Guitar Techniques

THE FINEST GUITAR LESSONS ON THE PLANET
232 JULY 2014
7 GREAT WAYS TO...
PERFECT YOUR
TIMING
Real world exercises for great results
Banish problems like ‘rushing ahead’
olo with the Phrygian
Dominant and the
Diminished
Learn to play in time - all the time!
USE ARPEGGIOS TO...

BOOST YOUR BLUES!
Arpeggios up your game and make you
sound more sophisticated - try it today!
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THE
YARDBIRDS
CLAPTON t BECKt PAGE
earn the licks that changed rock!
PLAY LIKE…
MUDDY WATERS
EACH MONTH The Godfather of Chicago blues
Funk 49 REEVES GABRELS

THE BEST avid Bowie’s Tin Machine axeman
JOE WALSH GUITAR TUITION
Learn this Eagles live favourite L I S T E N , L E A R N A N D P L AY !
and James Gang classic, with
full backing track! BLUES, ROCK, JAZZ & MORE
ISSUE 232 JULY 2014
THE
FINEST
Welcome
GUITAR TUITION
Just some of your regular YOU CAN
BUY !
GT technique experts...
SHAUN BAXTER
One of the UK’s most respected music
educators, Shaun has taught many who I’VE HAD ISSUES with my timing in recent WHVW\RXUDELOLW\WRGRVRLQWLPH5XVKLQJ
are now top tutors. His album Jazz Metal \HDUV$VD\RXQJHUFKDSZLWKWKHFRQ¿GHQFH DKHDGLVRQHRIZHJXLWDULVWV¶FRPPRQHVW
was hailed as a milestone.
RIDQDJHZKHUHWKLQJVKDYHFRPHWRJHWKHUDQG IDXOWVDQGLI\RXIDOOLQWRWKDWFDWHJRU\WKLVLVD
PAUL BIELATOWICZ youthful self-belief carries you through most JUHDWZD\WRWUDLQ\RXUVHOIRXWRIEDGKDELWV
One of our greatest rock guitarists, Paul WKLQJV,SOD\HGZLWKHDVHDQGGLGQ¶WUXVKLW It’s also worth pointing out a couple of other
plays with prog legends Carl Palmer and )RUVRPHUHDVRQDV,¶YHJRWROGHU,¶YHORVWD WKLQJVGR\RX¿QG\RXUVHOIWHQVLQJXS
Neal Morse, and is a most welcome ORWRIWKDWSOD\LQJFRQ¿GHQFHDQGFDQJHW SHUKDSVKXQFKLQJ\RXUVKRXOGHUVDQGQRW
regular contributor to GT.
nervous of situations - a big upcoming solo, OHWWLQJ\RXUZKROHERG\UHOD[",IVRPDNHDQ
JON BISHOP someone important watching, or whatever - HIIRUWWRGURS\RXUDUPVDQGORRVHQ\RXUVHOI
Jon is one of those great all-rounders DQGWKH¿UVWWKLQJWKDWJRHVLVP\WLPLQJ, XS$QGGR\RXEUHDWKHVORZO\DQGVWHDGLO\
who can turn his hand to almost any VWDUWWRSDQLFDQGHQGXSFUDPPLQJSRRUO\ ZKLOH\RXSOD\":HLUGO\VRPHSHRSOHKROG
style. No ‘Jack of all trades and master of SOD\HGQRWHVLQUDWKHUWKDQUHOD[LQJDQG their breath when it comes to that big
none’, he nails every one with ease!
JLYLQJP\VHOIWLPHWRGRLWSURSHUO\ PRPHQWWKLVDQGWKHKXQFKHGVKRXOGHUV
PHIL CAPONE :HUH,WRWDNHP\RZQDGYLFH,¶G LVDVXUHJLYHDZD\WKDW\RXDUHQRWUHOD[HG
Phil is a great guitarist who specialises in GHYHORSDUHJLPHWKDWLQYROYHGOHDUQLQJ $QGLIWKDW¶VWKHFDVH\RXUFKDQFHVRI
blues and jazz. He teaches at ICMP in UHOD[DWLRQWHFKQLTXHVDQGGRLQJ playing a cool
London, writes for GT and Total Guitar YDULRXVSOD\LQJH[HUFLVHVWKDWJDYH DQGLQWLPH
and has published 10 top tuition books.
PHHQRXJKKHDGURRPDQGWLPH rhythm part
CHARLIE GRIFFITHS WRSOD\ZLWKWKHFRQ¿GHQFHDQG or solo, are right
Guitar Institute tutor Charlie first came HDVHZLWKZKLFK,XVHGWR RXWRIWKHZLQGRZ
to fame in Total Guitar’s Challenge ,I\RX¿QG\RXUVHOIIDFLQJ ,¶GORYHWRJHWVRPHIHHGEDFN
Charlie series. He’s also one of the UK’s similar struggles (or until DERXW-RQ¶VDUWLFOHRQFHUHDGHUV
top rock, metal and fusion guitarists.
QRZKDGQ¶WUHFRJQLVHG\RXU KDYHKDGDFKDQFHWRSUDFWLVHWKH
PHIL HILBORNE own problems as being timing H[HUFLVHV,¶OOOHW\RXNQRZKRZ,JHW
The UK’s original magazine guitar tutor, EDVHGWKHQ-RQ%LVKRS¶VPDLQ RQWRR6HH\RXQH[WPRQWK
Phil’s something of a legend. A great feature this month is for you.
player he regularly plays guitar in the Using a metronome or click
Queen musical, We Will Rock You.
WUDFNLI\RXGRQ¶WKDYHDPHWURQRPH
PAT HEATH there are many smartphone apps
BIMM Brighton lecturer, ESP product WKDWSURYLGHDFOLFN-RQKDVGHYLVHG
demonstrator and all-round busy DVHWRIH[HUFLVHVWKDWDUHLQWHUHVWLQJ 1HYLOOH0DUWHQ(GLWRU
musician Pat takes over from Terry Lewis DQGUHZDUGLQJWRSOD\EXWZKLFKDOVR neville.marten@futurenet.com
on 30-Minute Lickbag. Welcome, Pat!
BRIDGET MERMIKIDES
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
DON’T MISS OUR AMAZING DIGITAL
examiner, a respected classical player
and award winning blues guitarist.
Our digital edition for iPad, iPhone, Kindle Fire and Nook is now e
JACOB QUISTGAARD
Royal Academy trained, Quist is a
superb player who can turn his hand to
any number of styles and topics. Look
out for his album Trigger in 2014!
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
degree of flash with consummate taste. Animated t ay t
Fin ing your way around the Most songs and l in of
TRISTAN SEUME magazine is easy. Tapping the the audio built in, with a accompan
One of ACM Guildford’s leading tutors feature titles on the cover or moving cursor showing you useful insight and additional
Tristan is also mega busy on the folk the contents page, takes you exactly where you are in the information. Once again, tap
circuit playing with Jackie Oates. His straight to the relevant articles. music. Simply tap the ‘play’ the play buttons to enjoy
brand new CD Middle Child is out now! Any web and email links in the button then you can fast- video masterclasses on your
text are tappable too! forward or scroll back at will. iPad or smartphone.
JOHN WHEATCROFT
A truly phenomenal guitarist John
heads up the guitar facility at Tech Music PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition
Schools in London. He’s a master at all regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can
styles but a legend in Gypsy jazz. also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).
July 2014 GuitarTechniques 5

& 21 7 ( 1 7 6 - 8 /<
LEARNING ZONE
LESSONS INTRODUCTION 53
Our music editor Jason Sidwell introduces this
month’s bulging Lessons section.
30MINUTE LICKBAG 54
BIMM’s Pat Heath has six tasty licks for you in
easy, intermediate and advanced flavours!
BLUES 56
Wheaty heads to Stovall’s Plantation to learn
the style of the mighty Muddy Waters.
ROCK 60
Martin Cooper unveils the playing of Reeves
Gabrels in Bowie’s unique Tin Machine.
CREATIVE ROCK 68
Shaun Baxter has another amazingly creative
lesson lined up for you... can you handle it?
SESSION 74
Andy Saphir switches genres again and looks
at folk acoustic playing in the studio.
R&B 78
Phil Capone’s new column kicks off with a
healthy dose of British R&B: this month it’s
Clapton, Beck and Page in The Yardbirds!
JAZZ 82
Pete Callard shows what the surprisingly
COVER FEATURE versatile diminished scale can do.
ACOUSTIC 88
SORT OUT YOUR TIMING Stuart Ryan looks at the acoustic guitar style of
... and be a better player! 16 American singer-songwriter Amos Lee.
Jon Bishop shows how you can use a ROCKSCHOOL 92
metronome or click track to significantly Charlie Griffiths winds up his A-Z with X, Y and
improve your timing and sense of rhythm. Z for X symbol, Yo scale and Ziltoidian tuning!
FEATURES REGULAR FEATURES VIDEO MASTERCLASS

WELCOME 5
SPECIAL FEATURE #2 Nev discusses the importance of good timing.
BOOST YOUR BLUES THEORY GODMOTHER 8

Using arpeggios 26 David Mead addresses your technical, musical
Jon Bishop demonstrates how you can turbo and theoretical issues.
charge your blues playing by introducing a TALKBACK 9
touch of arpeggiation. Tell us your views... how are we doing?
INTRO 10
TRANSCRIPTION #1 News, One-Minute Lick, 60 Seconds With,
What Strings, That Was The Year and more...
JOE WALSH BACK ISSUES 44
Funk 49 36 Missed one? See how you can get it – here!
It’s that man again! This time Jon Bishop
contributes a great version of a ‘70s James SUBSCRIPTIONS 51
Gang classic and Eagles live favourite. Save time and money – get GT delivered!
ALBUMS 95
TRANSCRIPTION #2 Top guitar CDs and DVDs reviewed and rated.
TAB GUIDE 96
EDVARD GRIEG Our terms and signs explained.
Solveig’s Song 46
Bridget Mermikides arranges and transcribes NEXT MONTH 98 THOMAS LEEB Part 1 64
for classical guitar this beautiful piece from Rock out with GN’R’s Welcome To The Jungle, Our awesome guest tutor shares some of his
Grieg’s much celebrated Peer Gynt Suite. plus The Kinks, string bending and more! coolest acoustic guitar secrets with you!

Q&A
Theory Godmother
Post your playing posers and technical teasers to: Theory Godmother,
Star LETTER PRIZE
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one of their brilliant pedals each
Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me month. Visit www.blackstaramps.
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Out Of Reach? EXAMPLES 1  4 only guess that this is the way offbeat
Dear Theory Godmother notation is taught over there. I was
I’m a bit concerned about the level of ¢ £ ¢ ™ ¢ ¡ ¢ ¡ taught to make each beat of the bar
reach I have with my fretting hand.
Example
1 .. .. stand out individually – the approach
I can stretch between the 5th and Guitar Techniques favours – but I guess
9th frets on an electric guitar with it’s a case of horses for courses, so be
not much of a problem, but I’ve seen prepared to meet both approaches.
pictures of players who seem to be E
B . 12 11 . There’s no difference in sound between
able to span much further. Is there a
recommended amount of reach - an
G
D
A
. 12 10 12 9 12 8
. the two but it may catch you out a few
times to begin with, so become used
average among players? Furthermore
E
to seeing it.
what are the limitations for players ¡ ™ ¡ £ ¡ ¢ ¡ ¢
who can’t span large chunks of the .. .. No Fret Threat
fretboard, and is it something I should Dear Theory Godmother
be worrying about in the first place? Recently, I have become interested
Jeff in fretless guitar, inspired by players
E
B . . like Guthrie Govan and Bumblefoot.
I’d ignore many of the pictures you see
of guitarists posing for the camera with
G
D
A
. 8 9 8 10 8 11 8 12
. However, comments from my fellow
players have been fairly negative, their
outrageous finger spans. I think that
E
main points circulating around the
at some point there must have been fact that fretless guitars are expensive
some sort of contest between players Example and quite rare to find. In view of this it
to come up with the most extreme 2 would be difficult to sit down and try
fretboard stretches in photographs 1 & 2 & 3 & 4 &
one before purchasing, and this would
and most of them have no practical mean ordering one either from a shop
application whatsoever! Example or online and hoping that I get on
As far as an average is concerned, 3 with it when it arrives on my doorstep.
I would say that being able to reach 1 & 2 & 3 & 4 &
I feel that I need to be aware of the
between the 5th and 9th frets is good pros and cons before committing
enough for most things. I’ve just picked Example myself and any input would be very
up a guitar and can stretch from the 4 valuable indeed.
5th to 11th frets at a push - but I don’t Tony
think I’d ever need to in the music that
I play. I’ve seen players with all manner The main thing to overcome, Tony, is
of hand shapes and sizes learn to play intonation. On a fretted guitar it doesn’t
well, so extreme stretches don’t seem to matter overmuch where we place our
factor much with overall ability. fingers when playing chords or single
I’d put more of an emphasis on notes, as it’s the fret itself that tempers
fretting hand flexibility in general and the pitch and keeps us in tune. Without
finger dexterity in particular. It’s far more frets to perform this task, however, we’re
important to have complete control Bar Talk of those occasions where there are responsible for exact positioning of our
over any given span than to aim for Dear Theory Godmother two ways of notating the same thing. fingers to produce the correct pitches,
some kind of gymnastic ability in terms I’ve enclosed a bar of music that has Could you clear things up, please? as you have to position your fingers
of reach alone. This can be approached been the source of a little confusion. Sam where the frets should be, rather than
with simple scale routines - learning It’s an excerpt from a solo that I found playing behind the frets as normal.
single, two and three octave scales will in a book and at first I thought it was I’ve reproduced the bar you sent me Chords can be a challenge, too; even
get the fingers used to finding their way a misprint, but looking at a few other as straightforward rhythm rather than open Em down at the nut can cause
across the guitar’s playing surface. transcriptions recently, I see it’s much pitches, Sam, as it makes it easier to upsets as the notes played on the fifth
If you want to consolidate your more common than I thought. read (Ex 2). You’re right in thinking that and fourth strings have to be parallel,
span, strengthen it and render it more The first 8th note of the bar is the quarter note sitting between beats played as a part barre and not as we’d
useable, then the exercises in Ex 1 will rested, but the second is a quarter 1 and 2 might also be shown as a tie (Ex normally play it using two fingers (Ex 4).
help. Do them over all six strings, move note. But how can this be right when 3) and that this is indeed an occasion I know that fretless guitars are quite a
them slowly down the fretboard and it seems to be tying the second half where there are two approaches to rare find, but I would advise you to seek
you’ll find that you’ll enhance what you of beat one with the first half of beat notating the same information. one out just to see if you think you’ll get
already have, maybe add a little more two? Shouldn’t they have used a tie? I started seeing the ‘in between on with it before spending money, only
stretch at the same time, and make your As I said, I’ve found this in other beats’ back in the 1980s, mainly in to find that it’s not the smooth ride you
fretting hand fighting fit! transcriptions and wondered if it’s one transcriptions from the US, and I can might have imagined.
8 GuitarTechniques July 2014

Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW.
Email: neville.marten@futurenet.com using the header ‘Talkback’.
REMEMBER TO LOVE STAR LETTER WRITE ONE AND WIN A PRIZE!

PLAYING
I would like to write about LEFTY, RIGHTY, RIGHTY, LEFTY? KD]DUGWKDWPDQ\ULJKWLHVVKRXOGJLYHOHIW\DJR
something that isn’t talked about so After nearly 30 years of playing, my technique was all Another thing it has made me appreciate is how
RIWHQ$V,¶YHEHHQVWXG\LQJPXVLF but destroyed by Focal Hand Dystonia, or Musicians’ GLI¿FXOWHYHU\WKLQJLVDWWKHVWDUW7KLVKDVKHOSHGPH
IRUDORQJWLPH,¶YHQRWLFHGLW¶VTXLWH &UDPS$IWHUJRLQJWKURXJKWKHREOLJDWRU\¿YHVWDJHV as a guitar teacher as well as player, to understand
common that you forget to enjoy RIJULHIZKLFKUHVXOWHGLQP\SDFNLQJLQOLYHSOD\LQJ the process students go through. It’s easy to forget
playing the guitar. With today’s DQGVHOOLQJDODUJHSURSRUWLRQRIP\JHDU,¿QDOO\ when you get frustrated at why one of them can’t
possibilities of the Internet where decided to man-up and try to learn left-handed. ¿QJHUDVLPSOHSRZHUFKRUG0D\EHDOOWHDFKHUV
you can see incredible players that 7KLVZDVSDUWO\LQVSLUHGE\DYLVLWWRWKHJUDYHRI VKRXOGÀLSWKHLUJXLWDUVRYHUGXULQJWKRVHHDUO\
GRSOD\DOPRVWDQ\WKLQJ\RXKDYH Gary Moore, who famously lessons with newbies, so
high standards of how you should played right-handed, despite they can empathise with
be able to play. Then sometimes I being a lefty (along with Mark what they are going through?
see students ending up only .QRSÀHUHWDO'HVSLWHWKH I’d be interested in your
thinking only about the technique. challenge and frustration - comments on the issue.
They forget to really listen to the expecting to be able to play 30 Damian Pieroni
sound, the phrasing, and trying to years of knowledge and
PDNHHYHU\QRWHVRXQGDVWKHPRVW technique within a week, and Sad to hear of your condition,
EHDXWLIXOQRWHVRPHRQHKDVHYHU KDYLQJWRKROGDQGYLVXDOLVH Damian, but it’s also great that
heard. It’s of course great to HYHU\WKLQJWKHµZURQJ¶ZD\ you are tackling it head on. On
practice to be a great guitarist but LWLVDFWXDOO\SURYLQJWREHD the lefty-righty debate it’s hard
it’s also worth remembering that rewarding experience. to know where to stand. The
technical excellence is only part of Despite the odd foray into complaint of ‘not enough
it; you also should think about your country or jazz, and religiously left-handed guitars’ has been
own personal unique sound and trying new things from your going on for years; the makers
how amazing it really is when you mag, my playing had reached a state, quite reasonably, that
get to play the guitar. bit of a rut. But now I’m getting Jason and Phil, both lefties who play righty! since lefties make up only 10
Tony Sunden to experience that wonderful percent of the population it’s
IHHOLQJDOORYHUDJDLQRIVKRZLQJSURJUHVVRQDGDLO\ not viable to offer them the same breadth of models.
So true Tony! I remember the late, great basis; learning power chords again, open chords, I’d be wary of advising a lefty beginner to go righty
Gary Moore talking to me about people playing notes... mastering Smoke On The Water! though as, even though it would make life easier in the long
learning to play and mistakenly 7KHPRVWDZNZDUGWKLQJVRIDUKDVSURYHQWREH run, the fear is he or she might have been a genius that way
concentrating on speed or technique simple things that feel alien; like holding the pick, the round. That said, the number of top lefties playing righty is
first. He said something like, “If you don’t feel of the guitar being on the other shoulder etc. In high – including our own Phil and Jason too (above).
learn to play well, slowly, your fast WHUPVRIP\ULJKWKDQGLWKDVSURYHQIDUPRUH The other thing, of course, is to use a right-handed
playing will always sound a mess.” He capable of doing things like holding down chords and guitar upside down (Otis Rush, Albert King); and yet our
meant exactly what you said, that HYHQOHDGWHFKQLTXHVOLNHKDPPHURQVDQGSXOORIIV John Wheatcroft stayed lefty and is phenomenal. And of
players should learn to create beautiful than my left hand did in the early stages. After a course we have Michael Angelo Batio, whose ‘left and right’
single notes – no string noise, no PRQWK,¶PDOUHDG\DWDVWDJH,ZDV¿UVWWLPHURXQG double-neck playing is a thing to behold!
buzzing, good vibrato, accurate bends DIWHUVL[RIFRXUVHDOUHDG\KDYLQJDOOWKHNQRZOHGJH As for teachers flipping over for their beginner students,
etc – before speeding up. How many KHOSV6RDUHPDQ\RIXVPLVVLQJDWULFNZKHQZH I’m not sure about that one. What do our illustrious readers
times do GT tutors say “learn it perfectly automatically plump for a righty? And should the have to say on the lefty-righty topic?
at a slow tempo before trying to speed guitar market produce more left-handed guitars?
up, or you’ll simply embed poor (YHU\WKLQJIHHOVDZNZDUGLQWKH¿UVWIHZPRQWKV
technique and phrasing into your anyhow, but as the right hand is naturally the
STAR LETTER PRIZE
Our friends at Sound Technology
playing”? So, well said! stronger, and will be doing most of the work, doesn’t
are donating a fab DigiTech
it make more sense to make this your fretting hand?
HardWire pedal to our Star Letter
I know many lefties go righty simply because it’s
writer every month.
easier to get hold of that desirable guitar, but I’d
actual playing. Also, Marty's answer slightly tongue in cheek, in order to elicit
SENSE FROM MARTY to the 'Is there anyone's playing some kind of response. And we are
-XVWZDQWHGWRVD\,UHDOO\ORYHG SDVWRUSUHVHQWWKDW\RX
UHVOLJKWO\ always delighted when a great player
Marty Friedman's take on many of jealous of?' question is also an engages with them – some take them
WKHµ:KDW6WULQJV'R<RX8VH"¶ indication of his true commitment very seriously, others like to have a bit of
TXHVWLRQV-XQH+LVDQVZHUV to music. I know that question is a joke while others have been known to
highlight the fact that, in the end, probably meant to be tongue in shrug them off and not give them the
the equipment is secondary to being cheek but, as Marty says, anyone time of day. We like to print exactly what
DPXVLFLDQDQGORYLQJPXVLF:H who is jealous of another person is they say, as we feel these funny little
all probably know of people who seriously missing the point! Q&As offer perhaps a better insight into
Gary Moore: a KDYHVWDFNVRIHTXLSPHQWDQGVSHQG Yuri Unkovich, Dublin a player than the standard interview. It
lefty-righty with most of their practice time was also quite funny in the same issue
a superb touch, adjusting, tweaking and resetting Marty certainly told it like he saw it, how Guthrie Govan admitted he’d
slow or fast!
OHYHOVWRWKHGHWULPHQWRIWKHLU didn’t he? Yes, many of the questions are evaded most of them!

*8 , 7$ 5 7 ( &+ 1 ,48 ( 6 - 8 /<
Jam tracks tips

Use these tips to navigate
our bonus backing tracks.
1 G Dorian tom tom groove
This backing track features two
chord progressions: Gm7-C (with a
brief reference to F/C before C each
time) with a middle section of
Dm7-Bbmaj7-C-Fmaj7. It finishes
with an F chord so while it’s in F
major, the majority of your playing
will be based in G Dorian (G A Bb C D
Randy California: is E F), so use either this or G minor
his song Taurus the pentatonic (G Bb C D F).
basis for Stairway?
2 Funky Clav and Latino Groove
in A minor
Dispute over Stairway To Heaven This mostly features F/A-Am so A

minor pentatonic (A C D E G) or A
natural minor (A B C D E F G) will
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both work. The Latino sections are
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LVEHLQJWDNHQRQEHKDOIRIGHFHDVHG6SLULWJXLWDULVW GHVFULELQJ6WDLUZD\WR+HDYHQDVD³ULSRII´VKRUWO\ minor tonality with either D minor
5DQG\&DOLIRUQLD6SLULWUHOHDVHGDWUDFNFDOOHG7DXUXV EHIRUHKHGURZQHGLQZKLOHVDYLQJKLV\HDUROG pentatonic (D F G A C) or D natural
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LQWURRQWKHLUHSRQ\PRXVGHEXWDOEXPEDFNLQ 7KHFRQWURYHUV\FRPHVRQWKHHYHRI/HG=HSSHOLQ final E7 links this section back to the
=HSS¶VHLJKWPLQXWHPDJQXPRSXVZDVZULWWHQDURXQG UHOHDVLQJQHZUHPDVWHUVRIWKHEDQG¶V¿UVWWKUHH funky clav main groove.
DQGDFFRUGLQJWR%ORRPEHUJ%XVLQHVVZHHNZHQW DOEXPVLQFOXGLQJFRPSDQLRQGLVFVZLWKDOWHUQDWLYH 3 Classical Big Up groove track
RQWRHDUQWKHEDQGPRUHWKDQP1HLWKHU/HG YHUVLRQVRIPDQ\WUDFNV1ROLYHVKRZVDUHSODQQHG in C minor
Big orchestral strings and dance
percussion enhance this repeating
New IGF residential courses 7ROLV=DYDOLDULV$FRXVWLFZLWK

&KULV:RRGVDQG$GYDQFHG
Cm-G7 vamp with Bb/Ab-Ab-Fm6-
Cm/G-G7 ending it each time. Stick
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Bb) or explore how C harmonic
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minor (C D Eb F G Ab B) can work to
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enhance the G7 chord. The more
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4 Univibe brushes blues in Bb
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FRANS SCHELLEKENS / REDFERNS / GETTY IMAGES
This is a simple 12-bar in the key of

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PHIL HILBORNE’S ONE-MINUTE LICK TWISTING JAZZ-BLUES LICK

This month we see a descending jazzy-blues lick in the are all chord tones taken from E9 (E G# B D F#).
key of E, played against an E9 chord. Overall this can be Even though the lick is generally descending, the internal
viewed as using notes from the E blues scale (E G A Bb B line of notes changes direction quite a bit. Rhythmically,
D); however, there is also the major 3rd (G#) added as all the 8th notes should be played with a ‘swing’ feel, as
a chord tone and the note C# (major 6th) for additional indicated in the notation. After mastering this lick don’t
colour. As you play through it, notice the frequent use of forget to compose similar ideas of your own, in as many
open strings – these are mostly used as pedal tones and keys as you can.
–
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60Sends wi...
Before he jumped in his limo for the airport, we grabbed a quick minute
and chucked a bunch of questions at NIGE MELLOR, of Brothers Groove
GT: Who was your first influence
to play the guitar?
NM: My first real moments with
guitar, where I imagined it was
me playing, were David Gilmour
and Eric Clapton songs and solos.
I was definitely a guitar player at
8-10 years old, long before I
picked one up at nearly 16.
GT: What was the first guitar
you really lusted after?
NM: It was a sunburst Les Paul
just like Jimmy Page’s. I ended up
buying a black Kay catalogue Les
Paul for my first guitar. It was
another 7-8 years before I got the
real deal – a 1969 Les Paul in
sunburst.
GT: What was the best gig you
ever did?
NM: I’d like to think it was the last
one, you know, still progressing.
There are quite a few gigs that
are memorable but it is never
because of who, or how many
people are there, or how nuts the
crowd is. They are memorable
because of the interaction
and feel between us and the Nige Mellor:
split-second decisions we grooving with
his Strat!
make live.
GT: And your worst playing
nightmare? have to re-boil the thing. fantasy band with you in it, who Yeah, for its power and statement
NM: I think an amp going down is GT: Do you have a pre-gig would the other players be (dead it would have to be Jimi Hendrix
the biggest pain, even if it is one warm-up routine? or alive)? Star Spangled Banner (American
of the others guys’ amps as it can NM: No not really. We tend to NM: I know it sounds cheesy but Anthem) live at Woodstock. Take
really disrupt the flow of a spend no time at all on sound the guys I am with are a bit special one guitar and say “up yours” to
musical moment. checks so we don’t play and we all appreciate one another the warmongers.
GT: What’s the most important unnecessarily. But if I haven’t had in that way. In my 30 years of GT: What’s the solo or song of
musical lesson you ever learnt? a chance to play for a few days, playing I don’t think I have come your own of which you’re most
NM: Listen to everyone and find I’ll loosen my fingers up with a few across guys who can react to what proud?
your own space. chromatic exercises in the green one another do so well. NM: Will I See You There, off Play
GT: Do you still practise? room beforehand. GT: Who’s the single greatest The Game. I left plenty of
NM: Yeah, I tend to practise a lot GT: If you could put together a guitarist that’s ever lived? breathing room in that one.
unplugged around the home. NM: If I was forced to do a single it GT: What would you most like to
Even when I’m watching a film There are quite would have to be Jimi Hendrix
because he had the blues thing
be remembered for?
a few gigs that are

sometimes, I’ll still have the NM: Being kind.
chord changes going on in my down, the expression, he could
Brothers Groove’s new album Play
head. I’ll walk to the kitchen to memorable, but it groove and was an innovator.
There are many innovators I would
The Game is out now, and Nige
is never because of
make a cup of tea with the guitar and the band are currently on tour
still round my neck. I switch on like to mention here though, and
around the country. Catch this
the kettle and play while I wait
who, or how many some are of our time.
GT: Is there a solo you really wish
award nominated group if you can
AL STEWART
people are there

for it to boil. It boils and I quite – go to www.brothersgroove.org
often carry on playing and then you had played? for more details.

What Strings Do You Use?
ANDREW WATT
We ask a great guitarist all those <RXVD\RQHEXW,VD\,KDYHtwoKDQGV0\ $:,KDYHEHHQXVLQJ'¶DGGDULRVHWV
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little questions you really want QHHGLQWKLVOLIHRIVLQ ¿UVWDQGVHFRQGVWULQJVIURPDSDFNRIWR
the answers to…This month: GT: What’s your favourite amp and how do JHWDOLWWOHPRUH¿JKWRXWRIP\OHDGV,XVHWKDW
Andrew Watt of California Breed you set it? VHWXSRQDOOP\HOHFWULFJXLWDUV±DK\EULGVHW
GT: Do you have a type of pick that you can’t $:,KDYHDVPDOOROGV9DOFRPDGH6XSUR, )RU$FRXVWLF,XVH'¶$GGDULR3KRVSKRU
live without? (Make/gauge and why) DPREVHVVHGZLWK,SLFNHGLWXSLQ6DQ)UDQ %URQ]H±DJDLQLW¶VDOODERXWUHOLDELOLW\
$:1RSH«JLYHPHDQ\WKLQJPHGLXPWRKDUG ,WKDVWZRNQREVWRQHDQGYROXPH/HVVLV
Andrew Watt is the 23-year-old lead guitarist
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of California Breed, the exciting new power
GT: If you had to give up all your pedals but R¶FORFNDQG9ROXPHall the way up!
trio featuring Glenn Hughes on bass and
three, what would they be? (And why) GT: What kind of action do you have on your vocals and Jason Bonham on drums. Their
$:1XPEHUZRXOGEHP\8QLYR[ guitars? (Any particular quirks etc?) debut self-titled album, produced by Dave
6XSHU)X]]EHFDXVHLW¶VWKHJQDUOLHVWIX]]RIDOO $:5HODWLYHO\ORZEXWWKHUH¶VJRWWDEHURRPWR Cobb (Rival Sons), is released by Frontiers
WLPH2QHVLGH\RX¶YHJRW7RZQVKHQG/LYH$W UHDOO\GLJLQ Records in the UK on May 19th. More info:
/HHGVDQGZLWKDÀLSRIDVZLWFK\RX¶YHJRW GT: What strings do you use? www.californiabreed.com
&RUJDQRQ*LVK%HVWRIERWKZRUOGVIRUPH
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Having a cable crap

out on you onstage is
pretty much the worst
feeling. I use Mogami
GT: Do you play another instrument well
enough to do so in a band?
$:%DVVZDVDFWXDOO\P\¿UVWLQVWUXPHQW,
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GT: If a music chart were put in front of you,
could you read it?
$:6ORZO\EXWVXUHO\«
GT: Do guitar cables really make a
difference? What make are yours?
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GT: Is there anyone’s playing (past or
present) that you’re slightly jealous of?
$:3DXO.RVVRIISHUIHFWSKUDVLQJDQG
YLEUDWRIRUGD\V Andrew Watt
MICK ROCK
with his 1962

GT: Your house/studio is burning down: Gibson SG Special
which guitar do you salvage?

Lags, Lazers And
Lancashire
THE WESTONE CLIPPER CL3012 is just
the job if you’re strapped for cash. A
Telecaster style body shape but with
sharper cutaway, it combines a single-coil
Alnico pickup with an Alnico humbucker at
the bridge. The humbucker also benefits
from three-way on/off/coil-tap switching
and the guitar also features a
Bendmaster Deluxe tremolo system.
MARGARET THATCHER BEGINS her Ask Buzz Feiten questions!
third term as Prime Minister; US %X]])HLWHQ*XLWDUVLVQRZRIIHULQJ SDJHZZZIDFHERRNFRP
President Ronald Reagan’s fitness comes
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surgery, but just a few weeks later he
challenges Russian Premier Mikhail Gorbachev to demolish the WKHOHJHQGDU\%X]])HLWHQKLPVHOI %X]])HLWHQ7XQLQJ6\VWHPZKLFK
Berlin Wall; special envoy Terry Waite is kidnapped in Beirut; and :KHWKHUWKH\¶UHWHFKQLFDO LVXVHGE\PDQ\WRSOHYHOVWXGLR
New Zealand declares itself a Nuclear Free Zone. TXHVWLRQVDERXWJXLWDUV JXLWDUSOD\HUVDQGJXLWDU
FRENCH GUITAR MANUFACTURER LAG introduces the SHUIRUPDQFHTXHVWLRQVIURP PDQXIDFWXUHUVDURXQGWKHZRUOG
Rockline Lazer which brings an impressive body finish to their SOD\HUVRULQTXLULHVDERXW¿QHO\ WRFRUUHFWLQWRQDWLRQDQGWXQLQJ
popular ‘Superstrat’ model. The guitar also features two FUDIWHGLQVWUXPHQWVSOD\HUVDUH SUREOHPV7KHV\VWHPDOORZVWKH
single-coils and a humbucker from Seymour Duncan along with HQFRXUDJHGWRVXEPLWWKHLU JXLWDUWRSOD\LQWXQHDQ\ZKHUHRQ
a Floyd Rose vibrato system and string locking nut. With just TXHVWLRQVWRMRH#EX]]IHLWHQ WKHIUHWERDUG%X]])HLWHQJXLWDU
Volume and Tone controls and a five-way pickup selector switch JXLWDUVFRPWKH¿UVWZLOO SOD\HUVLQFOXGH9LQFH*LOO'HDQ
its circuitry is considerably simpler than some of the company’s UHFHLYHDIUHH%X]])HLWHQ*XLWDUV 3DUNVDQG3DXO%DUHUUH9LVLW
other Rockline models. 7VKLUWDQGVHHWKHLUDQVZHUV ZZZEX]]IHLWHQJXLWDUVFRPIRU
ALBUM RELEASES INCLUDE Gary Moore – Wild Frontier, SRVWHGRQ%X]])HLWHQ¶V)DFHERRN IXUWKHULQIRUPDWLRQ
Michael Jackson – Bad, Pink Floyd – A Momentary
Lapse Of Reason, George Michael – Faith, Deep
Purple – The House Of Blue Light, The Smiths – The
World Won’t Listen and Louder Than Bombs,
It’s all in the fingers!
Santana – Freedom, Bryan Adams – Into The Fire, ,I\RX¶UHORRNLQJIRUPRUH¿QJHU
Level 42 – Running In The Family and U2’s The H[HUFLVHVWRKRQH\RXUWHFKQLTXH
Joshua Tree. The single release video for Where The $VKNDQ0DVKKRXU¶VQHZERRN
Streets Have No Name is shot on a rooftop in Los Angeles *XLWDU)LQJHUV
inspired by The Beatles’ rooftop concert of 1969. The Doobie ZRXOGEHDJRRGSODFHWRVWDUW
Brothers and Lynyrd Skynyrd reform. *XLWDU)LQJHUVOD\VRXWWKH
THE EAST LANCASHIRE HERITAGE RAILWAY is opened, IRXQGDWLRQVIRUOHIWDQGULJKW
running a steam service between Ramsbottom and Bury; racing KDQGWHFKQLTXHVDQGFORVHO\
jockey Lester Piggott is jailed for tax evasion; Microsoft releases ORRNVDWWKHPHFKDQLFVRIHDFK
Windows 2.0; Star Trek – The Next Generation is syndicated for WHFKQLTXHXQGHUDPLFURVFRSH
American TV; and contracts are signed allowing the construction SLQSRLQWLQJVSHFL¿FDUHDVWRZRUN
of the Euro Disney Resort outside Paris.
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JIM MARSHALL CELEBRATES 50 years in music and 25 years of SLFWXUHVDQGGLDJUDPVSOXV
producing amplifiers; Fender opens its Custom Shop for VKRUWH[HUFLVHVGHVLJQHGWR EHWWHULQJWKHPRWRUVNLOOVLWFDOOV
business; Elton John undergoes throat surgery; and inducted
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into the Rock and Roll Hall of Fame this year are Eddie Cochran,
Ricky Nelson, Roy Orbison and Bill Haley and at last a woman is JRDORIJUDGXDOO\GHYHORSLQJDQG PRGHUQJXLWDULVW
included - Miss Aretha Franklin.
THE REFERENCE 600 COMBO BY DYNACORD stands out as it
sports a handsome Toffee Apple Red lacquer. This two-channel
HOT FOR TEACHER YOUR RGT TUTOR
tube amp is built in Germany and has separate controls for each Who? Bob Ralston Town: Eltham, London
channel, making it Styles Taught: Rock, pop, blues, jazz
ideal for setting up Speciality: Rock and blues Qualification: BA
clean and dirty sounds. (Hons) Music, PTTLS Levels: Beginners to
It possesses huge tonal advanced electric and acoustic, RGT electric
ability and the 12-inch and acoustic grades up to Grade 8
speaker performs with Sight-reading: Beginner to intermediate
authority. A rack mount Charges: £30 per hour - Discounts and skype
version is also available lessons available Special: Fully-equipped
and the build quality is music room Tel: 07932 686781
Teutonically excellent! Email: bob@guitar-coach.com

PLAY: TIMING ON THE CD TRACK 4-17
Perfect Your Timing!

Timing is vitally important but often overlooked in the practice
room. Jon Bishop shows you how to significantly improve your
groove and time feel using just a metronome or click track.
ABILITY RATING \RXDUHLQWKHEDU,W¶VWKHQWLPHWRSUDFWLFH WLPH7U\VWDUWLQJRXWDWESPDQGWKHQ

your chosen vocabulary (scales, arpeggios or UHGXFHWKHWHPSRE\ESPLQFUHPHQWV<RX
Moderate FKRUGVLQWKHVXEGLYLVLRQRI\RXUFKRLFH PD\¿QGWKDWWKLQJVVWDUWWRJHWWULFN\DW
Most guitar players will probably select either DURXQGESPRQHEHDWHYHU\WZRVHFRQGV
INFO WILL IMPROVE YOUR WKQRWHVTXDYHUVRUWKQRWHVVHPL DQGDWESPWKHUHLVRQHFOLFNHYHU\WKUHH
KEY: Various Time keeping TXDYHUVDVWKHVHVXEGLYLGHQLFHDQGHDVLO\ seconds! The other thing we can do is remove
TEMPO: Various Internal clock To help you get more out of this style of 4/4 FOLFNVDQGWKLVDJDLQPDNHVOLIHGLI¿FXOWDQG
CD: TRACKS 4-17 Overall feel and groove PHWURQRPHSUDFWLFH)LJXUHOLVWVDOORIWKH WHVWVRXULQWHUQDOFORFN
main metric subdivisions in a pyramid style Have fun trying out your skills with this
THE METRONOME IS a handy tool that WDEOH<RXFDQVWDUWDWWKHWRSRIWKHS\UDPLG PRQWK¶VDXGLRH[DPSOHV7KHUHDUHEDFNLQJ
provides a time reference in the form of a and move through the subdivisions, which tracks provided for all the exercises, and these
constant click, and this can usually be set to a means you will be playing slightly faster each FRQVLVWRIDRQHEDUFRXQWLQDQGWKHFOLFN
VSHFL¿FWHPSR0XVLFLDQVRIDOOGLVFLSOLQHV track as notated above the stave in the
have used metronomes to improve their This feature has been QRWDWLRQ7KHJXLWDUSHUIRUPDQFHVKDYHEHHQ
WLPLQJDQGHYHQRXWWKHLURYHUDOOWLPHIHHO notated, but these parts are for the most part
We guitarists can be fearful of the designed to stretch your time RQO\DJXLGH)HHOIUHHWRSOD\ZKDWHYHUFRPHV
PHWURQRPH,W¶VEUXWDOO\KRQHVWDQGLW¶VDOVR keeping skills and also find QDWXUDOO\WR\RX7KHPDLQDLPLVWRORFNLQ
linked in the minds of many, with laborious ZLWKWKHFOLFNDQGZRUNRQ\RXULQWHUQDOFORFN
VFDOHDQGDUSHJJLRSUDFWLFH6RWKLVIHDWXUH new and exciting ways to use 7KHH[HUFLVHVEXLOGLQGLI¿FXOW\ZLWKWKH%HDW
KDVEHHQVSHFL¿FDOO\GHVLJQHGWRVWUHWFK\RXU a metronome for practice. %OXHVLQ([HUFLVHEHLQJSDUWLFXODUO\
WLPHNHHSLQJVNLOOVEXWDOVR¿QGQHZDQG FKDOOHQJLQJ5HGXFLQJWKHDPRXQWRIFOLFNV
H[FLWLQJZD\VWRXVHDPHWURQRPHIRUSUDFWLFH WLPH7ULSOHWVDUHRIWHQRYHUORRNHGLQWKLV this much may take a few sessions to get used
Guitarists are notorious for speeding up or VW\OHRIPHWURQRPHSUDFWLFHVR\RXPD\¿QG WRVRGRQ¶WZRUU\LI\RXGRQ¶WQDLOLW¿UVWWLPH
SOD\LQJµLQIURQWRIWKHEHDW¶7KLVVRXQGV that this exercise really helps with developing 7KH¿QDOMDPWUDFNLVDJDLQDJRRGWHVWDQG
jumpy and unsure, whereas those that play ‘in \RXUUK\WKPLFYRFDEXODU\7RKHOS\RXWR IXQWRSOD\6LPSO\OHDUQWKHXQLVRQULIIDQG
WLPH¶RUHYHQµEHKLQGWKHEHDW¶VRXQGIDUPRUH subdivide the beat aurally, some popular then count those missing beats!
UHOD[HGFRQ¿GHQWDQGSURIHVVLRQDOVRWKLV methods have been written in above the stave,
lesson could be your most important yet! IRUH[DPSOHVHPLTXDYHUVFDQEHFRXQWHG
And in this modern age there are great H D±H DHWF
GET THE TONE
metronome applications for smart phones and 7KLVPRQWK¶VWDEDQGDFFRPSDQ\LQJDXGLR
tablets; these allow unprecedented control demonstrate some other ways we can exploit
over tempo, the amount of clicks, time the metronome in practice sessions, and these
4 6 7 7 3
VLJQDWXUHFOLFNWRQHDQGIHHOHWF,QDGGLWLRQWR exercises build on the standard subdivision of GAIN BASS MIDDLE TREBLE REVERB
WKHVHµRQWKHJR¶DSSOLFDWLRQVLWLVDOVRTXLFN SUDFWLFHRXWOLQHGLQ)LJXUH When practising with the metronome, any
DQGHDV\WRSURJUDPDVHTXHQFHUOLNH/RJLFRU The main idea here is to work on your guitar that you feel comfortable with, will work
&XEDVHIRUPRUHFRPSOH[FOLFNH[HUFLVHV internal clock and we can do this by reducing nicely. It is a good idea to plug electric guitars
The standard way most musicians use a the amount of click information that the into an amp during practice sessions so that
metronome is to pick a desired tempo with a PHWURQRPHSURYLGHV7KHELJJHUWKHOHQJWKRI any muting issues are made obvious. To get
WLPHVLJQDWXUH<RXPD\¿QGSODFLQJDQ time between clicks, the more we have to the tone of the guitar performance on the jam
track simply select your neck or bridge pickup
accent on beat one (usually a click with a VXEGLYLGHLQWHUQDOO\WRVWD\LQWLPH7KH and set up a crunch orientated overdrive.
different tone) will help you remember where slower the tempo, the harder it is to stay in
TRACK RECORD Records that feature examples of guitarists with a great time feel are numerous and you will have your favourites.
Guitarists like Eddie Van Halen, Robben Ford and Ty Tabor from Kings X are all worth checking out, as are Hendrix, Clapton, Al Di Meola,
ISTOCK
Michael Landau etc. Tommy Emmanuel’s timing is incredible, too, as is that of Guthrie Govan and Wayne Krantz.

PERFECT YOUR TIMING!
REXFEATURES / EAST NEWS
Al Di Meola: a
true titan of
syncopations
and mixing
sub-divisions!

FIGURE 1 METRIC PYRAMID
SEMI-BREVE / WHOLE NOTE

1 2 3 4
MINIM / 1/2 NOTE

1 2 3 4
CROTCHET / 1/4 NOTE

1 2 3 4
CROTCHET TRIPLET / 1/4 NOTE TRIPLET

1 & a 2 & a
3 3
QUAVER / 8TH NOTE

1 & 2 & 3 & 4 &
QUAVER TRIPLET / 8TH NOTE TRIPLET

1 & a 2 & a 3 & a 4 & a
3 3 3 3
SEMI-QUAVER / 16TH NOTE

1 e & a 2 e & a 3 e & a 4 e & a
SEMI-QUAVER SIX DUPLET / 16TH NOTE SIX DUPLET

Ta Ki Ta Ta Ki Ta etc
6 6 6 6

EXERCISE 1 SEMIQUAVER SUBDIVISION TRACK 4
For these semiquaver ideas, each bar concentrates on a different down, up, down, up strumming pattern. You may wish to play mute strokes
subdivision and using the correct strumming direction can really help. The for all the missing 16th notes in the bar to start with, but the Holy Grail is to
count of ‘1 e & a’ refers to the four semi-quavers and these are played with a be able to play these examples accurately as demonstrated.
Clean with middle pickup

Click

Am
‰. ‰. ‰. ‰. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ . ‰ . ‰ . ‰ .
F
Count 1 e & a 2 e & a 3 e & a 4 e & a
E 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
D
A
E
1
EXERCISE 2 1 BAR CLICK OUT TRACK 6
This second exercise works on developing your internal clock. The first click in bar three. Any discrepancy in your internal clock will show up and
bar has the click in but the second bar has the click removed. You will you may find this exercise deceptively tricky. Most guitar players rush
need to count the beats internally and play in time until you re-join the ahead, so be mindful of this when you are practicing and playing.
©»¡ºº Clean with middle pickup

Click

Am . . . . . .
‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
F
Count 1 & 2 & 3 & 4 &
E 5 5 5 5 5 5 5 5 5 X 5 5 X 5 5 X X 5 X 5 5 X 5 5 X X 5 5 5 5
B 5 5 5 5 5 5 5 5 5 X 5 5 X 5 5 X X 5 X 5 5 X 5 5 X X 5 5 5 5
G 5 5 5 5 5 5 5 5 5 X 5 5 X 5 5 X X 5 X 5 5 X 5 5 X X 5 5 5 5
D
A
E
1

EXERCISE 3 1 BAR CLICK OUT PART 2 TRACK 8
This example follows on from the previous one and ‘ups the ante’ a reference, and then you are on your own until bar two. This kind of
somewhat by removing the clicks in the first bar. This exercise will really semiquaver popping line is common in funk and pop and can be very
prove how good your internal clock is, as you only have the count-in as effective. Go through it several times until you feel your timing relax.
©»¡ºº Clean with middle pickup

Click

D7
#
F
E
B 10
G 7 7 7 7 9 11 11 9 7
D 7 9 X X X 9 7 9 7 9 X X 9
A
E
1

#
œ œ œ
E
B
G 7 7 7
D 7 9 X X X 9 7 9 9 7 7 9
A 9 9 7 5 7 5
E
3
7
EXERCISE 4 PRACTISING WITH A SWING FEEL TRACK 10
In swing music the accents are shifted from beats 1 and 3 to beats 2 and naturally hear the click as beat 1 and it will take a fair bit of practice to
4. To accentuate the accents on beats 2 and 4 we can place the click of the lock into the click representing beat 2 and 4 not 1 and 3. Secondly, there
metronome on these beats. This placement of the click on beats 2 and 4 are half as many clicks per bar so your internal clock is tested as you will
presents a couple of key challenges. Firstly there is no click on beat 1 and need to feel where beats one and three are internally, as they are not
this can be very disconcerting if you are not used to it. You may find you represented aurally. Some jazz guitar legends favour this a lot!
©»¡¶º Neck pickup with Leslie speaker effect

Click Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ
b b b b
B 7 Bdim7 C m7 D dim7 D m7 G9 C m7 F9 B m7 B 7
...
‰‰ ‰ ‰ ‰ ‰
n . œ œ œ
F
E
B 6 6 8 8 10 10 8 8 6
G 7 7 8 9 10 10 8 8 6 7
D 6 6 8 8 10 9 8 7 6
A 11 10 9 8
E 6 7 8 9 10 9 8 6
1

EXERCISE 4 PRACTISING WITH A SWING FEEL ...CONTINUED TRACK 10
Œ Œ Œ Œ Œ Œ Œ Œ

b
E maj7 E m7b b
B m7 B 7 b G9 Cm7 F9 B m7 b B 7 b
b ‰
‰ ‰ ‰ ‰
E
B 8 7 6 6 10 8 8 6
G 7 6 6 7 10 8 8 6 7
D 8 8 6 9 8 7 6
A 6 6 9 10 9 8
E 6 9 8 6
6
EXERCISE 5 SLOW TEMPO PRACTICE TRACK 12
This may come as a surprise to some, but slow tempos are actually harder in time is to sub-divide each beat. Count 1, 2, 3, 4 out loud in-between
to play accurately than fast tempos. This exercise is played at 30 bpm and the clicks until you have it consistently correct. You can then internalise
that means there are two seconds between each beat. The trick to staying this subdivision and play along accurately.
©»£º Clean with neck pickup

Click

. # . .
‰ ‰ ‰
F
E 8 7 10 9 8 7 8 7 7 8
B 6 6 8
G
D
A
E
1
EXERCISE 6 THE BEAT 1 BLUES TRACK 14
The 12-bar blues offers a familiar playing field for practising our skills. Here click notation above the stave to see how the form is represented with
the click has been programed to give us beat 1 of the bar. This is hard to clicks. You can of course play any rhythm or lead guitar ideas that follow
play along with, as you will need to feel where beats 2, 3 and 4 are. To make the 12-bar blues form. Why not try this idea with other songs you know.
things even tougher, some of the bars have no click at all! Check out the It is a really good test and very rewarding once mastered.
©»¡ºº Swing feel

With fingers Œ Œ Œ Œ

A7 D7 A7
# ‰
w .. .
F
E 5 7 5
B 5 7 5 5 7 5 7 5 8 X 8
G 5 7 5 6 X 6
D 5 7 5 0 5 7 5 7 5 7 X 7
A 0 0 0 0
E
1

EXERCISE 6 THE BEAT 1 BLUES ...CONTINUED TRACK 14
Œ Œ

D7 A7
# œ ‰ ‰
.. .. .
E 5 7 5 7 5 5 7 5 7 5
B 5 7 5 7 5 8 X 8
G 5 7 5 7 5 5 7 5 7 5 6 X 6
D 0 0 5 7 5 7 5 7 X 7
A 0 0 0
E
5
Œ Œ Œ
E7 D7 A A7 D/C # F7 E7 b
E 7 E7 B 13b A 13
#
3
‰
w b
E 7 9 7 5 7 5
B 5 5 8 7
G 7 9 7 5 7 5 6 6 7 8 7 6 7 7 6
D 7 X 5 X 7 7 6 5 6 6 5
A 7 5 9 8 X 7 X 6 7
E X 6 5
9
EXERCISE 7 JAM TRACK TRACK 16
This final exercise is fun to play and a real test of your internal clock. A count before the band comes back in. This gap incrementally increases as
simple single-note riff is played and then there’s a gap before it ‘s repeated. the piece progresses. You will need to count a whopping three-bar gap
Check out the notation as this contains how many beats you will need to starting in bar 20 and getting this right may take some practice. Good luck!
©»¡¡º E7
~~~
‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰
œ œ œ #œ # œ
ƒ Neck pickup with light overdrive ~~~ Count 1 & 2 & 3 & 4 &
E
B
G
D 7 9 5
A 7 5 7 5 6 7 5 7
E 7 4 5 6 7
1

EXERCISE 7 JAM TRACK ...CONTINUED TRACK 16
~~~
‰ ‰œ ‰ ‰ ‰ ‰ ‰ ‰ ‰
œ œ œ # # œ
E
~~~ Count 1 & 2 & 3 & 4 & 2 & 2 & 3 & 4 &
B
G
D 7 9 5
A 7 5 7 5 6 7 5 7
E 7 4 5 6 7
5
~~~
‰‰ œ ‰ ‰ ‰ ‰ ‰ ‰
œ œ œ œb n .
E
~~~ Count 1 & 2 & 3 & 4 & 1 & 2 e &a 3 & 4 e&a 1 & 2 & 3 e & a 4
B
G
D 7 9 5
A 7 5 7 5 6 7 5 7 5 7 7 7 7 7 7
E 7 4 5
10
~~~
A7
‰ ‰œ ‰ ‰ ‰ ‰ ‰
œ œ œœœ
E
~~~
B
G 7 9 5
D 7 9 5 5 6 7 5 7
A 7 5 7 5 6 7 5 5 7 7 7 7
E 7 7
15
~~~
‰ ‰ ‰ ‰ ‰ ‰
#œ #
E
~~~ Count 1 & 2 & 3 & 4 & 2 & 2 & 3 & 4 & 3 & 2 & 3 & 4 &
B
G
D 5 6 7 5 7
A 7
E 4 5 6 7
19
E7
~~~
‰ ‰ œ ‰ ‰
œ œ œœœ œ œ
E
~~~
B
G
D 7 9 5
A 7 5 7 5 6 7 5 5 7
E 7 7 7 5 3 0
24

PLAY: ARPEGGIOS ON THE CD TRACK 18-25
Using Arpeggios In Blues

In this boot-camp style feature Jon Bishop shows how to use
arpeggios in your blues soloing, to boost your knowledge and
technique and make you sound more interesting and musical.
ABILITY RATING techniques such as bending and vibrato. ¿QGWKHDUHDVZKHUHWKHDUSHJJLRVOLQNXS

In this workout we are going to use the QLFHO\([DPSOHVDQGLQWKHWDEDQGDXGLR
Moderate/Advanced blues form as a foundation to practise using demonstrate this approach using simple
arpeggios with a view to incorporating these quaver (8th note) rhythms. Try learning these
INFO WILL IMPROVE YOUR ideas into future solos and improvisations. H[DPSOHV¿UVWDQGWKHQEUDQFKRXWLQWR\RXU
KEY: C Arpeggio fingerings Figure 1 (page 28) outlines four, easy-to- own improvised versions. Remember this is a
TEMPO: 130bpm Ability to link arpeggios XVHDUSHJJLR¿QJHULQJVIRUPDMRUWULDG ‘boot camp’ style exercise to force you into
CD: TRACKS 18-25 Soloing sophistication chords; Figure 2 outlines four popular playing chord tones (arpeggios). You probably
arpeggio shapes for minor triad chords. You wouldn’t choose to play a blues solo in this
USING ARPEGGIOS IS one of the most FDQUHODWHWKHVHDUSHJJLR¿QJHULQJVEDFNWR way for a performance but it’s a great exercise.
effective ways to outline the sound of the WKHRSHQFKRUGVKDSHVWKH\¿WZLWKIRU To make the transitions between the chords as
underlying chords when creating melodies. UHIHUHQFHWKHµ&VKDSH¶DUSHJJLR¿WVZLWKWKH smooth as possible some passing tones are
Many of the most successful melodies ever open C shape chord etc. These shapes can added. These add colour and link the
written have been arpeggio based, but we as used in any position on the neck and will arpeggios so they don’t sound like exercises.
guitar players can be guilty of not using adopt the name of the note they are played Step two is to incorporate some of these
arpeggios as often as we could. from (if C shape arpeggio is played from a G arpeggio ideas into your performance solos
7KLVIHDWXUHLVGHVLJQHGWRZRUNVSHFL¿FDOO\ note it will be a G major arpeggio) but still in and this concept is demonstrated in Examples
on your ability to articulate minor, major and essence retain the open C shape. DQG<RXPD\¿QGWKDWDOWHUQDWHSLFNLQJ
dominant 7 arpeggios, and to keep things Adding in the minor 7th interval to these arpeggios will help you establish a better feel
simple we’ll be using the major and minor with good timing (see technique focus for
EDUEOXHVIRUPVDVDIDPLOLDUSOD\LQJ¿HOG Using arpeggios is one more details). At faster tempos sweep picking
From a stylistic standpoint blues guitar
players often like to construct solos using a of the most effective ways (playing notes on adjacent strings with a
VLQJOHVWURNHLVPRUHHI¿FLHQW
combination of minor and major pentatonic to outline the sound of the The picking strokes have been notated on
underlying chords when

scales. These core scales are embellished with the exercises and sticking to these may feel a
OLWWOHDZNZDUGDW¿UVWEXWZLOOSURYLGHWKH
TECHNIQUE FOCUS creating melodies. most consistent results in the long run.
As ever, have fun using arpeggios in your
Alternate picking arpeggios foundational triad shapes will provide minor blues solos and I’ll see you next time.
At slower tempos using alternate picking to play
arpeggios can provide some real advantages in
DQGGRPLQDQW¿QJHULQJV)LJXUHDQG
terms of improving the overall feel and dynamics. Figure 4 demonstrate this (see page 28).
The most economical way to play notes on These 7th chords provide extra colour and GET THE TONE
adjacent strings is with a single stroke of the pick are only one note short of our much loved
- an ascending arpeggio would be played with pentatonic scales.
all down strokes, and visa versa. At slow tempos It is a good idea to tie together a chord 7 6 7 7 4
however it is difficult to maintain even timing
when picking this way - it can become ‘lumpy’.
shape and its arpeggio and scale shape into
GAIN BASS MIDDLE TREBLE REVERB
The alternate picking technique improves timing one position as this helps blur the line
at slow to medium tempos because it adds a between rhythm and lead playing. This To play the ideas in this feature virtually any sound
will do, ranging from acoustic guitar right through
mechanical, pendulum style movement to the concept allows the guitarist to pick and choose to an overdriven electric. The lead guitar tone used
picking hand. The constant movement of the what to play, while staying relevant to the for the audio examples here was created with an
picking arm up and down also helps retain a overall harmonic context. Ibanez Tube Screamer and the bridge pickup of a
consistent dynamic and you will find it easier to PRS Custom 22. You may find a neck pickup setting
accent notes in a musical way with this technique.
Once you have digested and practised can be flattering, especially for the faster picking
The hardest thing to master is consistency, as SOD\LQJWKHVHDUSHJJLRVKDSHV\RX¶OO¿QG\RX runs. Jazz guitarists, too, often favour the neck
the pick will often be skipping strings when will be able to use them to navigate the blues pickup as it has a fuller tone, helps reduce picking
noise and adds smoothness. With some practice a
playing more complex patterns. The best plan is form and sound instantly more focused.
bridge pickup tone sounds great and cuts through,
to start very slowly and be strict with yourself. The Step one is to slowly walk through the but you will need to be more accurate. To get the
alternate picking regime of down up, down up 12-bar form using the appropriate arpeggio sound from this article simply select your bridge or
needs to be maintained if you are to reap the full neck pickup, dig in hard and dial up a nice crunchy
benefits of using this technique.
and then change to the next arpeggio at the
overdrive with a touch of reverb.
correct time. As you do this you will start to
TRACK RECORD If you’d like to hear some great examples of arpeggio usage while soloing in the blues style, be sure to check out Robben
Ford’s epic Talk To Your Daughter; Sapphire Blue by Larry Carlton; Alien Love Secrets by Eric Johnson; Dust Bowl by Joe Bonamassa; and
Continuum by John Mayer. All these guitarists use arpeggios in one way or another in their playing - learn to spot them!

USING ARPEGGIOS IN BLUES
IMAGO / PHOTOSHOT
Robben Ford here

playing his lovely
Epiphone Riviera

FIG 1 MAJOR TRIAD ARPEGGIO FINGERINGS
FIG 2 MINOR TRIAD ARPEGGIO FINGERINGS
FIG 3 DOMINANT 7TH ARPEGGIO FINGERINGS
FIG 4 MINOR 7TH ARPEGGIO FINGERINGS

EXAMPLE 1 DOMINANT 7TH ARPEGGIOS WITH SMOOTH TRANSITIONS TRACK 18
This first example is a good workout that navigates the 12-bar blues it demonstrates how effective using arpeggios can be. Once you have
form with dominant 7th arpeggio shapes. The idea here is to establish mastered this you can use the backing track to improvise, using a mixture
a fretboard roadmap of where all the notes are, and also establish some of arpeggio ideas and more conventional blues phrases. Check out the
good points to link the various arpeggios. For this first example the transitions between the chords. Some favourites are going from E (3rd
fingering has also been notated (small numbers next to the notation). To of C7) to F (root of F7) and Bb (minor 7th of C7) to A (3rd of F7). You can
keep things simple from a rhythmic standpoint we are using 8th notes also use passing notes from outside the tonality. These passing tones add
(quaver) exclusively. Obviously this is not a fully functioning solo yet, but colour and also make the transitions smooth and sophisticated.
©»¡£º C7
¡ ¡ ™
F7
b£ ™ C7
™ ¡ ™
¡ ™ ¡ ™ ™ ™ ¡ b£ ¡ £ ¡ ™ £
‰ ‰
ƒ Bridge pickup with overdrive
BU
E 12 12 8 11 10 8
B 13 13 13 10 10 10 10 11 8
G 12 12 10 (12 ) 10 8 9
D 10
A
E
1
continue with alternate picking
~~~ F7
~~~ £ £ ¡ b£ £
¡ £ ¡ ™
£ ¡
£ ¡
‰ £ ¡
¡
£ ¡ £ ™ ™
E
~~~ ~~~ 8 11 11 8 11 8 11 8
B 10 10
G 8 10
D 8 10 8 7 10
A 10 10 9 8
E
4
b
C7
£
¡ n™ ¡
¡ ¡
G7
™ ¡ ¡
F7
£ ~~~
£ ¡ ™ £ ¡ £
¡ £ ¡ ¡
£ ‰ ¢ £ ‰
¡
E 11 13 11 12 8 7
~~~
B 8 8 8 8 10
G 10 8 9 8 7 10
D 10 8 10 9 10 7
A 10 10
E
7
C7
b £ ¡
G7
¢ ¢
¡ ™ ¡ ¡ ¡ ¡ ¡
¡ £ ™ ¡ £ ™
‰
¡ ¡ .
E 11 12 8 7 10 7 10 7 8
B 8 8 8 8 8
G 10 9 8 7 10 9
D
A
E
11

Joe Bonamassa:
uses arpeggios in
his blues playing

EXAMPLE 2 DOMINANT 7TH ARPEGGIOS WITH FASTER PASSAGES TRACK 20
This second example expands on Example 1 by adding 8th note triplets a hybrid picking technique (pick and fingers) as this will make the
and semiquaver (16th note) rhythms. This example sounds more string-skipping element easier. Bar 11 features the old blues trick of
musical and the combination of rhythmic flourishes and more musical bending the minor 3rd slightly sharp. This helps it fit in with the C7 – it’s
phrasing really brings the concept of using arpeggios to life. The idea essentially the same as playing a C7 arpeggio but provides a dirtier,
in bar 12 is a little tricky to play but well worth it. You may wish to use much more blues orientated sound.
~~~
©»¡£º C7~~~ F7
b
C7
b n
b b
ƒ Bridge pickup with overdrive

3
E
~~~ ~~~
8 8 8 11 8 13 11 13 15 13 15 11 12
B 11 8 11 9 10 13
G 12 10
D
A

E
1
3 3
F7 b b
‰
3 3
Light PM
BU BD BU BD
E 8 11 11 13 11 13 13 11 13 11
B 10
G 9 (10) ( 9 ) 8 10
D 10 7 10
A 10 8 7 (8 ) (7 ) 8
E
4
b nC 7 œ G7
‰ ‰
3 3
3
E 11 12 12 13 15 15 12 12 12 7 10 7 10
B 13 13 13 13 8
G 12 12 12 7
D 14 9
A 10
E
7

bF7 bœ
~~~ C7
b
1/4
G7 C7
~~~
‰ ‰
3
~~~
Light PM
E 11 10 8
~~~ 1/4
7 10 7 8
B 10 10 11 13 11 8 8
G 10 8 7 7
D 10 9 9
A
E
10

EXAMPLE 3 MINOR 7TH ARPEGGIOS WITH SMOOTH TRANSITIONS TRACK 22
Now we switch our attention to the minor blues using the same process Adding intervals to our standard minor 7 arpeggios can provide some
as we did for the dominant (major) blues. This example again uses very musical results. Guitar players like Robben Ford often treat the
simple quaver rhythms to establish a fretboard roadmap from which minor 7 chord arpeggio as home base and then add in the 9th, 11th
we can start to improvise. The minor blues form we are going to use is and 13th as target tones. A light palm mute adds in some rhythmic
classic BB King style progression in which the V chord is a 7#9 that is definition and also helps with dynamic variation. Try the following
proceeded by a major 7 chord a semitone above. We can add the D into example, but stick to the alternate picking regime and start at
our Am7 arpeggio as a colour tone and this gives us A minor pentatonic. a slow tempo to facilitate accuracy and the natural build-up to speed.
©»¡£º A m7 D m7 Am7
œ œ
‰
ƒ
Bridge pickup with overdrive
Light PM Light PM
E 5 8 5 8
B 5 8 5 8 6 5 6 5
G 7 7 5 7 9 5
D 7 7
A

E
1
Dm7 ~~~
‰
Light PM
E 5 8 10 8
~~~ 12 8 10 7
B 8 5 6 10
G 7 5 7 5 7
D 7
A
E
4
A m7 Fmaj7
~~~
‰
E 10 7 8 5
~~~ 8
B 8 8 5 8 5 6 5 6 5
G 7 5 7 5 7 5 7
D X
A
E
7
#
E7 9 Am7 E7 9# A m7
~~~ ~~~
E
~~~ ~~~
4 7 10 7 10 12 15 12 12 16 12 12 16 17
B 5 9 13 12 12
G 4 13
D
A
E
10

John Mayer: adept

at arpeggiation!
EXAMPLE 4 MINOR 7TH ARPEGGIOS WITH FASTER PASSAGES TRACK 24
This final example puts our minor blues roadmap to work and a descending arpeggio with an upward sweep. Some articulation such
combines some of our arpeggio concepts with more conventional as finger slides, vibrato and string bending will really help to breath
blues ideas such as string bending and vibrato. The ascending triplet life into the phrases. The basic rule here is you can’t do too much of
arpeggio flourishes are best played with sweep picking (a single this - the more nuance and articulation the better. The descending E
stroke across the strings). These have been notated in the tab and an major arpeggios in bar 10 are a bit fiddly but worth the effort as they
ascending arpeggio is played with a downward sweep of the pick and up the excitement level greatly.
©»¡£º Am7 ~~~

Dm7
~~~ œ
A m7
œ œ œ
œ
‰ ‰ ‰
E
~~~ 8 10 8 8
~~~ BU
10 (12 )
BU
10 (12 )
BU
10 (12 ) 10 (12)
BU
B 8 10 8 8 10 10 10 10
G 9
D
A

E
1
~~~
~~~~
D m7
œ
‰
3 3 3
E
BU
10 (12 )
BD
(10 ) 8
~~~~ 5 8 5 10 8 12 10 15 12 15
BU
(17 )
~~~
B 10 10 6
G 5 7
D
A
E
4

EXAMPLE 4 MINOR 7TH ARPEGGIOS WITH FASTER PASSAGES ...CONTINUED TRACK 24
1/4
1
Am7 /4 Fmaj7
3 3
3
1/4 1/4
E 12 5 8 5 8
B 13 15 13 6
G 14 12 5
D 14 12 10 12 14 10 7
A 12 8

E
7
#
E7 9 A m7
~ E7 9# Am
w ~~~~~
œ
œ .
‰
3 3 3
BU BD ~~ BU ~~~~~
E 7 4 10 7 10 (12 ) (10 ) 8 10 8 7 10 7 12 10 15 12 15 (17 )
B 5 9 10 8 8 10 8 9
G 4 9 9 9 9
D
A
E
10
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PLAY: ROCK ON THE CD TRACKS 26-27
Joe Walsh
Funk 49 Here Jon Bishop transcribes a classic James Gang number
and Eagles live staple, showcasing an iconic Joe Walsh guitar
part. For a fun to play, classic rock workout, look no further!
ABILITY RATING solid. The semiquaver sub division has four

TECHNIQUE FOCUS notes in the space of one beat. So a whole bar
Moderate RHYTHM GUITAR would be counted 1 e + a, 2 e + a, 3 e + a, 4 e +
a. The semiquaver sub division is best played
INFO WILL IMPROVE YOUR The rhythm guitar playing in Funk 49 has a with alternating down and up strums starting
lovely feel and a snappy delivery. It may seem
KEY: A Semiquaver strumming on a down strum. Take a second to play a few
like an easy part to play but, as ever, the devil
TEMPO: 91bpm Mixolydian mode knowledge bars of muted semiquaver strumming, using
is in the detail. There are plenty of subtle
CD: TRACKS 26-27 Classic rock feel alternating down and up strums. Keep your
nuances in the way the semiquaver rhythms are
delivered. One of the most important aspects hand and arm loose and place an accent by
FUNK 49 WAS recorded in 1970 by the James of playing good rhythm guitar is to keep the strumming slightly harder on the downbeat.
Gang. It was featured on their second studio strumming hand moving, up and down, in time, Both rhythm and lead parts in the song
album, James Gang Rides Again, which is regardless of whether it is needed to hit the demonstrate Joe’s incredibly laid back feel,
considered a classic by both critics and fans a strings or not. If you keep the strumming hand and if your tendency is to run ahead of things,
like. The track features the James Gang in moving it works very much like a pendulum. then make sure you check out my ‘Improve
power trio mode with Dale Peters on bass, Jim It is very difficult to nail a groove consistently Your Timing’ feature on page 16.
Fox on drums and Joe Walsh on guitar. The by guessing with single strums here and We have recorded the track in full for your
¿UVW-DPHV*DQJUHFRUGERDVWVWKHQRW there. Using the strumming hand to ‘ghost’ the reference and then muted the tabbed guitar
dissimilar predecessor, Funk 48, while Walsh rhythmic sub-division is a far more mechanical performance so you can play along with the
would later release Funk 50 on his 2012 way of making sure your timekeeping is sound. backing track. The original recording has a
album, Analog Man. The basic riff from the verse part is a fade-out, but in the interests of clarity the GT
Funk 49 is in the key of A and uses chords repeating, two-bar pattern that is played with a version has an arranged ending on beat 1 of
from A Mixolydian. The Mixolydian mode is 16th note (semiquaver) feel. This means that all bar 89. Many thanks to Pete Riley for
the 8th notes (quavers) are played with a down
WKH¿IWKPRGHRIWKHPDMRUVFDOHDQGLV performing and recording the drums.
stroke and the 16th notes that fall outside of
commonly used in the blues and classic rock
this are played with up stokes. Check out the
DVLW¿WVQLFHO\ZLWKWKHGRPLQDQWFKRUG7KH
chords of the A Mixolydian mode are A7, Bm7,
strumming directions in bar 3 and you will see
the part is played with a variety of down and
GET THE TONE
&PE'PDM(P)PDQG*PDM up strums depending on where the rhythms
These chords are also found in A Mixolydian’s are situated in the bar. The length of the chords
SDUHQWVFDOH'PDMRU is also a factor and can be controlled with the 4 5 6 7 1
7KHPDLQYHUVHULIIXVHVWKHWKUHHPDMRU pressure you apply with the fretting hand fingers.
chords from this key (A, D and G) and this is a If you release the pressure off of the fretting
popular trick for creating riffs with the hand, but leave the fingers in contact with the This track was most probably performed on a
Mixolydian mode. The tempo is an easy 91 strings, the chord will be cut short and the strings Fender Stratocaster with the bridge pickup
bpm with a straight 4/4 feel. will be muted to create that lovely feel. selected. There are quite a few live videos of Joe
performing Funk 49 with a Strat and these all
As the second James Gang album was maintain the same tone and vibe as the original.
recorded with a three-piece line-up, Joe played rhythm and lead guitar, as well as To get the sound with your own set-up, simply
performing lead vocals. This track is a great select the bridge pickup of your guitar (add a bit
Funk 49 is a great rhythm rhythm guitar workout and there are some
cool, quirky lead breaks to navigate, too.
of presence if it’s a humbucker) and dial up a
treble orientated, lightly overdriven crunch
guitar workout, and there are Semiquaver strumming is one of the key sound. You really must make sure that you can
hear the guitar and amp’s fundamental tone and
also some cool, quirky lead techniques used in the performance of this
track, so it’s well worth spending some time
that the sound is not saturated in unnecessary
breaks to navigate.
overdrive. It’s as simple as that!
LARRY HULST / GETTY IMAGES
making sure your strumming hand work is
TRACK RECORD The track is taken from James Gang Rides Again, where you can hear it in its original form. However, Funk 49 has been
performed live countless times (The Eagles made it a ‘must-play’ on their stadium shows) and there are some cool live recordings to
check out on the albums Joe Walsh - All Night Long (live) and The Eagles - Selected Works 1972–1999.

JOE WALSH FUNK 49
Joe Walsh: a
guitarist with
unmatched feel

PLAYING TIPS CD TRACK 26
[Intro: Bars 1-6] The first two bars feature this quirky opening lead line. [Verse 1: Bars 7-10] The verse riff is essentially the same throughout. The
This part is all about the feel, so don’t be too concerned about muting the key components are the semiquaver strumming rhythm and the use of
open strings, just dig in and give it some! The main riff idea is played in bar muted strokes. The muted strokes are notated with an X and are played by
3 and this is repeated with various slight differences through the verses. holding the fretting hand lightly on the strings so as to stop them vibrating
Check out the strumming directions, as nailing this aspect will help to get when played. Finger vibrato is added to the D chord in bars 8 and 10 and
and keep the groove. The backing has a hi-hat hitting on the downbeats to this is played by shaking the first finger, 7th fret barre and down. This track is
keep time through the first four bars. The drums enter at bar 5 and we’re off. all about feel, so keep the reins on those horses and hold back!
INTRO
©»ª¡ N.C. 1/4
# .
1/4 6
‰
Bridge pickup with ƒ 1
RP /4
light overdrive 1/4
BU BD BU RP RP
BU
E 3 0
B 3 ( 5) X 3 ( 5) ( 3) 1 3 ( 5) (4 ) (4 ) ( 3)
G 4 2 0
D 4 2 0
A
E
1
#
A7 D A7 D G D
~~~ A7
œ œ œ
E
~~~
B 5 X X 7 5 X 7 8 7 X X 7 5 X X X X X
G 5 6 X X 7 5 6 X 7 7 X X 7 5 6 X X X X X
D 5 X X 7 5 X 7 9 7 X X 7 6 X X X X X
A
E
3
#
D A7 D G
~~~
D
..
A7
œ œ . œ
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 7 X X 7 5 X X
G 5 6 X X X X 7 5 6 X X X X 7 7 7 X X 7 5 6 X X
D 5 X X X X 7 5 X X X X 7 9 7 7 X X 7 5 X X
A 0
E
5 etc
~~~
VERSE 1 D A7 D G D A7
# ..
œ œ . œ
0:16
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 7 X X 7 5 X X X X X X
G 5 6 X X X X 7 5 6 X X X X 7 7 7 X X 7 5 6 X X X X X X
D 5 X X X X 7 5 X X X X 7 9 7 7 X X 7 5 X X X X X X
A
E
7

Funk 49 Music & Lyrics by Dale Peters, James Fox, Joseph Walsh.
©1978 Pamco Music, ABC Dunhill Music Inc, MCA Duchess Music Corporation. Universal/MCA Music Limited.
UK/EU reproduced by kind permission of Music Sales Ltd. US/CAN reproduced by kind permission of
Hal Leonard Corporation. All Rights Reserved. International Copyright Secured.
JOE WALSH FUNK 49
[Bridge: Bars 11-18] The bridge section features a catchy minor pentatonic timing!). A light palm mute will help accentuate the rhythm aspect of the
run punctuated with a power chord. The riff modulates up a tone from A to riff as well as fatten the sound. The bridge ends with the all-important E7#9
B to add to the excitement. Use alternate picking to play the riff and do your chord, which is a staple of the funk rock style.
very best to the keep all the notes sounding even (while also watching your [Link 1: Bars 19–20] The verse riff again, taking us into verse two.
#
D A7 D G D
~~~
..
A7
œ œ . œ
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 7 X X 7 5 X X
G 5 6 X X X X 7 5 6 X X X X 7 7 7 X X 7 5 6 X X
D 5 X X X X 7 5 X X X X 7 9 7 7 X X 7 5 X X
A 0
E
9
BRIDGE
~~~
A7 A5 A7 B7 B5
# .. ..
œ n nœ œ n nœ . œ
– – – –
0:27
Light PM Light PM Light PM
~~~
E
B . .
G
D
A
. 7 5
7 5 3
X X 7
X X 7
7 5
7 5 3
X X
X X
. 9 7
9 7 5
X X 9
X X 9
E 3 5 X X 5 3 5 X X 5 7 X X 7
11, 13
#
~~~
B7 B5 B7 E7 9
# ..
..
œ œ œ– œ
–
Light PM Light PM
E
~~~
B 8
G 7
D 9 7 X X X X 9 7 X X 9 9 7 6
A 9 7 5 X X X X 9 7 5 X X 9 9 7 5 7
E 5 7 X X X X 5 7 X X 7 5 7
16
~~~
LINK 1 A 7
..
D A7 D G D A7
# œ œ œ
.
0:47
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 7 X X 7 5 X X
G 5 6 X X X X 7 5 6 X X X X 7 7 7 X X 7 5 6 X X
D 5 X X X X 7 5 X X X X 7 9 7 7 X X 7 5 X X
A 0
E
19

[Verse 2: Bars 21–24] Verse 2 is essentially the same as verse 1. Feel Check out the mute strokes in bar 30. These quavers are played with down
free to add extra mute strokes here and there. There is a jam vibe to the strums and are phrased tightly with the drums.
performance and, live, Joe often plays the parts slightly differently. [Link 2: Bars 33-34] These two bars of the verse riff are used as a link out of
[Bridge 2: Bars 25-32] Bridge two is essentially a repeat of bridge one. the bridge and into the drum solo.
VERSE 2
#
A7 D A7 D G D
~~~
..
A7
œ œ . œ
0:52
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 7 X X 7 5 X X X X X X
G 5 6 X X X X 7 5 6 X X X X 7 7 7 X X 7 5 6 X X X X X X
D 5 X X X X 7 5 X X X X 7 9 7 7 X X 7 5 X X X X X X
A
E
21
#
D A7 D G
~~~
D
..
A7
œ œ .
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 7 X X 7 5 X X
G 5 6 X X X X 7 5 6 X X X X 7 7 7 X X 7 5 6 X X
D 5 X X X X 7 5 X X X X 7 9 7 7 X X 7 5 X X
A 0
E
23
BRIDGE 2 A5 A7 B7 B5
# ~~~
.. ..
œ n nœ œ n nœ . œ œ
– – – –
~~~
1:03
E
B . .
G
D
A
. 7 5
7 5 3
X X 7
X X 7
7 5
7 5 3
X X
X X
. 9 7
9 7 5
X X 9
X X 9
E 3 5 X X 5 3 5 X X 5 7 X X 7
25, 27
B7 B5 B7 E7 9 #
#
œ œ œ œ– œ– œ œ
E
B X 8
G X 7
D 9 7 X X X 9 7 X X 9 9 7 6 X X
A 9 7 5 X X 9 7 5 X X 9 9 7 5 7 X X
E 5 7 X X 5 7 X X 7 5 7 X X
30

Also available: PLAY GUITAR WITH… 18 CLASSIC SONGS (Guitar Tab, 160pp. £18.95 ref. AM1006599). Play guitar with 18 classic hits, with
two specially recorded audio CDs that put you and your playing in the music so you can hear how it really should sound. Featuring such
artists as Motörhead, Ram Jam, Steely Dan and AC/DC, presented in guitar TAB, in the same keys as the original recordings, with standard
notation, chord symbols, and full lyrics for vocalists. Available from www.musicroom.com
JOE WALSH FUNK 49
[Guitar solo: Bars 51-52] This section breaks down to solo guitar, but the [Link 3: Bars 53-56] This section features a slight variation on the verse riff.
backing track has the hi-hat beating through to keep you in time. Playing The mute strokes on the off beats are played with up strokes. You may find
the open fifth string and bending the fourth string, 10th fret up a quarter this a little tricky if you are not used to it. The D chord is also displaced to
tone, is a key component that Joe includes most times he performs it live. later in the bar, which provides some contrast with the original verse riff.
#
LINK 2
D A7 D G D
~~~
..
A7
œ œ . œ
1:24
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 7 X X 7 5
G 5 6 X X X X 7 5 6 X X X X 7 7 7 X X 7 5 6
D 5 X X X X 7 5 X X X X 7 9 7 7 X X 7 5
A
E
33
GUITAR BREAK
1/4
16
1/4
DRUM SOLO N.C.
n
# œ
1:30
16
2:12
1/4
BU 1/4
E X X
B X X 5 13 (15 ) 13 13
G X X 5 14 14
D 5 14 12 10
A 0 0 0 0
E
35 - 50 51
~~~
LINK 3
..
A7 D A7 D A7
# œ œ
.
2:17
E
~~~
B 5 X X X X X 7 5 X X 7 7 X X 7 5 X X
G 5 6 X X X X X 7 5 6 X X 7 7 X X 7 5 6 X X
D 5 X X X X X 7 5 X X 7 7 X X 7 5 X X
A 0
E
53
#
A7 D A7 D
~~~
..
A7
œ œ . œ
E
~~~
B 5 X X X X X 7 5 X X 7 7 X X 7 5 X X
G 5 6 X X X X X 7 5 6 X X 7 7 X X 7 5 6 X X
D 5 X X X X X 7 5 X X 7 7 X X 7 5 X X
A 0
E
55

[Verse 3: Bars 57-60] Verse three reverts back to the original verse pattern. surprises) plenty of semiquaver mute stroke action.
[Bridge 3: Bars 61-68] Bridge 3 is again a repeat of the previous bridges. [Bars 81-84] Here Joe uses the A on the 5th fret of the sixth string to pedal
There are an additional six semiquaver mute strokes in bar 66, which are against. It is easiest to fret this with the thumb if you can, but you could also
again phrased tightly with the drums. use your first finger or even the open fifth string.
[Outro: Bar 69 to end] The outro features the verse riff, which is repeated, [Bars 85-88] And here we have a brand new rhythm to learn! But this one
then changed and re-worked to add to the excitement. sounds super cool and is well worth the effort. Our version has a simple to
[Bars 77-80] Here we see another displacement of the D chord and (no play ending on beat 1 of bar 89. I hope you enjoy learning this great track.
VERSE 3
#
D A7 D G
~~~
D A7
œ œ œ
2:28
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 X X 7 5 X X
G 5 6 X X X X 7 5 6 X X X X 7 7 X X 7 5 6 X X
D 5 X X X X 7 5 X X X X 7 9 7 X X 7 5 X X 5
A 0
E
57
~~~
D A7 D G D A7
# œ œ œ
E
~~~
B 5 X X X 7 5 X X X X 7 8 7 X X 7 5 X X
G 5 6 X X X X 7 5 6 X X X X 7 7 X X 7 5 6 X X
D 5 X X X X 7 5 X X X X 7 9 7 X X 7 5 X X 5
A 0
E
59
BRIDGE 3
~~~
A7 A5 A7 B7 B5
# .. ..
œ n nœ œ n nœ . œ œ œ–
– – –
2:38 Light PM Light PM Light PM
~~~
E
B . .
G
D
A
. 7 5
7 5 3
X X 7
X X 7
7 5
7 5 3
X X
X X
. 9 7
9 7 5
X X 9
X X 9
E 3 5 X X 5 3 5 X X 5 7 X X 7
61, 63
B7 B5 B7 E7 9 #
# ..

œ

œ

œ ..
œ œ– œ– œ
E
B 8
G 7
D 9 7 X X X X X X 9 7 X X 9 9 7 6
A 9 7 5 X X X X X X 9 7 5 X X 9 9 7 5 7
E 5 7 X X X X X X 5 7 X X 7 5 7
66

JOE WALSH FUNK 49
~~~
OUTRO
D A7 D G D A7
# .. œ œ œ ..
2:59
~~~
E
B . 5 X X X 7 5 X X X X 7 8 7 X X 7 5 X X .
G
D
A
. 5 6
5
X
X
X
X
X
X
X
X
7
7
5 6
5
X
X
X
X
X
X
X
X
7
7 9
7
7
X X
X X
7
7
5 6
5
X
X
X
X 5
0
.
E
69, 71
~~~
D A7 D G D A7
# .. œ œ œ ..
~~~
E
B . 5 X X X 7 5 X X X X 7 8 7 X X 7 5 X X .
G
D
A
. 5 6
5
X
X
X
X
X
X
X
X
7
7
5 6
5
X
X
X
X
X
X
X
X
7
7 9
7
7
X
X
X
X
7
7
5 6
5
X
X
X
X 5
0
.
E
73, 75
#
A7 D A7
~~~
D A7
.. œ œ œ ..
~~~
E
B . 5 X X X X X X X X 7 5 X X 7 X X 7 5 X X .
G
D
A
. 5 6
5
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
7
7
5 6
5
X
X
X
X
7
7
X
X
X
X
7
7
5 6
5
X
X
X
X 5
0
.
E
77, 79
#
A7
~~~
D
..
A7
.. œ œ . œ ..
~~~
E
B . 5 X X 5 X X 7 7 7 X 7 5 X X .
G
D
A
. 5 5
5
X
X
X
X
5 6
5
X
X
X
X
7
7
7
7
7
7
X
X
7
7
5 6
5
X
X
X
X 5
0
5
0
5
0
.
E 5 5 5 5 5 5 5 5
81, 83
#
A7 D A7 D
~~~ A7 A7
.. œ œ œ .. œ
~~~
E
B . 5 X X X X X X X X 7 5 X X 7 X X 7 5 X X . 5
G
D
A
. 5 6
5
X X X X X X X X 7
X X X X X X X X 7
5 6
5
X X
X X
7
7
X X 7
X X 7
5 6
5
X X
X X 5
0
. 5 6
5
E
85, 87

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44 GuitarTechnique July 2014

PLAY: CLASSICAL ON THE CD TRACKS 28-29
Edvard Grieg
Solveig’s SongThis month Bridget Mermikides creates a simple
TECHNIQUE FOCUS
but lyrically beautiful arrangement of a piece from SITTING POSTURE
Grieg’s magnum opus, The Peer Gynt Suite. An important aspect of technique in
classical guitar playing is adopting the
correct sitting posture. The guitar is placed
instrumental works drawn from the on the left thigh (for right-handed players),
ABILITY RATING
incidental music to work as independent which is raised by placing the foot on a
Moderate – and hugely popular – concert material. footstool. The left knee should be pointing
In the lyrics, the character Solveig sings forwards and the right knee to the side so
INFO WILL IMPROVE YOUR about her lover, Peer Gynt – who has the guitar rests on the inside of the right
KEY: E minor Single line melody playing abandoned her – and declares that she will thigh. The guitar should be positioned at
TEMPO: 72 bpm Bass-melody separation wait for him and be reunited, even if only in an angle where the neck is pointing slightly
CD: TRACKS 28-29 Repertoire of romantic works heaven. The melancholy nature of the lyrics upwards, and the right forearm rests on the
is echoed in the beautiful melody built larger bout of the instrument. This should
THIS MONTH WE return to the work of the mainly on a minor scale. hold the instrument securely in place and
Norwegian Romantic composer Edvard I’ve transposed the piece from the original provide ease of facility for both hands.
Grieg (1843-1907). Grieg adopted
many Norwegian folk music key of A minor down a 4th to E
elements and blended them with Edvard Greig minor (and down from A major to E
in an 1888
the prevailing 19th century style, major during the waltz sections
London photo
and as such is an excellent example portrait which modulate to the parallel
of a ‘nationalistic’ composer. He major scale) so that it sits better on
DOVRKDSSHQVWREHRQHRIWKH¿UVW the guitar. Although some of the
composers to have their work orchestral parts have been dropped,
recorded in their lifetimes, and in due to practical considerations, I
fact archive audio recordings exist hope I’ve managed to retain much
of him playing the piano. of the character of the piece, due to
The folk elements in Grieg’s the pastoral simplicity and phrasing
music give it a very lyrical and rustic of the melody which appears in
quality. It’s also highly single-line form in the introduction
programmatic and accessible, which and conclusion.
explains its extensive use in TV and Although this is one of the easier
¿OP+HUH,¶YHDUUDQJHGDSLHFHIURP pieces in this classical series, it’s
Grieg’s incidental music composed also one of the most beautiful. As
from 1874-76 for Henrik Ibsen’s ever, patience is the fastest way to
play, Peer Gynt. success; and remember, there’s no
Solveig’s Song is from Act IV of limit to how expressively even the
the play, and the last piece of the simplest melody can be performed.
Peer Gynt Suite No.2 – a set of So take your time getting the piece
SHUIHFWO\XQGHU\RXU¿QJHUVDQG
I’ve transposed the use the tab captions to help with
piece from the original some of the techniques. I hope you
enjoy learning and playing this
key of A minor down a wonderful tune!
4th to E minor, so it sits NEXT MONTH: Bridget arranges
better on the guitar. and tabs Albeniz’s Granada
TRACK RECORD The Peer Gynt Suites, performed by Berlin Philharmonic and conducted by Herbert von Karajan (1983, Deutsche Grammophon)
is a good reference point from which to learn the piece; for a version with the melody sung, check out the Estonian National Symphony
Orchestra with Paavo Jarvi conducting and soprano Camilla Tilling singing with ethereal beauty: Peer Gynt Grieg (2005, Warner Classics).

EDVARD GRIEG SOLVEIG’S SONG
[Bars 1-6] The opening six bars consist of a single line melody emulating the begins on the last beat of bar 9. From here on try sticking to the suggested
unison orchestral strings. Play as smoothly and legato as possible adding a fretting – a four-string barre is needed on the last beat of bar 10. Keep an
little glissando between each of the two notes in bars 4, 5 and 6. ear on the sound of the melody notes and keep their volume and tone
[Bar 8] The bass note and chords at bar 8 set the mood for the melody, which consistent. In addition, aim to shape the melody musically as a singer would.
©»¶™ Em D G B5 B
# ™
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£ ™
E
B 8 10 7 12
G 4 4 9 11 11 9 7 7 7
D 5 9 4 9
A
E
1
Em B7/E
£
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. ¡™
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. œ
E 7 0 2 3 5 7 8
B 7 5 5 5 0 0 7
G 8 4 4 4 4 0 8
D 5 5 5 5 7
A
E 2 7 7 0 0 0 0 0 0
6
Em E m/G B Em D
¢ £
# .
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E 8 7 7 3 0 0 3 3 2 2 12 0 0 2 3 5 7 8
B 0 0 4 4 4 0 12 0 0 7
G 0 0 4 0 12 0 7
D 2 0
A 2 7
E 0 3 0
11
G G /D C Am7 Dsus4 D G G /D B 7/A E m/G
#
™ ™ £ ... £ ™ ¢ ™ #¡
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E 8 7 7 0 0 3 3 2 2 0 7 6
B 8 1 3 3 3 0 12 0 0 7 8
G 0 7 0 2 0 12 8 0
D 0 0 12 7
A 3 0
E 3
15
F 5 # F Em bb
B ( 5) A7 Am6 B /D # B7/A E m/G
# ¡ ¢
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£ £
.. #
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E 2 5 4 0 0 3 2 2 0 7 0 7 7 6
B 3 2 1 7 0 0 7 8
G 8 0
D 4 3 2 7
A 1 0 6
E
19

[Bar 23] On beat 3 of bar 23 it is not possible to slur the grace notes while quickly re-pluck the F#. If in doubt listen to my recording of the track to see
holding onto the B7 chord, so I had to slide the F# up to the G and then how it should sound.
D /C E /B Em Am7/B B7 Em
¢ ¢ ¢
# . . œ œ . œœ #
‰
‰ Œ
E 2 2 5 4 0 0 3 2 2 3 2 0 0 2 0 7
B 1 0 0
G 1 0 2 2 0
D 1
A 3 2 2
E 0
22
B 7/E B13/E E B 7/E B13/E E
. £ ¡ . ¡ . .
# ¢ . £ .
™ ™ ‰
E 7 9 7 7 7 7 9 7 7
B 10 9 10 9 9 10 9 10 9 9
G 8 8 9 9 8 8 9 9
D 7 7 7 7
A
E 0 0 0 0 0 0 0 0
25
B7/E B9/E E B 13/E B/E E

j
œ j
# ‰
œ
E 9 7 9 7 7
B 7 7 9 9 9 7 9 7 9 9
G 8 8 9 9 8 8 8 9 9
D 7 7 7 9
A
E 0 0 0 0 0 0 0 0
29
B7/E E B7/E B/E

¢ . ¢ ¢ œ
j
j
3
# £
™ ‰
œ
.
E 11 9 9 7 9 7
B 9 9 9 7 9 7 7 7 7
G 8 8 9 9 8 8 8 8 8
D 7 7 7 9 9 9
A
E 0 0 0 0 0 0 0
33
E A/E E A/E E U Em
¢
# £ # .
™
¡
w Œ œ œ
E 0 0 12
B 9 10 9 5 5 5 0
G 1 2 4 4 4 4
D 9 11 9 5 5 5 5
A 2 4 7
E 0 0 0 0 0
37

EDVARD GRIEG SOLVEIG’S SONG
[Bar 56] Just like bar 25, a four-string barre is used on and off throughout understand the rhythm and phrasing. Next the whole piece is repeated over
the next 10 bars or so. Again, listen to the recorded track if necessary to and ends with a similar theme to that at the start.
B7/E Em E m/G B Em
¢ £ ¢ ..
# ™
™¡
£
. .
¡ ‰
™
œ
E 0 2 3 5 7 8 8 7 7 3 0 0 3 3 2 2 12
B 0 7 0 0 4 4 4 0 12 0
G 0 8 0 0 4 0 12
D 7
A 2 7
E 0 0 0 3 0
41
D G G/D C Am7 D sus4 D G G/D
#
™ ™ £ ...
¡ . ‰
™
E 0 0 2 3 5 7 8 8 7 7 0 0 3 3 2 2
B 0 7 8 1 3 3 3 0 12 0
G 0 7 0 7 0 2 0 12
D 2 0 0 0 12
A 3 0
E 3
45
B7/A E m/G F #5 F Em B b ( b 5) A7 Am6 B /D # B7/A E m/G
# £ ™ ¢
™ #¡ ¡ ¢ ¢
. ¢
£ .. #
¡
£ ™ b¡ ™ .
‰
E 0 7 6 2 5 4 0 0 3 2 2 0 7 0 7 7 6
B 0 7 8 3 2 1 7 0 0 7 8
G 8 0 8 0
D 7 4 3 2 7
A 1 0 6
E
49
D7/C E /B E m/B Am7/B B7 Em

¢ ¢ ¢
# . . œ œ . œœ #
‰
‰ Œ
E 2 2 5 4 0 0 3 2 2 3 2 0 0 2 0 7
B 1 0 0
G 1 0 2 2 0
D 1
A 3 2 2
E 0
53
B 7/E B13/E E B 7/E B13/E E
# . £ ¡ . ¢ . £¡ . . .
™ ™ ‰
E 9 7 7 7 9 7 7
B 10 9 10 9 9 10 9 10 9 9
G 8 8 9 9 8 8 9 9
D 7 7 7 7
A
E 0 0 0 0 0 0 0 0
56

B7/E B9/E E B 13/E B/E E

j
œ j
# œ
‰
E 9 9 7 9 7 7
B 7 7 9 9 9 7 9 7 9 9
G 8 8 9 9 8 8 8 9 9
D 7 7 7 9
A
E 0 0 0 0 0 0 0 0
60
B7/E E B7/E B/E
. œ
j
j
3
# ‰
œ
.
E 11 9 9 7 9 7
B 9 9 9 7 9 7 7 7 7
G 8 8 9 9 8 8 8 8 8
D 7 7 7 9 9 9
A
E 0 0 0 0 0 0
64
E A/E A A/E E U Em D
Œ œ œ .
# #
w
E 0 0 12 12 14 14 12 10 7
B 9 10 9 12 12
G 1 2 12
D 9 11 9
A 2 4 7
E 0
68
Em C Em
#
œ
E 8 10 7 12 12
B 8 8 12
G 9 4 9 12
D
A 2 7
E 0
72

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THE DIGITAL
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LEARNING ZONE
LESSONS
GT232
30MINUTE LICKBAG ..................................... 54
Pat Heath takes over this month with licks at
beginner, intermediate and advanced levels.
BLUES................................................................................................. 56
Jim Clark is in the ‘blues’ chair this month to
examine Chicago legend Muddy Waters’ style.
ROCK .................................................................................................. 60
Martin Cooper looks at the alternative rock
approach of Tin Machine’s Reeves Gabrels.
CREATIVE ROCK .......................................................... 68
Shaun Baxter has more neo-classical rock ideas
for you: this month the Phrygian Dominant.
SESSION SECRETS ................................................. 74
Andy Saphir creates a steel-syring, folk style
track for this month’s studio session.
NEW SERIES: BRITISH R&B .................... 78
Phil Capone kicks off with R&B royalty and
The Yardbirds’ Clapton, Beck and Page.
FOR MANY GUITARISTS, progress can seem music making than, say, racking up another
JAZZ ...................................................................................................... 82
Pete Callard looks at how to solo using the
to be about countless hours of technique based 20bpm on a lead lick. Perhaps you’d like to interestingly symmetrical Diminished scale.
exercises, learning full songs and a full gamut delve into a song like Layla for fresh soloing
of scale and chord know-how. And yes, there’s YRFDEXODU\"<RXPD\OLNH,¿QGPXFKIXQ ACOUSTIC ................................................................................. 88
much to commend this. However, it takes a lot in reharmonising the lead riff by changing Stuart Ryan introduces Billboard 200 chart-
of time to get to admirable playing levels, so the chords underneath it. Or perhaps take the topping singer-songwriter-guitarist, Amos Lee.
we also believe in the ‘learn-use-expand’ cycle riff and change a note or three, maybe switch
when applied to smaller segments of music, the key, tweak the rhythm or alter the time
AZ OF MUSIC THEORY ................................ 92
&KDUOLH*ULI¿WKVFRPHVWRWKHHQGRIKLV
such as chord ideas or licks. signature; all are valid and fruitful areas to
alphabetical theory road trip, with a combined
The smaller the segment the quicker it is to be explored. The process will both stir your delve into the letters X, Y and Z. Zeus!
learn (good), use in your playing (better) and creativity and fuel your lick bag.
explore further (ultimate). Small components I’ll leave you with something that a
become part of your playing much quicker well-known rock guitarist told me years
than the hard slog of learning a whole song or ago: while working on a track that became
VROR7KLVDOVRSURYHVPRUHÀH[LEOHIRU\RXU one of his band’s most popular, he decided
playing; numerous guitarists love to morph the chords were too close to another song.
a favourite lick so it will work in different To create ‘distance’, he worked up a unique
contexts and really earn its keep. For guitar intro that was both ear catching and
example, after you’ve learnt a dominant substantially removed from the ‘source’
7th based lick, look where the 3rds and song. These days he often duplicates this
7ths are to convert it to a minor 7th situation (pretending to be too close to
or major 7th lick. This is a favourite another track) to push his creativity further.
approach of LA studio guitarist Carl So look
Verheyen, who has numerous through this
notation books fuelled by this issue for a few
means of lick generation. great licks and
Of course, if you’re explore how you
not savvy to basic music can make them more
theory this could be a ÀH[LEOH<RXPD\HQGXS
tough call (highlighting sounding more unique
another area of musical and impressive than you
development for you?). already are! ON
Certainly having some
theory knowledge will
VIDEO!
provide substantially Stuart Rya
n hosts the first
bigger payoffs for your of a two-part masterclass
with acoustic maestro
Thomas Leeb.
July 2014
014 Page 64
LESSON: 30-MINUTE LICKBAG
30-Minute LickbagBIMM Brighton tutor Pat Heath has six licks

Brought to you by...
for you at easy, intermediate and advanced
levels.
EASY LICKS EXAMPLE 1 SOUNDGARDEN STYLE CD TRACK 30

This example is based around a fairly angular A, C, G, F chord progression tempo to start with, picking steadily and evenly. Pay close attention to your
that is quite representative of the general grunge sound. Work at a slow timing - don’t rush ahead!
©»ªº A C6add9 G6 F G Fsus2
F Let ring
E 3 1
B 2 3 0 3 1
G 2 2 2 0 0 0
D 2 2 2 3 3
A 0 3 3
3

3

1

E
1
EASY LICKS EXAMPLE 2 TREX STYLE CD TRACK 31

This idea is based on a number of Marc Bolan’s T-Rex style ideas and it needs chord throughout the core of the riff and then think about playing the high
a rock sound allied to a heavy picking hand approach. Attack the A major notes with an upstroke.
©»¡¡º A
Cmaj7
A5
#
n
F PM PM PM PM
BU BD BU BD
E 5 5
B 5 5 1
G 4 (6 ) (4 ) 2 2 2 X 4 ( 6) (4) 2 2 4 2
D 2 4 2 4 2 X 4 X 2 X 4 2
A 0 0 0 0 0 0 0 0 X 3 0 0 0 X 3 0

E
1

INTERMEDIATE LICKS EXAMPLE 3 RANDY RHOADS STYLE CD TRACK 32
The collaboration between Randy Rhoads and Ozzy Osbourne never earliest incarnation of Ozzy’s band. The principle of this lick is key change;
needed a rhythm guitarist and this example is for those who like the descending through the licks in 3rds.
b b
©»¡º C
b
A F D A
b b
.
E
B
G
D
A
15 12 8 12 15 12 8 L L L
16 13 9 13 16 13 9
17 14 10 14 17 14 10
18 15 11 15 18 15 11
19 16 12
E
1

ON THE CD TRACKS 30-35 30-MINUTE LICKBAG LEARNING ZONE
INTERMEDIATE LICKS EXAMPLE 4 HENDRIX STYLE CD TRACK 33

Hendrix was a master of creating embellishments around one chord and this can find lots of ideas by playing around E major pentatonic, holding a barre
example is voiced around a gorgeous sounding G ‘shape’ E major chord. You with your first finger across the 9th fret.
©»¡™º E
.
‡gg œ
F Let ring
BU BD
Let ring
E
B 9 12 9 9
G 9 9 9 9 11 9 11 (13) (11) 9 9 11 9 9 9
D 9 9 9 9 9 11 9 9 9 9
A 11 9 11 9 7 9 11 11 9 7 11 11
0 0 0 0
0
E
1

ADVANCED LICKS EXAMPLE 5 ALBERT LEE STYLE CD TRACK 34

This country idea is a I–IV-V in G and the example is on the descending finger, and you should accent the strong notes on the first and third beats in
turnaround. The lick is hybrid picked throughout using pick and second the bar while applying legato to passing notes onto open strings.
©»¡¢º D C
.
œ œœ œ œœ œ œ œ œ
F
E 3
B
G 0 4 0 4 0 2 0 2 3 3 2 0
D 4 0 4 0 4 0 2 0 2 0
A 5 5 5 5 5 3 3 3
E
1 m m m m m m m m
G
.
œ œ bœ nœ œ œ bœ œ
E 0
B 3 2 0 0
G 0 2 3 3 2 0 0 0
D 0 2 2 0 0
A 0 1 2 2 1 0
E
4
m 3 m
ADVANCED LICKS EXAMPLE 6 HERB ELLIS STYLE CD TRACK 35

A traditional jazz IIm–V–I is the backbone to this top line. When swung feel. Have each second 8th note from bar 2 onwards slightly shorter
approaching this, pick lightly with a smooth neck humbucking tone and a than the previous 8th note.
©»¡™º
Dm7 G7 C maj7
–
3
# qq=q
.
3 3 #
F 3
E 5 3
B 6 5 8 7 4 3 4 5 5
G 5 7 5 7 5 3 4 4 6 7 4
D 7 7 5 3 5 5
A 5 8 4 3 7
E
1

LESSON: BLUES ON THE CD TRACKS 36-39
Muddy Waters Jim Clark gets his mojo working as he explores the library of Congress in 1941.
Muddy was disappointed that the
the guitar style of one McKinley Morganfield, recordings were not for commercial release,
better known as blues legend, Muddy Waters! but he now had the bug and vowed his days of
working the dark Delta soil were over and
headed for Chicago. After snaring a gig
playing acoustic guitar with singer Sonny Boy
Williamson, he found the boisterous Chicago
blues clubs overwhelmed his sound, so
following the example of other windy city
guitarists and purchased a cheap electric
guitar in 1944 and the rest is history!
0XGG\:DWHUV¶LQÀXHQFHRQHOHFWULFJXLWDU
music, is rivalled only by BB King. Though
never a virtuoso soloist, he had an intuitive
sense of the expressive possibilities of a loud
YDOYHDPSOL¿HUDQGLWFRXOGEHVDLGWKDWLWZDV
his sound as much as his note choice that
made his guitar voice so revered.
2XU¿UVWVRORXWLOLVHVDQRSHQ*WXQLQJ
which has been a country and blues staple
ever since recording began. It was popular
among many Mississippi Delta players like
Son House and Robert Johnson as well as the
likes of Keith Richards and Jimmy Page.
Muddy used it on his earlier work.
Our second solo is in standard tuning.
Muddy always played in the key of E in
standard tuning, utilising the open position
minor pentatonic and blues scale (E G A Bb B
D), which he embellished with several ‘up the
neck’ licks. To change key, he would simply
capo the neck and play the same ideas relative
Muddy Waters: to the new position.
note 3rd fret capo
for playing in G NEXT MONTH: John Mayall’s third great
British guitarist, Mick Taylor
ABILITY RATING Son House, Robert Johnson, Charley Patton
and John Lee Hooker to name but a few.
Moderate 0XGG\¿UVWWRRNXSWKHKDUPRQLFDRU GET THE TONE
‘blues harp’ aged 13 and was soon gigging at
INFO WILL IMPROVE YOUR local functions. By 1932 he had taught himself
KEY: G/E Open tuning knowledge enough guitar to work the local suppers and 5 9 9 9 2
TEMPO: Various Slide guitar technique ¿VKIULHVDURXQGKLVKRPHWRZQ%XWDIWHU
CD: TRACKS 36-39 Authentic blues clichés several years of struggling, he settled on
Stovall’s plantation, where he drove a tractor. Muddy’s main axe from the late 50s onwards,
MCKINLEY MORGANFIELD WAS born in It was here that folk archivist Alan Lomax, was a red Fender Telecaster with a fat modified
neck. It’s easier to play slide using heavy
Rolling Fork, Mississippi in 1915, earning the who was scouting the South for Robert
strings and a high action. Muddy often
nickname Muddy Waters, due to his penchant Johnson’s musical progeny, recorded him for favoured a 0.12 or even 0.13 first string, with
for playing in the creek close to his home as a
I’ve been playing the
an action so high, most could not fret it
child. After his mother died in 1918, Muddy comfortably. Although he used glass
blues for 50 years, it’s in

was sent to live with his grandmother near bottlenecks, he would later opt for a smaller
&ODUNVGDOHWKHXQRI¿FLDOFDSLWDORIWKH'HOWD metal slide. The Fender Super Reverb was his
my hands. I don’t need to

amp of choice with all the controls set on 9.
Mississippi can take credit for producing an
So we need to aim for a loud and expressive,
extraordinary number of bluesmen from the
immediate vicinity of Clarksdale, including practice it. Muddy Waters power amp driven tone (so easy on the gain).
LFI / PHOTOSHOT
TRACK RECORD The Chess Box for many is the quintessential Muddy album, but others of interest on Chess are, Rare And Unseen,
Trouble No More and Folk Singer. Songs such as Hoochie Coochie Man, I’ve Got My Mojo Working, Rock Me, Rollin’ And Tumblin’ are
standards and have been covered by modern masters such as Clapton, Buddy Guy, Jeff Beck, Jimmy Page and The Rolling Stones.

MUDDY WATERS LEARNING ZONE
EXAMPLE 1 OPEN G LICKS CD TRACK 36

For open G the guitar is tuned to a G chord using the following steps. Tune the bass notes as needed. It also affords us nice straight lined chord forms,
the first and sixth strings down a tone to D, and the fifth string down a tone perfect for slide guitar. If you are new to slide guitar, then bear in mind that
to G. The main advantage is that it can allow slide players to access the intonation is key. The pitches are correctly achieved by placing the slide
root and 5th bass notes (G and D) unfretted so it leaves your fretting hand directly over the fret wire with just enough pressure to make the note sound
free to use the slide higher up the neck, while your thumb can pick out clearly - much like a natural harmonic is played.
–
qq=qce G7
~~~
#
3 3 3 3 3 3
~~~
SLIDE GUITAR OPEN G TUNING
D 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
B 12 12 12 12
G 12 12
D
G
D
1
~~~
#
3 3 3 3 3 3
D
~~~
12 12 12 12 12 12 12 12 12 12 12 12 12 12 12
B 12 12 12 12
G 12 12
D
G
D
3
C7
#
3
b
3 3 3 3 3
D 4 5 5 5 5 5 5 5 5 5 5 5 5 5 5 4 5
B 4 5 4 5 4 5 4 5
G 4 5 4 5 4 5 0 3 4 3 0
D
G
D
5
G7 D7
# ~~~ 3 3 3
œ œ œ
œ œ œ œ œ œ
D 12
~~~
B 12 12 12
G 12 12 12
D 0 0 7 0 0 7 0 0
G 4 0 4 0 4
D
7
C7 G7 D7
# 3
3
3
œ œ œ œ œ œ
œ œ œ œ
With slide
D
B 0
G 0 3 0 3 0 0 0 0 0 0 0 0
D 5 0 5 2 0 3 3 2 2 1 1 0 0 0
G 4 0 3 0 3 0 4
D 0
10

LESSON: BLUES ON THE CD TRACKS 36-39
EXAMPLE 2 MIXING FRETTED AND SLIDE LICKS CD TRACK 38

We start with a riff-based idea setting up the chord of E7. Use the first and third finger. Bring the slide into use for bars 5-8 then finish the progression
second fingers to articulate the bends and slurs, while wearing a slide on the using standard fretting technique to execute the turnaround.
©»§§ E7
# 1/4
‰ œ œ
n œ œ
BU BD BU BD
E 0 0 0 0
B
1/4
G 2 (3 ) (2 ) 0 0 1 2 (3 ) (2 ) 0 0 1
D 2 2 2 2
A
E 3 0 0 0 0 0 0
# Ÿ ~~~ Ÿ~~~ Ÿ ~~~

œ .
nœ . .
œ
œ
E
BU BD Ÿ ~~~ Ÿ ~~~ Ÿ~~~
0 0
B
G 2 (3 ) (2 ) 0 0 1 0 1 0
D 2 2 0 2 0
A 0 2 0
E 0 0 0
3
A7
#
With slide
E
B
G 4 4 4 4 4 4 3 2 0 3 2 0 4 4 4 4 4 4 3 2 0 3 2 0
D 2 2
A
E
5
E7 B7
# ~~~
. .
With slide
E 12 12 12 12 12 12 12 12 12 12 12 10
~~~ 0
B 12 12 12 10 9 0 0 3 0 3 3 3 3 0
G 9 9 9 2
D
A
E
7
#
A7 E7 B7
‰ ‰ .
bœ nœ œ œ
E 0 0 0
B 0 0 0 0 0
G 4 4 4 4 3 2 0 3 2 0 3 3 2 2 1
D 2
A 0 1 2 2 2
E 0 0
10

LESSON: ROCK ON THE CD TRACKS 40-42
Tin Machine Martin Cooper goes ‘alternative’ as he checks out

the unusual but exciting blend of styles in David
Bowie and Reeves Gabrels’ band, Tin Machine.
THIS MONTH WE’LL look at a

great band from the late 80s and
Reeves Gabrels’ playing is
early 90s: Tin Machine. The an interesting combination of
group was formed by David punk attitude and Van Halen
Bowie, with guitarist Reeves
Gabrels and musical brothers style guitar histrionics.
Tony and Hunt Sales on bass and understand what they were all about. While
drums respectively. Gabrels now they didn’t entirely set the world alight at the
plays with The Cure but has also time, they have since been re-assessed as being
appeared on several of Bowie’s PRUHLPSRUWDQWWKDQ¿UVWWKRXJKW
solo albums. The Bowie-Gabrels Gabrels’ playing is an interesting blend of
penned Dead Man Walking, punk attitude and Van Halen style guitar
from Bowie’s Earthling album, histrionics. His alternate picking is up there
was nominated for a Grammy, so with the best of them and there was a fair
UHDOO\5HHYHV¿WVLQWRWKH smattering of whammy bar abuse and
Bowie-Ronson, or Bono-Edge two-handed tapping in Tin Machine’s
category of being half of a repertoire. This month’s piece begins with a
partnership, rather than merely punky chord type riff, not dissimilar to last
a hired gun for albums and tours. month’s Blondie style track, and is written in
Although Tin Machine may the key of E major (E F# G# A B C# D#). The
QRWEHWKH¿UVWEDQGQDPHWKDW ‘home’ of the track is the E major chord,
one thinks of while discussing although there are a lot of non-diatonic
Bowie’s output, they did sell over chords such as C major, Bb major and G#
two million albums; and Bowie major. The solo uses E minor pentatonic (E G
has gone on record as saying A B D) although rather than being the usual
that it helped to revitalise his blues based playing, it’s more avant-garde in
solo career in the 90s. In fact, phrasing and approach. The speedy alternate
Tin Machine was formed after picked line uses the notes of E Dorian (E F# G
Bowie’s underachieving A B C# D). Have fun!
Never Let Me Down album and
Glass Spider tour had ended, NEXT MONTH: Martin examines Ronnie
with Bowie telling Gabrels that Wood’s great work with The Faces
he needed to get his musical
vision back.
The eponymous debut album GET THE TONE
was recorded during 1988 and
1989 and it reached number 3
on the UK charts, with Gabrels
7 5 7 7 5
Reeves Gabrels: saying that the band took their GAIN BASS MIDDLE TREBLE REVERB
Tin Machine’s LQÀXHQFHVIURPFODVVLFDUWLVWV
man on the Fly! Gabrels has used an off-the-wall array of
including Cream and Jimi
equipment over the years, including
Hendrix. They played some of Steinberger, Parkey Fly and Fernandes guitars
ABILITY RATING the songs live in clubs without really - although he also plays Les Pauls and Fender
announcing who they were, but rather leaving Stratocasters, so the tone shouldn’t be
Moderate the audiences to realise that the group was in unattainable for most people. Aim for an
fact being fronted by David Bowie! aggressive, but quite bright humbucker sound
INFO WILL IMPROVE YOUR After one more studio album and a live if possible, or dial the gain up a touch if using a
single-coil equipped guitar. The track recorded
KEY: E General rhythm playing recording, Tin Machine called it quits in 1992, here has chorus on the rhythm and lead parts,
TEMPO: 190bpm Soloing techniques and have since been described as simply courtesy of a Boss CE-2.
CD: TRACKS 40-42 Theory knowledge arriving too early for people to really
TRACK RECORD With their relatively brief stint as a recording and live band, there are only two studio albums from Tin Machine. Their
1989 self-titled debut features the songs Heaven’s In Here and Prisoner Of Love, while the second release - the suitably monikered Tin
LIVEPIX
Machine II - from 1991, includes Baby Universal, One Shot, the blues-tinged Stateside, and the exquisite Zeppelin-esque Amlapura.

TIN MACHINE LEARNING ZONE
EXAMPLE: GENERAL CD TRACK 41

The chords should be played aggressively but in a tight and controlled some whammy bar dive bombs and vibrato with some tapping to end, so it
manner, and the single-note rhythm parts should be accurate and clean in would be a good idea to try each of these parts in isolation before putting
their approach. The solo relies on some fast alternate picked phrases plus the whole solo together as one performance.
RHYTHM GUITAR
©»¡ªº E G# E Bb
# .. .. ..
œ
..
œ bœ œ b ..
E
B . 0
0
0
0
0
0
0
0
G
D
A
. 1
2
2
1
2
2
5
6
4
5
6
4
1
2
2
1
2
2
7
8
8
7
8
8
E 0 0 4 4 0 0 6 6
1, 9
E G# F B
# .. .. ..
. n œ .
. .
œ
E
B
0
0
0
0 4 4 .
G
D
A
1
2
2
1
2
2
5
6
4
5
6
4
2
3
3
2
3
3
4
4
2
4
4
2
.
E 0 0 4 4 1 1
5, 13
D5 C #5 C5 B5 D5 C #5 Cmaj7
#
w
E 0 0
B 0 0
G 7 6 5 4 7 6 5 5
D 5 5
A 5 4 3 2 5 4 3 3
E
17
#
C
2 2 B5 C5
n n
E
B
G 5 6 5 4 4 5 5
D 4 4 4
A 3 3 3 3 2 2 3 3
E
25
D5 E C E C B
# . ... ...
. . . œ
E
B 9 9 5 5 9 9 5 4
G 5 7 9 9 5 5 9 9 5 4
D 9 9 5 5 9 9 5 4
A 3 5 7 7 3 3 7 7 3 2
E
32

LESSON: ROCK ON THE CD TRACKS 40-42
EXAMPLE RHYTHM PART ...CONTINUED CD TRACK 41
E C E Bb A E
# .. ..
.. ..
œ
E 0
B 9 9 5 5 9 9 3 2 0
G 9 9 5 5 9 9 3 2 1
D 9 9 5 5 9 9 3 2 2
A 7 7 3 3 7 7 1 0 2
E 0
37
EXAMPLE LEAD SOLO CD TRACK 41
LEAD GUITAR
©»¡ªº 32 nœ n
j E
œ
j ~~~ C
œ
j
œ
j ~~~ E C
~~~ ~
B
# .. ~~~
. ‰
E
32 BU BU ~~~ BU BU ~~~
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39

Everything you need...
A magazine/DVD with tips, riffs,
scales and exercises, plus authentic
Classic Rock style tracks to learn!
On Sale Now! Just £6.99 from WHSmith and all good newsagents
LESSON: VIDEO VIDEO ON THE CD CD-ROM
Thomas Leeb PART 1

In the first of a two-part video masterclass special,
Austrian acoustic wizard Thomas Leeb shares
some of his playing secrets with Stuart Ryan.
Thomas Leeb: An exponent of various

with his Lowden
signature model
altered tunings, Leeb also
incorporates all the modern
techniques seamlessly into
his guitar playing.
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accompaniments, while his stunning
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Leeb also incorporates all the modern
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tapping, tapped harmonics, harp harmonics
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showcasing tapping, some basic percussion
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ABILITY RATING PDVWHUFODVVHVLQFOXGLQJKLVRZQWZRZHHN to your playing.
residential course in Austria. A contemporary 1H[WPRQWKZH¶OOORRNDW7KRPDV¶VPRUH
Moderate/Advanced and friend of my predecessor at GT the late, WUDGLWLRQDO¿QJHUVW\OHDSSURDFKEXWIRUQRZ
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INFO WILL IMPROVE YOUR SHUFXVVLYHDQGWDSSLQJWHFKQLTXHVZKLOHVWLOO WHFKQLTXHVLQWR\RXUSOD\LQJ0DQ\WKDQNVWR
KEY: Various Acoustic tapping DWHHQDJHUDQGUHOHDVHGKLV¿UVW&'5HYHOOHU Thomas for his time and enthusiasm.
TEMPO: Various Percussive playing DJHGMXVW+HZHQWRQWRUHFRUGDQRWKHUVL[
CD: CD-ROM Harmonics VROR¿QJHUVW\OHDOEXPVVRIDUZLWKWKHPRVW NEXT MONTH: Stuart delves into Thomas
recent being 2011’s No Alibis. Leeb’s more conventional playing side
WHEN MY GOOD friend Thomas Leeb came 0XFKRI/HHE¶VGLVWLQFWLYHVW\OHZDVIXHOOHG
to stay with me during a recent UK tour, I E\KLVVWXGLHVDWWKH&DOLIRUQLD,QVWLWXWH2I
couldn’t resist setting up the cameras so we 7KH$UWVZKHUHKHH[SORUHGSHUFXVVLRQ
GET THE TONE
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Thomas is rightfully regarded as one of the /DG]HNSRKHWRRNZKDWKHOHDUQHGWKHUHDQG 2 6 5 5 4
ZRUOG¶V¿QHVWDFRXVWLF¿QJHUVW\OHSOD\HUVDQG applied it to acoustic guitar. This means that
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SOD\LQJ+RZHYHUXQOLNHPDQ\RWKHUPRGHUQ depth rather than just following the ‘1 and 2
A long time Lowden endorsee, Thomas now
players, he is also a master of traditional ways and 3 and 4 and’ trap that many nascent
has a signature model which you can see in
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action here! To play the material in this
Originally from Austria, LA resident percussion is only a facet of his style, acting as
lesson choose a decent, versatile acoustic
Thomas tours the world playing solo concerts, DVXSSRUWLYHWRRODQGQRWWKHFHQWUDOIHDWXUH guitar and tune it to DADGAD.
SHUIRUPLQJDWJXLWDUIHVWLYDOVDQGKRVWLQJ +LVRULJLQDOFRPSRVLWLRQVFRQWDLQÀRZLQJ
TRACK RECORD Thomas Leeb has released seven solo fingerstyle CDs which can be purchased from www.thomasleeb.com. All are
fantastic, although we particularly like 2007’s Desert Pirate (2007) and No Alibis (2011). There are also beautifully shot videos of
him performing such numbers as the aforementioned Comfortably Numb, up on YouTube.

THOMAS LEEB PART 1 LEARNING ZONE
EXERCISE 1 TAPPING AND PULLOFFS CD-ROM

This involves single-note tapping and pull-offs from the picking and fretting string. Now that both of those are in place, you pull off the first note and follow
hands. Use your fretting hand to tap the 4th fret on the first string and while that up with a pull-off on the second. This formula gets repeated exactly the same
that hand is still in place, use your picking hand to tap the 7th fret on the second on all strings - second and third, third and fourth and so on.
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EXERCISE 2 MINOR KEY TAPPING AND PULLOFFS CD-ROM

This is very similar to the first exercise from a motor skill standpoint, except that While fairly simple to play, these ideas lay the foundation for more advanced
it’s a minor tonality - the fretting hand playing the 3rd fret instead of the 4th. tapping techniques.
Dm
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EXERCISE 3 BASIC PERCUSSION CD-ROM

Here we’re combining a ‘bass drum’ groove on beats two and four played with that gives a nice approximation of a bass drum. As far as the rhythm for the fretting
the picking hand with a simple hammer-on and pull-off power-chord line on the hand goes, just keep an eye out for the offbeat groove of the picking hand: the only
fretting hand. The bass drum sound is produced with a fretting-hand heel ‘thump’ time both hand actions coincide is the pull-off on beat four of every other bar.
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LESSON: VIDEO VIDEO ON THE CD CD-ROM
EXERCISE 4 INTRODUCING HARMONICS CD-ROM

This builds on the foundation of Exercise 3. The fretting hand plays one more the rhythm stays the same - you just end up playing a harmonic slap instead of
note on the third string but other than that there are no changes. Watch the wider a bass thump every other time. For this, strike with your picking hand first or
spread of the fingers in the last two bars though. As for the picking hand; again, second finger directly on to the 12th fret and you should hear harmonics ring out.
#
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EXERCISE 5 PUTTING VARIOUS IDEAS TOGETHER CD-ROM

Here the aim is to combine the percussive bass thumps and thumb clicks with you is the strum and thump combination that sometimes happens on beat one.
a few chords and a bit of melody added on top. Spend a little time familiarising For the click sound, your picking hand thumb slaps down and comes to rest on
yourself with the chord shapes. The only thing that might be a little awkward to the string which will be played immediately after.
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LESSON: CREATIVE ROCK ON THE CD TRACKS 43-45
Phrygian Dominant
If you’re looking for some fresh rock tonalities,
then you’re in luck, for Shaun Baxter has a
useful and interesting scale to show you.
Shaun Baxter
& Uli Jon Roth
3KU\JLDQ'RPLQDQWLVWKH¿IWK A characteristic minor 3rd

mode of A harmonic minor. This
means that it has the same notes, leap between the b2 and 3 gives
but should be treated as an E scale, Phrygian Dominant a certain
with the notes of an E triad (E, G#
and B) acting as the settled ‘home’
Eastern quality, and it crops up
notes, rather than Am (A, C and E). in a host of different European
A Harmonic minor:
A B C D E F G#
and Asian cultures.
1 2 b3 4 5 b6 7 Three-Octave Patterns
E Phrygian Dominant: On guitar, it is common to compress the notes
E F G# A B C D of any scale onto the bottom string pair (sixth
1 b2 3 4 5 b6 b7 DQG¿IWKDQGVKLIWWKHVDPHUHVXOWDQWVFDOH
Phrygian Dominant is also known SDWWHUQXSLQRFWDYHVXQFKDQJHG¿UVWWRWKH
as Phrygian major and is so-called middle string pair (fourth and third) and then
because it is like Phrygian, but WKHWRSVWULQJSDLUVHFRQGDQG¿UVW
with a major 3rd instead of a For E Phrygian Dominant, one could start
minor 3rd. Like any mode of with D, E and F on the sixth string, and G#, A,
Harmonic minor, there is a %DQG&RQWKH¿IWKJLYLQJXVDOOVHYHQQRWHV
characteristic minor 3rd leap (in of the scale compressed into one string pair
this case, between b2 and 3) that (try shifting it up in octaves on the middle and
gives it a certain Eastern quality, top string pairs as described, to produce a
and is a scale that crops up in a VFDOHFRQ¿JXUDWLRQ<QJZLHXVHV
host of different European and this approach a lot, as well as an inversion of
Asian cultures (Spanish, Turkish, the same thing that can be established if one
Greek, Indian, Jewish etc). It also plays G#, A, B and C on the sixth string, and
has three semitone intervals per '(DQG)RQWKH¿IWKDJDLQWU\PRYLQJWKLV
octave (one a semitone above each up in octaves on the middle and top string
of the notes of the parental triad), pairs in the prescribed manner to get a
plus just one other note. It FRQ¿JXUDWLRQ
contains two major triads a
semitone apart (in this case E and NEXT MONTH: We have more neo-classical
F); plus a diminished 7th arpeggio rock guitar secrets from Shaun
(in this case G#dim7, which contains the
ABILITY RATING
notes G#, B, D and F).
Advanced As you see, it is possible to view E Phrygian GET THE TONE
Dominant in several ways: 1) E Phrygian with a
INFO WILL IMPROVE YOUR major 3rd (G#) instead of a minor 3rd (G); a
KEY: E Scale knowledge parental E triad with a semitone interval above 6 7 5 5 4
TEMPO: 106bpm Neo-classical repertoire each of its three notes (therefore an F triad),
CD: TRACKS 43-45 Dim7th arpeggio use DQGD¿QDO'QRWHEWKDWUHVLGHVDWRQHEHORZ
the root note; or a parental E triad with an F Typically, most amplifiers would be set as
triad a semitone higher; plus a b7 (D). above for a rock tone. As usual, I used a Fender
SO FAR IN this current series we’ve looked at
Strat on the GT CD, and, as its single-coil
triadic arpeggios, pedal tones and targeting. Diagram 1 shows the Phrygian dominant pickups are much weaker than humbuckers, I
This month we move on to a scale that occurs scale viewed from the latter perspective. You always use a distortion pedal to boost the
in many ethnic music forms and is particularly will see that the notes of the F triad will sound signal before it gets to the amp. Furthermore,
prominent in neo-classical rock guitar. tense, suspended or unresolved, whereas the some reverb and delay (matched to the tempo
3KU\JLDQ'RPLQDQWLVPRGH¿YHRIWKH notes of the E triad sound settled, and of the track) will help to give both size and
therefore resolved. smoothness (polish) to the guitar sound.
harmonic minor scale; so, for example, E
DAVID LYTTLETON
TRACK RECORD Uli Jon Roth was a huge influence on Yngwie Malmsteen’s playing - listen to The Sails Of Charon, which Uli recorded with
The Scorpions in 1977. If you don’t know Uli’s playing, then I recommend the double live Scorpions album Tokyo Tapes. I used to play this to
death when I was a teenager when painting in my A-Level art classes, and I had the honour of finally playing with Uli about a year ago.

PHRYGIAN DOMINANT LEARNING ZONE
DIAGRAM 1
DIAGRAM 2
EXAMPLE SOLO STUDY CD TRACK 44

[Bar 1] We start with a melody constructed from the semitone intervals that [Bar 4] As with the G# note in the first half of the previous bar, here, an E
exist within the scale (three per octave). Each three-note motif (a 16th-note note is used as a pedal point throughout the duration of the E chord.
followed by an 8th-note) creates interest for the listener, because it is played [Bar 5] If one omits the C note from E Phrygian Dominant, it is possible to
over a 4/4 backing that has four 16th-notes per beat. The resultant ‘three- modify the two-string scale shapes mentioned earlier and produce a three-
against-four’ effect is known as a hemiola. notes-per-string formation that can be shifted up in octaves. For example, if
[Bar 2] The main idea in this section, which starts in the second half of beat one were to start with D, E and F on the sixth string, and G#, A and B on the
2, is a line that is employed heavily by Yngwie Malmsteen throughout his fifth string, one could shift this same two-string scale shape up in octaves,
solos. Note how it resolves to the G# note (3rd of E) in the following bar. firstly onto the middle two strings, and then onto the top two strings.
[Bar 3] Although E Phrygian Dominant can be used over both chords in our It’s from the resultant pattern that the melody in bar 5 is based. Note the
E and F progression, occasionally notes relating to F are emphasised over thematic use of the same six-note melodic motif throughout.
the F chord in order to reflect the harmonic shift in between one chord and [Bar 6] The run in this bar is based around the same two-string scale
the next (E sounds resolved, F unresolved). In the first half of this bar, a G# approach used in bar 5, only this time the C note has been reinstated to
pedal note is used in order to reflect the E chord, whereas the melody in the encompass all seven notes of the scale (this would result in a 3-4-3-4-3-4
second half starts with an F triad to reflect the underlying F major. note configuration if applied across all six strings).
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[Bars 7-8] This section involves straightforward arpeggiation of the E and This still works because the overriding ‘home’ tonality (to the listener) is E.
F chords. Refer to the previous lessons for the main major triadic arpeggio [Bar 12] This section is based around the three semitone intervals that exist
shapes (all three inversions). within each octave of this scale. The rhythm in the first half of the bar could
[Bars 9–11] The bulk of bars 9 and 10 is given over to the same six-note have been written as 16th-note triplets; however, conceptually, it’s easier
motif used in bar 5; again, using a two-string scale pattern with no C note to think of a four-note 16th-note motif shifted to a quarter-note triplet count.
arranged three-notes-per-string (G#-A-B and D-E-F) and shifted up and [Bars 13–15] Most of the notes in these three bars are derived from chord
down in octaves the classically-influenced Yngwie is fond of four-note tones (arpeggio notes) relating to both the E and F chords. There are a
scale sequences which he uses virtically within a single scale shape, or few chromatic notes added for fun: in beat 1 of bar 13, a D# note is used
laterally along the length of one string. Starting from beat 4 of bar 11, we to approach the E root (refer to the previous lesson for more advice on
see a descending four-note scale sequence played vertically down through chromatic targeting); beat 3 of bar 13 starts with a G natural, which is often
the same scale shape to a 16th-note triplet count (which has the effect of employed as a bluesy addition to the Phrygian Dominant scale (we will see
rhythmically displacing it). Note how this section finishes off with an E major some more examples of this later in the solo); and bar 15 ends with a Bb (A#)
arpeggio to an E bend, even though an F chord is being played at this point. note as a means of targeting the B note at the start of the following bar.
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[Bars 16-17] This section reflects Yngwie’s propensity for using open strings can exploited on the guitar by simply taking any diminished arpeggio shape
with E Phrygian Dominant scale, allowing him to shift laterally in the style of and moving it up or down in minor 3rd intervals (every three frets), and bar
a Greek bouzouki player (who would also use this scale). 19 shows a graphic example of this: each identical four-note arpeggio shape
[Bar 18] Here the introduction of a G natural produces a bluesy frisson to an contains exactly the same four notes. Finally, in terms of visualising the dim7
ascending four-note scale sequence (played to a 16th-note triplet count as arpeggio from within the scale, many players (including me) prefer to think
in bars 10 and 11) and allows Yngwie to arrange the notes in a symmetrical of it as a 7b9 arpeggio with no root: E7b9:
fashion (9th, 10th and 12th frets of the fourth, third and second strings). E G# B D F
[Bar 19] As mentioned, E Phrygian Dominant contains a G#dim7 arpeggio. 1 3 5 b7 b9
Diminished 7th is a four-note entity (1, b3, b5 and bb7), and is the harmonic [Bar 20] This section reads like an ascending version of the idea shown in bar
equivalent of a square as it has ‘four equal sides’. By this, I mean that there 12; here, used over two octaves.
is an equal distance between each consecutive note (a minor 3rd) – see [Bars 21-22] Like the previous bar, this section is a graphic example of how
Diagram 2. This means that each inversion looks exactly the same (as you to base an idea around the three semitones that exist within each octave of
roll the same shape over, starting from a different point); also, one could say the Phrygian Dominant scale. This passage can be played using just the first
that G#dim7 has the same notes as Bdim7, Ddim7 and Fdim7. This symmetry two fingers of the fretting hand - as gypsy jazzer Django Reinhardt would.
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[Bars 23-24] These two bars are devoted to different ways of playing a repeated lick that contains a wide stretch to a G# note: a real Yngwie
diminished 7th arpeggios. Malmsteen favourite.
[Bar 23] Reminiscent of Vinnie Moore, this example employs wide stretches [Bar 28] This descending sequence is used by Yngwie in songs like Trilogy
to arrange the notes three to a string, with string skips, and achieves lateral Suite. It is based around a two-string scale shape (comprising G#-A-B-C and
shifts via slides, whereas bar 24 expands on this by also adding a picking- D-E-F) shifted symmetrically (retaining the same fingering) in octaves.
hand tap to create a four-notes-per-string approach. [Bars 29–31] As in bar 7, this section is based around straightforward E and
[Bars 25-26] If one takes the four notes that Phrygian Dominant has got F major arpeggios: in this case, different inversions taken laterally up the
in common with the minor pentatonic (1, 4, 5 and b7), it is possible to play fretboard.
bluesy pentatonic-style licks and lines with a twist (by adding a b2, 3 and/or [Bar 32] Finally, we finish with a neat Malmsteen-style combination that
b6). This section does just that. Note the use of a diminished 7th arpeggio at scrolls laterally through various inversions of the same diminished 7th
the start of bar 26. arpeggio, using abridged (two-string) versions of the symmetrical shapes
[Bar 27] Here, the six-note motif used in bars 5, 9 and 10 is adapted to create that we saw in bar 19.
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LESSON: R&B ON THE CD TRACKS 48-59
The Yardbirds
Yardbirds is characterised by a harder-edged,
more psychedelic sound, fuelled by Beck’s
experiments with distortion and feedback.
His unusual and original style complimented
the bands’ new pop-rock direction perfectly.
Beck achieved instant recognition for his
Phil Capone kicks off a new series showcasing the work, winning the prestigious title of No 1
Lead Guitarist in the 1966 Beat Instrumental
hugely influential bands of the UK's R&B scene. We Reader’s Poll. In the same year bassist Paul
begin our journey with 60s pioneers, The Yardbirds. Samwell-Smith quit the band and was, rather
unusually, replaced by Jimmy Page.
With Jimmy Page on bass (also playing
lead in the studio while session man John
Paul Jones covered bass duties), the third
phase of the band’s history began. Only a
handful of tracks (most notably Happenings
Ten Years Time Ago and Stroll On) remain as
testament to the short lived Page-Beck Era.
There is, however, a famous 1960s movie,
Blow-Up, featuring a scene of this line-up
playing in club. It depicts Beck losing his
temper with a faulty Vox amp and smashing
XSKLVJXLWDU,URQLFDOO\LWZDV%HFN¶V¿HU\
temper that contributed to him being sacked
from The Yardbirds in the autumn of 1966.
With Beck gone, Page switched to lead
JXLWDUIRUWKH¿QDOSKDVHRIWKHEDQG¶VKLVWRU\
They recorded their last album, Little Games
in 1967 which featured Page’s solo acoustic
masterpiece White Summer - Page also
started experimenting with his ‘violin bow’
technique at this time.
The Yardbirds disbanded in summer 1968,
EXWZLWKWRXULQJFRPPLWPHQWVXQIXO¿OOHG
Page and the band’s new manager Peter Grant
The Yardbirds put together a revised line-up with Robert
in 1964 with Eric Plant and John Bonham. The ‘New Yardbirds’
Clapton (right) toured Scandinavia, then returned to the UK
to start work on a new album in the autumn of
ABILITY RATING in Richmond. Shortly after this Topham quit that year. While recording was in progress,
and Eric Clapton (aged just 18) took his place. Page changed the name of the group to Led
Moderate/Advanced Clapton’s virtuosity was already evident; his Zeppelin and the rest, as they say, is history.
accomplished soloing style perfectly suited to
INFO WILL IMPROVE YOUR the bands’ blues-based repertoire. By February NEXT MONTH: Phil examines the work of
KEY: Various 'Straight’ and ‘shuffle’ feels of 1964 they had secured a recording contract Ray and Dave Davies of The Kinks
TEMPO: Various Authentic classic rock phrases with EMI. Early the following year, just as they
CD: TRACKS 48-59 Creative use of legato were enjoying UK and USA chart success,
Clapton quit, unhappy with the group's change GET THE TONE
THE YARDBIRDS WERE responsible for of direction from their bluesy roots to a much
launching the careers of three of the biggest more commercial sound.
names in the history of rock guitar: Eric Clapton recommended his friend, and 9 5 5 5 3
Clapton, Jeff Beck, and Jimmy Page. Formed young session wizard, Jimmy Page as his
in 1963, the original line-up consisted of Keith successor. Page declined but suggested Jeff
Relf (vocals), Paul Samwell-Smith (bass), Jim Beck for the job instead. This period of The Since this article highlights three very different
players, it's impossible to recommend a ‘one size
McCarty (drums), Chris Dreja (rhythm), and
Anthony ‘Top’ Topham (lead). While recording was in fits all’ setting. However, the driven crunch tone
above should provide you with a solid template
,QÀXHQFHGE\&KLFDJREOXHVPXVLFLDQV
the band's early repertoire consisted largely of
progress, Page changed the to get you going. This setting should also get you
pretty close to Clapton’s early lead tone. Jeff
Muddy Waters, Howlin’ Wolf and Bo Diddley name of the group to Led Beck’s overdriven sound can be emulated by
adding a boost pedal (like a Tube Screamer), and
FRYHUV7KH<DUGELUGVZHUHRI¿FLDOO\ODXQFKHG
onto the London R&B scene when they secured
Zeppelin and the rest, as for Page’s tone try using a fuzz pedal while
they say, is history. cranking up the treble on your amp to 10.

VAL WILMER / GETTY IMAGES
the hippest gig in town: The Crawdaddy Club
TRACK RECORD Classic Clapton Yardbirds tunes include A Certain Girl (1964) and Good Morning Little Schoolgirl (1964). For Jeff Beck’s
input, check out Heart Full Of Soul (1965) and Shapes Of Things (1966). For Beck & Page: Happenings Ten Years Time Ago (1966) and
Stroll On (1966). With Page only: Little Games (1967) and White Summer (1967). Most can be found on The Best Of The Yardbirds.

THE YARDBIRDS LEARNING ZONE
EXAMPLE 1 ERIC CLAPTON CD TRACK 48

The Chuck Berry style double-stop lick in bar 7 should be fretted using and the 8th fret with your first finger. Mute adjacent strings with the tip and
semi-barres. Do this by fretting across the 10th fret with your third finger side of other fretting fingers.
j
©»¡¢º C7
~~ ~~ ~~ b œ b b 1/4
~~ j
œ
‰
Let ring
E
~~ ~~ ~~ BU BU
11 ( 13 ) 11 8
1/4 ~~ BU
8
B 13 13 13 13 13 13 16 (18 ) 11 8 8
G 14 11 10 8 10 (12 )
D 10
A
E
1
b
b
1/4
B 7 B7 C7
j
b
1/4
. œœ
j b .. 1/4
j U.
bœ
1/4
BU BU 1/4
1/4
E 8 11 8
B 11 ( 13 ) 8 8 11 8 10 (11 ) 10 8 10 8
G 11 10 8 8 10 10 (11 ) 10 8 10 8
D 10 10 8 8 10 8
A
E
5
EXAMPLE 2 ERIC CLAPTON CD TRACK 50

When you’re playing the open E between power chord stabs, keep your indicated will make it easier to pick the strings accurately and confidently.
third finger in position on the fifth string; using downpicks throughout as Apply palm muting only where indicated.
©»¡¶º 1, 2, 3 4
# . G5 A5
..
A5
.
j
œ œ #œ nœ
PM
E
B . .
G
D
A
. 5 5 5 7 7 7
. 7 7
E 3 0 3 0 0 3 0 5 0 5 5 0 5 0 5 4 5 3 0

EXAMPLE 3 JEFF BECK CD TRACK 52
Use eighth note alternate picking throughout and try to ‘lay back’ on the the end of bar 3 with your third finger to achieve the desired strong pull-
beat a little to achieve Jeff Beck's beautifully relaxed delivery. Play the C at off to the A note.
©»¡¢º Dm 1/4 1/4 B b

~~~~ G
j œ
A
~. ~~~ Dm
U.
‰ .
œ
.. ‰ ‰ ‰ ..
1/4 1/4 ~~~~ BU ~~~~

E
B . 10
10
13 10 .
G
D
A
. 12
10 12
10 12 10
12 12
10 12 (14 )
. 12 10 12
E
EXAMPLE 4 JEFF BECK CD TRACK 54

A psychedelic sitar like sound is achieved in this example by using a with your first and second fingers; using your first and third fingers on the
combination of slides, pull-offs and bends. Fret the notes on the first string third string.
©»¡ªº G7
.. ‰ ..
BU BD BU BD
E
B . 12 12 13 12 10 .
G
D
A
. 10 12 14 12 12 14 (16 ) (14 ) (16 ) (14 ) 12
.
E

LESSON: R&B ON THE CD TRACKS 48-59
EXAMPLE 5 JIMMY PAGE CD TRACK 56

The triplets in bars 2 and 3 should be played behind the beat to replicate position it can be played using only your first and third fingers; however you
Jimmy’s iconic phrasing style. Since this lick is played entirely at the 17th may find it easier to bend the third string with your second finger.
Shuffle
©»¡¢™
N.C.
j j œ
j ~~~~~~~~~~~
. . œ
j .
œ œ
3 3 3
E
BU
17
BU
17
BU ~~~~~~~~~ ~ BU
B 17 17 20 ( 22 ) 20 20 20 ( 22 )
G 19 ( 21) 19 ( 21)
D
A
E
1
() . j
. œ
j . œ
.
3 3 3
3
BU BU
E 20 ( 22 ) 20 20 17
B 20 20 ( 22 ) 20 20 17
G 19 17
D 19
A
E
3
EXAMPLE 6 FINAL JAM CD TRACK 58

You’ll probably find it challenging to switch between the indicated swing here). The second solo (bars 9-16) should also be played with straight eighth
and straight grooves on the fly. The backing is a shuffle groove except for notes but here they’re over a swing groove. This powerful technique is best
bars 17-24 which are played with a straight groove (so play straight eighths practised with a metronome before you play along to the backing track.
©»¡£º
Shuffle
G Bb F G Bb F
#
1/4
j
1/4
j
.
3
œ œ
œ 3
CLAPTON SOLO Let ring
1/4 1/4
E
B 6 6
G 3 3 5 7 7 5 3
D 5 3 5 5 3 5 3 5 3 5 5 3
A 5
E
1
G Bb F
#
1/4
3
j 3 1/4
œ
œ# n b
3 3 œn .
1/4 BU
E 3
B 3 6 3 1/4
G 3 5 ( 7) 6 5 3 0
D 5 3 5 5 3 5 3 5 3
A 5 4 3 1
E 3 1
5
G Bb F G Bb F
# œ
j
œ
j
œ
j
œ
j
BECK SOLO
(play straight 8s)
BU BU BU BU
E
B 5 5 (6 ) 5 5 ( 6) 5 5 (6) 5 5 (6 ) 5
G 4 5 4 0 4 0 0 5 7 5 0 5 3 0 4 5 4 0 4 5 4 0 4 5 4 0
D
A
E
9

THE YARDBIRDS LEARNING ZONE
EXAMPLE 6 FINAL JAM CD TRACK 58
G ~~~ Bb F
# œ
j
œ . j
œ b œ n
E
BU ~~~ BU BU BD
B 6 ( 8) 5 5 ( 6) 5 3
G 5 3
D 5 3
A 5 3
E 3 (4 ) ( 3) 1
13
Eb Bb Eb Bb
C C
b b 1/4 1/4 1/4
j ~~
.
Straight groove
œ b . ~~
b
j
# œ
j . . œ
PAGE SOLO Bend gradually sharper

RP
E
BU BD BU ~~~ 11 8 11 8 11 8 8
1/4 1/4 1/4
BU BU ~~
B 8 ( 11 ) (8 ) 8 8 8 11 11 11 11 11 (12 ) (13 )
G 7 (8 ) 7 5 5 7
D 8
A
E
17
Eb Bb
C
b . ~~~
D
#
1/4
.
œ .
RP
E
BU BD BU BU BD 1/4 ~~~
B 12 (13 ) (12 ) (13 ) 11 10 10 ( 11 ) (10 ) 8
G 10 8 12 11
D 10 12 10 7 5 4 0
A
E
21
Bb Bb j
G F G F
j
bœ b
j
œ n
j j œ œ
#
Shuffle groove
nœ j
bœ
bœ œ
nœ
j . œ
j
Unison riff BU BU BU BU BU BU
E
B 8 6 12 10 13 15
G 10 ( 12 ) 8 (10 ) 13 ( 15 ) 12 ( 14 ) 15 ( 17 ) 17 (19 )
D
A
E 1 3 1 3 1 6 5 8 10
25
G Bb F
# j
3 3
3 3 .
j œ
nœ
3 3 3
3
E
B 7
G 10 10 10 10 10 10
D 3 5 3 7 8 7 3 3 3 3 3 3 7 7 7 7 7 7 10 10 10 10 10 10
A 3
E
29

LESSON: JAZZ ON THE CD TRACKS 60-66
The Diminished Scale

a 7th chord from it by taking the 1st, 3rd, 5th
DQGWKQRWHVRIWKHVFDOH+DUPRQLVLQJWKH
diminished scale we get the intervals 1, b3,
b5, bb7, which gives us, perhaps
unsurprisingly, a diminished 7th chord (see
([DPSOHVDQGDQG'LDJUDP
In the first of a new series Pete Callard unlocks Interestingly, if we harmonise the second
mode of the diminished, generally referred
the secrets of the diminished scale, used by jazzy WRDVKDOIVWHSZKROHVWHSRUKDOIZKROH
players from Robben Ford to Django Reinhardt. diminished, we get the same intervals,
meaning both scales work over a diminished
WKFKRUG([DPSOH7KLVDOVRPHDQVWKDW
as an octatonic scale due to the diminished scale can be seen as being
the fact that it is made up of built from two diminished 7th chords a
eight notes (octa meaning whole step apart.
eight, in the same way the Another interesting aspect of diminished
pentatonic scale contains 7th chords is that, as each interval is
¿YHQRWHVSHQWDPHDQLQJ HTXLGLVWDQWDEUGDSDUWDQ\RQHRIWKHP
¿YH7KHGLPLQLVKHGVFDOH can be considered the root note - so Adim7
is created by moving up in can also be seen as Cdim7, Ebdim7 and
alternating tones and F#dim7, as they all contain exactly the same
semitones, creating what’s notes, and each of those chords could equally
known as a symmetric scale be seen as Adim7. Thus, any time we play a
(see Example 1 and Diagram diminished 7th chord we can use any of the
OHDYLQJXVZLWKWKH four notes as the root, and move it up or down
formula 1, 2, b3, 4, b5, b6, in minor 3rds, as demonstrated in Example 6.
bb7, 7. Because of this Getting familiar with a new scale can take
VSHFL¿FWRQHVHPLWRQH time, so one way to help you get the sound of
construction there are only the diminished into your playing more easily
two shapes of the is with arpeggios. Examples 7 and 8 and
GLPLQLVKHGVFDOHWKH¿UVW Diagram 3 demonstrate diminished 7th
one starting with a whole arpeggio shapes.
step, and the second starting Remember, as with the chords, all of the
with a half step, the interval intervals are equidistant so diminished
formula for which is 1, b2, arpeggios can also be moved up in b3rds.
b3, 3, #4, 5, 6, b7 (see Examples 9 and 10 feature examples of this
([DPSOH,IZHVWDUWIURP from the real world with, in a rare gypsy jazz/
the third note of the scale, neo-classical metal crossover, licks from
we are left with exactly the Django Reinhardt and Yngwie Malmsteen!
VDPHVFDOHDVIURPWKH¿UVW The remaining examples feature Scott
note, and starting from the +HQGHUVRQDQG-RKQ6FR¿HOGOLQHV
fourth note gives us the demonstrating the diminished scale in action.
same notes as starting from We’ll be delving deeper into the jazz
the second note...etc. As applications of the diminished next time, so
well as only two shapes, this I hope you’ll join me then.
Scott Henderson: also means that there are
impressive user only three different NEXT MONTH: More Diminished scale
of the diminished diminished scales - if we licks and ideas from Pete Callard
start on C, we can also have
C#/Db diminished scale and D diminished
ABILITY RATING
scale, but then D#/Eb diminished scale is the
GET THE TONE
Moderate/Advanced same as C diminished scale, and E
diminished scale is the same as C#/Db 2 6 5 2 2
INFO WILL IMPROVE YOUR diminished scale... and so on.
KEY: Various Jazz soloing 7KH¿UVWVWHSLQXVLQJDQ\QHZVFDOHLVWR GAIN BASS MIDDLE TREBLE REVERB
TEMPO: Various Harmony application ¿QGRXWZKDWFKRUGVLWZLOOZRUNRYHUDQGWR You can use any sound you feel is appropriate for
CD: TRACKS 60-66 Scale vocabulary do this we need to harmonise the scale (build this month’s examples. But for a modern jazzy
blues tone as used by players such as Scott
THIS MONTH AND next we’ll be exploring The diminished scale is Henderson, John Scofield and Robben Ford, select
far more versatile than its

the bridge pickup (single-coil or humbucker) and
some of the theory behind, and uses for, a
wind in enough overdrive to make the notes sing,
scale far more versatile than its reputation
might suggest - the diminished scale. Known reputation might suggest. while retaining the guitar’s inherent tone.
TRACK RECORD The diminished scale is fundamental to jazz, so our listening recommendations could encompass just about anything.
But for players who sometimes make it a feature of their playing, check out Scott Henderson’s Tribal Tech albums - Tribal Tech, Dr
Hee and Nomad, John Scofield’s Meant To Be, Django Reinhardt’s Peche à la Mouche, and Al DiMeola’s Splendido Hotel.

THE DIMINISHED SCALE LEARNING ZONE
DIAGRAM 1 DIMINISHED SCALE SHAPES DIAGRAM 2 DIMINISHED 7 CHORD SHAPES
DIAGRAM 3 DIMINISHED 7 ARPEGGIO SHAPES
EXAMPLES 1 AND 2 A DIMINISHED SCALE SHAPES 1 AND 2 CD TRACK 60

Example 1 This example features shape 1 of the A diminished scale which reverse of shape 1), leaving us with the intervals: 1, b2, b3, 3, #4, 5, 6, b7.
is characterised by its whole step, half step, whole step, half step pattern There are only two shapes - if we start from the third note of the scale, we
throughout, giving us the formula 1, 2, b3, 4, b5, b6, bb7, 7. are left with exactly the same scale shape and notes as from the first note,
Example 2 And here’s shape 2 of the A diminished scale, characterised and starting from the fourth note gives us the same shape and notes as
by its half step, whole step, half step, whole step pattern throughout (the starting from the second note. See also Diagram 1.
Ex 1
b b
œ œ .
E 4 5 7 5 4
B 4 6 7 7 6 4
G 4 5 7 7 5 4
D 4 6 7 7 6 4
A 5 6 8 8 6 5
E 5 7 8 8 7 5
Ex 2
b b
œ œ œ .
E 5 7 8 7 5
B 6 7 9 9 76
G 57 8 8 7 5
D 6 7 9 9 7 6
A 6 8 9 9 8 6
E 7 8 10 10 8 7

EXAMPLE 3 HARMONISING THE A DIMINISHED SCALE NO CD TRACK

When it comes to harmonising the diminished scale, we get the intervals 1, b3, b5, bb7 (in A, the notes A, C, Eb and Gb) which gives us a diminished 7th chord.
Adim7
b b bw
1 2 b3 4 b5 b6 b b7 7 1 b3 b5 b b7
EXAMPLE 4 VOICINGS FOR ADIM7 CD TRACK 61

Example 4 demonstrates five suggested chord voicings for Adim7. See also Diagram 2.
b
b b b b
E 8 2 11
B 4 7 4 7 13
G 5 8 5 8 11
D 4 7 7 10 13
A 12 12
E 5
EXAMPLE 5 HARMONISING SHAPE 2 OF THE A DIMINISHED SCALE CD TRACK 62

If we harmonise mode 2 of the diminished scale, generally referred to as another diminished 7th chord. This means both modes of the diminished
half step, whole step, we get the same intervals as with shape 1, giving us scale work over a diminished 7th chord.
B dim7
b b n b b
1 b2 b3 3 #4 5 6 b7 1 b3 b5 bb
6 ( 7)
EXAMPLE 6 MOVING ADIM7 UP IN MINOR THIRDS NO CD TRACK

Example 6 demonstrates moving an A diminished 7th chord up in b3rds. such any of the notes can be considered the root. Try it with each of the
Although we’re moving the same shape up a b3rd each time, you’ll notice chord shapes in Example 3 in turn. You often hear sequences like this in old
that each chord consists of the same four notes - Eb, A, C and Gb - and as horror movies when a particularly scary scene is imminent!
b b
E 2 5 8 11 14
B 1 4 7 10 13
G 2 5 8 11 14
D 1 4 7 10 13
A
E

THE DIMINISHED SCALE LEARNING ZONE
EXAMPLES 7 AND 8 ADIM7 ARPEGGIO SHAPES CD TRACK 63

Examples 7 and 8 feature two arpeggio shapes for Adim7, the first with a The second shape is the reverse, with one note on the sixth string, two on
pattern of two notes on the sixth string then one note on the fifth, two on the fifth string etc. If we carry on up the neck the shapes then repeat. See
the fourth, one on the third, two on the second and one on the first string. also Diagram 3.
Ex 7
E 5
B 4 7 7 4
G 5 5
D 4 7 7 4
A 6 6
E 5 8 8 5
Ex 8
E 5 8 5
B 7 7
G 5 8 8 5
D 7 7
A 6 9 9 6
E 8 8
EXAMPLES 9 AND 10 DJANGO AND YNGWIE STYLE DIMINISHED 7TH ARPEGGIO LICKS CD TRACK 64
Examples 9 and 10 are based on the same idea but in two very different with an upstroke on the first string then sweep across the strings and slide
styles and from two very different guitarists, with both based on moving up to the next position and repeat. For Example 10, sweep up and down
a diminished 7th arpeggio up in b3rds. For Example 9, start each arpeggio each arpeggio then slide up to the next position and repeat.
Ex 9
Adim7 b b b
bœ
3 3 3 3
3
3
E 2 2 5 5 8 8 11 11 14 14 17 17 20
B 1 4 7 10 13 16
G 2 5 8 11 14 17
D
A
E
b
Ex 10
Adim7
b
b
7 7 7
7
E 2 5 2 5 8 5 8 11 8 11 14 11
B 4 4 7 7 10 10 13 13
G 5 5 8 8 11 11 14 14
D
A
E

EXAMPLES 9 AND 10 DJANGO AND YNGWIE STYLE DIMINISHED 7TH ARPEGGIO LICKS ...CONTINUED CD TRACK 64
b b
7 3
E 14 17 14 17 20
B 16 16 19
G 17 17 20
D
A
E
EXAMPLES 11, 12 AND 13 A DIMINISHED LINES CD TRACK 65

The final three examples feature A diminished (although of course they can blues fusion players Scott Henderson and John Scofield, demonstrating the
equally be seen as C, Eb and F# diminished) lines from modern jazz-rock- diminished scale in action.
Ex 11
4
A dim7
E 8 7 5 8 10
B 6 7 10 7 7 6
G 5 8 5 8 5 8
D 6 7
A
E
Ex 12
b b
5
A dim7
b b n
E 10 11 13 14
B 9 12 9 10 12 13
G 8 10 11
D 9 10
A
E
Ex 13
A dim7
# b # # #
# #
‰
E 11 13 10 14 11 14 17
B 11 10 13 10
G 14 11 11 14
D 11 14
A
E

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LESSON: ACOUSTIC ON THE CD TRACKS 67-68
Amos Lee Stuart Ryan concludes his study of great modern American
singer-songwriters by examining the style of an expert
songsmith whose influences include folk, rock and soul.
AMOS LEE HAS released Amos Lee’s recording band

half a dozen acclaimed solo
albums, and a successful has featured Norah Jones and
touring career has seen him several of her musicians. No
open for Bob Dylan, Elvis
Costello, Paul Simon, Norah wonder that he’s been called
Jones, The Dave Matthews
Band and another recent
the ‘Male Norah Jones’
subject of this column, The generic. Lee’s guitar parts are always in
Avett Brothers. service to the song; sometimes they are very
After graduating from the simple supportive ideas while at other times
University of South Carolina they act more as the song’s hook. Sometimes
with a degree in English, it can be subtle embellishment to a chord or
Philadelphia born Lee spent slightly different picking pattern which can
several years working as a differentiate one singer-songwriter from
school teacher and then a another and Lee is no different – he has
bartender in various music common patterns and chords that you’ll hear
venues. He started off as a in his writing, all of which go to give him his
bassist in a local band individual sound.
LQÀXHQFHGE\FODVVLFVRXO Although this style is fairly straightforward
artists Luther Vandross, Bill WRSOD\WKHUHDUHVRPH¿QHUSRLQWVWRDOZD\V
Withers and Otis Redding, be aware of – not least maintaining strong
in addition to folk legend timing throughout and keeping every note
Joni Mitchell. It is this picked cleanly and clearly, with enough
amalgamation of sounds YROXPHRQHDFKSLFNLQJKDQG¿QJHUVR
that gives Lee his distinctive everything sounds even. Indeed, developing a
folk-blues-soul sound, balanced sound across all the strings can be
helped along in no small one of the greatest but most subtle challenges
SDUWE\KLVPDJQL¿FHQW IRUDQ\¿QJHUVW\OHSOD\HUDQGJDLQLQJWKLV
voice. His recording band evenness of facility should be a part of all our
has featured Norah Jones practise regimes. See you next time when we
and several of the musicians begin an exciting new series - see below!
from her group so it’s no
wonder that Lee has NEXT MONTH: Stuart begins a new series on
sometimes been described Acoustic Legends: #1 - Jimmy Page
as “The Male Norah Jones”.
More recently he has
recorded in Nashville with GET THE TONE
Amos Lee: US legends Alison Krauss and
singer, songwriter Jerry Douglas. Lee’s sound
and guitarist
has been shaped over the 2 7 6 6 2
years, starting off with his GAIN BASS MIDDLE TREBLE REVERB
ABILITY RATING IXQNVRXODQGIRONLQÀXHQFHVDQGQRZ

There aren’t any particular acoustics that are
including more of a bluegrass vibe.
best suited to this style though you will
Easy/Moderate 7KLVPRQWK¶VVWXG\XVHVD¿QJHUSLFNLQJ often find singer-songwriters either favour
pattern that is typical to many folk singer- the Martin or Gibson ‘sound’. Lee appears to
INFO WILL IMPROVE YOUR songwriters including Lee. The alternating belong to the latter and can often be seen
KEY: G Timekeeping bass and chord picking pattern is a must for with a Gibson acoustic in hand. I recorded
TEMPO: Various Dynamics DQ\¿QJHUVW\OLVWWKRXJKWKHFKDOOHQJHLVRIWHQ this on a Froggy Bottom model M.
CD: TRACKS 67-68 Embellished chords making a part sound interesting rather than
TRACK RECORD All of Amos Lee’s albums - Amos Lee (2005), Supply And Demand (2006), Last Days At The Lodge (2008), Mission Bell
(2011), As The Crow Flies (2012) - are highly recommended. But the best place to see where Amos is musically these days, is his latest
LIVEPIX
release, Mountains Of Sorrow, Rivers Of Song (2013), which showcases a singer-songwriter at the height of his powers.

AMOS LEE LEARNING ZONE
EXAMPLE AMOS LEE STYLE CD TRACK 67

[Bar 1] One possible challenge comes on beat 3 where you have to pick the the picking hand fingers – never forget that sometimes you have to pick
sixth and fourth strings then hammer on to the fourth string, 3rd fret before individual notes rather than play fingerpicked patterns all the time.
plucking this note again. Try this slowly at first, as at full tempo it can be [Bar 9] Keep an eye out for the shifting note on the third string over the
tricky to get the timing perfect on this one. next few bars, it will take a little bit of fretting hand movement, though
[Bar 8] This bluesy, bluegrass lick is a useful fill and also a good workout for you should’t find it too challenging.
©»¡º¡ G G7 G G7 G G add9
#
œ œ œ œ œ œ œ œ œ œ œ œ
E
B 0 0 0 0 0 0 0 0 0
G 0 0 0 0 0 0 0 0 0 2 2
D 0 0 0 3 3 3 0 0 0 3 3 3 0 0 0 0
A
E 3 3 3 3 3 3 3 3 3 3 3 3
1
G G add9 G G7 G G7
# n
œ œ œ œ œ œ œ
E
B 0 0 0 0 0 0 0 0 0
G 0 0 0 2 2 0 0 0 0 0 0
D 0 0 0 0 0 0 0 3 3 3 0 0 0 3 3 3
A
E 3 3 3 3 3 3 3 3 3 3 3 3
4
G G7 N.C. G D /F # D 6/F #
#
œ œ œ œ œ œ œb œ œ œ œ œ œ œ
E
B 0 0 0 0 0
G 0 0 0 3 2 0 0 0 2 2 2
D 0 0 0 3 3 3 2 0 0 0 0 0 0
A 1 0
E 3 3 3 3 3 2 2 2 2
7
D /F # D7/F # D/F # Em
#
œ œ œ œ œ œ œ œ
œ œ œ œ
E
B 1 3 0 0 0
G 2 2 2 2 2 2 0 0 0 0
D 0 0 0 0 0 0 0 0 2 2 2 2
A
E 2 2 2 2 2 2 2 2 0 0 0 0
10
G A m7 G/B Cmaj7 D/F #

#
œ
œ œ œ œ
E 0
B 0 0 0 0 1 3 0
G 0 0 0 0 0 0 0 2
D 2 2 2 2 0
A 0 2 3
E 0 0 0 0 3 2
13

LESSON: ACOUSTIC ON THE CD TRACKS 67-68
EXAMPLE AMOS LEE STYLE CD TRACK 67

[Bar 14] This sequence is not too difficult, but make sure you pluck all the shift picking patterns down the different sets of strings (third, second, first;
strings evenly so as to get the smoothest sound possible. Avoid ‘grabbing’ fourth, third, second,s etc) is a useful technique with fingerstyle playing.
the strings on passages like this. [Bar 26] Thinning chords out can be a great device for providing some
[Bar 20] The embellishment on the C chord follows the same picking space – think of Paul McCartney’s Blackbird, for instance, a track that has
pattern as it does on the G chord in the preceding bars. Learning how to influenced so many artists yet features sparse chord movement throughout.
C G G7
# n
œ œ œ œ œ œ
E
B 1 1 1 1 1 1 0 0 0
G 0 0 0 0 0 0 0 0 0
D 2 2 2 2 2 2 2 2 0 0 0 3 3 3
A 3 3 3 3 3 3 3 3
E 3 3 3 3
16
G G7 C Csus2 C Csus2 C
#
œ œ œ œ œ œ
E
B 0 0 0 1 1 1 1 1 1
G 0 0 0 0 0 0 0 0 0
D 0 0 0 3 3 3 2 2 0 2 2 2 2 2 0 2 2 2
A 3 3 3 3 3 3 3 3
E 3 3 3 3
19
G G6 G G6 C Csus2 C
#
œ œ œ œ œ œ œ œ œ œ œ œ
E
B 0 0 0 0 0 0 1 1 1
G 0 0 0 0 0 0 0 0 0
D 0 0 0 2 2 2 0 0 0 2 2 2 2 2 0 2 2 2
A 3 3 3 3
E 3 3 3 3 3 3 3 3
22
C sus2 C G D/F # Em Bm
#
w œ
E
B 1 1 1 0 0
G 0 0 0 0 0 2 0
D 2 2 0 2 2 2 0 0 0
A 3 3 3 3 2
E 3 3 2 0
25
C G Am G/B C maj7 Bm C G
#
œ
E 0
B 0 1 3 0
G 0 0 0 0 0
D 2 0 0 2 0
A 3 0 2 3 2 3
E 3 3
28

Everything you need...
A magazine/DVD with riffs, scales
and exercises plus authentic folk,
blues and bluegrass tracks to learn!
On Sale Now! Just £6.99 from WHSmith and all good newsagents
LESSON: ROCKSCHOOL ON THE CD TRACKS 69-73
A-Z of music theory: X,Y,Z Brought to you by...
Charlie Griifiths is at the end of his alphabetical such as Mattias IA Eklundh, Tom Morello
odyssey. Here he brings you the symbols X and Y, and Ron ‘Bumblefoot’ Thal. All of these
guitarists have expanded upon what is
the Yo scale, Zortzico rhythm and Ziltoidian tuning. considered ‘normal’ technique by hitting,
tapping and strumming their guitars with
such items as thimbles, Allen keys and hair
The sound can be applied to combs to produce new experimental sounds.
either a single string or A drummer creates a buzz roll by dropping
multiple strings and is most the stick onto the drum head and allows it to
commonly utilised in funk repeatedly bounce at high speed. On the
music as it lends itself to the guitar we can use the same technique using
syncopated rhythms of players the whammy bar and a string.
like Nile Rodgers or Jimmy
Nolen. The technique is reliant
on placing the fretting hand
¿QJHUVOLJKWO\RQWKHVWULQJVVR
Ziltoidian Tuning
Ok we admit it, Ziltoidian tuning isn’t
common terminology on this planet, but this
as to stop them from tenuous link gives us a chance to talk about
resonating. Placing more than the open C tuning used by Ziltoid’s main
RQH¿QJHURQWKHVWULQJ earthly champion Devin Townsend. Devin
prevents any natural was inspired to use the tuning after hearing
harmonics from sounding Jimmy Page’s playing on the Led Zeppelin
track, Friends. Open tunings are a great way
Yo Scale
The Yo scale is a pentatonic
scale originating from
to discover new avenues of creativity and will
make you play things you might not have
thought of in standard tuning. The idea is
traditional Japanese Koto and that the open strings are tuned to the notes of
Shamisen music. The intervals a chord which means all of those notes can be
of the scale are 1 2 4 5 6, which incorporated and allowed to ring out to
translates to the key of C as create a rich, open sound. Devin’s (and
follows: C D F G A. This is therefore Ziltoid’s) approach is based on the
essentially the same as the C open C tuning which is essentially the notes
major scale with the 3rd and of a C chord, C G C G C E from low to high.
7th notes (the E and B notes) One cool side effect of this tuning is that scale
missing. That means that there VKDSHVXVHWKHVDPH¿QJHULQJRQHDFKVWULQJ
are no semitones present, only experiment and see what you come up with.
tones and minor 3rds; giving
Mattias Eklundh
uses a comb to
create buzz rolls
the scale an open sound.
Another way to look at the scale
is as a mode of the guitarist’s
Zortzico
Zortzico is a traditional dance rhythm
originating from Basque which is in a 5/8
best friend the minor meter. The simplest way to count 5/8 is a bit
pentatonic scale. For example if you play the like a bar of 3/4, but with an 8th note
ABILITY RATING
D minor pentatonic scale, D F G A C, but start removed. 3/4 time is counted: ‘one and - two
Easy to Advanced from the 5th note, you will get C Yo scale. This and - three and’, so 5/8 would be: ‘one and
scale is also known as ‘suspended pentatonic’ - two and - three’ and so on. This way it is easy
INFO WILL IMPROVE YOUR and ‘Egyptian pentatonic’. to see that 5/8 is essentially a truncated 3/4
KEY: Various Music theory bar. The notes can be divided up into smaller
TEMPO: Various
CD: TRACKS 69-73
Scale knowledge
Rhythm understanding ZSymbol
The buzz roll symbol is usually
associated with drum notation and is seen as
sub groups to create accents. The Zortzico
rhythm is typically divided into ‘1, 2, 2’, but
can also be reversed ‘2, 2, 1’.
XSymbol
The X symbol is seen in both the tab and
stave. It denotes a muted note; a short
a small italicised letter Z placed on top of the
note stem. We can re appropriate the
technique on the guitar using similar ‘outside NEXT MONTH: Charlie begins a brand new
series on Reading Music
percussive sound with no discernible pitch. the box’ thinking used by creative guitarists
THEORY IN ACTION Nuno Bettencourt makes great use of the percussive muted sound in his playing, most notably on the Extreme
track Hip Today. Whether we call it Yo, Egyptian or Suspended pentatonic, listen to Scott Henderson for a masterclass in exotic
LENNARTS JOBERGEDIT
pentatonics, notably the Tribal Tech track Jakarta. Guitar innovator Mattias IA Eklundh creates a similar ‘buzz roll’ type of effect
on the track Musth, but uses a different technique; dragging a hair comb across the strings! If you don’t know who Ziltoid is, check out Devin
Towsend’s brilliant ‘metal musical’ album to hear the greatest guitar playing in the Omniverse. To hear the Zortzico 5/8 rhythm, look no
further than Zortzico in E minor by the Spanish pianist and composer Isaac Albeniz.

A-Z OF MUSIC THEORY: X, Y, Z LEARNING ZONE
EXAMPLE 1 X SYMBOL MUTE CD TRACK 69

Place all four fingers of your fretting hand across the strings near the 5th any unwanted notes or harmonics from occurring. Strum the strings using
fret. Check that all the strings are muted and adjust the pressure to correct your wrist as the main point of movement.
©»¡ºº N.C.
# ..
3

6
..
E
B . .
G
D
A
. X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
.
E X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

EXAMPLE 2 YO SCALE CD TRACK 70
Play the A6/9 chord as this will put the scale nicely into context. Start with per-fret approach. Notice that the scale alternates between full tone and
your second finger at the 5th fret and play up and down using a one-finger- minor 3rd intervals. The five notes are labelled in bar 2.
©»¡™º A6/ 9
#
œ œ œœ
R 2 4 5 6
E 5 5 7 5 5
B 5 5 7 7 5 5
G 4 4 7 7 4 4
D 4 4 7 7 4 4
A 5 7 7 5
E 5 5 7 7 5 5
EXAMPLE 3 Z SYMBOL BUZZ ROLL CD TRACK 71

Remove your whammy bar (or use a weighty metal pen) and hold it loosely notes, drop the bar on to the first string near the pickups and allow it to
between the first finger and thumb of your picking hand. As you fret the bounce repeatedly to create a ‘buzzing’ sound.

N.C.
Play X4
# .. ..
Z Z Z Z Z
E
B . 14 14 14 14 14
.
G
D
A
. .
E
EXAMPLE 4 ZILTOIDIAN TUNING CD TRACK 72

This Ziltoidian riff can be played by using just one finger to slide between together as much as possible, and experiment with reverb and delay
the notes. Aim to allow all the fretted notes and open strings to ring settings to enhance this effect.
©»¶º N.C.
.. ..
Let ring throughout

E
C . 0 0 0 0 .
G
C
G
. 0 5 7
0
5 7
9 7
7 9
0
9 7 0 5 7
0
5 7
9 7
7 9
0
5
.
C 0 0
Altered tuning
EXAMPLE 5 ZORTZICO CD TRACK 73

This phrase of five notes is plotted up into smaller groups of a ‘2 2 1’ phrase. Instead of counting ‘2 2 1’, it may help to think of the rhythm as two long
This means that the first two accents are twice as long as the third one. notes, followed by a short one, or ‘long long short’.
©»¡ºº
# .
E /B
. ¿ .
B
.
A
. .
B
Play X4
.. ..
long long short long long short long long short lon – g lon – g short
E
B . 9 9 X 7 7 X 5 5 X 7 .
G
D
A
. 9
9
9
9
X
X
8
9
8
9
X
X
6
7
6
7
X
X 9
8 8
.
E

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MUSIC REVIEWS WHAT OUR RATINGS MEAN: +++++Buy it ++++Excellent +++Good ++Average +Bin it!
brothers to give them a taste of what
New Albums
recording was like. The title comes
from the amount of Jim Beam
bourbon that was consumed during
the session, although the young
Angus was apparently not allowed to
A selection of new and reissued guitar participate! The memories of who
played guitar on what appears to be
releases, including Album Of The Month... somewhat fuzzy but there is some
good stuff here like the the slow blues and exciting heavy rock trio. Andrew
solo on Silver Shoes And Strawberry was introduced to Glenn by Julian
ALBUM OF THE MONTH Wine, while Ape Man reminds us of Lennon and he still can’t believe his
Rocket by Def Leppard, even though it luck: “Getting to play with these
ADAM SWEET was done a lot earlier. An interesting legends has given me wings!” he
SMALL TOWN THINKING curiosity, but also an enjoyable album declares. And he’s certainly flying high
in its own right. on this album. Glenn is playing and
Neo Music +++++
singing phenomenally these days and
With the amount of CDs that TOMMY EMMANUEL seems to be riding a wave of creativity.
descend on us for potential LIVE AND SOLO IN PENSACOLA We particularly like the arpeggio
review it’s hardly surprising that (CD + DVD) CGP ++++ guitar work on Chemical Rain, which
some things get buried in the This latest offering from the has a super feel and menace, in spite
pile, and this excellent album fingerstyle wizard from Oz sees of the quieter passages. It’s also one
from Adam Sweet suffered that Tommy positively romp his way the first tracks written by Watt and
injustice. It may be a blues album through 17 tracks of controlled Hughes - just a few days after they
fretboard mayhem in a live setting met. Solo was another but that is only
but there is so much originality in the feel of the songs and playing
that serves him so well. Originally included on the Deluxe Edition along
that it offers a whole new perspective on the genre. Hailing from filmed for TV live at Pensacola State with two videos. If you like your rock
the South West of England, Adam has spent ten years honing his College, this double-disc package furious and heavy, look no further;
skills in a way that gradually took him away from emulating his features both a CD and DVD of the this album is a killer!
guitar heroes and onto presenting and performing his music in his concert. Crowd favourites like
own way. And we like it! This debut album is the product of a year Angelina and Windy And Warm are ROBERT CRAY BAND
spent with singer-songwriter Steve Black; the material is strong given an airing on Tommy’s signature IN MY SOUL
and forceful, and the guitar playing is meaningful, well- Maton guitar, but there’s a lot of new Provogue +++
constructed and full of feel. We urge you to check this out! material too, most notably a touching With this new studio album release
and a UK tour about to kick off, you
know that some of the material here is
aficionados. Moods And Visions is bound to get an airing. But while it
available directly from www. may be the usual album/promo tour
strunzandfarah.com) which accepts scenario there’s nothing run-of-the-
PayPal and also hosts a sampler track mill about this collection of songs.
from the album. Give it a listen! Robert’s soulful and controlled
approach to the blues presents a
MARCUS HOOK ROLL BAND different aspect to the genre. The
TALES OF OLD GRANDDADDY tribute to the survivors of Japan’s opening track, You Move Me, is typical
Parlophone +++ tsunami, entitled Miyazaki’s Dream. Cray with its driving guitar licks and
First released in 1973 and now Fans of the modern strain of rhythm stabs, so we’re off to a great
STRUNZ & FARAH reissued with five bonus tracks, this percussive acoustic guitar should pay start. As a whole the album covers a
MOODS AND VISIONS release holds more importance than attention to the track Drums, which huge cross-section of material that
(Selva) +++++ you may imagine: it’s actually the first demonstrates how Tommy is an shows off Robert’s songwriting,
Strunz & Farah’s 20th album marks recordings by Angus and Malcolm absolute master of this style, too. The playing and vocal talents. Loaded
35 years of the Grammy-nominated Young - we all know what that led to! DVD sound is rendered in both stereo with light and shade, all of the songs
duo’s successful collaboration, and it Being mainly soul-influenced, the and Dolby 5.1 and there are five tracks have that quality about them that you
features the celebrated acoustic music is not what we’d associate with in the bonus section which are know will transport well to the stage.
guitar duo plus bass guitar, flute and the Young brothers. However there labeled ‘Hands Only’, where the There are good grooves, too, on I’ll
Latin/Eastern percussion. The result are some interesting moments in camera concentrates on the seat of Guess I’ll Never Know, the funky
is an intimate recording that places, like the opening to Quick the action and will have guitarists Nobody’s Fault But Mine and smooth
showcases the duo’s superb Reaction, which definitely sounds like everywhere glued to the screen! late night jazzer Hold On. There’s also
compositional skills, as well as their ‘proto AC/DC’. The album was one of a limited edition available that
formidable yet lyrical techniques. many studio projects by George CALIFORNIA BREED includes a bonus track called Pillow,
The album is consistently good, Young and Harry Vanda (better known CALIFORNIA BREED which is a cool, sophisticated,
boasting nine instrumentals, but if for their time in The Easybeats), and Frontiers +++++ heartfelt track with great vocals - a
we had to pick four favourites we’d George thought he’d involve his kid When a band is on a roll it’s hard to worthy addition in our opinion.
settle for the opener Four Winds, the hold back, but if a couple of the
nostalgic Museo Romantico, a members are busy with other
haunting number called Green Mists projects, drastic action sometimes has
REVIEWS BY ROGER NEWELL
that wouldn’t sound out of place on to take place. As such, California Breed
a film soundtrack, and the Persian rose from the ashes of Black Country
influenced Tavoos (The Peacock). All Communion, and it sees the mighty
in all it’s another fine album from rhythm section that is Glenn Hughes
Strunz & Farah and an essential and Jason Bonham join forces with a
listen for all acoustic guitar guitarist Andrew Watt to form a new

GT USER GUIDE
You can get more from GT by understanding our easy-to-follow musical terms and signs...
RELATING TAB TO YOUR FRETBOARD OUR RATING SYSTEM

Every transcription or lesson in GT is graded
2 m
3 1 i
a according to its level of difficulty, from Easy to
Advanced. We’ll also let you know what aspect of
4 c
your playing will benefit by attempting a lesson.
T p
Advanced
Moderate-Advanced
NUT & FRETBOARD
HAND LABELLING The fretbox diagram above represents Moderate
Here are the abbreviations used for each finger: the fretboard exactly, as seen in the
Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), accompanying photo. This is for ease Easy-Moderate
i (first finger), m (second), a (third), c (fourth) of visualising a fretboard scale or chord
quickly. Easy
READ MUSIC
Each transcription is broken down
into two parts...
œ œ œ œ
2nd string 2nd string 3rd string 4th string
3rd fret 1st fret 2nd fret Open
1E
2B 3 1
CHORD EXAMPLE CHORD EXAMPLE WITH CAPO 3G
4D
2
0
5A
The diagram represents the G chord in the photo. The The blue line represents a capo – for this A chord, place it 6E
‘O’ symbol is an open string, and a circled number is a at fret 2. Capos change the fret number ordering – here,
fretting finger. Intervals are shown below.. the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.
MUSICAL STAVE The five horizontal lines for
music notation show note pitches and rhythms
and are divided by bar lines.
x x
A major scale C Em D7 A m7
8
œœ œœ # œœ œœ
œœœ œœ œœ œœ
œœ œ
1E 0 0 2 0
2B 1 0 1 1
3G 0 0 2 0
4D 2 2 0 2
R 9 5 7 5A
6E
3 2
0
0
TAPPING & HARMONICS TABBING Under the musical stave, Tab is an aid
SCALE EXAMPLE The left box shows an A minor to show you where to put your fingers on the
The diagram shows the fret-hand fingering for pentatonic scale with added fretboard. The six horizontal lines represent the six
the A major scale (root notes in black). The photo tapped notes signified by ‘T’s. strings on a guitar – the numbers on the strings
shows part of the scale being played on the fourth Above shows a Cmaj9 (no 3rd) are fret numbers. The two stave and tab examples
string with first, third and fourth fingers. with harmonics at the 12th fret. show 4 notes and 4 chords; C (C major), Em (E
minor), D7 (D dominant 7) and Am7 (A minor 7).
GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC...

PICKING VARIATIONS AND ALTERNATIVES
Up and down picking Tremolo picking Palm muting
g Pick rake Appeggiate chord
w
nœ n œœ ¿¿ gg # ˙˙˙
œ œ œ œ bœ # œœœ œœ
¿ ggg ˙˙˙ ggg # ˙
œ @ @ @ @ gg ˙¿
œ œ œ œ œ rake ggg # ˙ ggg # ˙˙
PM PM
ggg 00 ggg
E 5
E E E B E 4
X
gg 22 gg
B B B 8 8 B 5
G X
@ @ @ @
G G 5 4 7 8 G 7 7 G 4
ggg X2 ggg
D D X
D 7 5 D 6 6 D 4
A A A 7 7 A A 4
≥ ≤
E E E 0 0 0 0 0 E E 5
Q The first note is to be down- Q Each of the four notes are to Q Palm mute by resting the edge Q Drag the pick across the Q Play the notes of the chord by
picked and the last note is to be be alternate picked (down- & of picking-hand’s palm on the strings shown with a single strumming across the relevant
up-picked. up-picked) very rapidly and strings near the bridge. sweep. Often used to augment a strings in the direction of the
continuously. rake’s last note. arrow head.

FRETTING HAND
Hammer-on & Pull-off Note Trills Slides (Glissando) Left Hand Tapping Fret-Hand Muting
~~~~~ 6
nœ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿
œ œ œ œ œ œ # œœœ
tr
œ œ ˙ (œ œ) b˙ œ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿
œ œ
œ
~~~~~
≠
tr
E E E E E
B B 8 X X X 8 X X
(7 5)
B B 5
G 5 7 7 5 G 5 G 5 7 5 7 G 7 X X X 7 X X
D D 8 D 7 D 6 X X X 6 X X
A A A 7 A 7 X X X 7 X X
E E E E E
Q Pick 1st note and hammer Q Rapidly alternate between Q Pick 1st note and slide to Q Sound the notes marked Q X markings represent notes
on with fretting hand for 2nd the two notes indicated in the 2nd note. The last two with a square by hammering muted by the fretting hand
note. Then pick 3rd note and brackets with hammer-ons notes show a slide with the on/tapping with the fretting- when struck by the picking
pull off for 4th note. and pull-offs. last note being re-picked. hand fingers. hand.
BENDING AND VIBRATO

Bend up/down Re-pick bend Pre bend Quater-tone bend Vibrato
Q Fret the start note (here, Q Bend up to the pitch shown Q Bend up from the 5th fret Q Pick the note and then bend Q The fretting hand vibrates
the 5th fret) and bend up to in the brackets, then re-pick to the pitch of the 7th fret up a quarter tone (a very small the note by small bend ups
the pitch of the bracketed the note while holding the note, then pick it and release amount). Sometimes referred and releases. The last example
note, before releasing. bent note at the new pitch. to 5th fret note. to as blues curl. uses the vibrato bar.
HARMONICS
Natural harmonics Artificial harmonics Pinched harmonics Tapped harmonics Touch harminics
# ‚‚ ‚ ‚ ‚
‚ ‚ ‚ — — — ‚
‚ ‚ ‚ ‚
œ
E
B
G
D
A
NH
12
12
12 ··7
7
7
E
B
G
D
A
AH16
4
AH17
5
AH19
7
E
B
G
D
A
PH
7 5
7
E
B
G
D
A
TH17
5
TH19
7
TH17
4
E
B
G
D
A
2
TCH
E E E E E
Q Pick the note while lightly Q Fret the note as shown, Q Fret the note as shown, Q Fret the note as shown, but Q A previously sounded note
touching the string directly then lightly place the index but dig into the string with sound it with a quick right- is touched above the fret
over the fret indicated. A finger over ‘x’ fret (AH ‘x’) and the side of the thumb as you hand tap at the fret shown marked TCH (eg TCH 9) to
harmonic results. pick (with a pick, p or a). sound it with the pick. (TH17) for a harmonic. sound harmonic.
VIBRATO ARM AKA WHAMMY BAR CAPO

Vibrato arm bends Scoop & doop Dive bomb Gargle Capo Notation
Q The note is picked, then the Q Scoop - depress the bar just Q Note sustained, then the vib Q Sound the note and ‘flick’ Q A capo creates a new nut,
whammy bar is raised and before striking the note and is depressed to slack. Square the tremolo bar with picking so the above example has the
lowered to the pitches shown release. Doop - lower the bar bracket used if a long-held note hand so it ‘quivers’. Results in a guitar’s ‘literal’ 5th fret now as
in brackets. slightly after picking note. has new articulation applied. ‘gargling’ sound! the 3rd fret.
OTHER TECHNIQUES
Pick scrape Violining Finger numbering Pima directions Right-hand tapping
Q The edge of the pick is Q Turn volume control off, Q The numbers after the Q Fingerpicking requirements Q Tap (hammer-on) with a
dragged down or up along sound note(s) and then turn notes are the fingers required are shown at the bottom of finger of the picking hand
the lower strings to produce a vol up for a smooth fade in. to play the fret numbers in the tab notation. onto the fret marked with a
scraped sound. Called ‘violining’. the tab below. circle. Usually with ‘i’ or ‘m’.

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