; MAG&CD aeons EL ta sy lessons, workshops & transcriptions Learn to play like the ied masterpiece Michael Chapman's BNE ee faa emsr le Ue a eC NAC MAU Recs REO Uc USe LUN) 7 : Ei =) eR bf Tey <. Pee nyPOT MODE SOLOINGmatch 1999: your est navigation guide istry behind this n. Who played wat, the guitars all here! 20 ne a ith ‘Sleepwle com Bll ldo, Boston, Blu Rex, Therapy? and Suvvor Fr 22 with "Hooch the Pood! 48 o chael chapman ade and Electric Ragtime’ ~ no, really 16 poate ‘Androgynaus pap with ‘Pure Morning Some aie... from the top ne of the most dstintve eharacerstcs of any guitarist hiss 68 mixolydian mode soloing this month’s interviewe Wideling over dominant chords measure by which [judge h < aistintive different player's sound 72 beginners’ series calli the “traffic light test. You Praying your fist song with a pick waiting for the lights to change: 2 car pulls up beside you and you've just eno infamiliar music before the lights turn green, I 27 win hank marvin videos that time, you can say, that sounded like so-and-so, here at gt and nomi ten"? We might even sort out some kind of prize forthe best collection! See you next month Nisa No Ss see David Mead, Editor tafe lightsrT pPreric ty this month’s cd ‘ rock Sooing Over From The Cult and Placebo to Hank Marvin and Dominant Chords Jerry Reed — not forgetting a whole load of riffs, | 24 Fulitrace 1 solos and styles. Only est can do this! rains Full track 2 27. Backing track 2 ack 1 Re 7 (Me tracks 15-19 ae iran | Oemre | & i rome met, Gras 28: trots 2-4 7. Introduction 15 Introductios poe 9 Sy. 8. Full tack 16 Full track re 9, Backing track 1 17. Backing ge in Hank Marvin 10, Backing track 2 18. Back pe 3. full track racks 11-92, | oy isop iccle Muse guitar Future Ping. 30 Monmosth St, Bath BAI 29% fxoraas 42006 syst gle tech @fuurenetenuk ESSE wnwmaicarnetcoat 1708 Dav Neos MUSCEDTOR a Hb PRODUCTION D8 Jane Bird ‘RT EDTOROhvistine Lee DESIGNER Lily lamar musicevonavn Chis Fares, Janes Brenan, (OVER OSC MASTERING Sines Youeg USC COPrLGHT CO-ORDINATOR Cabri Stachpol, 01225 732218 cones rs ssue ‘bgt jazz tracks 20-22 etl Gute Govan Waien | Matin Teor S* wads 3234 Enel, acts 5-6 ‘Hooch the Pooch’ | rock om me ae 1 lnredueton | The Japanese ace rock 42 Ful tack | connection . 4 Sha Bier Ea Sith Phil Hlborne’sA-Z of | Cismyuteisir | 20 introduction fee blame Stuart bis reat Riffs: 32 Introduction = Set te (ip wats 13.14 | 21 Full tack 33-Full trace sovesNoMAaaER The X-Files aaa | 22.Backing wack So ie fob Witnasck, 0122544224 5. ltrodution Gate Gorn 4. Backing tra Denar sursbece pee acoustic | wscoo wae nae ss 0m Scot Lott 01225442244 98 Wie Nk Michael Chapman | CUSSED ORs Boon ‘Naked Ladies and | orzz5 s2zes Electric Ragtime’ | Seance! Introduction | R00 CO-22ONATEA Layla Wicker ful | PROCUCTION MANAGER 14, Ful track ends Shimer rompwite Muse | CIRCULATON Mana Sep RODUCTMAACER Philippa Montgomery . AOU? PUBISHE Simon Haman CITI ee (ee DEOATVE Greg nga the st rating system bodice set reson nats rs Pores Gadcdacocng wilt Sa ae ie as € quite iw ets from pope asking ifthe gear CUIMER SU a shot ie wwe use onthe @ECD is modified in any way. Well. the ioe fleece answer is ‘no’ Practically everything we use Is stock {G34300) Someton Semen and if, say, a guitar has retrofit pick-ups on it, gis, TAM. 6BROa88 27118 ‘ahs ain intent nt then ue tll you. We've got a wt Sag sues we policy of not keeping seres. I's 08 eto (9 e477 (42.38 0) 9999 say belie that nobody owns Sree St CLaetee seat they know, and we I PRED AND 2O.NO THUR rating: easy/moderate willing to pass on anything [ET Heron Print Acoma dod tte and everything inthe pages of avs abe DsRuTON Urceretnyov frdanernaton SE. IF any of your questions Sree ig tn Grice teowatamomin main unanswered, drop us @ elmer, nititemusenay ine ~ we'll do our best to fil entan Seva ey eer. 150, in the blanks. eet yau on Theta om esi 0 en iso Wet ee el are 30 trees anassenet lees fey ee flay wrk on i he ragiare esr mah Hoes Phil Hilborne Music editor 6 | suttar techniawes | march 1999read all about it What gives in the world of guitars? gt dishes the dirt on the latest gear, guitar stars and other oddities | Carlos Bonell Juan Marti, the Edens-Stell duo and ‘Gt’ Martin Teylor are just some of the guitar greats a1 Perec erereen tetera teers teen chill pi Tetmumectnrs | the life and work of var Mairants yc a 1 eee The Rd Het Ch reece trgh ple Ear on Febranry 22 ars as well as a prominent music retailer and educational, The event, organised by Classical Guitar magazine and the Park Lane Group in association with the Worshipful Company of Musicians, will take place at the Wigmore Hall in London on 2) February, The chs fF at 7.20pm and includes a world premier of choral work waitten by Valerie Mt availabe from the Wigmore Hall Box Office 935 2141). All proceeds go t young musician charlis inchuding the Worshipful Company of “Musiclans’ Ivor Mairanis Guitar Award When outtar teehniegwes contributor Jamie Humphries is not burning the candle at both ends vriting his articles and perfecting his @#CD recordings {a get as close as posible tothe rel thing. you mighe think he would take a litle time out to relax and sported 1 eof his lost energy. Not so. He was ily at the Mad About Guitars show in Birmingham wowing audiences atthe Music Man/Emic Ball stand with some sh’t-hot playing. He must have had thee Weetabix, or something... r seems our hoys Just cant et enough of widdling! 8 guitar techniques | march 1999CU TNT {CIEE OECEE SS roy get to dite gota UM Entry Impets wl te seling rect tothe ples pees For further deta v903 523786 Few wold think that music journalism sas ole [s becoming more dangerous by the day. Casein point perilous job but i seems the Marilyn Mansun ‘nthe executive edior af Spin is curently facing charges of assaul magazine, Craig Marks, Marks claims that he was invited backstage by Mansun's US publics after show in New York in November. Allegedly, after a threatening outburst by Mansun, members of the entourage shoved Marks against a wall. He was only released after intervention from the publicist and was later treated in hospital for bruising. Maris thinks the incident was entirely premeditated and was 2 reaction to Spin’s changed plans to feature Mansun on the ‘over as part of a composite alongside other star, rather than a8 the sole cover artist, as had been planned. n a separate incident Marilyn Mansun caused $25,000 worth of damage toa hotel. Bath, sinks telephones and carpets in four rooms were the unfortunate victims of the ‘assault’ by him and members of his band, that trouble was the hotel - \ Appareatly, the first brewing came when the band enter accompanied by a young lady “wrapped hea to-toe in chains” (sounds like a normal Saturday night at my house ~ Fi), Howeve Mansun did the decent thing after the event and, once photographs had been taken of his handiwork, paid for the damage. Truly, what a gentleman. news ‘west hampstead NAME: ernest STILE: so FEES E30 12m ©1200 4 we, efor anh LOCATON: ies Harpe TEACHING PHILOSOPHY: re sot ees thelestnunestacing eeyening tat at beer san fmm er dr re on [CREDENTALS: = ent a prtsns) ple or 3 ers Wl eae ry eat Studer om be poesia, rena Tryon woul ete feted tis pave crc Shane Greve, Olof Aebece Boon 2 wt: 0122542044 She! Me \ ae ee ‘The Happy Mondays are rumoured 10 be reforming for a tour in 1999, Frontman Shaun Ryder has been made several offers of large suns money to get the band back With his other project, Black Grape now defunct, he apparently misses the buzz of doing the music” and is happy to reform with just te key members of the band The Happy Monday’ were at the root of the baggy #0s Madchester sound and spit in 1999 after drug problems and injuries march 1999 | guitar techniques |9‘national musi¢ show eee pe een rea Rr he National Music Show isan annual music show put on by Future Publishing (yes, the chaps ‘that publish this fine magazine) and is a coming together ofall ‘things to do with pop music. You'll find something for everyone ther, Whether its drums, bas, electele oF acoustic ‘guitars, vocals or mixing and all things techno that honk your horn, Wembley Conference Centre was the scene for 1868's extravaganza. Hundreds of «exhibitors brought thelr wares to Wembley to offer the public biliant one-ofF bargains. There were stack of live demos by the ‘music industzy’s hottest talent, including some of ovr very ovin contributors, Jamie Humphries was going nuclear on the Total Accuracy stand while Ewan Smith acted as LMC for the ACM. Lee Hodgson and Eric Roche took to the Future stage t give the crowds some top guitar tips and plenty of good music and Guthrie Govan was see widaling on the Korg stand, Ob, and Geoff Whitehorn and Richard Bentley were spotted propping up the bar on several occasions. Alan White and Guigsy from Oasi Oscar Harrison from Ocean Colour Sce popped by to pick up a few bargains and found time to sig the odd autograpls here and there. There were live performances and 10) guitar techniawes | march 1999 from the kes of Albert Lee and the James Taylor Quartet. There were more new products than you eould shake a stick at and everything w available to strum, pluck, bang or drool on. ‘Also featured at the show was the Guitarist of the Year competition which was won by Simon Lees. He follows in the footsteps of the likes of Dave Kilminster and Guthrie Govan, Who knows, you may find him on the st payroll before long. Those oF you who submitted your nominations forthe gt Reader Awards poll may be wondering who the lucky beggar is who bagged the Peavey Edie Van Halen 5160 combo. Well, sep forward Jonathan Quinney from Wimborne in Dorset. You'll be this stonking prize shorly So, all in all, 1998's National Muske Show was a storming success with hundreds of exhibitors, stacks of educational evens, heaps of quality performances and thousands of happy punters. You'd bea fool to miss itn 1998. National . Tees Show ’98 »We at guitar techniques would like to know what you guitar types are thinking. You can tell us your dirtiest guitar thoughts and we won't tell a soul — honest. The best letter wins and Ibanez video, so rack your brains for something juicy! don’t take our word for it... ve noticed that on more than one ‘ccasion, you say that you are transcribing something but next month there is no sign of it in your mag (Highway Star’ and Sleepy ime Time’ are examples of this) Why? Also, [don't know how to do pincaed harmonics and they're featured fal frequently. How do 1 do them? Finally, could you iranscribe Freebird’ by Lynyrd Skynyrd because ths Is one of the best pieces of guitar music ever, ik Wirrat Hmmm... You know the phrase ‘Shit Happens, Nik? Well, that’s precisely ity our next month box is Sometimes off beam. However, ‘everything we promise comes true ‘eventually ~ you'll have seen the Deep Purple transcription make its unscheduled (and, I grant you, late) appearance last month. And, God. willing, Cream il be in next month's Pinched harmonics are brought about when you let the guitar string snap back on to your right hhand thumb after picking, I's easier to do than it sto describe! We'll probably get around to Freebird! eventuslly, but the fact ‘that everyone here groans when it 12) guitar techniques | march 1999 gets suggested (and | personally can't stand if) doesn't help! home sweet home [wonder if you can help me? For some time now I have heen trying £0 fet hold of the tab for Lynyrd Skynyn's ‘Sweet Home Alabama Without succes. Have you ever covered it in any of your previous publications? Ifyou could help me 1 willbe etemaly grateful R Beering Kent We transcribed ‘Sweet Home ‘Alabamat in September 86 as part of ‘our Southern Fried issue. We did it instead of Freebird (ee above. ‘-1 ~ what's next? What vill you do when Phil ilborne’s A-Z of Great Riffs gets to 2 Start over? How about Phil does fan A-Z of Greatest Solos? That would be awesome. I saw an article in the mag on Bob Brozman; it was good, 1d like to see a lesson on weld scales and modes: oriental, Hawaiian, medieval Also, I ean’ help but ask what is co-classical”? Finally, can you transcribe anything by Black Sabbath, ‘Hocus Pocus by Focus and Stevie Ray Vaughan’s instrumental, “Say What? Steve Clark Philadelphia The AZ will be put out to grass after its dealt with Led Zeppetin in two month's time (unless we change things around in post ‘em, e-mail em, fax ‘em - we don't care, we read ‘em all! alms the meantime just to annoy Nik from Wirral) Then it will be reborn as. something ise! Looks like you'll be enjoying our article on Japanese scales this ‘month, Steve. Meanwhile, neo classical just means new classical: But, in rock guitar cieces, it means tight spandex, big hairdos, sixteenth notes at 200 beats per minute and harmoaie minor sale overkill over chord arrangements allegedly borrowed from Bach ~ sce Malmsteen. But my advice is ~ don’t ven go there! request time TThope you won't mind if L ask you to transeribe a few songs for me and for all the readers. Fist, I think that the solo from ‘I Was Born To Love ‘You’ by Queen from the Made In Heaven album really deserves & ‘quick look from the very best guitar ‘magazine available. Secondly, I think there's nothing wrong with putting a bit of Satch in your mag; for example, ‘The Crush OF Lover, Summer Song’ Cryin Thirdly, Hendrix is stil alive, mates In our hearts, of course 50 please corsider ‘Crosstown Traffic’ and “1903. A Merman | Should Turn To Be Finally, I can't help but say that Malmsteen’ ‘Another Time’ fs really a good song indeed. usually make myself backing tracks using my computer; can you tell me whieh is the hest sofware for composing? ("m using Encore whicivis good but not enough for re) enced to control reverb, chorus, panning. modulation. pitehand stat like that Marasco ia e-mail although we've actully covered Satriani’ ‘Cryin’ back in May 97. Jimi Hendrix presents us with copyright problems in that we cannot get elearance to use any of his own material. But look out for something special on the Hendrix front in a couple of issues time! [ must admit Im rally inthe dark ‘when it comes to composing muse using a computer ~ but our publishers produce a magazine called Computer Music which might bbe worth checking out to find the software that's right for you ‘gt conquers the USAL Thave been receiving your magazine for close to two years raed mare gusto thant proved anes gutactech forurenet cok | carpenters No sages to now and I have finally around to writing to say thanks ‘Your magazine s the fnest there I no ifs, ands, oF buts. Every mag on this side ofthe Atlantic is about ‘style’ (le, what’s on MTV) or ‘attitude’ fe, how many times an anist can insult the reader in an Iterview) In other words, al they seem to care about is what sells to the lowest common denominator = your magazine has integrity ~ and a (CD! Articles and backing tracks by The Carpenters (August 97) and JS Bach (June 98) in those rags? Never! T thank you from the bottom of ry heart for reminding me what's fun about playing ~ and tha's playing! Being an old crank (39) with family and such doesn't give sme much time to play by myself let alone with a band. Your CDs fill in nicely in tems of the quality and variety of their content when I do Find that time Now for some of my American favourites: Roy Buchanan, Fly ‘Night Bind'/Turm To Stone’; Al Di ‘Meola, ‘Al D's Dream Theme’; John Fogerty, ‘Suzie Q'Heard It Through The Grapevine’; Wes Montyome ‘Sun Down Twisted Blues; Joe Walsh, “Funk 49 Paul J Thetski Ohio Thanks for your kind comments Paul. We've got music by Wes and Joe Walsh scheduled for forthcoming issues ~ and we've covered Roy Buchanan in our May 96 issue (Sweet Dreams’), and will doubtless be taking 2 lok his way again in the near future. we're blushing. You guys really know how to Keep a guitarist happy. You are the best because you are the only one that challenges me and improves my playing, which is what is all about. have improved silly amounts thanks to Guthrie and Dave, two of the best rock gultarisis I know! Ob ‘and cheers to Guthete fr esting: me play the Parker Fly near all day Sunday at the London Music Show Remember me? Im the 13 year old id who ave you a break! Carry on inspiring me Mark Oh, Guthrie remembers you, Mark index update A recent edition of Guitar Techniques contained an Index of the contents of the past four years of this glorious magazine. Could you ‘now print out another similar index so that we can find out which issue the index is int ‘Mark Reynolds Saud} Arabia ‘A filly updated version of the five Glorious @t years will soon be available on our fab new (but as yet unfinished) website CET Truce Ihanez > letter of the month someone who we thek descr a test ‘Ard then thos lovely people thane pz [pte nifty Tre modeled blow By at production Joel. Se dop us 2 ‘moon shadows Reganding Ernest Bailey's letter in Gt, Jnuary 1999, As faras know, there is no music or tab available for ‘Mouncalns OF The Moon! Hoviever, thee is lots of other Shatows stuf avaiable, usually elated (0 the many CD backing tracks now on the market. If Emest has not already done so, 1 suggest he contacts Pat Terret of the UB Hank Club on 146 795655. George Geil ‘Thanks for that George = of ‘course, Ernest can always have a go at month's Shadows ‘ranserption just to keep his hand int march 1999 | guitar techniques | 12io siete : i SDsleepwalker Linking nicely with this month's Shadows transcription, gt talks to Hank Marvin about the original recording sessions for ‘Sleepwalk’ and the song it inspired, ‘Midnight’ Into the Wott “he origina Shadows withthe ‘Apache’ with the double A- ided hit ‘Man of FE The Stranger, The Shadows were Fring # highly sought-after act. As well as having their ‘wn spot sthen working with Cliff Richard, they were now performing independently, With much of their repertoire being powerflly delivered rack numbers, the band wanted a slower clement in the se and introduced the haunting melody of ‘Sleepwalk: Many performances later, it was dropped in favour of ‘Midnight, an original composition by Hank Marvin and Bruce ‘Weleh, ond the similarities were no accident, First hear ‘Sleepwalk’ by Santo and Johnay in about 1959 Radio Luxembourg and thought it was a great theme.” Hank recal So when we put our own show together, following the success o ‘Apache’, and were scrambling to find a repertoire that'd give us ‘minutes to do some headliners, Sleepwalk’ was just something 1 remembered, We fdaled around wit it and put iin the set. Aer playing so many concerts there was a conscious effort to write something with the same sort of feel and atmosphere, because by then we fet we'd played it to death, really. So Bruce and I did just, that and replaced ‘Sleepwalk’ as a stage number with ‘Midnight Ie ‘was strongly influenced by ‘Sleepwalk that kind of tune and atmosphere, bt the chords area lite bit different. The Fs major rather than minor, bu ts very similar. We even managed to et 2 touch of [sings] 'Sally, Sally, pride of our alle.” in there for the Gracie Fields fans! ‘in the midnigint hour ‘Midnight’ was actually the first of the two tracks to be recorded, withthe session taking place at Abbey Road Studios in October 1960. Apparently, after 11 takes it was discovered that the tape was distorting badly and so it had to be ‘changed. With the new tape In place, take 12 was captured tnd released asthe flip-side of BI; Even in those days, 12 takes was considered quick, (Gonzales, from the same session, mastered at take 58). It would be another six months before ‘Sleepwalk’ was recorded for inclusion on The Interview: Roger Newell Pictures: Gavin Roberts sconber 860 Shadows debut abun: aout when tov “THERE iret Seep on sagen te saat te Se el aoanedel frees of | WAS A | Sutwicnteanutn cme ont te recone h version had only one, an amalgamation of LOT OF is intresting yo stould ask ha, HARD for this diate tour andl when I played the EDGE To the Live At The Colosseum, Johannesburg THE play in the stage act with the wo middles, oe | BANDA. P | Soe tnegu treaty caiay ls, ‘you, I could have been that we thought it f was bit too long 'so let's tighten it up @ 25 touch.’ Who knows? Buc | must say that 1 was actually very impressed by that live South Aftican performance. The whole band and the energy was incredible. And I love ‘Sleepwalk’ because I's got a lovely romantic fe! an theres some almost bluesy things init, some ofthe phrases-'m playing and the way i builds wp. Were realy whacking into it to ive that edge and then it drops ack asa.” ‘amps lank, Bruce and Jet would have sken their own instruments to South rica with them, but what plification did they use over there? istening to it, dhnk they were tbsons actully, slightly distorted. frprisingly enough, when you listen to me of the tracks lke "Man of Mystery" ere are tinges of distortion in alot of at stu too, although it's not the heavy sleepwalker Hankean play guar | eth i eye ut ‘| warei Tun | QueeerSemiaiatess | 16interview: hank marvin distortion that was later associated with thing lke fuzz boxes. I hink that’s why people have aid that we had a clean sound, (eam although if you listen toa lot oF it, i's obviously not that clean, ‘creatures ofthe night The distortion on ‘Man of Mystery" is indeed likely 10 be due to verdriving the amplification, but in this case there may be another contributing factor. In order to get some ‘at for the recording, imosphere’ in the studio he Shadows broke with a long standing Abbey Road tradition and did the first ever late night session. “They weren't very happy that we wanted to open the studio at that time of night! Quite honestly, it wasn'ta good idea “cause we were knackered, It was during Stars In Your Eyes that we did at the London Palladium, and we thought it wovuld be cool to 0 Into the studio afte the show. We started around 11pm, thinking, ‘This is kind of happening. creatures of the night night owls man. yeaby And, of course, the fact that you've been up all day and done two shows doesn't seem to mater until you aetualy stat the recording. Itt smed out all ght in Sato ardor rial eso of Sepa enya ew ds apa adit “Forme, Sepa ested the Gibson 200 oc ain yt esr es Lud ‘heer snare oan Bo fo Might te baud a as “Teste wo yest ts. taut Bear eda eee on Might bat dee ed my srt ere rein on tath=nsiony sone oping of ese ana mce ht an Seep; Im eet that welsh en Norte [Peiona:enartue trea nat to ep the ac soe He ne as the race obser nf se” 16) guitar techniques | march 1999 fis 1200 and Hank ad ‘ACIS aps: Bt st Man and guitar ie Many tas Tay ata for engin Tony Juts SHAOSED sre 8, Ok re Lar, Hy, Yori YO Le a THT the end. We got Man of Mystery’ and a couple of others done, but it got hard work towards the end. We were all setting so tied and started making stupid litle mistakes. I'd play a wrong note or forget to Throughout this time Hank was using is original maple neck Strat but the ‘amplification has become less certain. Were they using Vox AC30s by this time? Hank's I thought we were, but there sems to © a Jot of difference of opinion on his subject, and | have been shown ome photographs of an ACIS in the tudio and Clif? playing acoustic utr. Now that could have been Tiff or a Shads session, as Clif did couple of things where he just came in and enjoyed himself a ttle bit Bur the ACISs puzzle me Ppccause I thought we had the 40s towards the end of $9, 1 ould be right out on this, but Bien we went to the States at Bat time Ihave an idea that we fk the AC3Os with us ~ end they Tust lew up straight away on our fist day of rehearsal, [Langs] Thereafter we borrowed amps think Jet had an Ampeg bass amp and Bruce and I had Gibson or det or something lke that, just for There's also some Fender gultar Bruce W Midnight: Bruce rel fusion over whichFender Jazamastet, but Hank and Jet believe it was a ‘Telecaster. “Lithougt that when the fest Fenders arrived and Bruce fan Jet made tir choices, those were the guitars used on the photograph session for the frst album caver", says Hank, "And, as we all know novi, the Tele Bruce had there actully = Sill has the string of the price tag on i." Earlerpletures of The Shadows show Bruce with the Jnaamaster, soit looks lke he's correct, but i's along time ago at incidental memories can be elusive. But the real mystery is why nice used an electri guitar on the cack at all, and even he's not sire! The general tone of Hank's guitar is prety harsh on ‘Midnight, but tl very expressive, And that slide on the top string from A fat right upto the Eat the 12th fret works beautifully “Ah, yeah." he smiles. “These things happen though, don't they? ‘rewriting history ‘The idea of reviting s tune that works well, or even transmuting & song so much that it only bears the slightest resemblance to the Forty years on. Hank Ie British mse ‘original, I a great vay of increasing your repertoire. During their ‘ieee 2 1860 ‘arly years 2s writers The Shadows were masters of this. ‘Guitar “3pm, sado2 bey es Boogie’ was an ealy on-stage favourite that evolved into ‘Shadoogie” and was appropriately used as the opening track on the first album. Jet's showcase, Cervesa" became "36-24-36! Then he aes 11 dbtreonantane 50 comet ‘Bamey’s Bes’ sprvned Niveem! Or did Sia ie Not dreetiy> Hank protests is 12-bar ies, where Nira’ | | me is based on the G then to the C minor, but | think it was that tune sonst or that Kin of tune tat gave me the Hea of coming up eh come to Wl We needed ante Insure or our eegulr Rao per, Loncmboung show and suggested hs really ce une on the ary Bamey Kesell album jae bought A gue 10 minute rcearat | | Sees and wed go ‘Baus Blt’ on pe. So. more ofan inuenee, | | waked catalyst if you like, that kicks you off in another direction. But with Rea (Ree Slecpall into ‘Midnight sure theresa definite connecéon.” | | MH As Te Shadows played version of Ceres over creral sie te | Sa transition toware 36-24-16 fe verynotcesle Did any others Sarae mes provide atl for someting ese In those cry days? tee “The obvious things that we've mentioned mainly [ mean, ‘Shadoogie (sa basle boogie, so why give the royalties to someone clse when i's beginning to develop into its own personality with its town phrases? Let's see. ‘Stand Up and Say That’ sort of came from Floyd Cramers ‘On The Rebound Thats a case of unashamedly looking fora different sort of track on an album.” enter norie.. As their writing skills developed, ‘rewriting? was no longer necessary, but how dd this bunch of teenagers get on in the studio with vetetan producer Norrie Paramor? “Notre would tend to give us fll head of steam. 'm sure for someone with his background and expertise we must have sounded a8 rough asa bear's backside, hut he knew it was being successful, and was wise enough not to interfere, People were obviously finding it exciting and buying lots of records, so T think he was thinking, “Well, don’t entitely understand what's happening here, but I'm not fonna get in the way too much’ IF things got abit out of hand he ‘would step in lke a school master and pull you all together IF here 1was anything abit tricky he would say "Can I just suggest that if you change that bass nate there it may be betier. ‘ame by allowing us to have a falry free hand.” Some of The Shadows’ earlier original material is acredited to ‘other names, the obvious one being ‘FBI, published in manager | Peter Gormley’s name. ‘Shotgun’ was another, and Jet Harris remembers writing ‘Gonzales’ among. others, when he shared a at ‘with Hank, Apparently they wrote some tracks In the bathroom because the sound was good in there "Did we write ‘Gonzales? I cant remember tha,” Hank puzzles, “but I could well be, andthe bit about the bathroom’s right! It was, His expertise cut ofthe shadows sleepwalker ‘very unfair publishing dal that we fad intially. so we stated ledotiations with another company fad changed the song writers’ names the meantime, ready to-go with the fe people, Suddenly the fest. lshers decided to enter into a new al with us, and we went with i. It as 36 late then to change what we'd done although we felt very bad about it we Sst left it 1 stil fel bad about leaving it now because I'd like people to know that it as us who wrote those tracks.” stars in their eyes This was one of the most creative times for The Shadows, not only with thelr oven material. Tony Meehan played on well over a hundred tracks with Cliff and was the frst to Teave the band. All the big hits were done in less than 1a! months, along with TV Appearances, BBC radio and Radio Luxembourg shows, the American tour and the long-running Stars In Your Eves atthe London Palladium: the schedule was amazingly busy. Having to come up with the goods day after day and being effectively locked in London, close to the zecording studio fora lot of that time was probably good for creativity Yes, Im sure it was. We were extremely excited With the success of Apache’, as you an imagine, and everything that flowed on from that. Not only recording more tunes and then an album, but also trying to write things, as individuals and as @ group. and It cettanly was a very creative period. It was like everything was exploding, really. The secess was happening, then the adulation and a lot of admiration from contemporaries, We wanted to try to capitalise on that, Not consciously, but steess gives you more confidence. We ‘wanted to stat writing and creating more Ideas, always uylng to improve and, even If suggested listening ‘The Original Chart Has Fein Steal nd ‘Monit se one, ne BBG svc icae sro fom tte TaN Shares en night & i es iar aan ct le Diet. The & Colection Volume Two ‘nsras meer ne sean of Sepa fem Sofennesbarg, ithe 0 ele ears mennes rob Hk led | march 1999 | quttartechniques | 17eV) ee temp it means basing ‘Midnight’ on ‘Sleepwalk influences to extend a bit further. There w ad pretty much the w te had imported them, he sounds of things like ‘Apache’ just the same!” 1d ‘Midnight’ are both great cunes ~ does Hank have “At I think ‘Sleepwalk’ really, because o me it laisic piece of music and [always looked upon ‘A ft fortunately tured out to he, as being second thing is, lot of fans still want us to play “Midnight because it's 18) guitar techniques | march 1999rats 246 Le Howson tps out of he ‘Shadows for oak at 2ulntedicton| ingle eng Te meet your est tutor: lee hodgson {Le Hoeson pays Ma ular and sings in oe of Bhai’ busiest country bonds, Memphis Roots Farin plored thousands of county, op a= an and seal gis He andes ato duties 3 London's presi Gut iettute snd Scour spel there. He i Le aso pes the ‘SLEEPWALK’ Think innovation without excess; think accessible, unpretentious guitar music which is a joy to listen to; think Hank. .. dis month's track, Sleepwalk, isthe classic old Santo and Johnny Instrumental featuring pedal stel guitar, Hank Marvin's relatively recent ‘version was recorded live at Birmingham Symphony Hall (we drew on the version from Hank Marvin and The Shadows ~ The First 40 Years. The tune was the ttle track on a 1982 Lanty Carlton album, and 1 would argue that Hank's version is remarkably similar to Lary's {in stylistic approach and sound (the keyboard accompaniment in pariculay). 1 also argue that Jeff Beck’s style of using the vibrato arm may have Influenced Hank inthis instance, although you may think the reverse is te! Listen out for the eleexie piano part slightly ‘overlapping the synth part near the beginning. Ie’ the triplets which sec up a recognisable tempo for you fe come in on. On the wECD we've kept the synth pad prelude ~ a similar but not identical section appears atthe end. Note how the keyboant player use fatty jazzy chords throughout. If they confuse you then just take away the digit or reduce i o the next lowest odd number to reveal fn easier chord type. The Am, for example, may be substituted with Am? or just plain old Am, Siil concerning the accompaniment, I've shown some suggested voicings for the ‘slashchords (ddan article om the subject back in October 98). I expect i's Hank's son Ben playing rhythm guitar on the record (check out the D1 section for some lovely touches}. I've actually shown a bit of a composite part around bar 19: Hank almost certainly plays just the top note nile the shythm guitar plays that chordal spread, but think you might enjoy playing the suggested part as seen Turing fly to the lead guitar work now, imemorise the suggested fingerings, especially regarding that lovely descending Am? arpegsio fitst heard in bar 7. Avoid overdoing the G-Ay string bends because the later note functions as the fattened/minor third of Fm = the IV chord from the parallel key of C minor (the tune is, essentially in © major most of the time) Hank, 2s you know, makes extensive use ofthe vibrato arm, Accordingly [ve opted to limit my ‘markings I've shown an asterisk atthe various points at which its use is most evident, Nowadays Hank often ‘dips’ or depresses (leans on) the bar, although he may otherwise grip it witha finger curl inorder toto afford a more controled motion, He also sometimes depresses the bar before picking @ note, and can also be heard hammering on, pulling off or sliding between notes ashe simultaneously manipulates the am. Such sounds are, to my ears, reminiscent of Jem Beck, Alan Murphy or even, dare I sey, Allan Holdsworth. in any case, t reflects @ more modern type of technique in comparison to Fank’s own vintage style of ‘shaking’ notes/chords. Adding ‘vibrato isan effective way of adding interest plus a singing quality to notes within melodies Be careful to maintain fairly even dynamics throughout - you may wish to employ a compressor to even out any unwanted peaks created by picking too sharply. Interestingly, ve noticed that Hank uses quite alot of up pick strokes fora gently biting tone, Again, Larry Carlton often favours such an approach too, Both players are therefore, not slaves to so-called strict akernate picking. Gearwise, tone is everything with Hank. His is never brittle or harsh. Omnipresent tools nowadays are a Fender Strat and an echo unit Which, hen set up carefully, provides extra ythmie activity undemeath his melodies and licks, He currently favours a version of Alesis) ‘Quaeraverb which is available with a special retrofit from Echoes Prom The Past. Hank's choice ‘of amps has veered between Vax, Boogie, Matebless and more recently, Cornel Hank’ relatively reserved method makes him @ seat motivator to everyday guitarists who find this approach appealing. Hank may not have invented the wheal, and he's not looking to reinvent it, but he certainly has one of the roundest in town! git lee's sated gear ecu ew Yes of Sepa |usedeSauie Ses Seat ning soe pation en Zana ‘Virtage v.39 lead hank mah daprove ct the ae spt, mo vl bess sige master Teme eA et OT ‘hough «Pier AIGB oer srl For ef ued omanaDIS0) roving 182 ms dl wt ‘outlets Ree cane om a icon NP oe LA Biers colrarerrios sound, general pad by sm REMEWOER sos feds a ay frst or pat 81 overview hank mara Tum ager more rhino Hans poe ‘be smarvh 1960 | eatin Oneteniegaee. 21‘sleepwalk’ women) 1.=55—see eanae [a] Pal coc a a ta7, 1S i nee pa ' Lea Gute rr - (URINTHEME) 1) [c2] (coy acaesinay) laietee ret! [rep eee Fmoi7 | aves (eh) the shadows orat em cn | ” rary if c Fa (a1) 1° alte | emmeb 1 orke ame [rar cremt riacanny ff © tr eS rot | [eon | on one er | | ema nish —@ | on on en we | TUPLE tet fr ff 1H Jor om ame For crews fa || c ame |B rer reuse ria ' | a ae ee A [4 cnr | ne cma | ae \ NB_ The prelude cout be conducted as shawn on cur CO arrangement butarray have been rub (wh ye cornet nd body gestures sce) howe roger he enn. (A) [en eoecy [2 8] 1-=55 4 — or Synth pad prouce occ plaro no ——— . Cr a) o7suse FG (Gti) Notes: 1 =TALD + LB (Wodeartorae) 4 j : 2 Use cious ameunie cl TA vera teuchout iss ci (en) ¢the shadows ‘sleepwalk’ ‘Greuss FIG (an) ¢ iG Grouse FIG (Gi) ¢ (en we Amo Fm? Grout Fi (att) © Fo ee d cl d q © Geciee) 24 guitar techniques | march 1999FIG (@11) Hs FIG (G11) B/G (G13+9), ¢ ‘Ams Cae *s po _ fp 10 FO 19 7 .| 6 5 i (33 = em? Grouse FIG (G1) © ane Fin? Fis (Gt) d 4 : d d 4 ! «. mors equate s Pe wD bo se Tethe shadows ‘sleepwalk’ ‘alah (141) iG (Gisb9)| | * em ‘G7eusd FIG (G11) © Ams Fm? GTsus4 FIG (G11) | aia es 7 —aw) J | ‘ec | a dl 7 ; ene y of a BU LD me s = 1 ; ETO ew ey oe And Fm? ———~—~—«owsd FIG (GIT) © And Fa? GYeust_ FO (10) eee fee) it 1M) Ghold bend) enh 7a cm GE (emai) v v ra walk words and music by John Farina, Santo Farina, Ann Farina. © 1989 Carbert Music Inc, Tri Music Ine and ‘ohn. Farina. Copyright renewed. All rights reserved. Reproduced by kind permission of Carlin Musie Corp, Iron Bridge House, 3 Bridge Approach, Chalk Ferm, London NW BBD. 26) guitar techniques | march 1999roto: ied eee) Bc eerie toni hee sto Daley rv Pt pola: ‘ Maem Ue MmimUciact(e a ‘people's STH Sy ZR eel estar enilote Van oe meena ore en peer reer Ses recientes Pec eect ns eee eta Pec}Cs CoCo jargon buster phi's sated gear the right sound eee. Vasémvpne syed Sets hee hep we sows Sree I tora 0 oaKinil MP-twnihwsOrelinoe gyn fe nd pe pee weal ees ar ers POU he ath wd eee ae et ee 18202 2 4 A in omnf2_—_tntety nal ter Msmeerssues we het Ro Acute, er. ender Srt Ps wih ve Sau FEMEVEER os fre ne Pn ot y= ‘rg ldap a in ae pcp fag me ty ‘tr ieee poston tibiae 8 Co Td noe gn esrded back in 1878 by the USA-based rock band Ble Oyster Cal this as sr got to be one the mst recogiale paso gues cre! AS yes play through the cor boxes, aim to ae senate picking threughout, a is wl make sound more daily even aed therefore ore euthent ay ‘2 chord fram bust treble, evoling the open rng marked with an Remeber to pla the apen Gon the ASG?) by removing yout Finge afe heig played the Aon the ecod fet. You retur to fhe AS (thot paying the epenG) afer paige Ft camp the if. ate sre tha you let the woes ig It cach other as muchas you con teughet A ouch of chore and revere shoul lp ot it te, Eri (Omuoyeian [ore pt oc — Zaeng ar fore Doousne == “is une was a massive wore it for cemposeruitarit Tom Sol anh be, Boston. In cmon with exec thc another arpeggios, ‘hs one i ite oe tricky though. tines 2 far les reaetable pcg pater. Mermare this ft before tying splay tp tempo andl hold becky. Once agar ate chcus ad eer haul lp shine In the appropiate manne. ae ee nsx-files great rifts Bnd De Ea {E maoyeian [ee ‘Alo with Chien ofthe Revelto’ and Ge On hii ne of Mare Bolan’: est if moments Is bzed around an E chord tate embed by some simple bs ot ides. As you perform ths be careful att verde the Gj end, nd ae be very cael not fo rath he temp Cesk ov Paseo recent Caer of the tne for ne mov eer Gli, ‘xcs 3 wa played ona Yara SG: vel gain bess mith eb pres sit 10100 6 oA 85 Ine Coo Bin ro =e ne. exercise 4a em) = 100 32 | guitar techniques | march 1999Co Sea D5 bs In this example we sea two-putar pre whieh contin repeating dbl stop Figure layed by aitr 1 and an eighth note-buedehythm prt layed by tultar 2 As you ply he guitar 1 par yt be as metal scart wth your ming yu cn Fr the gut 2 pat you shoud ase downto throughout inorder tachi ride wil ep out ot ‘the agrsive feel tht can be heard on the oiina eoring. Avery dtoredsonpe" tore witht of bis nd tele snd rot foo mech tc 4 ha the sume eng aes 3 apart fram: tert 01¢ gan Aa wer 2:0/0 gain 20 wideantone G¥1—> ou2 ITT an a7 Fos ais cs als cs 0 Fn sm mm An an Am an dC note a et sting tvougrout ~ s Ss zx-files eat ifs survivor s+» Continued Wma An mm Mm om amass osama ‘usta the masve gba ices of Sylester Stallone’ oy fms, hs fs desig t feevr be assoited with boxing ts actualy a wert ‘yi ea and you ay throug i ou should note Row acces Unig Yu Ned oe I ede pay eared Take particular cae with the [sft cds mars 9-12, at le with fhe Funky test appear hars 13-18 and 17-18 af he gta par. Fnaly, make sure Ta You make te (foto fathrany reproduces afte muted env cht appar Srougout. 25 hese ae val to the eevee he prt Exerc ean snd vt the sme sting at eer 1. The Sty sound wa played on 2 Stat with a humbucker pickup Jol gah bass mid eb res DSR od 18 2B SaS Sa SH ro BL oe tou a = whighteaneruneh tne 3S — = (2m?) meushout bere we ave Stve Steves clas nto fgu im the Bly Mal ht Rabel Ye. In comm wit ame ja wating bane peste thi art crete he illusan of tw independ eas ocuringemuitaesu fact, Lav een quite 2 fw pola sare have mista sumed that hs a wo ular fice and have performed with one guitar plying the asi and ee ether laying the double rope To ple ths corety you shoal se» fgerstye {ein with your IH thum® plying te bt ine nd your RIM inex ard mate Fingers laying the repeating double tops Next month, wel belong et Exerc 8 as layed on my pn PS. vol gal bass mid rob pres Ws ld ae eet ee ore ea 34) guitar techniques | march 1999eo ont "Eye of the Tiger’ (Peterikl. This song appears in ORIGINAL FILM TRACKS PVG. Order no AM71994, published by Action Music/WWB Music Corp, USA. Famous Music Corporation (50%). Wamner/Chappell Music Ltd, London Wé 8BS (50%) ‘Nowhere’: words and music by Andy Cairns. © 1993 MCA Music Ltd, 77 Fulham Palace Road, London, W6, Used by permission ‘Rebel Yell: words and music by Steve Stevens and Billy Idol. © 1982 Boneidal Music/WB Music Corp/Rare Blue Music Inc USA “More Than a Feel Fee eet aetna Music Sales Limited, and is available from your local music shop or directly from Music Sales Limited, Distribution Centre, Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB. Telephone: 01284 725725. Visit the internet Music Shop at http:/wwvzmusicinprint.com ‘Rebel Yell (dol/Stevens). This song appears in 80s ROCK SCORE. Order no AME1720, published by Music Sales Limited, and is available from your local music shop or dreetly from Music Sales Limited, Distribution Centre, Newmarket Road, Bury St Edmunds, Suffolk IP33 3YB, Telephone: 01264 7287 25. Visit the internet Music Shop at hip: wnwvemusicinprint.com ‘Eye of the Tiger’ words and music by Frankie Sullivan Ill and Jim Peterik. ©1982 Rude MusicJEnsign Music Corp/Easy Used by permission of Music Sales Ltd and IMP Ltd. All rights reserved. Internationel copyright secured. cof Music Sales Ltd. All rights reserved. International copyright secured, (60%). Warner/Chappell Music Ltd, London Wé BS. Chrysalis Music Ltd, Bramley Rd, London, W10 (50%). Reproduced by permission of Music Sales and IMP Ltd. All rights reserved. International copyright secured woids and music by Tom Scholz © 1987 Pure Songs/WB Music Corp, USA, Warner/Chappell Music Ltd, Londn W6 8S. Reproduced by permission of IMP Ld "20th Century Boy’: words and music by Mare Bolan. ° 1973 Wieard (Bahamas) Limited. All rights reserved. International copyright secured. THE BIG D WARENOUSE WA eR HOW TO PAY fore sig oma ae SE SERIE oi ah, ears, Be opr aa ps ter de nina tee UGE SOE ts G2 YAMAHA ake ESS cass ce O24 Bae Wwe? 10 MAKE Wintel Cea “hve yon SEENJamie Humphries adopts toch ut to The Ca Sachin tack sion rs ete one tod feangec eco thes eee meet your gt tutor: tar teacher othe Kent oe. He tances fo Teal othe popular Jn i. sees. Jane as played a rum of ‘fis fr Marl snd Balisie Man endrce of ‘LI'L DEVIL A salute to British rockers Th lene Eble etc lae eR Ua ia sla ORI OL} and most memorable riffs. hhe Southern Death Cult, as they were aMfectionately termed, were formed in Bradford in 19982 by singerfrontman Tan Astbury. He later teamed up with excTheacre OF Hate guitarist Bly Duffy and the band’s name was trimmed Sag dovi to first Death Cult and then just The Cult iy by 60s ss with the influenced he nd had 50 he bande psyeheeelic rock, albums Dreemsime and Love, the latter producing the hit singe ‘She Sells Sanctuary The band began to lean more towards hard rock, influenced heavily by ACIDC and Led Zeypelin, In 1987 they released the hugely successful lecric album, produced by Rick Rubin, They moved to Los Angeles and teamed up heavyweight acts lke Guns N’ Rose. In 1991 they released the follow up album, Ceremony; two years 1 the compilation album Pure Cult which saw nev tracks leaning towards more tated material Finally in 1994 afer Cul, the band spi, Billy Defy teamed up with Ex-Wonder Stuff singer Miles Hunt to fom Vent, end has recently been working with former Alarm frontman Mike Petes. Astbury started Cult soundalike bend The Holy Barbarians. This month’s featured track was taken fom the landmark Electric album, performance notes Exerege 1 the intro and features a simple nif asc around the DS chord. A bluesy sound is Uhled,F, and the D sting. Be h strict alternate by playing the i tothe major third sure to perform this sectiostrams to help you to Keep in time. Ic will kelp i you count in eighth notes (1 8 2 & 3 & 4 8) Exercise 2 isthe frst verse and uses sparse chord sequences, Once again, count in eighth nojes and use alternate strums to help with the timing. Also observe the rests and cut off symbols to Keep things tight and punchy. Exerese 3 is the chorus progression. This section uses ringing chords with the DS riff found in the intro. This section is prety simple, but take care withthe Fsus2 chord Exerise 4 is the second verse. This section is similar to exercise 2, but includes the C5 chord. It also features the intro riff at bars 7 and & which 1vas played by a second guitar but, for the purpose of this transcription, the riff has been included in the main guitar part Ths section is followed by a second chorus with the final chord ringing for two bars (the extra bar is shown at the beginning of exercise 5) Finally, exercise 5 shows the guitar solo, It starts with slides om the sixth string that lead to a "iff similar to the into but transposed to the key. GPA, and uses the A Dorian mode with an added major third: fancy a drop of the hard stuff? When re us evicsum was ese in 7, venay fey ee compre he fens ew tea imape ane ‘cone wit tht of et epi. yout nen Nigh ln Ath ha etey i ou aye ee out sane of te ling ee eles: eg Zepcin ieee 168 led Zepein iV ante 1971) Psa Grr San Song 175) Presence ran Sng 1875) a 1 8 2 D 4 a) eae 5 Jargon buster Th onal is entouce withthe slo i seen Sting up the neck orsome Bley bends and ZN oot hammer on/pull-off lick. Sa ack she is son nd fifth note ofthe scale ppesed tothe more common rt third and ih Ge mar = 135,302 =125).A's0! rd a hl‘ A REMEMBER tem Scale choice here fs prety much D minor pentatonte: DOF ra 8 4 AREER SUIER: SILL The B included in bar 15 could he seen as coming from D Dorian the second mode of the C major scale DSRS ST Jamie's ated gear ‘ny Duty aol hae eore sack ha Getch te Faten ugeesiniosWaral ap aa gostiy a oes ‘uersbsetn petal of ome escort wD | sed my Fede eerste wha er Fat Taek | bideypin he rites oad the use JMP=1 win and signs are fly 8 4 A 5 c w o B 6 ‘i elon sting hth guitar clive 0 gn bass mid ted pres bist m0 6 23 3 oh ead guitar idive wi gain base mid eb pres bsht a % 6 2 3 3 Wh ‘toms ely was ed tthe ght Se out of Yenae Isto anit san of ee os prome ytey lesion WE == DmF COs DmiF DIFH os Dm DSC D6 (ost) (nai Die bs Omi OIF 35 Dir 05 ci DF 0s caso sie DE 05 ¢ Gsm (ose) Found (bare i“Div DFE 1h se glasaeepsgiss TAREE taut. LAG, hei ene eathe cult ‘il devil am _PO_ hat PO harm Ctr 2 continues im 1 Devil: words and musie by lan Astbury and William Duffy. ® 1987 Chappell Music Ltd / Warner Chappell Music Ltd London WE 8BS. Reproduced by permission of IMP Ltdrads 11-12 Martin Taylor takes you err of bdo in ig meet your st tutor: martin taylor Oe of the works Finest jt ‘utr Matin ened is of age oF 2 ater, he ployed corte utah nce occupie bythe legendary Te hs recoded numerous Mele eee Xery sore wih bar, Spit OF DegeiWeealcy tay leader playing al over the rl Mart’ latest prt OF Django bur, Gy, in he q marti ae Na lor THE POOCH’ ver the years is become a Taylor Cab Calloway's ‘Minnie the Moocher! — not easy household tradition for me to write on a single gultar, but L enjoy a challenge. Some FU pets. of the hallmarks of "ig ious Fon 2 puppy called Hooch if as our other dog, Osca cane, composed this and the opening rif - a single nate theme punctuated oral ‘response! The rest is down to 3ythm. [eared an awful lot about ' plece in honour of the new arival. harmony by listening to band arrangements carly For Hooch the Pooch’ I wanted a bi on, [dear thatthe band wasn't just Feel, reminiscent af Duke Ellington straightforward chordal accompaniment fo themelody, but the various instruments were playing counter melodies which moved around and against the main theme. When I stated to work ‘out my own arrangements for guitar I tied to ‘think how tunes might be arranged in similar ‘way: This is why I rarely play a melody with a setics of static chords underneath (although this ‘month's example finds me playing more ‘block ‘chords’ than normally). Usually, {try to combine ifferent moving lines together to let the thing, breathe Listen to any ofthe great big band arrangements (or the orchestral string arrangements on Sinatra records) and you'll hear ‘what I mean. dog star “Hooch the Pooch’ has been arranged simply’ as possible for the @&CD recording, What you hear i basically the man theme and an improvised solo ‘over the changes. Don't be put off by the look of the piece on paper; nearly all of the chords in the pening theme should be familiar to you, even iF ‘you're a fairy new convert to jazz. Dominant Sevenths and ninths make up alot of the chordal battery which, once again, proves the point that not all jazz harmony need look like algebral “Things really start moving in the imprevised chorus, but once again the big band clement is sill represented by the moving chords and taylor info Torestves Gide ood uses ons Mein Ter’ ete te 9 FO Bor 4, Moyo, ye ID 8 webstea winumttayotcom | ‘occasional line on top. People often ask me about Improvised singe lines: where they come from, how I think them up, and which scales [use In fact, I don't think of improvised lines in terms of where they come from harmonically: I just think of amefody which fits the harmony, literally playing what comes into my head at that ‘moment. However, 'm told that here on “Hooeh’ any improvised lines will stay true wo the tune’s bluesy fee) by plundering the Mixolydian scale (see Shaun Baxter's current series for more on soloing using the Mixolyéian). the key, the secret Another concession big band tactics is my choice of key. Wee in By arguably the most common jaz Key signatire of them all. W's a popular misconception that jaz tunes ae placed in at key just to make them harder to pay. In fact the reverse fare: the lat keys ae easier for brass instruments ike sax and trumpet. The anwar keys on thse patcular instruments tend 1 be ordinary key sigs forthe rest of us ike D or E~ invite a sax player toa blues fam with sitar and bas and watch him tur pale when you choose the Key! Next month we have a go 24 Chillin’ With Oscar. See you the, wt ‘Martin's gted gear “irae ne recre inmy stnin Stan sg my Yamaha Senate AK 150 outa det ote mos deck ith srige of dite ates or arsine Far thence wens fo a6 ino eon 3 ‘erates of Pil Hibre st Wd Stat at rountyor Ese Jargon buster eee, ceunepant. = 2° wewing eo! (@hreyan) Bir(euss) —Ar(svs4)er =~ “hooch the pooch’ 2nd tie cans © Airis) o7(ouss) ——_Fi(suse) Fi o7 oe Ti es Birisust) ——A7{aues) Alreuet) — a7(su04)Oe ee ee ee eemartin taylor ‘hooch the pooch’ DS aicona @ Fa Hooch The Pooch’: by Martin Taylor. © MRM 1998. Hooch The Pooch by Martin Taylor is reproduced by kind permission (of Mark Rowies Music Ltd tfa MRM. Al rights reserved. International copyright securedFre Rohe gets nated for ‘his mont’ enue iene! Gapmen meet your sgt tutor: Ee Roche sea ofthe (Gute eparment a he Londen Muse seal (emery Gutarinatiute of technolo where he teaches sihveading, an performed the musi of Bena, Mice! Hedges, Ax de Gras and ce Kathe song decided on neh tng were st for star, and wel guar fies evalabie tough Male Sls Ut Innere canon ack in 1967 Michael and led in is notice and set off to try his luck went on to record a number of albums throughout the 70s, including four for the EMI subsidiary Harvest. This month's track comes from pethaps his best nove effort, 1970's Fully Qualified Survivo “We won't pretend that it wasn’t the title which first attracted us to this fine example of fingerstyle guitar! (Harvest LP SHVL 768) The album's musicians Included Future Bowie collaborator Mick Ronson! Primarily a singer songwriter steeped in the blues and folk traditions, Chapman often plays a few instrumental pieces a his gigs. He sti performs ‘Naked Ladies and Electric Ragtime’ to this day. 1 saw him per ntly as 1997 in & London folk club may also remember my rendition ze Champion” in the June 1997 isue of a, The piece requires a capo at the second fie. (See. the guide to eapoed notation opposite) Thus,whilst the plece is in the Key 0fD, Kes Angered as iin the key of C The first eight bars inteoduce the main theme ~ one point worth nating fs tha the tune has 2 characteristic descending bass line, Whilst not strictly a ragtime piece (despite the title, the piece nonetheless contains some harmony typical ofthat style. For example, bar 12 has a notation of capoed notes in est Astortrte. en! In capa res teats teeny tthe resto eu rayacein ote putlson nth mnt i or ‘amo he ap a these et means atl he ates the secon eae nw ety oer ane tes spe as fn nee an Have 3 roe nen ape ene nest Freie ore et wi ot gear a6 bua 3. TS mes Yayo shoud rx se any 25035 ths mans Tre ‘Sands rain sero “hvseley na eee on she leper of the nse ee ok athe Dusit nbs 7-8 shaw ou thelone tend te mote Intern diminished seventh chord ascending in minor thirds; these are all essentially inversions of each other. From bar 41, the alternating bas line is fncerepersed with Various melodic Mls, with some tasty blues licks in bars 47 and 48, and again in 51 and 52. Bar 56 sees the return of those diminished seventh chords = but this time they mave through bar 87 towards a D major chord. From bar 61 it is back to mote familar tettory with some ‘embellishments, such as thet in bar 68, From bar 45 there are some descending altered dominants that take us to an unconventional Dasa? over A chord. For the most part, the fingering is stroightforward and the chord shapes standard Have fun with the plece ~ see you next month. st erle's ated gear Forte rec ue y Ttaine EM, I ies up vt Bejeiram NCSBN ese Te om reba ‘Yaron REO ee ut Jargon buster The dike seventh chord neal dstece apart Ge ‘ne thir) rom each othe. Bocas of hs gue Inverted easily Oy moving the A mins lines on page 8 ted | march 1999 | qettartechniques | 49ir | “naked ladies and electric ragtime’ | michael chapman £0 | guitar techniaues | march 1999te | march 1999 | quitartechniqnes | 51“naked ladies and electric ragtime’ michael chapman 52 gumar teciniawes | march 1889"Naked Ladies and Electric Ragtime’: written by Michael Chapman. © Onward Music cfo Bucks Music, Onward House, 11 Uxbridge Street, London W8 7TQ, Used by permission of Bucks Musie, | aaa acest SRS tee 6a| Ca) Lee Hodgson puts ona funky steion forse erry Reed ste chicken pin care the Fade ‘meet your git tutor: and ead vocalist with on of Bias hac county ot ee enaeges carer La apnea TE Mt ts Bie Jerry Reed's funky, plucky style and some poppin’ chicken pickin’ serve as the inspiration for this month’s piece... he great Jerry Reed is quite right ‘cool spankin’ t aving Inspired the likes of Jerzy Donahue, Brent Mason and Albert Lee back in the 60, Altho know for his gut st playing, Brent Mason informs that Jerry also played the most ‘you could think af: a Fender junky Ingredient: unexpected places’ (in time) i the proper defincon, but it's actually 2 pretty meaninglessone by today’s standards ~ aftr all, just what is ‘expected’ anyway? CChicken picking and funk guitar share a common element degrees of percussive ‘popping’ Pop-funk guitarists tend Co poke at single notes, mostly sing down piek-strokes, while country pickers fend to pluck upwards with their esh ‘hile using single note lines or double stops as thirds or sixth). OF course, hybrid picking (using pick and Fingets) is entirely suitable es well To produce a down and dirty funky sound lke Jerry Reed, curl your fingers into a claw while plucking strng(s) away from the freeboard. Tis increases the percussiveness, introducing a kind of op to Selected notes. To heighten the eect, pluck more aggressively than normal and with added damping (CO). Derformance notes Guitar 2s part enters at bar 5. Bar 10 challenges you to a Jerry Donahue-siyle contrary motion Tick. Bend the fourth string down, then catch the ‘hit string, maintaining frm. contact with both of them, causing the D string to return to starting piteh while the G string will have done a kind of dance from pre-bent sate (sounding a semitone ‘manic compression ‘oy may wis tone te song and mae else se fen sting by nering compres beeen ou tute anllanp Corprsion nan ine ype of Procesong wen must be putin srs wth tl tates Erie lure certain ater efecto bes putin fall aoem te mar sal, pena eles op evn the erga unas weaning 63). above its fretted placement), dropping to “unbent stae, then resolving to its original pre- bent state. This all happens in glosiously synchronised Fashion and i's as easy as sand Jugsling! Go on, give it a go. lee's ted gear [tar ae pay on» Sie Ser Sat nos ec stn Bunn Cure Pounce m pri wih mi pete Care Pons wih sigh atten mge poston vr Zandt Untane + pense ed a ome aurea 35 vol bass ‘web ele _ master eae ‘toutes RIG sete sua ‘Trees fr outa? wee aber he een oF ‘he seTngs out back pl-un wa pra win Slory atruated ns up Ree cane ate ot the"aeechimber stn fam lesan MX vl solo boost 7 Wewaged 55 ‘suggested listening Jey feds eb, Dy Gata Cece {3 na Se Buck Gens The Buketcs nt Masons Hoes further study ‘oy Spits wrerponéema of Te Baie Ca in ‘an 5, Dave uk say Sper 975 9 Tes Suir ey enone ‘be coud : Is 4 (Bass girtacet) Je arte Dunra | GraZao. = a ebiee, | rota | rasa cm ase gr=C (or, ——— (Gass gttaca)| Decides ahitkaes se Ree eens Jargon buster A sm scopaton Ti vanes, ghlgnting sounds payed of the best. the eect. Being exaggerated i stence folos andor aces A ‘pean tems ad signs are fl yeejerry reed-style picking © J=te5 al Ne. (a) (e Ge ‘guitar techniques | march 1999!(oun Fin oirt TreatJerry reed-style picking ©) (em (Finite) (star 1 begins with parti bared double tops, though you fetng ges must sue move wright. Hye ploung ‘guitar teehiniewes | march 1999Po (co) _(ehake gta (ram Fi) we Fads) (Oun Fin ‘eran tet Ee ae aadee es connection Now all you Tokyo Joes can add some oriental spice to your playing with the Kumoi pentatonic scale! oD iather than attempting a fully authentle Japanese composition, this month, I thought it would be sare wef to look at how you can incorporate some lite Eastern- sounding touches to the way you already play I think we ean look at this Information in three categories: scale choice ‘gatar tone, and phrasing, And so without further Alo, les press on Below is 2 chord chart for the demonstration piece on the ECD. Note how a different scale has been assigned to each chord: Aa KUN! rs MODE} marin |X [MAJOR PENTATONIC Qt enn {Al four ofthese scales are pentatonic ~ ie each is constructed using five notes. The major pentatonic Is familiar to anyone who has ever soloed over 3 major chord by using the traitional minor pentatonic box-shape starting three frets below the root (eg playing Cym blues licks over E major ssves a “country feel). It sounds lke an old friend lo most western listeners, but this scale has been a staple of Chinese and Japanese traditional music For centuries. In the key oF Eit looks lke this: 5 6 Boh In any key, you can create @ major pentatonic by starting on the root note and then moving up & tone, then another tone, then 2 tone-and-a-half then a tone again, Finally, moving up another one-and-a-half should get you back tothe rot Thus, you can express the ss formul ‘Tone Tene! Tore anda ha Tne Tne anc halt The Kumoi pentatonic is identical co the above scale, except that it has a flat third, making it suitable for minor chord applications apr ieee] 8B This an a beeen a “Toe Sein Too tones Tone Tne ai hal (Uf you're familiar with the modes of the major Ae Guthrie's ested gear Fer tne CD ls led Piso Strat let he ent fief tees Tks ane ten set he onan tile ples sede fect et inet eran trough 3 Mahal sta ale combo Nasa As ges et lows: gin te mgs ut ne enileat Heal, 0 16 From toe he sel merino 3 alr spate sister To ety mags ati econ Pat was ested e proces ‘5 Susi eve rrr x | eno | % ‘5 DOMINANT (11) PENTATONIC ees ary scale, you might want to think of this as a Dorian mode without the Fourth and seventh degrees.) ‘Our third scale i the third mode of the Kumol. You're using the same pattem of tones and semitones, but starting from the third note ofthe original scale and treating that as the rot, thus: t sep ihc can ha be deserted a: ‘wo tones Tore Tor anda hal Toe Semitone Note thatthe third mode of the Kumol, stating ‘on G, contains the same note-rames asthe fist rode starting on E. Thus, you're playing the same notes over the Gmaj7# (bars 9-12) as you were ‘over the Em9(13) in the preceding four bars, but they have 2 different sound. (NB You could view this as a stripped-down Lydian mode) ‘The Fi cal estas is formu ese ees Dea "Wwotones Serine Tone Tene and ahalt one T've named i¢ the dominant (11} pentatonic to distinguish it from the more normal-sounding, dominant pentatonic (1 2.3 547), and ta suggest that ie works well over dominant chords with a suspended fourth or an 1ith Confused? Don't he - the first 16 bars of the transcription demonstrate typical fingerings for the koto effect aves te et way 0 ge fe Far th ind of hing Stogestaghte mesure sab eno ete ‘Beans ma Fa guts point of ven you sho tron tore he a ss ‘eb Mary edron (Gereesany ns wor with ‘Bo ceria a Ceo io or moe ee oh "ota er you could ar ltrs ra Shoes (romad Asa ee, - each scale, ascending and descending in groups of four, so you ean get a feel for what each pentatonic sounds like over is respective chor, ‘guitar tone For the CD lesson, ve opted fora clean single coil sound. You don't need to play these seales with 4 clean tone, but if you do, you have the Scope to use what Eric Johnson calls The Koto Effect, You can hear the effet in bars 17-34 of the demonstration piece. I's achieved by picking, each note as near as possible to the fretting hand = the opposite of picking near the bridge, Be ‘careful here, because you're picking over the fretboard. Ifyou're fretting the B string atthe 12th fret, your pick should be between the 12th ‘Gk the japanese connection and 13th frets for maximum effet. IF'you get it right, your reward isa distinctively thin, bright ‘one with something of a Japanese characteristic, phrasing From bat 17, the transcription stars to look Sseatiet but most of the markings are simply ways of omamenting fairly basic melody. Common touches include a wide, fast vibrato at the start of fa note, quickly bending and relaxing the string st after picking it, pre-bending notes, and Tending up to a scale note from a ‘wrong’ note a fet below (eg half-way through bar 20). To get a Feel for this, simply to listen tothe CD lesson and experiment with the way you bend notes until it sfarts to sound abit more ‘Oriental. st ite B Bivens ferent td Sy moe es pe sts women hen Shon sd mle ger The ates ar rego lpece meade L isos eet tale Pontatonic Emaj19) Eme13) 62 | Sas march 1999Kurd mode omayrett B Dominant (11 Pentatanie Pokrear ting hard foro eect 600) Emej9(13)_niete Te Tee Pou LD PO Emo(t3) ve , im oe a Ee gS [De eS —— === = i AZ revi po wy wo rus pau 10 Pau wo 20 : O60 Oo) 9 OT ois x ~ ots bhatt er She ep ee ee ape oa : ope ee et =—— © ==Eae ft j pau pau ois po lH a0 ew su 5s 5 5 ae = 5 + rer i —_— == a Gmajr $11 — oe THe fee 80 8 POD AB Pap 1p 8D ql ‘guitar techniques | march 1999Bales mais) iss olbs its ‘THE FASTFINGERS COMPREHENSIVE GUITAR COURSE ‘Di ours Ln tn GC tee ale einige cn Len Rn Get the ican Tetons wai ah icon mi Torco ivy ewan gag olan pg ‘Syne eg ei igh iene card amaaniceatsrms ict ieccte ennatnans canines “ees hn te Cts a vets oo Salida ene opts Yoyo hen Hite Ct lee be mtamtin al ste elie er ses Creede et as ‘ising Tage 8 Rl a, Her, Hal HUD BIE Te OA TS cs fe Caan or vis wesce ‘Meta ae" hperelsconprenecemtonepseonfe TASTFINGERS GUFTR TOTTON VIDEO COURSTS Atos ns wr Osos Taam Ke? See cas iene tence Rotor on eee ao BS Samet ivi sara atin eae Sonne een SERIE emma setts ‘alien Goenehous” Gare coon Skerrg ks meee cho Sineee gv nrsce a eee erent eee ean 3 Eaevmratsairg Wack One Paro ist halon a {Eom int Emenee gaat nts cezporied cane 1 cence Soe ctpater ew oreo socio ara Sound perk ue eran eae 5 Ning chose Bony Atay ef te” NETH Cs eee eee Saeed SE en nn al Do ron ArncecaTa‘covE wo COURSES) | Each video..020 ne. PAP + tab book Dept TEC, 64 Kingston Road, Willerby, Hull HU10 6BH Tol: 01482 657556 Fax: 01482 657556 day 2 eon. £50, POP hay eon £58. PAP Ie im. £5 rE ayo son. cree ae hoy coon e133 re A110 vane. 1S@ ain BeSNCem e@ Shaun axter eagles the Maojlon mode with same lateral thinking Be fultek ‘moderate, | m Ake . 4 rd hes fo meet your gst tutor: es Be ey tember of The Galt Ieute In London Hef mele der Sse lad caacer Continuing our series concerning the use of the Mixolydian mode, ele etemennires this month we leam how to think laterally and link together Sacianka eres everything you've learned so far. ver the course of the last particular chord teritory (in accordance withthe eae rte few issues, weve loked ative postion’ or CAG ED system of fearing Ee sabres earadl ested Nove tt we Gateprer ef Ons. 4 sounds het ea tions of the previous articles asa visual reference. As you Mixolydian mo we're going, long the neck, try to thinkin terms of yo five chor-orientatet Mixoiydian as the most settled, In order to do this, you need a 8 motor common and consistent system that unifies the Cee se eee way that you look at both chords and scales. ‘combinations Nandmarks 1 this month's article, you'l see diagrams Jp until this potnt, everything that we've studied showing suggested combinations. F has resided strictly within the confines ofa connecting these fn as many ways as you can‘Techa‘cally, is best to start with ideas that can be played either toa striet count of three or four, ‘and practise these 10 metronome, This is vital step on the oad to being able to shit from position to postion with accuracy and contol playing style ‘Try coming up with some ideas of your own by linking up different notes of the seale and establishing melodic ideas and fingerings that suit {your taste and playing style. The shapes 've ‘chosen are designed to be played by picking only ‘the first note on each string (use hammer-ons and pll-off if ehere fs more than one note on a particular string and, when ascending or ‘descending each arpegto shape, the right hand slaould sweep right across the strings with one continuous movement), this month's solo (On the ECD, I've improvised a solo over a blues/fusion-style backing track using some of the suggested arpeggio ideas along with G Mixolydian And G minor blues scale (he latter seale is used as 4 form of tension ever dominant chor) minor Hues see ESR. F A STANTS NRG ET Although the first s6-har section of the sola is quite bluesy, the subsequent bars feature some string skipped ideas more akin to the playing of Allan Holdsworth and I've transcribed the solo from bar 17 onwards, Note that, though there ‘may seem alot going on in this last part of the solo, using a small part of each combination dont fee! obliged to play all of the arpeggios in every combination suggested, In bars 17 t 19, 1 combine the second and third of the four arpeggio forms shown in combination number 3. Likewise, in bars 21 ond 22, l used the fst and a small part of the second string-skipped shapes shown in combination number 4 ‘experimentation AAS usual, you should bear in mind that these shapes are open to interpretation, and that's how they should he practised. Just play along 10 the backing trick and see what you can do with each ‘set the controls... ‘nest hs wth te hth alr ws eer tit Ps thugh 3 Maren MP-t onal en Forte =a | ‘ede sme gata veugh me MPT OD Ser th a ge se dad tetas i, esoltelfs wtb nature ro debe ag, eau ee resent ow aon the sa of he ‘yar trout sa poplar marepton ht rg can ‘les te insrumert ser oly = wont Renee te quan ore gar equ ss ore’ shoul ep youon he Ai acl with yor Yotatech enalson yur ana Ut youre apy mh he su. Tus eur eater han jeu ses 2 go sur vet shape or combination of shapes. When I improvise the solo ack month, Lmerely Zance jargon buster down and scan the page as 'm playing, tying to pick out various shapes as Igo. hj {tera movement aie BA serine The baking ks it ave compan tls Ee tithes poco JA Ses etic ait ciea east eles Jom Etesge nto, ieenaly, 908 oer Par ‘ln Hola nSoht Maca) eling we ‘ha hen ouwiag wit he lt Sahane eee eal eat eee Bae ahapeirs ctr eastern ‘Sian wen Sugbanc irda fn n ae ia enews cana eb Seagate ese ca epee oe ey cee eee ice eet santas pea ce a a Oe hen edad ebeag hee on ase ea sociag at Harmon ele sp was taten awe ee earn ete peer ennai ie erg ead cee wa aces em aa Me eee eee re allan holdsworth Whether ou eis pln oro, mst guar aes wo ae nes Alan olson woul age tat ete ost iste a erncly anced arin tenis ck fut ert seve me? Le fo yur HS by 1000 uth ent eer compl ey tages sg his wes aegis cig out ease any gute ‘ho. aes ce es en cin fer wel ve arte of fern Batioa Yrs mn 1948, Holsnrh ste “nite latte (17 earl. he eens ad ees he fae #3 Sear wih may sen anes Su 3 “eno. Stir. Ton liars Letina Lc Pont, Uk tora Gane He ts ota may on NS slo «are eens cams sur aU (1982, RoasGanes {is etl ave, Abas 98H Soo 1987, Sees) Hoyer vee] more eer are re a ore Sea Hels erty jos sath Ck Cores an ne anna 8 senorans onc asin Glas ae Sto Hens ad ok ply Such 2 Ewa Va He, Seve Vi nd oe nl mates hen ae the mest apoant lesa ietila. dominant chords -a ASR A fo HM FO FO a Hpo po HH Mp po HH eS . POH HHH POPOH Have Klminster goes back 10 busts and looks a arng meet your gst tutor: Time to take off those inflatable arm bands and jump in at the deep end with this, the first tune of our beginners’ series L iat yp minor (ple 6), and Fly ol the topmajor minor bare chord ict ey came wih geste! ‘hora (ee eta on theron) Before we look atthe strumming patter, practise sing through these chord changes - for example, E minor to G, E minor to G and then G to D, G to D, so you can make the chord changes furly smoothly. If there's s particular chord you have difficulty with, practise that section in isolation Until i becomes comfortable. ‘When changing chords, uy and move all of the fingers together. In other words, try and form (for example} a G shape in mid-air before placing all four fingers down atthe same time, You may Find i easier to place one finger down ata time, ‘but this ultimately hinders your chord changing ability (i other word, it slows you down Next its time to look atthe picking hand. I recommend 4 medium to heavy gauge plecram, if you're at all in doubs. Very thin picks, although easy to begin with, dot hit the string hard ‘enough to produce @ nice tone, and tend to sound {hin and ‘serapey: (On the way to the studio I was listening to kd Lang, so the strumming pattern bears a small similarity to ‘Constant Craving’ The baste stramming pattem is down, doven, dawn, ap down (se pie 9 for a down stroke and pic 10 for an up stroke). 1 limits Afler the fst two down strokes you need to come up, but during that up stroke you avoid hitting the strings. After the third dovnstoke, you do bit the strings on the up stroke as well, and then Finally, For the fourth dawn stroke, you miss the strings on the way up again. Practise for a couple of bars on each chord untl you get the hang ofl [ve hep the same stramming pattem ‘throughout to keep it fairly straightforward ~ you have enough on your plate withthe chord changest 1 realise this isn't actually incredibly easy, but Ive found that if you set your sights high you tend to improve guicker. Don't be put off if you can’t do this straightaway. This isa faily taxing piece for even the most enthusiastic beginner. The good nevs is: if you can play this, you can play any Oasis tune, The par that will probably give you the most problems is the C minor to G minor barre chord extravagenza. The ‘west will hurt especialy on this section. Remember to practise litie and often: 20 rinutes a day is better that four hours in one go and then nothing for a few days. Next month we'll fake a look ata fant common picking patter. gt 6 minor barre chord major The frge Ite camped makes perfect. heavy the sings 00 2 downstroke Your bad rest in ie laying @ ‘an upstroke ‘hes what your ban oul ok ke atae Wp of an upstroke in the studio hen wn recipe a or the wD ues oh eto a aeaistegultar Oeste naing 1 stim mes os ae “uty ane fe march 1999 | quttar techaiawes | 73 the srngs conccutveiy wit one pick oF he pk ot the stings as Yeu ether () beak = sin (6 top the plo (eset A zd eon a fly ‘Saad oa 1beginning to use a pickEan Sith ets is est frock ot for a simple but Pacts rin Make suey vat rosy mene tt eames The wtor ting spayed one na st move can you instructor atthe Academy At last — a guitar riff that everyone can play! oF Contemporary Musi bis track is inthe extremely guitar lunflendly key of E flat, a songwitin under the suracs 2 neighborly key of EF handled by Molko himself, working out his parts = came to the public's in tandem with bassist Stefan Olstal (drumn a ‘e-_ attention with the hit Steve Hewitt completes the trio's line-up). k Nancy Boy’ in men are not afaid of taking risks with thie 997, followed by guitars ~ there ae some falty extreme tones on he debut Placebo album, The display throughout the band's repertoire, not to band’s follow-up effort, mention some very bold musical statements You F'n big hit To prove the point, the track "Pure Morning < Bea fast year Although much attention opens with exercise 1, which may be the easiest‘gultar par ever transcribed in this magazine = thanks guys! Thiny second notes? Forge it {6ths? Not even close. Quarter notes are where i's a, One note, four times ina bar, every bat Fantastic. It takes balls to play this simply. OF course, it pays not to take any piece of music too Tightly. On the original, this partis smack in time all the time = which isnot as easy 2s you might think iF you're going to play it for the entire length of the track pure and simple “Things get more complex as the tune progresses. Bxereise 2 isa tricky eross-picking ampegiio section, Notice how open strings and fretted notes are combined ina slightly unusual way ~ the highest pitch in the passage occurs on the G string, even though there are notes being played ‘on the top two strings. Tis technique allows every note toring clearly (smllar ideas are found inthe playing of guitarists as diverse as Alex Lifeson and Albert Lee). Over the droning E tonality these notes form a 6ladd) arpeggto We've chosen to go for a cleaner guitar sound in this setion than the one on record so that the notes are easier to hear. When you're playing it {or tea, Just turn dawn your gulta’s volum control for that warm “just clean’ tone, and tum it up again for the next section. For exercise 3 we've combined several separate ‘overdubbed parts to create something playable on one guitar. There's alot going on here, with fretted notes, natural harmonics and muted sting hits all in one if. For a strong harmonle note, lightly rest your LF Finger on the string directly over the fifth fret and then remove it just after Yous pick the note. The filth fret proces piteh two octaves higher than the open string. There's no bass gutar on the @tCD. The low frequencies are supplied by a keyboard drone. so the usual clues 2s to where you are it the arrangement aren't there. Best of luck! gt morning glory... The il pcs Sa Pleased with Seymour Dune exe nombre Decor. he rm te somsnaton of eect ke ane rare ar ae hts ure of Niet Tre eed rare was psc by ‘ering pone py 9 te ele Secae nota thes nod the pater tlt don te dren of ‘be eit st (tay, 0a simple art butt get maximum fet pick hae with donor ony aet I REMEMBER ems LA mises further listening Throats ofthe Paste tye roi ein gy Saat tra Dvd Bei ith fa Slop 9 Sone uth ee lt apc ‘is fis confring tpl becate the highest mote nat on the Nght sting Yu ckplacebo ‘pure morning’ tars ~ al S wu-~ eu Nn - Fick hard to get the natural harmonics to sound stngly and yu cn for to let he Bet nats fal alight at for a more grunge sound "Pure Morning’: words and music by Placebo, © 1998 Famous Music Corporation, USA. Used by permission of Music Sales Ltd. All rights reserved. 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Le King Blues On The Bayou iwc In recent years, we've seen albums from BB King that have been laden wich heavyweight guest arts from all around the musical word ‘Albums like Deuce were excellent, bt i might have been nicer ifthe ‘an himself had taken centre stage ‘and not shared he limelight, On this | A sound for all seasons: smokin’ hot current releases mw album B gts Ea 0 he worthy of your immediate investigation. .. Saari Petts jst the grea bluesman and is band. BB (cE influence is everywhere you Be himself has said that he Felt look on Highway Man. This it was time to get back to Faith No More could hold Boby back from where Ital started for lm, Who Cares A Lot? international recognition, but bead off down to Louisiana, lo cult play every day until everyone many ways i's a dif Fal No More were never yout influence to avoid ~ especially ot tired, and keep everything | everyday band, and this particular fora Tocal Ia. His voce is {nthe studio good and relaxed, est of is much more than a cask- kinda similar, too. The result isis best album in in conveniently released ata time Sill, the gultar years, Right from the outset BB when they've just split. Al the best playing is fiery, the isin charge and playing better tracks are here: early singles ‘We Songs are everything than ever. The album's 15 tracks Care A Lot’ and “introduce Yourself you'd expect, the blues is find him and Lucille in fine form, feature original singer Chuck Mosely, hot and sweaty... For vith“ Got Some Outside Help | laying dovin the blueprint for an many, that all adds up to a Don't Neca!’ and "Bad Case OF Love ever-unpredictable sound. ‘From Out good time that’s hard to shining bright. 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Their | The Commodores’ Easy’ and The Bee Minds has a line-up which isa ‘he bt of them music and its influence, coupled sith Gees‘ Started A. Joke’ and you start guaranteed pant-wetter in jazz their extraordinary success and to fel like Faith No More were circles = Gary Burton on vibes, Pat rock On longevity have earned them the ttle capable of anything Metheny on guitar, Chick Corea on ‘Thebestof FAM of “The World's Greatest Rock and Gabriele Stockpool @OW' Piano, Roy Haynes on drums and a we weds Roll Band! The Rolling Stones: A | Dave Holland on bas. The playing is "TSP Life Ow The Road is the ‘fMcial Bobby Mack superb, withthe musicians as Story of the hand’ life of Highwoy Man ‘willing to let each otter take ¥ touring and performing over | rove the spotlight This is how it the last 35 years. This mega | Bobby Mack is one of the word's ld be. anthology was created with | reat exponents of highly stylised All superlatives have already the exclusive cooperstion of ‘Texas bar room blues. There's been used in conjunetion with the band, its management and something about that area which Pat Metheny. Here, he be-bops a select few of their closest breeds good, aggressive suitor andl new ages it with all his colleagues, Iris filled ith players, Stevie Ray Vaughan's considerable might. Pat's four unusually candid first person teacks are all winners ~ but such accounts, and illustrated by hundreds of rare photographs drawn from the Stones’ own Is the writing talent here that the ‘whole album gels nicely into a jazz ‘workout which happily stands on THE ROLLING archives, as well as from untapped collections. This fs an le a es ce as ae Cir Douse @* Dovid Mead @* 7 ee ee ee ee ee