[COLUMNS] SINCE THEADVENT ofthe electric oultar tury ago, variety of brillant guitarists have broadened the scope of the instrument ang, in doing £0, lft heir indelible marks on the gences in which they alayee, This month, wl tke 8 close look at eight legendary players ‘who belong to this eelect group: T-Bone Walker, Ojango Reinhardt, Jim Hencrix, Brian Setzer, Jimmy Page, Bucy Guy Richie Blackmore and Billy Gibbon T-Bone Walker was one of the true pioneers of the electric quitar. His most famous composition is “Call It Starmy Monday: originally released in 1947 ‘and popularized by the Allman Brothers Band on East. FIGURE shows a “Stormy Marday” style of solo. ing at bar 3 of the 12-bar form, 2 raved chard voicing For moved up ane nal stap to As, nin the vext bar, down to G9 and then up to 3 ‘and 809 ana back ars 3 and 4 are based on & minor pentatonic B oth te ninth ‘and the major thir, B, aed, Mast of the lines ae phrased 2s “twos on threes, meaning th r three-eightt-notes-perbeat structure of 12/8, each beat ie cided inte two equal parts (with two quarter notes equivalent to three eighth nates}, The swinging sound of this rhythm superimposition Is. favorite technique af T-Bone's rtuoso Django Reinhardt was the father of Gypsy azz guitar anda brillant ‘and daring lois. Due ta = burn injury he ‘ufferedwhie a teenager, Ojange could use tanly two fingers on his Freting hand for lead paying yethe manged to fret chords ‘ith what remained of te injured fingers His recordings are considered came ofthe most important i FIGURE 2 lust ning biues in A minor, played with a tipi fea, LUnes written as straight eighth nates are phrased as a quarter note-eighth note pairin an eightt-note triplet. ach phrase Der Am, the notes of & harmonie minor are used (A 8 C D E F G4), Over Dm, the notes af a 0 minar triad are employed (0 FA, elong with the with), and EY arpa tos (E64 BO) are used over E Jimi Hencrxis widely recagnized ae the greatest electric uitarst inthe history of 92 currar wortp 0 se AN EXAMINATION OF THE DI aaa TS gaU eT TN TAO FIGURE T. Bone Walker ‘Slow bes «= 65 rT 7 a 2 Rel HAO Ea atagee rH EEFoao ee (== SSS SEaeaeeuessaacecsee! =] Peepers 8 . fa 5 eee eet’ Roa Eas | =e LLIgs[COLUMNS] renter rors feiole ps studio session guitarist in 1966 and in — cm. Page is fascinating because he fuses so PIGURET Richie Blackmore many diferent influences, from American Fast = 200 a electric and Delta blues to English and or pre. bar) influences spawned experimentation A Ber Cay. A Lie 087 with altered tunings such as DADGAD (law |B ~ tp a mmereeamnenecoogee Ero oro This example is played in free time and 1 oF a7 BH, af = zt —=aa55 to orsate = smoldering, Les Paucdrven * sound, earmarked by the use of pineh g, 0 A © harmonica as shown i FIGURE Busing i . the A Blues scale (A COED EG), the edge of f a sit. the thumb and index frger brought nea } thepickatork to occentune thesound |g 0 3s 6s 6 [ps3 poh 3 a7 of high harmonics, faclitated by the use ofthe bridge pickup and distortion. 94 cose wortn [IXINRInN. TNT