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Page 5

Don't Take, 1Me For A Loselr

Page 8

E,lnd Dlf The World]

Page 11

_seD P,ullilcaiions

New York/lo ndvnlSyd neylC~log ns

M.usl~ SaTesCorporation 24 East 22nd Street New YOlk, NY 1oen a II SAc M u~h; Sal'e's Lim lIe d BI9 Filth Streat. london WW 51Z England Music sates Ply.• Llmile~ 12il Roj hschil d Streel, Rose be ry, Syd ncy, NSW 2018. Austraha Thrs hook Copyright cr IgBB by Amsco PublicoJtlons. A Olvision o'f MUSIC Sales Gorpor~'lon. New York, NY 1\11right. reserved
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Don"lt Let Mle Be IMislunderstoold 22


Pag:e

Hold On To Love

Page 24

us IS BN 0.82560 10660.4
UK ISBN 0 71190998 9 Ordc r No JIM 633G8

Amm~ed<lnd compiled by won M:m;h~11 MUSI!;edded bl' Phil RICCiardi Text edited by Amy Appleby Boo design tly Leonard Vogler Ca~er pll()IO(lraptl. by Ila~i(f PlastoklRetna ue Interior pho~og rap hs by eh,,; W;lllerl ReI na Ltd , Michael Uh IllEttel RODNls. Eb~t Rob~rt5. MIchael P[!II~ndIR~tna, LId, UnauthQriled reproducnon oi an~ parj ot Ihls publil:<Jtiofl tJy al1\' means Including pliotocopyUtg IS an Irikinll6mCni of copyright PrmtlJodi~ ttle Unrted Slali's 01 Am erica b~ Vicks L~thDglaph a 1111 FInnl inl! Corporatian

Dev,illn Hler Heart

Page 28

Out Inl The Filelds Once In A Lifeti~~ All Messed Up,

Page 34

Reach For The Miiillitary Sky IMan


l

7J

..

Page 48

PaglS 52

Lovle With You

Stililin
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Page58

Gary Moore is aquitarist's gluitar~st. He is a singular artist who combines feeHng', technique, inteHiglence, control, and tone quality in an extremely eclectic and acccrnpllshsd style. He is a truly divers's performer who is equally conversant with hard rock, dirty blues, funk, the heaviest of metal, gentle pop music, and esoteric jazz. He is a physical and emotional master of the instrument who prefers to create sounds Ulsingl the natural capabilities of the ,gu~taritself rather than re!y on overt electronic effeds. His taste" speed, andclass have placed some o'f the greatest musicians of contemporary rook among the ranks of his admirers and stylistic disciples. He is, at once, a powartul voice in modern rock guitar and a link between the British blue'S,'tradition fostered by Clapton:" Beck, 'Page. and Hendrix in the late 19605 andthe hard rook innovations of Blackmore, Schenker, Schon, and Van Halen in the m70s.

Written by G!ary Moope

Donl't lake Mle For A Loser

Copyr1ghl ©1 9132 by 10 MliStC 'ltd. Ptlb~Ls,ti(jd~nth() USA and Canada by Vlr'gin-Nymph Music 'Inc. All Righls IReserv!sd. U~N.d by p9rm~ssion.

IntroR:iff
The passion and fire of Gary Moore's style is succinctly captured in this opening! piece from :his Corridors ot Powe: album. The mtro (and chorus) rnf is a model of 1980s rock harmonic technique, as virtua~ly every si,glnificant hard rock or metal band has applied this type of chord movement in orne form or another. The power chords (E5 C5 05 and :E5 A5 18505) and volclnqs (root and fifth) are de rlved hom the IE Aeoltan (minor) mode (E F#:G A 8 C ID). Gary adds an elusivejy simple and effediive passing-tone Hn,ebetween the chords to s.upp~yforwa.rdl motion and melodic dlrection, His tone' is tYlPicalllyfull and overdnven, At this point lnbls career, he favored stock Fender Stratocasters played through cranked-up Marshall amps (usually coupled with distortion units and a hint of ectro, but an otherwise spare use of ettects).

Verse, Riff
The liars's riff sxptoits another familiar modem rock dev~ce:]he pedal point, Here, the' Low E (open 6th string) estaBHsiles a pedal tons'. This is repeated constantly w:hile E: minor and D major triads are superirnposeo over it to yield this cnaractensnc movement: ~Eminor to DIE. Notice the' heavy palm muNliIg {a Gary MDor,e~rademar,k) given to the E,pedal which results in a thick. percussive effect. Also note the finger vibrato on the barred D' tl"iad. Ga1ry Moore is a master of solo ccnstrucnon, torm, and proporeon. He ger1lsraltlybuIlds a 801,0 as if he wem!~€'lllng a st:my"-creatJing themes ana points of imitation, and IUtiHzingconcepts like rnotlvlc dtevelopment, melodic inversio:n" sequence, contour of nne, textural variety, and phrasingl dstallsto Ilend order and direction to his work. This particular

solo beqins at a mezzo piano volume, with airy, legato phrases which are colored withi a discreet eornblnatton of echo delay andtrernelo bar vibrato. The solo builds [0 a. poweriUlI forte, wim a lonq, technical run as a
ellmax, Notice'thi'9 various scalar opnons employed with~n tnis passaqe (bars 13 and ~4):: pure scale lines, sequences. and! pedal tones.

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Always IGonna Dve You


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Written by Gary Moore


Copyright ©~98,2: by 10 MUSIC.lUdl.
Published inthe USA and Canada by Virgifl-Nymph All Righl:s Reserved. Used by permlssicn. MLJslcInc.

Solo
This very concise and well-crafted solo IS a frneexampJe or phrasemaking as applied to melodic rock. The solo itself provides contrast to the body of the song (which features a much slower and subdued
tempo). ~nthis way, the solo creates the effect of an instrumental oddge'-an irnpression which ls heightened by the modulation to C and a more demanding series of chord changes. Ths'se lnvolvethe use of tne Lydian mode {C 0 E F~ GAB} and secondary seventh chords (8m to E and Em to G#m7\5), yet Gary ha.ndles the twists and turns with ease and nuidity. Notice the numerous outstanding coroposnlonal devices at work: theme groups arranged ,in a clear two-bar structure throughout the solo, theme and variation (especially as used in the reverse contours .of specific phrases (0 to D/C, 8m to E, and Em 10 Em/D}; and antiphonal questlon-and-answer melodies. Double-timing IS tastefully sprinkled within U'H? solo (bars 8, 11, and 12) to build peaks of activity and to provide rhythmic variety.

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II

Enid Drl The World


Writterll by Gary Moore
Copyright e 1982 by 10

Publfshed in the USA and Canada bV Vir,gin-Nymph Mt.isk: lne, AlllRighls IRaserved. U's,ed by parmission, .

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Intra
Ga.ry Moorls's eclectic and multHexlur,ed a.pproach~s showcasec
brHIia'lltlyin this spectacular s~gnature ,guitar piece'. It be.gllns wUh a (on a. slig:htly chorused dean lone Strat) which become's the background part of' the' intra guitar theme. This figlur,eforms a. common-tons pattern which works aga~nst the A minor, G, andE minor chOird's, whtchare' basically drawn 'from the E Aeolian mode. The lead ,guitar enters tlsing a. sustained, SWEN:l1iy distorted sound for tim:bra~contrast The heavy fanfare of the closingl power chords hints at the blazing a cappeHa excursions to come. The unaccompanied solo is
muted eighth-note ostinatofigur,e arranqed in fivs ad-lib phrases, as tollows:

First Phrase
The first phrase is a charaeterlstlc Gary Moore pul,l:off sequence [nvolving me alternafon of open s~rings with fretted pitches p,l:ayed on tl1,eHigh E; B, G, and D' strings. The implhed' tona'iity is E Aeol~an.

Second Phrase
These major-seventh arpe.ggios (here, Cmaj7 and S.maj7) are, by now, a Gary Moorlecl~chEL.Thls chromatic movement stretches me standard rock
vocabulary .

Thirdi Phrase
The higher relgister (up an octave) lrnllafion of the Cmaj7' and Bmaj7 .arpeggi,os 8:l1ds with a more random pattern ~n the tremolos on the slurred ,glissandos_ Scream~ng high bends create a dramatic closi!1g~a prsrequlsltstor ma~lrnta~nir,g interest ln an unaecompanled solo,

Fourth Phrase
Here, the E. minor neiglhbor-n,ote pattern is reminiscent of 'Rarlldy Rhoads's semt-olassicattecnntcue. Gary oufllrres an E minor arpegg~,o witinth~ lower neighbor tones 0#, and and descendstor an octave-and-a-halt, closing with a series 01 ominous, Gothic power chords.

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Thia js a partlcularly chal~enginrg phrase involving three-note modal hagments-~ilrst implying F~ P'hrygianl fhen C~'Phrygian,
then resolving back to F# Phryqian. The remainder clf the phrase moves from the 'E harmonic minor scale (hinted at during the previous phrase) to a senles of chromatically .ascending whole-tone fragments ..ThIs creates the effect of a sweeping cadenza which 'finishes the a cappeUa. soto,

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The main rill is a perfect example 01 Gary Moore's application of the minor pentatonic scale (E GAB 'D-the backbone 01 rock music) to form a. stronqIoundatlon figure. Here, the gutsy" blues-based fee,l and delivery recalls I.he energetic spirit 01 British hard rock a laJ~mmy Page with Led

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The solo pays hom8!ge to the Jimi Hendrix school of Armageddon guttar playing. Gary Moore employs and oarapnrases some' of Jimi's styilistic

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sextuplets recan Jlml's frenzled blues artistry in "Voodoo Chile,"

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1010n,11 tet Me Be Miislundlerstolod


and Music

by Bennie

B'Emjamin, Sol Marcus

and Gloria

Caldwell.

All Righls

© ~964 & 1965 by Bennie Benjam~11 Music Inc. Controlled by Chia.ppell & Co., lnc, (lnte'fs.ong Music Publisher) Used by P·armission. All Rights IReserv.ed.

Copyrig,hl

This solo is replete with a myriad of Gary Moore techniques. Of particular note is his use of sweep p~cking {or raked strings} 1.0phrase the pickup measure and the second balr--'slicing through fingered (but muted) strings toward a principal note. The palm-muted diatcnlc scale passage in the third bar is aliso quite interesting!, as are the different scale forms used during the double-time episode'S. The first (in bar 4) is a sHppery, leglato line which combines E Aeolian and harmonic minor scales (E F:t GAB G D Di). This passage is somewhat rernlntscent of Allan Holdsworth's seamless technique. Ln the second scale figure (bars 6, 7, and 8), Gary plays a Iiong, bebop-lntlecied jazz line through sequencers. Here, he exploits diminished sounds, chromaticism (a Charli,s' Parker saxophone motlt can be heard in the middle of bar 7), and diatonic modality (E Dorian mode: E G A 8 C# D) .

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Copyright © 1984 by 10 Music Ltd, PUiblisned inthe USA and Canada by Vi~~n-Nymph MusIc lnc, All R~ghl$ Rasatv!ild, Used roy permission.

The "power pop"'/AOR framework serves as a suitable vehicle for some of Gary's most melodic rock playing. The intra solo sets the stage for the solos to come with basic D minor pentatonic motifs. The use of this (hythm~cal ph rase appears so traquen tly as to become a fix,ed idea:

Intro Solo

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Wrmen by Gary Mo:ors

[-lin Her IHea[rt


Music Inc.

CopyrigiOt if! 1984 by 10 Mu~ic Ltd. Published in the usA and Canada by Virgin·Nymph All R~ghts Reservad< Used by permission.

The main riff of this song bears the unmistakable stamp of British hard rock w~th its Ileavy diad (two-note chord) figure played over a purnplnq G pedal bass. The pOW'EH' and intent recalls the rock harmony popularized by RHchie Blackmore: and Deep Purple (remember '!;Bum"?). The closing cadence contains first inversion chords (these with the thil'd in the bass) arrarl:ged thus: E~5to B~/D and F5 to G/E ..This is a concession to mere modern rock chording which provides. a. sing ular blend ot the classic and the' contemporary sty~es.

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percussive mu ting)
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I'

Verse IRiiff
Thle verse riff employs the familiar galloping rhythm lP~ayedwith heavy

palm muting-a mainstay o,f the heavy metal/hard rock g,€mre'.


The verse riff also incorporates, the diad phrase of the- main riff. G Pedal- - - -,- _ - - -,,- - __ - - - - - - - - - - - _•." ~ G5 ~
I

fI ~
~

- - _.- - - - - - - - - - -.- - - - - - - - - _ -._ - - - - - - - - - . - - - - - - - - - -Gm(5) C5/G

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80[10
Gary acknowledgJe's the stmng lnfluencs of Jeff Beck in the opening licks of this,solo. The Urst part of 'the solo is arranged lntour dlstlnct phrases:
(1)1 a series of repeated" choppy open-slrlnq puUo[rs"

(2) a high-tech cascade off pullotts (similar' 1.0 whaM Bec,k used in "J·eff's Boogre"),. r(3)a. question-and-answer motiffealuringl wiclebending (a minor third), and 14) an energetic pentatonic ostinato.
The 59'00no part is a~iGary Moore with a comblnallon of blues bending" pinched harmonlcs (artHici,ai harmonica obtained! with p:lch:.edgl1eand ffngsftip), and a orarnaflc closing run up the fre~board. (NotIce the subtle ussot muting during this long linear panern.) Here, [he G Dorian mode predominates (G A C I) E F)~n,egalil"lg til,e E~ of lhe k.ey center. The choice of Dorian over Aeolian mode' in this typ1e of harmonic sa~ation is an approaclofavored Iby Edward Van Ha:~Em, Mic'hael Schenker, and NeH

Bb

Schon-and

reflects a blues rather than a. classical lnfluence.

Gm
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Copydgnt@1985 b:ylO M~sic Ltd. Published il"] the USA andl Canadla by Virg:in-Nymph Music ~no, AI~Righls Reserved. 'Used by permisslon,

Solo
This very contemporary-sounding guitar SQ!o finds Gary incorporatingl a number of guitar approaches of the 19808 ..There are tremolo bar ccloradons=trom subtle vlbrato to radical scoopings and phra.singl. There are also some' unusual interval leaps and note-to-chord relatlonshlps (at t!he B~ chord). as well as triad oUlt~ines (over the A chord). The long., climbing scale s squenc8 in bars 9, 10, 11, and 12 makes use ot two specific scalar fragments (makingl it a. useful! 'etude for daily single-note practice}. While this sort of melodic contour is very much in vogue today, Gary was playing slrnllar lines in the 1'9705 with Colosseum ~~ and G-Force.
i

Om

~~~---3--~~---

(rem. bar

v
..

trent bar scoops

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echoon------------------------------------------------

Uncle lin A Lifetime'


Written by Gary Moore'
Pub:lisi1ed iii the US,A and Canada by Virglin-Nymph Music Inc.
All Rights Reserved. Used Copyright © 1985 by 10 Music Ltd.

by

parm~ssion.

Intra and Vers,e Riffs


Gary begins this multi-textured piece with an assertive C# minor chord riff
(which also becomes the prominent fig:ure in the chorus). Not9cethe combination of single, notes and chord structures which lends a feeil~ngof motion to the song (similar to "Don't Take Me for a: Loser"), The verse riff is in E, the relative' major, and superimposes trtad voicil1gs over the contlnuous E pedal tone in the bass (again Hike"Don't Taka Me lor a Loser"). Here, a more modern rock. modulatin'g chord sequence is used:

E 'triad!

B t~iad 011 E major)

[l

triad

A tri:ad

(in A major)

E bass

Main Solo
Chord surbsHtulHan,normalliy used in jazz tmprovlsatton, ~sused consistently througlhlout the main solo. Note the E major tr~aa:outline over
Bsus4 chord in bars 2, 4, and 6. This solo also exploits ~he techn~que of

sweepingl (or rakinQI) into important melody tones and makes use of muted textures. This interesting rhytbrnical motif is used! to begin key phrases. The legato line lin bel 8 is played entirely on the High E string with one
pick attack for nine notes-the rest be'ing articufated

by the left hano only

with hammer-ens, punetts, and slides,

Dutro 80110
The 'Dutro seto, prayed through a long fads out, expandsand develops concepts of the lntamal solo ..The use of E major tonalities over the' Bsus4 choral is retai'ned', as well as the Jamiiliar rhythmic motif. Thls solo also employs le'gato sca~e lmes (ascending up the G string in bars 7 and 8., and descenai.ngffromthe ,H!ighE in bar 14)..Tremolo bar shad'nqs add srnoom vibrato and lnterestlnq slurred pitches (bars 2, '6;,18, 20, and 21) ln a 'vocat' style characteristic of Allan Holdswcrth's work with 1.0.U.

tntro
"

'

_",A_ , A A

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AS

Bsus4

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(Chorus Riff)

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Verse R.iff
EPedal- -- ~- ~- - - - - - - - ..(tl1roughoulI riff) E B/E
,

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sweep

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"-

All Ma'ssad Up
WriUen by Gary Moore and Neil Cartier
Copyright e 1EH15 10 Music ILle!. by Published in tl1e US.A and! Canada by Wrgin-Nymph MUcsic Inc.
All RigMs Reserved. Used by permission,

Main Riff
This is straiQlhtahead rock and. mit The G pentatonic diad riff evokes the down-home, bluesy approach ot Texas blues/rock (a la Z.Z ..Top). The inclusion of a vocajesque slide guil:ar part (y,s't anothertacet of Gary's eclectic: style) strength,ens this lrnpresslon. The tune can be played in F~ concert (as it sounds), or in an E~tuning with a G fingeringl (an obvious blues ,guitar tactic),

(Tune to. E~)

1'1

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Intro: Lead Guitar (Bottleneck Slide Guttarj"


G5

F5 8va- - - - - - - - - - - - - _._. - - - - - - .-- - - - - - - - .-- .a


L. '

loco ~

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..All slides done with glass or steel slide.
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Solo
This is a tine example of authentic Ibottleneck blues concepts married to Gary's own dislincUve sty~e, The repeated note rnotlfs in the opening bars are elaborated upon in bars 9 through 1:2with a double-stop version. The final portamento climb of ascenclrq slidijng sixths (bars 13 through 1'S) moves up the' strings, chromatically without a definite tonal reference until the last note.

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Written by Galry Moore
Copyright © 1985 by ~ 0 Music Ltd. PlUb~tshedin the USA and Canada by Vi~gin·Nymph MlJsic Inc. All Bights :ReSQNed. Used by perrnlsslon,

Solo
This tough, taut solo is fLl11of Gary Moomis signature playing. Points off interest include: various whammy bar techniques, wid'e and narrow v~brato. diving and slurring .. and rnotlvlc development (bars 4 and 5,). There's also some h~ghly florid! passage work in bars 9 through 11 and 13 throu,gh 14lealuring F~ minor blues and pentatonic ideas (notice the addit.ion of' G#~the 9th or 2nd deqree). Agai'n Gary flntshes with a cnrnacnc run up to a high register band-sa fixture of many of his solos.

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Wriitten by Gary Moore
Copyriglht © 1985 by 10 Music Ltd. Published in the USAanid Canada by Virgin-Nymph Music Inc. All Rights Reserved, Used by permission.

Solo
The mood of this piece is a powertu amalgam of hard rock and funk The rnaln riff is used as an accompaniment 1.0 the tune"!') solos, as weill as its chm'!..is,Theintro solo is largely based on a O~ minor pentatonic scale (C# E F# G# B) ave!' both ttl,s C~:and chords. This skmhJ~lyarnblquous harmonic commitment: permits minor or major tonalltiss against the IF# chords, Notice the inter,9sting Irhythmical phr.asing I[n bars 4 and 6permutations off a !rip~et rhythm imposed on descending pentatonic lines. Tl1eserpen1:ine scalar contour implying perfect fourths within the pentatonic scale (iin bar 6) is a Gary Moore tlradema.rk.

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The outre solo establishes A#: {the major third 01 F#) as a pr'rncipa~tone and imp~iesa stl"Ong movement from C~mto F~7 (oril to V)~a stereotypical funk harmony. Gary uses this crucial tone throughout the cut-e in a manner not unlike Steve l.ukather's distinctivefunkiwck moments (particular~y in bars 4 and ~8 through 20). Notice, too, the e,nergetic use of C~ rnlnor pentatonic sequences (bars 5 through 7), ost~na.ti(bar 15),. trill (bar 16), bent double-stops (bars 17 and 18)" and the conetudlnq chromatic run.

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Mintary Man
WONJSand Music by PhWp Parris Lynott
Copyright © 1986 by Cnappell Mus~c LId, All Bights Reserved. Used by permission,

Publ:ished ln ths USA by Chappell Music lnc,

First Solo
This is a beautiful example of two diverse sides of Gary Moore's playrng within a 5111glleompositon. The first solo ~svery .I'aid-back, and is c acccmpanlsd by a mellow jazz/funk bailiad groove. The solo melody decorates the simple but haurilUng chord' prooresslon (G Em Am G, or I vi r:i IIV-a variaticn of the tlrne-hcnored ~vi ii V). Gary's thouglhtful use of space and time is ~ngraUating. He favors a soullul, vocal aporoach to string! bending similar to the finer blues ballad outings. of JMff B,eck or Michael Schenker .. He highl:ights more exotic extended chord notes in the melody (particularly, major 7ths; minor 7ths, and 9 ths). The judtclous use of E minor pentatonic tonalities (with the occasional added tones, F# and G) forms a. tight melodic foundation for this solo.
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The' second solo" wittn a. tonal center of IE minor and a doubl'e-uime tempo, is contrast~ngly .angry and vlelous. This mood is heightened with extreme v·brato bar effects (bars 1 through 8), tense' str~ng berilding, up-tempo ostinato scale flurries (bar' 15 and 16), arpeggiO's (bars 21 through 23), with afinal forceful ensemble section in which Gary voices the theme ill octaves. These octaves are played with deadened (or muted) strings in between the fretted ones. This helps to create textural thlokness. Here,

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Copyrignl ©19!'Hi by IP~ppin"Th'9-Friendly-Ral'lg9r Alllr:ighisadminstered by Chappell & Oo., Inc.

AII.Righ!$ Ras'srvad. Ussd by permission.

Solo
Gary Moore's solo statements in this pop~azz/funk setting agafn serve as axcetlent examples of advanced imp rovis atlon all techniques. The first solo features G.ary playing over the changes (Am7 Dm7 G Cmaj7} with a roclobfues-meets-jazz attitude. He emphasizes bends, slides, and ghosted and staccato notes to create a rnovlnq place of guitar Invention. Note the motlvlc imitations of rhythm and melodic shape ln differen[

re'g~sters {compare bar 1 with bar 10), and the use of extended chord

tones as melody notes.

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The outro solo elaborates on and develops themes introduced in the first solo in a compositional, y,et ~re,ejapproach. There is a [loose and emononal feel throughout wh~ch suggests a modern blues influence. The chord cnanqes (Om? Em7 Fmaj7 Em?) are momentarily remlnlscent of Larry Carlton's, playing ("Room 335" and "Kid Charlemagne"), as is the pedal tone [lick, in bar 2:2:.Note the use' of pentatonic and dlatoric scales in cornbjnatlon over the funky vamp of Cmaj1 to Fmaj7 (bars 18 thr,ough .21, 26, and .28thrrougih 29). Also note the rhythmic diversity throughout this solo and tlhe gathering momentum created by the rolling arpeggios ln the fadeout (Em7 over emaj7 and Cmaj over Fmaj7-a well known jazz substitution).

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