Griffiths continues his series with a rocking future too! reading study using low-register leger lines................. soloing ability...................... Ivo Peters Road.52 Pat Heath has six more fantastic licks at easy. Joe proved a lot of fun as my co-six stringer Satriani (modal soloing) to a solo version of JAZZ....88 Even though most shows are highly Allan Holdsworth lesson starting on page Stuart Ryan examines the playing of a British folk- pointed in their requirements............. creative rock ...... theory and reading articles (Wheaty’s acoustic............82 turned out to be a ‘360 musician’........... the latter 82 is particularly insightful)............................ resulted in him being the excellent and very CHORD CAMP.......... Brought to you by… Lessons GT #250 30-MINUTE LICKBAG ... crammed full of stylistic.. there is the tutorial section you’re about to a fusion giant – the amazing Allan Holdsworth........... technique.. I hope of chords: how they work and how to use them.... So that..

œ œ . Add the importance of the ‘scratchy thing’ ≥ (as he so quaintly described it) to get this simple but effective rhythm and blues riff style. lesson } 30-minute lickbag 30-Minute Lickbag GUITAR TECHNIQUES MAGAZINE 2 5 0 Pat Heath's LICK BAG Lick 1 Johnny Marr style Pat Heath of ABIMM Brighton bringsC #you yet ©»¡ºº œ œ Bm œ œ m œ œ œ œ B m Brought to A you by… #another ## 4 varied selection n œ # œ œ and of fresh licks œ œadvanced to œ œ œ œlevels. ≤ œ≤ ≤ ¿B≥mœ ≥ ≤œ œ≤ ≤ ¿C≥#m œ≥ ≤ ≤ ≤œ . ≥ œ ≥ B≤m¿ œ≤ ≤ œ œ A≥ ¿ œ ©»¡ºº # # #Diddley 4 F n œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ & Lick 2 Bo 4 style ∑ J ‰ Œ Ó X ©»•§ ˚j XX E X G C G X C G B X X X # 4 X F Œ ‰ ¿¿ ¿¿ 5œœœ ¿¿ 7¿¿ œœœ ¿¿X ¿¿5 ¿¿ ¿¿ œœœ7 ¿¿ œœœ X¿¿ œœœ 7¿¿ ¿¿ ¿¿ 5œœœ ¿¿ 7¿¿ œœœ ¿¿X ¿¿5 ¿¿ œœœ 7œœœ ¿¿ Xœœœ ¿¿7 œœœ5 ⋲ ‰ G X X X & 4 Ó D 7 A ≥¿ ≤¿ ≥5 5¿ ≥¿ 5 ¿≥ ¿≥ ¿7 ¿7 ≥7¿ ≥¿ ≤ ≥9¿ 9¿ ≤¿ 9 ≥ ¿ ≥¿ 7 7¿≥ ¿≥7 ¿ ≥ 55¿ ≥ ¿≥ E 1 E B ≤ G D A F 5 6 6 7 7 9 9 7 7 6 A5 Adim5 ~~~ E ≥ ⋲≥3 ≤X X≤œ3≤ X ≥X ⋲X≥ X¿¿≤ 3 ≤X ≤ 5 X≥ 3 ⋲≥X ≤X X≤⋲ ≤3 X≥ ⋲X ≥3 œ≤X ⋲X≤ X≤ 3 ⋲3 ≥X 5 œœX 3 b œœ . fusing fierce licks with choppy modal sounding & 44 Tyson Ó styleŒ ‰ ¿¿ ¿¿ œœœ ¿¿ ¿¿ 7œœœ ¿¿ ¿¿ ¿¿ ¿¿X œœœ ¿¿ œœœ ¿¿ œœœ ¿¿ ¿¿ ¿¿ œœœ ¿¿ ¿¿ œœœ7 ¿¿ ¿¿ ¿¿ 4 œœœ œœœ ¿¿ X œœœ ¿¿97 œœœ ⋲87 ‰ E this tight with X the strumming hand. 5 Single-coils are your Œ ‰ ¿¿ ¿¿¿ ⋲ œ ⋲ ¿¿¿ ⋲ œ ⋲ ¿¿¿ Pat 7 Heath's dark LICK 7 bestBAG & 44 Ó 5 6 with some G first note in this example. C G # Jeff Tyson was one of Joe Satriani’s guitar students and he had a very percussive and tight guitar style. œ ¿ œ X Xœ œ 5 X X 5 Xœ X X X 5 X 5 X ¿ œ œ5 G X X 4 X X 4 X X X X D 5 5 5 5 5 5 A ELick 2 Bo Diddley style Intermediate Licks Example 3≥Jeff TYSON cd track 40 ~~~Keep ≤ ≥G ≤ ≥ ≤ ≥ ≤ ≥ ≤ etc C G ©»•§ ˚j riffs. œ œ œ34 XX XX 34 XX¿ XXœ XX XXœ 34 XX 55 ¿ XX 34 XX XX XX œ34 XX XX 34 XX¿ XXœ XX œ34 34 XX ¿55 XX 34 G D A F X X X X 5 X X 5 X X X X 5 X 5 X 5 X X X 5 X X 5 X X X 5 5 X 5 X 5 E E B ≥ X≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ etc X X X X X X G X X X X D X 7 A Lick 3 Geoff Tyson style X X X X 7 5 E 5 7 5 7 7 5 7 5 7 1 ≥ ≤ ≥ ≥ ≥≥ ≥ ≥≤ ≥ ≤ ≥ ≥ ≥≥ ≥ ≥ ≥ ≤ ©»ª∞ N. D A ⋲ ⋲ Lick E 1 Johnny Marr style ¿ ≥A œ≥. If desired.C.C. intermediate ∑ J F E 5 7 9 7 5 B 5 5 7 7 9 9 7 7 5 G 5 6 6 7 7 9 9 7 7 6 D A Easy Licks Example 1 Bo DIDDLEY cd track 38 E ≥ ≥ ≤ ≤ ≤ ≥ ≥≤ ≤ ≤ ≥ ≥ ≤ ≤ ≤ ≥ ≥ ≤ ≤ ≤ Striking the strings with attitude. accompany the 6 deeply 9friend sonically with 9 reverb. ¿ 52 ⋲ ⋲ ⋲ ¿ . ≥ ≥ F ¿≥ ≥ ≤ ≥ ≤ ≥⋲ ≥ ⋲≥ ¿¿ ≥ ⋲≥ ≥ ≥ ≤ ¿ E 5 5 7 7 5 7 4 4 Ó Œ ‰ ¿ ¿ œ œ ⋲ ¿¿ ≥ ≥ &4 ¿¿ ¿ ⋲ œ ¿ ⋲ E B X X . œ œ œ . œ œ learn œ œ œ œ œ œ œœœ ‰ Œ Ó & 4 at easy. Lick 2 Bo Diddley style ©»•§ G C G ˚j C G # 4 Ó Œ ‰ ¿¿ ¿¿ œœœ ¿¿ ¿¿ œœœ ¿¿ ¿¿ ¿¿ ¿¿ œœœ ¿¿ œœœ œ œ œ œ œ œ œ ¿¿ œœ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿ œœ ¿¿ ¿¿ ¿¿ œœ œœ ¿¿ œœ ¿¿ œœ ⋲ ‰ & 4 ¿¿ ¿¿ ¿¿¿¿ ¿ ¿ ¿¿¿ ¿¿ ¿¿¿ ¿ ¿ GUITAR TECHNIQUES MAGAZINE 2 5 0 F Pat Heath's LICK BAG Lick 1 Johnny Marr style # ©»¡ºº E B ### 4 A X X œ œ œ œ 3 X X 3 XB m œ œ œ œ 4 X X 4 œX œ X X 4 X X X 3 X 5 CX m3 X X X 3 X X 3B m X X X 3 3 AX 5 X 3 œœ nœ #œ œ œ œ œ œ œ œ œ œ œ œ X Xœ Xœ 5 G X X 4 X X 4 X X X X 4 X 5 X 4 X X X 4 X 5 X 4 X X 5 X X 5 X X X X 5 X 5 X 5 X X X 5 X X 5 œ ‰ Œ Ó 5 X 5 X 5 D & 4 A J E ∑ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ etc Lick 3 Geoff Tyson style F Easy Licks Example 2 JOHNNY MARR cd track 39 ©»ª∞ E 5 7 9 7 5 Pick these treble-string GUITAR B TECHNIQUES triads in a loose 2calypso-type MAGAZINE N. use a light phaser if you have one andXensure you get the syncopations correct to sound like Jeff! B Lick 3 Geoff ¿¿ ¿X ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿5 ¿ 7 ¿ ¿ ¿ ¿ ¿ ¿ ¿ G D ©»ª∞ A X 7 N.. & ¿ 4 X 5 X 4 XX XXœ XX 4 œ XX XX 4 XX XX #XXœ 4 4 XX¿ 5 XX 4 E B ⋲ X X œ . & 44December Ó 2015 Œ ‰ ¿¿ ¿¿¿ ⋲ œ ⋲ ¿¿¿ A5 ¿¿ ⋲~~~ Adim5 œœ œb œ . using a loud but clean ‘just braking up’ sound will reproduce the tone of Bo Diddley. œ ¿ œ œ .C. 7 7 delay to chorus and 6 taste. 50 5 feel with 5 a short slide 7 into7 and ironic9lyrics to9recreate the perfect 7 Smiths 7 soundalike.

C. open 9 position  minor œœ œ œ œ # œ œ œ p 4 & 4 ∑ œ œ œ œ œ œ œ œ # œœ . œ ¿ œ œœ ¿ œ œ œ œ ¿ E X ~~~ B X G X 9 8 D 7 7 4 X 7 7 A X X 5 7 ≥5 7 5 7 ≥ ≤ ≥7 5 7 E 4 ≥ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≤ Intermediate Licks Example 4 VAN HALEN cd track 41 2 xxxxxxxxxx This EVH style-tapping riff is constructed around shape 4 of E minor Pentatonic with tapping on the 12th fret. œ ¿ œ œœ ¿ œ œ F ON THE CD E TRACKs 38-43 X 30-minute lickbag X learning zone X B X X X X G X X X X D X 7 A X X X X 7 5 E 5 7 5 7 7 5 7 5 7 1 Intermediate Licks Example 3 GEOFF TYSON ≥ ≤ ≥ ≥ ≥≥ ≥ ≥≤ ≥ ≤ ≥ ≥ ≥≥ ≥ ≥ ≥ cd track 40 ≤ ~~~ A5 Adim5 & ⋲ ⋲ œ ⋲ ¿¿¿ ⋲ ⋲ œ ⋲ œ ⋲ #œ ⋲ œ b œ œ. 12 7 10 12 10 7 Fœ L œ œ œ œ œ œ œ œ œ3 œ 12œ 93 7 12œ 73 9 12œ 9 7 12 10 7 ~~~ B 12 10 8 12 8 10 12 10 8 œ œ 3 # 4 ∑ 3 L L L LLLL G œ œ œ œ œ œ œ œ œ œ~~~ Œ D & 4 A E L LL L LL L L LLL E 12 73 10 12 10 3 7 F B 3 12 10 8 12 8 3 10 12 10 3 8 3 3 3 G 12 9 7 12 7 9 12 9 7 3 3 L ~~~track 42 D Lick 5 George Benson style 12 9 7 12 7 9 12 9 7 A Advanced Licks Example 5 GEORGE BENSON 12 10 7 cd j E you have it©»¡¢º E 12 7 10 the The tricky element of–this lick is executing 12 10 7 pull off: use your fourth. 87œ œJ ELick 6 SRV 0 0 B 5 3 0 0 8 # 4 F N. Keep time by focusing on beat 1 each time and use your picking hand’s tapping finger (Eddie uses his first but try your second instead) as a reference point as to where you are in the bar. it drifts a little.. E œ œ 5i œ p œ G 5 7 5 5 5 6 œ # œ œ œ # œœ ..C. # œ 5 5 5 7œ 6 G D 4 Fœ 5 œ ‰ œ œ œ œ 5 œ 7 œ ‰ 5œ ˙˙ # œ &4 œ A œœ5 ˙˙ E ∑ m p i i a E 5 B 7i 8 7 5 5 p 5 F G p5 3 5 5 7 5 5 6 D 5 5 7 5 A 7 E Lick 6 SRV 5 E 5a 5 m p 5i i # œœ . There is a ‘swing’ in this line that’s important to maintain when triplet qq=qce œ œ œ ˙˙ B N. B 7 8 7 5 57 9 # 4 N. 12 10 8 12 8 10 12 10 8 G 4 nailed.C. œœ œœ ‰ œ œ œ œ œ œ E 77œ# 9. &4 ¿¿ ¿ œ ¿ ¿ œ. œ ¿œ œœ ¿ œ œ.. 3 F œ œ œœœœœœœœœœ œ œ œ 3 3 ~~~ Lick 4 #Van4Halen style 3 3 3 3 L & 4 ∑ œ œ œ œ œ œœ œœœ Œ ~~~ L L L œ 3 œ œ œ3 œ œ œ3 œ 3 œ œ œ3 12 93 7 12 73 9 12 9 7 L LL L L ©»¡™º E N. œ.œ . œœ œœ .C.C. with the beat being on notes that you might not suspect. œ ≥05 ≤0 ≥3 0 ≥ ≤0 ≥ ≥œ ≤ ≥ œ ≥œ œ ≤œ ≥œ œ ≥œ ≥ ≥8 ≥œœ8 œœJ œ œ œ œ œ . A E ∑ 3 œ 7 7  E B G D F 0 3 3 0 0 0 2 2 0 0 6 6 A 0 2 2 0 7 7 E 3 0 E B G ≥05 ≤0 ≥3 0 ≥0 3 ≤ ≥ 0 3 0 ≥ ≤ ≥ 0 ≥ ≤≥ ≥ ≥ ≥87 ≥87 D 0 2 2 0 0 6 6 A 0 2 2 0 7 7 E 3 0 ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤≥ ≥ ≥ ≥ ≥ December 2015 53 . E 7 # œœ . The difficulty here is in the timing. F # œœ œ œ œœ œ œ œ ‰ œ œ œ 3 Lick 5 4 # &4 œ œ œ œ ‰ 5œ œœ ˙˙˙ George Benson style ∑ 5j ©»¡¢º qq=qce E 5 – œ 5œ ˙˙ B 7 8 7 5 5 œ œ3 œ 5œ 5œ 7œ œ N. N. 0 3 3 0 0 7œ 7œ œ ‰ . try your neck pickup (ideally a humbucker)12 œ œ œ œ with 9 the tone 7 12 7 turned œ 9 12 9 œ down.C.C. Focus on hitting Tone is everything with SRV and this comes p Pentatonic#to sound authentic. For # œ œ œ œ œ George’s tone. G D 6 & 4 0 #œ . œœ œœ . third and first fingers. œœ cdœœ track ‰ D p 5 7 5 5 A & 4 Licks Example 6 StEVIE ∑ œ œ œi œ œ œ i œ œ 7 œ œ E 5 Advanced Lick 6 SRV m RAY VAUGHAN p œthe strings hard while a œ descending œ œ J 43 Fi with a strong strumming hand attack.. 7 œ 12 9 7 12 7 9 12 9œ 7 # œœ 12 10˙˙ 7 ‰ œ œ œ ‰ D A E &5 4George Benson style œ Lick ∑ œœ ˙˙ ©»¡¢º qq=qce – j œ œ œ œœ ˙˙˙ N.C. œ œ œ œ œ œ ~~~ 3 # 3 4 œ œ œ œ œ œ œ œ œœ œœ œœœ œ œ Œ L L L L L L L L L L L & 4 ∑ Lick 4 Van Halen style œ œ LL LL LL LL LL LL LL LL L L L L 2 xxxxxxxxxx ©»¡™º œ œ œ œ 3œ œ œ 3œ œ 3 œ œ 3œ 3 N. œœ œ œ œ # œ œ œ 0 2 2 0 0 2 0 2 0 6 .C. L L L L L L L L Lick 4 Van Halen style L L L L ©»¡™º œœœœœœœœ œ œœœ 2 xxxxxxxxxx N.

releasing his Gain Bass Middle Treble Reverb CD: TRACKS 44-47 Melodic phrasing first single. After toiling but the release of Water Sign in 1983 gave him He’s also been using a pair of Fender Blues Junior in his father’s ice cream shop. Enjoy! NEXT MONTH Les examines the authentic blues style of the great Robert Cray Rosetta Tharpe.” says Rea. Whatever Happened To Benny B orn in 1951 in Middlesbrough to an Santini (produced by Gus Dudgeon) in 1978 Italian father and Irish mother. he has that desirable ability to keep it simple. his first guitar (a Hofner V3) at the ripe old breakthrough came eventually in 1989 with with a touch of natural amp drive and simply add age of 21. both albums firmly establishing TRACK RECORD Fool If You Think It’s Over features the title track. Go for a mainly clean neck pickup sound. 5 ✪ ✪ ✪ ✪ ✪ Moderate around 1973 Chris joined the band Magdalene 7 4 6 3 Info Will improve your – replacing David Coverdale – and later The Key: Em and Dm Slide playing Beautiful Losers. international Chris Rea: fine rock star and a well-respected guitarist. Les Davidson explores how ‘the blues man from the north’ has his roots imbedded in the deep South. “Everything that you’ve done falls away and you start wondering why you went through all that rock business stuff. plus Tell Me There’s A Heaven. all deeply steeped in the genre that first Chris Rea has the ability to keep it simple yet play the important notes inspired him. he secured a solo Tempo: Various Use of chord tones contract with Magnet Records. like so that gave Rea a top 20 hit in America with Chris has been associated with his 1962 Fender many musicians before him Chris Rea Fool If You Think It’s Over. Example 2 is in regular tuning and played using pick and fingers. blues player In 2000 Chris started a battle with in slide and regular style pancreatic cancer and after several operations and a long recovery he returned to work again. Although he initially wanted ABILITY RATING to be a scriptwriter and film music composer. However. His illness appears to have reshaped his musical journey and he returned to his blues roots with the release of several more albums. teeth as a professional musician. Muddy Waters and Sister (1991). Gibson and Hofner to an Italia Maranello Classic. he purchased some European and Irish success. Williamson. as made famous in the UK by Elkie Brooks. plus the classic single Looking For The Summer.” Whichever genre Chris Rea chooses. it was his debut album. and the licks are executed ‘fingers only’. that you suddenly stop to realise that this isn’t the way I intended it to be in the beginning. LIVEPIX 54 December 2015 . The big amps. In 1974. lesson } blues Chris Rea Brought to you by… Although better known for his MOR chart-toppers. Strat ‘Pinky’ for most of his professional career but he also plays a variety of other guitars from worked menial jobs before cutting his His next three albums did not fair so well. “It’s not until you become seriously ill and you nearly die and you’re at home for six months. Chris Rea as a bona fide. Rea’s blues box set Blue Guitars is an amazing walk through Chris’s influences and is full of fabulous authentic blues. The Road To Hell also features the title hit track. Auberge boasts more title track hit action. finding inspiration in Sonny Boy The Road To Hell and its follow up Auberge reverb and delay to taste. So Much Love. Example 1 is tuned to E major for the slide playing. yet play the right notes and connect with his listeners.

œ7 . ~~~~~ œ j œ œ BLUES œ œ. œ ‰ œ. œ œ œ E # >. (E-F#-G-A-B-C-D). 10 œ . ˙. œ œ œ œ w ~~~~ Jœ Jœ œ œj œ ‰ >œ ‰ >œ œ . ˙~~~~ Œ Am . B7 5 Em Altered tuning ˙ œ j œ œ E # C7 œ . >œJ >œ œJ œ . ˙ w œ B7 # 5 &# j ˙ C7 Jœ œ. œ ˙ ˙. ˙ Jœ Jœ ~~~~~~ Bœ7.ON THE CD TRACKs 44-47 CHRIS REA learning zone Example 1 slide in e major cd track 44 Tuned to an E major chord and played bottleneck. œj Jœ œ #œ œ . œ ˙ w G# # œ E Jœ J E 9 B7 # 5 ˙ œ. B 10 8 7 7 8 œ B Jœ >œ . ˙~~~~ Œ E 14 J 15 J 17 19 ‰ J Œ & 12 ~~~~ B 12 13 G# E E 14 15 17 19 12 ~~~~ B B E 12 13 G# 9 ~~~~ E 12 14 15 17 19 12 B 12 13 G# E B7 # 5 œ.>CHRIS REAj STYLE Am Ex 1 #4#œ j . B7 5 # j J B7 Em Jœ ˙~~~~~~ Œ Jœ œ . ˙~~~~ E 5 E Am œ œ . Davidson's GUITAR TECHNIQUES E m MAGAZINE 2 5 0 > . 1 œ & # C˙7 Jœ œ. ˙ Jœ Jœ ~~~~~~ œ7 J J œ7 . G# # E E 5 >Jœ >œ J & >œ . Jœ œ œ ˙~~~~ & # >œ œ Am >Jœ >œ > >œ . œ. œj Jœ œ J J . œ8 . B B7 m # C˙7 œ j œ œ œ . & #With4 bottleneck œ œ w ~~~~ & With44 bottleneck E ~~~ 12 J ‰ 12 J ~~~~~ J ‰ 12J ‰ 12J 12 J ~~~~ B 12 11 10 12 13 12 10 G# E ~~~ ~~~~~ E 12 12 ~~~~ B B E 12 11 10 12 12 12 12 13 12 10 G# 1 With bottleneck 12~~~ ~~~~~ ~~~~ E Altered tuning 12 12 B 11 10 12 12 12 12 13 12 10 G# E E 1 12 12 B7#5 E tuningC 711 12 12 12 E12 12 13 ~~~~~~ 10 B Altered 10 12 œ. >œ . & # 12œ ‰ 12œ . Œ . &# ˙ œ. œ 5 œ . >œ >œ 8œ > œ . E 9 E 12 14 15 17 19 12 ˙ œ ~~~~~~ B C7 B7 Em 12 13 j ˙ œ B œ. œ ˙ w œ 9 B7 # 5 &# j ˙ C7 Jœ œ. œ Jœ œ . Eœm. œj Jœ ‰ >œJ ‰ >Jœ Amœ .JCHRIS GUITAR TECHNIQUES MAGAZINE 2 5 0 Les. GUITAR TECHNIQUES MAGAZINE 2 5 0 Les Davidson's BLUES . .CHRIS REA STYLE ©»¡£∞ œ~~~ œ œ œ ~~~~~Lesœ . ‰ Am . J8 ~~~~~~ Œ E & B 10 12 8 G# E ~~~~~~ E B B E 10 12 8 8 10 7 7 8 G# 5 ~~~~~~ E 10 12 8 10 7 7 8 > B 8 G# E >œ . You’re essentially playing notes from E Natural minor scale. œ 12 œ. œ œ . J ~~~~~~ B & C7 B7 Em j ˙ œ E # Bœ7. œ œJ Bœ7 œ Eœm. œ ˙ ˙. The key centre of the track is E minor but you can play notes of a minor chord by flattening the 3rd interval (one fret lower on the third string compared to other strings will generate a minor chord ). B7#5 ˙. Davidson's &©»¡£∞4 # œ Eœm~~~ Em ‰ œ BLUES Am REA STYLE j . œj 10œJ œ œ7 Jœ ˙~~~~~~ Œ J œ7 . J œ w ~~~~ ©»¡£∞ 4 j ~~~ Jœ ‰ Jœ œ ~~~~~ j œ ‰ > Jœ ‰ >Jœ Amœ . B > > . œj Jœ œ # œ Eœm. ˙8 w J8 E 10 12 & ~~~~~~ B 12 G# E E 10 12 ~~~~~~ B 7 B E 12 7 7 8 8 G# 13 ~~~~~~ E 7 10 12 B 12 7 7 8 8 G# E E E 13 7 10 12 B B 12 7 7 8 8 G# E E 13 B E 13 December 2015 55 . Eœm.CHRIS REA STYLE GUITAR TECHNIQUES MAGAZINE 2 5 0 Ex 1 Les Davidson's BLUES . G# œ œ E E 1 œ Altered B & tuning J # J B7 J ~~~~~~ Œ œ. Jœ œ œ ~~~~ . & #With4 bottleneck ~~~~~œ . œ w ~~~~ Ex 1 # 4 j ~~~ Ex 1 ©»¡£∞ Jœ ‰ Jœ œ ~~~~~œ .

CHRIS REA STYLE Ex 2 GUITAR TECHNIQUES MAGAZINE 2 5 0 A7 # 5 ©»ª§ Dm7 œœ œœ >œœ ~~~~~ G13 Les Davidson's BLUES œœREAn >œœ STYLE Cmaj 7 .CHRIS REA STYLE GUITAR TECHNIQUES MAGAZINE 2 5 0 Les Davidson's BLUES . œJ G13 C maj œ œ. ‰ œ Ó Œ ‰ ˙ ~~~~ Œ œœ œœ œœ >œœ œœ ~~~ Jœ œ D m7 G13 Cmaj 7 A7 œœJ . œ œ . The single lines are from the C Major scale (C-D-E-F-G-A-B).7 œ œ. Ó Œ ‰ Jœ œ5 ˙ . Hitting the chord tones – mainly the 3rd.CHRIS >œœ ⋲ ‰ Jœ A7 # 5 Œ ‰ œœ ~~~~~ œœJ Cmaj 7 œ œœ œœ ww # œ œ n œ > & 44 Dm7 Ex 2©»ª§ Œ ‰ >œœ ⋲ Œ ‰ # œJ œœ >œ ⋲ ‰ œ A7œ# 5 Œ ‰ #A7>Jœœ ‰ Jœœ œœ ~~~~~ Jœœ Dm7 G13 Cmaj 7 œœ œœ w œ œœJ Œ ‰ # # œœJ œœ >œ ⋲ ‰ nœ ©»ª§ & 4 4 Œ ‰ Jœœ œœ >œœ ⋲ ~~~~~ G13 w Cmaj 7 Jœœ A7œ# 5 œœ Œ ‰ #A7>Jœœ ‰ œœ œœ ww Œ ‰ # # œœJ78 œ89 n1010œ ⋲ ‰ ‰ # Jœœ66 œœJ5 & 44 Œ ‰ J Œ ‰ E B G D 10 10 10 10 10 ⋲ 10 10 9 10~~~~~ 9 J89 J6 10~~~~~ E A B E 10 10 10 7 8 10 8 6 5 G1 10 10 10 10 8 9 10 9 6 6 10~~~~~ E D 9 9 B A 10 10 10 7 8 10 8 6 5 G E 10 10 10 10 8 9 10 9 6 6 E D1 9 9 A 7 #5 œœ. œ œ . lesson } blues Example 2 regular lead style cd track 46 This example uses a favourite Chris Rea technique of playing double-stop chord tones.CHRIS REA STYLE œœ œœ > A7 œœ œœ G13 wwLes Davidson's BLUES # œ 44 Dm7 # œ ‰ #A7Jœœ œœ Ex 2 GUITAR TECHNIQUES MAGAZINE 2 5 0 ©»ª§ Ex 2& Œ ‰ Jœ >œœ ⋲ Œ ‰ J. ⋲ œ œ œ . A 7 #5 & Œ œœ œœ œœ >œœ ‰ ~~~ Jœœ. œ5 œ7 .. œ5 œ7 ˙ & Œ ‰ J œ4 œ2 œ4 œ2 œ œ2 œ4 œ4 E 3 B G D E 3 3 œ5 œ5 J A B E 5 6 5 G9 4 2 4 2 2 4 5 4 5 7 5 7 E D 3 3 5 5 B A 5 6 5 G E 4 2 4 2 2 4 5 4 5 7 5 7 E 9 D 3 3 5 5 B A 5 #5 7 6 5 b œœ œœ œœ~~~ D m7 4 G13 C maj 7 2 A7 5 A7 œ œœ œœ G 2 4 2 4 5 4 5 7 œ œ œœ E œ œ œ D9 5 5 A Ó ‰ J œ œ œ œ ˙ Œ ‰ œ ‰ ‰ b Jœ A7 # 5 & D m7 œ G13 C maj 7 J œœ A7 œœ~~~ E œ œ œ A7 # 5 œ œœ œ œœ 9 œ œ œ œ Aœ7 & Ó D m7 ‰ Jœ œ G13 œ œ œ œ ˙ Œ C maj 7 ‰ œ œ Jœ ‰ ‰ b Jœœ œœ œœ œ œœ œœ~~~ œ œ œ A7 # 5 Aœ7 & Ó D m7 ‰ Jœ œ œ G13 œ œ œ ˙ Œ C maj 7 ‰ œ8 œ Jœ ‰ ‰ b Jœœ œœ œœ œœ œœ8 œœ8~~~ E Ó ‰ J 3 œ5 œ4 œ2 œ2 œ4 ˙2 Œ ‰ œ7 œ ‰ ‰ 1211J B G D & œ5 9 10 J9 11 12 10 10 10 10 9 9~~~ 9~~~ E A 3 B E 5 8 10 11 11 10 10 8 8 G 13 4 2 2 4 2 7 9 9 12 12 10 10 9 9~~~ E D 3 5 B A 5 8 10 11 11 10 10 8 8 G E 4 2 2 4 2 7 9 9 12 12 10 10 9 E 13 D 3 5 B A 5 8 10 11 11 10 10 8 8 G E 4 2 2 4 2 7 9 9 12 12 10 10 9 9 D 13 5 A E 13 56 December 2015 .. 5th and 7th – brings out the strongest notes of each chord. 1 œ œ A 7 #5 & D Œm7 Jœœ. J ˙ ~~~~ E œœ œœ œœ >œœ œ D m7 G13 ⋲ Cmaj 7 A7 œœJ .~~~~ ~~~~ Œ G13 Cmaj 7 A7 œœJ œœ .. 5 G13 C maj 7 A7 œ j œ. B A 10 10 10 7 8 10 8 6 5 œœ œœ œœ >œœ œœ ~~~ œ ˙ ~~~~ G D m7 10 10 10 10 10 G13 Cmaj 7 8 9 10 9 6 A76 . œ œ A˙7 & Œ Dm7 ‰ Jœ œ3 œ5