[As well as the above two scale types there are also quite a few chromatic ideas used. To locate and analyse these, it's a good idea 1 look through the solo for any notes that are not contained within, the two scale types outlined stove, and then to study the intervalle relationship that occurs between these two notes and those found in the accompanying chords. Performance Notes PHIL HILBORNE 4) This months analysis is of Levi Seacer Jes very popular if my recent post is anthngto goby!) solo on Prince's Sery ME, To my ote this a very g008 exampe ofa tasteful phased and wo . executed jazt soo - wth something of George Benson inthe ste ~ Solo Anal ysis but reaped in a funk situation, making i god plece for anyone who wants to incorporate few ez ides into tei playing. srt cet longo¢teemialyafcut, bu for nonjazzers the phasing SEXY MF. LEVI SEACER INR, and feel may take a litle getting used to. 2) There are a lot of staccato notes inthis solo, Indicated by dots Seales above or below the music notation and by the term CO in the tab. These notes are vital to the effectiveness of the sol, and should be This solo mainly uses two scale types. muted either by releasing your lefthand pressure on the stings oF by deadening them with your righthand palm. B, minor pentatonic sale 3) Lefthand fingering suggestions have been gven throughout for, BORFAB the tly parts, but remember to teat these onl asa gud. Feel 1g45i4 {re to amend them to su your ovn preferences, 8, Doran move 14) My thanks for suggesting this month's solo go to Me. Robert Carter trom Yeo, Somerset ~ a couple of sets of Scalar strings BCOEFGAR courtesy of Clve Norris at Selecton willbe on thee way to you 12945674 son ohm ~w ob fF % ¢ { 4 b 1 oe ele ee ab FebOp Feb EpanDE GBD as Tease ee ee (8) minon a p0.co =>onen ; hm GUITARIST MARCH 1993 a8tS (Bend slightly sharp) ¥ spooee 182 (Gend slightly sharp) v lis, : Be GUITARIST MARCH 1993,vib. meoee Published by Wamer Chappel/IMP Music Lid. Reproduced by kind permission. HILBORNE’S Rock Guitar READERS’ REQUESTS - PART 2 (Ge What chords can | use for rock? lusic Is a funny subject; i's one of those things thet all too often forces wide sweeping generalisations to be made. | mean, how many times have you had to describe a band or artist to ‘someone else by saying something along the lines of ‘Steve Morse Is a great country/rock player’, or ‘Van Halen isa fantastic rock player’? Both of these statements are correct, but they're generalisations; it would be far more accurate to describe both players as being great musicians, but unfortunately this doesn't tell you what sort of music they are noted for. [My reason for mentioning this is that last year | wrote out some chord charts which were given away free in Guitarist as wall, carts, For convenience | cid three in all, The frst was labelled ‘Beginners’, the second ‘Rock’ and the third ‘Jazz. Now, although the Intention was to show, in a very general way, what sort of hharmony you need to know for a basic beginners’ vocabulary and. what sort of harmony you commonly find in rock and jaz, there Fig.1 Moderate (E dorian) E789 NC GUITARIST MARCH 1993, ‘was an implication there that jazzers don't play anything less. complicated than a 7th. Of course this is rubbish; specific, harmonic ideas (much in the same way as guitar amp sounds, scales and licks) are applicable to every conceivable style. ‘may sound bizare, but ater the chord charts were published | actually had quite a few people come up to me and say things ‘along the lines of, ''m a rock player, and {noticed thet you didn't Include any dominant 7th chords on your chart ~ but Joe Bloggs ‘rom the Bloggs Band uses them al the time! Well, after I'd stopped laughing, | realised that pernaps there were a few people who thought that the charts were trying to ilystrate the only suitable chords that you could use for a certain ‘syle. Ths is simply untrue. The bottom line with chords, or any element in music, is that no-one can ever tell you what you should play; they can only show you elther what has been commonplace in the pastor what might be a good idea forthe future. Wich brings me back at last to the opening question. The only ‘answer is really to say that you can do anything you want. However, having @ vocabulary and a knowedge of taste and style that allows you to draw on elements that you know will wrk is far better. I hope that this month's musical exemples wil lustrate in 2 very simple way how your choice of chords do in some respect 0 quite 2 way towards helping to define sive. ‘AL four examples use pretty much the same bassline. For each of the E chord examples there Is one note that differs, yot each lone seems to conjure up a afferent syle, For example, fig 1 uses E7#9 which to most people would be Instantly reminiscent of Hendristyle rock 183> Fig 2 uses £9, which tends to conlure up shades of James Brown-tye funk. Fig.2 Moderate (E mixolydian) lis. Fig 3 uses £7)9. This chord sounds jazzy and restless - and therefore is resolved to AMT. Fig.3 Slow & soft (A minor) rake (slow) mecost Fig 4 uses E7, not the most harmonically colourful chord but one which Invokes an R&B feel when combined with the bassline. Fig.4 Lively (€ mixolydian) 7 NC. rE Finaly, befor | get off my soapbox for this month, I'd ike to pose one question: how many of you rock payers out there actualy read and play ‘through all the other contibutors’ articles? Just because a column might have a jazz or even a bass playing slant to it doesn't mean it can't contain something that might be potentialy beneficial when you re-apply the information later on in another conte. ‘See you next month. (OPhit Hiborne '23 184 GUITARIST MARCH 1993,