tras 1618, backing track from an Undisputed master of fusion, Sr ae meet the nesters team: Sart mgr wn pr In 1983, at the age oF 23, Frank let for to study at the GIT, and received the honour, Student of the Year. He then Fim end istening to Steely Dan and Chick a small independent label We led him more Frank'sswith Jean-Luc Ponty. This was followed by am audition with Chick Conca, which resulted in a she year stint, a Grammy Award and 1wo Grammy nominations. At this time Tbane2 approachest Frank and started a Tong relationship. whieh saw the release of the thin-hodied Frank Garnbale ‘gular. Frank also signed a three-video deal with DCL for instructional videos and landed a major eal with IVC. In 1990 he released The Thunder From Down Under, which reached number one in the Japanese jaza chart 1996 Frank took the position of head of guitar at the LA Music Academy, where he teaches tne to two days a week when his schedule allows. More recently Frank started his ow label, Wombat Records, and has re-released his early recordings. He also signed a deal with Steve Vai's Favoured Nations label and Your Senses. rank has heen @ member of the group Vital Information for the past 14 years, with drummer Steve Smith and keyboard player Tom Coster and sed Coming To He also has a side project with Steve Smith and bassist Stu Hamm, who are signed to Mike Varey's Tone Contre records. Frank recently lef Ihanez and signed 9 deal with Yamaha ~ the result isthe new Frank Gambale move! due out this year. Derfonmance notes {at Was lucky enough to catch up with Frank while he was over touring, so Phil got him dow to Wi his awesome technique and approach to playing. Phil wrote the backing track, based around an E Dorian groove with a € Lydian chorus. This ‘month's firs instalment sees Frank explaining his approach to the tune that will be featured next ‘month, So, even if your sweep picking is not up to speed you should be able to lift some ideas for ‘your own solos from the man himself. Exercise | illustrates Frank's scale choice over the F minor groove. Frank uses notes from E Dorian, the second mode of the major scale: Music Studios to give us an insight into EW GA BOO DE ANS RAANN aA STI NTN One thing to remember fs that Frank is well ‘versed in the modes and applies both scale and triad ideas. IF possible I would advise checking ‘out one of Frank’s instruction books or videos on the moves, Exercise 2a/b shows the voicing of the Bsus ‘chord found atthe end of the verse, plus the scale used, Frank views this chord as a dominant chord and uses a dominant scale over it, But instead of using a straight Mixolydian seale he keeps the G natural note found in E Dorian as a reference point and uses 8 Mixolydian 56, whieh isthe fifth mode of E Melodic Minor EQ CRUG AUB Ge DFE SRN RT| Exercise 1 shows the final scale which Frank uses lover the C major section, For this he emplays C Briers Jamie's t(D gear Fart aon Face ise Yh gitar twowth Coord Han at str conti he Jargon buster 1 economy peting conan picking s 2 fotoningstias So cine tat mis ati king fo perform oth sale te 17 ard arpeggi eas When laying Sas, down and upe fed ret in 2 ore economia gh hand techie SFEMEMBER terms LB veers xp go 94 An e-tine delay ms sce vis Lesicon MPT un pis 8 anh of al a eve fo aha Rey 50. Lydian, the fourth mode of G major: CEU RE SRG LASSE ane ec Exercise 4a/b includes a couple of examples of how Frank outlines € major seventh arpegitio. One thing to make note of is Frank's approach to picking, as he uses economy picking pretty ruich exclusively Exercise 5 shows an example ofthe type of line Frank plays over the DIC chord. Frank always tries to outline the chosds so the lines make more sense against the accompanying chord progression. Here he outlines the D triad that Contains F¥, the major third of D. In relationship to C this is the #4, which fs the note that gives the scale its Lydian sound, Exercises 6, 7 and 8 show E Dorian, F melodic minor and € Lydian respectively, all bycing played at the 12th position. I's a idea to practise diferent scales in the sam position so that you can change smoothly over ‘hord changes ~ and aso see the common tones shared between each scale Exercises 9a, b and illst triad followed by an Lmadds tnad. Frank quite often asthe 2nd oF 9th to spice up the sound of the triads te an E minor Exercise 10 shows the D major trad with an added F note that results in a Dold. You'l notice thit these extensions have a strong melodie sound, Exercise 11 illustrates the A major tiad with a B note added, which results in an Aadd9 triad Exercise 12 is a basic rhythm chart for the 1une This will he ranscred in full next month, hut tse this in preparation and practise your scales and iriads over the backing track on the @tCD. Until next month! st a> | september 2001 | guitar techniquesfrank gambale Ae masterclass 60 | guitar techniques | september 2001 | www.intermusic.comae 121 Taa6 16 Melodic Minor oo fies pianist ead | september 2001 | guitar techniques | 61wa ie : © trank gambale z Aes masterclass -_> CLysien o eeet Eftees. o = => — savetas-i — = Z a Sas 15 — = = sage eee revere Tete - Tee asaa0 0 Seren (eae pa ES Pr0corn sheen 2 atcooa ‘eb | september 200 | walter Sechniewes