GT December 1996 Vo13No 10

Interviews
10 Allan Holdsworth
The fusion.maestro covers releases an album of ell the reader's' poll results ave pouring into the office at an alarming rate. First we kept them in a smallish box, then transferred them to a larger box and now it would seem we are going to have to find an even larger box to store them in before sending everything off to be analysed. Thanks to everyone who took the time to fill one in as the kind of thingthey tell us proves to be invaluable When we sit down to discuss GT's
As you.can see, December's GTis crammed to the rafters with transcriptions and lessons. Be sure to check out aNI special feature on Paul Gilbert - I tried some of the exercises for fun and had to keep 'my hand in an teebucket tor half an hem just to ceol off! See you nexttime

W

Music
14 Easy Like ...
Purple Haze - Jimi Hendrix

32 Phil Hilhorne's A to Z of Great Riffs
G: Rory Gallagher

24 The Jazz Standard
I Remember Clifford

52 Smash Hit
Oh Well - Peter Green

58 Transcription
Shine On You Crazy Diamond - Pink Floyd

l)aviclMead

78 Unplugged
Twilight 'rime - Leo-Kofitke

80 Paul Gilbert's Killer Guitar Workout PG Tips!

Lessons
70 Shaun Baxter's Beyond Rock
Haitian Divorce (Dutro Solo) - Steely Dan

1 Intro And Tuning Notes
© 1996 Widdle Music

... and on the
© 1996 Geoff Whitehorn

® 1996 Widdle Musi -thls:t;eCb~dlog

44 Geoff's Blues
Crosscut Saw - Albert King

2 Geoff's Blues: Crosscut Saw Albert King' 3 Geoff's Blues backing track
© 1996 Geoff Whitehorn

9 Unplugged: Twilight TimeLeo Kottke .

e 1996 Widdle Music-

© 1'996 Eric Roache-

lllj;.·~t;~':'.Ul,1

B8 Hot Country
Winter Service

10Shine On You Crazy - Pink Floyd
© 1996 David Mead - this lesson © 1996 Widdle Music - this recording

Regulars
4 Trading Lines

4 Phil Hilborne's A-Z of Great Riffs ~ G: Rory Gallagher
© 1996 Widdle Music

11 Hot' Country
© 199'6 Lee Hodgson - this lesson © 1996 Widdle Music - this recording

a Stay Tuned
Hot off the

Readers letters
press

5 Jazz Standard: I Remember Clifford
© 1996 Frank Evans
(this arrangement)

8 Cue &. Review
CDs, videos, hooks, you name it. ..

G Easy Like: Purple Haze - Jimi Hendrix
© 1996 Guthrie Govan - this lesson

12.Shaun Baxter's Beyond Rock: Haitian Divorce (Outro Solo) - Steely Dan
© 1996 Sbaun Baxter - this lesson © 199(3Widdle Music - this recording
CD produeed, compiled and edited liy Phii.Ililbome. Mastered b!!.Eddie Allen. Recorded and mixed by
Phil Hi/borne at \V:;dd/~Music Studios, Essf!x= tracks

81 Subscription offer
Subscribe to GTand we'll give you a video

© 1996 Widdle Music- this recording

90 Pet Sounds
Kelth Richards

1 Purple Haze backing track

e 1996Widdle

Music

94 Terms &. Signs
The return of

1, 4, 6, 7, 8 .9, to. 11 and 12.

e Widrlle Music

1.9.96.

an old friend ....

98 Readers' Ads-

8 Paul Gilbert's Killer Guitar Workout
© 1996 Akastu Music- this lesson!

COYER PHOTO: Jimi Hendrix-

Jim Cummins (Star File)
3

Otherwise.. =::::r r-- @) S BD H ~ o· o~ 1.C. 72 E5 05 I I FI5 05 I I E5 I I FI5 05 I I E5 I I FI5 05 E5 FI5 05 E5 FIS 05 E5 Fis 05 E5 FIS 05 I E5 ec II J -111 MAIN RIFF quss .~. Obviously the Hendrix version ends with the fadeout solo.C 85 05 E5 I FI5 05 I E5 I FI5 05 I E5 I FIS 05 I E5 36 I I I I I I E5 E7j9 IG A I E719 IG A I E719 IG A N. GuHar Techniques 15 .. the arrangement on the backing track mirrors that of the original. " E7.C.C./ T PRE. AS " I I I FI5 85 I I I E5 05 . S quss I ~ co co co co s 1 S ._.9 IG I I A I E719 IG A I E719 IG A I I I I N. the GT CD rounds things off with another cycle of the main riff slowing down in the final two bars and then leaving a one bar gap (with hi-hat counts) before ending on a decisive E5 chord._ S .0 S c E B G D A E D 011 = 0 c . Jimi used his thenrevolutionary Stratloverdriven Marshall combination.___./ tJ E B G D A D~ co I co ~ co I D~ co ---vib I 7T I o· O~ . I N.. N:C. but anything fitting the more general 'guitar-through-overdriven-arnp' bill should do the trick. Ex 1 INTRO 1\ I I I I I I EI>s 1.INTRO MAINRIFF here's a lot to get through this month: so let's' get straight down to business with the basic song structure of the original Hendrix version (see right). ac AS I N.C. On now to the first of our examples which is a transcription of the first 14 bars of the Hendrix version ./ I IG 1." 9 December 1996../ A 1.the intro.VERSE CHORDS VERSE I BRlDGERIFF VERSEll BRIDGE RIFF LEAD-IN TO MAIN SOLO MAIN SOLO MAINRIFF VERSEJJJ BRIDGE RIFF LEAD-IN TO FADEOUT SOLO FADEOUT SOLO "FADEOUT SOLO" MAIN RIFF AND ENDING E7j9 E719 I E719 IG A E719 A N./ 1.C. .A progression for the verse itself.C../ 1. Equipment-wise./ IG IG I A E5 1. I N. V 1\ II gliss gliss PRE-VERSE CHORDS ~ . . B ./ ~ r.. main riff and pre-verse chords./ I E719 1. I N. N. which set up the E7#9 .: v- 7 ./ IG A 1.. BU ---vib -vib o· = 011 ~'-'~ O-:J_' ~ /' ---n E 5 ~ .. T 11"\1 ~ _C 7_-=' E 1\ II 9I ISS . ~ S . but for ease of playing along with the backing track.G .C./ ---vib E5 Is gls glss quss I tJ S E B G D A 1 \ o· o~ S S . Note how the main riff makes good use of open strings for an interesting 'angular' sound and also how Jimi throws in a little of his trademark chord embellishment in bar 14. \ B ..

. with a more extreme overdrive sound.J = II ~ ==--...> MU E <. so try dampening it with the palm of the RIH.. S S o n ~ e- - - ~~ December 1996 5 16 Guitar Techniques.> E B G A E •co co ~ CO H ~~ MU-I H . rather than with the normal LIH 'squeezing' motion. o~ o~ .5.Note the characteristically 'sinister' sound of the h5 interval.. I .. Ex 3 INTRO " II I I I I t. For this one.). It also offers a third way of playing the intra riff (like Ex 3.l E B G ~~ co co ~ ~ co co ~~ co co ~ co co TO RIFF o A E Ex 4 is lifted from the Phil Hilbome Band version of the track. -J___ -J PO ~. ~ co .J . we just included it on the main backing track..-. It's a little slower and heavier than the original. it's far less fun to play than Ex 1.~... which has since been used by every heavy metal band worth their salt (and indeed by a few bands who aren't. which you can hear on their "Bout Time' album. '. Ex 4 INTRO " II I I ~ co co I I I MAIN RIFF gliss • ~ t. so rather than playing it separately on the CD. only six frets higher up) plus some variations on the main riff.9 E5 -. Here it is anyway! Ex 2 INTRO " II 2ND GTR PART FOR MAIN RIFF gliss x3 2 .~. .. H ~ co ~ co ~ co S H A E o ~ E5 - \' v n " II . The open E string will be harder to cut off than the fretted notes. As you can see from the music below. S TO PRE-VERSE CHORDS B G A E o 1 7 3..> E B G ~ ~ I ~ I o~ • o co L. o~ H 0:... Ex 3 demonstrates a nice way of fattening up the intra by playing E notes alongside the Bh.__ ~ H CO BDCO ---TAvib ---vib gliss O-J .. think 'Van Halen' rather than 'Jimi'.- " II (b). co TO VERSE 1 ~~~~~ 12 o A E G A G A AS A The next example features a second guitar part for the main riff.l E B G ~~ co ~~ co .rr rl ~ ~ I .

. S S --- \ ByS ..... Ex 5 is a typical verse part based on the original version...) For maximum authenticity.~ A ...J o~ (hI.... . Guitar Techniques 17 .. based on Paul Gilbert's cover of the tune ... -... recorded live at the 1991 Frankfurt Jazz Festival (no. gliss "'"'1 ~ ~ I :jI ~ E B G D A i i po MU-I - o~ ~ MU o 0 "" I::::i-J po ...~..-' .. don't be afraid to use your LlH thumb for fretting the low E-string notes in the chord section........ o~ ~ . .. -t ~ ~' ~ o~ E B G D A E ~ ---= ~ ~ TO VERSE 1 S /' .. (6.. -...C.. .._.......... so be sure to mute the D string with the underside of the LlH index finger. x - F= ....s.. remember to count six beats from the cut-off E5 chord . This example incorporates some octave shapes on the A and G strings.-~ S H v ~ ~ ~ s: ~ E4 A G A ....u 13 Now let's move on to the verse... 9 'n' G A 1\ ~ (6./ ~ E B G D A E ol)l co = .J... (Before starting the bridge riff.. Nat harm ~ ~ COBU E B G D A E co H f. ~ --. . •... really!).~ G ..if in doubt consult the CD lesson. MU-J --vib i rTAS TAS »: ® TABD MU S " o~ ~ MU-J §) .. .... -I MU 'iI = i i ~ ~. vib ~ gliss gliss gliss ..f-.~ 1\ ~ vib TA r li quss gfSS TA 800- - - - .. Ex 6 is a fatter-sounding interpretation of the bridge riff.... __.n ~ G fl ~ I I u .... December 1996. • • I gliss ••• ~ . G BRIDGE RIFF1\ ~ ...::j • ~ ~ MU-J • I ~ MU-J I ~o .. I o~.. also incorporating the bridge riff.: TA gliss Loco gliss PRE-VERSE CHORDS (6.__/-.which you can hear on his album 'Tribute To Jimi Hendrix'. Ex 5 VERSE 1 1\ ~ (61 r-- I I ""'1 ~ =-...-~ po ~ ~ A ~- MU-J ~ ./".....~.J o"_" H H ~ o~ E B G D A E MU -'>.J.. S • TO VERSE2 E N..... .

.Ex 6 BRIDGE RIFF " @) II gliss ><- ::: ~ CO S E B G D A E --- . gliss ~~ ~ E B G D A --= ...b~ (¥3--. q: # ~ ~----. ~ . Bar 2 suggests Gadd9 and Asus4 and bar 4 suggests G6 and A6.. . . This is one of those occasions where getting the feel right is more important than reproducing the tab note-for-note.. ~ e l.. /' S ~~ ~3~ ". 1 . rake S MU--I - q: ~ ~ o~ ~ J = 1II . ... . ~ ~ D rake rake MU--I - - MU --I I etc D A I F C G D4 L 18 Guitar Techniques. December 1996 ...-. E Em7 G (add 9) A(sus 4) Em7 gliss " @) II . ~ MU-I ~ . V l. . ~ PO . Ex 8 VERSE " II ....... \' .. using a few more chordal embellishments.... . note the muted rakes in the second and fourth bars which make for a dirtier. Experiment! E G(6) Ex 8 features yet more ideas for the verse.. \ " @) II b~ ~ ~ I ¥ 3----.C.. r-::::: 3 ~ I grss S H PO . ~ ~ ~ --A(6) ~~ Ex 7 features some more chordal ideas for the verse part. Snail's Pace Slim tuned all the way down to D for his version (that's Boy From Seattle territory!) but we reproduced it in concert pitch for the GTCD.. '... In addition.. .. you won't hear these on any particular version of the tune (because I made them upl) but stylistically etc they're quite Hendrixian.. so it would be more consistent with the other examples.. so refer to the CD lesson (or indeed the Hamster's album if possible) to get the general idea here. but also for the G and A chords.-J:=l S -/_ S -...... MU S <.... Ex 7 VERSE " II • O~ gliss ..-.J o~ ~ gliss gliss ~ D A . This part features the use of a 7#9 sound not just for the E.. 'The Jimi Hendrix Memorial Concerts').~.J gliss BSS \ ..._ gliss H PO S n E B G D A . ~ gliss r»: vr MU S ""...__. almost 'Texan' sound. ..... this time based on the Hamsters' live version (from their double CD.~ F G D C . ./ . ~ S I gliss ..-.-S -vib • TO VERSE2 / ~ E N. .... ---~ O~ PO --= . ~ ~ .

Ex 9

BRIDGE RIFF II

II

.
x

gliss

I

-vib

grss 1

~
O~
E B G D A E

.

.J

CO

s ~

S

---

.

glss

n

.. ---vib

\
B~S
,./

S

----

-

N.C.

LEAD-IN TO MAIN SOLO

Ex 9 demonstrates how to get from the end of the second verse to the main solo; the first three bars comprise the bridge riff and the next three develop the bridge riff motif over the AS, BS and DS chords. Here it is, a la Jimi.

s:

gliss gliss

8------------------------------,

AS

85

D5

Now we come to Jimi's main solo which is played over an ES - F#S - DS vamp. Apart from the bizarre G#s in the first two bars, this solo is based largely on the E dorian mode (the second mode of the D maj scale) so experiment with these notes: EF#G
12

ABC#D
b3 4 5 6 b7

(Note that if you ignore the F# and C# you've got our old friend, Em pentatonic!) NB. The original recording features an octave divider pedal or some sort, adding extra notes an octave above the written pitches. The GT CD version demonstrates that the solo sounds r.Elwgnisablewithout this effect, out sticklers for perfection might want to use a pitch-shifter to add the distinctive overtones heard on the original. Failing that, a more budget-conscious solution is to throw in some pinched harmonics using the side of the RIH thumb to create 'nodes' 12 frets above the fretted pitches. This forces you to pick over the fretboard for some of the lower notes and pinched harmonics are unpredictable things at the best of times (unless your name happens to be Eric Johnson), but they can sound surprisingly convincing with a little practice. Anyway,here's the solo:
Ex 10 MAIN SOLO
II

II

rt- rt- rt «»:»
gliss H H H

rf'- _-iJt.
H

gliss

i)r_~

);...2f'-

..
~
D5

~

With Octave divider

E B G D
A

S _........ ..~

----

S

H

BU

---

E

E5

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December 1996. Guitar Techniques

19

"

II

.-------.
_1Q\

"-.--...........
H PO

qnss r

~

~
E 8 G A E

05

~~

gliss
k

S

o
3

E5

H PO

S

~

--- ~

~~

.-....

E5

"

II

~
E 8 G

05

8-------------------------------------------------------------~ r- __ ""'___3 ~ ~ 3~ ~

rake

'--,..,

3

-.

~ ~

H

PO

;:::-'~..,

,..,

H PO

-

~
H H

=
PO

.......

.
I BU

r quss

---

BU

S

o
A

V

E

E5

05

TO RIFF~

After the main solo, it's back to the main riff and Jimi's version incorporates
Ex 11 RIFF AFTER SOLO

several variations

second time round, so here it is again:

(2nd Gtr plays Ex 2)

Loco
g/ss

"

II

u


\

.J

-vib

gliss

I gl'ss

.. -.J
vib

~

~
E 8 G A E

Octave divider

1/
S

0"

-

~
S \ BSS /
J

oi

off

S

BfS
n./

o

~
"

---

"

II 9rISS

~
E 8 G A E

/

o'jl

=

.
H

~
~I

.
CO BO

-vib I

~

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gliss

.
BO

-S

iI..


MU

S

LO

o

-~

.-....

~

~

.:

vib

~ ~~ '" v-

~

gliss

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II

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-0"

~
S
E 8 G A E

"-

o'jl

=

'.
H

'--"

TO VERSE3

S

o
7

-

-

~

./

Purple Haze by . Jimi Hendrix © 1967 Bella Godiva Music Inc, and W B Music Corp, USA. Warner/Chappell Music Ltd, London W1 V 3FA. Reproduced by permssion of International Music Publications.

After this riff there's one more verse then another bridge riff which leads into the fadeout solo. The following example takes things up from this final bridge riff (after verse three) and is structured much like Ex 9 - three bars of bridge riff and three bars of lead-in over an A5 - B5 - D5 progression. (Note the low E string notes in bars 4-6 which didn't happen in Ex 9) And then it's into· the E5 - F#5 D5 solo vamp (to fade). Jimi's fadeout solo is based almost exclusively on one unison bend, so I've written out the first four bars of it just to give you the general idea.
Guitar Techniques • December 1996

20

Ex 12

FINAL BRIDGE RIFF (after Verse 3) 1\
jj

gliss

.
x
S

vib __

gliss

.J gliss

t.J
E B G D A E

.......
S

~ co

B7

\

. .......
S

.7.
Br:..
./

LEAD-IN TO FADE-OUT SOLO gliss 2 nd Gt r gliss

\

S

S

0

-~.

r
n

.
S

.......

--•
vib

vib

~
gliss

.~
-

1\

2nd Gtr
jj

t.J
o~
E B G D
A

S

-

;--

2nd Gtr

!'- ~ ~

~ r~,,_,
H PO

FADE-OUT SOLO

.

f ---~~~

=~-~~~~~
.r=:
::;,

o~·

.~

~

BU ,.....-...._ BU
::;,

BU
::;,

BU

BU .r>

E

etc, to fade

BU

BU

,....--..... BU

BU

BU

BU

BU

BU

BU

BU

BU

BU

BU

Since the GT backing track gives you 16 bars of improvising time for the final solo, it seems appropriate to wind up with a few additional soloing ideas. Ex 13 is a lick from the Hamsters' version which your RIH can tackle either with a pick or with a pick-andfingers combination. I think Snail's Pace is prone to doing the latter, pulling those high E string notes with the middle finger for a snappier sound with plenty of attack, la Stevie Ray Vaughan. (Note, however, that this works best with relatively heavy gauge strings. Yanking a set of .008s in this fashion won't sound right at all and it will cause breakagesl)

a

Ex 13 1\
jj
OJ I

;< ~.

_,,:

"

.J

~6

t.J
D
A

I -;.;;----r--.~~
BU
v-

F C G D

.' .,

\ BSS
,
_)

-PO

.
BO

~--wide vib
'-

.
L..--'


~
LD

glss,.--.,

,.

--vib

BU

S

I D5 E5

-

-

(8M)---~--------------------------------------------------------------------------,
1\
jj ,.--.,

--E5

ox

••

Jr -!'BU

!'-

, ..~-.
PBU LD ,.--.._,.--....

.. ... .....--,..-I

D5

Z1L- ....... --• -

3----.


I

Ii glSS

V

t.J MU
D A F C G D

,---, ,..--..._

PO HI ~,.-...,.---..

PO ,.,. '"

S

-

MU CO

:;;

.. .:;;

gliss

S

" '."
4

D5

Our final two examples are culled from Paul Gilbert's version which we first encountered in Ex 6. Ex 14 features some fairly standard one bar long blues licks, but note how Paul develops each idea by playing it and then repeating it an octave higher. Pick hard for maximum effect!
December 1996 • Guitar Techniques
21

~

~ ... . PO ¥..~3---. using a repeating Em arpeggio sequence.--......~ ·22 Guitar Techniques. 6 @) E B G D A E ~ H PO - PO H ...------------------... BU LD BU BU r quss ..--.--..... Ex 15 8---------------------------------------------------------------------6 ft II r I I .. ----ft Loco II ..... - S BU .._. . " II Loco ~ E B G D A E ... a typically Gilbertian string-skipping lick.-......_:.~ PO ~ ..~ 05 '0... CO PBU LD PO • CO .-.~ PO '" PO (8-)---------------------------------------------------------~---------------~ __-------6--------~ r I " II I ... so I thought we could end with something a little different (for the benefit of those who enjoy playing very many notes per secondl).../ - LD BU ~. 6 ~ E B G D A E H PO ....... vib r"""--"I ~ ...... December 1996 ...-~3---.... BU E5 05 E5 S-------------------..u .. ¥---~ CO PO PO 010 ~J D~ ~... ... ...r>: PO 6 6 r I ..~. .....Ex 14 ft II ~ ~ ~ gfiss Sua ... H CO CO BD LB ® CO CO E5 8ua ..---JPO ~/ BSS I ~ B1fS -= ~ E5 '~ E 6 " II PO PO BSS / \ BSS I ~ E B G D A E8 \ etc ~ / PO PO ~ ~ 05 ~ And finally ....... BU BU SILO ..... ~ ~ - BU BU 05 BU BU "0 ...-. ~.... Most of our examples so far have been blues-based.....~ .~ - H - PO - ----'U PO PO .. ..~ ----PO 6 ~--------6--------~ I .-- . PBU LD PO ~ E B G D A • CO ....I Loco @) r' I BU LD BU E B G D A E ''- ~ - LD BU LD BU ~ ~ ~.r'. PO 'u .~ 2 ...

it has to sound simple and moving (not always easy when negotiating the finge. they may be easier for you in this position: 1\ The melody starts on the two Quavers prior to Bar I.. in Bar 6 . moving up again to top C in Bar 7 . thrs number as a tribute to Clifford Brown. Daahoud and Sandu. i ~J ~.be tenor saxophonist/arranger/ composer Benny Golson wrote.J.II ~ V. Observe the accents in Bars 15&16. v o-c:-t Bars 29·31 pave the way to the final bars. Bars 17·24 This should present no problem to you regulars! All the chords are 'straight ahead'.J /.2.. as intended by Benny Golson. Should you find these too much of a stretch.3 and 4. you will see 1 have filled it with chords ill . the brilliant trumpet star who was killed in a car crash in 1956 at the age of 26. 1 have marked 'hold barre' in order to keep the top A ringing whilst playing the next two beats. using unusual voicings. namely Joy Spring.. so be careful to make them flow nicely onto the barre. where the lead sheet shows a sernibreve F. Good luck. Bar 12 Here I've used the upper register on the last three quavers up to top F to highlight the b5 (Eb) in Bar 14. Therefore. No apologies for lack of 'ad lib' ideas. I think the piece stands up on its own. Thanks for YOUt comments and letters. Then.Ir~o. Bars 10&11 are as 2&3. . is the original one Bar 2 of intra: if you compare this bar with the lead sheet..25·28 are identical to 1. The same applies in Bar 4 of the intro. x • • . Bars 9·11 Bar 9 is more chordal than the equivalent Bal' 1.Vl. Observe the pauses in Bar 24 before picking up the tempo again at C. which is smoother. Bars . which have becorne standards in tlie jazz repertoire. Keep the quavers short and percussive until the la'st E in Bar 16.ring). Bar 4 Here I have dropped the last three quavers an octave in order to keep the bottom Cintact. GT 24 Guitar TeChnIques. December 1996 . I decided to use a be-bop inspired cadenza before the final chord.J .. which leads to the middle eight Section B. Letter A Perlo. T The idea is to overcome the lack of sustain On the dotted minim A.rmance notes The six bar introduction written by Golson. Brownie' left behind some compositions of his own. Bear in mind when playing this piece that Benny Golson was moved to sompose it as a tribute to the passing of a great talent at an early age.

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Wild World af.C X V r Dlm7 II V VIr Bm7bs of - A E 27 C7 c7b9 E7 Am7bS D7~S II 1J ..:Wrnq<.1 or 15eHe._ ~1*rr V ~ E B !~ Gm7..~ 1 i~ / -e::: H PO PoroRali. Life By The Drop • LYNYRD SKYN~D . 2 _1 ~-.lws"" 95. Blowin'ln The Wind • KANSAS •.. Michelle • Let It Be • Across The UniJler-se • Blackbird MUSIC.t •.t.t in the guitar tulol stakesl1 The lirst comprehensive. E B G D J>..E¥: .l -r i.4.iequiI8menls IBM P'G or WO% cpmpalible with 41!. Indudes note'for note Total Guitar (Star. SCORE AND ~YRICS CHORD EXERGlSES FULL SCREEN ZOOM FOR VIDEO IMPORTANT: Sy$tem F.1 4J 1 J 11~~ • ~ ::1 1 . INTERMEDIATE OR ADVANCED PLAYERS lOVER 84 LE-SSONS AND 180 EXERCISES FOR 7 ACOUSTIC ARRANGEMENTS.• Dust In The Wind' CAT STeVENS •. CHORDS'.Sound B~!er"" sound card or 10011> rolllpalibl&. FULL OR PARr SONG PLAYBACKI CONTINUOUS REPLAY OPTION • INCLUDES GUITAR TUNER GUlfAR HI1S volume 1 JIMI HENDRIX . Windows"" 3..~n4~ H..Buy Awald) • SUITABLE FOR BEGINNERS.. C7~5h Fmai7~11 "This Is quile simply the best use of CD . SIlGA 60 screen or be'lte'r... Sweet Home Alabama • BOB DYLAN .o Cry • STEVIE RAY VAUGHA'N . VIDEO. instruction to these classic 'tracks.J . :1 • 3 1 1I1 I fine - ~ L__J--. :::::==- G A E o 31 ~... No Woman N.6 Colou. 25..RDm ye. 12r =: ~ r ~ C7/Bb F6/9 . J .TS GUITAR HITS volume 2 . Mey Joe • BOB MARli...f'- J"f*. To order your copy call us today on 0800 "1183 ..6Sl( 25' Mliz or beHer... fully interaclive gUitar tultlen packaqa... Qouble spee-d'COROM r biitt~m4MB RAM l8M'B moommendedj ANB \iJrive.Lennon & McCartney Yesterday' You've Got To Hide Your Love Away • Norweigan Wood.VIII IJ..

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.........-- 1"'1 " II II 1"'1 (V) 1""1 V 61 etc I I- ft.. 1"'1 I 0:00 I OJ F ~ ::::: V ~oU- -..135 " jj ~ Notes Ex 1 Blister On The Moon .s .... MU-I v o E Gtr 1 E ..these are vital to the 'feel' of the part... 6 & 8 ...as you play this make sure you observe the muting indications that appear on the last tWo16th notes of bars 2. ragtime.._ .__ ._ ~ .~ ~... __ .....: E " .... 0 r gliss ".__ MtJ-l -" n . His first major international success however was in 1§66 with the band Taste.0"1: • == MU-I - ~ .you would however. g(:~ • .S .. The first of these in bars 0-8 contains a simple E . ~ 0-.. be well advised to check out his albums to heal' what a... Appalachian blues.B A o ~ 0 r. 1"'1 Ex 1 A~Z of Greet Riff" E G • 1"1 V I"'I~ OJ ~ E Mixolydian Gtr 1 UH channel 0'1 = :. Chicago blues. ft.DiE passage . Mississippi Delta blues... mr2-----------------E] D E )l . _lc c ------ . C . who recorded two albums 'Taste' . boogie woogie.. particularly regarding his rhythmic phrasing which was often very inventiveand instantly recognisable as being his own ..." Wlwah (subile) ~ -vib gJiss . The third section in bars 13-.. ....1970.~..C..having a set space to practise fills can often be a very beneficial way of working on your phrasing.. :0>- ":"" gliss -:::_3~ .. truly versatile..... ---.. modern blues and blues rock! As well as all of these styles there were also elements of both Irish traditional music and jazz in his approach. and Free.-- -----------.. inspiring and creative player be really was.....wlit up in 1971 and from that R point right up until his tragic death in June 1995 at the age of 46 Rory followed his own very successful solo career during which he recorded around 14 albums with combined sales in excess of 30 million copies! In terms of style Rory covered more or less every blues approach imaginable . ._ c " _.G ....acoustic blues... watch out for the • =.. The second section found in bars 9-12 features an E .~ 1.... " ... .... --"- r...-- . note chord 'hits' followed by wah wah fills that last for a bar and a half each. ...... c ~ DIE )~. :. Taste ...-- :.... folk blues.-- .~ :!: G ...'-" ~ CO S ...._ .ory Gallagher began playing guitar back in County Donegal in his native Ireland at age nine and when he was 15 he joined the Fontana show band and then later on another showband called Impact.. Have Funl ...-)-. j c... ~ I .: ..nfro section muted chords during this section.-- . . 4..: :. The band reached their peak at the now legendary 1970 Isle of Wight festival . '~ r--- r-• o· tJ E G A .. Performance This chord-based intro is made up of three different sections.. 11-\[ E Glr 1 E Gtr 2 Doubles Gtr 1 .....&I +I tJ q.. ~ _...: ..1969 and 'On The Boards' . MU-I v G Gtr 2 ......... bottleneck blues..where they shared the bill with Jimi Hendrix..... Louisiana swamp blues.. If -. D ....../ S 7 CO -" PQ S H PO -"r ~ H PO ~ Gtr 1 C . ~ MU-I -G..C ... "- • a I- ft.... (Iill) j ~ .20 rounds the part off with three different two bar phrases comprising a couple of 1'4.D progression that is played in a manner which is actually very reminiscent of the sort of rhythm style Kurt Cobain used in Nirvana some 20 odd years later! Once again..... N..... . ._ MU ~ v 8 . Texas blues.. After playing through these as writtentry coming up with some similar ideas of your own that also last for the same duration .. In this month's examples we will unfortunately only scratch the surface by looking at his blues/rock approaches ....

o~ .r phrase to allow the bass to come through this is a .-< "-'• H E'eJ =----.it's easy to accidentally rush it beware! .. . ... ):.notice how the accents fall on 1.1\ II. The intra and verse as 'shown here has an almost latin feel to it ." _n E---1' PO . D AS (1111)·---- " .:._ ~ .. another thing to look out ... _.! H viI) ""_ i 6"1 ::. of each two ba. etc Go 1:1 A E 16 .· Glr 1 & 2 to end " ~ ---~ 0. Notice as you listen to either the original or the GTel) version how space is left at the end.Verse Rory's music was full of great .good arranging device and certainly helps to create a little extra listener -interest._ t:." _-..C. # ~ -. Also. you rnay need to praetlse this slowly along with either a drum m~chine. D Ex a Same Old StDry .{fill) ' What~ Going On is one .n ~.....) ~ - - :.D P0 11 ).. (fill) E5~ ES'J JJ ']~. 3 & 4in bar 2.'~ 6. .---- 11 2 vib gliss .C._J~fl-""'" ._- "" _l.of the best known and most popular Taste tracks.. VERSE 1"'1 1"'1 1"'1 1"'1 etc ~ 0'<- . 2: & 4...t elG-7 (fill. :.. .. N..-..~ LD PO PO PO -=_..--. .: .s. _0'" _.. :Pisyou play this one you should aim for afaitly relaxed feel ._ tl.. '"' 0:& ~ ":: a~ ~ BU b....._" ......l E B -s =- :> =: j jy_. '].~ vie ~ CO BU I ~2 o~ Let ring "iI CO BU -PQ ..in bar 1 arid 1. ~ ~ 0 ~~ H RQ =_e'= .for is the~!4 bar that oecurs at bar 7 which call easily eatch YOlJ unawares! 1 x3 0--"''-0. '" ._ Glr 1 Glr2· E5 E51 J)'I N..'''' 2_ r ' ~ .is -'" 182) II Ex2 0:00 I_ -_ _">_ this ornatnentation perhaps a little of Rory's Irish influence creeping in? Anyway.-~ ~ AS €i~ 0."_.... _. . or a metronome in ol'deJ toge:t it 'tight'....!.grooves and this R&B flavoured idea Is certainly naexceptien.. To male things even more tricky each: accent marks the start of a short hammer-on/pull-off phrase .

.. ~'""t_-J ~..... x 12 I ~ '-J. H PO ." ).l U"- .' CO .. o~ @.. ........_ (F~m) ~ \ J 14 B5 )J I Ex 4 Morning Sun In common with E1! 2.. -r""""T --.. o~ ...~'" .1 .perhaps it's all those 16th note triplets? j otice how (after the pick-up bar) the main repeating riff starts up which is repeated 12 times in a row! Try playin~ Main repeat riff 'figure along with it. .. . keeping it in time throughout .. . G E .' .._. ... ..T ': ~. :J .1 CO E B D A MU . ~ Tacet (Bm) B Em7f~9 II II OJ I >.. '-""' .. H PO . T CO --H --CO CO H B 6 - / G1rI overdu\ \ 7 etc S A E -c 7 ..~ o A - r-..J=147 10..........it's actually quite hard not to accidentally rush as you play the hammer-ens and pull-offs .so take carel 1\ Ex4 A-Z of tJ E 'O-J 1 ..' ..=_.. CO . ___ H PO Ureal Rifts CO CO -G... GO ~--..___. this is another riff that to my ears has a certain "Irish' flavour to it .~ ~ ~-. . J BU I ._.. H (Em) .. ~ II ~ )< :n: 0"0"_ . CO B G D A E5 ~ ~ (Bm) ~ 7 V 1\ 1"'1 V II >- I _"l: :>- 0---J_ oJ .. . vib """'. . CO CO CO ._...001 co ( (Bm) II II t! E .. I gliss t! E j} ~ T ... H . . 9 I"I/ \ ..... ~ :: :::' J u E0 . ...

Intro/main .. attack and attitude! 1""1 (/"I) 1""1 J = f4~ f'I Ex II I 0:22 I « ~ ~ s . it uses notes solely taken from the E minor pentatonic scale: EGABDE 1 b3 4 5 L7 1 . ~ (1"'1) x4 vib I A-Z DI Great 'Riffs 1""1 • V • V :.j~". just aim to keep it 'tight' and play it with plenty of aggression.PO . 5 (A7l 1""1 1\ II ~ --vib VI ._-. 1104 E E D o ~ "'" ~ ~ ~ \..J O-.riff Taken from the opening track on Rory's classic 'Irish Tour 74' live album. V (1""1) b. Teebllically. -- CO . 'itJ_J T ~ •. o~· -.---. Notice how this riff is similar in approach to Peter Green's classic Oil Well riff and also at how" apart from the h5 bend .j E 8 D A E 13 .___ 11 (I) (11) MU·-l B G D A ~ .:" ·1 :. • vib 1""1 gJiSS ~~. r"\ ... r~( '~ ---... '~ O~ -:J. -V " s ~. .~ .j o~ ~ o·_ H p- .J E B G D A ~ ~ .l E f J 10 A5 Ex & era'dle Rock (Live Version) ..__-... .an E B 1.(B~ in bar 6)..C. to end Ex 5 Messin' With The Kid(LiveVersionJ In fro/verse This up-tempo blues/tack styled track was always a big favourite at live shows and is certainly one of Rory's best known tunes. '. )..1\ ~._'itJ_ H ~. 0 ~ . CD vljr... CO ! -G:- G D A :./ ~ 7 rr».J E -:J. N._j.( . this is another example which contains quite tricky phrasing so it may be a good idea to take your time and work through it slowly. • V 1""1 • V etc 1""1 011 = =-= ~c: 11 I :J.j H ~• .j. there is nothing too hard here... ~ E (E7l 8 f'I II ~ o~ ... H H . PO v::• .. bar by bar if necessary.J E Mixolydi..._.' PO tr E9~'elc Tr=J'TT. vib ..~ .--' -.. tr -. ")I .. ~ H .:. PO CO eta G .. AS N.sion ending PO PO .C..

.. : . (E) ... ~ H PO ~ -:J~~ ~ '-I O~I ~ 1... . J E5 G A5 7 N.~~ ~ ---./' . ~ I . .<!' • MU o"i "i -:J' -.. ~ 1 'n' G ~ A - w '-I ~~.'. BU ~ LD ~ PO .. -:J~-:J ~ o~~ o A E 13 ".. ~3~ tJ E o(~ MU .. .7__ :J. ~J A-Z of Great RiffS E ~ Wrth sWing throughout . (E) r--.C. .__:J. r-r-r-: 3~ o(~)' ~ MU ~' ~J BSS ~ :: I 0 -:J-' -. n '-' E5 v......C. N. H PO o..C..~ tr HPO H etc 0' ! ~ . L8t~ing ~D RPB LD -:J__..C.¥. o~.C. G A N...C. H .-- . G o ~~ ..T-. •• 1"1 h. 'V} .__-:J PO :. (E) . (E) 1"1 v 'VI.--:J.7."i ~ y__ .-- ~ .J E B G o"i_.C.j BSS ~ A 0 E 10 .. & MU : ~ ~. (E) " II II t--3 --.-.J o~ ·J-_T___ "i H PO ~ "i_"i :J.--0_ .____. E5 II II .-------._. O-:J_. . :J. V 1""1 x4slm. .... ~ PO H PO r=-s ----..3 --... (fili) N.T_"i H PO ~ :J. II II .. (E) N..~..... .1\ II Ex6 r-- 3 --. J r-- 3 --./ BSS o~ 1__.C. 3 -. (fill) ------------ N. tJ -.~ ~J ~.. ·1 .G v (r'"ll II II tr o"_"" .. ~ H PO 0· _____ • (~) o~ __ . N. . 0 . . 3 ------.j ~ " E B BU G A o E 4 " LA."~ ~ -1""1 3 '--.. -:J:__ ..) - A V (r'"ll V h~ V 1"1 N.1 BSS o~ i___ -:J~. 1\ ·11 ~ E B A E e -:J__..~ MU v-r .j._.:i H P€l ~-:J :J.GT CD E5. --- ~ ~ _" 8SS E7~9. i_.1 CO I':'! o~ v - -.=__ ..~ MU -G- o A E ~.. . ~ ! ~.~ v v ~ ~ -~ .C.. (E) N.---' 3---' (E) .~ elG (ori!jlnal version) .

. On the GTCD I also played it an octave lower to fill it out a bit ..Ex '7 Continental Op .~ .091 1\ Ex7 A-Z II ..make sure that you symbols during this part.."". .:_ ~'* co H o:4i co :: ~ o"ii. .. I ~ I ~ I I I I """ gliss .. H ~ .Nlain theme The Loop is apparently the name given to the raised railway which runs round the centre of Chicago . o~ CO -:J ~ .6 D A ~ Adortan . CO " n G A D E :.. .:: #l~ S gilss ~ ... q*~ .gllss 1"'1 . . I .Intro/main rift This example kicks off with an intro which much a 'cut off' style. -:J co . o-:J1 CO -:J' CO I~ ~ I I CO _ ~ ~ :.you shouldn't have any problems in coming up with you!' own fingering for this part. '~ :: II II ~. a ::.. Listen closely. as you play these you should try to keep them as even as possible. then play along with either the original recording or the GT CD version if you encounter any problems with this aspect. The next section bars 9-16 features a few bars which contain is played in very observe the (CO) which runs from 'six against four' phrasing.. .. As you can see from the music . H I I I #II • I etc ~ J* . I . . It is based on a straight up-tempo 12 bar boogie wcogie/Chicage blues in the key of C which is played in a very jazzy 'swing' manner.:: . A(6) . . . 10 S =-.it I V E B I I I ::._ -G- . co co . #i}~ ~ V ~ ~ V (r"V V 1"1 V V E B G o~ "!' ":' I I I I I S '..= 187 10. ot Greal Rills E B .. o~ ~ C@ ~ ~ ~ etc co '" o A E 14 u :: D/A A7 :: . .it basically uses the same melodic passagelfingering throughout which is simply transposed up and down the neck as the chords change.._ A7 >.. 2 u :: ~ E o A5 f!...hence the train noises at the start of the origina) version! This piece you may also recognise as being the theme from the TV program A Little Bit Of Fry And Laurie... II ' . o Ex 8 The Loop . -ee-. .:. DIA II II " l:jgllss -a.-.. I ~ I ~...

.' 1\ . ---'" '-""'" BU GO BU "' BU CO ~ LD .. .. .• f.. EXB A-Z of .~ 'u CO H ~ "' .3 07 . If played correctly the upper note of each double-stop (on the B string) should go up by a semitone and the lower note (C string) should go up by a tone.. I ~ r I -vib ~---11. D/F#.... ~ BSS j J BU CO B D A E G . H ~.." ~ . BSS /.- " F7 '..~! A dorlan E PO .. The final four bars of this example again use double stops only this time they are played 'straight' and are used to outline a simpl e descending chord progression of A7..n H -.. ~ . A E 10 F7 07 Ex 9 Public Enemy No1 .1 E B G D etc CQ CO n .5 lL..n .....( to .. o .. ..'~ 7 C7 G7 fo '"t~ ~ ~ ''lit • 1 H • I r I >- «.... .. «.1 E G A E4 D B '-. 1. I -vib ~~ I - _-' GO H ../ '""' x .] ~ --via I ~ @) G Mixolydian E B G D A E I H ! Grea1 Riffs -6- - CO .1 0:00 I .__ -.. .assisted by fingers one and two. '. . .~ . ~ I :I ...._ :/L.~ . 'UJ 1"IIt----t1.n' u '.. - o 1..= 209 1\ 10:11 1 ) --.---BU LD }~. G/A.All «. ~ ~ J"IIt . '.. J = 1181 . ?r .In'fro/verse Bars 1-8 of this Texas style blues intro rely fairly heavily on funky double-stop (two-note) bends.. I~ ..0... • ~~ f) _ CO r CO H E B G D A E 0 ~ .._ vib .. As you play these you should use the side of your RIH third finger to bane the G and B strings .

'ntro and "sf verse/bridge/chorus This example is one of my personal favouritesl The original version features Gerry McAvoy on bass and Ted McKelIDa on drums (who incidentally has played with my band a few times in the pastl).. E B D E 1\ II -~ .. etc tr ~ tr . E 4 G5 (fill) Gsus4 G6sus4 VOCAL gTiss .o BU CO ~ 3. you might notice how similar the groove and structure of this example is to the Pearl Jam track Alive . on the .e notes) -G- ~~====~========~~~=!~~~~~~~====~~~~~~===tt== E~0-------------------G~5-71~--~~~~--------~~----~~»---------~--~----~~~--~--~ Csus4 C H Er---------------------~--------------------~------------~~~------~----------------~ ~r-----~--------------~--------~~--~~~~------~~--------------~----~~----~~~ H PO E B PO H forums enter G D A..11. I feel that this is a..cJ:/ CO CO tr r. PO BSS --.. !:R . Another common thing that occurs here is the way in which he doubles his vocal.I wonder if it was perhaps aninfluenee? v A-Z of 'Great . great example of inventive chordal embellishrnentnotice how Rory adds many fills and suspensions throughout which always keep things interesting..n vu: o A7 GfA D/F~ A7 G/A DIF~ x3 GTCD AS -+ etc Er----H----------------------------H Br----H----------------------------H ~~~~~~~~~~~~~~~~~~~ 10.. me Iike:they may have been achieved by using the mic stand ali a bdtfleneckl On the GT CD I used a pick scrape which I think works okay.Riffs Pick\crapes / (se.. .7 BU PO etc MU G A ~ ~ 4 ~ 8 c . vib r ~ Q. line in bars lQ-ll and 14-15 (he also did this i. I H ~. Incidentally.n the intra of last month's j = 74 10:00 I Unplugged piece Out On The Western Plain).original version the 'scrapes' that occur at the start of the piece sound to.12 Ex 10 TheMl&sissippi Sheiks . Finally..-.

The G-Men Bootleg Series ....... Ex 5: 'Calling Card' .~~Ei~~ (flll)------------yG Gsus4 G/O .. ~ r-i=1 t'""1=1 • ~ ."..ESBCD 187 Ex 6: 'Irish Tour 74'.II ~- ~ e .. ':::' "1 ~ :: u ~ G5 G7/F Em7 =' .. g~ .-.... ~ ~ CO ~ ~ ~~ ~ .~v.IRS 7243835783 20 Ex 10: 'Photo Finish' . S '~I!'"...Chrysalis CHR 1170 GT .._.:~ ~ ~ ~ PO ~~~ I MU--I ----------l'.. " ~ T :... See you then.. 1i1i1i~~ I MU---ICO ~ ~ o· • ~~ " ~ . '0....(~ ~5 _' Unison with vocals II ~~=========....~ r--F1 ~R ".Fiend CD 120 Exs 7-9: 'A Blue Day For The Blues' . Gsus4 vib MU--ICQ H PO ~E14~~~~~~~~~~~~~~~~~~~~~~~~~~.D..... gliss r"""" O~ .. - D5 05 (0) (fill)-I C/G II ~ ~ E .=~~~ MU E n ~ ~o" . ~ o· ..... MU S CO E B G o A E 11 ... 0-- r ~ -' etc B 6 Ii) A E 20 05 D5 -- ~ G5 ~ A-Z transcriptions ©199a Phil Hllbome Next month we will take a look at H for The Sensational Alex Harvey Band. S B A Y r~ Em G7/F 05 G o E 17 ~..-- :: r. Plck near fingerboard .....G/O -.. MU ~ I CO .Polydor Special 2384 076....\ I g/l55 r--.:. Sources: This month's examples where taken from the following albums: Exs 1-4: 'Taste' . ' "* . ~ 05 (0) . ~ S PO i· ~ ~ ~ . r--...=~~=+~~~~==========~~===:~~==....r ~"" ~ ..__../G - ':....: G/O T G5 . ~~ ~ : . 1i ~ ~ ~ n ../ :: ::~ ..~.

. hut if you think that Albert's upside down technique would extend to vibrato.a half is gOing to take practice.but the downside is that we've ended up in fl!. ruled royally over the blues at one time and collectively influenced a whole generation of ~[ayer5 who followed in their wake.' ~e vib iss "-y GO BU ----:::.. common surname . Legend has it that it was a sort of E min with a C on the bass whereas another source insists that it Was more an open F6. Other than that. Apart from that.none of the familiar fretboard patterns apply... it IS nearly Christmas! y complete coincidence. he had a tuning all his own. B etc you begin to understand that playing the same actual notes as he did is only part of the story! Apart from this. Albert. bend the C string on your guitar up a tone from the D (at the 7th fret) to-E. Albert (like so many blues players) obviously thinks that coming in on the first beat of the bar is for wimps and so clOullting yourself into the first beat and a half or even two beats and. PO P0 co ~ ~ ~T o~ A 1..r Never rrrind. Albert's style was fluid and open with pots of space to allow the rnusic to breathe (interestinglyboth BB and Albert were born in Mississippi). without delay! I apologise in advance for the key signature incidentally. a.Albert King . work with it metronome and keep at itl See you next month. but this is probably either something to do with Albert's irregular tuning or the fact that he played with hom sections (for the soulbased Stax label} who. we come to his hard-hitting playing style. Pretty soon you will begin to 'feel' this kind of thing. we're in almost completely uncharted territory when trying to transcribe an Albert King solo .-.jt'll do you good. ". fingers rather than use a pick! Looking beyond Albert's idiosyncrasies as far as playing. GT J Crosscut Saw . try an experiment. Needless to say. ~ ~ 1-. Albert played left handed. Modem bluesguitarists like Clapton.. So what? Well. Like BB King.Albert This month we look at a piece of guitar playing by one of the three Kings.. take things one phrase at a time.. J ~ -~t:(~t~ r-~ • .that of a unique playing technique.. enjoy playing in key signatures with lots of flats in them! Needless to say.. pull-offs. three of the most influential voices in blues share.. But Albert's guitar tone was more biting . in fact! Crosscut Sai» has taken its place alongside numbers like Stormy Monday Blues (featured last month) as a blues standard and is definitely one worth adding to your repertoire... as you may have already found to your cost. . technique is concerned. Stevie Ray and Robert Cray have all acknowledged the influence of these gentlemen at some time or another: But Albert King stood alone in one respect . The main problems you're likely to encounter will be maintaining accurate pitch through all those full-tone bends -let's be careful here and take things slowly. but with his Gibson Flying V upside down and strung right handed! This means that when he bent a string. tJ A~ Mimlydlan E B J . Try it first by pushing the G string towards the bass side of the fretboard (pushing) and then try the same thing again by pulling the string towards the treble side. along with BB and Freddie King. Hear the difference? It's very subtle.a shade nearer Texasborn Freddie King's..King. we've transcribed the solo in standard tuning rather than Albert's slightly wacky variation .-1 --. 1 E 44 Guitar Techniques 0 December 1996 . for instance. WeU. Oh and he also had a habit of playing with his. Albert would effectively put! the string rather than push it. Gary Moore.. Listen to the cr CD and count along with it.

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--./ .. L'td.... Used by permission of Music Sales Ltd. -. MeA Music Lid.. P. BU I~ LO.K._/ D E 72 .. etc. r vib .:. GUIT AR CASESFROM £69...~ PO BSS -viI:! Crosscut Saw Words and Music by Tony Hollins © Wabash Music Company USA. J! . EX. PO BU .~ -viI:! \ BU .--3-.:--I vio li . vit: 'f: ~..'/ u RACK CAfES FROM £119. "/ 7r._.. r--: .--.. $SIIin'T1Hauso.".. BSS -.--..----. SUPERIOR CRAFTSMANSHrP....~ APB \ LOGO . tJ E / \ BSS / \ .... Garl"orth... \J .r:.i\l. to tsae B G A E o B3 I~' .. Leeds LS25 2HAI' U.- vib ~f:. London W6..--.... All rights resetued...~ ~.-----... . ~ BU E B G / -.. ~ ~ \ I A E o BO 1\ I vlb Ob7 _. Intemationa! copyn'ght secured.:- PO G D A E . BSS . THE ENTIRE LlNE Of SKB CASES IS WORLD FAMOUS FOR UNSURPASSEJ) PROTECTION AND GREAT VALUE... 77 Fulham Palace Road. ~ ~ PO CO B A G ... IMPACT RESISTANCE AND AESTHETIC APPEAL.00.K. 76 1\ I >--'~' ~. $KB PROVIDE MAXIMUM DURABILITY.'Sotl Approach. . CO PBU \U..00 48 ._'A I -viI:! .O U...!:-~ ~ E j-J BSS --- - - 'F" .....~ t LD n vib ~~~ ~~~-..Tr:::ade ~Distrlbuto:r6: ~o'bn Hornby 5k:ew'ee: '& C'a. ~ B E I =~ .ctu'S.arkin. ~.

~. of distraction. sinceit was first heard in the latter part of the 60s.type thing.Q •.Solo . Aftangement: In. All three fingers should he used as this eliminates the chances of sounding any accidental harrnoniss. this piece to Albatross. tJ Let ring E oi" it'-. ~'--~ n~~ o '-'" .T__ "iJ H it. or The Green Manatishi.9 ~ 52 Guitar Technique.rfonnance Notes Ex 1 is the intra played on a steel-string acoustic guitar. December 199(\ . it's certainly true of Peter Green. Pe. third and fourth fingers rest flat across the strings whilst the picking hand plays a downstroke." H o· ~._i pc. the E5 chord should be played with the first finger fretting the A and D strings at the second fret.) o• .VeFse • Intro Melod¥ • C]a5.-" H PO MU MU PO 8 G D A E ~L J" T - ~ 1. ~.THO r--3---.! Although the 'ahead of histlme' tag is probably overused these days. 1 N .. giving the piece a funky groove.ow here's a rift which has been plagtarised to the point. Nobody played blues like Peter and nobody exhibited such a breadth of style as he did compare. Stylisticallyworld's apart! Ex. for instance. You'll notice.tr. To execute this effectively let's take bar 4 as an example. Then fer the third quaver (the mute) the remaining second. . 110'00 I II IN.__.-~ PO o~ .that a lot Of the accents are on the 'upstroke..s. Also watch out for the string muting. Melody • Verse • Intre • Melody (2-nd ending). H "ii.:» (:) .Sical Dutro > ACOUSTlC f!J.

.x 3 ELECTRIC 1\ GUITAR INTRO II ~ 0:09 .J~~ H G A o E 4..t.23 1\ ~ c 25.. __.1..:! H ~. 2. ~ ~'--~ PO ~/O~ ~' . H - ...J E B 7 o~ n :-f ~'-~ PO G o A Ex 2 is fairly sdf-explanatol)1 (I hope!) whereas Ex 3 sees the need for more damping technique.:... '''__V .J :: 11 .. ~ .: ~"--~ PO n-:J... ._. ~ B G D A e-> H o~_~J ~ ~J 0 ----. ~~ ~ ..t..J 0.._~ 0---' PO H O"'__"'" "-..~ ... n E1 ~ E.ii'I J~ E29 . For example. ~ )< 'RI 'RI 'RI I H MU E B G A E o . "Rl "Rl "Rl ~ 0... o~~~ H ~ ~.--~ o"iJ. o~~~J =....-~ o~-.II II ~ ---. . v 0"- II Ow'__"" ).--3-. o A E E B G ~... ~ E B o~ o .. . ._. v ~ E 33 Ex 2 ACOUSTIC 1\ II 0 VERSE 1 '431 7 t. ...-~ PO G A o E8 - .t ~' E H H H gl15S . ~ .t... . used to' keep the notes short.----H 0.Guitar Techniques .. ~ o~ E B ~ !i~ ! . q-.~~.. in bar 10 Where you have two quaver rests the second third and fourth fingers are used to' cut off the quavers immediately preceding the rests.... v 8 II II @J o .J":"_-'.--~ H PO PO = ~ 0 "' ]I.27 .' o· '-1" S G D A ..- ~~ 0. .. :. 'n - ~ __ u " 53 --_~December 1996.li H o~ ~ == = ~ ~ . · PO H ~-.-~ O-:J._ H I I I I" .t o~ P-.·O.t..-.... tJ E 8 H o·. ..12 ~~ ~ II II @J 11 sllime only ~ ~/O~ ~' ..:..}~iJ: ~'-~ H PO PO IJ' ...: :... o.. . -.. '. rushed PO H I 4f.... _. ~.

O~I T '1 G o A E .-1 PO on b~~7t rushed H 0"'-"'" ... 0" tJ E B o~ :J . ECABDE 1 k3 4 5 ~7 1 GUITAR MELODY Ex 4 10:281 1'1 II . lie)...3---.... the same scale as before but with a...acousuc Intro bars 17·39 E ~ .._ tJ E B G H H H o A " '~~."1 : = "i ~ ~.. ~. .--.Y rushed' H . vlb ./e.27. .29... ' .__~ ~ PO :::..1'1 Jl .different rhythm. ~ 13 - - v ~ r. vib vib vio ______. 1':~~.. December 1996 . ~ v- n 54 Guitar Techniques. o· ~J!-". • ~ "'I s v g ====='~I 35 The main melody after the first verse uses a different ending. . Ex 6a THREE PART HARMONY 1'1 .--.. -w. 9 ' ___--_. ~--vib I'" S '1 =====- 35 Ex 5 HARMONY FOR LAST 3 BARS OF MElODY " II 10'401 I ~ gliss 1'. n tJ E B G D A E -W...6b and. ~ E B G D A i__". this time in three part harmony (Ex 6a.._ 55 ~ t --.. Both lines are based around and E minor pentatonic framework with the occasional inclusion of the h5 (B~)and the major 7 (D#/Eb)... Ex4 is the tail end of the song's introlbetween verse figure.II ':09 ~ INTO GUITAR SOLO . whilst Ex5 contains the harmony for the last three bars.. -- 011 = = 11 Continues similar to.PT1 ._ x a s m.31 E 'fill tJ E B G D A E I .".-~~'--~ = BO LB PO "! .

.. OJ -II ...._ G ~ E 17 - BSS ~ (8"")......... etc.. ..... t. ....-II II t...... Then pick the string again...-....-. I _l I t..._n. II ~ ....... " II 10'201 j.... It is basically two guitars pl<!yingat the same time so I've made a composite of the best bits from each one...l . Guitar Techniques 6& .1I 11..----.....-. I .....-.. o E 22 ~ Ex 8 is my arrangement of the guitar solo.Ell 6b PT 2 [Doubled an octave higher by an acoustic) .. ~ E B G A E ......''':' SSS ..-vib "' ~ . o Ex6c PART 3 . I - .. Once the pitch has dropped place the pick back on the string to cut off the note and bend the string back up to pitch.-..... E B .. ~ l slow a G D A E " BU 1 '\' ~ \' '~... . }~ I OJ ....091 r r I ...so you need to be able to do it without thinking too much! Ex B GUITAR......~ -- ~ .-~ ...-.l E B G A B$S sss 4.....~ . SOLO ~ I 81!<1-.. ......... 14th fret) you repick the bend and let it down slightly... sss ." 7 GUITAR FIl.----... .. The part that may muse problems however is in bar 8.-..-~ . This is pretty easy when played slowly but the track is going at about 204 BPM..l.l E G 0 A E ~ 'J ~ Ex 7 contains the guitar fills played over the intro ..-.-..... Ell.-.. dip the pitch mute the string bend back up etc...' -. After bending the A up to B (G string.-. " II ... - December L996. I ~ ~ I sss '~ sSS ... .......'S IN INTRO 8~---------~--------------------------------------------------------------..

- (I rake II rake Il.... E 12 (8"")..... played en a classical guitar and most of the chord forms used are fairly basic Ones.... Ex 9 is..~. (....10 -.. (8'"). Try using your thumb for all the rakes......_L V Let ring E oU rake rake A - ~ rake rake ~. 3 ..... ":' rake rake r-ake A II S ra...ITAR ENDING FREE TIME rake " JI " rake " I I'!.. '.. - - --- --- - - ------ -- - - - -- - -- - - --- - - ---- - -- -- . '.. 3 • sss BSS :3 BAR COW BELL S0LO o A E 16 .. I .... ~ I I vib . ~ au ~. If you've never played classical guitar before then this is a nice easy introduction that sounds very effective. } :: Em ~ I E6 ~ ~v O/F" Em O/F# Guitar Technique.-...ake Ii.ke 11. J I ......s .... -b I Pre-bend LD PO ~ -= ..-VI " JI .....llIecemb. _. S B G D A E1 .. - - - -- --- - - --- I APB au IAPB and let down slillhUl after each pick I LD ... 5th) ~ 06(no Em rake f\ JI "- rake A rake rake I "I "I L rake " I g_IISS rake Il..er 1996 58 ..... rake Il.....~i \' . ) H ~......----" JI v E B G . rake Il........... ..13 r..-.... n " Em " .. S __.............. V E B rake II. - Of ~ E .....-~.~. \ ~ I v raket'J..........___ H ~ H .-..--..~ 6 .......~ . BU . --vib .......... "ake ».... . ) n " :: ) " 05(no 5th) 9.... o~ rake II.... au APB I LD --Vib B G o A \' ...J rake oU take G o A " :..v 8...»- (8110)----_" JI - ------ -- - -- - - - --~ - "' ~ E B G A D E ...... You tan almost see Clint Eastwood riding offInto the distance! Ex9 CLASSICAL ~ GU.... rake Il. .... The final two examples (Ex 9 and 10) are from the Spanish style ending that segues into Oh Wellpart 2.:. I gliss rake rake rake " I "...

rake f\ M ~I gl. rake '" t~ t~ rake rake ra k e. K GT .." I rake -a J 1 rake I!.-. !.TAR DURING CLASSICAL ENDING f\ II 12:371 tiss 91 tJ E 7fJ S o"U_ - .l rake A 'S :: rake -....of! Well (Peter Green) © 1969 and 1990 Rachel Music Ltd Leosonq Cqpyright Service Ltd.u. - :.____... Guitar Techniques 57 ..___.~ o~ ::. U .. tJ E "IT U ~~ o~ .'~ ~______...- .. .. -e- tJ ... rake ~ rake I!. I . rake gll55 I!. tIL I J g/iss k rae A 1! ------.-----.----. rake I!..---. ---- S ~ . Em ::: ..-. :. rake $>.. I giss etc ¥. '--' 20 8m (Amadd9) --- rake fjo- ~ Am Finally Ex 10 is the guitar/bass unison pari played underneath the classical guitar. Dtcernber 1996...-. ".I!. ..--:::. f\ II ~ E _u ~ ~ 0 u'""-- u ~ . Dc: - U E B G =====ra k e h: rake I!. .ss rake ~ rake J1.-----. I. London NWI OAR Reproduced by permission of International Music Publications Ltd. '-" . I :.'.____/ o~ S - "IT o A 6 G . Ex 10 ELECTRIC GUI..o"IT U B G A o E8 . ? " ? " e "~ (' H h } '~ . { ( I!.. 21 This transcrlotlon e 1~6 Dave KHmlns1er ~ E Cheers . E! G D A E E r. rake o A E e 1115 -----. A 1\ I rake I rake I rake '"""""".. 1_ ~ @. o~ S -e- rake 1). ---------- Em < 85 8m etc fI II .Dave.::=-- B G A E o 15 u - - ~J 1\ II ~3---.__" ~"l' rake rake .~.

.

.. Devastatingly different.. llie lads came up with 'Wish You Were Here'.ollowing an album like 'Dark Side Of The Moon' can't have been easy for Pink Floyd." 18 11 (19) ~5) :12 <=' :=:==--:ItS) 12 em . is a ~our de force of tasteful.] fuink it was around the time of this album that the word 'cinematic' was first applied to a piece of rock music. economic guitar work from Dave Gilmour. proving once and for all F that virtuosity need not necessarily always be connected to speed and general histrionics! Shine On You Crazy Diamond . I don't doubt that Dave Gilmour and Hick Wright opted for the 'noddy' system .." ~ 12 (15) (15) BU lD BU .. dramatic entrance so let's make it a tuneful one! Even more critical in their own way are the series of bends from the C to the D which follow and worse still.PerfDrmance Notes CD version..--.. Make sure those initial bends up to G in the first couple of bars are in tune ~ it's your big. Ex 1 features the beginning of this guitar space odyssey. too (RPB)... GT . but every bit the masterpiece that was its predecessor. thereof) have been used extensiveh in documentary films ever since! The good news as far as this transcriptioe is concerned is that it falls within a 'fairly easy to play" cal:~gQry.. Cert~inly" extracts from Shine 07. But rather than take the more of the same' route which would have been the ~ option. This opening sequence of Shine Gil.. proceedings than 'ad lib' would have suggested! In order that those synth chord changes synchronised so well with the guitar.. .. change chords! It's certainly the procedure we had to adopt when recording the Ex f GUITAR & KEYBOARD INTRO ~. over half of the album remaining in the band's repertoire today. (or clones . the bend from G to Bb around bar 9 is going to take some serious forethought and planning if string bending is still a weak area... Take special care over the re-picked bends.1.when I nod my head. We've marked the music 'rubato' which you can translate to 'freely' implying that there is a little more inherent discipline to the. Rubalo (dolled barllnBs are guidelines only) BU co au BU E B G A co BU BU LO poco co BU BU 0 E 5 Dm BU CO r""""""'> BU LO 19 12 BU ..

....l ~__. -< . 'no BU . "0 I I "" ~~ BU BU ill PO 15 I COr I S 17 (17) BU lIJ PO "...~ -I--J...... dead cert that they were.. BU BU '0 - .......n..J ~ u D tJ Wlclean E B L....o.. - . 17(19) (19) 17(19)17 17: I .__ fr ._ . Don't rush things and let those strings ring out! Ex There are a couple of simple 5th chords included here which may well have been a completely separate part on the. G A " 1 o E Gm7 add6 a tempo " t:..../...._. fr ..... I '0' BU LD PO 6 -..~ A E Gm ........~ . -------._._..... '-' I BU RPB RPB. I I I J i'f n.~_.-..... Rumour has it that the whole piece was inspired by Gilmour finding and repeating these notes during one of the early band rehearsals for the album.... _ ----~ _____ I ----- i i ~_~~.....*~ gffss j Loco --t- . ... -.... ~ BU BU 'nn.. BU LD -. .f p~~~ BU BU C'. .... I I I I A E 17 Gm Ex 2 represents one...:---.......... ~.... ".-...f_II-.. .--.----.. I BU E B 0 A E .. ~~ - - - - - - - - - - - - - - - - - - - - - - - - .....------- '0 I ...... 2" MAIN GUITAR f'I FIGURE Rubato -. 17 f19) ... I LD H I BU LD PO CO I 0 11 '~I ....jr •• !. thinking about it) but Dave manages to play both live and so we've included them here.--.J....---.---._ ~ - - - - - - - - - - -- - - - - - - - - _ ..... of 'the most important melodic figures in this section of the song...ft' -. / RPB \ «r .l E B G --------~ ~n -----~ .~ -fL...... ._... ~ ~ £-r". B\S / I I I I I I I I I I ..s: t:... ~ .........8"".. o ---.BU ...l BU B G E .. " ~ E B G .... l'r.~...._ S I BU LD .. - - - - - - if .---.......-.. ..~ .. 811<1...... . original (in fact.. it's a.".. ~ 15 15 (15) .... jr -f:' 4"--'_"_~ ..~ ~._ 17(19} 1715 17 14 Om em C8""}..-.. - sound Let ring throug)1out r=>... o A E 6 (C11) (F5) 60 ... BU ' \. 'J....f'- t:....roo.~ ~A' ..- ...J . r:'-::...-..-----. ~~~ ~ ....

It's a pretty good example of straightforward pentatonic question and answer p hrasing. .~.. isolate and deal separately with any awkward moments and things should be fine.. c ulminating in one of Gilmour's trademark string-threatening rnaj 3 rd 'excursions in the second part of bar 5.be at all surprised if Gilmour did on the original (and I can't remember whether I did on the GT CD .. .l E B '<"'''---':1' 6 Waae-jn} r·~'r.{ '-' ~..::---1 7 . live then it's safe to ignore them....TAA PAA.... c Gm7 E B G E 0 A 12 o Gm7 Ex 3 contains the rea] meat of this intro section. 2nd GUI.. It's a feasible thing to do and would certainly add a little exira 'bite' .. too. but atterly they haven't been included in the live versions and so if I y ou're ambitious enough to want to play Shine On.--...E B G D s A E 10 '-' Gm Gm7add6 E B G D s A E 14 Gm7 add6 The second guitar part for Ex 2 are the high triads which P unctuate the main figure when things get going around bar 8.because it happens again in the second part of bar 81 You may want to switch to the back pickup around the last beat of bar 12 . arm far a little extra 'lift' in these circumstances. initially the question and answer phrases are an octave apart which highlights how effective this device can be.. .): TAvib t. 6 With overdrive r !.. '-/ G A D .{ -.I wouldn't . They outline the basic harmony for this section quite nicely.. . I.~.__.. There'S a similar bend to b e found in the solo to Another Brick In The Wall.. . . -.T was caught up in the heat of the moment!)..... '-' --!:_.. What's more.. -!~!: TAvib r>.... OT 81 ~ .. --!'C!: TAvib r-..T FOR._t ~ 1: '''___'' 77' r-. jf you're due for a string change and have long since stopped caring! The only way t 0' deal with this kind of string-stretch is to push and push some more! (Although DG did tell me that he occasionally uses the trem t. There's a fair amount of bending in this section of the tune. .] Listen carefully to the GT CD (or indeed the original) and try to mimic the effect as accurately as possible . '--' ~ '~I E ~_. Apart from the above.. EK 2 1\ TAvib .. . the advice is very non-specific: take things slowly.._..

.... f'- -----...... !-~t Pf: _-!F' 8U ~ F~ RPB LO PO H CaBO G D A E .... . PO .....e .-....-...". r-.... _...~ 1\ ....-=---.qn' '0 oe -.~ 11- \~y....... ~ .3----. oe BU - PO B G 'v A E o 2 (8'"")... +:_ • H ::"--'~' BU ...~ a 1\ ~~ LB BU _.... CGl PBU LD 'J ... :--- ..tf . .-.~'A' B ... '0 G o A E '' gliss gliss -.- . tJ n=J~ -3- rake tJf:~~ BU ..... ta 8U ~ \' LG ....... 155 9I' ..... S ...---. CO S 0 "'! Co ..-.) G .. o "..~ 10 .._ .-... _-::::--.... tJ E. ~ *.. '~.. • ~ . ......-.. BU LO ~~. \' .._...--vib ......... •. BU BO RI'B ~....... 8U LD PO .__ S~---=-=---------------------------------------------· t_ • ..-----.---......... 4 c 1\ (Sue) ..............--... -~ OJ f'-' • ...... Loco ~ ~ tJ E __..... OJ • ...... ..... 8U CO .. fL ~ • .........' ~ .~PB~ . . '~ 4-'_".. ...C.~ 1 8U 'v 8U LD PO .BU RPB __ I"L-~ • Jr .. PO BU .....n. ·tJ E 8U l~n' RPB LD PO ~ PO ...... I~n' vib ""'_'__3 """__3--. -vlb r--3----.. -... r>: 4' ..o.. -.-..-..r 8U.:.C.--.-----3---..-... r--... vib .. Daug/F~ SR· Guitar T"ecbniques.. ~3~ fL' .....Ex 3 2nd SOLO .--.. ~3----... tJ H PO E B S 81........ .. r--...fL' f -fL ..._"""..' }~f. ..--...--........ A E D N..... Gm .... tJ E vib -~ fL'... ~ ....3-.- .... t: .-.j. rake E B G D A E 1\ ( - LD . PO -. B • f'-~ OJ • • . Gm _..... l20cember 1996 .. ' ~ Gm 8''''......-. H B G A 6 CO "n - f'- o E "'- 'v N.

1996 Guitar Techniques • ~--------------------------------------------------~ I' ~ri(M lnrluda postage '& packing within the UK. hammer-ens. Play blues. Basic chords. II" This programme demonstrates the various techniques required to play fingerstyle blues.'" ALL ORDERS WjLLINCLUDE __ . Using one simple chord sequence learn how to creale solos and rhythm parts in any style.. Albert Lee. Each style study is broken into small sections allowing you 'to learn qulekly and efficlently_ Thefina] section looks at styles and techniques used by leading players and provides an insight into creating new and interesting fingerstyles of your own...~.you Indude y'our cerrecrpostcode 'to ennee prompt: deJlver. slides. __ Address 01398371450 0 0 .. 'H .ys but please allow 28 day''s for delivery... within 7 to 10 da.. _ IGuitar ICODiplete Electric IGuitar . classical and blues.._ .. .. . shuffles and fills . Taunton. pull-efts. It is essanelel GT1'2 63 .._ .- SEND FOR A. Chuck Berry ate. PLUS unique theory lessons give you the clearest possible guide to chord and scales... much more...1 - . Shuffle patterns.. £'1 500 .. Includes chord/tab booklet.1 _ .-.. telephone I enclose a cheque/postal AccesslVlsa card number Name. / . JlIY4 STYl£S . A CATALOGUE. _ lilli' . _ _ Oaytlme Telephone No_.50 0 £'14... .Covers both acoustic and electric playing styles. Five major instrumental studies to work through including country. such as monotonic and alternating bass. © 1.lIIIt4 PlAY NOW! ACOUSTIC FINGER- lI/if4 BLUES GUrrAH ACOUSTIC GUrrAH COMPlETE EUC1BJC SUgAR This proqramme looks at the basic techniques to develop fingerstyle skills...C. Postcode... BU 0 CO CO ~ E 12 Sb/F GmlE (Em7bs) II _I '-'"' --RPB 'n' . rock 'n' roll. S 'w G 0 A - BU LO PO -. fingerstyle.. .ol ~ BU .....To order iiiiiiII - CASSETTE TUITION TITLES ...J BU E B G A PO CO BU . Five instrumentals to learn. Wright wid Gilmour._ _._ _ . I' r:PLEASE -SUPPLY' _' .. HTilten by B't1{(ers._ . fusion and rock in the styles 01 Peter Green. ...... Presented by Mel Reeves.. OVersea5 Qrd~n: must be in f Sterling.... Loco _ ~3--. IIiiIii . card. PO Box 9.'_ ~ _...J E 8 -..._ ... blues and much..made payable ... Orders are despetehed add I that. country._. Booklet included.......974 Pink Proyd Music Pu()lishers Ltd.._ .. Ploase indude a daytime 'phone number in ease (If '1U1uiRS. -' 1_'. including ragtime.. FREE.. Wiveliscombe._.(8W)II . ..50 £'14. simply cut out or photocopy this form & send it to: MEL REEVES INTEHNATIONAL LTD.. barre chords. - - Somerset TA4 2JL or fax it to (9am to 5pm). An easy 10 tonew video lesson to take you from the basics to a full rock solo._ _..___. 'J o E ~ 14 -n N. order for £ .... - - - - .._. I --LD/S gliss wide vib _.. gliss!:"'"'1 .. Presente(l by Mel Reeves and Peter Lincoln. December._.__ .. Joe Pass. l Shine On Vau Crazy Diamond... IAcoustic: I Finge_tyles IPlay Guitar No"" IAcoustill:lBlues £'1"'. PII'1<l§-e £2 per title tor airmail..-. CATALOGUE DETAILING' OTHER VIDEO AND BOOK/AUD.y. Gm .. ...50 01702 230944_ To order by Access or Visa credit. jazz....IO . :- --- CO CO BU <= " Eb - BU LOIS PO .. each based on a different style 01 blues.. rock soloing. pantatenic scales.AVAILABLE. to MEL REEVES INTERNATIONAL or please debit my I____ Expiry date __ / __ _ _ .-. West Coast and bottleneck. It is not necessary to read music to learn from this video..

Y_ou could try it legatliJ but T prefer that 'card in the spokes' E<ffedobtained via sharp staccato pla)'in~l The triads are being superimposed in a fairly jazzy way. alternate picking (with fretboard. The glide strokefollowed by a finger pluck (m or a) is a clever way toprofidency and several country players featul1e this technique from time to time. why not perform Ex 1 & . for instance). I tend to 'palm' my pick and ge 'flesh only' for a more aggressive popping sound. Don't worry. Some players manage chicken pickin' style with plectrum and flesh but. Okay. Alternatively I might associate a. up Ex. Also doodle around withe fingerptcking' patterns for the progression and why not create a solo f@:r rUoa? Ex 8 is a chicken pickin' workout where eo-ordination between both hands is. See you next year! GT Guitar Tecltniques _ December 1996 . my personal best is invariably when 1 don't worry about a ltiing and just let the music flow. This month I've come. each repeat will begin on either a down or upstroke in turn. you'll see the benefits of each workout! iEx 1 & 2 are warm-up exercises designed to focus your attention. Ex 9 is a bending and slldillg study . Incidentally. I'm sure alter a few plays through. Some of you might be templed to interpret these lines asbeing in 1118 and 9/8 respectively. down to some ~ nuts and bolts. B9 = F# minor etc). Guitarist Rik Emmett talks about finding a line throughout your lead playing. paramount. encouraging you to playoff the last thing you heard. T Experience breeds confidence while: bravado provides excitement! The motto? Hang in there I. 6 is 11 plethora of pe. 4 is r·emit1liscent of the late DaMY Gatton. In fact.2 using strict. a . then try landing 01'1 each chord 'block' fashion (a degree of building the shape midair is· ~Eill'aIlowaQle). aid coordination and generally improve . hut on the GT CD you'll hear a simpJe 4/4 click keeping steady time. Why not write down or record a few short pieces along with a drum machine or metronome and maybe some sparse rhythm guitar? The goal would. be to respond to the last thing heard. Make sure you're warmed up first.is tills legal? Ex 10 involves legato playing plus some string skipping. Ex 7 is a short chord study to stretch those muscles. it's easy to forget. but your ear should kick in and guide: what ( fOllows.fingerpicking study.stuff isn't it? I usually recalllicks by their pattern or shape OB the good example of this kind of thinking in practice.although palm muting at the pickup end may be needed sometimes (see GT-Dec 95 and Jan 96).Lesson by Lee Hodgson interServi A quick ten point check which is sure to get those frozen fingers flaDing! he underlying theme of much of Hot Country is improvisation and I always urge students to create variations or permutations of writtenlicks. just play evenly and boldly. runs ami even main transcriptions 1 Regular readers mig!Jt recall how some early columns had blank bars of music between licks. For rhythm gHitar that translates as groove. Ex Sis a jazzy countrysole whilst Ex. ~'\'" or withotrt legato)? DU. Ex 3 is a B4 words. You need to listen constantly and the ultimate performance would be one where everything gelled Or flowed seamlessly.filleting plucJ~s! In other with some licks that are unashamedly technical and challenging. It's okay to follow your instincts. set of fingering moves with. hybrid picking technique.e to the odd number of notes. Lee. some playerS prefer thinking 'minor' (eg 'B6 = G# minor. a chord shape under my hand. Damp with llH finger flesh only . Mastery of this kind of thing helps greatly with certain licks (those of Brent Mason and Albert. plus some jamming or expeJjmentation. For what it's worth. I'll often playa bunch of decent licks or runs on a gig yet despair at my 'bitty' performance. In fact.

.C.. 'A' ...~ 1""1 o A :::: r: ~ '" (A domlnant) I}\J:) E N.~£ tJ E B G (No limecsjg.. 3--.2(+) " II HyMd pfcklng (Notim9si'g"seelexJ) 4.Ex 1 Targe~tel"(lpO J =:19. ~ 2 3 f r ~ E B 6 D A --. ·3 Repetitively [x4on GT CO) 4 3 ---.. ' 2 3 ~ E m 1""1 V 1""1 PO ~ B 6 V - 1""1 m PO V 1"1 V . m '1" 1""1 S a ~ .C.·see lext) V PO 1""1 m a 1""1 I""IH mor A E o N.. (D dominant) Ex3 =:19." 1 =- V CO m a - 4 gl55 r ~." 1""1 PO PO 1""1 .A ~ =..F' E E7 . Ex 2 li· II :: m a b~ 1""1 double-stop pivot ~~' 3 . I 4 I "fI' ---..a- Repetitively (x4 on GT CD) I.2 " II H '.. m a .

._ gradual H BU LO BU " "'-" ..'I s 1"'1--1 0 S -6 E Let ring to end aH 1"'1 0..~ gliSs ._jr __ J___ ~"--fL ----. • L __ tr _~-. a II! . G9add13 c ern7 Brn7H5 (Gadd 9/B) r-----' E...fl' ..J V --Is ~.6 =192 ...J Co I I 1 ~ CO G D A E 1 G6® DaddQfF~ 1\ II d 'U' -I I l 4 1.6 I gbodover lme.. 2 \J-I m ~~ k~ a 1"'1 m ~- 'F ~ PO .. G~----~----------------~s_--------------~----~~~~/~_~. Dl1add6 thumbpicK for 1"'1.:.~.l harmony triads shilted In rn 3rd intervals Am7addl1 Am D9 013 _fi Jl .. Jf ' ....~ I.~ H !\:!_ . a m a a m I'll a • major symmetrica..I._ . for rn anda for m cornpareo to i the suggested plectrum and lingerstyle shown here J. G D A E _-- G NB Obviously...G H 5 (07) 88 .j~ 6 a a ~~=====================l====~~~~~==~~======~ ..I_ CO -. 3 ----."..<1- m I I P i rn a J m 1- p ·tJ Fingerstyle L~t ring E B --- G/E . gliss ~6 ..OO-(~~T... '" p I m . - .\ -...s. o· d~ o~.. PO PO PO ..-4~~~----~---r~-----+~~----~----~r_~----~ a E 7bs • cosetve m m 1"'1 GO PO 1"'1 m GO· PB Lo BU LD E~----------~~H~~~-------------f--~~~~----~~~~~~~~~~~-~-~----~--------------------------------~ a~------~~----------~------s_----------~----~~~.-...!£~ =--..------.J Q I 11 H 1'0' E B G D A E r--...__.. 6hetAtkins 11 v CIO would substitute a.asures 12 I o·_'--J 6 o· o~Jj a m 13 are a G l1hor£l-(oo) (...~~----~~~~~----~==~--~~----~--~--~ ~ . J~--~ J Gmaj9 J E. q:J- a m VH - oJ a m 1"'1 I"'IH a m I"'I~ .~ a 1"'1 m a B G D A E4 E ~ PO .' -......\].liSS .!!.~:r... !'- C~ V r=-..~.ni see text . ~ . eli!- 2.

.).--. L"> G A E o r:-.". E Ex 10 ".. ... 1__ 2.e. o A E1 G c D7 G Ji -/ mtcrotone! descent ----------... gradual LO/RPB ../~ gliss 4_____ • litCO r~4! BU \' tJ E B au s ~ ~ :... . HoI.. ~ '. ==192 . pitches \ I N. . .."..~:..-3--H H E B G A o E '. eo '7' '7' '7' \ approx.~ . Ex 7 Gadd9 (no root) G6 (no root) Gmaj7/D (Oadd4) All 41 ex fl 4 r-. 'u E1 Gadd9ID (no root) D7add13 'wide' G Ell 8 J- A~ tJ 1'J2' J 2 ~~ I'~ 2 __ '! Jt m 2 3itm Flesh only: .. ~'~ 3 . u ~ CO .----._j Legalo / 'l =-3H H .. -e- Amadd9 (no root) Gmaj9 (no root) -dlu " - tJ E B G D A rake " ::.Counlly '87 E €) 1996 Le. . " II . i1adgS<ln 88 .:. . BU 'u.' . p m i PB p i rD' P LO E B G RPB~-I .0192 " II·~.' CO . 4 '.. Ex 9 approx. pitches . 4__.. 'a' -. tJ PB v- ~ I held BSS H NOTE: Ell 8 should have almost every sound cut off (CO) by virtue of the technique used. fnc .___3---' i P P m 7 I p rn BU p p - ~ .-=--~ 3~ Repetitively (x ~on GT CD) ..C. ..

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As we've seen in the past. . G dorian (C mixolydian) . the listener.it's important not to feel compelled to state every chord/key change all of the time. he exhibits total control by targeting specific chord tones. Parks often forgoes the opportunity to blind us with science in the interest of maintaining an uninhibited musical flow. December 1996 . .E GA Bb B 0 Bar 4 last month. we See. an example of both scales being used (throughout this and the first Furthermore. In this particular bar there is an absolute text book example of how the notes of a melody can be derived from the accompanying chords. it's often better to choose a convenient harmonic common denominator (especially something as familiar to the ear as a minor pentatonic/blues) for chords of different keys (ie a group of seemingly unrelated chords which are embraced by one common theme or musical device). the G and F chords are treated as V and IV chords in the key of C and therefore C mixolydian (used in conjunction with G minor pentatonic /blues scale) can be used over both chords: C mixolydian . which allow him to map out.12 b3 4 5 6 ~7 E minor blues scale -1 Bar 3: As we saw last month. we saw how C mixolydian is used over the C7.2 b3 4 5 6 b7 EF#G A B C#D b3 4 b5 5 b7 .1 2 3 4 5 6 b7 CABGDEF GA Bb CD E F Performance Notes Bar 1 The first two bars of the sola are pretty 70 G minor pentatonic/blues 1 ~3 4 b5 5 b7 G B~ C Db D F scale- In bar 3.outro solo by Haitian Transcribed by Shaun Baxter Last month we looked at Dean Park's lirst the DutrO solo I 'alkbox' gunarsolo 'rom the Steely Dan classic HaitianOiuopce. the chord progression marc 'graphically to. ifs time to look at norder to sound 'natural' and unencumbered when playing over key changes. I straightforward. Parks seems to use G mixolydian for the G chord and G minor pentatonic/blues scale for the F). However. E do rian (used in conjunction with the E minor blues scale) is used over the Em7 and Em6 chords: solo. Just look how blatantly Parks refers to the barre forms of Guitar Techniques.E dorian=-I . This particular approach is demo nstrated throughout this solo. but how it was more convenient to think of these same notes as being F dorian as Parks also uses G minor pentatonic/blues scale Also over the same chord (this works because C7 sounds like it wants to lead back to G which is still acting as the tonal centre). This month. where possible. where appropriate. it was noted how the Bb7 and A7 chords could either be treated individually or used as 'passing' tonalities that simply add tension when the C dorian or G minor pentatonic/blues scales are being used.

~_..:-{. Bar 9 This bar marks the start of a two bar chord sequence which is repeated right up until the end of the solo.~ . In fact. These chords have A as a common tonal centre and so it is convenient to think in terms of different modes of A throughout the various changes in the key of C.-. • PO PO PO S gliss Jf_f'-~ @) S E B G D A E ~ 1/"\[ 1 ~. he uses an Am7 arpeggio.. you don't need a talkbox to be able to benefit from studying this month's solei as the notes speak for themselves. .~ . Bb and A during this bar and yet it works beautifully] BarS We're back to using F rnixolydian for the G chord and G . F add9 -1 3 5 9 FAce A-l 3 5 AC#E In fact.ggio C add9 -1 j 59 CE GD Again. C/E(5) and A7/(ES). d" ~~~""1i' • ~~ gJiss gliss via . he uses an F add9 arpeggio. . The progression in question consists of Fmaj7. The playing over the Fma]? in bars 914.~ '" Em7 Em6 -" S . in. the arrival of the A7 chord. ." fF (flJ fft. we see a Csus4 arpeggio being used over the Fmaj7: In bar 25. As usual. Parks uses diatonic triads (ie Bm. •• BU Em-l b3 5 EGB • 4. However.llcentre. Bm -1 ~35 B DF# arpeggiated in general.. by choosing to view the chords in the way that he has. minor pentatonic framework).. the melody is taken directly from the chord shape: xx Cadd9 Csus= L 4 5 C FG Dean's playing over the Frnaj? is very In bar 17. So. However there are several points of interest (mainly over the Fmaj? chord). b3 5 b7 ACE C Finally.. Bar 6 In this bar. he uses a G addl l arpeggio: Gaddl l . He could have viewed the G chord as also being in the key of C and continued to use A aeolian until. the pentatonic orientated contents of bars 7-8 shouldn't pose any problems. the playing from bar 9 onwards should look pretty straightforward. If you're familiar with A aeolian and A mixolydian. a particularly demanding sale. bar (ie bar 24). however the test is to mimic the expression given to each phrase as closely as you can.. Parks used A aeolian (the VI mode in the key of C). the melody is taken from the following F add9 chord shape: Fadd9 13- 4. Of course.~.. A and Em) from A mixolydian (ie the key of D)._--.1 3 5 11 c BD C In bar 21. Firstly. the mars containing the efE(S) and A7/E(5) chords are left completely blank. whereas the G and A7 chords are treated as IV and V chordsin the key and .e. C rnixolydian is used for the C7 (note the chromatic use of the E~ note fi. Em7 ~ \..rninor pentatonic/blues scale for the F chord.~-. . If you've followed everything so far._ ~ .. is pretty pentatonic (A aeolian has a Am7-1 In bar 19.. the previous.3] to lead smoothly into the E note [rnaj 3rd)).-.C... . the B~7 and A7 are treated as passing chords.D and so Parks uses A mixolydian. in bar 15. See you nextmonthl GT Haitian Divorce LAST SOLO 1'1 II via . we see a C add9 being used: arp. . he only has to change modes (keys) at the start of each bar instead of changing at the start of the first and the middle of the second..- - BU 'N 71 . Technically this isn't.. as A is the ton1.

) r. -. -... E B r .. PO .~.'. S .~ ..... 'u r g/iss f-~ S rvib ~ • .~ S ---.--...• ~ vib J C7 1!!?.. .. c:::::l BSS J...-. - • I ... -. A o 9 E Fmaj7 G/E(5) A7/E(5} Fmaj7 . -..- -vib r '---'l-' BU ..-. .._ • r~ .... ~~ . J PO .-_ E B G BU LD PO ".-...-.-.'~ ~ (. _. G/E(5) A71 E{S) 12 G/E(S) All E(S) Fmaj7 1\ • MU -. - -vib A E 15 Fmaj7 A7fE(5) Guitar Techniques'.) r..'" S r S BU LD -- ~ C7 5 F 1\ Lfslowly _. A E v7 ~ gliss G F II = lZ 2 ~ 2 2 E B G (~n·t hold down bracketed notes fully) MU ._) 6U .~. : 6---. -.--.) r...) ~ r.._.1\ II . -.) ("~ CO n r fully) .-.-- vib _c::::=l ~r'--· S gliss L ~ i--I I.- J • . ../ G A . ~ 2 ".--vib .-. . -. -..~ o ~ ~ PO PO _. '-' <:» "it BU PO PO .h.---.) ~ (Don't hold down bracketed notes (iii) r. ~ E B G A E G ~/'" ~ .-.. ._-. December 19% . PC> -# "it~-:J PO ./ o E ~~ F J 3 G C7 A7 1'1 ..U/ '" .) ~ (....~ .. J " ~ I tiss gliss ~ a E MU .....-. .. .._fl-""'). .~ J glisS . r glss gliss ~ -vib . .... p"it BSS J.. ~ • ~ E B G D .1S S 8SS PO . t ~ ---._) 6SS J. ~ ~ MU .~ GIE(5) MU . .. .-. BU • ~J--.~ o .._. S . -.. • ..n 7 ! G A E o . . PO .."'...

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...==~==.:~======~====~=..n -G/E(S) PO H ~ ~ :.. vib ."J MU BU E B G D A E "' 25 -..... rA) ~ @..1\ • f: MU-·----.. MU e i MU BSS ... " .~ .J! ~f'L II ~3--' .i- ...--""-.J ~ c-.-) - (A' t f:..==~~~~-~~===================a D~--~------~r-~----~----------------------~--------------------H 27 ~t=========~===========================t================~ Fmaj7 G/E(5) A11E(5) .. BU LD ~~==~~. " A71 E(5) ~ Fmaj7 II ... . .

Bar4 On beat 3 of this bat. ~ vile lfu Lm[fbL Fretboard adventuring from one of the USA'spremier acoustic pioneers! or 25 years and ~Ol"e. his 26 major label releases have been as diverse in their influences as the players he has inspired. his wry.Live' was recorded on his 1995 tour which included 1l sold-out concert at the Royal Festival Hall. 'Q.. Try and think of the.. inspiring and innovating whilst forever developing his art. His 1969 rei ease '6 And 12 String Guitar' on the pioneering Takoma label brought the art of solo fingerstyle steel string guitar music to the masses.h i (the index finger).20th century avant gar de music. F Bar 1 Probably one ofthe more difficult moves in the arrangement. Kottke's solo performances are entertaining for guitarists and non guitarists alike. This requires the thumb to play the A note on the 3rd string. Be aware of the separate voices in the opening bar: the lower voice sounds an A major triad arpeggio.. The A section is straightfotward from this point up to the end of its repeat (bar 16). Rikki Lee Jones. This album was a definitive landmark for the growing genre of the guitarist/composer/performer and with it Kottke (pronounced 'cot-key') set the stage for the solo acoustic steel string explosion of the 70s. With a compositional style that reflects American ragtime and bluegrass and incorporates diversions into . Bar 5 Performance Notes This month's Unplugged comes from Leo's most recent studio album 'Peculiaroso' (on Private Music). creating a nice doubling effect. 5th line beneath the D chord and the notes in that line should be played with p. the album is a collection of songs. but all in the cause of keeping the voice to the same finger. a number of different instruments andyou will more easily grasp the concept of bringing out the different voices.has stood on the fringes of the guitar community. root.Transcribed by Eric Roche Leo Kottlce~. 76 Guitar Techniques_ December)991i . guitar as being. The line is repeated in that bar beneath the D minor inversion. acerbic monologues adding an extra dimension to concert appearances. ) borrowed harmony from the parallel minor (eg the Ivmin above). His broader appeal means that he can boast an audience which is not made up entirely of gaping. while the upper voice uses a chromatic passing note .. involving a hammer-on in the -bass voice with a slide in the upper voice. Harmonically the piece is in the key of A major with typical secondary dominant chords and a sprinkling of (wait for it. Produced by none other than the songstress supreme herself. Tucked away at the yen' end of the album is an arrangement of this 1952 Platters hit. Twilight Time. His latest album 'Leo Kottke .. Leo slides up to a D note on the A string and plays it rhythmically against the open D string. Kottke has performed here a number of times in the past two years. The bass voice. note-taking guitar-ophilesl Not traditionally a frequent visitor to these shores. ensemble pieces and solo acoustic work. Leo Kottke . The D on the 5th string should be played with p (ie with the thumb) and the open D string played wit. plays a Brd.

.. GT Bars 23-24 Leo plays some cool slash chord voicings over a low E bass.--3~ F1 ar -r . A7sus4 o· 0" 11 0 ~3I ...-4 or " ~ e yr s -y-... r- .----..... g/iss gliss - r--j--.--3~ -.011 10:241 112 err .25 '--... Bar 19 Use the indicated left hand fingerings in the transcription.-----~ gliss ..3--...--. Oq_lhJ~ ~cMlg ..I..-.. C~7 1\ II * ..27 A gliss ~3___' i 141 I . Once again play the voices as distinctly and as separately as possible.e_cerob..... ~_~ 77 . u.-.9_9.... r- 3 --. particularly the F# note in the A6/E in Bar 24.6.--3 C"-------------------------------~ ----.-. finishing with the coda as indicated...--.. 3 - ----.----.-.. In Bar 36. The distinction between the voices can be achieved by controlling the dynamics and tone of each Iine.11. r F~m7 E B G 0 A E ~ B9/D~ n Emaj '[).p '__3~ ~. 1 I @..-. S t S ~ r. - ~ ::..cr..19'---3__::_' ".. r:.....r ~ r 1~ E B G o A L::!....-..t II H[§]I -I 41 ~3"""4"' I ~ 3~ en .. S 1.. r-- 3-.. the chord tones as written. bring out the harp-like breadth of the arpeggie by letting the notes ring and 'trip over' each otheras much as possible.Bar 17 The middle . E B G o A E 3.. At: E AH ...--. I r '~ r'"J( ~3___. The first section is then repeated. ...9..eight modulates to the key of the relative minor via the G# chord. ~3~ ..r .J J ~ I I .. The (chromatic) major third (8#) is implied but isn't heard until Bar 19.1..... gliss ~3~ ~ r " ~ .~ ""____3---..j-. - S PO - u.l IIr ~'" ".3 ----..-----. Be careful to bring out Twilight Time Steel siring guitar )=82 1\ 1 0:. The bass line plays a standard alternating root-5th bass line in reverse (ie 5th-rootl).----~--I . err .. as~. -$- 3rd lime to Coda ..

-"1L ~.. ~-J -------. Ffim7sUS4 C#7 ---.D.. (_iJ c--J~ ell ~._ ..........3_'--'·~ u .......-__ ..-............."' I 1_ 1 I o('-'t "..........-$- r i ~3·~ r 23 DIE DIE AlE A6/E E 2'8...--... ....._--.......-...._ .._ ...... r---- 3------..._ ....3 ____..--. J q¥ ~* _. II tJ Ii r...._ -- 1/2 CIV ..u~r Te.. IVI Amaj A/C# MIDDLEEIQHT Slight hand damping of the bass notes through to bar 16 CN--=--~-----------------------------------------------------=------------..._. ...- .. 1/2 CII _ .... _ . DeGembcrl1l96 .......... or - E 8 c..ofJniques..---.-----J-o ~ IIr ...... L.r--... _ ....or tI .. ... Cli ...:...._ ......C.. a...-..... A E b 15 ~ B91D~ ~ ~ E7 - _"I y._ -.____3~ ....~ ._..3----.---... ....__ .. r--3--._ ............--._ .. G.

II ~ t\ jI" .000 Tuners...CODA -(it 11:291 ... r... The creators of QWIK TUNE~ Have Made and Sold Over 500. ::--. II" tJ . Tunes Any Acoustic.---.: o ~..-3~ II" i\ T .. I o~ t\ 1 1 .-. eIV . q# ~t 'r f '----3 ~ E B A G o E_ E7 1/2CIX----------------. • Automatic Note Selection. ---.. Use. Dislributed Tnis transcription © 199~ liiner Ear Music. ~ A _____ _o_ ----... ~. ~ w .-"" '" E7 B~/O~ B9 C[.c Guita.... I ~3~ - o~~ B E G A E -'" 51 - or E7 t IIr ~r _o'1~ o '-3---.. In and Ouf Jacks . . Electric or Boss Guitar . Guitar Techniques· 79 .-----3--. 112CV .er 1996.-.___ 33 B9 I I ~ t F~ €I Copyright (Ihls arrangement) 1994 Private Music Inc. by 8MG..-3-----' b~~ la r tT ~ ~ - o '---3-~ ~r '--" 0.. .. If · E IN ---'- Automati. That's Expertise! A BREAKTHROUGH TUNER TECHNOLOGY AVAILABLE fROM ALLGOOD MUSICAl INSTRUMENT SHOPS Illi!emb.--. fliI~'-tJ . LCD Meter and LED Lights.r Friendly Tuner Providing Unsurpassed Accuracy . - t\ ~3-----. .r & Boss Tuner QTl More Feotures. Lower Cost Superb Accuracy! . ~ ~..

too.ta~ sou. Hollywood at the tender age of 19 and so he is accustomed till putting across informarion in a-concise and Instantly accessible package. likes to keep his hand in and manages to squeeze some tuition between recording.?Qs. withMr Big's hectic touring schedule.t is al.a. without any fWTtheraQQ. tuition videos and clinics His prove that not only is he in possession of some monster cheps. So. rehearsing Or gigging with the band. he. but has an infallible sense of humour.<l?!'s. GT caught uiP with Paul at one of his recent dinies and thus have been able to decant some of his formidable" wisdom to the Page.ght after ClS as he 15 a gUItar player these II d.ul GiJber.GT is proud to present PC Tips! Guitar Techniques • December 199G· so' . Even today.. Paul benefits from the fact that he was teaching at the GIT in p a teacher .

-... sloppy guitar playing! '" 144 1\ 8"'..n . Speed is a byproduct af accuracy and Practising this stuff too fast and sloppily will just mean that you get good at fast. this time in the key of (what else) E minor. ~ 6 6 --vib E B G D A q _- .1 fl. thistime Ex 1b DESCENDING SEXTUPLETS moving down the neck diatonically in C major..h .u . When practising this one make sure that you keep the fretting hand fingers and the pick close to the strings."'I V ~ '" 144 1\ f:.~ 'c • . fl6 V 1"'\ V etc ~fl.~ ......n ....-.ING CROSSING SEXTUPLETS .~ • ~ 6 ....~ .f:. 8w..-. ~ ~ E 1 Ex 2b ASCENDING STR..... avoid any excess movement.. 6 -" 'n.~ ~ ...7 "'-"'>..-...c .144 1\11 1"'1 V 1"'1 V 1"'\ V 6 elC I 6 6 .1..._ uo_ '" 'c •~ "7 B G D A E 1 Once you ve got single atring picking together the next stage is to..~ .." . begin with......Ex 1a is an exercise Paul used to develap fils picking co-ordination._ o A r»: ~ 1 11-\· E Exlb is a variation af Ia.~ te...._ tJ E 'c 6 .-...~ . ~v~y~V etc ~ --- V 6 B G E 6 " -"a c 7· 6 6 6 a 6 6 0 . play it fast to..--------------------------------------------------------------------------.don't worry abaut trying to.-...-...-...~ . apply the technique across two (or more) strings..n ... 6 • 6 . ~. . and try to.~ ..-. demonstrated Ex 2a (staying in one position) and then Ex 2b moving up the neck.~-f"6 6 6 6 ---VI ~ ~ h U U ~ ~ 'u .."'I V 1"'\ 6V 1"'1 etc 6 6 6 6 (l . ... at a point where both hands are working together ... _ L"7 •C '"7 .... Also ensure that you pick every note that you fret! Keep Ex 1a SEXTUPLETS FOR DAYS the tempo..... Ex 2a STRING CROSSING SEXTUPLETS Paul first J = 144 f\ II ...~ D 6 'n D -vib .. fl.

Both of these ideas work-around a B minor chord..~ .....-. DJ\. • . If you lise something that's transparent with all the tensile strength of a crisp then it might be time for a re-think! For electric guitar playing I generally use a stainless steel pick...--~.in C major.. n0"'-'" H PO PO BU .'-" --..-...-3. Ex 3a GILBERTISED VAN HALEN LICK 1=150 • _fi . r-.-. ~~J H POPO r... tJ E B G ~~ H PO ..'3~ H ~ p·o H PO PO ~ ~~ -.. . . .3---.J '--3~ H PO PO 1--1--1 J--3__' ~ ~ '--....:::::0 I'"' ~3--...--.3 --... Ex 3a is something that Paul says he 'borrowed' from Van Halen and is similar to a certain lick in Eruption. r--. GuItar rreclinlquss • Decemllcr 1996 ."" ft ... -- ~ Ex 3b is the same idea but using different intervals On different strings and Ex 3c is my own variation again moving up diatonically .-.. HPOPO r.-.... . r-r=l ~ r~ ~ ~ t--1 r~ ~ ~ vib tJ E B G D A ~... """ .-.. E B G D A E1 -V ~ ... r--3-...-......l. .-. A common denominator amongst fast pickers seems to be a heavy (or extra heavy) guitar pick. 1\ r::::3~ H Po ...H PO ....-3-.. . ..-.~~~~ .:1 HPOPO _~ I ~~ H PO ~.-. .. _~1J' ..._ 'D ". rr-. r--...-.~ H popa I~~"-" HPQ ..--fL.. DIFFERENT STRINGS =1.. !f"~-- vlb . In =-~ ~r--..-3---........-.' o A E 3 Exs 4a and 4b are classic Cilbertisms! Paul uses variations of these two licks all the time when improvising. ~ «v:v>..J. ....~ .. H PO . V PO -vto ~ ].--. r=3:=-l r-3-. All three ideas would sound great over an A minor chord... r~ V ~ ~ 3~ etc ...-.-..J '--3--' L---:.... v H PO PO ~ H .-..~--.-..-. .. some legato exercises... H PO PO BU E1 "Ex3c MOVED UP DIATDNICALLY IN C J .. ...-. ' .. f'- . You can see that both licks use exactly the same fingering patterns but on different string groupings (another popular Van Halen idea).. r>.. 1/ . Next. This doesn't bend at all and allows me to stay very close to the string as I don't have to wait for the pick to return to its normal shape before commencing the next stroke.. H POPO o E " 1 (800)----------------------------------------------------------------------------.. Ex 3b SAME LICK.--3--.150 1\ 8~----------------------------------------------------------------------------V ..... .. ...--... H 1"0 H PO D L~ .. r-t.A few words about plectrums ..3--.. r---j.__3 H ____J V~ ~ V I-. _. '-"'- H PO PO E B .... ~ H PO " ..-.. V ~ V 3'" etc t--3 -._. .". V .....-------3---.-.~ H PO '""''C G ..-.. PO '-"'~ ~ H POPO n "7'-""~--" u ~...-.50 1\ 8~----------------------------------------------------------------------------. ~ _..

-.... PO SKIPPING FOR ARPEGGIOS .. ~ .....-.... I H E H PO H "-.""1I papa I"'i V L ._ ~ H . ..._ V I"'i ~ I vib ....__. .... ACOUSTIC........r'~""..-..... ~~ H POH H POPO PO PO B (3 n '-n "" ~ ~ /.......II ~' ..--.~ I"'i V I"'i ...... I I I V .....':Q PO E B G D A E (8~--------~--------~------------------------------------------. AIIAILABLE FROM AU GOOD MUSICAL INSTRUMENT SHOPS December 1996 • Guitar Techniques sa .... ~.....-. - ~ I"'i ~ E 8 .......r-.. ELECTRIC & BASS GUITAR........-......!:!.~.__~.................... ..-...-... 12 STRING & CLASSICAL......._ "" .-. G D A PO ............-.-.......-. " ___ H - - ~ !:Q PO '--' H PO .~ r"l rPO I"'i I"'i I ...... ~ I"'i v~ ~ ~V~ r"l ~ v~ V V~ ~V V ~ ~ PO .--.-..."....__ PO H ~ ~ ~ ......---.. ~ fI II. Ex 5 STRING J .. .......~P~P@ PO PO H --.....("'""'t. 6 H G 0 A ~ E ~.. I"'i .... I Ex 4b SAME LICK.. H A E o Paul often uses string skipping for his arpeggio ideas and Ex 5 is something that he usually plays as part of his unaccompanied solo with Mr Big..........'--' """" 6 I"'i r- «:«. Check out the intra to Paul's first instruction video for variations on this idea......--........ 8"'...-..._..-.. I"'i I"'i V I"'i 6 DIFI'ERENT STRINGS =124 1\ 'II ~ @) -~ PO PO H H I"'i r-- I"'i V I"'i 6 '. /....-.. .. ~ ~ ......"...Ex 4aLEGATO FOR DAYS =124 " @) I"'i II ~ r'o..- H PO H H PO PO H ._..-..u PO BU " E3 Ex 6 isa scale-based string skipping pattern......--. H papa .lroi @) 8''''... V - r"" -- ~ H PO PO ............... Those of you brought up on economy picking may find the picking strokes a little bizarre but thisis how Paul plays it and if you're used to alternate picking they make perfect sense.._......".-... PO ..

SOBle of these techniques into a Ex 7 is the intra to the Racer X track Gone Too far taken from the: album 'Second Heat'... ..-.'.8.~ " .-'" ... 84 l' Gu/fa." ~ PO E 8 ~ PO --.9____________________________ __ 1:1 ·.... ...t:J.- ~ E B G D H PO .-. ....... OY'.. . PO --... . G D A ~ ..... !'--- vto - _- - - - - - - - - - - - - - - - -- - - - - -....e L"..-I(-i~~#~ # po PO - -8 ... '11 100 8"".. Technically one of the easiest things to play.=208 fI .t .LE..~ via .. LOVER... ~' .. . Slight MU throughout -:i" . .e G A D E 6 '" ........ _- - - - - - - - - - ~- _- - - ~ E B G D A .... Little Boy... If you're a fan of shredding recommend all four Racer X albums but especially 'Second Heat' and 'Live Extreme Volume'. Lover. then 1 can definitely J=96 " Ex 7 GONE TOO FAR .------------------------_ --_ ---------------------.....n ..- ....-..... L.. Brother.~ ... STRING SKIPPING FOR 'SCALES 8...Ex.....:fI......::.---------------...'"'....- - ...n "o E ..lct B --.'" Ex 9 is Out Of The Underground from the latest Mr Big album. ------------_---- o =:~ {O~ )0 _--.Intro II" ..~ .. For the last four examples I've chosen a few extracts from Paul's back catalogue to show how he integrates song-based format.-. v___ 5 1"'1 V 1"1 V 1"1 IJ 1"'1 Y.... - - - - - - ..-..~ '" r---.....-.e PO ---.-. n ... - - - - - - - - - - - - - - - - - - !'-" .:..n = 8 " II 0 ).......~ ." - 5 It"I.~ .tr..---...---... .. .. PO -----'ic .-os - .... E 8 . PO .~ .-' r--./t.# L-3--' . BROTHER. 'Hey Man'... 1"1 11 1"'1 V 1"'1 V 1"'1 j 1 ~ E B G A popa ..~ 3..Ell .." 1 .... !'... . II II fl.~ E (8'''').-r. - ••• .. . .....-.-----_.. TechnIques ·neQembd'l996 ... it still sounds effective with its use of open strings and (for the most part) a rather uncommon 1118 time signature..... ... .. •....~=r=:~ ~oll -... PO ----- PO r--...... -. ......-" PQPO o E ..ITT.....e - - - - .-._ 1'" fI..~ .. This solo also uses-some string skipping scale (bar 3) and arpeggio (bar 4) ideas as well as a rhythmically displaced legato phrase in bars 5 and 6.~ . f'....... 5- .. ... ...f'-~ .... f:- fI...... t')...: '"~ ~ ~ Ex 8 is the classically-influenced picking section from the song Daddy...........~ -. Ex II DADDY...

London WC2 and BMG Music Publishing [996·. Lover and LittleBoy Words and Music by Eric . London SW6 (37. Billy Sheehan. All rights reserved. Cherry Lane Music Limited (40%) and EMI Songs Limited (22. © 1991 Eric Martin Songs. BMG Music Publishing Limited. Reproduced by permission of EMI Songs Ltd. Used by permission of Music Sales Limited. Used by permission of Music Sales Limited. All rights reserved. Reproduced by permission of EMI Songs Ltd London WC2H OEA.Rock and Roll Over WordS and Music by Eric Martitz © 1989. Endless Frogs Music. International copyright secured. USA. Brother. © 1990.5%). International copyright secured. 127 Charing Gross Road. This arrangement © 1996 BMG Music Publishing Limited for their snare.79 Fulhanr High Street.Martin. Gone Too Far and Daddy. 69. Lover.s . London SW6. Eric Martin Songs/EMI April Music lnc. USA. Little Boy used by permission of Cherry Lane. Billy Sheehan Music and Partorpedo.. This arrangement © 1996 BMG Musi« Publishing Limited. 69-79 Fulham High Street. Out Of The Underground Words and Music by Paul Gilbert © 1996 PG13 & Careers BMC Music Publishing. PG13.5%). Brother. EMl April Music Inc/Eric Martin Songs/Cherry Lane Music Pub ColFG HllEndless Frogs Music/Partorpedo Music/Billy Sheehan Music. e.GuItar Technlq~es Limited. Paul Gilbert. Dacjdy. London WC2H 9EA. Andre Pessis and Pat Torpey. USA. USA.

--..--. PO Pt1l .. "Y"'\ fL...r>: ... Hope to see you at the National Music Show.... PO r-.. 6 rr~ 6 . out his rather splendid instruction videos on REH...r> '" .-..6· ....c>: PO ~~ PO .. . ..... f:\ ~.. ... PO PO .--1\ ~fi... u PO r-.....o recommend that you practise taking it up to theface-rnelting the lick in six note chunks tempo of 134 BPM!I before = 184 8li1'l::-.. playing bass and for generally ma.. That just leaves me to thank Phil Hilborne and Andy Frost for sorting....9 /. a tune by one of my favourite bands of all time... /L. programming the drums..3 II iP@ II ~ r .... -'" 6 6 r--' 3.r> PI1l ~'-:"L> PO "- .. ...:.. ~.PO .. ~.".... f:_\ fl...... .u ..l E B G A E . . pentatonic scale and not sound remotely like Eric Claptonl (Plenty of us can do that already! .-...r-: PO fL' f'\ II ~ t.l only f:'\ ~ ~ PO .: .. P0 .kling me sound better (at I)...."'_ = -- . Emerson. I?O PO ..... ~ c 7 1\ fl. ....' VI " ....... Lake and Palmer! I know it's not hip to like them so he definitely gets extra brownie points in my book for that one! Paul is an excellent teacher and so if you've enjoyed this lesson then you may want to check.t.. PO PO .. /.-." Finally. fl.-... Ciao for now... PO . fl. ... Paul not only demonstrated his formidable guitar chops but alsqhis diverse musical influences playing material by the Beatles (All You Need Is Love)... POl"O papa PO PO n'n POPQ POPO G D A ....... fl. ..... out the backing tracks. ..E B • '3lP_9 6 •• POl"O ...Ed) The position shifts are a little tricky so I'd Ex 10 ROCK... Paula. e-. .-_ PO n"-"n ~ t'\ flO """'_n ~. t> PO PO .-. ~\ ~ f:'\ PO ... fL-""" f:\ fL...O extra cost!)......- fL~"'" 6 .-...l E PO . Abdul (Straight Up) and Karn Evil 9...' ~-.... 11 st lime . E G D A B . PO . PO ~\ -- . Transcriptions@ At the clinic I witnessed. .-.r-: 1'0 '" . II ~ t.....r-: PO PO . PO B G 0 A E '"""' ~r-. AND ROLL OVER ~ Exb'act from Ollt........-. ....Ex 9 OUT OF THE UNDERGROUND Slight MU throughout !~~~~~~~ PO 1. Ex 10 shows how you can playa.......-. ~-- . DaveKGT ... ~ PO .-: 97 t." o 5...-.~ 1996 Dave Kilminster ~ 1: ..

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