GuitarTechniquesApril 2015

THE FINEST GUITAR LESSONS ON THE pLANET
241 APRIL 2015
20 YEARS OF THE FINEST GUITAR LESSONS
ExCLUSIvE LESSON!
Playing with
FINGERS
PLUS...
Theory questions
answered, learn to
read music, give
your chops a
workout, &
Ditch your pick and join a host more!
of great guitarists that have
turned on to Flesh Tone! CLASSICAL
MOZART
Play Eine Kleine
Nachtmusik for
YOUR ULTIMATE... solo guitar
COUNTRY WORKOUT
Get your country rhythm, lead and hybrid picking
chops up to speed with our comprehensive feature
PLAY LIkE
PAUL WELLER
CLASSIC TABBED! His mellow acoustic side
THE WHO BRAD PAISLEY

Scary country-blues licks!
GEORGE HARRISON
Baba ORiley Post-Beatles era including slide
Learn a classic from Whos
Next - plus Paul Gilberts Mr THE SMALL FACES
Big guitar intro tabbed! Steve Marriotts bluesy R&B style
ISSUE 241 aprIl 2015 the
finest
guitar tuition
Welcome
you can
Just some of your regular buy !
GT technique experts...
shaun baxter
One of the UKs most respected music WHEN I LEARNT to play lead I had a cheap this months other big feature - Your Ultimate
educators, Shaun has taught many who acoustic and Id often lose my only plectrum Country Workout. If youre a regular reader
are now top tutors. His album Jazz Metal and have to resort to fingers. I soon developed youll know that no style is an island unto itself
was hailed as a milestone.
a method of using thumb and first finger that and that licks from one genre, or techniques
jon bishop sounded convincing, but different to the tone generally reserved for that genre, can be
Jon is one of those great all-rounders that emanated once Id retrieved my pick from succesfully transplanted into others.
who can turn his hand to almost any down the side of the sofa. Fingers also allowed With that in mind I dont know of ANY
style. No Jack of all trades and master of me to play things I couldnt with a bit of plastic. guitarist that wouldnt want a bit of Chet-style
none, he nails every one with ease!
It gave me another string to my bow within picking, Albert Lee-style pull-offs or Brad
pete Callard my relatively limited style, and its great to call Paisley-style machine gun lead in their
Petes credits include Lionel Richie, Gary on when looking for a softer type of attack, or a arsenal. So, even if youre a rock, blues or jazz
Barlow, Annie Lennox and Shpongle. He particular dynamic to suit a certain song. player, PLEASE give this one a go as Steve
can be seen and heard on numerous tv So successful has it been that a number of Laney has done the most thorough piece on
shows, recordings and film soundtracks.
great players have copied me and are now the subject - both rhythm and lead - weve ever
phil Capone doing the same thing themselves (joke, by seen. Its not for the faint-hearted, but if
Phil is a great guitarist who specialises in the way). Jeff Beck, Mark Knopfler, you glean just five ideas it will be worth
blues and jazz. He teaches at ICMP in Lindsey Buckingham, John Mayer, at least the cost of a years subscription.
London, writes for GT and Total Guitar Robby Krieger, Hubert Sumlin and a A quick note about the main song:
and has published 10 top tuition books.
host of others use the technique all the The Whos Baba ORiley is not their most
Charlie griffiths time, or simply bring it to bear guitar-heavy track, but its one of their
Guitar Institute tutor Charlie first came when the moment feels right. best so Steve Allsworth has tabbed
to fame in Total Guitars Challenge So Jon Bishop has come Pete Townshends synth
Charlie series. Hes also one of the UKs up with a feature that part for guitar, and also
top rock, metal and fusion guitarists.
focuses on playing lead Mr Bigs superb version.
phil hilborne guitar using flesh only. If Give it a go, have fun and
The UKs original magazine guitar tutor, youve not done this Ill see you next time.
Phils something of a legend. A great before, do get into it
player, he regularly plays guitar in the and I guarantee it will
Queen musical, We Will Rock You.
add a new dimension to
pat heath your existing style.
BIMM Brighton lecturer, ESP product While we were in
demonstrator and all-round busy a picking frame of Neville Marten, Editor
musician, Pat brings you six cool licks mind it prompted neville.marten@futurenet.com
each month in 30-Minute Lickbag.
bridget mermikides
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
DONT MISS OUR AMAZING DIGITAL EDITION
examiner, a respected classical player
and award-winning blues guitarist.
Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!
jaCob quistgaard
Royal Academy trained, Quist is a
superb player who can turn his hand to
any number of styles and topics. Hes
currently on tour with Bryan Ferry.
stuart ryan
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs
throughout the UK. His latest book/CD
The Tradition is available now.
andy saphir
A top teacher at the Guitar Institute
(ICMP), Andy is a phenomenal player in a
host of styles. He mixes just the right
degree of flash with consummate taste. Tap the links Animated tab & audio Play the videos
Finding your way around the Most songs and lessons have Certain of the articles have
tristan seume magazine is easy. Tapping the the audio built in, with a accompanying videos full of
One of ACM Guildfords leading tutors feature titles on the cover or moving cursor showing you useful insight and additional
Tristan is also mega busy on the folk the contents page, takes you exactly where you are in the information. Once again, tap
circuit playing with Jackie Oates. His straight to the relevant articles. music. Simply tap the play the play buttons to enjoy
brand-new CD, Middle Child, is out now! Any web and email links in the button then you can fast- video masterclasses on your
text are tappable too! forward or scroll back at will. iPad or smartphone.
john wheatCroft
A truly phenomenal guitarist, John
heads up the guitar facility at Tech Music PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition
Schools in London. Hes a master at all regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can
styles, but a legend in Gypsy Jazz. also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).
April 2015 GuitarTechniques 3

C ON T E N T S a pr il 201 5
Learning Zone
lessons introduction 55
Music editor Jason Sidwell muses over this
months full-as-ever lessons section.
30-minute lickbag 56
BIMMs Pat Heath with six new licks to try.
blues 58
John Wheatcroft looks at the bluesier side
of country picking wizard, Brad Paisley.
rock 62
Martin Cooper focuses on George Harrisons
post-Beatles playing style, including slide.
video 66
Carl Verheyen astounds us with his ability to
navigate the neck - luckily he shares his secrets.
creative rock 72
Shaun Baxter shows how to move cell shapes
conveniently up and down the fingerboard.
cHops sHop 78
Andy Saphir shows how string skipping can
make you sound a whole lot classier.
britisH r&b 80
Phil Capone examines a band that was way
ahead of its time - Steve Marriotts Small Faces.
jazz 86
Pete Callard examines Mike Sterns straighter
CoVer FeaTUre jazz side in this second in a two-part series.
play lead with fingers 14 acoustic 92

Stuart Ryan reveals the gentler, acoustic side of
Many of the greatest players have chosen to
revered singer-songwiter-guitarist, Paul Weller.
ditch the pick in favour of the more organic
tone of flesh. Jon Bishop says you can too! music reading 96
Charlie Griffiths on the use of ornaments.
FeaTUreS rEGuLAr fEAturES ViDeo MaSTerCLaSS

welcome 3 carl verHeyen part 2 66
trAnSCrIPtIon #1 Nev gives this months issue the finger(s)! Check out Carls totally improvised piece on
video - and prepare to be amazed!
tHe wHo talkback 7
Baba ORiley 26 Go on, get on your high horse...
No Teenage Wasteland here as Steve Allsworth
not only tabs out the full Who version but also
tHeory godmotHer 9
David Mead answers your theory queries.
Paul Gilberts amazing synth intro on guitar.
intro 10
Includes Phils One-Minute Lick, 60 Seconds
SPECIAL fEAturE With, Mitchs Session Shenanigans and more.
ultimate country workout subscriptions 71

Save time and money get GT delivered!
Nashville here we come! 34
Steve Laneys comprehensive study will give back issues 91
you all the chops you need to survive the most Check out what you missed and how to get it!
stressful country gig or recording session.
albums 95
New guitar CDs and DVDs reviewed and rated
trAnSCrIPtIon #2 by our very own Roger Newell.
next montH 98
mozart We have something for every guitar player
Eine Kleine Nachtmusik 48 including 25 Greatest Blues Licks Of All Time,
Fancy a little night music? Bridget Mermikides 10 RocknRoll Rhythms, Queens Now Im Here
has arranged and tabbed one of Mozarts most tabbed; plus Rory Gallagher, Santana, The
famous and best loved pieces for you to play. Hollies & The Doors and much, much more!

Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW.
Email: neville.marten@futurenet.com using the header Talkback.
PERFORMANCE ISSUES someone so eminently qualified. Im

I enjoyed your editorial in the Feb sure our injured readers will take heed. Tone: is it a
bottomless
issue about the organisation and pit of woe for
techniques for live performance. A DECENT LEAD TONE? guitarists?
Recently Ive returned to playing Last night I gigged at a venue with a
solo acoustic instrumental sets local low ceiling and lots of hard
venues. This got me thinking more surfaces. When I engaged the pedal
about preparing and performing I use for soloing it fed back
live, particularly when as a solo instantly. I turned off all reverb and
performer you feel even more under had no delay, but unless it was set
the spotlight. A recent gig at a wine on zero gain and no volume boost, I
bar with 150 people was a big deal couldnt use it. This is a typical
for me and made me focus on how I problem faced by guitarists.
prepare and practice in advance, Another problem is the lead sound
and deal with the performance on disappearing into the mix. I tried
the night. This made me consider out an amp in a shop many years
various areas (level of practice, ago and was so impressed I bought
extent of improvisation, choice of it there and then. I took this new
set, audience contact etc) which I amp to my next gig and whenever I
dealt with in my own way, and led to started soloing I couldnt be heard:
an enjoyable night. However, how I tried turning up the volume,
do the professionals deal with this boosting the mids, turning up the
whole area. Your editorial rhythm channel instead of using the
prompted me to think it would be lead channel. Nothing worked. I
great to have an article (even a used this amp at a recording session
periodic feature) on the psychology and it was great but I couldnt use it
of taking your techniques from the live. Why did the sound cut through
bedroom into the live arena. in the studio but not on stage? How
Paul Hill about an article on how to respond
to these typical types of issues?
Weve thought a lot about that, Paul. Also, different ways to set up
The thing is, whenever we try it we effects: for example, if using the
always come back to the fact that we distortion channel on a two-
are a magazine about playing music channel amp (a JCM900), whats a
and we should really retain all the space good way to make a lead sound? I gear. Thats what your EQ is for to NOT TOO MUCh BLUES!
for that. Yes, of course ones state of currently just use my distortion tweak a hard-edged room softer; or I was just going to write you an
preparation in all areas is key to playing pedals to boost the signal on top of add presence to a room full of carpets email telling you how much I
that music live, but articles like this the amps dirty channel, but and cushions and people! My first port enjoyed GT236, Blues Workout,
inevitably get pushed to the back. I will sometimes it feeds back and is of call would be to make sure your amp when I got my February issue and
have another think, though, as a while noisy. I have in the past just left the has enough headroom: what might read the Talk Back letter titled Too
back we received an offer from a amp on the clean channel and used deafen you in a shop could be killed Much Blues. Though its shockingly
specialist in performance anxiety, to pedals for rhythm and lead sounds once the drummer and bassist kick in, hard to understand, I guess not
do just such a thing. but the amps distortion channel in a proper live situation. Secondly, lay everyone loves the blues as much as
sounds better for rhythm. Is there back on the distortion: by its nature I do. I found the GT236 issue
A DOCTORS ADVICE a better way? distortion removes definition, but also incredibly valuable. My band plays
I am a long-time guitar player (55 Ive owned different systems often removes middle and adds bass a couple gigs a month (were in the
years) and a long time ER doctor ranging from racks to plug in and and treble; these can be wiped out by Seattle, Washington area) and I try
(40 years). Regarding rehab play, but problems like this can bass guitar, keyboards, hi-hat and to find a way to integrate all that
(GT239/240); my view is that you occur regardless. You may one week cymbals, whereas the middle Ive learned about the blues into
cant get meaningful advice this play open air and the next youre in frequencies are where good guitar tone whatever song were playing. I love
way, it has to be face-to-face with a a poky little bar and your set-up lies and where those other instruments Guitar Techniques and only hope
good history and physical done. sounds completely different. My dont excel. Most guitarists imagine youll continue to cover as much
However, find a physical therapist pedal board doesnt include a great rock tones are all about blues-related material as possible.
specialising in hand and wrist compressor, buffer or EQ; could distortion, but listen to EVH or Hendrix I couldnt disagree with Mr.
recovery, follow their advice and one of those solve these issues? and youll be surprised at how clean Wilkins more - no, we HAVENT
be patient - a combination of time, So how about an article on their tones mostly are. So I would had enough!
patience, hard work that is sound and set-ups for working always start with the cleanest sound Ken Craig
professionally advised, can guitarists? In the meantime can you you can get away with and work up, not
accomplish unimaginable things! answers the above questions? the other way around. Many GT tutors Ha-ha! Thanks, Craig. As I keep saying,
Jon Mustonen Roderickdav swear by compressors, so that might be we try to balance the styles but blues
a way to help your sound punch keeps dong best on the news stand and
Thanks, Jon. I kind of said that in my This is a huge question. First, even with through the live mix. so we use it on the cover to sell issues.
long-winded way (and that a music the best gear on the planet, youll get a This is the kind of series that But if non-blues-lovers open the mag
magazine has no place giving medical different sound from gig to gig; thats Guitarist would do brilliantly so Ill they will find loads of stuff in other
advice!). But its great coming from the nature of sound, not the nature of talk to the editor and suggest it! genres. And I mean loads!

Q&A
Theory Godmother
Post your playing posers and technical teasers to: Theory Godmother,
Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me
at info@davidmead.net - every wish is your Godmothers command!
Root Of The Problem EXAMPLES 1 - 6

Dear Theory Godmother
I am trying to learn and practise Ex 1 Ex 2
scales. The problem is how am
I supposed to practise them in Ex 2 Xxxxxxxxxxxx
different keys? Im told all you need
to do is find the root notes, but it isnt
Ex 3 Xxxxxxxxxxxx
that simple is it? Any advice would be
greatly appreciated.
Louis Ex 4 Xxxxxxxxxxxx
GUITAR TECHNIQUES MAGAZINE 2 4 1 Theory Godmother - David Mead
When you first start out practising the Ex 33 DDNatural MinorScale

Natural Minor Scale

scales in different keys it can seem a
little bewildering. But there is a system
b 4 . ..
and, once youve mastered it, youll & 4 .

find it becomes easier and easier to
1 2 b 3 4 5 b 6 b7 1
D E F G A Bb C D
traverse from one key to another. The
first thing you need is a chart of the E
B . 5 6 8
5 6 8 6 5
8 6 5 .
guitar neck that shows you where all
the notes are. Ive provided one in Ex 1,
G
D
A
. 5 7 8
5 7 8
5 7 7 5
8 7 5
8 7 5
.
E 8 6 5 6 8
but it would be better if you copy it out
onto a large sheet of paper and hang Ex 4 Ex 5 Ex 6
it somewhere that youll see every day.
Dont worry about the sharps and flats
for now; it makes things a lot clearer if
you notate only the whole notes and
remember that sharp means one fret to
the right and flat means one fret to the
left as you view the fretboard from the
playing position.
Next, Im assuming that you have
a book detailing the scales you want
to learn and Im hoping that, in all
instances, the root notes are clearly You can be amazingly economical with chords successfully and with relative
marked. Then, all you have to do is Economic Sanctions chord voicings, Jed. The basic major ease. I am now trying to move into
take a scale pattern, locate the relevant Dear Theory Godmother or minor chord comprises only three jazz and add 9ths but, apart from
root and play it. To begin with, youll I gave up the idea of ever becoming notes so its feasible to break the fuller the dominant 9th shape, I find the
have to perform this task slowly and a flashy lead player a long time ago. I chord shapes on the guitar neck down major 9th and minor 9th such a
methodically, but as you get more used can pull off a reasonable solo as long to root, 3rd and 5th (Ex 4). You can even finger-twister that I cant get to either
to the system youll find that matching as its short, sweet and fairly slow but go with root and 5th or root and 3rd. fast enough. I know practice makes
up a scale with any particular root note anything else is virtually out of the Dominant 7ths can be pruned down to perfect, but can you tell me if there is
takes no time at all. question. So Im turning my attention essentials, as in Ex 5 where were only an easier, finger-happy configuration
In Ex 2 Ive written out a couple of to rhythm, my goal being that I playing the 7th, 3rd and 5th. to play major and minor ninths?
examples of scale diagrams with the can one day join a band and play a Get a chord book to see where Andrew
root marked; one major scale, the other useful role as a solid accompanist. the intervals fall within the various
minor. If I wanted to play the major The trouble Im having is translating shapes, then try trimming them down Of the chord shapes you sent me (see
scale example in the key of B, all I have the chords I see in songbooks into and playing them in different songs Ex 6) the major version is a bit of a
to do is find a B on the sixth string at something that sounds right. If I to see if they sound more like what handful, but the minor shape is quite
the 7th fret match it to the root and play whole barre chords in some youre hearing on records. And get common and shouldnt be causing
play the shape in the diagram. rock songs, it just sounds wrong, too transcriptions of rhythm parts so you you too much of a problem. Regarding
Its very important that you begin crowded and not at all like the record. can see specifically what different the minor 9 chord, a lot of players
on the root, as Ive outlined in Ex 3. I know that rhythm players often play players do to trim their chords down. leave out the two lower bass strings
Even if there are a few spare notes at reduced versions of chords, but how and just play the top four strings as
either end of the scale, always begin do I know how much is enough? How Jazz Nines a barre with the 9th played by the
and end on the root note as this will economical can you be with a chord Dear Theory Godmother fourth finger. Its a lot easier and, in
go a long way towards tuning your ear and still get the point across? I have been playing guitar for a few context with bass and even keys, no
into the correct sound of each scale Jed years and can play open and barre one will hear any difference.

60Seconds with...
Gu i ta r t e ch n iqu e s a Pr iL 201 5
Jam tracks tips

Use these tips to navigate
our bonus backing tracks.
We ask a famous guitarist all those little questions you really do want the answers to.
This month, ex-Procol Harum and solo blues-rock guitar legend, RobIn TRoWeR. 1. Blues Shuffle in G
Heres an uptempo 24-bar blues
GT: Do you have a type of pick that shuffle in G to get you started. For
you cant live without? scales, consider using G minor
Pentatonic (G-Bb-C-D-F), G minor
rt: ernie Ball medium. blues (G-Bb-C-C#-D-F) as well as G
GT: If you had to give up all your Dorian mode (G-A-Bb-C-D-E-F) and
pedals except three, which ones G Mixolydian mode (G-A-B-C-D-
would they be? E-F). Of course knowing and
rt: that would be my Fulltone outlining the arpeggios for this
rtO (my signature overdrive), basic I-IV-V (G7-C7-D7) blues is
more than helpful too!
Fat Boost, and Deja Vibe.
GT: Do you play another 2. F Dorian Funky Rock Jam
instrument well enough to do so This is a specifically F Dorian mode
in a band? two-chord vamp (Fm-Bb), which
rt: not really. means if you were to play a
GT: If a music chart were put in seven-note scale on this, F Dorian is
your top choice (F-G-Ab-Bb-C-D-
front of you, could you read it? Eb). Of course you can also stick
rt: not a note! with F minor Pentatonic (F-Ab-Bb-
GT: Do you believe that guitar C-Eb) and even add the blue note
cables really make a difference? B to make it the F Blues scale for
What make are yours? extra bluesy colouring.
rt: not sure if they do but i use
3. Lydian Grooving (A)
Fulltone cables. Heres a groove-based A Lydian
GT: Is there anyones playing (past mode track, which you can use to
or present) that youre slightly get your Zappa/Vai/Satriani licks
jealous of? out! It features a basic two-chord
rt: i would not say im jealous, vamp, which alternates between
but i do love the playing of albert the chords A and B/A. A Lydian
mode consists of the notes
King and Jimi hendrix. A-B-C#-D#-E-F#-and-G#.
GT: Your house or studio is burning
down: is there one particular 4. Medium Swing Jazz Blues (G)
guitar you would save? This is a jazz blues in G and
rt: the two latest signature although you can attack it from a
models received from Fender. basic blues perspective mixing the
G major Pentatonic (G-A-B-D-E) and
GT: Whats your favourite amp and Robin Trower: the G minor Pentatonic (G-Bb-C-
how do you set it? one of our great D-F), you can also arpeggiate your
rt: Marshall 1987X blues guitarists
way around the chords effectively
GT: What kind of action do you bringing out more of the colour
have on your guitars? GT: Whats the most important rt: crosscut saw by albert King inherent in this brilliant
progression. This is especially
rt: i use a quite high action but musical lesson you ever learnt, GT: Whats the solo or song of your
handy when dealing with bar 6 (C#
tune down a whole step. and can you share it with us? own of which youre most proud? dim chord, arp = C#-E-G-Bb) and
GT: What strings do you use? rt: to never try to learn other rt: have not recorded that yet. bar 8 (E7 chord, arp = E-G#-B-D) of
rt: e Ball 12-15-17-26-36-48 players licks. GT: What would you most like to the 12-bar progression.
heavy on the top for better tone. GT: Do you still practise? be remembered for?
Created for you by Jacob Quistgaard.
GT: Who was your first influence to rt: i try to play every day if i can. rt: For being a soulful musician. For free scale maps and hundreds
play the guitar? GT: Do you have a pre-gig more tracks, visit www.quistorama.
rt: scotty Moore. warm-up routine? Robin Trowers new album, com. Also subscribe to www.youtube.
GT: What was the first guitar you rt: i always play for 15-20 Somethings About To Change is com/QuistTV to get all the latest free
really lusted after? minutes before a gig. released by Manhaton Records jam tracks and licks!
rt: a strat. GT: If you could put together a on March 9th. He tours the UK
GT: What was the single best gig fantasy band with you in it, who from March 26th to April 17th
you ever did would the other players be? with special guest artiste Joanne
rt: Winterland, in san Francisco rt: i would have loved to play Shaw Taylor. 24 hour box office:
in 1974 with James Brown. 0844 478 0898 or book tickets
GT: and your worst playing GT: Is there a solo by another online from www.thegigcartel.
MIKE PRIOR
nightmare? guitar player that you really wish com. Further information:
rt: Playing to an empty room! you had played? www.trowerpower.com.
10 GuitarTechniques April 2015

Dances From pedal board, containing the usual
A Small Island Mitch Daltons stuff. compressor, overdrive

(Fulltone OcD), a rather nice retro
after a week of rehearsals in Boss Digital Dimension pedal in
Londons deeply untrendy Kings lieu of chorus, a noise gate and a
cross industrial estate, the combined delay and reverb.
strictly come Dancing tour another volume control sits at the
tangos out of town. Four end of the chain. its all rather
continuous weeks of sell-out arena retro. however, the computery,
gigs, culminating in six shows in digital fun is all around.
London (two at Wembley arena;
Our hero finds himself on 31-date, We listen on headphones to
four at the O2 arena). Make no major arena jaunt. Playing second click tracks for all the dances. the
mistake, this is a proper tour. any guitar in a reformed Led Zeppelin? clicks are mapped for each dance
band would kill to make it this big. Helping out The Stones? McCartney? arrangement. that way the
By the time we hit the billowing dancers get to hear the music
pillows of the canary Wharf
Elton? U2? Nothing so pass, dear... exactly as they wish to perform to
Marriott hotel on the last night, its the Strictly Come Dancing Tour! it. and means that there can be no
we will have played to nearly complaints. its the same every
200,000 foxtrot fanatics. night. the fact that i start to doubt
We perform the opening waltz if i will actually play in time ever
of this Ballroom Bonanza in have learned from experience if You could see Me now. a Di again is but a small price to pay.
Birmingham, at the national that it will get easier with box receives a jack input from at the conclusion of our stay in
indoor arena for a week of full repetition. and repetition there both my electro-acoustic and each of Britains mostly northern
company rehearsals and then five will most certainly be. thirty-one electro-classical guitars. i cities we pack down the gear.
performances. sixteen trucks, four bits of repetition. interface a volume pedal between this consists of a speeded-up
crew buses and two artiste coaches it and them, thereby allowing me backwards movie version of the
disgorge their contents into the Sixteen trucks, to use one jack plug to switch set-up, as the stage is invaded by
giant Brummie shed that between both instruments without dozens of locally hired crew.
describes this passable imitation
four crew buses and detonating unwanted acoustic i disassemble the gear as if my life
of all the other giant sheds that we two artiste coaches explosions throughout the arena. depends on it (which it almost
will visit for the next month. it seems to be appreciated by the certainly does) and flee the vicinity
somewhere in the midst of this disgorge their sound chaps, who even provide to the soundtrack of apocalypse
terrifying scene of half-erected contents into a giant me with a cute mini foldback now. Within an astonishingly few
scaffolding, lighting, cameras, wedge to monitor my efforts. minutes the entire staging has been
hard hats and shouting, is the Brummie shed. the third feed is from my reduced to its component parts.
primordial outline of a stage. and For those that have miked up Mesa-Boogie amp, i slip out of my fetching black
on that stage my five instruments, quickstepped their way thus far, through which i play my heavily suit and matching accessories and
flight-cased amp and accessories i send three separate feeds to the modified clapton strat (or upper head for the artiste bus.
await me. sound desk. a simple microphone clapton strat, as this former theres no Business Like show
i proceed to set up amid the suffices to waft my banjo stylings hackney boy refers to it) and Business... Which is the last tune
chaos. its a tad laborious but i to an unsuspecting world for Gibson L-4. in between is my of the night. every night.
PHIL HILBORNES ONE-MINUTE LICK NON-DIaTONIC aRPEggIO IDEa

There are often situations in music when you are not Emerson use similar ideas. It works well because you can
playing over any chords at all just a single pedal bass still hear a logical progression of arpeggios. I have used a
note. This particularly applies to a bass, drums, guitar line- mixture of mini sweeps, legato and slides all the fingering
up. When this occurs or also when you are composing and picking directions are given. However, feel free to
you dont have to slavishly follow strict harmonic guidelines, experiment with your own chosen articulations and dont
rules and schemes. This months lick is a great example of forget to compose other similar ideas of your own invention
this. Here I have harmonised E Natural minor (E-F#-G-A- using as much variety in terms of scale choice, rhythms
B-C-D), but with every note as a major chord as opposed to and techniques as you can think of. Bear in mind that some
GUITARusual
the more TECHNIQUES MAGAZINE 2 4 1
Em-F#dim-G-Am-Bm-C-D ONE scheme.
diatonic MINUTE LICK
scales-will
bynot
Phil Hilborne
work so well using this approach but you
This is an interesting sound, and keyboardists likeNON DIATONIC ARPEGGIO
Keith can have a LICK
lot of fun experimenting.
#
n n
N.C. F G A B C D E

# n # n
n
b
n n . w ~~~~

# #
n n n
& # # 44

~~~~
E bass pedal (throughout)
E 7 6 5 4 6 9 10 7 9 12 14 11 12 15 17 14
B 5 7 8 10 12 13 15 15 17
G 4 6 7 9 11 12 14
D
A
E
1
That Was
The Year...
Presley, Cremona
and Kit Kat
hARMoNyS cReMoNA AcouSTic RANGe
gets a major overhaul with several new
models being introduced; from the H1263
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H1307 Cremona VII with its distinctive Wine
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has a soft-V profile, pearl inlays and a racing stripe on
the fingerboard. During wartime the whole range is modified
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play: fingerstyle ON THE CD TraCk 4-7
Play lead with

your fingers! Jon Bishop shows how you can boost your soloing
potential with 10 examples inspired by some of the
greatest fingerstyle lead guitarists of all time.
playing lead with the fingers exclusively. Jeff will just need to know p = thumb, i = first
ABILITY RATING
favours a combination of down picking with finger, m = second finger and a = third finger.
moderate the thumb for a fat tone and plucking with the The ten examples are in a variety of keys,
fingers, which is all topped off with his expert styles and tempos and have been written to
Info WIll Improve your manipulation of the whammy bar and volume highlight a specific technique or famous
Key: Various Fingerstyle technique controls. Mark plays lead lines by plucking the players approach. The idea here is to practice
Tempo: Various Lead feel and phrasing strings with the thumb, first and second these examples at a slow tempo at first and
CD: TRACKS 4-7 Expression and tone fingers, with the remaining digits acting as an then work up to the performance tempo. A
separate backing track has been provided for
The phrase The tone is all in the fingers If you are new to playing Examples 1 to 5 and Examples 6 to 10 so you
can play along and practise your new skills.
is particularly relevant to this months feature.
The flesh and nails of your picking-hand electric lead guitar with the Theres also a full piece to learn, complete
fingers are full of great tone and can make the fingerstyle technique, why with its own backing track to play it over.
plectrum sound bland by comparison. The If you are new to playing lead guitar with
fingers also have great dexterity, and are not use this feature as an fingerstyle, why not use this feature as an
handy for playing ideas on adjacent strings
and also ideas that require string skipping. In
excuse to give it a go? excuse to give it a go. You may simply want to
use the technique occasionally, for a specific
contrast the plectrum is perfect for playing anchor on the pickguard. This technique is as sound or feel; or, as happened with Jeff Beck,
fast tremolo picking ideas and also provides a unique as it is unconventional, but you cant it could change the way you play forever!
uniform attack. Many players have combined argue with the results!
the plectrum and remaining fingers to great Other players such as Joe Pass, Eric
effect (referred to as hybrid picking and youll Clapton, George Benson and Ritchie Kotzen Get the tone
find a bunch of it in Steve Laneys Country dip into the fingerstyle approach as required.
Workout feature). Holding the plectrum puts Jazz legends Wes Montgomery and Jim
the first finger and thumb out of action, so Mullen use the flesh of the thumb exclusively 6 6 7 7 3
while hybrid picking is more versatile than to brush the strings with fabulous effect.
Gain Bass Middle TReBle ReveRB
pick alone, dexterity is still reduced when Whatever your style, its hard to ignore the
compared to pure fingerstyle. wonder of utilising the fingers for lead guitar A variety of guitars, pickup selections and
Another popular route is the use of a playing. This feature aims to identify some pedals were used to perform our examples
thumb pick. The thumb pick clips onto the core techniques and ideas that you can then and all the settings have been notated in
thumb and therefore doesnt require holding, use in your lead work. the tab. The Jam solo was recorded with a
thus maintaining full fingerstyle dexterity. For notation purposes the picking hand light, blues overdrive and a hint of
slap-back delay. To get the sound with your
The thumb pick ads definition to bass notes thumb and first three fingers are labelled as p,
own rig simply follow these directions, as
and is popular with country and acoustic i, m and a. The fourth finger (c) is rarely used
they will provide a good starting point for
fingerstyle players. due to its relative weakness, and most
your own efforts. The main ingredient of all
Electric guitar players like Mark Knopfler applications can be covered with the thumb the tones is of course the use of fingerstyle.
and Jeff Beck have made a career out of and three fingers approach. For this piece you
TRACK RECORD Jeff Becks acclaimed album Guitar Shop (1989) contains a fine selection of famous fingers only guitar playing, and also
showcases Jeffs innovative use of harmonics, gargles and the whammy bar. If you are looking for a fine selection of Mark Knopfler
guitar moments why not try the compilation Sultans Of Swing, The Very Best Of Dire Straits (1998).

Play lead with your fingers!
TIM MOSENFELDER / GETTY IMAGES
Mark Knopfler:
using fingerstyle on
his Schecter T-type

ExAMPlE 1 Mark knopfler Style part 1 TRACK 4

Mark Knopfler is one of the best known, exclusively fingerstyle electric guitar so it juts across, adjacent to the strings with the two fingers curled up and
players and we have devoted two examples to him. The first focuses on ready. Anchoring the remaining two fingers on the pickguard gives a point of
GUITAR TECHNIQUES MAGAZINE 2 4 1
Marks early Dire Straits lead style, which combined a snappy
LEADclean toneFINGERS
WITH and reference
Ex 1 - 5for the hand and helps with control. All picking directions have been
use of the thumb and first two fingers. Position your picking hand thumb notated so use them and play the example through slowly a few times.
Example 1 - Mark Knopfler Style part 1
C #m
2 .~~~~~
Count in
GUITAR TECHNIQUES MAGAZINE A B B
#### 4
241
j WITH FINGERS Ex 1 - 5

LEAD

& 1 - Mark4 Knopfler Style part
Example
1 J
A Bridge & middle pickup C #m
# Count 2 in
j clean
compressor

B
.~~~~~
B
# #4 with

~~~~~
& # 4
BU
E 9 J
B 9 12 9 9 9
13 Bridge
G 11 ( ) 11 11 9 9 11 8
D & middle pickup 11 9 11
A
~~~~~
clean with compressor
E
1 BUp i m p p i p p p i m p i
E 9
B 9 12 9 9 9
C #m
11 (13 ) 11 11 9 9 11 8
.
G
p i p p
A B B A
9 j 11 B
j

D 11
# # i m pj
A
& # # J i
E
1 p p i m p
C #m
.
A B B A B
j j
# ## BU
j
& # J
BU BD BU
E 9
B 12 9 9 9 12 (14 ) ( 12 ) (14 ) 12 9
G 9 8 11 9 11 9 11 (13 )
D 11 11
A
E
3 i p i p i p i p i pBU i m i iBU BD BU i i
E 9
B 12 9 9 9 12 (14 ) ( 12 ) (14 ) 12 9
C #m 9 #
11 Bj j . 11A B
G 8 11 9 G m 11 9 11 (13 )
D
# # p p i p i p i p i m i i i i
A
& # #
E
3 i i
# #

C m
Bj j . A B G m
# ## BU BD BU
E
B
& # 12 9 9 12 9 9 (14 ) ( ) (14 ) 12 9 12 9 12 9 7 9 7 9 7
12 12 5 7 5 7 5 2

5 4 5 4 2 0
G
D
A
E
6 i p i p pBU BD BU i i i i i i i i i i
E 12 9 12 9
B 9 9 12 (14 ) ( 12 ) (14 ) 12 9 12 9 12 9 7 9 7 9 7 5 7 5 7 5 2 5 4 5 4 2 0
G
Example 2 - Mark Knopfler Style Part 2
D
ExAMPlE 2 Mark knopfler Style part 2 TRACK 4

A
This
E
#4
6 example focuses
second i on pKnopflers
i later
p work
p and combines a medium
i i i provides
i
A5/E
j
plentyi of dynamic and tonal
i
j
E5
i nuances. Thei trick ~~
i to playingi this style of
A5/E
j
E5
~~
.
Drum break

overdrive with the same fingerstyle technique as example 1. Using the fingers
& 4

riff is to combine the rhythm and lead aspects into one seamlessj phrase.

Example 2 - Mark Knopfler Style Part 2 J
Drum break
A5/E E5
j ~~ A5/E E5
~~
#4 j j
Bridge pickup w/ith overdrive
. ~~ ~~
jBU
and mid boost
E
B
& 4 J
2 (4 )

G 2 4 4 2 4 4
D 2 2 2 2 2 2
A Bridge pickup w/ith overdrive
E
E
m
i
1
and mid boost
m
i
m
i
~~ ~~ i BU
B
G 2 4 4 2 4 4 2 (4 )
D 2 G5 A5 2 2 2 E5 2 2 A 5/E E5
# j j

A
mi i
E
j
&
m 1 m

i i
G5 A5 E5 A 5/E E5
# j j
E &
jBU

B 5 3 0
G
D
A
2 ( 4) 2 0
2 0 0
0
2
2 2
2 2
4 4 2 4 4
2 2 2
E 3 0 X X
3 m iBU p m p p p m
E i i
B 5 3 0
G 2 ( 4) 2 0 0 2 2 4 4 2 4 4
D 2 0 0 2 2 2 2 2 2
A
E 3 0 X X
3 m i p m p p p m
i i

2 xxxxxxxxxx
ExAMPlE 2 Mark knopfler Style part 2 ...CONTINUED TRACK 4
~~
D5 E5
#
2 xxxxxxxxxx
j
&
j

J
2 xxxxxxxxxx
~~
~~
D5 E5
# 5 3 0 4 2 0
& 5 0 3
BU
E
j
2 (4) j
J 2 0 05 2 2
B
D
G
D
~~
E25
#
A 0 2
E
i i i ~~ m i p j pi
&
6 ij i i
BU
E
B 5 0 3
J 5 3 0

p
p
ExAMPlE 3 Jeff Beck Style
' '
Example
G 3 - Jeff Beck Style 2 (4 ) 4 2 0 TRACK 4
2
D 2 0 0 2 2
~~
Jeff Beck A mto great effect. This
A is another iconic guitarist who uses fingerstyle thescoops
hitting motion will momentarily raise
0 the2guitars pitch.
2 The rest of the
4
E BU
j
exampleE 6combines down picks of
i the thumb with use of the
i whammy bar -ma example i combines scoopsp of the whammy bari with legato.
i Jeff is a master
&4
i i i

.
real JeffB Beck trademark. The 5 first
0 phrase
3 is augmented by hitting the back 5of 3 of
0 improvised phrasing so once you have
p the pmain techniques
p under your

G 2 (4 ) 4 so to
2 speak,
0 branch out and create some of your own.
the vibrato unit with your hand. This will only work on a floating system, as fingers,
0
D 2 0 0 2 2

' '
A
Example 3 - Jeff Beck Style 2 2
and mid boost

E
2
6 Bridge pickup w/ith overdrive strike bridge
i i i Am i m i p i i i
' '.
scoops
4 scoops p p p
E
B
& 43 - Jeff Beck Style j

0 3 5 3 strike ' '
Example
G
Bridge pickup 2 w/ith overdrive A

D
A m 3scoops
3
4
E 5 3 0
j
1 bridge
&4
p i p
' '. scoop

and mid boost
'

' ' ' ' '
scoops
scoop
E

B
scoops scoop
G
D
3 0#
G

D Bridge pickup w/ith overdrive
&
strike bridge
j 5 i scoops J
' ' scoop
A and mid boost 3 3 3
b
E 0 3 5
E
1
p p
scoops ' '

B
' 'bridge
' strike ' '
G
# ' '
D scoop
A G D 3 3 3 scoop

'scoops' ' b j 0 5 7 scoop
E 0 3 5 scoop 5 3 0 scoop scoop
scoops
& ' J'

1
p i p
'
E
5') (5')
0 3 5 5' (strike

B 8 5 7 5 8 5
G 7 5 7 5 7 5
D scoop scoop
G D3
#
' ' J'
A 3 5 7 5 6 5
p scoop
E
& j
3 p i bridge i p p p
' ' ' ' ~~~~~

scoop scoop
b
'
scoops
scoop
. ' scoop
E
B G 8 scoop
5 D7 5 8 5
0p 5 7 8p' ' '

G 0 5 7
scoop 7 5w/bar 7 5 7 5
#
3

0 3 5 scoops
D
strike bridge
( )

37 5 6 5

doop Gargle
' ' ' i

A 5 ( 5 ) 5 3 5 3 scoop scoop
E
E 3 & p i
# p p
' ~~~~~
B 5 7 5 8 5
'
7 5 7 5 7 5
# '
G
. '
D
G scoop D
'
A scoop 5 ( 5 ) (5 ) 3 5 7 5 6 5 3 w/bar
scoop 3 scoop w/bar

E 0 3 5 scoop
#
3 doop
doop scoop Gargle
Gargle

p i i 3 p p p p
E
B
&
'
7 5
5
' ~~~~~
. '
G 7 5 5 scoop 7 [ 7]
D scoop 7 5 G 7 5 4 D
w/bar
& '
scoop
#
A 3 7 5 3

' # ' ~~~~~
E doop Gargle

3

6 p p p p p p p w/bar
scoop scoop

doop scoop

Gargle
'
E
B
Example 7 Clapton
4 - Eric 5

7 Style
5
# # # 4'
1/4
n '
G 5 5 7 [ 7]
n
'
2
D 7 5 7 5 4
j ~~~~~
D9
A scoopshuffle 7 5 3
j j j
scoop
n w/bar

E doop scoop Gargle
6

& 4
E p p p p p p p
B 7 5

5
''
G 7 5 5 7 [ 7]
ExAMPlE 4 eric clapton Style
D 7 5 7 5 4 TRACK 4

Example 4 - Eric Clapton Style
A 7 5 3
3 3 3 1/4

Eric is
aEfamed for using a pick, but forw/fingers BridgeBaby
songs like Reconsider and middle pickup
he prefers playing across the strings and with string skipping. Also
1/4 you can get under the
6
### 4
p shuffle
the fingerstyle approach. 2
D9with light overdrive
You may find the dexterity of fingers can help with p p p p p p
n n
strings for super attack and this sounds very different to the tone of a pick.
5 5 5 5 n
j
BU j
BU j BD
BU j BU
& 4 - Eric
4 Clapton Style '
E 5 8 5
B
Example 5 8 5 1/4 8 5
G 7 (9 ) ( 9) (9) (7 ) 5
7 7 7 ( 9)
D
shuffle 2 D9 3
n
n '
### 4
A 3 3

j p Bridge j jp j
n i
E and middle pickup
w/fingers 1/4
1
withi light

overdrive

& 4
i p i i
BU BU BU BD BU
E 5 8 5
with light overdrive '

B 5
3 5 5
3 3 5 5 8 5 8 5
G 7 (middle
7 ( 9 )Bridge and 9) 7 (9) (7 )
pickup 5 7 ( 9)
D w/fingers 1/4
A
E BU BU BU BD BU
1 p i i p i i p i
E 5 8 5
B 5 5 5 5 5 8 5 8 5
G 7 (9 ) 7 ( 9) 7 (9) (7 ) 5 7 ( 9)
D
A
E
1 p i i p i i p i

ExAMPlE
3 4 eric clapton Style ...CONTINUED TRACK 4
'
1/4
n ' ~~ b j n n j
A9
# #
1/4 j j ~~ j
j n n J

& # J

3 J
'
3 3 3 3
' ~~ '
1/4
BU 1/4
~~ 1/4 BU
# # # j n '
E 5 5 7 6 5 8 5 5
j ~~ j n
A9 5
n ~~ j
n j
B 10 8
8 5 8 5 8 5 5 8
7 (9 ) 5 1/4
j7 5 7 b 7 (9 )
n 7
5

G 9
J J
D
&
A
J
E
3 m i p

''
3 3 3 3
' ~~
1/4
~~
10 8 n j 5 n 7 j5 8 ~~~ 5
E9 D9 A9 E9
# # 5
BU 1/4
1/4 BU
j 3
& # J(9) 5 5 n (9 ) 5
E 8 5
8

5 6
J 5 8 5 8
B
G 7 7 5 7 5
9 7
D 7
A
E 3 3
'
3 m i p
BU BU 1/4
'
E 5
~~~
n j n 7j
B E59 5 8 5 5
~~~
D9 A9 E9
# #
1/4
G 7 (9 ) 7 ( 9) 7 5 7 5 7 3 5
j
& # J n
D 7
A
E
6

J 7
3 3
8jG5b7 BU ' / ' TRACK 4

Example 5 - Freddie King Style
5
BU / 14
ExAMPlE
E freddie 2
shuffle kinG Style
to( 9ab) 7 to5pluck
5
5

Freddie King is a bblues ofb Freddies
~~~ guitar
14
b b band 4 guitarists, mostnotably Mr Clapton. Freddie used would be sharper

B 5 5 5
b b rock because 7 of the pick, a lotwhile

G guitar master and his ( 9 )was hugely influential
style 7 7 the strings
5 7almost exclusively.
7 But the tone
whole host& 4
D 7
A of blues of his tonal
7 bite was courtesy of
E
Bridge
a metal thumb pick to augment his tone and used the thumb and first finger
6 snappy first finger plucking as used here. 3
'
w/fingers and middle pickup PB PB
with light overdrive 14 14
1/4 BD BD
'
Example 5 - Freddie King Style
b (16 ) (14 ) (16 ) (14 ) 12
shuffle
E 167
14 G 12 14
2 b
B
j 14 11 14
b b
G 1/4

& b b b b b 44 i
D
A
E
14 '
1 i i i i i i i
'
3
() D b7 /' '
A b7 1/4
Bridge and middle pickup
'
b BD
w/fingers PB PB 1/4

with light overdrive 14
~~~ j
(16 ) (14) (16 ) (14 ) 12
14 1/4 BD
bbb b b
1/4

J 14
3
b 14 16 12

14
E
& b 14 11
B
G
D
' ''
A 3
b '
E
'
1 i i i i i i i i
~~~
1/4 1/4
'
1/4
'
BU
b
1/4
()
'
b
1/4
D127 A 7 1/4
9
E 9 9 12 9
~~~
B 14 14 12 9 9 12
j
1/4
b
8 1/4 11 ( 13 )
b b
G 11

J
3
& b b bb
D
A
E
3 p i i i
' . '
3
G b7 D b7
' '
j b
~~~
b ~~/'
b 1/4 /A 7

14
9 b 9 b 12 9
/ 14
j BU j / 14
b
14
& b bbbb 9

E 12
B 14 14 12 9 9 12
G 11 8 (13 ) 11
D
A 3 3 3 3 3
'
E
3 p i i i
BU
~~ BU 9 1/4
b '
.
BU
G b7 12j (14 ) D b7 A b7
11 9
b 11~~ j (13 ) j(13 ) 11 b 9
E 12 9
B b 9 9 9 12 9 9 1/4
G
b
11 11

11 9
& b bbbb 11
D 11
A
E
6 p i i i m
3 3 3 3 3
E
B
BU
12 (14 ) 12 9
9 9
~~ BU
9
9
12 9
BU
9
'
1/4
G 11 9 11 ( 13 ) 11 (13 ) 11 9 11 9
D 11 11
A 11
E
6 p i i i m

ExAMPlE 6 WeS MontGoMery TRACK 5

Wes hadGUITAR
a unique approach to MAGAZINE
TECHNIQUES playing the guitar
2 4 1 and the results he achieved octaves. Brush the strings with the flesh off your thumb, and use fretting hand
Jon hand
were simply mind blowing. Wes used the thumb of his picking Bishop's
almostLEAD WITH
mutingFINGERS
to keep the octaves clean. Play the eighth notes with down strums,
exclusively to pluck the notes. This example showcases hisExx 6 - 10 use of
trademark and the fast passages with a combination of down and up strums.
Example 6 - Wes Montgomery
j
Am

j b
j

LEAD WITH FINGERS
Latin
4 6 - 10
Count in Jon Bishop's
b
& 4 6 - Wes Montgomery
Example
Exx
Latin j F Strum with thumb
Am j b
j

tone control on 4
8 10 8
Neck pickup with
4 10 8 12 10
Count in
b
E
B &4 10 11
10 8
G 9 5 9 7 8 7 5 7 5
F
D 7 7 5
A Neck pickup7 with Strum with thumb
E
1 tone control on 4
p p p p
E 8 10 12 11 10 8 10 8

B 10 10 8
G
7
9
7
5
#
j7 9

j 8
#
7j 5
5 7
7 5

D
p
A
& p p p # #
E
J
1
J j j j
#

15
#

& 10 10 10 #11 12 15
11 12
#11
J
12
J7
E
B 10
G 8 9 12 8 9 12 8 9
D 7 7 7
A
E
4
E 11 12 15 11 12 15 11 12
B 10 10 10 10
7 7
j
G 8 9 12 8 9 12 8 9

D 7 7
b
A
&
E
4
J J b

12 12 X 10
j
&
10 X 8 8 X bb
J 7 7 5 7 5
E
13 12
J 5 5 X 10
B
G 9 9 X 14 7 X 12 9 8
D 10 9 7
A 12 10 7 6 5 3 5 3
E
7
E 12 12 X 10 10 X 8 8 X
B 13 12 10
Example 7 - Joe Pass
G 9 9 X 14 7 7 X 12 5 5 X 9 8 7 5 7 5
ExAMPlE 7 Joe paSS
D 10 9 7 TRACK 5
A
2
12 C maj7
j
B maj7 C maj710
be
A m9 7
D7sus4 6 G56 3 5 3
should befairly obvious

Passwas
E an incredibleSwing
guitarist, both with and without the pick. This example changed and substituted Dm7in many ways and Pass was a master of this. It
4 #
7
# #
uses a I-VIm-IIm-V progression in the key of C (C-Am-Dm-G). These chords can which fingers to use when you give this one a go.
& 47 - Joe Pass
Example

G
Swing 2 With fingers CF
Drum break
j
maj7 B maj7 C maj7 A m9 D7sus4 6
3 3
Neck pickup with Dm7
4 #
5 # # 4 5
tone control on 4
7
E
&4
45 34 45 5
5
85 6 3 5 3 5

B
G 5 5
Drum break
With fingers F
D 5 7 7
A 3 Neck2pickup 3with 5
E
tone control on 4 3
1 a a i
E m 7 5 m p 3 3
B 5i 4 5 5 8i 6 3 5 3 5
G p
4 3 4 5 p
5 5
5 Eb 9 E b 13
b . .
D 5 4 5 5 7 6 76 6
Cmaj7
b a D m7
..
G
ab
B9 C9

# #n
A 3 2 3
m b
E 3
mi # J i
1 i
& j #
p
p p b
Eb E b 13
.. b b . .
6 6 6
b
3 3

Cmaj7 D m7 G 9 B9 C9
# J 11 # #n 8 8 b
E
B & j 10 9 8 7 8 12 10
10 13 12 11 # 77 8 8 b1312 13
G
3 9 10
3 10 6 7 7 12
D 10 11 12 10 6 7 7 11 11
A 3
E 11 11
3 a
E 10 9 8 7 12 10 m
11 7 8 8
B 8 10 13 12 i
11 7 8 8 13 13
G 9 10 p
10 6 7 7 12 12
D 10 11 12 10 6 7 7 11 11
A 3
E 11 11
3 a
m
i
p
ExAMPlE 7 Joe paSS ...CONTINUED

2 xxxxxxxxxx TRACK 5
D b 13
. . b j
D7 Cm C Am7 Dm 7 G6

#
2 xxxxxxxxxx n b b n

& bb b
b G6
. . n b
# j
D7 D 13 Cm C Am7 Dm 7

b b n 3
E
& 13 b1011 8
8 5 b 65 3 5
13 11
b 55
3 5
B
G 11 11 10 9
D 10 10 9 9
A 6 5
E 10 10 9 9 8 6 5 5 3
6
i m p p i
E p 8 m 3
B 13 13 11 11 a
5 6 3 5 3 5
811 11 Style 10 10 8 9 5 5
G
Example - Brian May
~~~ 5 3 ~~~
D 10 10 9 9 5
ExAMPlE 8 Brian May

A 6 5 TRACK 5
E 10 Cmaj9
# 4 ww
10 9 9 Pluck8 over Fretboard E m 6 5j
j .
p withi the flesh of the first finger over thejfretboard.
j
Brian has used this
ww J
Brian May6 is famed for his use of a silversixpence for a pick
with first
i but he also used
finger m p string
& 4 w May Style

p
the first finger of the picking hand for a mellower lead tone. Try brushing the m

techniquea on many tracks including the outro solo of Bohemian Rhapsody.
w
Example 8 - Brian ww
EF ~~~
j PB8 j RP~~~
3 3
RP
j PB j .
Cmaj9 Bridge pickup
Pluck overw/overdrive
Fretboard m
# 10
(12J ) (12 )~~~ 10 8 7 8 ( 10) (10~~~
& 44 www3 ww
& delay
with first finger
w42 ww
E
B ) 8 7 8 8
G
F
D
3 3
A 3 Bridge pickup w/overdrive
~~~ ~~~
E & delay PB PB
1 RP 8 RP
10
i i i i i
E
B 3 (12 ) (12 ) 10 8 7 8 8 ( 10) 8 (10 ) 8 7
~~~ #
G 4
~~~~ j j
D D 2 Em
A
# . 3
j i
J

J . i
E
&
1 i i i
~~~ #
3 3 3

3
j j
~~~~
D Em
# . BU
j
10J 7 10 7 7
~~~~ ~~~ 7 9
PB
E
& . J
10 RP
B 7 7 (12 ) (12 )
G
D
9 39 ( 11 ) 3 9 9 7
3 9
3
A
~~~~ ~~~
E PB
5 10 RP
BU
E 7 9
. j ~~~
B 7 7 10 7 10 7 7 (12 ) (12 )
. #
( 11 ) D
j 9 9 7

G 9 9
~~~
9
#
D
A
# j

J
E
&
5
. j ~~~ . #
3 D 3
j
# # PB
~~~
~~~ j BD
BU BU ~~~ 7 9
9
BD
BUJ
E
B & 9 (10 ) 9 7 10 ( 12 ) (10 ) ( 9) 7
10 7
G
3 3 9 ( 11 ) ( 9) 7
D 9 7
A PB 9 7 5
E
E
8 BU
9 (10 ) 9 7
BU
10 ( 12 )
~~~ 7 9
9
(10 )
BD
( 9) 7
~~~ BU BD
B 10 7
G 9 ( 11 ) ( 9) 7
D 9 7
A 9 7 5
E
8
ExAMPlE
3 9 ritchie kotzen TRACK 5
Richie Kotzen is a great hybrid picker and used to combine the fingers and a fingerstyle approach for most occasions. This example is augmented with
plectrum to great effect. Nowadays Ritchie seems to have gone for the full wah-wah and is fairly easy to play, but it cashes in on the tone of the fingers.
Example 9 - Ritchie Kotzen
~~~ E5 jF5
#
. D5 j D5

n .

### 6

& 8
With fingers Bridge pickup w/overdrive
3
~~~
& Wah Wah
BU
E 9 12 9 14 12 17 14
B 12 ( 14 ) 12 10 9 10 12 9 10
G 11 9 9 11 9 11
D 11 11 9 10 9 7
A 9
E
1
3 ~~~ j
() ~~~
E5 D5 E5
j
### ~~~ n j # ~~~
.
~~~ E5 jF5
#
. D5 j D5

n .

### 6

& 8
With fingers
Bridge pickup w/overdrive Play3 lead with your fingers!
~~~
& Wah Wah
BU
E 9 12 9 14 12 17 14
B 12 ( 14 ) 12 10 9 10 12 9 10
ExAMPlE 9 ritchie kotzen ...CONTINUED
G
D
11 9
11
9 11 9
11 9 10 9 7
11 TRACK 5
A 9
E
1
3 ~~~ D5 j
() ~~~
E5 E5

j
### ~~~ n j # ~~~
& .
3 Hold
E 16
~~~ ~~~ ~~~ BU BD BU bend
12
RP
BD
14 16 12
~~~
B 17 (
12 14 ) ( ) (
12 14 ) ( 14 (12 ) 10
) 12
G 16 14 13 14 12 13
D 14 14 14
A 14 12 11 14 12 11
E
4
# #
F #5
j
'
1/4
j
6
& #
j j j

BU BU
'
1/4
BU BU BU
E 2 2 5 2 2
B 2 2 5 (7 ) 2 2 2 5 2 2
G 4 ( 6) 4 (6) 4 (6 ) 4 2 4 ( 6) 2
D 2 4 2
A 4 2 0
E
7
ExAMPlE 10 GeorGe BenSon TRACK 5

George Benson is another player who is incredible both with and without some typical lead lines. The lead lines combine the F# minor, C# minor and B
4 xxxxxxxxxx
the pick. This example showcases some classic, Benson style chords and then minor Pentatonic scales.
Example 10 - George Benson Style
b
#4
Latin E m9

b b n n
& 4 . J
J J n J J J
Strum with thumb F Neck pickup with
tone control on 4
E 14 17 19 18 17 14 12
B 12 15 17 16 15 12
G 12 14 16 15 14 12
D 12 14 16 15 14 12
A
E
1 p p p p p p
# #
# ....
Bm 7 Em7
#
& . J
With fingers
E 10 9 12 9 12 9 9
B 10 10 10 7 10 10 10 12 9 12
G 12 12 9 9 7 7 11 11
D 12 12 9 9
A
E
3
# # # n
B m7

& J b j
E
B 9 9 10 7 10 7 7 8 7
G 9 9 7 7 7 9 10 9 7 9 7
D 11 9 8 7
A 10 9
E
6 m i m i p m i p p

ExAMPlE 11 final JaM TRACK 6

[General] For the final jam we have chosen a 12-bar blues in A as a familiar the start of the backing track. The key signature is 12/8, which means there
canvas to try out some of our fingerstyle lead ideas. The tone and dexterity of are 12 quavers and these are grouped in four lots of three (3+3+3+3). This key
the fingers
GUITARis great for electricMAGAZINE
TECHNIQUES blues playing
2 4- 1you might become addicted! signature often makes the notation look more complex than it is, so have a
LEAD
[Bars 1 -14] There is a long two-bar count in to give you time WITH
to get FINGERS
ready for good listen to the demonstration solo before diving in.
JAM
~~ ~~~
A7
j j
# # # 12 . .
j
J
.
& 8
With fingers Neck and middle pickup
E
with light overdrive
BU BD BU ~~ 10 12
BU ~~~
B 10 12 12 ( 14 ) (12 ) (14 ) 12 (14 ) 10
G 9 11
D
A
E
1

j ~~~ ~~~
. n
D7 A7
j j
### n j
& J

E
BU ~~~ BU BD BU ~~~ 17
BU
B 13 (15 ) 13 10 10 10 12 (14 ) (12 ) (14 ) 12 ( 13 ) 12 10
G 11 9 11 11
D
A
E
4
~~~~ . ' '

/ 14
n n . .
/ 14
j j j j

D7
j
# # . n n
J J J
& # J J
E
~~~~ BU BU BU BU BU
10 12
1/4
' '
1/4
B 10 10 12 (14 ) 13 (15 ) 13 (15 ) 13 ( 15 ) 13 ( 15 ) 13 13 10 10 13

G 11
D
A
E
6
j '
1/4
~~
' '
n
A7
1/4 1/4
### n
j
n # n
j
&
BU '
1/4
~~ ' '
1/4 1/4
BU
E 17 8 8 5
B 13 ( 15 ) 13 10 10 7 10 10 7 5 5
G 11 9 7 5 5 6 7 (9)
D 7 7 5
A
E
8
n . b n j j n '
~~ n j j /'
j
n
E7
j j j
### n 14 / 14
& J
3
E
B
BU
8 ( 10 ) 8
~~
5
8 5
BU
5
5
8 5
BU BD
'
1/4
5 7 5 7 5 7 6 5
8 5
8 5
8 5
BU
5
5
8 5
BU
'
1/4
G 7 ( 9) 7 ( 9) ( 7 ) 5 7 (9 ) 7 ( 9) 7 5
D
A
E
10

ExAMPlE 11 final JaM ...CONTINUED TRACK 6

The first chorus uses a mixture of BB King and Eric Clapton style phrases, all [Bars 15 to end] In the second chorus the intensity builds, so really dig in with
played with the fingers. We havent notated the exact fingers to use for the the fingers. Getting under the strings makes them pop a little and this sounds
picking, as this solo was improvised and the main focus was on choosing the particularly effective on the low strings. As ever, branch off and create your
2 xxxxxxxxxx
melody. So experiment and take note of the sound the various fingers make. own solo once you have digested some of these licks and phrases.
D7 j .~~
A7
.
j D7
n '
1/4
# #
n
j
& # .
E
BU
8 (10 ) 8 5 5 8 5 5
~~ BU
5
BU
8 (10 ) 8
'
1/4
5
B 5 5 5 5
G 7 ( 9)
D
A
E
12
n
A7 E7
j A7 j j j j
n ~~ n j
### .

~~~
& n . . J J .
E 5 8 5
~~ BU BD ~~~ BU
10 (12 )
BU BU
10 ( 12 ) 10 (12 ) 10
BU BU
8 10 (12 ) 10 (12 )
B 8 5
G 7 ( 9) (7) 5
D
A 7
E
14
j ~~~ n
~~~ . . . .
j
j j A7 n
D7
n
j . .
# # J
& #
BU BU
~~~ BU BU ~~ BU
E 10 (12 ) 8 ( 10 ) 8 10 ( 12 ) 10 10 ( 12 ) 12 (15 )
B 10 13
G
D
A
E
16
n .
D7
~~
j j ~~ n
j
~~
###
J
& .
BU BU BD ~~ BU BD ~~ ~~
E 12 10 10 12 17 17
B 13 10 10 12 (13 ) 12 (13 ) (12 ) 10 12 (13 ) ( 12 ) 10 10 10
G 11 11
D
A
E
18
# #
j

n
j

n n .
j j '
/
A7
'
/ n
j 14 14
n .
j j
& #
E
B
BU
5
5
5
BU
8 (10 ) 8 5
8 5
BU
5
5
8 5
BU
'
1/4
'
1/4
BU
8 (10 )
G 7 (9 ) 7 ( 9) 7 (9 ) 7 5 5 5 5 7 5 7 5 7 5
D 7 7
A
E
20

3
ExAMPlE 11 final JaM ...CONTINUED TRACK 6
~~ '
1/4
1/4
# # # n n j n ~~. b n n j
E7
j j j j

& n . n
n .
'
3 3
3
~~
1/4
~~
3
BU BU
E 8 5 5 5 7 5 7 5 7 5 7 6 5 8 5 5
B 8 5 5 8 5 8 5 5 8 5
G 7 ( 9) 5 7 (9 ) 7 5
D 7 5
A 7 5 3
E
22

D7
j j j j j j j
### n
& J J J
BU BU BU BU BU BU BU BD
E
B 13 (15 ) 13 ( 15 ) 13 ( 15 ) 13 (15 ) 13 (15 ) 13 ( 15 ) 13 (15 ) (13 ) 10
G 11
D
A
E
24
~~
A7
n
' 1/4
D7 ~~
j n j n
A7 E7
### J j n j ~~~ n
& J .
3
E
~~ '
1/4
10 12
BU BD
15
~~
12
BU BD ~~~
B 10 13 12 ( 13 ) (12 ) 10 15 13 15 (17 ) (15 ) 13
G 14 12 9 7 9 5 7 5 5 7 9 12
D
A 7
E
25
A7
### n b n j n
&

n .
3
BU BD BU BD
E
B
G 7 ( 8 ) (7 ) 5 7 (8 ) ( 7) 5 5
D 7 7 5
A 7 5 3
E
27
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Play: ROCK ON THE CD TRACKs 8-11
The Who / Mr Big

Baba ORiley This cracking track, originally from The Whos lost rock opera Lifehouse and
also featuring on the bands epic album Whos Next, was then brilliantly
covered by Mr Big. Steve Allsworth performs the ultimate mash-up.
ABILITY RATING minimalist classical composer) that helped such as wont Get Fooled again, Bargain,
form the title Baba ORiley (often called Behind Blue eyes and Going Mobile, but also
Moderate Teenage wasteland), which became the sees him and his fellow bandmates, singer
opening track to the album Whos Next (1971). Roger Daltrey, bassist John entwistle and
Info WIll IMprove your Indian influences can be heard in homage to drummer Keith Moon deliver some of their
Key: F Stylistic range Baba in the songs outro violin solo (an idea of finest recorded performances.
Tempo: 116bpm Classic rock feel Keith Moon, apparently), which is played live Baba ORiley itself was derived from a
CD: TRACKS 8-11 Compositional flair as a harmonica solo by Roger Daltrey. nine-minute demo which the band helped to
The modal synth intro was inspired by rearrange. it was to be sung at the beginning
BaBa ORiley was originally planned as Terry Rileys minimalist composition style, of lifehouse by Ray, the scottish farmer, as he
part of a follow-up to Tommy, the 1969 rock and is one of the tracks most iconic features. gathers his wife and two children to embark
opera about a deaf, dumb and blind boy who The hypnotic marimba repeat pattern from on their exodus to london. The guitar work
develops an almost supernatural ability to the lowrey Berkshire Deluxe analogue synth on the original is minimal, so your task is to
play pinball, and eventually rises as a post sound is hugely modern-sounding. get the right tone and keep to Petes guitar
world war ii messiah. Pete Townshend part as closely as possible.
originally came up with the concept for Baba ORiley was named Mr Bigs cover of Baba ORiley offers a
Tommy after listening to the teachings of after two people who rockier, more guitar and bass-heavy
indian spiritual master Meher Baba. it was
this name, combined with another of
influenced Townshend: arrangement that can be useful if you dont
have the luxury of a keyboard player. ive
Townshends influences Terry Riley (a Indian spiritual master based this transcription on the version from
Meher Baba, and classical their Back To Budokan tour in 2009. The
TeChnique FoCus minimalist Terry Riley.
guitars are tuned down to eb, although their
Modal interchange also ahead of its time was Townshends
early versions were in e so ive kept it at
concert pitch for the GT version. apart from
The slightly folky/Indian influence towards the ultimately failed rock opera lighthouse. The the open-string tapping lick, its easy enough
back end of this song is largely due to the Eb chord.
convoluted storyline was part of its downfall, to transpose up a semitone if you want to play
This simple but effective idea creates a completely
different sound/colour and even hints at the Eb but the project was also plagued by along with the who original.
notes used for the F Mixolydian scale used in the technological issues. Townshend wanted the
violin solo. Its borrowed from the parallel tonality band to be accompanied by sequencer-driven
of F minor. If we look at the chords side by side, synths that would follow along with the music, Get the tone
youll be able to see the subtle differences: but unfortunately this technology didnt exist
I IIm IIIm IV V VIm VIIdim
for another 20 years. in the end the band
F major: F Gm Am Bb C Dm Edim played along to pre-recorded backing tracks 6 6 7 7 2
F minor: Fm Gdim Ab Bbm Cm Db Eb on Baba ORiley and wont Get Fooled again.
GAin BASS Middle TReBle ReveRB
Im IIdim bIII IVm Vm bVI bVII Regarding whos Next: although Pete
Petes tone is raw amp crunch, so shouldnt
The use of the bVII chord is really common (as is the Townshend was responsible for penning The
be difficult to dial in - he was using a
IVm) but any of the minor key chords could be used whos greatest hits such as My Generation,
as a substitute. This is only the tip of the iceberg, Gretsch 6120 and Fender Bandmaster amp
im a Boy, Pictures Of lily and i Can see For
however; if you really want to explore this further, at this time (cranked wide open!). Aim for
MICHAEL PUTLAND / RETNA / PHOTOSHOT
Miles, plus full-scale rock operas such as

parallel modes can also be used (instead of the crunchy drive rather than saturated
Tommy and Quadrophenia, his finest work is distortion, and use your guitars bridge
parallel minor), throwing up even more weird and
wonderful chords that can be borrowed. arguably best represented on this album. its pickup (humbucker if possible).
full to the brim with some of his greatest songs
TRACK RECORD Most of The Whos albums are excellent, particularly Whos Next (1971) from which Baba ORiley comes. Live At
Leeds (1970) is regarded by some as the best live rock album of all time and features the band at the peak of its powers. A good
compilation is always worth having, and a great one to check out is Whos Better Whos Best: Very Best Of The Who (1988).

The Who BaBa oRiley
Pete Townshend
with one of his
numbered Les
Paul Deluxes

Play: ROCK ON THE CD TRACKs 8-11
PLAYInG tIPS CD TRACK 8
[Bars 1-8] The original versions synth intro lasts for a whopping 41 bars, chords based around a straightforward I-V-IV progression. The major 3rd
so Ive scaled it back here - you can extend it as you see fit. The feel of the in the C and Bb chords is more of a happy accident due to the barred third
shorter intro is 4/4, although its represented better as 2/4 in light of the finger, so youll notice some variation throughout. Watch out for your timing
original that has many cut bars of only two beats. (and form) on the C chords at the end of this section (the insistent synth on
[Bars 9-40] This is a really simple piano arrangement (should your fingers the backing track should help keep you in time).
get itchy to play). Ive left the piano on the backing as per the original [Bars 55-62] Pete sings this plaintive interlude section. Dont worry if you
version, but this will help with the slow and organic intro. get lost with the slightly confusing synth line, as theres a nice long drum fill
[BarsGUITAR TECHNIQUES
41-54] After MAGAZINE
Roger Daltreys 2 4 comes
verse, Pete 1 in with Steve Allworth's to bring you back in again for the next verse.
these powerful
BABA O'REILLY
8
THEME
.
b
..
b
..
b
4 .. ..
INTRO F C B F C B F C B
2 ww .. . ww .. . ww ..
Play 4 times Play 3 times
&b4 4 . ww . ww . ww
Synth
(orig. for 41 bars)
0:12
8
E
B . 10 . 10 . 1010 .
G
D
A
. 10
10
8
9
10
10
7
8
8
. 10
10
8
9
10
10
7
8
8
. 108 9
10
10
7
8
8
.
E 8 6 8 6 8 6
9, 11, 13, 15 17 19, 21, 23
b b b b
..
VERSE F C B F5 C B F5 C B F5 C5 B 5
ww ww ww j
& b .. .. .. j
Play 8 times
w w w ww
w .. w w w
0:45 (Bass enters)
1:18
E
B . 10 . 5 3 5 5 3
G
D
A
. 10
10
8
9
10
10
7
8
8
. 3
5
5
3
3
3
1 3
5
5
3
5
5
3
5
5
3
3
3
1 3
5
3
5
5
3
3
3
1
E 8 6 1 1 1
25, 27, 29, 31, 41
33, 35, 37, 39
F5 C B 5 b F5 C5 B 5 b C C/G
j j ww ww
&b j ww j ww w w ww ww
w w w w ww ww
E
B 5 5 5
G 5 3 5 3 5 5 5
D 5 5 3 X 5 3 5 5 5
A 3 3 3 1 3 X 3 1 3 3 3
E 1 1 3
47
INTERLUDE VERSE 1, 2, 3 4
N.C.
7 F5 C5 B 5 b B 5 b
j 3 F5 C

B b
.. .. .. ww
&b
..
ww ww
w .
1:47
7
2:04
E
B . . 5 3
G
D
A
. 3
5
5
3
3
3
1
. 3
3
1 3 3 3 3
5
3
5
5
3
3
3
1
E 1 1 1 1 1
55 63, 65, 67. 69 70
F5 C B b F5 C B b F5 C5 B 5 b
ww ww
&b ww

ww ww w
E
B 5 3 5 5 3
G 5 3 5 5 5 3 5 3
D 5 5 3 5 5 5 3 5 5 3
A 3 3 3 1 3 3 3 3 1 3 3 3 1
E 1 1 1
73
F C B b F C B b
. . . . j j j
j j j
.
. . .
28 GuitarTechniques
SOLO April 2015
j
b

j

1:47
7
2:04
E
B . . 5 3
G
Baba
D
1971
A
ORiley Music & Lyrics by Peter Townshend
Fabulous Music Ltd. Reproduced by kind permission of
3
. 5
5
3
3
3
1
. 3
3
1 3 3 3 3
5
3
5
5
3
3
The Who BaBa oRiley
3
1
Fabulous Music Ltd. All Rights Reserved. International Copyright Secured.
E 1 1 1 1 1
55 63, 65, 67. 69 70
F5 C B b F5 C B b F5 C5 b
B 5
b tIPS
PLAYInG ww ww ww CD TRACK 8
& w major chords
w
AsSince
[Bars 63-78] withtheprevious
verse,w there are some extra
barre to its of the major
w 3rdin the key of F,
is F MajorandF major
Pentatonic.w Just be aware
of thethird string. It is tempting to revert to
rhythms
watch out for. these are basic power chords and major chords, at the 14th fret
worth putting your energy into striking the chord cleanly and hard, without the trusty F minor shape, since it falls under the fingers rather easily, but it
squeezing the strings sharp. This unfortunate by-product is easy to do if you just wont sound very good.
E have an aggressive picking hand, since the fretting hand often follows suit [Bars 87-90] Pete alters the rhythmic feel of the three chords slightly
5
B (Townshends tuning was always 3
impeccable, even when using notoriously 5 5towards 3the outro section. Although 8th notes would suggest alternate
G 5 C and 3Bb chords in particular. 5 5 5strumming, 5
3 he probably played them using downstrokes 3 for a more effective
D flappy-necked SGs). Watch
5 5
the 3 5 5 5 3 5 5 3
A [Bars 79-86]
3 The only logical
3 3 scale choice
1 for soloing over3three diatonic 3 3 3string mute.
1 Notice the V chord 3 at the end3of each
3 two-bar
1 cycle.
E 1 1 1
73
F C B b F C B b
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. . . j
.
SOLO
b

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2:37
3
BU BU BU BU BU BU
E 13 13 13 15 13 15 (17 ) 13 13
B 13 13 15 15 15 15 13 15 13 15 13
G
2 xxxxxxxxxx 15 ( 17 ) 15 (17 ) 15 ( 17 ) 15 ( 17 ) 15 (17 ) 15 (17 )
D
A
E
79
b b
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F5 C5 B 5 C5 F5 C5 B 5 F5 C5
j j

&b J J J j j j j

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BD BU BU BU BU
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D 15 15 15 3 X 3 X 3 5
A 15 13 3 X 3 X 3 3
E 1 X 1 X 1
83

OUTRO
b b b
j j j j j j j j
B 5 C5 F5 C5 B 5 C5 B 5
j j j j
&
b

3:02
E
B
G 3 X 3 X 3 5 5 3 X 3 X 3 5 5 5 3 3
D 3 X 3 X 3 5 3 X 3 X 3 5 3 X 3 X 3 5 5 5 3 3
A 1 X 1 X 1 3 3 X 3 X 3 3 1 X 1 X 1 3 3 3 1 1
E 1 X 1 X 1
88
OUTRO MELODY
b

C5 B 5 F5
& b
3:07
E 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
B
G
D
A
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93
b b
E5 C5 B 5
b
&b
E 11 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13
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b ' / April 2015

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b b b
E 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
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B 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
B
G
G
D
D
A
Play: ROCK
A
E
E 93
93 ON THE CD TRACKs 8-11
E 5 bb C5 B 5 bb
bb
E 5 C5 B 5
b
&b
&
PLAYInG tIPS CD TRACK 8
[Bars 91-92] The change of tempo is notoriously tricky here, with even (dare I Eb needs to be targeted here rather than the E natural from F Major, which is
say it) the original lurching ever so slightly. Ive squared off the rhythm a little used for the other three chords. As with the previous section, use the synth
to make
E it easier, but
11 you
13 need
15 to 11
listen13
really
15carefully
11 13 to
15the12
pulsing
13 12 synth
13 12 13 12line
13 to
12help
13 12you
13 keep
12 13time,
12 especially
12 13 12on13
the
12longer
13 12 streams
13 12 13of
1216th notes.
13 15 12 13 13
E
B 11 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13
line to
B
G
ground you in the new tempo. The final two bars can be 13
particularly challenging with regard to timing, as
[BarsG
D 93-104] Petes lovely melody borrows from the parallel key of F minor the rhythms are syncopated across the beat. So take your time with this,
D
F5/C ' //
A Eb chord that creates a really nice twist for the ears. This means the
for the clapping the rhythm first as necessary.
EA
E 96
96
E bb5
b b
b
F5/C 1
b
144
F5
j j
j j
F5 E 5

& b
b b b
&
'
3
3
1/4
1/4
BU BU
BU BU
E 11 13 11 13 15 13 15 13 15 13 15 13 15 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11
E
B 11 13 11 13 13 15 13 15 13 15 13 15 13 15 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13 11 13
B
G 13 13 15 ((17 )) 15 (( 17 ))
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D 15 17 15 17
D
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G 15 (( 17 )) (17 )((17 ))( 17 )( 17 ) (17 )(17 )(17 )(17 )(17 )(17 )( 17 )( 17 )(17 )(17 )(17 )(17 ) (( 17 )) (15 ) 14
G
D 15 17 (17 ) 17 ( 17 )( 17 ) (17 )(17 )(17 )(17 )(17 )(17 )( 17 )( 17 )(17 )(17 )(17 )(17 ) 17 (15 ) 14 15 13 12
D3
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E3
A 13 12 13 11 10
E 102 13 11 10
102

double-time
double-time
66 F
F55
violindouble-time
j
(main
(main violin melody
melody starts) Play
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6 times
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& j . ..
(main violin melody starts) Play 6 times
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jj ww . j j j j .
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66
3:40
3:40 PM
PM
3:40 RP
RP PM
(drums enter)
.. .. .. ..
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(drums enter)
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3
E 8 (( 1 )) 3 1 1 1 1 1 1 1 1
A
E 105 8 1 1 13 13 13 13 13 13 13 13
E 105 8 ( 1) 115 --1120
115 120 1 1 1 121, 1
121, 122
122 1 1 1
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115 - 120 121, 122
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88 8
8
8 8 8 8
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123, 125 127
E 123, 125 1 1 1 1 1 1 1 127 1 1 1 1 1 1 1 1 1 8 8 8 8
123, 125 127
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...
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B
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A 8
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E 130
130 8 8 8 8 131, 8 133
132,
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133 8 8 134 8
134 8 8 8
130 131, 132, 133
j j
jj
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j
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33 j j j 44
j j j
&
& . . 44 4

. .
E
E
E
B
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. .
B
G
G
G
D 3
3 3
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3 10 10
10 10 10
10 10
D
D 3 3 3 3
3 3
3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 8 8 10 10 10 10
10
8 88 8 8
8 8
8 88 8
A
A
A
E 3
3
1 3
3
1 3
3
1 3
3 3
3 3
3 3
3
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3
1 3
3
1 3
3
1 3
3
1 3
3
1 3
3
1 3
3
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3
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3
1 3
3
1 3
3
1 3
3
1 8
8 8 8 8
8 8 8 8 8
8
E
E 123, 125 1
1 1
1 1
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8 8
8 8 8
8 8
The Who BaBa oRiley
123, 125
123, 125 127
127
127
Play
Play 3 times
Play 3
3 times
.
times
.
& b tIPS
.. .. CDTRACK
8

PLAYInG
[Bars 105-end] This song is perhaps best known for its frenetic ending. Ive with the ending cued by Pete, so theres no real method to the madness.
charted it as per the original, which means the bass movement from 5th to Just keep your eyes glued to the structure as charted here and watch out
. .
E root effectively turns around during the accelerando three-four bar. This for the rapid accelerando towards the end. Ive put the violin solo on the
E
E
B
B is probably unintentional since the structure is largely improvised. In some backing, but you could easily play a guitar solo over this section using a
.
B
.
G
G 10 10
10 10
10style root to 5th, 10 10 10
10 10
10
D live versions the bass 10
G falls on
10the side of typical
10 10
country similar F Mixolydian
10 approach. 10 10
D
D 10 10 10 10 10 10
10 10 10 1010 101010 10
10
10 10 10 10
10 10 10 10 10 10 10 10 10 10 10 10
A
A 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8 8 8
8 8
8 8
8 8
8 8
8 8
8 8
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8 8
8 8
8 8
8 88
A
E 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
E 8
8 8
8 8
8 8
8 8 133 8
8 8 8
8 8
8 8 8 8 8
1348 8 8 8
E
130 131, 132,
130 131,
131, 132,
132, 133 134

130 133 134
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j j
b . .. j j j j jj j 343 jj j jj 444
& b ..
& . j j 4 4

accel
accel
accel
E
E
E
B .. ..
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B
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G
G
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D 10
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A 8 8 10
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A 8
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E 8
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E 135, 136 8 8 8 8 137 8 8 8 8 8 8 8

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10 10
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8 8 10
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8 10 10 10 10
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A 8
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E 140 8
8 8
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8 8
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10 10 10 10
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D
D 10
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10 10 10 10 10 10 10 10 8
A
A
A 10
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10 10 10
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8
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E 8
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8
E 145
145 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
145
And now a chance to play Mr Bigs arrangement....

MR BIG VeRSIon CD TRACK 10
[pAuL GiLBeRTs GuiTAR] At 122bpm, the double-picking, combined with 100bpm to start with, as this will promote clean execution and avoid any
palm-muting can be challenging, particularly in maintaining fluency and cutting of corners. Paul tends to improvise with simple melodic ideas in and
stamina. Its best to perfect your co-ordination of the main figure at around around the E Major scale, so its worth checking out what he does live.
GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Allworth's
BABA O'RILEY - Paul Gilbert's Mr Big Version

#### 4 . .. ..
Play 12 times

& 4 .
PM PM
E
B . . .
G
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A
. 7 7
9 9
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9 9 . . 7 7
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1 - 12
etc 13, 15, 17

#### . April 2015 GuitarTechniques
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31
& . .
.
# #
BABA O'RILEY - Paul Gilbert's Mr Big Version
# # 4 . Play
12 times . .
& 4 .
Steve Allworth's . .
O'RILEY -PlayPaul12 times Gilbert's Mr Big Version
GUITAR TECHNIQUES MAGAZINE 241
#### 4 .
BABA
Steve Allworth's .. .. PM ON THE CD 8-11

Play: ROCK
& TECHNIQUES
GUITAR
#### 4 .
4 . PM
MAGAZINE 2 4 1
TRACKs
Steve Allworth's .. .. PM
BABA O'RILEY - Paul
Play Gilbert's
12 times Mr Big Version
& TECHNIQUES 4 . PM O'RILEY9 -Play 9 Paul Gilbert's

E
GUITAR
B MAGAZINE 2 4 1
# # 4 .. 7 ...CONTINUED
# #VeRSIon 9 . . 7Mr 7Big9 Version
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D
MR BIG
9 9
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9 9 . . 9 9.
32 PM
9 9 ~~~ .
G 9 9 9 9 9 9 9 9 9 9 9
D 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
7 7 7 7
.77 99 77 99 . . 77 99 77 99 .
A
E
E
B
. 7 7 9 9 9 9 7 7 9 9 9 9 . . 7 7 9 9 9 9 7 7 9 9 9 9.
32 33 - 36 37 - 44
G 9 9 9
D 9 9 9 9 9 9
A 7 7 7 7
E
32 33 - 36 37 - 44

play: COUNTRy ON THE CD TraCk 12-40
Ultimate Country Workout

With country musics popularity seeping into every corner of the
music-loving world, Steve Laney reckons its time GT readers received
a thorough preparation for that potentially imminent country gig.
article is to hone your country skills. You may overwhelm from a learning perspective. so,
ABILITY RATING
have been asked to dep in a country outfit; or a instead I have targeted material that can be
easy/Advanced demanding bride and groom have requested heard regularly on country records - this will
your band learn some Nashville flavoured definitely help to get you up and running.
Info WIll Improve your numbers for their big day. Whatever the If you're new to country, you're likely to be
Key: Various Hybrid picking scenario, familiarising yourself with the pleasantly surprised by how much of a
Tempo: Various Soloing over chord changes information in this article will afford you a platform is granted for the musician to flex his
CD: TRACKS 12-40 Country lick vocabulary significant head start and, perhaps more or her musical muscles. In an age where
importantly, add some cool, country- celebrity has sometimes become more
I thInk It's fair to say that country music flavoured ideas to your technique repertoire important than ability, it's refreshing to find a
has received a bad rap in the Uk over the - pulling out a flashy country run in a rock or musical community that still shows respect
years. the very word 'country', for many, has blues situation can be a real eyebrow raiser! and admiration for the individuality and
tended to conjure up images of line dancing Over the following pages I will be talent of the musician. I hope the following
classes being held in run-down village halls introducing you to some of the scales, examples will enthuse you to delve even more
and social clubs. however, across the Atlantic deeply into the wonderful world of country
country is no laughing matter, but in fact the Country music is some music, and check out some of the simply
most popular musical genre, boasting a radio amazing players that populate the genre.
audience of 70,000,000 every day. In recent of the best-written music in
years we've seen country music grow in the world. So yeah, one day i Get the tone
popularity on this side of the pond, too. We're
now hearing more country on mainstream would keep my mind open to
radio; artists such as Lady Antebellum and doing a country record. 6 5 5 6 4
taylor swift spring to mind, not to mention
home-grown country stars such as the shires, Ed Sheeran Gain BaSS MiddLe TReBLe ReveRB
and Ward thomas. arpeggios, chords and techniques that feature A clean tone is very much the done thing in
With this in mind, the purpose of this frequently in this style of playing. country music and, more often than not, youll
It's important that you do lots of listening find the majority of country guitarists use a
TeChnique FoCus when learning a new genre. Doing so will single-coil equipped guitar. This is then often
played through a quality valve combo. A lack
Hybrid Picking ensure that its nuances become engrained on
your subconscious, and inevitably find their
of gain can lead to a lack of sustain and this is
Hybrid picking (pick and fingers) is the particularly noticeable when soloing.
way to your fingers. Or, to put it another way, Therefore many players will use a compressor
technique most commonly associated with if you are what you eat, then you are also what to give their notes added longevity; this can
country playing, although it can have some you listen to. With tools like spotify and also serve to temper the higher frequencies
benefits and interesting results when used in Youtube it's never been easier to source the often associated with single-coils. In recent
other genres such as rock - for example string years players have increasingly been driving
music of your persuasion - and they even
their amps as well, so a distorted sound is
skipping. When hybrid picking, your thumb make suggestions for other, related artists. becoming more acceptable (you can always
and first finger are committed to holding the this article is divided into three sections: turn down to clean things up). When playing
plectrum: this leaves you with three remaining a rhythm boot camp, a lead boot camp and acoustic, many players tend to favour a big
fingers with which to pick: these are your finally a full piece that combines the rhythm dreadnought, but considering acoustics are
second, third and fourth. These are named and the lead. I could wax lyrical about the often micd or DId, this is not such a pressing
concern. Instead, I would suggest that your
second (m), third (a) and fourth (c). Look out for theory, the many techniques and the truly
acoustic is actually playable above the 4th fret
my recommended hybrid picking directions fabulous players that make up the world of as, with country music, you never know when
throughout this article. country guitar, but that would go beyond the you might get the nod to take a solo.
limitations of this article and could potentially
Further reading albert Lees hiding contains his party piece Country Boy - a must learn for any aspiring country guitarist. Vince gills
albums always contain fantastic playing; check out his and Paul Franklins Bakersfield for traditional sounding country. Johnny hilands
self-titled album contains some exciting country-rock crossover and showcases the increasingly used overdriven country tone.

ultimate country workout
MArTin Philbey / GeTTy iMAGeS
Albert Lee: still

playing fabulous
country guitar

PART 1 ExAMPLES RhYthM BootCAMP TRACKs 12-14

GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Laney
eXAmpLe 1: DiAToniC
GUITAR ChoRDs
TECHNIQUES Here we
MAGAZINE 2 4see
1 the diatonic
PREPchords
Steve FORfrom
Laney pattern
A COUNTRY GIGof major-minor-minor-major-major-minor-diminished is the same
the key of G major. The first four bars are three-note chords
PREPwhereas
FOR Athe for allGIG
COUNTRY major keys. Memorising this pattern will enable you to and analyse
last four
Exbars
1 are their four-note, extended harmony equivalents. This and better understand chord progressions and song construction.
F #dim
GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve LaneyB m
Steve Laney
GUITAR
Ex 1 TECHNIQUES MAGAZINE 2 4 1G Am C D Em G

PREP FOR A COUNTRY GIG
F #dim
# PREP FOR A COUNTRY GIG

& # 44
G Am Bm C D Em G
GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Laney
G
C D
G

C
Ex 1 #
D
Ex 1 PREP FOR A COUNTRY GIG
&
4 G
Am

Bm
Em
F #dim
G
##

Am Bm Em F dim
Ex 1
44 G C D
G
& 44
Acoustic Gtr
#
& #
Gtr Am Bm Em F dim
Acoustic
33 01 2 01 2 00 33
E
4 30 02 3243 0 32 0 30
& 4 242
B
E
G
B
D

Acoustic Gtr
Acoustic Gtr 3002 1220 44 12 30 0202 3002
G
A
D
E
E
A
E 1 Acoustic Gtr 3
0
3
3
2
2
0
0
2
4
2
2
0
3
2
0
3
0
2
0
2
2
200200 34 2
3 3
0
3
3
2
B
E 3
3 1 3 1 3 0 2 3
3
B
G 1 0 1
2 3
4 1
0 3
2 0 2 0
G
D 0
0 2
2 4
4 0
2 2
0 0
2 2
4 0
0
D
E
A 0
3
2 2
0 4
2 2
0
3 0
2 2
0
2 4
3 0
3
2
0 F # m7 b 5
A
B
E 2
3 0
1 2
3 3
1 3 2
0 3
2 2
3
E
G 1 G maj 7 Am7 0 B m7
3 2 Cmaj 7 4 D70 E m7
2 2 Gmaj 7 3
0
# b
#
1

D 0 2 4 2 0 2 4 0

A G maj 7 Am7 2 B m7 0 Cmaj 7 2 D73 E m7 2 F m7 5 3 Gmaj 7 2
E
& #G maj 7
3
7
0
b 5 2
7 3
7
1
F ## m7
& G maj 7 Am7
B m7
Cmaj
7 D7

E m7
b5 Gmaj

##G maj 7
Am7 B m7 Cmaj D7 E m7 F m7 Gmaj
7 b 5
F # m7 7
&
& # 2
Am7
0
B m7
2
Cmaj
0
D7
2 E m7
0
Gmaj
2
32 30 1 020
E
& 0200 10 000 12 32 212 0

342
B
E
G
0203 120 2 10 0220 0203

20
B
D
G
A
D
E
E
A
E 6 2
2 0
2
4
2
2
0
3
2
0
3
0
2
0
2
2 2
0203 22 2
2
B
E 0
3 1 3 0 1 0 1
2 0
3
B
G6 0
0 1
0 3
2 0
0 1
2 3
0 1
2 0
0
eXAmpLeG
D 2: i, iV,0
0V pRoGRession0
2 WiTh LeADinG2
4 BAss noTes0
2 2
0
in the sequence. 0
2
Instead of using a 2
2
pick for this, you0
0 may prefer to use
Ex
D
E
A 2 0
2 2
0 4
2 2
0
3 0
2 2
0
2 2 0
2
Many country
A
B tunes
0 are written on
2 1 the I, IV, V chords
0 3G of a major key
2 0 - so,
3 your1 thumb to play203the single notes1and then brush
0 the higher notes
2

E 3 2 3
Ex6 2 3
0 of G. Here were
0 2root and 5th of0 each 0C 2 3
with20your first finger. 0 Carter Scratch in
E
G

G, C and D in the key singling out This technique is known as the
#
6

D 0 2 4G 2 2C 2 0
4
chord. AIn addition,2 were then walking
0 up the bass2 notes to the next
3 chord
..
country guitar circles.

2

2
&#4 3

0 2 3

E
Ex6 2
.. GG

Ex 2
&
4 C

##

C
Ex 2
444 .. G
&
Acoustic Gtr

& #
4 . 3
Gtr C
33 33 33 33 33 01 01 01 01 01 01
Acoustic
..
& 44 33 0 0 0 0 0 0
E
3030 3030 0 0300 3030 3030 3030

B
. 12 12 12 12 12 12
Gtr
3 3
E
G Acoustic
B
D
G
A
Acoustic Gtr
. 3 0 0 0
3 0 0 0 2 0 0
3 0 0 0 0 2 0
.. 3
D
E 0 0 0 0 0 0 0 2 2 2
0 2 2 2
33330 3
33330 3
33330 3 0 0 0 0 0
E
Acoustic Gtr
A
E
B
1 3
3 3
3 3 3
3
0 2 3
etc 0
1 0
1 0
1 01 3 0
1 0
1 2 0
..
E
B
G 3
0 3
0 3
0 1
0 1
0 3 1
0 10 1
0 1
0
1
G
D 0003 0
0 0003
0 0
0 0003 0

0 0 2 etc 0
2 0
2 0
2 02 0
2 0
2
D
E
A
A
B . 33 3
0
3
3
0
3
0
3
3 3 3
0
3
3 0 2
3
3
2
0
1
2
0
1 3
2
0 20
1 G1
3
3
2
0
1
2
0
1
2
2
0
0
. 3
E G
E
G 1
00 0
0 DD 00 0
0 3 00 0 0 0 3 0 0
ww
0 0
#
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0
0 0 2 etc 2 2 2 G2 2 2
3
G etc

3
.. w
3 2 0
A
&# etc 3
Gw
E
DD ..
1
&
G

ww

G G
## G
.. Gw
w
& 2 . ww
&#
D
33 33 33 33 33 33 2 2 2 2 2 ww33
E
32 32 32 32 32 32 .. ww30
& 3030 3030 3030 3030 3030 3030
B
E
G
0 2 3 0 302 302 0 302 302 0 30 30 . www3002
3 3
B
D
G
A 0 0 0 0 0 0 2 2
0 2 .
..
D
E
E 0
3 0
3 0 0
3 0
3 0
3 0
3 0 0
2 0
2 0
2 0
2 0 0
2 0
2 0
3
3
A
E 4 3 3 3 3 3 3 2 3 2 2 0 2 2 2 2 3 2
B 3 3 3 3 3 3 3 3 3 3 3 3 3
..
E
B
G4 3 3
0 3
0 3
0 3
0 3 3
0 3
0 3
2 3
2 3
2 3
2 3
2 3
2 0 2 3
0
G 0
0 0
0 0 0
0 0
0 0
0 0
0 0 2
0 2
0 2
0 2
0 0 2
0 2
0 0
0
.C
D
D
E
Ex 3
A 0
3 0
3 0 0
3 0
3 0
3 0
3 2 3 0 0
2 0
2 0 0
2 0
2 0 0
2 0
2 0
3
2
2 3 0 2

A
B
E 3 3 3 3 3 3 3 3 3 3 3 3 3 3 0 2 3
3 0 0 0 0 3 0 0 2 2 G7 2 2 2 2 0 2
.C 3
0
E
Ex44 3
G G
D
# 4 0 0 0
2 3 0 0 0 0
G
0 0 0
0G7
0
n 0 0
0 0
0 2 0

common
practice
A 2
E
Ex &
Ex4 33:
eXAmpLe #4
3 DominAnT
3 3
7Th ChoRD pLACemenT Its
n
positions. Doing so helps create a joyous, playful sound. Refer to example 3

in country&
4 G
Ex 3 #

nn
for dominant 7th chords to be used G
in diatonically incorrect 1 G7
to see what the chords should be.
C

G7 C
& # 444
& # 4 3 3 3 3 n 10 1 1 1

01 01 01 01
G G7 C
E
4
330 330 330 330 0100 0100 0100 0 0 0 0
& 4 100
B
12 12 12 12
3 003 003 0 003 003
0 3
E
G
3 3
B
D 3
0 3
0 0 3
0 3
0
G
A 0 0 0 0 0 0 0 0
D
E
E 0
1 0
1 0 0
1 0
1 2
0 2
0 2
0 2
0
A 1 3
E
B
E
B
G 1
3 3330 3330 3330 3330 etc
3
1
0
0
0
1
0
0
0
1
0
0
0
1
0
0
0
0
1
1
0
0
1
1
0 3
0
1
1
0
0
1
1
0
G
D
D
E
A
0003 0003 00 0003 0003 etc 0
0
0
1
0
0
0
1
0
0
0
0
0
1
0
0
0
1 3
0
2
2
0
0
2
2
0
0
2
2
0
0
2
2
0
A
B
E 3 3 3 3 3 3 0 0 0 0 3 1 1 3 1 1
E
G
D
1
1 3 00 00 0 00 00 3
etc
etc
0
0
0
0 0
0
0
0
0
0
2
0
2
3 0
2
0
2
A 3
E 3 3 3
1
etc

2
2
A7 D7 G
# # D7 n ww
2 & ww
# # n
A7 G
ww
2 &

D7 w
www
# A7 # 02 02 02 02 D7 n 21 21 21 21
21 21
A7 G
E ww33
& 02 02 02 02 0 2 2 2 2 0 2 2 ww00
B
G
# 0 # 02 02 0 02 02
G
ww3323
02 02 02 02 0 n 12 12 12 12 12 12 0 2
D
E 2 2 2 2 2 2
& w
A 0
B
0 www002
E
G 5
D
A
Ex 4
eXAmpLe 4: CApo AnD
0
0 BAss0 noTe
0
0 descending
E
E
5 0 ALTeReD
0 0 ChoRDs 2Capos
b use 2 are used 2 bass 2 note chords 2 helps 2 create 2 3 and ascending bass lines within
3
002 002
often in country, so be sure to
2 carry one2at all 2 times. B The 1 of1altered 1 a1progression (voice 1F/A
leading) and introduce harmonic interest.
2 1
# 3
B
b 40 20 20 0 020 020 .. B b 212 212 0 212 212 212 212DF/A/F # 0 2 33023

G 0 0 (G ) 2 2 2 2 2 (2D /F ) 0
Ex 4
D 2 2 0 0 0
E
b
A
& 4 2 2 ( )
B

E
G 5
D
b
2 2 0( G )

0

0

b 44 .. B b
A 0 0 2

Ex 4
&
E 0 0 2 3
5 Gtr

Acoustic F/A
G) 3rd fret ( D /F # )
Ex 4 ( Capo
0 2 3 2
E
b b 4
. . b

..
B F/A
#
& 4 0 0 0 0
B Acoustic Gtr 3 3 3

D /F
2 0 2 3 2 3
G ( Capo
G ) 3rd fret ( ) 2 2
b4 ... 3
D
&b 4
E
p 3rd0i fretm a
B 3 3
. Capo
E
G 1 Acoustic Gtr 0 0 0 2 2
D
A
m a m
p i a m i a m
. Capo 3 2
E
E 0 2 2
Acoustic Gtr
pE badd9 pb/D i E bmaj7 ib
B
1 1 3 3 2 3 3
3rdi fretm a m a Cm m7 a m a m
. (1C add90 )
G m7 B F/A B
( G /C b ) ( Cmaj7 ) D/G b )
G 0 0 0 2 2
. 3E badd9 0 3 0 3 2Cm0 7 B2b/D 2 E bmaj7

D ( E m7 ) ( Am7 ) ( G

E 0 2 2
b
A
2b
.
B 3 3
b .
. ( Am7 w
E
& ( E m7 ) ) ( G2 /C ) (Cmaj7 ) ( D/G

G G m7 F/A B
b b
) Gww
1
D p 0 i m a m a m p i a m i a m

( C add9 )
b
A
3
m .a 2 m a mF/A
& b (GE m7 p1Ebadd9i m a . Cm 7 (Bpb/Db i E bmaj7 Bw
E
m7
1
w
ib a m
b
w
)

( C add9 )
E badd9 0 0
( Am7 ) G
B b/D
/C ) ( Cmaj7 ) ( D/G
) G
b E bmaj7 Bb
1 2
3 . ( Am7 2 b ) Gw0
& b ( E m7 ) 2 0 3 0 0 ( Cadd90 ) 3 10 ) ( G30/C b ) (Cmaj7 00 ) ( D/G
E G m7 Cm 7 F/A
0 . 0 ww0
B
G
b 0 2
. 2
0
03
2
2
3 .
D
b 0 0
w
E
& 2i m0 a m0 p 0i m a a m 0i . 02a 02
A 3 0 2
3 3 1
00
3
20 ww003
B
E
G 4 0
D
A 0
p m 2i
3 m
0
etc
2 3 m2i m
i .
E i 3i
E
4 0 0 p p p
B p i m 3 a m i m p i m 3 a a m 3 1a etc 3 0
G

0 0 0 0 0
. 2 m 0 0 0 m 2 m 0
. 100pi B7 302
Ex 5D 2 2 0 2 0i 0i
E 0 0
#
A 3 03
# # #p 4 2i m a
B 3 E 3 A 3 pE p
a m i .
E
G 0 0 0 0 0 0 0 2 2 0 3
A
a mrhythm guitarist
m0i B7is strumming. 2 Use aforceful
4
&5: LeFT0hAnD 4 pianist.

Were 3 now
i mif youre mE down
3 i stroke on 4thLuther
Ex 5D m 2i m p i m a 2a etc
0 2 0 0
This example will prove string so that catch thethird string2i too.This
eXAmpLe A sTRiDe piAno EimiTATion imitating 3 m the
the left hand of #a stride
# a well min JohnnyCashs band. m m
E
# #onBridge
44a gig anddont want to just
useful you technique served
up what the Perkins
4
i i i
p i m a m i m p i a p etc p p
Ex & double
the lead guitarist
p E p
5
A
& middle pickup
# # # #Bridge
E p B7
Ex 5
E
& #
B 44 & middle pickup E 1 1 1 1 A 2 2 2 2 B7 2 2 2 2 E 1 1 1 1
G
## # 4 2 2 2 2 2 2 0 2 2 0 2 2 2 1 1 2 1 1 2 2 2 2 2 2
0 0
D
E
& Bridge
A
B

4 & middle pickup 12 12 12 12 etc 22 22 22 22

2
2 12 12 0 12 12

1
E 0 0 0
2 2
G 1 2 2 2 2
D
A
E
E 0
2
0
2 0 0 0 0 2
1
2 2 2
1 1

0 0
Ex 6
B
1 Bridge & middle pickup 1 E 61 1 1 etc 2 2 2 2 A213 2j 2 2
G
j2 2 2 0 2 2 0 2 2 2 1 1 2 1 1 1
2 2 2 2 . 2
1 1 1
#### 4 2
2
2
.
2
D
1
n0 22# 0 22 0 22 0 22 2 A2113 2n 21j 2 21 2 21 n #0 12 2 12 0 12 2 .12
E
Ex 6A
& 4
B
j
E 0 1 E6 1 0 1
2 etc
G 1
#### 4 0 0 so. much in2ncountry.

2
2
2
2 #0 0
D
0 as its used Thisisn actually

A 2 2
& 4 n # technique
E 0
pickup as it allows you
Ex 6 6: CounTRy/RoCKABiLLy
j
eXAmpLe 1
Bridge & middle Were notching
upthe difficulty
etc a very rewarding
0 2 0 . A13 5 7 n # 5 7 5 .
# # # # 4 Bridge & middle pickup E 6 0j 2
level with the hybrid picking here, but its vital you E 6 master this technique toAself-accompany
13 and truly play solo. Think Chet Atkins!
Ex 6
j
E
& # 4 02j 2 2 n 0 # 1 0 2 2 0 .2 n 55 7 5 5 6 5 5 7 5 .5
B

## # 4
G
2a n m0 # 10 c 2a c n 5 7 5 n 5 # 65 5 7 5
D
pickup 0 c
E
& 4 Bridge & middle

A

B
E 5

G 1
0 0c 2 a m 0 0c a 2 0c 5 5 7 5
D 2 2 2 2 etc
A 7
E
E
1 Bridge & middle pickup 5 5
B 2 2 etc 7 7
G
D
2 2 0 1 2 2 5 5
5 6
5 5
E
A 0 2 0 2 0 5 7 5 7 5
B
0 2 2 7 7
10 5 65
E
G 1 0 5
D 2c a 2 m c 2 a c 2 etc 5 5 5 5
A 2 2 7 7
E 0 0 5 5
1
c a m
c a c etc

PART31 ExAMPLES RhYthM BootCAMP TRACKs 17-19
B13 j E 6/ 9
ww
3
#### n # . ww

3
& w
j ww9
j
B13 E 6/ 9
# #
B13
.. E 6/
ww
3
& # ## # ## 7 nn ## ww
7
3
& j
8 ww99
E 7 E12
7j
B13 6/
.
B 9 9 12
## # ## # 7 n # 7 9 . 7 www
G B13 7 E11
6/
D 11
A
& # # 7
9
n # 7 7 77 11
ww0
&
E 7

E 4 12
88 ww to wrap my thumb over the top of the
E
B 7 9 7 9 12
12
B
G 9 7 9 12
11
G 7 7 7 7 11
string.9 For bars 277 and 4, I prefer 11
D
Ex 77: seLF-ACCompAnyinG
eXAmpLe D
A 7 BAss
9 Lines Go 7 out Honky Tonkin7 11
11
7 j
7 j times 12 j
A
on Nashvilles Lower Broadway
E 7 9
and its likely G 7 hear some
youll C/G 7rhythm G7 neck to 9 fret
C/Gthe notes Play 4onDthe 9 11 0sixth string, although D7 you can always barre if
# .. 99 b7 77n 88 7 7 99b n 7 7 .. 12121111 . . .
E 4 7 0
& 44
E
guitar akin to this.
4 Palm mute 7 accompanying bass notes on the
the 7
sixth you prefer.
B
77
E
n C/G 9 C/G 7Play 4 D9 11# D7

G
B
Ex 7
D
G
G
Ex 7
j j
9

A 7 G7 7 7
D
. 0 jj . .. ..
G7
## 4 b n 7 j b n j times
E
A 7 9 7 C/G 7 G7 9 C/G Play 4 D 9 11 0 D7
4
E 7 & middle pickup
.
Bridge times
4 b n .. ## .

4
&
& 44
.. nb n
Ex 7
E

. G7 3 C/G n 55j G7 33 4 C/G 55j Play .4 D9 3 5 D7 3 5 3
## 4
Ex 7
. G7 33 4 C/G 4j
B
j 5 j .
.. 3 nb n 3 3 b n 3 .. 5 # j 5 .. 5 .. 5 ..
G
Bridge & middle pickup G7 C/G times4 D 9
Play D7
D Bridge & middle pickup 3 5 times
4 4 4
& 4
A
.. nb m3a n m5a etc b 3 n 5 .. # 3a m 3a m 3a

& 4
E
1
. 3333 44 555 5 3333 44 555 5 ..

E
E
B
34 55 4 3 4 55 3 4
.
B
. 3 . G7 55 4 5 4 55 4 5 4
G
G
D Bridge & middle pickup
D
A Bridge & middle pickup 3 5 3 5
A
j
E C7 3 3 3
# . .
3 3 3 3
E
E
1
m3aa m5aa etc 3aa 5 mm 3aa mm 5 3aa
b .. . m33 44 . m55 5 33 44 . 55 5 .. b n n w34
1
B
E etc 3 5 j 3 5 3
G
B
& . 3 3 5 3 3 5 . G7 55 4 5 4 55 44 5 5 44 w
5
5 4
D
G
jj waa 5 mm aa mm 5 aa
A
D
E
A C7 3 3
##
1 C7 G7
E
3 maa 3 maa etc 3 3
bb .. m .. m .. j
bb j nn w
1
& w
etc
& C7 1 1 n
n ww
3 1
E
j w43
B G7
## 3
G 3
j
C7 3 G7
3 b .. .. 3 .. j
b j n w
D 2 2 2 2
& b nnw
A 3
E
& etc 1 b

n w
3
33 2 1 2 ww443
7
1
E
E a
B 1 1 m
B
G 1 3 3
G
D
D
Ex 8
A 3
2
2 2 3
2
2
3
2
3 3

A
E 3 3 Dm 3 3 Cadd9 3
1
E 3 3 3

7
4
E 7 etc a
b
etc a

B
E 1 1 m
G
B
& 43 1 3
2
1
2
3 1

3
m
4

D
G 2 3 2 2 3 2 3 3
4
Ex 8
A 3

D
Ex 8 2 2 3

E
A 3 3 Dm 3 3 Cadd9 3
addressed work well onan acoustic. a the diatonic

eXAmpLe 8: minoR7 AnD sus ChoRDs The Djoyful
m nature of country This example Cadd9 some minor
explores and sus chord usage. The sus chords
4 chords
E 3 3 3

etc a
b 4
Acoustic Gtr
keys. in Exercise
7
in its lyrics.&So bits4surprising tofind very few country orsus4

music is often, ironically,etc in stark contrast to the sombre issues particularly m Try converting
Ex 8& 4

3
tunes in minor 3 3
1 to their sus2
m
3
counterparts.

Dm 3
E 0 1 0 1 0 0
3 Cadd9 3 3
B
Ex 8
2 2

2 2 2

2 0 0

0 0 0 0

0 0
G
4
Dm Cadd9

Acoustic Gtr
b
D 0 0
&
& b 44 3 00 11 3 3 00 11 3 3 00 3 3 00 3
A Acoustic Gtr 3 3
E
22 3 22 2 3 2 3 2
1
00 3 00 00 3 00 00 3 00 00 3 00
E
E
B
B
G 2 3
G
D Acoustic Gtr 0 2 0 2 2 2
D 0 0
B bsus2
A
Acoustic Gtr 3 3
A 3 3
www
E Gm C sus2 Dm
E 1
2

E 0 1 0 1 0 0
0 22 33
1

&b w00
B
E 0 1 3 3 3 0 1 3 3 0 3 0 3
G
B 2 3 2 3 2 2 3 0 3 0 0 3 0 3 0 0 3 0
3w
0
D
G 2 2 0 2 2 2 0 0 0 0 0 0 0
B bbsus2

A
D 0 3
3Dwwm
Gm C sus2 Dm
E
A

3

B sus2 Gm C sus2
1

ww
E
b
1
&
&b 3 3 3 ww5
E

B bsus2
1
1 3
3 3
1
Gm
3
Dw
Gm
w
1 1 1 3 3 C sus2 6m
B bsus2
B
G 3

3 3

3 3 3 3
3 3C sus2 5 5
5
3 ww75
5 D7m
w
bb 1 1 1 3
D
& 1 3 33 3 3 33 3 w556
A
E
& 11 etc1 1
33 3 33 33 3 33 55 3 55 55 3 55 w6777
E 4
33 33 33 1 3 3 1 3
E
B 1 1 1
B
G 3 1 3
G
D 3 3 3 3 3
D
A 1 1 3 7
5
A
E 1 1 3 3 5
E 4
1 etc 3
E 4 1 1 3 3 5
B
E etc
1 1 1 1 1 3 3 3 3 3 3 6
5
G
B 3 13 3 1 3 3 1 3 3 1 3 3 3 3 3 3 3 5 3 5 5 3 5 7
6
D
G 3 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 7
A
D 1 1 3 5
7
E
A 1 1 3 3 5
E 4
4
etc
etc
3

eXAmpLe4 9: RApiD FiRe 16Th noTes This is a challenging example, so of the fifth string is interspersed with double-stops on the second and
4
build the phrase up slowly, adding one note at a time. The constant drone third. The late, great Danny Gatton made great use of this technique.
Ex
4 9
Ex 9
j G /A j G /A
## # ## 4
A G /A A6 A5 A G /A A6 A5
.. A j G/An jj A6jj jjA5 jj A ## j G/An jj A6jj jj A5

A A6 A5 A A6 A5
& # 4
Ex 9
4 ..
4 & # # 4
. j n j j j jn # j n j j j .
& # Bridge
Ex 9 4
4 .. A G/An A6 A5 n # A # G/An A6 A5 ..

j n #
#
# 4 j
... A j G/An j A6j jA5 j # j G/A j A6j j A5 .
Ex 9 & middle pickup
& # # #Bridge
Bridge & middle pickup
44 & middle pickup j .

.. 667 n 445 224j 22j 22jn # # 667 nn 445j 224j 22j ...
A
E
#
B
E
& 4 .. 00 00 7 00 00 5 00 00 4 00 00 2 00 2 n 33 # 44 00 00 7 00 00 5 00 00 4 00 00 2 00 00 00 00 ..
B
G
D
G
E
D
A

B Bridge & middle pickup
. 0 0 m67aa 0 0 m45aa 0 0 m24aa 0 0 m22aa 0 m22aa 3 4 0 0 m67aa 0 0 m45aa 0 0 m24aa 0 0 m22aa 0 0 0 0 .
A
E
G
E 1
D 1
. m6a m4a m2a m2a m2a m6a m4a m2a m2a .

A
E Bridge & middle pickup
E
B
track with his skills. Again,. its

2picking pattern. over any
1
G
10: BAnJo RoLLs This example is akin
Ex 10
grace a country
eXAmpLe E
D 7 to how m Albert Lee4may 2 your2hybrid picking up
5 7 to speed. 5 You canm 4use them
Ex 10

B m m m m m m
0G5 4 its0C7
. 0 0 .
a0great
6 0 exercise
0 4 0 for 0 getting
2 0 0 2 chord 0 2 that 3 has notes
0 6 positioned
0 0 4 0 on 0 three2 0adjacent strings.
Ex 10 #
A 02 0 0 0 0

G
44 0 0 0 0 0 0 0 3 4
G5 C7
#
E
b m m
D 1 7 5 4 2 2 7 5 4 2
A
&
& 4

0 0
G5 m
a

m
a

m
a m
a a a a a a b a a a

a m
a 0 0
C7 m

a
0 0

a
m
0 0

a
0 0 a

0 0
#
E
4 m m m b m m m
1

& 4
m m m

Ex 10

Bridge & middle pickup G5 C7
Ex 10
#
4 pickup G5 3 3 3 C7 b 5 5 5
E
E
B& # 44 Bridge & middle 3 00 5 00 5 3 00 5 3 00 5 00 4 5 b 33 5 5 33 5 33 5 5 33 5 5 33 5 33
& 4 Bridge & middle 4
5 0
0
4 5 5 5 5 5 5 5 5 5
B
G
G
D
E
5
A
D
pickup 4 5 5 5 5 5 5
B
A
E 3 3 3
G1
0 0 0 0 0 0 3 3 3 3 3 3
E
D 1
A
E
m a m m a m a m m
4 5 m 5 a m 5 m 5 a m 5 a m 5 m 4 5 mm 5 aa mm 5 mm 5 aa mm 5 aa mm 5 aa
E
B
G
E
D
1
4 5 m0 5 3a m0 5 m0 5 3a m0 5 3a m0 5 m0 4 5 m3 5 5a m3 5 m3 5 5a m3 5 5a m3 5 3a
B G5 3 3 3 5 5 5
## G 5
A
G G5 0 0 0 0 0 0 3 3 3 3 3 3
m a m m a m a m m m a m m a m a m 5 a
E
D 1 4 5 5 5 5 5 5 4 5 5 5 5 5
&
& # m a m m a m a m m m ww a m m a m a m a
A
E
1
& G5 w
# G5
E
B
E& # 0 33 0 0 33 0 33 0 0 w
& 44 55 0 55 0 55 0 55 0 55 0 55 0 w55
B
G
D
G
E
D
A
B
A
E 3 3 3
G
E 4 0 0 0 0 0 0
D 4
A
E
4 5 mm 5 aa mm 5 mm 5 aa mm 5 aa mm 5 mm 5
3
5 m0 D 5 33a m0 E5 33a m0 5 Am0
E
B
4
3 /'
Ex 11
G
PARTEx211ExAMPLES
E 4 5 LeAD 0
m 5 BootCAMP
a m0 5

TRACKs 22-23
'Parts
D
B 3
Ex 11 # #4
A 14
G 0 0 0D 0 E /
0 A0
## #
eXAmpLe 11: #LeADinG 44 CounTRy
E 14
beyond jj thewith
root and 5th of theimplied
'
D 4 5 5 5 5 5 5 5
isa a m3 E youll
3
& j jj steel
m sTyLe a m Thismexample a 3 m were m
or fiddle.
A inTRo see that A really playing just
m a m m
If you
& 4 j
D
Ex 11 #
#
E

14 /

slightly busier version of Ex 5. look the pull-offs and bends chords. like this are often in unison the pedal
4
4

#
m a m a 3m
4 & middlepickup D E / j A j j
3
3 E 3/ /' A
& Bridge
#
# # 4 & middlepickup
14
/'' j
Ex 11
' j j
D
& # # 44
14
E
#
Bridge
0 22 4 2 0 141 4
j 0j
2 2 '0 2
E
B 3 3
& 4 0 / j
2
B
G
4 0

2
14
0 2
G
D 2 2 2
0 2 4 2

00 2 2 / 0 2 0 2 00 2 0 00 22 44 0
E
A
D
B 4 0 0 2 0
Bridge & middle pickup 0
'
A
E
G1
E
D 1 0 4 2 0 14
'
A
E 0 2 4 0 2 0 2 0 0 0
E
B
Ex 0 0 0 2 4
G 1 12 2
1/4
Ex
E 12
0 4 2 0 2 2 2
D

B
0 C2 4 01
## # 4 2 0
A
G 2 0 2 0 1 0
Ex 12 C
.. C2 4
E
D 1 0 4 2 0 0 2 2 0 2 0 2 4
44 CounTRy
3
& # 0 0 2 0 2 0 3 0 0
A
&12:#LeADinG
E . ii This
is a slightly
as this but
directions
0

Iprefer
nn picking
hybrid
0 1
(mthen ##down-pick)
for
0 2 4

the options
picking here
modern take on#a 4
1
eXAmpLe sTyLe inTRo more will help to get it sounding right. Ive provided two
.
Ex 12
.
3
& 4 Bridge & middle pickup C n
country intro. Take note of the picking

opening

notes.
3 1#
Ex 12 1
# #
4
.
& # 44 .
... 0 0 0 0 n 3 # 0 0
C
E
& #4
B
B
G
.. 44 55 0 44 55 0 44 55 0 44 55 0 n 33 22 00 5 00 # 44 55 0 44 55 0 44 55
D
G
E
D
A

. 4 5 0 4 5 0 4 5 mm0 4 5 mm0 3 2 0 5 0 4 5 0 4 5 0 4 5
A
E
G
E 1
D 1
.
A
E
B 5
. 4 5 0 4 5 0 4 5 m0 4 5 m0 3 2 0 0 4 5 0 4 5 0 4 5
G 1
E
D
B
. 4 5 0 4 5 0 4 5 m0 4 5 m0 3 2 0 5 0 4 5 0 4 5 0 4 5
A
G
E
D 1
A
E 5
1
m m

PART 2 ExAMPLES LeAD BootCAMP TRACKs 23-25

5
##
1/4
' ..
2
'
1/4
5
& n # # n n w
5
j
n
5
/'
/ /' ''/
5
## # '
1
1/4 2
2 1
4 1//4
...
... # 3 # 4 5 0 nn 3 0 0 n ''/nnn j 5
1
14 4
2 4
&
& # # 0 nn 3 /' 0
14
2# #
E
jj ww
/ 14
B
14
G 14
& # n . # # n
D
A 3
n 5 5 3 1 n j w
/'
E
'useD00 sCALes
5
n
/'
// 1
..
14
chords. They are minor'Pentatonic (R-b3-4-5-b7), Blues scale (R-b3-4-b5-

E 4
14 1
E /
/ 14
3 ' used
B 4
.. Theguitar.
E
Ex 13
B 14
G
B

eXAmpLe 13: CommonLy
G scales shown below are
ww 333 111 ' Mixolydian

D
G
D 0
0 3
3/ 14 G 3
3 1a)4 0
4 Minor Pentatonic
0 G 1b) 'Blues' Scale
# 4 with their
some of the most commonly
ww . so that you can5 begin to3 0 555nBlues)
0 in country You should 0 memorise
0 scale555 (R-2-b3-3-5-6),
5-b7),0 major Pentatonic/ (R-2-3-5-6),
b n n and
Country scale (also known as major
Dorian
A
D
E
A 0 3 4 5
5 3
3 0
0 0 5
5 14 3
3
E
b b
A
B
E 5
their shapes, along scale spelling 5 3
mode (R-2-3-4-5-6-b7)
&why4they 3 or in0somewcases, . w
b 5 n 3 0 5 0 5 www 3 1 5 b b n n
E 5
G
ww
understand
D 5 0 work, dont
3 work,
4 with0certain mode (R-2-b3-4-5-6-b7).
wG
A 3
Ex
Ex 13
E13

5
Ex 13
1a)
1a) Minor
Minor Pentatonic G 1b)
1b) 'Blues'
'Blues' Scale
Ex 13 #
Bridge & middle pickup G Pentatonic G Scale
# 44 w
ww3
G 1a) Minor Pentatonic
n
bb 3 n 6 3 Gww33
G
w 1b) 'Blues' Scale
bb bb nn 3 nn 6 3
&
& # 4 nn 3 5 3 5 n ww00 bb nn nn 3 5 3 5 6 n
E
B
ww00 G
3
b
1a) Minor Pentatonic
b
1b) 'Blues' Scale

4 && middle w b
3 6 3 5 n b w b
3 6 3 4 5 n b b n
G
ww23 ww23
D
& Bridge
4 middlepickup
A
ww w b b n
b ww33
E Bridge pickup
w333
1
E
E 3
3 3
3
B
E
B Bridge & middle pickup 3 3 6 3 3
6 3 3 3 6 3 6 3
G
B
G 0
3
0 3
3 5
5 3 6 0
3
0 3
3 5
5 6
6 3 6
D
G
D G 1c) Major
0 Pentatonic 3
3 5
5G 3 5 1d) 'Country/Major
0 Blues' Scale 3
3 5
5 G
3 5 6
# ww 6 3 5 ww 5 w5
A 2 3
3 5 2 3 5 4
36
D
E
A 0
3
2 5 3 5 3 0
3
2 3 5 4 3 5 3
3
3
3 6 3 3
3 6
3w
E
b n
A
B
E 1 2
3 3 6 2
3 6 3 4 3 6
E 1
G
D 1
& ww
3
0
0
ww 3 5
3 5 3
0
0
3 6
3 5 ww
6
A
E
1
ww
2
3 3 6
3 5
ww b n
2
3 3 6
3 4 5
ww
G 1c) Major
Major Pentatonic
Pentatonic G 1d) 'Country/Major
'Country/Major Blues'
Blues' Scale
Scale G
wwG w w
G 1c) G 1d) G
## 1c) Major Pentatonic
w
G 1d) 'Country/Major Blues' Scale
b n w
G
& ww330G 2 4 3 5 www30G b 3 n 0 3

0 2Scale ww30G
E 3 3 0 3 3
B
&# ww02
1c) Major Pentatonic

2 5 2 5 b n
1d) 'Country/Major Blues'
0 b 1 n 2 ww02
ww023
G
ww3 b n ww3
0 2

D
& ww
A
E
6
www
3 5
ww33
3
b n www
E
E 3
3 3
3 0
0 3
3 3
3
B
E
B 3
3 3
3 5
5 3 3
3 0
0 3
3 0 3 3
3
G
B
G 0
3
0 2
2 4
4 3 5 0
3
0 0
0 2
2 3
3 0 3 0
3
0
D
G
D 0 Mixolydian Modal Scale 2
1e)0 2 5
5 2 4 G 0
0 1f) Dorian Modal Scale0 2 0
0 2 2 3 G0
0
# n ww 0 3n ww
A
D
E
A 2
0
3
2 2 5
2 5 2 5 3 2
0
3
2 0 1
0 1 2 2 0 2 0 3 2
0
3
2

E 3 3 5 3 3 3
b
A
B
E 6 2
3 3 5 2 5 3 5 2
3 3 0 1 2 2
3
& ww ww
n n
E 6
G 3
0 3 5 2 4 3
0 3 0 2 3 3
0
b
D 6 0 2 5 0 0 2 0
A
E
6 1e) Mixolydian
2
3 3 5
2 5
ww 2
3
3
0 1 2 2
3ww
1e) Mixolydian ModalModal Scale G 1f)
1f) Dorian
Dorian Modal
Modal Scale G
3 5 nn 6 3 wwG nn 3 ww
Scale G Scale G
## 1e) Mixolydian Modal Scale

1f) Dorian Modal Scale
b
G
E
& n ww330G
n b 3 5 6 ww330
&# 2 3 5 2 n 3 5 2 4 5 n bb 1 3 5 2 n 3 5 2 b 3 5 n
B 1e) Mixolydian Modal Scale 1f) Dorian Modal Scale G
G
ww02 ww02
ww73 ww3
n n
D
&
A
E 3 5
ww 3 5
b ww
w333 w333
11
E
E 3
3 3
3
B
E
B 3
3 5
5 66 3 3 3 5 6
3 3 5 6 3
Ex
G 14
G 2
2 4
4 5
5 3 5 6 0
3 2 3
3 5
0
35 3 5 6

B 0 2 0
D
G
D 2
2 3
3 55 2 4 5 0
0 2
2 3
3 5
5 2 0
3 5
0
#4
A
D
E
A 2 3 5
2 3 5 2 3 5 3 2
0
3
2 1
1 3
3 5
5 2 3 5 3 2
0
3
2
.. b n
E 3 5 3
7 3 5 3

A
B
E 11 3 5 2 3 5 3 5 6 2
3
7 3 5 1 3 5 3 5 6 2
3
& 4
E 11
G 3 5 2 4 5 3
7
0 3 5 2 3 5 3
0

D 11 2 3 5 0 2 3 5 0
A 2 3 5 2 1 3 5 2
eXAmpLe
E
Ex 14: minoR
3 5 penTAToniC usinG open sTRinGs This
3 example
7 scale
3 here
5 (G-Bb-C-D-F). The key to mastering such3 licks is in ensuring
Ex1114
14
is reminiscent
Ex 14

of Brad Paisleys

Bridge &approach to incorporating open strings
middle pickup that your pull-offs are strong and positive. Take note of the picking
Ex 14 # 4
into his lead playing. Were using the notes of the G minor Pentatonic directions here, too.
& #4 ... bb 0 0 nn 0 0
& # ..
E
B
4 3
0 5 0 3
0 5 0
& 44 Bridge
G
.. b
5 3

5 3
D
n m m
A
E
1
Bridge & pickup
& middle
middle pickup
Bridge & middle pickup m m
E
E
B Bridge & middle pickup ..
.
E
B
G
B
G 3
3 0
0 0
0 3
3 0
0 0
0
..
D
G
D 3 0 5
5 0 3
3 0
0 0
0 3 0 5
5 0 3
3 0
0 0
0
A
D
E
A 5 3 0 5
5 0 5 3 0 5
5 0
E
A
B
E 1 5 5
E 1
G
D 1
A
. 3 0 5 0
m
m
m
3 0

5
m
m
0
m
3 0 5 0
m
m
m
3 0

5
m
m
0
m
E
1
m m m m

PART6 2 ExAMPLES LeAD BootCAMP TRACKs 25-28
3
#
3
6 3
.. b n
3
& b n
3
# b
3
3
n .. b n
6 3
6
&
6 E
B . 3 0 0
0 .
3 3
3
# b 3
G 5 3 3 0 0 3 5 3 0 0 3
& m n 3 5 m 3 m 3 5 m .. b m n 5 m 5 m 3
D 5 5 33 0 0 5 5 3 0
3 5 3 0 0 3 0 0
A
# 5 3 0 0 5 3 0 0 .. 3 0 0
E
E 3
b 5 5 3 0 5 0 . b 5 n 3 0 5 0 3 0 5 0
B
&
G
D 5 5 n 3 0 5 0
3hybrid
A
Ex 15

eXAmpLe E 15: miXoLyiDiAn usinG open sTRinGs Here we have the second bar, so you may find it beneficial to keep your fretting hand thumb
# 455 bluesy n astretch

n w
3
m ofthe neck. Iveincluded
directions I. use, but
played using openm strings with m minor 3rd(Bb)m lowerhalf m
its also0possibleto alternate
Mixolydian mode
E the positioned m on the m the picking

E
& 4 3 0 55 0 55 33 00 55 00 b5 n3 0 55n 0 55 33 00 55 00 .. 3 0n 55 0 n33 00 55 00 33 00 55 00

B
B
thrown in for some
G
G 3 0 colour.0 Its quite on5 the
3 ascent
0 of0 the 3 0 pick every note.
D
b n m0 3 0 5 mm0 3 0 mm0 3 0 mm0 33

D
E
Ex 15

A
A
B
5 3 n 0 m .
5 n w 5 3
E
# Bridge
E
G 3
5 &3 middle
0 0
5pickup
m
5 b n
0
5 3 0
0
m 5 3 0 m
4
3 m m 5 m
n
D
& 4
5
n m b n m n m 0 m 3 m
A
E
3
m 3 0 m

Ex 15
Ex 15
E
6 3 0 0 3 6
B
n b n w
Ex 15 # 4
n
G 5 3 4 0 0 2 5
n
D Bridge & middle pickup 5 3 0 0 3 5
& 4 5 0 1 2 0 3 7
3 n6 0a m3 0a m a n m a m b n a m a n m a m 0a m3 0a n6 m3 w
A

#4
E
E
3 7
1
5 b 3 n 4 5 0 n 3 0 2 n 5
B
m
& Bridge
G
D
Ex 16
A
4 & middle
Bridge &

middle pickup
pickup 5 0 b 1 n 2 3 0 7 3 0 7 n 3 5
0
E
& middle pickup m33 00a m a m a m a m
# Bridge n 66 33b5 00n 3b 4 0
1
E a m a m a m 00a m33 00a 66 m33
4
E
3 4 b 0
3 0 n
B
B
&16: hyBRiD
4 sCALes 5 3
n n
G 0 2 5

G
- DoRiAn/BLues/mAJoR 5 0 2 5
0 1 2 n 0 3 7# n
D 0 3 5
b n
Ex 16
D 5 0 0 3 5
5 n .
eXAmpLe E 3 0 penTAToniC 0 just 3 that. This uber scales

a solo. In this descending lick I have done
mm aa mmscale (allw 12and
A
A 5
5 0 1 2 0 3 7
B 6 3 0 0 3 6

E
Theres no rule that says we must exclusively use5one scale 3 4 at a 0 time while spelling 3 could 7 now be seen 0 as 2 (R-2-b3-3-4-b5-5-6-b7), you can see its
#Bridge n
E 3 7

G 1
4 of different m ina
b n b b n you may3 even7 prefer to view this lick as a chromatically derived one.
D 1
improvising; its perfectly acceptable
& middle pickup
m
(and m a
m
amany awaysm 5 aa mm3 5 to0aa mm0 1 just2 three
m preferable) a
anotes
m a m
a
m short
0 m3 a
of 5 mm aaachromatic
abeing semitones); and
& notes 4 a m a m n n n a m a# mn a b m n a m a m
A 0 3 7
combine the
Ex
E
1
scales and visit each one throughout
Ex 16 3m a m a m
. w
16
n 6 6 5 3 5 5 5 3 4 5 3 5 3 2 5 2 5 4 3 1 2 0 n
E
B 6 5 3 3
#4
G
Ex 16 Bridge & middle pickup
b n b b n
D
& 4 n n n m m # n m 3 m 1 3
A

#4 n
E
6 b n n . w
b 6 n b 6 5 b 3 5 3 n 4
E 1 3
B m
5 3 m 3 mm
&
G
D 4
Bridge &
pickup
middle pickup
5
5
5 n 3 n
n 5 5 5 # 4 n 3 b 1 n 2 3 0 1 3
3 2 2
m m m m n . w
Ex 17
A Bridge & middle
E

#Bridge n b n b
1
E
3
3
m m33 m m
& 44
E & middle pickup
5 b
B 6 55 3 3
5
B 6
3 3 2
G 6 6
6 55 3 5 3
3 4
5 55 55 44 33 11 22 3 00 1 3
G 6 3 5 4
3b n
D
Ex 17
D 5
5 5 5 3 3 2 2
2
6
E 3

A 5

A
B 6 5 3
#4
E
G 1 6 5 3 5 3 4 3 1 3
D 1 m
m mm 5 mm 5 mm b5 3 5 mm3 2 5 mm2 5 4 n 3 b mm1 n 2 b mm0
& 4 3 1 3
A
m the msound. mYou may prefer m of scale

m bluegrass
E
mstyle b nlick
using
Ex 1
Ex 17
1717: CounTRy sCALe Here is ma think

m

eXAmpLe E bluegrass to the G Country 3 (G A Bb B
B 3 0 0
Country scale. Ive
G
#4
used alternate flat picking here to help cement that0 3 D 2 0E) as the 0 second mode of the
3 E Blues
3 2 0 scale (E G A
2 0 Bb B D).
0

n b n b 2 2
Ex 17 0 2 0 2 2 0

D
& 4 0 1 2
b
0 3 2 0 0 3 0 3 0 3 2 0 2 0 0 3
A

#4
E 2 3
b n
E 1
B
& 4 0 2 0
b 2 2 0 n b n b 2 2
0 1 2
G

D
b n
2 3
A
E
#
1
E
E 3
3
n b n b
B 3 0 0 0
2 00 22 00 22 22 00
B 3 0
&
G 0 3 2 0 0 3 3 2 0 2 0 0
n 2b 0 0
G 0 3 2 0 0 3 3 2 0 2 0 0
D
D 2
2 2
2
E
0 3
A
A
B 0 1 1 2 3 0 0
#
E
E 2 3
2 3
0 3 2 0 0 3 3 2 0

G 1
& 3 0 0 n b 2n 3b
1
D 0 2 0 2 2 0 2 2
A 0 1 2
n b
E
1
E
B 3 3 0 0
# n b n b
G 3 3 2 0 2 0 0 0 2 0
2 2 0 2 2 0 2 0

D
& # 3 0 3 0 3 0
2 1 0

A

E 3
n b 3 n 0 b 3 2 0 n b
E 4
2 2 0 2 0 0 2 0 2 0 2 0 2 2 0 1 0
B
&
G
n b 3
D
A
E
4
E
E 3 0
3 0 0 0
B
B 3
3 3
3 0
0 0
0
G
G 3
3 3
3 2
2 0
0 2
2 0
0 0
0 0
0 2
2 0
0
D
D 2
2 2
2 0
0 2
2 2
2 0
0 2
2 0
0
E
A 3 0 0 2 1 0
A
B 3 3 0 0 2 1 0
E
E 3
3
G 4
4 3 3 2 0 2 0 0 0 2 0
D 2 2 0 2 2 0 2 0
A 2 1 0
E 3
4 April 2015 GuitarTechniques 41
eXAmpLe 18: CAGeD DeRiVeD ARpeGGios This example guides you shapes/arpeggios on the fretboard when soloing, so its important that
through
7 the arpeggios that can be extracted from the CAGED major
7 you familiarise yourself with them - you should be able to picture all five
chord shapes. Many country guitarists prefer to visualise these chord shapes (C-A-G-E-D) in every key, all over the neck.
Ex
Ex 18
18
C
C -- form A
A -- form G
G -- form

form form form
D D D

D D D
#
7
& # 44
7
7
Ex 18
Ex
Ex 18
18

C -

form AAA ---Dform G -
form
Bridge pickup C
CD-- form form G
form
G -Dform
-

## #
form form

D D D

D D D
# 44 Bridgepickup 22 22 55 22
E
E
B
B
G
&
& 44
3322 22 33 3
3 2
55777 7 77 55 77 7 10
10

7777 7 77 1010 1010 1010
G
4 4 2 4 7 7 4 7 7 7
4 7 7
7 4 7 7
D
D Bridge pickup 4 4 4 5 7 7 4 5 7 7
A Bridge 5 5 5 5 9 9
A
E Bridge pickup
pickup 5 5 5 5 5 5 9
10 10 9
E 1 10 10
1
E 2 2 5 2 5 5 10 10
E
B 2
3
2 3 2 5 2 3 5
7 7 5 7 10
7 7 10 10
10 10
3 2 5 2 3 5 7 5 7 10
E
B
G E 3
2 2 3 2 7
7 7 7 7 7 7
7 7 10
7 7 10
E -- form 3 3 7 D - form 7 10 10
B

G form 2
4 2
4 2 2 7 D - form
4 7 7 7 7 7 7
D 2 2 4 7 7 7 7 4 7 7

G D D
D
A D 4
5
4 5 4
4 4
4 5 7
5
7 5D4 4 7
7 7 4 5
7 4 7
9
7 9 7
7

D
A 5 5 5 5 5 5 9 10 9
##
E 5 5 5 5 5 5 10
9 10 9
A
w
E
E
1 10
10 10
1
& EE -- form
1
E - DDform
D - form
form
D
D -Dform
-
D
form

D
w
D
## # w

E
E
B
B
& # 77 10101010
& 11 1010 1010 1010 11 14
14
1515
14
15 14 15
15 15 14 11
G
G 7
7 7 11
11 11 11 14
14 11 14
11 14 14 11
D
D 7 9 12
12 12
12 12
12 12 12
12 12
12 12
12
A
A 9 10 12
12 9
9 12
12 12 9
9 10
E
E 6 10 10
10 10
10 10
E 6 10 10 14 14
E
B
E 19 7 10
10
10 10 10
10 10 14 14
15 14 15 15 14 15
eXAmpLeEx
B 1919: usinG
7 ChoRD
7 Tones11 AnD TheiR neiGhBouRinG
10 11 10 10 noTes
10 youre reacting
15 to the11chords
15 rather
14 15 than
11 harmonically predicting them.
Ex B
G 7 10 10 11 14
15 15 14
G
D 7 7
G around chord7 shapes 11
12
11 C - form 11
12 11 11
11 12 A 14
A -- form
12
14 12 11
11 14
14 14
14 11
11this 12
Soloing requires you
C - to
formhave one ear listening However, with
form practice and experience will pass. The examples here

D 7 12 9 12 12 12 12 12 12
n
A 7 9 12 D 12 12 12 9 D 12 12 12
n #
D
out forAEEA your 9
accompaniment, as 12
when theD 9
chords 12
change youll need to 12 9 showcase D how we can incorporate neighbouring notes to the chord tones
j
# nn j #

10
9 10 10
12 10 9 12 12 9 10
4
6 10 10 10
#
10 10 10 10 add chromatisism to our solos. Check out Vince Gills track, Take Your
formplaying to sound
E 6
alter the6 shape that youre soloing around. If youve never approached
3 to
jj a case study for soloing in this manner.
# like n
3 3
& 4 C -
3
soloing
Exin
19this way, its normal at first for your Memory With Youb as
Ex
Ex 19
19
A - form b

C - form A
A -- D
form
6 n
CD - form form
## # 4Bridge ##
6
nnn jjj ## 3 333 333

3
n
D D
5
3 6
n
D 3 D
n
6
4
Bridge pickup
pickup
22
bb j nn
jj
& # 44
& 2 3 #

E
E 332 1
1
2
# 5777 b 6 7 5
5 7
7 5
5 8 7 6 5

B
B 3 6 7 6 7 8 7 6 5
G
G 2 3 4 4 322 4 7 6 7 6
6
6 7
7
D
D 4
4 3 4 5 2 77 6
6
7
7 6 6
A Bridge pickup 5 3 3
3 5 5 6
A Bridge
Bridge pickup
pickup 5 5 2 5 5
E
E 5
5
1
1
E 2 1 2 5 5 7 5
E
B
E 2
3
2 1
1
2
2 3 5
7
5 6 7 5
5 7
7 5
5 8 7 6 5
B
G
B 3
2
3 3
3 4 2 7
7
7 6 7 6
6 7
7 8
8 7
7 6
6 5
5 7
G
G -- form 2 4 E
E -- form
4 2 7 7 6
6 7 7
G
D form 4 4 form 7 6
2 2 7 7
..
G
n
D 4 4 D 7 7
# n # n #
D 6
A D 5
4 4 5 2 D 5 5
7 7
# n ...
D 6
A 5 5
5 2 5 5
## # # n n b n J
E
A 6 5 2 5 5 5
E
E
1 6 5
5
1
& GG #-- form

1
G -Dform
Dform
E - form
E
E --Dform
.
D
... n
form

3 3 3 3 3
n
D 3 3 3 3 3

3 3 3

3
n
D 3 3
## # ## n bb #
# ... n ## nn ## nn ##
6
n n n JJ
6 6
& # ##101077 # n
6
&
# n
7 10 9 8 101010 ..
.
E 10
10 12 10 13 12 10
E
B
B
G 7 7 10
11 3 10
11
10
310 12 3 10 11 310 12 3 13 312 10 312 10 3 11
G 7 7 10 9 8 7 11 3 10 11 3
3 12 3 3 10 11 3 3
3 3
3 312 10 3
3 11 12
D 7 7 9 8 7
7 9 7 12 3 3 3
9 7 9 8 7 12 12
D 7 6
A
A 9
9 9 9 6
6 12
12
E
E 10
10 10
10 10
10
5
E
E
5
10
10
7
10
10
10 10
10
10 12 10
B
E 10
7 10
10 10 13 12 10
B
G
B 7 D 7 10 9 8 7 11
10 10 11 10 12 10 11 10 12
10 12 10 11 10 12 13
13 12
12 10
10 12 10 11
D7-- form
# n #
G
D 7
7 form
9 8 7 7 7
7 10
10 9
9 8
8 7
7 11
12
11 10
10 11
11 12 10 11 12
12 10
10 11
11 12
# w
G
9 7 D
7 7D 9 9 8 7 7 12 12
D 9
A 7 8 7 9 7 12 12
# n
D
A 9 9 9 12
#
E
A 10
9 10 9 9 10
12
& #
E 5 10
10 10
10 10
10
D - form
E 5
5
## DDform 33 n # 33
D
D --Dform
## n # ww
3 3 3 3

3 3
# n
3 3 3
## # # n
3
14
E
E
B & #
& 14
15
15 15 12
12
13 13 14 14
3 15
13 14 3 15 15
B
G 14
14 14 3
11 14
3 11 13 12 3 12 3 3
G
D 12 12 3 3 13
3 12 3
3 14 12 3 13 14 3
3 3 3
3 3
3
D
A 12 12 3 14
A
E
E 8
8
E 14 12 13 14
E
B
E 14
15
14 15 12
12 13
13 14
14 15
B
G
B 15
14
15 11 14 13 12 12 13 14 15
15 15
15
G
D
G 14
12
14 12 11
11 14
14 13
13 12
12 14 12
12 13
13 14
14
D
A
D 12
12 12
12 14
14
A
E
A
E 8
E 8
8

eXAmpLe 8 20: peDAL sTeeL/G-BenDeR imiTATion I was first introduced both worked at The Fender Soundhouse in London during the early 70s.
to this style
8 of bend by my teacher, Colin Pincott. This example is inspired Its tough, as the first finger has to pull the third string towards the floor.
by a tune
Ex that
20 Colin recalled playing with Seymour Duncan when they Check out Brad Paisleys albums to hear an actual G-bender in action.
Ex
8 20
E sus2 E E sus2 E7 E9 E7
8
# # # #
44
E sus2

E
E sus2 E7
n E7
E9

& # # # # E
n E
9 E7
Ex 20

Ex 20
& # # 4 E
E sus2 E sus2
E sus2
E7

E 7 E9 E7

Hold
8
# 4 n
E sus2
& # ## # # 4 Bridge
Ex 20 pickup
& middle

n
& 4 Bridge & middle E7
RP
pickup E sus2 BU E bend
Hold E sus2
BD BUE 9BD E 7
# # BU bend BD
RP
E
BU BD
& # # 44 Bridge & middle 14 1111 BU((1313Hold n12
E ) (13
G
B pickup RP) (11 ) 9 (11 ) ( 9)
D bend
Hold 14
G ) RP)BD(11 )
(13 9BU(11BD
) ( 9)
14
11
A
E
D
E
B
14 BU bend BD 14 12 BU BD
A 1
E 14 11
G
E 11 (13 ) (13 ) (11 ) 9 (11 ) ( 9)
D 1
G 14 11 (13Hold
) RP) (11 )
(13 14 12 9 (11 ) ( 9)
A
D 14 14 BU bend BD 14 11 12 BU BD
E
EA 1 14 11
BE Asus2 A A sus2 Csus2 C C sus2 E
# ## j # ww
G 1
14
( ) (13 ) (11 ) ( 9)
n
11
Csus213 (11 ) E9
Asus2 A A sus2 C C sus2 12
& # ## # #Asus2 A n nn n C Csus2 # Eww

D 14
j
A

14
11

A # Ewww
E A sus2 Csus2
& # # Asus2 n C C sus2
1
j
#
n
A sus2 Csus2
j
& # ## # #Asus2

Hold
bend
Hold

BDA sus2

nn n C Csus2
nCsus2 #w
& BUA bend n BUw
RP
BU BD E
# # jBU# w
RP
E
BU Hold BU BD (13w)
& # # 7 n n10 n 7 (9) (7)
BD
7 4 BU(6bend (
w
B

E )
G Hold RP6) (4 ) 11
B
D bend 7 BD 14
G 4 ( 6) ( 6)
RP (4 ) 7 BU( 9)BD(7 ) 11 BU
(13
14 )
A
E
D
E
B
7 BU BD 7
10

10 BU BD BU14
A 4
E 7 Hold 10 14
G
E
B 4 ( 6) ( 6) ( 4 ) 7 ( 9) (7 ) 11 (13 )
D 4 7 4 ( 6bend
) ( 6) ( 4 ) 7 10 7 ( 9) (7 ) 11 (14
13 )
G
A 7 RP 10 14
Ex
E 21 7 7 10 14

D BU BD BU BD BU
n
eXAmpLe
EA 4 21: B-BenDeR 7 imiTATion BenDs This example begins with10 These are difficult at first - not helped by14the activity on the first string,
Ex 21
C

holding
the second

14
BE
an ascent up the C form arpeggio4shape. In the second bar we see one of which must all be executed while string bend. Ive
G 4

4
( 6) (6
C) (4 )
b n 7 ( 9) (7 )
n
11 (13 )
your performance.

the most
D common bends in7country guitar: the B-bender imitation bend. included fretting hand fingering numbers
14 to help

Ex 21 7 10
&
4 b n n
A 7 10

EEx 21

C
&
4 n
4

b n
C
Ex 21 4
&4 pickup
Bridge & middle
C
b n Hold
RP
&
4
bend
BUn bend
RP

Hold
BD
13 13
pickup
Bridge & middle
b13 n14 12
RP
E 15 13
4
RP
(17) BD(15 )
B 15 BU (17 ) Hold (17 )
&4
E
G 14 15
bend 13
Hold (RP
17 ) (RP
17) (15 )
13 15 BU(17 ) bend 13
D 12
G
A 15 12 14 RP BD
E
D
E 12 13 14 BU 15 RP 13 BD
B
A 1 15 13 15 (17 ) (17 ) (17) (15 ) 13
E
G 12 14 15
Hold 13
E
B Bridge & middle pickup 13 15 (17 ) bend (17 ) (17) (15 ) 13
D 1
G 12 13 14 12 14 RP
A 15

12 13 14 BU RP BD

D
13
E

15

EA 1 15 13

12 14 w 17
( ) (17) (15 )

BE 15 (17 ) 13
G 1

15
13 14 w

D 12
&
A
E
&

w

1
w
& BU bend Hold
RP RP
Hold
& bend 15 RP
RP
bend

BD BD
RP RP
BU bend
Hold Hold
E 17 RP 15
(17 ) BD(15 ) 13 BU RP 13 BD w
B 15 BU(17 ) Hold (17 ) 15 Hold
(17 ) (17 ) (17 ) (15 ) 13 13
& 15 BU(17 ) Hold
E
G 17
bend 15 RP bend
Hold 15 13 RP
(RP) (17 ) BD(15 ) 13 15 BU(17 ) (RP
17 ) (17 ) BD(15 )
bend 17 13 13
B
D
G RP bend RP
A
E
D
E BU 17 RP 15 BD BU 15 RP 13 BD
B
A 4 15 (17 ) (17 ) (17 ) (15 ) 13 15 (17) (17 ) (17 ) (15 ) 13 13
E 17 15 15 13
G
E
B 15 (17 ) Hold (17 ) (17 ) (15 ) 13 15
Hold
(17) (17 ) (17 ) (15 ) 13 13
D 4
G bend RP bend RP
A RP RP
D
Ex 22 BU BD BU BD
E
EA 4 17 15 15 F 13
F C
Ex 22
BE (17 ) (17 ) C
(17 ) (15 ) (17) (17 ) (17 ) (15 ) C
15 13 15 13 13
G 4

AnD G-BenDeR n
and
C
eXAmpLe 22:4B-BenDeR then move firstwstrings to play a

D
onto
n to B-bender
Ex 22

&another,
4 perhaps approach

imiTATion ComBineD
lick. You could view this as being played
pulling it down. We the
second

Country lick around
A
Ex
E 22
Here we see
G-bender & 4 b
more conventional
Cthestring
C
n
than

F
shape

C
w either the

4

b n
Hold
pickup b n nn Hold Hold w
F scale C

& 44Bridge
imitation. Here were bending up, as opposed to C or the G form CAGED shape.

bend RP RP RPBD w
pickup C b n BU bendRP RPBD F BUbend RP RPBD CBUbend
Ex 22 & middle
& 4Bridge
bend RP bend
Hold Hold
10 ) 5 (10BD)(8) 5 BUHold8RP 5 RPBD
Hold
bend
& middle
E
BU Hold
n 5 BD 8BU(10 8
7 bend
( 9) ( 9) RP ( 9) (7)
& 44 Bridge & middle 5 7BU( 9)bend
8 RP 5 BD
( 9) ( 5w
B 8 RP ) (RP
Hold
5

E Bridge & middle pickup ( 9) RP 7) 5 8 5 RP
8 55 b 66 n 77 5 7 BU 8 RP 5 BD
G Hold Hold
B
D
G
A
pickup 7
5 7 ( 9)
Hold
bend( 9) RP
( 9) ( 7) 5
8BU(10 ) (10 ) (10 )( 8) 5
bend RP RP BD BU
7 bend
( 9 )
8 RP 5 BD
( 9 ) RP
( 9) (7 ) 5
E
D
E BU 8 RP 5 BD BU RP BD
B
A 1
E 8 (10 ) (10 ) (10 )( 8) 5
8 5 8 5
G
E
B 8 5 7 ( 9)Hold
( ) ( )( )
8 9 5 9 7 5
Hold (Hold
9) 8
8 (10 ) (10 ) (10 )( 8) 5 7 bend
( 9) ( )
5 9 (7 ) 5
D 1 Bridge & middle pickup 5 7 bend
( )bend( 9) RP( 9) ( 7) 5 RP 7 ( 9) ( 9) RP
( 9) (7 )
7 5 7 5 7BU9 5
G
A
D 5 6 RP BD BU RP BD BU RP BD
E
EA 1
8 5 6 7 8 5
BE 8 8 5 8 (10 ) (10 ) (10 )( 8) 5 8 5
G 1 5 7 ( 9) ( 9) ( 9) ( 7) 5 7 ( 9) ( 9) ( 9) (7 ) 5
D 5 7
A 5 6 7
E 8
1

eXAmpLe 23: LineAR mAJoR penTAToniC sCALe pATTeRn Using Brent Mason-inspired run based on G major Pentatonic, with additional
linear scale
9 patterns (going up and down the neck as opposed to chromatic notes. This is a great corridor to work your way up to the G
vertically across the strings) is a great way of escaping the Pentatonic major Pentatonic scale shape at the 15th fret. Aim to pop the first note
box and breaking out into other areas of the fretboard. This example is a of each beat.
n n #
Ex 23
b n
9
#4
3
9 3 3
b n b n
& 4
b n
n n 3 #
9 23
b 3 n
Ex
b n
9
Ex 23
Ex 23 #
nPM n #
3 3
4 b n
b 3 n PM b n PM b n
3
3

& #
44 b 3 n nn12 nn13 ##14
3

Ex 23 PM 3 PM 3 PM

& ## 44 b 33 n b 3 n b 3 n 8 10 bb113 nn12 10
b 3 n 5
E
15
B
& 4 PM b n 7 bb 8 nn 9 7 PM7 b 83 n 9
3
5 bb 6 nn 7
G
& 4 Bridge & middle

5
Bridge & middle pickup 3 3
5 b 6 n 7
D

PM
b n
A PM PM PM PM
E pickup 3 3 3
E 1 PM PM PM 3 10 PM12 13
3 14 15 PM 3
m m etc 10 11 12
3 8
E
G
Ex 24 Bridge & middle pickup PM PM PM 7 PM 7 8 9 PM 10 12
PM 13 14 15
#
.
B
D PM used 5 PM 7 8 9 8 PM
10 11 12

PMpickin is widely PMnotes on the PMto be played muted to create

eXAmpLe 24: ChiCKen piCKin 6Ths Chicken TheD pick
7 Eup G third string10need

A
G 5
Am 5 Bm
6 7 C m7 8 9
F dim

12 13 14 15

E G
3 here
5 6are7played in sympathy
5 7
8 clucking
9
.
D
among country players. The descending 6ths the sound that
8 gives the12technique its name:
14 15 you can either

E
B 10 11 10 12 13
#4 n #
A 1 5 5 6 7 m etc

B
G m 7 7 8 9 8 10 11 12

with the V7 and IV7 chords. The first run down 5of 6ths
6 7from D7 is implying palm
8 9 mute 7or fretting hand mute these. Its even acceptable if the pitch
7
E 3

G
D 5 7 7 8 9
& 4
1
D
Ex 24
A 3
D Mixolydian, whereas the 6ths descending from C7 imply m 5 6 7 m 5 etc
5 C Mixolydian. 7 5 8 the
of 9 notes isnt audible, as were aiming for a percussive sound here.
.
#

A 5 5 6 7 6
#
E
7 Am Bm mmCC
D Em F dim G
Ex11 24
E 3
5 G6

.
m etc
Ex 24 #
G

m
Am Bm

etc

D

Em

F dim G
n #
3
& # 444
Ex 24
Em

F #dim
# .. n #
8
Am Bm C D Em G
7
G

3 5 ..
Am Bm C D F dim G

G
& ## 44 Bridge & middle 7 9
9 nn103 ##11
5 3
4
E
10 12 14 15
B
& 4

G
pickup 11 12 14 16
D
A
E
& 4 Bridge & middle pickup
E
B
1
3 5 7 8 10 12 14 15 33
E
G 4
3 5 7 9
8 11
10 12 14 16
15 9 10 11
B
D
A
G 4 5 7 9 11 12 14 16 9 10 11

E 3 5 7 8 10 12 14 15
n
D7 C7 G
b
D
E

B 3 5 7 8 10 12 14 15
# w 99
1
A

# b n
B
4 5 7 9 11 12 14 16 10 11
G
# n b n n # b n n
E
b n b nw
G
D 4 5 7 9 11 12 14 16 10 11
&
1
D
A
A
E

1
E
# DD 77 # 3
n 3 b
D7 C7 G

3

1
n
# 3
b n C7
3
n # b
C7
G
w
b n n b n n b n b nGGw
3 3
& # D107 # 8 # n 7 b n C7 nn 8 # bb 6
& ## 7 # 38 9 b n n
5
b n b n n 5 b n b 3 n ww3
5 ## 36 nn 7 5 ##36 7 bb 3 nn 43 nn 5 bb 1 nn 23 bb 3 nn www4
E
# 3
bb 3 nn 43 nn 5 7 b 83 n 9
B
&
G 3
D
A
E
& 3 3 3 3 3
E 5 10 3 8 7 5 3 8 6 5 3 3
B m etc 3 3 3 3 3 3 3
3 3 3 3
E
G 10 7 8 9 8 5 6 7 7 3 4 5 5 7 8 9 8 5 6 7 6 3 4 5 5 1 2
3 3 3 4
3
B
D
Ex 25
A
G
E 10 7 8 9 8 5 6 7 7 3 4 5 5 7 8 9 8 5 6 7 6 3 4 5 5 1 2 3 3 4
3
# 4
D
E
B 10 8 7 5 G 8 6 Am 5 3 Bm 3

A
B 5
G 7 8 9
m etc 5 6 3 4 7
8 9 5 7 5 6 7 3 4 5 1 2 3 4

E

G
D 7 8 9 5 6 3 4 7
8 9 5 7 5 6 7 3 4 5 1 2 3 4
eXAmpLe& 4 3RDs Along with 6ths, 3rd haveto bethe
D 5
A m etc
A 25: DouBLe-sTop
Ex 25
E
E 5
shapes so that you can use them spontaneously during your own
these
solos. Palm mute
around the triads
most commonly
5
Ex 25
m etc
used
m etc
double-stops in country guitar. Were climbing
G up the notes on the fourth string.
Am Bm I recommend you check
Ex 25 # 4

who has made of double-stops.
use
great
Am
of G major here and you would do well to memorise out EnglishmanAmRay Flacke
& # 44 Bm
Bridge & middle pickup G Bm
G
Ex 25

& ## 44 3
G
3 5 5 7
Am Bm

4 5 4

5 4 5 5 7 5 7 5 7 7 9 7 9
E

& 44
B
&
G

D pickup
Bridge & middle

m3a etc
A
E
E 1
m3a
B Bridge & middle pickup 5 5 7
E
G Bridge & middle pickup 4 4 5 5 7
B
D 4 5 3 5 3 5 5 7 5 7 5 7 7 9 7 9
A
G 4 4 # 5 5 7

E
5 7 7 7 9
D C D 4 5 E3m 5 5 5 7F dim5 7 7 7G 9 9
44 55 55
E
B 3 5 7
#
A
B
G
1
a
3
4 a
3
4 etc 5 5 7
&
E

m
4 m
4 5 5 7

G
5 7 9
D
D
A
A
E
1
a
m
a
m
5 etc
5 7 7 7 7 9 9
#

E 1

Ea a etc

C D am F dim G

1 a etc

m m
# #

Em m

C D m F dim G
&#

C D Em
12
FF ##dim

G
G

15
& ## 7 13 13
C D Em dim
7 12

12 16 17
E

&
B 8 8 10 10
& 9 9 11 11 12 14 14 16
G
D 9 9 10 10 10 10 12 12 12 12 14 14 14 14 16 16 16
A
E
E 3
B 7 8 8 10 10 12 12 13 13
a
15
m
E
G 7 9 9 11 11 12 12 14 14 16
B
D 7 9 9 10 8 10 8 10 10 12 10 12 10 12 12 14 12 14 12 14 14 16 13 16 13 16 16 17 15
A
G
E 7 9 9 11 11 12 12 14 14 16
D
E
B 7 9 9 10 8 10 8 10 10 12 10 12 10 12 12 14 12 14 12 14 14 16 13 16 13 16 16 17 15
3
A
B
G
E
G
D
3
7
7 9 9 10
8
9
9 10
8
9
9 10 10
10
11
12 11 12
10
11
11 12 12 14
12
12 14
12
12 14 14 16
13
14
14 16
13
14
14 16

16 17
a
15
16
16
m
D
A
A
E
9 9 10 10 10 10 12 12 12 12 14 14 14 14 16 16 16
16 17 m
a
3
E
3 m
a
a
m
eXAmpLe
10 26: DouBLe-sTop 3RDs WiTh ChiCKen piCKin Just like visualising the triads on the top three strings and chicken pickin on the
Example 25, were ascending the neck using double-stops, but here were fourth string - very Brent Mason.
Ex 26
# # C #m D #dim
# N.C. #
E F m G m A B E
N.C. N.C.
#

N.C. N.C. N.C.
n
N.C.
#
N.C.
#

#### 4 # # n # n # n # n # n #

b n
10

&
Ex 26 4 n# n # #

G #m C #m D #dim 3
# N.C. #
E F m A B E
N.C.3 N.C.3
N.C. N.C. N.C.3
n

N.C.3
#
N.C. 3
#

#
# # #Bridge # PM PM # PM
PM PM PM n # PM
n #

3 3
4 5 b n 7 n # 9 n # 11n # 12
& middle pickup
#4 PM
E
B
G
& 4 n # 5 n # 7 9 10 12 14
14
16
16
17
3 16 3
D 4 5 6 5 6 7 7 8 9 9 10
3 11 11 12
3 13 12 13
3 14 14 15 16 17 18
A 3 3 3
1 PM PM PM PM PM PM PM PM
E
a etc
m
4 5 7 9 11 12 14 16
B
Ex 27 5 7 9 10 12 14 16 17

G
eXAmpLe 27: DoTTeD 8Th ALBeRT Lee G DeLAy eFFeCT From my its engaged. Set the delay12so13 theres only one repeat, with Delay Volume
100%.
D 4 5 6 5 6 7 7 8 9 9 10 11 11 12 13 14 14 15 16 16 17 18
experience of teaching country, one of the first questions thats asked is
sointhis case
The maths works out as the number 45 divided by the tempo of the
A
E
#4 .. its:
as45
you 150
the lastnote. j Be sure
..
Can you show me the Albert Lee delay effect? So I ahad
1 to include it here. song, = 0.3 - or 300 milliseconds.
& 4
etc
The first cycle of this example is played without delay,
m then on the repeat to switch off the delay pick
Ex 27
delay
G
onrepeat
Engage

#4 j ..
.. 15 12 14 12
PM
E
B & 4 . 15 13 15 12 13 12 .
G
D
A Bridge & middle pickup
.Engage delay on repeat 14 12 14 11 12
14
11
12 14 10 12
14
10
12 14 10 12 10
.
E 14
1 PM
E
B . 15 12 14
15
12
13 15 12 13 12 .
G
D
A
. 14 12 14 11 12
14
11
12 14 10 12
14
10
12 14 10 12 10
.
E 14
1
3 fuLL
PART GUITAR PIeCe MAGAZINE
TECHNIQUES 241 Steve Laney
TRACK 39
GUITAR TECHNIQUES MAGAZINE 2 4 1 PREP FOR A COUNTRY GIG
Steve Laney
CompLeTe pieCe
GUITAR To wrap things
TECHNIQUES up we have
MAGAZINE 2 4 1 a full piecePREP
basedLaney
Steve around
FOR then switches
A COUNTRY GIG to a more rockabilly or Chet Atkins flavour. We then have a
an 8-barCOMPLETE
sequence inPIECE
G that then modulates to Bb for thePREP
solo and
FOR a nice melody
A COUNTRY run incorporating open strings, before modulating into the key of
GIG
COMPLETE
harmonic

PIECE
lift. We start with some honky-tonk Gstyle
7 hybrid picking
C /G that G 7
j C/G j times
Bb for the
Play 4 C/G solo, whichG
uses j
13 many techniques from the previous examples.
# j .
.. G7 nb n C/G jj G7 b n C/G
j Play b n
COMPLETE PIECE G7 C /G G7 G 13
4 4
Play .4 j .
& ## n b n jtimes
.. b n
times
& 44
G 13
.. nb
. b n .
.. nb n b n ..

& 4 Bridge & middle

pickup
E
. . 3 3 3
. .
B
E 3 5 3 5 3 5 3 5 3
G
B 3
3 4 5
5 5 3
3 4 5
5 5 5 3 3 4 5
. 3 3333 .
D
E
G 3 4 5 3
3 4 5 3
3 3 4 3 5 3 5
A
5 5 3 5 5 5 5 3 5
B 3 3 5 5
.
5
. 3 3
D
E
G
A 4 3 5 3 3 4 3 5 3 5 3 3
4 5
3c
1 6
D
E
A 1
3 5 3 3 3 5
6
5
3
c
a 3 m cc 5 aa 5
3 c 5
E
1
3 3 3 3
6
3 c a m 3 c
D9 a m c a c
C9
j
C7 G13 j j D7
# j . D9
j b . b n . jj ..
.. ..
C9 C7 G13 D7
. .

& ## j b . j b n
. .
C9 C7 G13 D9 D7
& b n . . . .
& b . . .

E 3 3 3
B
E 3 1 1 3 5 3 5 3 5 3 3
G
B 3 3 1 3 1 2 5 3 3 4 5 5 5 3 5 3 4
D
E
G 2 3 2 2 3 3
3 3 4 3 5 3 5 4 5 4 4 5
A 3 3 3
1 1 2 5 5 3 5 5 5
B
D
E 2 3 2 2 3 3 3 3 5 5 5 5
4 5 4 3 4 5
3 4
G
A 7 3 a 3 3
a 3 5 3 4 5 5 5 5 5
D
E 3 2
3 m 2
2 m 3 a 2 3 3 3 3 5 5 4 5 4 4 5 4
A 7

a
3 m a
3
a 3 m a 5 5 5 5
E
7
a m
3 3 5 5
j m a
j
j
G13 C9 C G 13 D7
# G13
j b n ..
C9
j b. . .
C
j G 13
. ..
D7
..
& ## j b n .
b . . . n j . #
j
G13 C9 C G 13 D7
& b n .
b . . . n . # .
& n #
3 3 3
E 3
B
E 3 5 3 5 3 3 1 1 3 5 3 3
G
B 5 3 3 4 5 3 3 1 3 1 2 5 3 3 5 3 4
D
E
G 3
3 3 4 3 5 3 5 2 3 2 2 3 3
3 4 5
A 5 5 3 5 3 3 5 5
B
D
E 3 3 3 5 5 5 3
2 3 2 1 2 3
1 2
3 3 5 3 3 4 5
3 4
G
A 10 5 3 4 5 3 3 3 3 5 5 5
D
E 3 3 3 3 5 5 2 3 2 2 3 2 3 3 3 4 5 4
A 10 5 5 3 3 5 5
E
10
3 3 3 3 3 April 2015 GuitarTechniques
5 45
G 13
G 13
j G
bG n
C
C
&
& b n b . . . n #
n #
play: COUNTRy
E 3 3 3 3
E
B 3 5 3 5 3 3 1 1 3 THE
ON 5 CD 3 TraCk3 12-40
B
G 5 3 4 5 3 3 1 3 1 5 3 5 3
G
D 3 3 3 4 5 5 2 3 2 2 3 2 3 3 4 5 4
D
A 3 5 3 5 5 5 3 2 2 3 2 2 3 5 3 5 4 4
A
E 3 5 3 5 3 3 3 3 3 5 5 5
E 10 3 3 3 3 3 5
10
PART 3 fuLL PIeCe TRACK 39
j
## j
G 13 G C
G 13
.. bbG nn n C
& n bb nn .. n ## nn bb nn bb # n
& . # n n bb nn
n n
E
E
B
3
3 5
3
3 5
3
5 3 .. 6
6
7 0
7 8 0 6 5 5
5 5 5
.. 8 6 5 7 5 7
B
G 3 4 6 5 5 3 4 5 3 3
G
D 3 3 3 4 3 3 7 7 6 5 5 5 5 3 4 5 3 5 3 5 4 3 3 1 2
D
A 3 5 3 3 5 3 5 5 5 5 4 3 3 3 3 1 2 3
A
E 3 5 3 5 3 3 3
E 13 3 3 14 m mm mm mm m mm
m m
13 14
22 m m m m
22
## bb nn nn nn # n bbG nn n n
G D G
G D
# n n # n b n
& # n bb nn # # # n nn b n
& #
E 6 7 0 6 7 0
E
B 6 7 8 0 6 5 5 7 7 6 7 8 0 6 5 5
B
G 8 6 5 7 5 7 6 5 5 3 4 5 7 5 5 7 8 6 5 7 5 7 6 5 5 3 4
2
G
D 7 7 6 5 5 5 5 3 4 6 7 5 7 5 6 7 5 7 7 7 6 5 5 5 5 3 4
D
2
A 5 5 6 7 7 6 7 7 5 5
A
E
2
E 16
2 16
24
24
etc
C etc G
mm aa mm mmD aa G
## C
b # n
G
b nDD
D G
...
& ##
C

G G

bb ## nn nn bb nn bb nn # n ..
C G G
&
& b n
b n ..
& b # n n bb nn b n
## nn bb nn
n # n
E
B
E ..
..
G
B
E 5 3 3 5 3 0 3 0 0
D
G
B
E 5 3 5 3 5 4 3 3 1 2 5 3 0 5 3 0 5 0 5 3 0 3 0 0
..
A
D
B
G 5 3 5 3 5 4 3 3 3 3 1 2 3 5 3 0 5 3 0 5 0 5 3 0 5 3 0 5 0 5 4 3 3 1 2
E
0 5 3 0 3 3 3
A
D 19
G
E
D
A 27
19
5 3 5 3 5
5 5
4
4
3
3
3 3 3
3 3 3
1
1
2 3
2 3
5
3 0 5 3 0 5

5 m
m
5
0
m
m
5

5
3
3 0 5 m
3 0 55 0
m
0 555 444 3
3 33 3
m
3 33 1
m
1
2
2 33
5 m m m m
A
E
27
E 19
27
19
3 3 3
m m m 5 m 3
3
3
m 3
1
m
2
3

m m m m m m

bbCC nn nn
27 C G
##
nn #
G
## bb nn bb
bbC nn

G
bb nn nn bb
&
G
& ## nn ## ##
&
& Hold #
bend
Hold RP
BU bend RP
Hold RPBD
E BU Hold
bend
12 RP 10 RPBD 10 12 10
B
E 11BU(13 ) bend
12 (13
RP) 10 (RP ) (11 )
13BD 10 11 10 10 11 12 10 12 10 13 12 11 10
G
B
E 11BU(13 ) RP)
12 (13 10 (13BD
) (11 ) 10 11 10 12 10 12 11 10 11 12 11 12 10 12 10 13 12 11 10 12
D
G
E
B 11 (13 ) 12 (13) 10 (13) (11 ) 10 11 10 12 10 12 11 10 11 12 11 12 11 12 10 12 10 13 12 11 10 12
A
D 11 12
B
G
E
A
11 (13 ) (13) (13) (11 ) 10 11 10 12 10 12 11 10 11 12 11 12 13 12 11 10 12
G
D 30 12 12 11 10 11 12 11 12 12
E
A
D 11 12
30
A
E
E 30
nn
30

C D

## bbCCC nn
D
## nn ## nn nn

D

& ## bb

nn
D
## nn ## nn
&
&
& RP
BU RP RPBD
BU RP RPBD
E 12 10 10 13 12 10 10
B
E 11BU(13 ) 12 (RP
13) 10 RP)BD
(13 (11 ) 10 11 10 10 10 10 12 10 13 12 10 12 10
G
B
E 11BU(13 ) 12 (RP
13) 10 (13)BD
(11 ) 10 11 10 12 10 12 11 10 10 11 10 12 10 11 10 12 10 13 12 10 12 10
D 12
G
B
E
A 11 (13 ) 12 (13) 10 (13) (11 ) 10 11 10 10 12 11 10 10 11 10 12 10 11 10 12 10 13 12 10 12 10
D
B
G 11 (13 ) (13) (13) (11 ) 10 11 10 12 10 12 11 10 10 11 10 12 10 11 10 12 12
E
A
D
G 32 12 12 11 10 10 11 12 10 11
E
D
A
32
A
E
E 32
32
bbGG nn
G C
## nn #
C
& bbG nn nn bb nn
C
bb #
## nn ## nn bb nn
C
& nn nn
&
& # bb nn bb ## nn nn bb nn
#
E 6 7 0
B
E 6 7 8 0 6 5 5
G
B
E 6 7 8 0 6 5 7 5 7 6 5 5 3 4 5 3 3
D
G
E
B 6 7 8 0 6 5 7 5 7 6 5 5 5 5 3 4 5 3 5 3 5 4 3 3 1 2
A
D
B
G 8 6 5 7 5 7 6 5 5 5 5 3 4 5 3 5 3 5 4 3 3 3 3 1 2 3
E
A 3 3 3
G
D 34 7 7 6 5 5 5 5 3 4 5 3 5 3 5 4 3 3 1 2
E
A
D 5 5 5 5 4 3 3 3 3 1 2 3
34
A
E 3 3 3
E 34
34
b
b b b b
G D G
G D G j B
B
& b n b # n
n b n
6 7 0
E
B 8 6 5 5
G 7 7 6 5 5 3 4 5 3 3
D 5 5 5 5 4 3 3 1 2
A 3 3 3
E
34
PART 3 fuLL PIeCe TRACK 39
b
b b b nb
G D G
j B
#
& b n J bb b n
# n b n
BU
E 6
B 9 (11 ) 9 6 6
G3 5 3 0 3 0 0 8 9 8 6 8 6 7
D 5 5 5 3 0 3 0 0 8 8
A3 5 5 5 4 3 3 1 2
E3 3 3 3
336
E b B b
b n
b b
b E
b

B
b
3
bb nn nn
& bb bb b bb
3
b b b
bb nn
E B 3
b n
3
bb nn
E B 3
& bb b b b n n
3
b 3 n
3
&
& b b b n
3
b n b n
3
3
3
E
B
E 8 8 8 8 8
G
B
E 6
8 6
8 6
8 6
8 6
8 10 12
D
G
B
E
6 8 6
8 8 6
8 8 6 8 6
8 8 6
8 8 6 8 6
8 8 10 11 12 10 12
A
D
G 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 8 9 10 8 10 11 12 10 12
B
E 8 8 8 8 8 6 8 9 10
A
D 39
G 6 8 6 8 6 8 6 8 6 8 6 8 6 8 6 8 8 9 10 8 10 11 12 10 12
E
A
D 6 8 8 8 6 8 8 8 6 8 6 8 9 10 8 8 9 10 8 10 11 12
E 39
A 6 8 9 10 8 8 9 10
bbb
E 39
b
6 8 9 10

F B

39
F
bb nn b
B
n bb b n bb b n b
.. b n b bb nn
F B
b
F

B
nn bb nn b b n bb
& bb bb
. b n n 3 b n 3 b bb nn b b n
&
& bb . b 3 n
&b
3 3
3 3 3 3 3
RP 3 3 3 3 3
BU RP 3 3 3 3
RPBD 3
E BU RP 18 16 15 13
RP RPBD
B
E BU 13 10 18 16 15 13
G
B 12BU(14 ) 13
RP)
(14 10 (RP
14BD
) (12 ) 10 17 18 19 15 16 17 16 13 14 15 15 11 12 13 13
E
D BD 18 15 16 17
G
B
E
A
12 (14 ) 13 (14 ) 10 (14 ) (12 ) 10 17 18 19 18 15 16 17 16 13 14 15 15 11 12 13 13
D
G
B
E 12 (14 ) 13 (14 ) 10 (14 ) (12 ) 10 17 18 19 15 16 17 13 14 15 11 12 13 15 16 17
A
D 41
G 12 (14 ) (14 ) (14 ) (12 ) 10 17 18 19 15 16 17 13 14 15 11 12 13 15 16 17
E
A
D 15 16 17
E 41
A
E 41
b
nEEbb b
41
nnEEb b b nn
b n bb b n b bbb
b bb bb bb nn n
& bb bb n nn b bb nn b n
nn b b b
bb b n
n
&
& bb n 3 b n 3 b 3 b b n
&b 3
3
3
3
n
3
b Hold
bend
Hold RP
3 BU
Hold
bend RP BD
3 3 RP
E 15 13 11 3 9 Hold
bend13
BU RP 11 RP
BD
B
E 16
15 14
13 13
11 11
9 11 (bend
13BU 15 ) 13 (RP
15 ) 11 (RP
15
BD) (13 ) 11
G
B 16
15 14 13 11 10 12 11 13BU(15 ) 13 (RP
15 ) (15
BD) (13 ) 11
14 15 13 11 9 11
E
D
G
B 16 13 14 11 12 13 13 9 10 11 11 10 11 12 10 12 11 13 (15 ) 13 (15 ) (15 ) (13 ) 11
E
A 15 13 11 9 13 11
D
G
B
E 16 13 14 15 14 11 12 13 13 9 10 11 11 10 11 12 10 12 11 13 (15 ) (15 ) (15 ) (13 ) 11
A
D 43
G 13 14 15 11 12 13 9 10 11 13 10 11 12 10 12
E
A
D 13 14 15 11 12 13 9 10 11 13 10 11 12
E 43
A 13
E 43

43
n b b n b
b nn bb . . # n nn
B F
bb nn # n .. ..
b
n bb
B
# n n F n
b
& b bb n b b n ## nn # n
B
n F

& bb # n . . ## nn
B
## nn 3 nn
F
n
&
&b # 3 Hold
bend
3 Hold RP
3 BU bendRP
Hold RPBD
BU Hold
bendRP RPBD
E 13 12 11 10 6 8 6
B
E 13 12 11 14 10 11 11 6 8 6 9 8 6 6 8BU(10 ) bend RP
8 (RP
10 ) 6 (RP ) ( 8)
10BD 6
G
B
E 13 12 11 14 10 11 12 11 10 11 6 7 6 8 6 9 8 6 9 6 8BU(10 ) 8 (10 ) 6 (10BD
) ( 8) 6
D
G
B
E
A 13 12 11 14 10 11 12 11 10 11 6 7 6 8 6 9 8 6 9 6 8 (10 ) 8 (10 ) 6 (10 ) ( 8) 6
D
G
B 14 11 12 11 10 11 6 7 6 8 9 8 6 9 6 8 (10 ) (10 ) (10 ) ( 8) 6
E
A
D 45
G 12 11 10 6 7 9
E
A
D
E 45
A
E 45
45
Bb
b b # n
b bb b # n n n b # Bb
& bb bb n nn bb # nn
j Bb
n j Bb ww
&
b bb ## nn nn n J n j ww
& bb n b ## n JJ n j www
&b
J
n
w
BU
E 9 8 6 8 6 6 BU
B
E 9 8 6 9 8 6 9 6 9 8 6 8 6 6 BU
G
B 9 9 9 8 6 9 8 6 9 6 9 8 6 8 6 7 (7 )
5BU
E 9 8 6 8 6 6 8 8 8 8 5 (8
D
G
B
E 9 8 6 9 8 6 9 6 9 8 6 9 8 6 9 6 9 8 6 6 7 7)
A
D
G 9 9 9 8 6 8 8 8 6 7 8 8
8)
5 (7
B
E 9 9 9 8 6 8 6 6
A
D
G 47 9
9 9 8 6 8 8 8 6 7 8 5 (8
7)
E
A
D
E 47
A

m
m

m
m

m
m

8

m
m
8

m
m
8
8
8
E 47 m m m m m April 2015 GuitarTechniques 47
47 m m m m m
play: classical ON THE CD TraCk 41
Mozart
Eine Kleine Nachtmusik
This month Bridget Mermikides revisits perhaps the most
revered classical composer of all, Wolfgang Amadeus Mozart,
to arrange and transcribe his legendary Eine Kleine Nachtmusik.
ABILITY RATING been used in both film and TV scores.

at the time of its composition, mozart had Sitting PoSture
Moderate already written an amazing body of work. this An important aspect of technique in classical
included: 38 symphonies, 37 concerti for one, guitar playing is adopting the correct sitting
Info WIll IMprove your two and three pianos, bassoon, violin, flute, posture. The guitar is placed on the left thigh (for
Key: D Fretting-hand stretches harp and horn; 17 operas and hundreds of right-handed players), which is raised by placing
Tempo: 110 bpm Independence between parts other works so his technical prowess, the foot on a footstool or similar. The left knee
CD: TRACK 41 Classical ornaments command of orchestration and creative force should be pointing forwards and the right knee
to the side so the guitar rests on the inside of
the right thigh. The guitar should be
In thIs Installment of our positioned at an angle where the neck
ongoing Classical series, we return is pointing slightly upwards, and the
(as, not surprisingly, we have so right forearm rests on the larger bout
often) to the work of that musical of the instrument. This should hold the
genius Wolfgang amadeus mozart instrument securely in place and give
(1756 1791). this time we are ease of facility for both hands.
going to adapt one of his best
known pieces: the first movement were all clearly established.
from his serenade no.13 For Originally written for a string
strings In G major K525, more quartet, with an optional double
commonly known as eine Kleine bass, eine Kleine nachtmusik is
nachtmusik. now most often performed by
Completed in 1787, this piece string orchestras. to make the
was not published until decades multiple parts playable on the
after his death, and why or for guitar, Ive transposed the original
whom it was written is not known. key of G major down a 4th to D
Despite the uncertainty of its major, and edited some of the
origin, eine Kleine nachtmusik is ornamentations and inner voices.
undoubtedly one of the best even having done that, this
known pieces in the entire arrangement will nonetheless
classical repertoire, and still very present something of a challenge
much embedded within popular so be patient, break it up into
culture. In fact there is not a year sections for practice, and refer to
in recent history when it hasnt the tab captions to guide you
through some of the trickier
To make all the passages. hope you enjoy learning
parts playable on the and playing this masterpiece of the
classical repertoire, and see you
guitar the originals next month.
key of G major has NeXT MoNTH: Bridget arranges

Mozart: prolific
been transposed and prodigious in and transcribes Strausss
equal measure famous waltz, Blue Danube
down a 4th to d.
Track record karl Bohms conducting of the Berliner Philharmoniker (deutsche Grammophon, 1995) is splendid. To hear a famous
adaptation of a Mozart piece for classical guitar, try Fernando Sors Introduction and Variations on a Theme of Mozart, an 1821 set of
variations based around a melody in Mozarts The Magic Flute. and Julian Breams version (Gold Seal Music of Spain, 1993) is a classic.

Mozart EinE KlEinE nachtMusiK
PLAYING TIPS cd track 41
[Bars 1-18] The opening octaves should be played nice and neatly without to bar 14. A barre is needed on beat 2 of bar 9 and beat 2 of bar 10. The
anyGUITAR TECHNIQUES
of the open MAGAZINE
strings ringing through.2 Suggested
41 fingering for both hands grace notes in bars 12 and 13 are played together with the bass notes and
MOZART'S EINE KLEINE NACHTMUSIK
is indicated. The main theme begins in bar 5 and I play this in 2nd position
arr. land on the beat. At bar 15 we go up an octave for tonal variety and then we
B Mermikides
and in fact the notes lie under the hand to stay in 2nd position right through have the repeated bass D notes at 18.
D
A7
j j
# # 4 j j

& 4

E 2 5 3 3 3
B 3 3 3 3 5 5 5 2 5
G 2 2 2 2 0 0 0 2
D 0 0 0 0 4 2 2 2 2
A 0 0 0 4 0
E
1 m i m i m i m i m m i m i a m i m i
p p p p p p p p p p p p p p p p p p
j j
# # j
D A7/D D A7/D
.
j
.. .
j
..
& . .

E 2 0 0 3 0 2 0 0 3
B 3 3 3 5 3 2 2 2 3 3 3 5 3 2 2 2
G 0 0 0 0
D 4 4 0 0 0 5
0 0 0 0 0 0 4 4 0 0 0 5
0 0 0 0 0 0
A 5 5 5 5 5 5 5 5 5 5
E
5 a a m i m a a
i i i m i i i i m i i m i
p p p p p p p p p p p p p p p p
D A/E D /F # A /C # D A/E D /F # G A7 Bm
# #
& j
j

E 2 0 0 2 2 5 3 2 3 5
B 3 3 3 2 2 3 3 3 0
G 4 2 0 2 0 0
D 0 2 4 0 2 4 4 5 4 4
A 4 0 2
E
9
E m/G A D/F # A D D/F # G A7 Bm
##
& j
j j j

J
J J
E 5 7 5 3 3 3 3 2 2 2
B 7 8
G
D 4 2 2 0 0 2 4
A 4 2 4 0 5 0 2
E 3 3 5 5 2
13
E m/G A D
##
&

E 2 0 0 0 2 2 3 0 5
B 3 2 0 2 3 3 5 2 3 0 2
G
D 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 0 0 5 5 5 5 5
E 3
17

[Bar 21] At bar 21 the ascending melody stays on the second string and then Picking hand fingering is indicated in bar 22 and I play the open E notes in
at 22 I find it helpful to land on the first A chord using a hinge barre this the melody with a light rest stroke. This puts the second finger onto the
2 xxxxxxxxxx
where the top A note is pressed down with the side of the first finger rather second string and therefore immediately ready to pluck the chord with no
than2 the
xxxxxxxxxx
tip. It makes the change from the previous chord shape easier. re-placing of the finger. Its a handy technique once you get the hang of it.
#
A/C D E 7/B A
j E# 7/A
E 7/A A
j E# 7/A
E 7/A A
j j
#
A/C #
#
D E 7/B A
.. j # ... ...
A
.. j # ... ... j
A
j
. .
& # ## #
. .. .. . .. ..
&

E 5 0 4 0 4 0 5 0 4 0 4 0 5 5 5 5 5
B
E 3 5 7 9 5 0 3
4 0 3
4 0 2
5 0 3
4 0 3
4 0 5 5 5 5 5
G
B 3 5 7 7
9 6 4
3 4
3 2 4
3 4
3
D
G 0 0 0 0 7 6 4 4 4 4
A
D 0 0 4 4 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 4 2 0 2 4 0
E
4 4 7 7 0 0 0 0 0a 0 0 0m 0
A 21 a a a 0 0 0 0 0 0 0 0 2 4 2 0 2 4 0
E 7 7 m m mm m
21 a a a m a
i m m i pm mi m
pi p p p pi p
p p
i p p
# p p p p p p p p p
# #
jD
j#
B 7/D E A E A E A F /A
# j#
# # j j # #
D B 7/D E A E A E A 3 F /A
# # .
3
jj j
& ## #
.

& # J
#

J # J

J
E 5 5 5 5 4 0 5 0 4 0 5 0 4 0 0 0 0 2
B
E 5 5 5 5 0
4 0 5 0 4 0 5 0 4 0 0 0 0 5 3 2 0 2
2
G
B 0 6 4 6 4 5 3 2 0 2 2
D
G 2 4 2 0 2 4 6 4 6 4 2
A
D 5 2 4 2 0 2 4 6 7 7 7 7 1
E
A 5 6 0 0 0 0 0 7 7 7 7 1
25 a m a m a m a m
E 0 0 0 0 0
25 m
a m ai m ai m ai m
p
m pi pi pi
p p p p
# # # #
Bm
j
B m/A
j
E /G
j# E C /E
# #
F m
#
D
j
A/E
# j
3
j j j
Bm B m/A E /G E C /E F m D A/E
& # ## j # .
# ## Jj

.. #
3
. n
&
n
#

#
# J n #
n
n
J n J # J J J J
J J J
E 0
J
B
E 3 0 0
0 2 3 2 0
G
B 4
3 0 0 1 2 4 2 1 3 2 0
D
G 4 1 3 4 2 1 4 0 2 2 1 0
A
D 2 0 3 4 0 2 2 1 0 2
E
A 2 0 4 0 2
29
E 4 0
29
A A/C # F /A# # Bm B m/A E /G # E #

F m D A /E E
# # j# # # j A /E E
A A/C F /A Bm
j B m/A
j
E /G E F m

D
j j
# . jj j ## #
3
n j j
& # ## . j #
3
n #
n

& # # J J #
J
J J JJ # J J n J # J
J J J J
J J J J J J J2 4 J4 J
E 2 0 0 5 2 2 0
B
E 5 3 2 0 2
2 3 0 0 0 2 4 4 5 3
2 3
2 2
0
3 2 0 2 4 1
G
B 5 2 3 0 3 3 2
D
G 2 4 0 2 1
A
D 0 2 4 1 2 0 0 2
E
A 0 2 4 1 2 0 4 0 2 0
32
E 4 0 2 0
32
j j jj
A E A
j A
j ##
jE
# # j j # j
A

& # ## #
#
#

& #

E 0 5 4 2 0 4 2 0 0 0 0 0 0 4 2 0 0 5 4 2 0
B
E 3 0 2
5 4 2 0 4 0
2 0 2 0 3
0 0 0
0 0 4 2
2 0 3 0 2
5 4 2 0
G
B 2 4
3 2 2 1
0 2
2 4
3 1
0 2
2 4
3 2 2
D
G 2 4 2 1 2 4 1 2 4 2
A
D 0 0
E
A 0 0 0
35 m i m i
E 0a m m a i a i
35 p
m i p
m i ma m i m m
a i m
a i
p p mi pi p
m p
m
pi p p p
50 GuitarTechniques April 2015 p
[Bars 28-53] Another section begins at bar 28 and has a tricky downwards proves too difficult. In 39 there is a bit of a jump for the fretting hand from
triplet slur in the melody. Do this slowly at first if necessary and work on the G# bass note back the A#. At bar 42 beat 2 I add a second finger two-
keeping the chords short and clear. At bar 35 we get a middle voice coming string barre across the third and fourth strings - the second finger remains
in and also a slightly awkward pull-off grace notes in the melody. The one on the second string. After the embellished singe line melody in the bars
at bar
3 36 is a bit of a stretch for the fretting hand and can be omitted if it 51-53 we reach the end of the first section.
# # #
j
E A F /A Bm E /G A D
. j . j #
j j
# # #
& # #
# # n #
J
E 4 2 0 0 0 0 0 0 4 2 0 2 0 0 2 4 5 4 2
B 0 2 3 0 2 2 3 0 2 2 3 2 3
G 1 2 4 1 2 4
D 0 0 0
A 4 2 1 1 2 2 0 0
E 0 2 4 4 0 2 4
38
j # j j
A /E E 7 A /E E A E A
# # #
j
#
j
&
# #

E 2 0 0 0 0 5 4 2 0 4 2 0 0 0 0 0 0 4 2 0 0 5 4 2 0
B 3 2 2 2 2 3 2 0 3 2 0 2 3 0 2 3 2
G 2 4 2 1 2 4 2 1 2 4 1 2 4 2
D 2
A 0 0
E 0 0
42
# # #
j
E A F /A Bm E /G A D
. j . #
j j
# j

# #
& # #
# # n #
J
E 4 2 0 0 0 0 0 0 4 2 0 2 0 0 2 4 5 4 2
B 0 2 3 0 2 2 3 0 2 2 3 2 3
G 1 2 4 1 2 4
D 0 0 0
A 0 4 2 1 1 2 2 0 0
E 0 2 4 4 0 2 4
46
A /E E7 A/E E A
#
& # #
#
#

E 2 0 0 0
B 3 2 2 2 2 3 2 0 2 2 3 5 3 2 3
G 2 4 2 1 2 1 2 2 4 6 4 2 4 6 1 2 4
D 2 2 4
A 0
E 0
50

B m/D
jE A
j j j
## #

.. #
n

#
&
n
n J J J
E 7 5 4 0 9
B 5 5 6 7 6 4 6 7 7 0 7 10 10
G 4 9
D 0 11 11
A 0 0 0
E 0
53

4 xxxxxxxxxx
D

A7
j j
# j j

& #

E 2 5 3 3 0 3
B 3 3 3 3 5 5 2 5
G 2 2 2 2 0 0 0 2
D 0 0 0 0 4 2 2 2 2
A 0 0 0 4 0
E
56
# # j .
D A7/D
j D
j
.
& . ..

.
E 2 0 0 3 0 2 0
B 3 3 3 5 3 2 2 2 3 3 3
G 0 0
D 4 4 0 0 0 5
0 0 0 0 0 0 4 4 0 0 0
A 5 5 5 5 5 5 5 5 5 5
E
60
A7/D D A/E D/F # A/C # D A/E D/F #
j
##
j
..
&
E 0 3 2 0 0 2 2 5 3 2 3 5
B 5 3 2 2 2 3 3 3 2 0 2 3 3 3
G 0 0
D 5
0 0 0 0 0 0 0 0 0 2 4 0 2 4
A 4
E
63
D /F #
##
G A7 Bm E m/G A A D
& j
j
j j j j

J J
J
E
B 0
G 2 0 2 0 0
D 4 5 4 4 4 2 2 0 0 2 4
A 0 2 4 2 4 0 5
E 3 3 5 5 2
66
D /F # G A7 Bm E m/G A D
##
&

E
B 0
G 2 0 2 0 0 0
D 4 5 4 4 4 4 2 2 2 0 0 0 2
A 0 2 4 2 4 5 5 5 5 5 5 5 4
E 3 3 5 5
70

[Bars 70 to end] Now we have an exact repeat of the first half but at bar Some little grace notes appear in the melody from bar 89 aim to keep
70 we do not go up an octave we get the full effect of the rising melody these neat and follow the fingering carefully in bar 92. The rest of the piece
line through the whole phrase. At bar 80 we resolve back to octave A notes as we near the end is fairly logical to approach. Isolate and work on areas
5
instead of E notes and then we continue with some new material. that you find problematical before putting the whole thing together.
A /C #
j
D E 7/B A E 7/A
## # . # ... ...
& .

E 5 0 4 0 4 0
B 0 2 3 5 7 9 3 3
G 0 2 7 6 4 4
D 4 4 2 0 0 0 0 0 0 0 0
A 5 5 5 5 5 5 5 5 5 5 5 5 4 4 0 0 0 0 0 0 0 0
E 7 7
74
A E 7/A A E 7/A A E 7/A A

j
# # .. # ... ...

#

&

E 5 0 4 0 4 0 5 0 4 0 5 0 4 0 5
B 2 3 3 2 3 2 3 2
G 4 4 2 4 2 4 2 2 2 2 2
D
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
E
78
B 7/D # A/C # F #/A #

D Em E m7/D A
j D /A A Bm G
j . j
3
## j j
. j # n j n . # n
3
& #
J J J J J n
J J
E 2 3 2 0
B 0 5 3 2 3 2
G 2 0 2 3 4 0 2 1 0
D 5 4 2 0 1 2 2 2
A 5 4 0 0
E
81
B 7/D # # D/F #
D
j E mj E m7/D
j
A/C A Bm G A D D
. j
3
## n j
j j
& # n
J J J J J J J J J J J
J J J J
E 5 3 2 0 7 3 0 5 3 0
B 3 2 2 3 0 0 2 3 3 2 0
G 2 2 2
D 0 2 4 2 0 0 0 2 4 0
A 6 4 0 2 0 0
E 3
85
A A/E A/C # D D/F # D A A /E A/C #
# j

j

j

& #
J J J J J
J J J J J
J J
E
B 0 2 0 0 2 0 3 2 0 0 2 0
G 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
D 0 2 0 2 4 0 0 2
A 0 4 0 4
E
89

6 xxxxxxxxxx
D B /D # Em A/C # D G D /A
## . j

j
& # . n

E 5 0 2 2 3 5 7 9 10 9 7 7 5 5 5
B 0 2 0 0 7 8 7 5
G 2 0 0 0
D 0 0 4 2 4 5 0 0 0 7 7
A 6 6 7 7 4 0 2 4 0 0
E 7 9
92
D D /F # D A A 7/G A 7/E D D/F # D
# j j

j

& # J
J J J

J J J J J J
J
E
B 3 2 0 0 2 0 0 2 0 3 2 0
G 7 2 2 2 2 2 2 2 2 2 2 2
D 0 0 2 4 0 4 5 2 0 2 4 0
A 0
E
96
B/D # A /C #
j
A A 7/G A 7/E D Em
## j .
& . j

J J J # n
J
E 5 0
B 0 2 0 0 2 0 0
G 2 2 2 2 2 2 2 0
D 4 5 2 0 0 4 2 4 5 0
A 0 6 6 7 7 4 0 2 4
E 7 9
99

D G D/A A D
##
. j

&

E 2 2 3 5 7 9 10 9 7 5 5
B 7 8 7 5
G 0 0 7 7 2 2
D 0 0 7 0 0 0 0 4 0 4
A 0 0 0 0 5 5 5 5
E
102
A 7
j
A7 D D

##

.
&

E 2 5 5 5 14 17 9 10
B 3 3 2 3 7 7 15 15 8 7 3 3 3
G 2 0 2 7 14 9 7 2 2
D 0 0 0 0 0 2 4 0 0 0 0 0 0 0 0 0 0 0 0 4 4
A 0 5 5 0 5 5
E
105

LEarNiNG ZONE
LESSONS
GT241
30-MINUTE LICKBAG ..................................... 56
Pat Heath sets the challenge with six licks at
easy, intermediate and advanced levels.
BLUEs................................................................................................. 58
John Wheatcroft is in a blues-meets-country
mood as he introduces the mighty Brad Paisley.
RoCK .................................................................................................. 62
Martin Cooper looks at the post Beatles stylings
of the hugely inventive George Harrison.
vIdEo ................................................................................................ 66
Carl Verheyen shows what a studio pro can do
over a blues backing - first and only take!
CREATIvE RoCK ......................................................... 72
Shaun Baxter demonstrates how to navigate the
fretboard in three octaves using cells.
CHoPs sHoP ..................................................................... 78
Andy Saphir wants to improve your technique;
this month hes string skipping with a pick.
BRITIsH R&B ....................................................................... 80
Phil Capone enthuses about a band that paved
the way for rock and metal: The Small Faces.
REQUIRED OR DESIRED? I used this to external? To an extent yes, but we should
phrase recently while talking to Neville about always keep internal desires burning even if JAZZ ...................................................................................................... 86
gear we were both mulling over buying. It we dont get to them as often as wed like. The Pete Callard examines the more traditional jazz
bigger concern is that when there are no gigs, side of the incredible Mike Stern.
seems theres always something winking at
one or both of us, be it a guitar, an amp or a grade exams or other external goals on the ACoUsTIC ................................................................................. 92
pedal. To keep my music gear under control, horizon, our mid and long-term development Stuart Ryan looks at the more contemplative
Ive maintained a distinction between can suffer. Were in danger of cultivating a acoustic style of the great Paul Weller.
required (needed for a specific musical jumble of isolated licks and half learnt scales REAdING MUsIC ........................................................ 96
scenario) and desired (I so want that!). that are musically homeless. Not ideal, eh? Charlie Griffiths looks at ornaments such as
Both have validity but required purchases So, its down to you to take an active trills, mordents, appoggiatturas and more!
are much easier to justify than desired part in what you practise. Tackle those
purchases, especially if the costs run high. Pentatonic shapes and five CAGED shapes
But we can apply this outlook to playing for all primary chords and use them when
as well as buying. As Ive stated in the past, playing. External/internal requires like
time is often as precious as money, so we these will always earn their keep. But do find
all must consider what were focusing on a little time for, say, a desired tapping Lydian
when practising the guitar. Typically, dominant lick and how to perform it over
when a gig comes in the external a dominant 7th chord (tip: fire up one of
require quickly demotes ones internal GTs backing tracks and experiment).
desire to learn, say, the Altered scale Whatever level youre at Id
all over the fretboard in every key. recommend using the required/desired On
Not all internal demands should be
categorised as desires though.
outlook to shape your practise time this
year. Closer
videO!
Watch Carl Verheyen
Fundamental topics like five to home, see navigate the fretboard
shapes of the Pentatonic how this in a stunning display of
can be considered equally required musical dex terity.
as internal or external or desired Page 66
requires. viewpoint shapes
So its easy to see your practise time with
how external requires this very issue I hope it
shape much of our helps. Enjoy!
practise time because
theyre pressing and
important. What of
internal though? Should it
always play second fiddle

lesson: 30-Minute lickbag ON THE CD TraCks 42-47
30-Minute Lickbag
easy LIcks exampLe
GUITAR 1 Bryan
TECHNIQUES aDams
MAGAZINE 241 Pat Heath's LICK BAG
cd track 42
Using sus 4 and 2 chords around an open d major shape Pat has
Heath's
been LICK BAG change exemplifies this. In a band or when recording, try an overdriven
GUITAR
a stapleGUITAR TECHNIQUES
for 1pop
GUITAR
Lick
TECHNIQUES
andAdams MAGAZINE
MAGAZINE2from
rock songwriters
TECHNIQUES
Brian MAGAZINE
style
4
221 Pat
Pat
4411the 60s on;
Pat Heath's
this d to GLICK
Heath's
Heath's LICKBAG
LICK BAG
humbucker doubled with a single-coil for some great rock sparkle!
BAG
Lick TECHNIQUES
GUITAR 1 Brian Adams style
MAGAZINE 241 Pat Heath's LICK BAG
Lick
Lick

1 11Brian
Lick Brian
Brian D style
Adams
Adams
Adams style
D style
Dsus4 D Dsus2 D G maj7 G G maj7 G6 Gmaj7

D sus4 D D sus2 D G maj7 G G maj7 G6 Gmaj7
#
# 44 .. D sus2

Lick 1 Brian Adams style
D
sus2 D D Gmaj7 G maj7 G maj7
G6 G6 Gmaj7
Gmaj7 .
. ....
G G maj7
D DD D sus4
Dsus4 D DD Dsus2D sus2 D D G G maj7
maj7 G G G G
maj7maj7 G6 G6 Gmaj7Gmaj7
& 4
D sus4 G
.
&# ##4444. ..
D D sus4 D
&& #& 444. .. .. ..
& 44 .. F F .
F FF
E
E
B F. 22 33 33 33 22 33 00 33 22 33 2
2
3
3
3
3
2
2
3
0
0
3
2
2
3 .
. .
3 3 3 3 3
.
B
. .
. .. ..0 200 3 3 2 2 322 3 3 2 2 222 3 3 2 2 022 3 3 2 2 222 3 3 2 2 220 0 200 3 3 0 0 300 3 3 0 0 200 3 3 0 0 000 3 3 0 0 200 3 3 0 0 .00 .. ..
GE
G 2 2
2 3 22 2 2
2 0 2
2 2 2
2 0
0 2 00 3 0
0 2 0
0 0 0
0 2 0
0
E E
DB 0 2 2 3 3 3 3 2 2 3 0 0 3 2 2 3 2 2 3 3 3 3 2 2 3 0 0 3 2 2 3
E B D
B
AG
0 3 3 3 3 3 3 3 3 3 3
G A
G
B ED
. 0 .
D E
D
G A
A A
D E
A E E
easy LIcks exampLe2Jeff
E
BucKley cd track 43
Lick 2 Jeff Buckley style
Buckley was a formidable musician and many of his songs are chord shape thats easily shifted up and down in semitones. the 6/8 feel

Lick difficult
notoriously 2 Jeff Buckleyto play. styleBut this simple soundalike uses an e major and some phasing effect give it added authenticity.
Lick2 2 Jeff Jeff Buckley style
Lick Buckley style # # F #add11

# #
Lick 2 Jeff Buckley style F add11
# #
Fmaj7 11
# F##add11
G
# 6 F# add11 Fmaj7# 11
&# ############### F686#add11

... Fmaj7 # 11 n n F #add11 G G n ...
# Fadd11 add11 Fmaj7 # 11 #Fadd11
add11
G

F Fmaj7 11 F G
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& # 8 . n n n n .
nnnn n
P
n nnnn n n n
P P n
PP . .
E
E
. ..
B
BE 0
0 0
0 0
0 00
G
. 0 3 2 0 3 4
. . .. 22 444 404 0 3 3 3 44 11 333 303 0 2 2 2 33 22 444 404 0 3 3 3 44 33 555 505 0 4 4 4 5.5 . ..

E
GB 3 0 2 3 0 4
E
E D
B
DG 4
4 0 3 4 4 3
3 0 2 3
3 4
4 0 3 4 4 5
5 0 4 5
5
B A
G
. . 2 242 4 44 4 4 4 1 131 3 33 3 3 3 2 242 4 44 4 4 4 3 353 5 55 5 5 5 . .

B AD
G E
D
EA
G D AE
D A
A E
E
2
1 2 3 cd
E
IntermedIate BB KinG track 44
Lick
Lick 3 3 B BLIcks
B KingexampLe
B King style 3
style
the BB king sound.'// you

Lick 3 B B King style

3
'
a big humbucking
Lick 3 B B King
tone - on whichever pickup combination you prefer - this example is all about getting a swing into the rhythm - and see if
jj ..
style
qq=qce j
~~~~~
/ /' ' ~~~
qq=qce
~~~
14
stylej /
a Lick jj# will help to reproduce ~~~~~ ~~~ n ~~~
3B B B King
B King style can mimicj BBs butterfly vibrato!
j ..
14
qq=qce
# n ~~~
andLick
touch of light overdrive
#
n ~~~~~ ~~~~~ ~~~ j n ~~~
j
'
14
qq=qce
###qq=qce
qq=qce
# 4
nn j #
j
j j . J

14 /

#
# # 4 # ~~~~~
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.
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14 14
j
n
&
&
j

j

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J J J . . JJJ J J

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J J BU
ffBU
f ~~~~~
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14
114
12 '
/
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~~~
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BU ~~~
~~~
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' '
BU
12 10~~~~~ 12~~~ 10~~~
BU 4 BU BU
E BU 12 14 BU 12 (14 )
/
~~~~~ ~~~ ~~~
BU
~~~~~ ~~~
((14
14))
~~~
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4 David Gilmour style
in a progression - see how the melody outlines the changes? a help replicate the classic Gilmour sound.

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56 GuitarTechniques April B2015
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rock guitar
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another great rock guitarist taught by Joe satriani (others include steve testament he fuses jazz ideas into his solos, but this example highlights
Vai andLick n
kirk6 Hammett),
Alex Skolnick style
skolnicks technique is legendary. In his band his earlier rock style, including fast picking, slides and legato.
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9 7 5 7 9 9 7 5 9 7 5 4 2

lesson: blues ON THE CD TraCks 48-51
Brad Paisley
Brought to you by... there are two complete 12-bar solos this
month, in the blues and country-endorsed
keys of A and e respectively. one of the things
i had to get my head around when
approaching learning some country-based
ideas was the concept of key-specific phrases,
John Wheatcroft brings you a big plate of hot meaning that a specific lick in the key of G
country with a generous helping of blues on may not necessarily have an identical version
in the key of A. there might be a similar idea,
the side, courtesy the Tele-toting Brad Paisley. but, due to the abundance of open strings,
certain ideas only work in one key; whereas in
jazz the concept of transposing each and every
country guitarist whos no idea through all 12 keys is accepted protocol,
mean blues picker either. and open strings only rarely make an
Brad Paisley has had a appearance. With this in mind, most country
remarkable career. the
42-year-old singer, coldplay, My chemical
songwriter and picker has romance, jazz, and
sold over 12 million albums,
gained three Grammys and instrumental music thats
is a bona fide member of the obscure - I have a very well-
Grand ole opry. if we also
take into consideration over
rounded iPod. Brad Paisley
30 top ten Billboard singles, players stockpile ideas and organise them
over a dozen CMA awards around their respective open chord, so an
and a stable family life with experienced player will have dozens of C, A, G,
film star wife Kimberley e and D form ideas. Country music is quite
Williams, its fair to say often a sharp key music, with loads of tunes
Brad has made quite a good found in G, D, A, e and so, whereas jazz is
job of things so far. most often associated with flat keys, F, Bb and
its not for no good the like. Of course, there are exceptions and
reason, either, as Brad is a many artists purposefully blur these
fantastic singer and an definitions. Remember that you can always
intelligent and prolific use a capo to access new keys and its not
songwriter. What were unknown for a player to completely retune the
interested in here though is guitar a half-step or more lower to facilitate
his guitar playing - hes no familiar finger shapes in new keys, so its good
slouch here either. to remember the old saying, necessity is the
Actually its not the first mother of invention. While were at it, another
time that weve looked at a good one is practice makes perfect, so what
country guitarist in this are you waiting for?
column. Players such as
Danny Gatton and Roy NeXT MoNTH: New blues tutor Les Davidson
Buchanan effortlessly move looks at Carlos Santanas bluesy side
between genres, sometimes
Brad Paisley with within the same song. in
one of his Bill Crooke fact you can often hear Get the tone
Tele style guitars country, blues, jazz,
rocknroll and rockabilly
ABILITY RATING influences all mixed up to create one huge 5 7 4 6 3
hybrid language. Brad is most definitely open
Moderate/Advanced to all of these influences. While his writing Gain Bass Middle TReBle ReveRB
Ideally were looking at a Telecaster-style

style, image and much of his vocabulary
Info WIll IMprove your solidbody. Brad favours classic Fender and
comes from classic country, you can easily
custom-built Bill Crooke models, into a
Key: Various Double-stops and pull-offs detect traces of jazz, blues and rock in his medium powered valve combo with a
Tempo: 105 bpm Incorporating open strings playing - even the odd bit of tapping makes an selection of stomp boxes for overdrive and
CD: TRACKS 48-51 Hybrid picking appearance. His open-minded approach is delay. Go easy on the gain and generally
refreshing, and if youd like to know more speaking you should select the bridge pickup
to tie in perfectly with Steve Laneys huge about the influences that make up his style and use pick and fingers to achieve that classic
country cluck. Visit www.bradpaisley.com/gear
country feature, and to underline what he says you should check out his 2011 book, Diary of
for a full lowdown on his equipment including
about the blurred distinctions between genres A Player: How My Musical Heroes Made A minute details such as pedal settings.
these days, we thought wed bring you a great Guitar Man out of Me.
ZUMA PRESS / ALAMY
Track record Moonshine In The Trunk (2014 Sony) is Brads most recent release, featuring some wonderful playing, super-sharp
vocals and witty lyrics. Play (2008 Sony) is worth the asking price just the Grammy winning track cluster Pluck, featuring a host of
guest soloists including albert Lee, Brent Mason and John Jorgenson. dont forget theres a track with BB king too.

BRAD PAISLEY LEARnIng ZonE
EXAMPLE Solo 1: BRAD PAISleY StYle cd track 48

[Bars 1-4] We begin with some A Mixolydian mode action (A-B-C#-D-E-F#-G). mute and cluck in bar 7 is achieved by palm muting the notes on the fifth
The country twist here is to replace all the notes that are possible with open string while twanging the note on the third string with the second finger.
strings, allowing each note to bleed through to create a harp or pedal-steel like [Bars 9-12] We bring our first solo to a conclusion with the combination of
colourful
GUITAR ringing effect. As MAGAZINE
TECHNIQUES with much of2the John Wheatcroft's
4 1material presented here, the best some rapid A Blues scale finger work (R-b3-4-b5-6-b7) and chromatic sonic
wayGUITAR
to approach string crossings
TECHNIQUES is with 2a 4combination
MAGAZINE 1 John
ofBLUES
pick andWheatcroft's
DUES or- BRAD
second PAISLEY
shape trickery --which
SOLO 1
literally means shifting the exact same motific idea
GUITAR
third fingersTECHNIQUES
throughout and MAGAZINE John
2 4 1to really pluck
dont be afraid at theWheatcroft's
BLUES DUES
strings for - BRAD
downPAISLEY
and across- SOLO 1
the fretboard one fret at a time until reaching a suitable
GUITAR TECHNIQUES MAGAZINE 2 4 1 John Wheatcroft's
BLUES DUES - BRAD PAISLEY - SOLO 1
extra snap, crackle
GUITAR and pop.MAGAZINE 2 4 1
TECHNIQUES John Wheatcroft's
BLUES DUES - BRAD musical resolution
PAISLEY in bar 1
- SOLO 13. From a picking perspective, Id suggest a
Swing
[Bars 5-8] More pick and fingers hybrid-picking here. The combination
BLUES DUESof- BRAD repeated pattern
PAISLEY of pick, 1second and third fingers here.
- SOLO

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B
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A
D
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B 5 6 7 4 5 6 3 4 5 2 3 4 6 7 5 6 4 5 3 4 0
2
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5 6 7 4 5 6 3 4 5 2 3 4 6 7 5 6 4 5 3 4 0
2
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5 m
6
m
a
7
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etc
4
etc
5 6 3 4 5 2 3 4
5
5
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4
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3
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5 m
m
a
a
etc
4
etc
3 2 5
5
6 4
4
5 3
3
4 2
2
3 0
11
m a etc April 2015 GuitarTechniques 59
lesson: blues ON THE CD TraCks 48-51
EXAMPLE Solo 2: BRAD PAISleY StYle cd track 50

[Bars 1-4] We begin second solo number with some authentic blues vocabulary first and aim for a relaxed and seamless transition from idea to idea.
- a lick that BB King would be proud of - coming from a combination of major (R- [Bars 9-12] Jimi Hendrix goes country in bar 9, although hybrid picking
2-3-5-6) and minor (R-b3-4-5-b7) Pentatonic scales. We add a touch of country will enhance the twang. Youll need to bring the picking hand fourth finger
twang to the Blues scale line in bars 3 and 4 with the addition of a syncopated
John Wheatcroft's into play to achieve this, however, so go easy until those calluses begin to
GUITAR TECHNIQUES MAGAZINE 2 4 1 John
GUITAR
ringing open TECHNIQUES
GUITAR TECHNIQUES
MAGAZINE 2 4 1
first string throughout.
MAGAZINE 2 4 1 John Wheatcroft's
BLUES Wheatcroft's
DUES - form. The
BRAD sliding double-stops
PAISLEY - SOLO 2 in bar 10 neatly define our underlying A7
[Bars 5-8] Open
GUITAR strings, held
TECHNIQUES bent notes,2harmonics
MAGAZINE 41 BLUES
John DUES
DUES -- BRAD
Wheatcroft's
and behind-the-nut
BLUES PAISLEY
(A-C#-E-G)
BRAD and the-- rapid
PAISLEY SOLO
SOLO 2
E Blues
2 scale lick in bars 11-12 wouldnt sound out
bends - bars 5-8 has the lot. Take each idea and techniqueBLUES in turn DUES
and live
John Wheatcroft's
- BRAD
of placePAISLEY
in a Gary - SOLO
Moore or 2
Slash solo, although its doubtful they would do
with each for a little while to explore the sonic potential before
BLUES attempting as I didPAISLEY
DUES - BRAD here and opt for a combination
- SOLO 2 of pick, second and third fingers to

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the connect them togetherSwing in such close succession. Reduce
E 7 the tempo at negotiate the nifty string changes.

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60 GuitarTechniques
11 April 2015
LOVE TO PLAY BLUES GUITAR?
Then this 100-page magazine with DVD-ROM is for you! Drawn from the best blues features in
Guitar Techniques magazine its packed with lessons on how to play like over 50 blues legends.
Pop the DVD-ROM into PC or Mac to hear brilliant audio synched to animated tab.
lesson: rock ON THE CD TraCks 52-53
George Harrison
Martin Cooper looks at the influential style
of the legendary Beatle guitarist and chart- Brought to you by...
topping solo artist, George Harrison.
GeorGe Harrison was

a hugely important member
Harrison was able to
of The Beatles and some of call on the very best players
their best songs were written
by him, not Lennon and
to join him on his albums
McCartney. something, including elton John and
while My Guitar Gently
weeps and Here Comes The
eric clapton.
sun were all penned by to call on the very best players to join him on
Harrison, and George also his records, including the likes of elton John
played unforgettable intro and eric Clapton not a bad session band to
parts and solos to countless gather round you in the studio.
great Beatles songs. our example is in the key of B minor
Harrison may have been (B-C#-D-e-F#-G-a), and being a Harrison
the quiet Beatle, but his style song it also features non-diatonic chords
contribution to the bands (including augmented); plus a B Mixolydian
output was nonetheless vital. (B-C#-D#-e-F#-G#-a) run in bar 20.
He also had a successful solo The parts arent difficult to play, but youll
career and was a founding need to focus on what is happening at each
member of the multi- stage and also on the slide passages and any
millionaire supergroup, unusual chords. The solo features slide for the
The Travelling wilburys, first eight bars, and then some sparse minor
with roy orbison, Bob Pentatonic phrases in the final eight. There is
Dylan, Jeff Lynne and Tom a definite Jeff Lynne (ELO leader and
Petty in the late 80s. producer for Harrison, Petty and orbison)
Harrisons early style sound this month, with different tones
influences ranged from used for each part, and Lynnes trademark
Django reinhardt to Chet lightly overdriven power chords similar to his
atkins and Carl Perkins, and work with eLo, Tom Petty and The wilburys
his sense of melody and from the late 80s and early 90s.
creative spark was present in
almost every guitar part or NeXT MoNTH: John looks at the playing of
song that he composed Robby Krieger from The Doors
throughout his illustrious
career. in fact, towards the
end of The Beatles life as a
Get the tone
band, Paul McCartney
confessed that Harrisons 4 6 6 7 3
George with a songs had become at least as
mid 80s Fender strong as those written by Gain Bass Middle TReBle ReveRB
Stratocaster himself and Lennon. George Harrison used a Gretsch Duo Jet in the
Today were looking at the early Cavern Club days (featured on the front
mid-to-late 80s part of Harrisons solo career, cover of Cloud Nine). He made Rickenbackers
ABILITY RATING 360-12 and later moved on to Fender Teles and
with a sprinkling of the more psychedelic 70s Strats, as well as Gibson Les Pauls and SGs.
Easy/Moderate thrown in for good measure. This was a time Amps included Vox AC15, AC30 and AC100 and
when albums like Cloud nine gave Harrison various Fenders. His slide parts were mostly
Info WIll IMprovE your commercial success on both sides of the played on his original 1963 Sonic blue Strat,
re-painted in psychedelic colours and named
Key: B minor Use of non-diatonic chords atlantic. The solo here also includes slide
Rocky. Use a clean and bright tone with a
Tempo: 124 bpm Creating cohesive parts guitar, which permeated many of the songs minimum of effects (George hated reverb!).
PETER STILL / GETTY IMAGES
CD: TRACKS 52-53 Ideas for recording during this time. of course, George was able
Track record Try Harrisons wonderful, critically acclaimed all Things Must Pass (1970), which features the classic My Sweet Lord,
What Is Life and Id Have You anytime (co-written with Bob dylan and with some of claptons best ever guitar). cloud Nine (1987)
features Got My Mind Set on You and When We Was Fab. There is also a Greatest Hits collection called Let It roll available.

GEORGE HARRISON LEARNING ZONE
ExAmPLE rhythm cd track 52

[General] Theres light damping on the chugging power chords (B5 D5 A5) was to emulate the 12-string Rickenbacker type sound. Roll the volume
every time these are played, and the octave parts in bars 12 and 16 were control of the guitar up and down to go from clean to crunch sounds for
overdubbed, so you may need to pick one of these at a time. The idea here the rhythm parts.
GUITAR TECHNIQUES 2 4 1
Martin Cooper's BIMM ROCK COLUMN -
GEORGE HARRISON STYLE
RHYTHM GUITAR

GUITAR TECHNIQUES
Bm 241 D A G D
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21, 25, 29, 33

lesson: rock ON THE CD TraCks 52-53
ExAmPLE lead cd track 52

Theres slide in the solo this month so make sure you place the slide fine balance between pressing the slide down hard enough for the note to
directly above the fret wire and dont press too hard on the string its a sing, and not pressing so hard as to bottom out on the frets.
LEAD GUITAR GEORGE HARRISON STYLE
B5

D5
w ~~~~~ A5
GUITAR
# #TECHNIQUES
4
LEAD GUITAR 20
241
& 4 B5

HARRISON STYLE D5
A5
w ~~~~~
GEORGE
# #TECHNIQUES
4 20
& 4
GUITAR
LEAD GUITAR 241
A 5 ~~~~~
20 B5

HARRISON STYLE D5
10 12 15 w ~~~~~
GEORGE
## 4 20
E
B 12 12 15 10
G
& 4
LEAD GUITAR
D
20 ~~~~~

A
E
B5 D5 A5
w ~~~~~
E
B 12 12 10 12 15 15 10
# 4 20
G 21
& # 4 ~~~~~
D
20 w
A
.
E
j 15 10
B5 D5 A5
j 12
E
##
21
B 12 10 12 15
G

w
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20 . j
B5 D5 A5
j
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B 12 12 10 12 15 15 10
G
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10 12
~~~~~
12 10 12 15
~~~~~ ~~~~~~
& B5 w w
D
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D5 A5
# # 10 8 7 j 5 ~~~~~ ~~~~~ ~~~~~~

E

E 24 12 9 7 9 17
w w ~~~~~~
B 10 12 12 10 12 15
G
D
A
& B5
BU BD
D5 ~~~~~ A5~~~~~
# j ~~~~~ ~~~~~ ~~~~~~

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BU( 11) BD(9 ) 7

24
& #
B
G
D
A
E
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w9 ~~~~~ 9~~~~~ 7 7 w ~~~~~~
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9 ~~~~~ ~~~~~~
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9 ~~~~~
B
# BU BD
j ( 11
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& # w ~~~~~ A5~~~~~ ~~~~~~

D 7 7
A
w B5
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E
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B
G
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j( 11) ( 9 ) 7 9 w w7
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9 9 7 7
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9 w9 ~~~~~~~~~~~ w
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B5 D5 A5 B5
9
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B 10
#
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B 10 10
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~~~~~ ~~~~~~~~~~~
D
A
E BU BD
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B 10 10
G 9 (11 ) (9) 7 9 9
D
A
E
33

lesson: video VIDEO ON THE CD CD-rOm
Carl Verheyen Masterclass

Join Milton Mermikides as he welcomes you to
PART 2
the second part of Carl Verheyens sensational video
masterclass - watch the man improvise and be amazed.
ABILITY RATING Steve Lukather, Jenifer Batten, Robben Ford, also associated chordal material for each of
Brad Praisley, Steve Morse, Scott Henderson the other two chords, turning this apparently
Moderate/Advanced and Albert Lee. simple three-chord track into a true study.
So it was a great pleasure to have Carl visit In Carls hands the familiar E minor
Info WIll IMprove your the Guitar Techniques studio during his Pentatonic or Blues scale is given an inventive
KEY: Various Playing over minor chords massive European tour, and in a couple of sophistication with the use of the 9th (F#) and
TEmpo: Various Chord melody voicings hours he had given us enough great material occasional Dorian implication with the major
CD: CD-ROM Pentatonic fluency for several video lessons. 6th (C#) (see bar 35). The familiar Pentatonic
For this article, Ive transcribed Carls shapes are also revitalised with the use of wide
CARL IS onE of the most respected guitarists improvisation over Jays Juke Joint, a minor intervallic string skipping (bars 19-20, bar
in the industry with a 40-year playing career key track by Jason Sidwell. His solo 66), and fast position changes using open
playing countless sessions on albums (with demonstrates a fluent improvisational knack, strings (bar 62) and slides (bars 26-27).
artists as divere as Dolly Parton and Allan stylistic versatility (including pop, country, Finally, Carls playing here is characterised
Holdsworth), innumerable film scores, as part blues, jazz and Latin influences) and a
of prog band Procol Harum and an active solo command over inventive chord voicing and carl has worked with
career. What sets Carl apart is his stylistic
mastery, melodic sensibility, educational
Pentatonic melodicism. In a few short
minutes Carl delivers a masterclass in minor
an amazing list of
generosity and, as John Jorgensen puts it, his chords and gives any guitarist ample material musicians in a hugely
transparent technique in that his technical
facility is only ever used in service of the track.
to improve their playing.
When presented with a track with a series diverse range of styles.
no wonder that hes still so much in demand of minor chords, many guitarists might by great rhythmic sophistication; theres a lot
and receives unadulterated praise from the commit to single-line soloing (perhaps based of syncopation on the semiquaver level which
lofty likes of Robben Ford, Joe Bonamassa, on the minor Pentatonic of the key), or to draws in stylistic reference from jazz (bars
familiar chord voicing strumming. However, 31-32), funk-rock (bar 26), folk (bars 46-47)
Carl Verheyen: Carls playing is a perfect fusion of effective to Latin rhythms (bars 55-57).
this months lead ideas, inventive chord-melody rhythmic This is a really rewarding solo to learn, not
solo is a real patterns and a mature and paced melodic only to build ones vocabulary, but also as a
masterclass sensibility. Theres much to learn here but source of instruction and inspiration of how
heres a rundown of the main characteristics... inventive one can be in a relatively simple
Carl effortlessly and intuitively switches harmonic context.
between pick and hybrid style (and even Wes
Montgomery-style thumb technique) so that NeXT MoNTH: Milton brings us more from
all manner of double-stops, spaced chords, this Carl Verheyen video series.
single-line fluency and conventional
strumming technique are at his disposal. This
allows a far, far greater range of expression Get the tone
during performance.
When faced with a single chord for
harmonic context (say Em7), rather than 7 6 6 7 4
having a couple of fixed chord shapes, Carl
has at his disposal a host of associated small
Carl played his signature LSL CVS guitar
voicings, allowing a blended chord-melody
through a Marshall JTM45 head using mostly
approach with a satisfying harmonic fluidity.
his neck single coil pickup. The examples
This is evident throughout the track, but in
could be played on any style of guitar, but
just bars 13-16, 10 different voicings for Em7 single-coils sound great for this style. Go for
are used, which makes it an a clean tone but not too bright a sound and a
excellent passage to dash of reverb.
study in detail. Theres
Track record Theres bags of choice when it comes to carl, but for similar ideas
to this lesson check out diamonds on Slingshot (Mighty Tiger 1999) or the blistering
solos on Fusioneers disease (Mustang run, 2013 cranktone entertainment).

CarL VerHeYen MaSTerCLaSS PT 2 Learning Zone
ExAMPLE CARL VeRheYen MASteRCLASS cD -rOm
[Bars 1-4] Carl demonstrates a range of voicings over Em7. All the notes [Bar 9] Play the chord harmonics by brush-strumming over the 19th fret (12
derive from E minor Pentatonic with an added 9th (E-F#-G-A-B-D). These frets above the chord). The pick strums, the first finger touches the 19th fret.
work well over Em7 without any problematic tensions. In this way chords [Bars 13-16] Here we see a catalogue of voicings over an Em7 context. Again
can be freely constructed from this set of notes to form effective melodies. we see the use of the 6th-5th intervallic pattern built on E minor Pentatonic
GUITAR
Similarly TECHNIQUES
bars MAGAZINE
5-6 (over Am7) are built from Milton's
2 4 1A Dorian (A-B-C-D-E-F#-G) and a with an added 9th (E-F#-G-A-B-D), but also the slightly more angular stacked
CARL
hybrid-picked 6th-5th pattern is used in bars 6-8 (ie B-G-E, V.G-E-B).
C-A-E, 5th pattern (E-B-F# and D-A-E) in bars 14-15.
Slight shuffle
w ~~~~~
E m7
.
A m7
#4 w
& 4 w

..
.
w/bar
3
3

Let ring
~~~~~
Let ring Let ring Let ring Let ring
E 10 7 5 5 5 3
B 8 5 7 8 7 8 7 5 3 3 3 1 3 5
G 0 7 7 7 4 4 0 4 2 0
D 9 5 5 5 5 0 4 2 2 4 4 5
A 0
E
1
.. . ~~~~ ~~~
. .
E m7 B m7
# ~~~ .
. .. .. j .. ... ...

& J
~~~ ~~~~
w/bar Let ring
~~~
w/bar NH w/bar
E
B
10 10 12 12 12
8 8 10 10 10
14
12
14
12
10
8
7
5
7
5 7
5
7 7
* 77 7
G 7 7 7 7
D 9 9 10 10 10 12 12 9 5 5 5 5 5 7 7
A
E 7
6
* Strum with pick, first finger
..
generating 19th fret harmonics
~~~ ~~~

A m7 E m7
#
& # . j
j
.
. J
E
~~~ ~~~ 14 17
B 8 10 8 8 10 8 8 12 15 12 15
G 8 9 9 9 9 9 9 9 9 12
D 7 10 X 7 7 5 5 7 7 5 7 7 5 7 5 12 16 12
A 7 10 10 7 7 5 7 10 14
E 8
10
~~~~~~~j 3
# .. .
A m7
. .
. . . . jb
& . . .. . ..

E 14
~~~~~~~
w/bar Let ring
5
Let ring
B 12 15 12 10 8 7 5 7 5 7 8 7 5 3 3 5
G 12 9 7 7 4 2 4 2 4 7 4 2 0 2 3 2 0 2 0
D 2 2 0 4 5
A 14 12 10 7 7 5 7 5 7 7 7 5 2 0
E
14
. .
E m7 B m7
.
# .. . n
&
n .

# . J J
Let ring
E 7 10 12 12 12 12 12 7 10 7 10 10
B 8 10 10 8 8 8 3 3 7 10 10 10 10
G 9 7 2 2 4 7 7 7 7
D 9 10 10 9 9 9 5 4 2
A 10 7 5 5 7 7 5 2 2 2 5 9 9 9 9
E 7 6 7
18

ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED cD-rOm
[Bars 19-20] Here Carl string skips the minor Pentatonic. He uses the first, with this passage, not only to learn the technique but to understand the
third and fifth strings of the A-shape E minor Pentatonic in quick succession theory behind Carls note selction.
before transforming into a jazzier minor Pentatonic with added 9th line. [Bars 31-32] This is reminiscent of Wes Montgomerys thumb octave style.
[Bars 26-28] Heres a challenging passage that rapidly moves through Its based around an E Blues scale, but every note is doubled in octaves.
2 xxxxxxxxxx
ascending minor Pentatonic (and minor Pentatonic with added 9th) positions Strum with your thumb for a mellow jazz tone, and mute the intervening
using connecting slides, culminating in a bluesy bent phrase. Take your time strings with the underside of your fretting hands first finger.
'
Am7 E m7
.. scoop
#

b .
&
n
'
Let ring
scoop
E 10 8
B 10 8 8 8 8 3 3 3 3 3
G 7 9 7
D 10 7 7 8 7 5 5
A 7 7 5 7 5 7 5 7 7 5 2 2 2 2 2
E 7 7 7 7
22
~~~ >
#
& b
j
n ...

b n

E
~~~
w/bar
X 7 10 12 14 15
B 3 X 5 7 8 12
G 0 3 2 0 X 4 7 9 11 12
D 2 2 0 2 5 9
A 2 1 0 2 7 5 7 10 9 10
E 0 3 0 0 0 3
25
j
~~
A m7 j

# .
& #
j
Let ring
E
BU RP BD
15 17 (19 )(19 ) 19 (17 ) 15 17
~~12 15 17 12 0 0 0
B 15 17 12 12 12
G 12 14 16 14 12 14 12
D 12 14 10 10
A 12 10 10 12
E 12 15 12 10 11 12
28
n b j
#
E m7 B m7
n
j
& J J b
J J
w/thumb
E 0 12 10 7 10 7 10 12
B 12 11 10 8 10 8 8 8 8 8 8 7 10 7 10 12
G 9 7 9 9 9 7 0 7 7 7 7 7 7 9 11
D 9 8 7 5 7 0 7
A 7 7 7 7 0 7 7 7 7 7
E 7
31
etc
A m7
n
E m7
# n #
& j

#

E 15 12 10 7 7
B 12 10 8 7 8 7 8
G 14 12 9 9 7 6 9 7
D 10 9 7 7 5 7 5 9 7
A 14 12 10 10 12 12 9 7 5 5
E 12 11 12
34

CarL VerHeYen MaSTerCLaSS PT 2 Learning Zone

[Bars 34-36] This is a tricky passage blending minor Pentatonic string picking for technical fluency - see if it works for you too.
skipping with jazzy Dorian lines. Take your time as its a bit of a finger-twister! [Bar 59] Carl makes this lovely Em9/11 chord look easy, but its a really
[Bars 46-48 and 55-57] Noticte how these small chord voicings can be stretchy voicing. Barre the top two strings at the 5th fret and keep your
played
3
in a more over-ringing pop-Latin rhythmic fashion. Carl uses hybrid fretting hand as relaxed as possible to avoid injury.
~~~
# . # ..
b
& . n n
b
w/bar
E
~~~ 14 12 10 7 0
B 12 10 8 5 7 5 5 3 5 3 0
G 4 2 4 4 3 2 0 4 7 7 7 7
D 12 11 9 5 2 2 2 5 5 5 5
A 7 5 2 1 0
E 3 0 3 7 7 7 7
37

# . . j .. .. . .. .. j
A m7 E m7
& .. .. . . .. . # .
J
E 14 12 10 7
B 8 8 8 8 12 15 12 10 8 5 7 5 3 5
G 9 9 9 9 12 12 12 5 5 5 7 9 12 4 2 0
D 5 5 5 7 10 10 10 12 11 9 5
A 7 7 7 7 10 14 7 5 2
E 8 8 8 8 12 12 12
41
..
~~~~
B m7 A m7 E m7 E m7
~~~
&
#
. .

Let ring w/bar
~~~ ~~~~
Let ring Let ring Let ring w/bar
E 17 17
B 7 7 8 8 8 10 10 10 12 12 12 15 15 15 15
G 4 5 5 5 7 7 9 9 9 12 12
D 16
A 5 7 7 10 10 10 12 12 12 14 14
E
45
..~~~ ~~~~~ ~~~

.
# . J ..
A m7
. j
j
& J J . .
.

j

~~~ ~~~~~ ~~~
w/bar w/bar w/bar
E 14 14 0 5 8
B 12 12 15 12 10 8 7 5 3 3 5 3 0 0 5 8
G 12 9 7 7 4 2 0 4 2 5
D 12 12 5
A 14 10 10 7 7 5 2 2 3 7
E
50

E m7 B m7 Am7
# j
&
Let ring Let ring Let ring Lightly strummed
E 5 5 5 5 5 5 5 5 5 5 5 8 8 8 8 8 8
B 7 8 7 5 7 8 7 5 5 5 5 5 5 5 5 8 8 8 8 8 8
G 7 7 7 7 7 7 7 7 7 7 7 7 9 9 9 9 9 9
D 5 5 5 5 5 5 7 7 7 7 10 10 10 10 10 10
A
E
55

[Bars 63-64] In these bars Carl demonstrates some lightning minor used based on each chord: B minor Pentatonic for Bm7; A minor Pentatonic
Pentatonic phrasing using semiquaver triplets. The final run, starting on for Am7; and E minor Pentatonic (with an added 9th) for the Em7. Here
the last beat of bar 63 is actually all picked, but you can employ legato though its used in a bluesier vibe with bent notes and flattened 5ths. Were
technique (slurs etc) if the tempo is too challenging initially. not sure if the G# was intended (major 3rd against E minor) but Carl did this
4 xxxxxxxxxx
[Bars 69-72] This final passage shows how the minor Pentatonic can be whole solo as a first take, not even learning the track first.
E m7

E m7 1/4
' .
#
j ..
J . J
& J

E
Let ring
5 5 5 5 0 10 10 14 14 14
BU
17 ( 19 ) 15
'
1/4
12 15 12 10
B 5 5 5 5 0 8 8 12 12 12 12
G 7 7 7 7 0
D 9 9 9 9 0 9 12 12 12 12
A 10 10 10 10 0
E
59
# b

3

3
n
6

3 3
&
n

>
E 0
B 11 11 10 8 10 8 3 3 5 3 0 3
G 9 9 9 0 4 4 2 4
D 7 7 5 5 5 5 7 5 5 2
A 7 7 7 5 7 5 7 5 2
E 7 7 5 3 0
62
a a a
A m7
b E m7
n
#
. # j
j
J n
& #
Switch neck-bridge-neck
pickup on slide down
BU
E 8 12 15 12 18 12 10
B 3 5 8 8 8 7
G 5 5 7 9 14 12 14 12 4 9
D 7 7 9 9 10 9 8 (9 ) 9
A 14 12 10 10 12
E 12 11 12
65
j
# b
B m7 A m7

j
& n
# J
BU
E 7
B 3 3 3 5 5 8 10 ( 11 ) 10 8 10
G 9 7 4 4 4 4 5 7 5 5 9 9 9
D 5 7 7 5 4 7 7
A 10 7 7 5 5 7 7
E 6 7
68
E m7
b
# n # J n .

&
BU BU BU
E 7 10 7 7 10 7 7 10 7 10 12 10
B 10 ( 12 ) 7 10 (12 ) 8 10 (12 ) 9 12 11 10 8 8
G 9 9 9 9
D
A
E
71

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lesson: creative rock ON THE CD TraCks 54-55
Three-octave patterns
shapes in each of the CaGeD patterns of the
various scales that you know. establish the
possible note-configurations (cells) for each
musical entity (triads, arpeggios etc) and
audition each one against a backing track (for
This month Shaun Baxter starts a new PART 1 context), making a note of your favourites and
experimenting with employing them in the
series that reveals an approach that can most musical ways. But remember this:
you dont have to play something from the
seriously extend your range on the fretboard. root of the underlying chord or scale that you
are using. you can apply any formula from any
mode of that scale (so, for a Mixolydian, you
can use any mode of D Major).
The technique involves taking any musical you are not obliged to play all three octaves
entity (triad, arpeggio, Pentatonic scale, etc)
and compressing the information into a single Its the symmetry thats
string-pair, so that the same shape orcell can
be shifted up and down in octaves via the other
important: because its
string-pairs. This provides us with an easy consistent, the resultant shapes
means of taking an idea over three octaves - not
as impressive as a piano players seven octaves,
are easy to see and remember.
but very useful nonetheless. Its a great way of organising
For example, a minor pentatonic can be
arranged on the sixth and fifth strings like so:
notes on the fretboard.
Cell Notes on sixth string Fifth string each time, as this will severely limit your
(5 - 0) A, C, D, E, G - musical approach. instead, you might want to
(4 - 1) A, C, D, E G
use just two cells (or even one), but the idea
(3 - 2) A, C, D E, G
(2 - 3) A, C D, E, G might spring from the underlying concept of
(1 - 4) A C, D, E, G three-octave cells. Work out the inversions too
(0 - 5) - A, C, D, E, G (three-note entities have three inversions,
So, thats six possible configurations that four-note entities have four, etc)
can each be shifted up in octaves onto the you may need to use tapping for some
other string-pairs without having to shapes when they are played lower down the
change shape. its the symmetry thats neck, whereas you may be able to pick every
important: because its consistent, the note when playing higher up the neck (where
shapes are easy to remember - its a great the stretches are easier); so be prepared to
way of organising notes on the fretboard. adapt your approach accordingly.
Furthermore, each entity (in this case, a Dont just play fast ideas, or youll just sound
minor Pentatonic) can be played in different the same all the time. The point of learning any
inversions depending on the starting note. For new device is to use it expressively! .
example, its possible to play five different
inversions of a minor pentatonic by starting NeXT MoNTH: Shaun continues exploring
from a different note each time: A-C-D-E-G; the use of three-octave cells.
ABILITY RATING
C-D-e-G-a (a has been moved from the front
Advanced to the end); D-E-G-A-C (A and C have been
moved from the front to the end); E-G-A-C-D Get the tone
INFo WIll Improve your (a, C and D have been moved from the front to
Key: A minor Recognition of intervals the end); and G-A-C-D-E (A, C, D and E have
Tempo: 104 bpm Understanding of octaves been moved from the front, etc). 8 7 5 5 4
CD: TRACKS 54-55 General musical range and, like the original inversion, all of the
Gain BaSS Middle TReBle ReveRB
others can be configured in the same six
piano players have it easy! notation is different ways on each string-pair (5-0, 4-1 etc). Im keeping to a typical rock tone for this series. I
tailor-made for their instrument (the white Today we will look at playing two- and use a Fender Strat, so I always use a distortion
notes visually representing all the plain notes, three-note entities across three octaves. pedal to boost the signal before it gets to the amp.
Generally, try to go for 25% of your distortion from
and the black notes representing all the sharps Two-note entities (double-stops, intervals etc)
the pedal and 75% from the amp. Youll find that
and flats); furthermore, whatever they play can can be configured as follows within each the results are sweeter and more compressed
be shifted up, unchanged (same fingering) over string-pair: 1-1, 0-2 and 2-0. Three-note (even and tighter sounding) than when getting
many octaves, providing both physical and entities (triads) can be configured: 1-2, 2-1, 3-0, 100% of the distortion from the amp. Typically,
visual convenience when they play. The good and 0-3. Different ways of playing the same most amplifiers should be set as above. Finally,
news is that the latter approach can be used on thing will provide us with different possibilities. some delay will also added to the guitar track that
is in tempo with the track. This helps to give both
the guitar if we divide it into string-pairs: ie, once youve worked through the examples
size and smoothness to the guitar sound.
sixth-fifth, fourth-third, second-first. in this lesson, strive to establish some useful
dAvid lyTTleTon
Track record Many modern rock players use this three-octave approach, and many of our examples are reminiscent of Steve Vai. Vai
is somebody who challenges the orthodox approach to rock guitar playing; stretching the possibilities of many techniques in an effort to
find new and unclichd expression. If youre new to his music, try starting with his classic solo album Passion and Warfare.

Three-OcTave paTTerns Learning ZOne
DIAGRAM two- and three-note ideas in cells
ExAMplES NoTe SHApeS cd track 54

The following examples are all based around cells that exist within A Natural exAmple 3 This line is based around the perfect 5th interval created when
minor (A-B-C-D-E-F-G), and can be taken over three-octaves via string-pairs. travelling from an A note up to an E note. This basic shape could be obscured
The intention is to build up a useful repertoire of shapes and lines for you to as one doubles back and forth throughout the line; so refer to the relevant
be able to draw upon when improvising. pattern in the Diagram on the previous page. Again, the second half of this
exAmple 1 This is the first of three examples devoted to playing two-note line employs some standard blues-based vocabulary which provides musical
entities using a (1-1) note-configuration on each string-pair. This example is balance - we dont want to sound like were simply playing exercises.
based around the perfect 4th interval created when travelling from an A note exAmple 4 In this example, a two-note entity (the major 3rd interval
down to an E note. The use of slides makes this idea more ear-catching. between the notes G and B) is arranged in a (2-0) note-configuration on
exAmple 2 Another perfect 4th idea - this time between an A note and each string-pair. By using a combination of slides and bends, this line
aGUITAR TECHNIQUES
D note. Its similar to theMAGAZINE 2 4but
previous one, 1 its coming the
SHAUN'S
other way CREATIVE GUITAR that the three-octave template is also useful as the basis for
demonstrates
(ascending). This example is topped off with some typical blues 2 & 3
vocabulary. slow ideas, not just fast ones.
2 NOTE SHAPES
Ex 1 Ex 2
1-1

Loco

' b ~~~

3
~~~~
& 44

3

'
3

3 Slow

~~~~ ~~~
bend
E 17 10 8 5 5
B 17 10 8 5 8 5
G 14 7 8 7 5
D 14 7
A 12 5
E 12 5 5
1
~~~ ~~~ ~~.

Ex 3 Ex 4
.
~~~
j
b
2-0

& J
3

j

j
3
~~~ ~~~ ~~ 5
PB
E 12 10 8 5
BU
10
BD ~~~
B 10 8 8 5 8 10 (12 ) (12 ) (10 ) 8
G 9 9 8 7 5
D 7 7 7 5 5 7 9
A 7 7
E 5 3 5 7
5
Ex 5
0-2
~~~~
j .
b
& 44

'
3

3 Slow

~~~~ ~~~
bend
lesson: creative rock

E
B
G
D
17
17
14
14 7
7
10
10
ON THE
8
CD
5
8 5
TraCks
5
8
54-55
5
8 7 5
A 12 5
E 12 5 5
1
ExAMplES NoTe SHApeS ...CONTINUED cd track 54
~~~
~~~ ~~.
exAmple
Ex 3 5 This final example employing a two-note entity, is arranged in a experiments,Exrather
4 than playing up and down each shape in full each time.
.
~~~
(0-2) configuration on each string-pair. like Ex2 and Ex3, it is based around a exAmple 8 And yet another musical variation of the same A minor triad
j two examples.

perfect 4th interval, only here its played on a single string each time using a
b
2 - 0 as used in the previous
note-configuration
3 examples saw the three notes of an A minor triad
&
wide stretch of the fretting hand.
exAmple 6 This is the first of three example using three-note entities in a
J
exAmple 9 The previous

j
arranged in a (1-2) note-configuration

(A-C-E). As mentioned earlier, it is

j

(1-2) configuration on each string-pair, and use the notes of an A minor triad
A-C-E). It is reminiscent of Steve Vai and, depending on the tempo, can be
possible to create different

taking the same approach
inversion of the same note configuration, by
from a different
3 note each time. So, in this case,
~~~ ~~~ ~~
PBcan be arranged
~~~
played using a combination of sweeps and legato, and even a slide using the following a (1-2) configuration, the notes of an A minor triad
10
first finger when travelling from one note to the other on the third string. as follows on each of the three different BU
string-pairs: (A-C-E),BD
(C-E-A), (E-A-C).
E
exAmple 12 possible
7 This example is just one 10 8
variation 5 the configuration
on 5 This example is based around the second of the above configurations, and
B 10 8 8 5 8 10 (12 ) (12 ) (10 ) 8
used
G in Ex6; it demonstrates
9 the9sort of idea that can be played if one 8 finished
7 5 off with a simple minor melody in the second bar.
D 7 7 7 5 5 7 9
A 7 7
E 5 3 5 7
5
Ex 5

0-2
~~~~
&
j .

E 15 15 10 10
BU ~~~~
B
G 12 12 7 7
D 5 7 9 7 (9 )
A 10 10 5 5 7
E
9
3 NOTE SHAPES
Ex 6 Ex 7
~~~
.
1-2 6

& 44

~~~
6
(Steve Vai)
BU (then decay)
E 8 12 8 8 12 10 8
B 10 10 10
G 5 9 9 5 5 9 5 9
D 7 7 7 7
A 3 7 7 3 3 7
E 5 5 5 3 (5 ) 5
11
Ex 8 Ex 9
Loco
~~~
~~~

&

E 8 12 8 17 12
~~~ 12 17 12
~~~
B 10 10 13 13 13
G 5 9 5 9 14 9 14 9 14 9
D 7 7 10 10
A 3 7 3 7 12 7 12 7 5 7
E
2 15 5 8 5 7 8
Ex 10
3-0

Em

Loco
~~~

&
E
(Paul Gilbert)
12 15 19 15 12
~~~
B
G
D 14 17 21 17 14 17 21 21 17 14
A 12 14 15 19 12
E 12 15 19 19 15 12 15
L
19
L L
Ex 11
~~~
~~~
4
&4
Three-OcTave paTTerns Learning ZOne
2
2ExAMplE oNe-bAr 16TH-NoTe mixolyDiAN liNeS cd track 54

Ex 10
2exAmple 10 All of the following examples (Ex10-15) represent different A minor, and the note-arrangement on the second string kept where it
ways
Ex

310- 0of playing

Em some three-note entities arranged in a (3-0) configuration is, ratherLoco
~~~
than shifted up to the first string. Examples 11-13 also all use a

on each string-pair (in other words, all notes are on the lowest string of

combination of left- and right-hand tapping which helps with the large
&
~~~
Ex 310- 0pair). The
each Em paul Gilbert-influenced line in this example demonstrates stretchesLoco
and creates an ear-catching legato effect due to the absence of

how, with any configuration that doesnt have any notes on the fifth string, picking. Finally, as with Examples 2 and 3, this particular example finishes off
&
~~~
Em
3 - 0is an option of shifting notes from the second string to the first Loco
there with some blues-based pentatonic vocabulary.
string. This helps to keep things in the same vicinity of the guitar neck. exAmple 12 Here weve simply re-interpreted the same notes to create a
& ~~~

Although shown
(Paul played as a wide stretch, it is also possible to play the
Gilbert) musical variation.
same thing using a combination of left- and right-hand taps (as in each of exAmple 13 And yet another variation on the same thing, only this time
~~~
E
the following examples)
(Paul Gilbert) 12 15 19 15 using 12 septuplets.
B
GexAmple 11 Here we have the first of three variations on the same theme. exAmple 14 This example follows the same E minor triad configuration as
E
D
B
A
E
(Paul Gilbert)
12 15 19
14 17 used
The (3-0) note-configuration/cell
Gused in Ex10 only, this time, its
21 here
played
17 is similar
seven
14 17to the
frets lower so
12 15
21 E minor
that
12it
triad 19 15Ex10,
becomes
15 19 15
12 but21executes
combination
12 of
17 it
left- and
19right-hand
15 12 15tapping).
~~~
14using the techniques employed in Examples 11-13 (a
12 14 15 19 12
D 14 17 21 17 14 17 21 21 17 14
L
B 19
A
G 12 14 15 19 12
E
D 12 15 19 14 17 21 17 14 17 21 21 17 14 19 15 12 15
L
L L
Ex1911
~~~
A 12 14 15 19 12
E 12 15 19 19 15 12 15
~~~
4 L L L L
19
4
Ex 11
&4
~~~
~~~ ~~~
L L
L
Ex 11

L L L
~~~
& 4 L
& 44
3 3

L
~~~ ~~~
LL LL LL L
BU BD 3 3
~~~ ~~~
E
( ) (13
3 ) 10 13 3
B 10 13 17 13
BU 15 BD 10 13 10
G
E
~~~ ~~~
12 9 7
L L ~~~ L L ~~~
D 7 10 14 10 7 10 14
B
A 10 13 17 BU ( 15 )BD
13 (13 ) 10 13 10 13 10
G
E 5 8 12 12 9 7
D
B 21 7 10 14 10 7 10 14 10 13 17 13 ( 15 ) (13 ) 10 13 10 13 10
A
G 12 9 7
E
D 5 8 12 7 10 14 10 7 10 14
Ex2112
L ~~~
A
E 5 8 12
L
6
L
21
L L
Ex 12
&

& L L ~~~ L
Ex 12
~~~
6
~~~

& L
LL ~~~~~~
6

L L

~~~
6
~~~
L L ~~~ LL L
E
~~~
6
LL L
B 10 13 17 13
G
E
D
B
A
G
E 5
8 12
7 10 14 10 7 10 14
6
10 13 17 13
D
B 23 7 10 14 10 7 10 14 10 13 17 13
A
G
L
E
D 5 8 12 7 10 14 10 7 10 14
L L L L L
A 23
Ex 13 Ex 14
E 5 8 12
L
~~~
L L
23 Loco
L L L L L
Ex 13

Ex 14
& L L L L L L L L ~~~
~~~
7
&

Loco Ex 14

Ex 13

L L L LL LL L ~~~
7

& L L
Loco
~~~
7

L L L L LL L L LL ~~~
E
7
7
7
7
5
LL LL L L
B 10 13 17 13 10 13 17 22 17 13 10
G 7 7 5 12 14
E
D 7 10 14 10 7 10 14
B
A 10 13 17 13 10 13 17 22 17 13 10
G
E 5 8 12 8 5 8 12 12 14 12 15
D
B 25 7 10 14 10 7

10 14 10 13 17 13 10 13 17 22 17 13 10
L
A 12 14
L
G
L
E
D 5 8 12 8 5 8 12 7 10 14 10 7 10 14 12 15
A 25
& L L L L L L L
~~~
E 5 8 12 8 5 8 12 12 15

25 Loco

L

& L L L L L

L ~~~ Loco
& L L L L L L L ~~~

~~~ Loco

LL LL LL LL

LL LLL
5
LL
7 7
5 BU BD
~~~
E 12 15 19 20 19 15 12
12BU ( 13 ) (12 )
L
B 7 7 5 15 BD
~~~
G 14
7 21 12 15 19 20 19 15 12
L
E
L
D 7 14 17 21 17 14 17
B
A 15 12BU ( 13 ) BD (12 )
G
E
E 19 15 12 15 19 12 15 19 20 19 15 12 14
D
B 27 14 17 21 17 14 17 21 15 12 ( 13 ) (12 )
A
G 14
E
D 19 15 12 15 19 14 17 21 17 14 17 21
A 27
E 19 15 12 15 19
27

lesson: creative rock ON THE CD TraCks 54-55
ExAMplES NoTe SHApeS ...CONTINUED cd track 54

exAmple 15 To finish, this final example uses left- and right-hand tapping because its an inversion of sus2) Note that each arpeggio uses the same
to play a succession of sus2 arpeggios to a septuplet rhythm. As you can note-arrangement as used in Ex 10, 11, 12 and 13, whereby the notes that
see, there are lots of identical sus2 shapes within each key (and sus4 too, should be on the second string are shifted up to the first string each time.
L
L L L LL
Ex 15
L
3

7 7

L L L L L L LL
Ex 15

7
&
7 7
3
& L L

L

L L L L

Ex 15 7

LLL LLL

L
L L LL
7 7

L L L

7
L
Ex 15
& L L LLL
&
7

L L L

7 3 5 10 7
5 3 7
L
E

L L L

L
B
7
7
5
G
L LL LLL LLL LLL L L

E 3 5 10 5 3

D
B 5 7 12 7 5 7 12 7 12 7 5 12 7
A
L
G
E 3 5 10 5 3 5 10 10 3
D 29 5 7 12 7 5 7 12 12 7 5 7 12 7 5
LLL LL
E
A 3 5 10 5
7 3
B
E 3 5 10 5 3 5 10 Gsus2 10 3
& L L
G 29
D 5 7 12 7 5 12
7 Gsus2 12 7 5 7 12 7 5
E
A 3 5 10 5 3 7
L L L L
L
B

E
G 29 3 5 10 5 3 5 10 10 3

L

7 7
D 5 7 12 7 5 7 12 12 7 5 7 12 7 5
L L

L LL

Gsus2

L
A

L L L
7
3 5 10 5 3 5 10 10 3
E
& 7

L
29

L LL LL LL L LL

L L LLL LL

Gsus2

7 7
7
& L

7
&
L L L L L L
E

7
5 7 12 7
7 5

LL LL
B
9 9 7
G
7
L L L
5 7 12 7 5

E
L
D
B 7 9 14 9 7 9 14 7 14 9 7 14
7
5
A
L L
G
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only
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DownloaD the Digital magazine now

lesson: CHoPs sHoP VIDEO ON THE CD CD-rOm TraCk
String Skipping This issue Andy Saphir is going to skip through his
PART 1
lesson, hopping from string to string in complete
musical abandon, all to make you a better guitarist!
In thIs months Chops shop were present some technical challenges, both with
looking at the technique of string skipping. the fretting hand and picking hand, so a
this is a useful approach that involves considered technical approach is necessary.
playing through non-consecutive strings (for In all of the following examples, Ive
example, playing the fourth string directly suggested alternate picking throughout, but
after the sixth string, missing out the fifth if you feel more comfortable using another
string). this can create some interesting approach thats fine (hybrid picking works
lines that deviate from the more predictable great for obvious reasons), as long as you
scalar types of phrases, thereby giving you a consider what might be appropriate for each
more varied vocabulary. string skipping can exercise and, ultimately, your own licks.
ExAmPlE 1 primer
GUITAR exercise
TECHNIQUES MAGAZINE 241 Andy Saphir's cD ROM
Chops Shop - STRING SKIPPING - Pt. 1
This is an open-string exercise to get your picking hand used to the physical picking hand to check accuracy, but after a while the muscle memory will
concept of string skipping. At first you may need to look down at your kick in and youll be able to try it without looking.
Ex 1
-
GUITAR TECHNIQUES MAGAZINE 2 4 1 Andy Saphir's
44
&
Ex 1
-
GUITAR TECHNIQUES MAGAZINE 2 4 1 Andy Saphir's
44 0 0
&
0 0 0 0 0 0
0 0
E
Ex 1
- 0 0 0 0
B 0 0
G 0 0 0 0

D 0 0 0 0
& 44 0 0 etc 0 0
A 0 0
E 0

0 0 0 0 0 0
E

B 0 0 0 0
G 0 0 0 0 0 0
Ex 2
D 0 0 0 0
A
E 0 - 0 etc
ExAmPlE 2 string-skipped pentatonic
0 0 scale

0 0
0
cD ROM
E
This exercise uses4
the
same string

pattern as
0 0 notesof the
Example 1 (so 0
A minor 0 0
your pick should 0 0
Pentatonic 0 pick
a legato 0approach:
scale (A-C-D-E-G). For
0 for each string
an altogether smoother sound, try this with
be familiar &
B
with4the mechanics),
0 0

0 0 0 0 0 0 0 0
G but incorporates 0 then hammer-on
0
0 -
D
Ex 2 0 0 0 0
etc
E 0 0
4
&4 5 8

- 5 7
E
Ex 2 5 8
B 5 8
G 5 7

5 7
5 7
5 7

D 5 7 5 7 5 7
4
& 4 5 8 etc
A 5 7 5 7
5
E
E
B
5 8
5 8
5 8
G 5 7 5 7 5 7 5 7
D
Ex 3 5 7 5 7 5 7 5 7
5 - 5 7
5 8
5 7
A

E 8 5
E
4
5 7 5 7 5 7 5 8 5 7
etc

8 5 7 5 7 5 7
&4 5
B
cD ROM
G 5 7
5 -
8 octaves
D
Ex 3

ExAmPlE 3 pentatonic

A 5 7 5 7
note, but licks andinvolve

less fretting
E 5
4 you
Note how when ascending skip toget toetcthe octave
onestring though!
hand movement as it means you stay within the
&4
when descending you skip two This could create some
strings.
8interesting Watch your picking
same fretboard area.

accuracy

- 7 7
E 8 8 5 5
Ex 3
B 8 5 5
G 7 7

5 5

5 5
7 7 8 8 5
D 5 5 7 7
& 44 5 5 etc
A 5 5
E

E
B
G 7 7
8 8
5 5
8 8 5 5
5 5
5 5

Ex 4 7 7 5 5 7 7
5- 5
D

A 5 5 7 7
E

8 8 5
4 8 b 5
E
etc 8 8 5 5

B
&4 5 8
7 5
b7 7 5 5
7 7 b 5 n 5
G 7 7 5 5
Ex 4
5 7
D
A
5- 5

E 8 8 5
b
& 44 b n
etc
b
E
Ex 4
8 5 8 5

-
8 5 8 5
B
78 GuitarTechniques
G April 20157 5 7 5

7 8
7 5 6 5 7 5
b
D 5 7 7
A
E
&4 4 5 8

6 7
8 5

E etc
-
etc

4
Ex &
3 4

-
4

To you By... & 4
BrouGhT
STRING SKIPPING
PT1
LeaRNING ZoNe
E
8 8 5 5
B 8 8 5 5
G 7 7 5 5 5 5
D 7 7 5 5 7 7
A 5 5 7 7
ExAmPlE 4 different strings, same fret
E 5 5 8 8 5 5 8 8 5 cD ROM
you may
B
G find the fretting hand a challenge 7
etc
here,7 where
8 8
you play a note
5 on5 finger, but dont let the notes ring into each5 other
5 5
5 and dont take your finger
D
a new string 7 7
at the same fret as on the previous 5 5
string. Try using the same off the string too7 early
7 or this will give a staccato feel.
A
Ex 4 5 5 7 7
-
5 5 8 8 5
b
E

etc
44
& b n
b
Ex 4
- b

4 b n
&4 b
E
B
8 5
8 5 8 5
8 5

G 7 5 7 8 7 5
D 7 5 5 7 7 5 7
A 6 7 6 5
E 5 8 8 5 8 5 8 5
B
G
7 5 etc 8 5
7 8
8 5
7 5
D 7 5 5 7 7 5 7
A 6 7 6 5
ExAmPlE 55 ascending
Ex line with descending sequence cD ROM

5 8 8 5

E

- etc
Ex &
5 4
4
This idea uses notes from the C major scale (C-D-E-F-G-A-B) and is an

The interval of major and minor 6ths are used in the string skipping parts
.

-
ascending phrase combining string skipping with consecutive scale notes. and this is the type of sound that country players use a lot.

.
& 44
E 7 10 8 7 8
B 8 10 8
G 9 7 10 9 7 10 9
D 7 10 9 7 10 9
A 10 8 7 10
E 8 7 10 8 7 8
B
G
etc
9 7
8
10 9 7
10 8
10 9
D 7 10 9 7 10 9
A 10 8 7 10
E 8
etc
2 xxxxxxxxxx
ExAmPlE 6 descending line with ascending sequence cD ROM
This is basically the same as Example 5, but descending. Try these types of ideas using different scales and positions.
Ex 6

2 -
2 xxxxxxxxxx

xxxxxxxxxx

4
Ex 6& 4
Ex 6
-
.

4

E
B
&4 10
8 10
7
8

.
G 10 7 9 10 7 9
D 9 10 7 9 10 7
A 10 7 8 10 7 8
E 8 10 7 8
E
E
B
8 10 77
10
10 etc
8
B 8 10 8
G
Ex
G 7 10
10 7
7 9
9 10
10 7
7 9
9
fifth stringroot chords through

ExAmPlE 7 descending chords 9
9 10 7 9 10 7 cD ROM
rather
D
D 10 7 Am 9 10 7
- uses 7
C B dim 10 7 8
8 10 G7 8

A
A 10 7 10 7 8
E
E
This challenging fretthefull chords
exercise
4 Dont as this will etc
like a ringing
that descend
8
10
8 separate
10
first andwhen you feelfamiliar enough,
arpeggiated chord than notes.

7
Take
8

8 one very slowly at
this
only then begin to up the tempo!
Ex &
7 4
the C major scale.
etc
sound

BB dim
Ex 7
- Am G
C
C dim Am G
4

E &4 15 13 12 10
B 17 17 15 15 13 13 12 12
G 17 17 16 16 14 14 12 12
D 17 17 15 15 14 14 12 12
A 15 14 12 10
E
1
E
E
B
17 1515 17 etc
15
13
13
15 13
12
12
13 12
10
10
12
B 17 17 15 15 13 13 12 12
G
G 17
17 17
17 16
16 16
16 14
14 14
14 12
12 12
12
D
D 17
17 17
17 15
15 15
15 14
14 14
14 12
12 12
12
etc
15 E m14 12 10

A
A F 15 14 Dm
12 C
10

E
E
1

etc
&

F
F E
Emm Dm
Dm C
C

& 10 8 10 8
E
B
7
8 6
5
6 5
3
G 10 10 9 9 7 7 5 5
D 10 10 9 9 7 7 5 5
A 8 7 5 3
E
5
E
E 8
8 7
7 5
5 3
3
B
B 10
10 10
10 8
8 8
8 6
6 6
6 5
5
G
G 10
10 10
10 9
9 9
9 7
7 7
7 5
5 5
5
D
D 10
10 10
10 9
9 9
9 7
7 7
7 5
5 5
5
A
A 8
8 7
7 5
5 3
3
E
E
5
5

lesson: r&b ON THE CD TraCks 56-67
The Small Faces

the duo was forced to rethink its approach
- their debut single was, after all, based on a riff
similar to Solomon Burkes classic everybody
Needs Somebody To love. Once marriott and
lane realised this the hits just kept on coming,
including the chart-topping all Or Nothing.
The Small Faces pioneered a new heavy sound that marriott and lanes talent for writing
infectious pop songs aside, its the B-sides and
would be adopted by blues-rock bands including album cuts that define the band as one of the
The Who and Led Zeppelin, says Phil Capone. driving forces behind British blues. marriott
had one of the best blues voices outside of
america, his heart-wrenching vocal style
never sounded affected or gimmicky, just
totally authentic. listen to You Need loving, a
re-working of Willie Dixons You Need love
(cheekily credited to marriott and lane) and
you not only have the obvious inspiration for
led Zeppelins Whole lotta love but a
blueprint for the whole Zeppelin sound:
crashing energetic drums, distorted e and D
chords sounded over a low e pedal, and last
but not least, marriotts stunning vocal.
as a guitarist marriott was no slouch either.
although The Small Faces pop singles lacked
solos, their B-sides and album tracks amply
demonstrate his prowess. Songs such as e Too
D, Grow Your Own, and the bombastic Own Up
Time are examples of how his heavy riffing
style was way ahead of its time. The deeper you
delve into the Small Faces hidden back
catalogue, the more you realise that this band
defined the heavy blues-rock sound that would
dominate the late 60s and early 70s scene.
Steve marriot quit the Small Faces in 1968
to form humble Pie with Peter Frampton.
When asked about his approach for this new
band by Disc & music echo magazine in 1971
he replied, "It's just what I used to do in '65,
'66 only I like to think I'm better at it. I'm just
Steve Marriot a rocknroller, that's what I'm best at".
and Ronnie Lane
in full mod garb NeXT MoNTH: Phil profiles one of the 60s best
guitarists, Tony Hicks of The Hollies
ABILITY RATING Robinson. marriotts soulful voice, backed by
the bands simple but effective grooves, proved
Moderate to be an instant success on the emerging mod Get the tone
scene. legendary manager Don arden signed
Info WIll IMprove your the Small Faces to a management contract, and
Key: Various R&B power playing a recording deal with Decca swiftly followed. 6 5 5 10 5
Tempo: Various Riffing from open chords They released their first single Watcha
CD: TRACKS 56-67 Blues soloing vocabulary Gonna Do about It in the summer of 65, which
was an instant success, peaking at 14 in the UK. Marriott played mostly Gretsch guitars in the
Small Faces days. He favoured semi-acoustic
The Small FaceS emerged onto a changing however, their follow-up, Ive Got mine,
models like the 1620 and Country Gentleman,
london music scene early in 1965, as both the written by marriott and lane, failed to chart so both of which were equipped with humbucking
British blues boom and the mod scene were pickups as standard. However this doesnt mean
gaining momentum. The original line-up was: It's just what I used to do that you wont get close with single-coils.
Steve marriott (lead vocal, guitar), Ronnie
lane (bass, vocals), Kenney Jones (drums),
in 65, 66, only I like to think Remember, guitar sounds were very trebly
during the early 60s, so select your neck pickup,
and Jimmy Winston (keys, vocals). The band I'm better at it. I'm just a turn your tone control up full, and dial in plenty
of treble on your amp. To reduce distortion for
toured the london clubs, performing their own
versions of soul and R&B classics by artists like
rocknroller, that's what rhythm parts, simply roll off your guitars
volume control until the amp 'cleans up'.
James Brown, Ben e King, and Smokey I'm best at. Steve Marriott
PICTORIAL PRESS / ALAMY
Track record While its the admittedly wonderful ogdens Nut Gone Flake that gets most column inches, this is a later album and a
more psychedelic approach than this column covers. That leaves us with the myriad compilations, the best of which is probably The
definitive anthology (1995) which contains almost all the tracks mentioned here plus the best singles and some of ogdens too.

THe SMaLL FaCeS Learning Zone
ExAMplE 1 Chord based riff cd track 56

GUITAR TECHNIQUES MAGAZINE 2 41 BRIT RN B -B THE SMALL FACES
The arpeggio patterns for this example are picked out of the D and a quick change -toPhil
the F,Capone
but in bar 4 the open G form provides a smoother
chord shapes, so both chords should remain fretted until beat three of the change to the A chord. Marriott was great at pulling out instrantly catchy
following bar. Notice that in bar 2 the full barre form of G is used to provide riffs from open and barre chords.
Ex 1 Chord
GUITAR based riff MAGAZINE 2 41
TECHNIQUES BRIT R N B - THE SMALL FACES - Phil Capone
D G F B G A
# # 4based
Ex 1 Chord
.
.
riff MAGAZINE

2 41 BRIT
R. N B -THEn n SMALL FACES #
Capone # . ..
- Phil
&4
GUITAR TECHNIQUES
J n J G

n
D G F B A
# . n .
# 4based
. riff MAGAZINE 2 41 BRIT R N B - n # - Phil Capone #
& 4 D . J
n Let ring A ..

Ex 1 Chord
GUITAR TECHNIQUES THE SMALL FACES
G n F J G
Let ring
based2riff 2 30 2 .
# # 4 .. 32 Let ring3 2 0 2 . 334 n nn 112
B

#B44 Let ring 4 4 # G00 A22 ... 4 .
E
G
Ex 1 Chord
&4 .. D02 F
B 4 5 4
G
J
n 2 J 3 0
n
D 5 3
# # 4 . 2 . 2 . . 300 22 ...
5 3
n 2
A

2 0 2 3 1
# #
E
4 n
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.. 0 position pentatoniC liCks
20 . 58
B 3 3 3 1 4 5 4 4
G
& 24open Let ring J 55 n 33 42 Let ring 4
4 4
J 0 cd track
3 n
D
ExAMplE
n 1 Allow the
A
. closer .
Ex
E 2 using
Try Open position
three fingers Em forPentatonic
the opening lickstone bend in this example; string 1 the 4th fret first, this will help you to hear the accuracy of 3your technique.
E 2 2 0 2 3 3
. 2 Em Pentatonic
3 nut3and your bending finger will need 3 all the1 4 double-stop 5 4 4 0 second 2 string
.
B
tension increases to the
Let ring to ring in bar 3 while re-picking the
~~~~0 j 23 53 ~~~ 31 3 3 2
G Shuffle 2 E m 2 4 2 4 Let ring 4 0 2
# 4 position
help it can get. Check also that your bends are in tune by playing the B on and the open first string simultaneously.

D 0 5 3 4 4 0 2
. 32 .. E m3 2 . 334 112 j j
2 ..
6
# #5 4
Ex 2 Open 2j licks 06
j
A
& 4 Shuffle 4
E 3
E
3
. J 0 2
.
B 4 4 0
~~~~ 5 ~~~3 3 3 2
G 4
# 0 5 3 4
3
4 0 2
D
4 position Em Pentatonic j
3
. . j
..
6
. J
06
j j j
A
& 4
Ex 2 Open
E licks 3 1 #
#Let ring 3
Shuffle ~~~~ BU BD 3 ~~~

~~~~ j ~~~ 3 3 Letjring3 033 03 j
BU BU
.. j (4) jlicks ..
Em
E
# 4 position Em Pentatonic ( 4) .

6
. .
Ex 2 Open 6
.
B 2
#
G
& 4 Shuffle E m BU ~~~~ BU BD
2
J ~~~~

2 2

( 4) (2 ) 0
~~~0 2 2 0 # 3
4 4
2 0
2 0 0 2 0 2 0 2 0 2

D BU 2 0
A
E
#4 . 3 ~~~ 3 3 0 j 3 33 3 j 0 0
..
. ( 4 ) j ( 4) .
E 3 6

. BUJ BU ~~~~ BU BD ~~~0 2 2 0 .
6
j j
.
B 2
#
G
& 4 2

2 2

( 4) (2 ) 0
# 3
Let 4
ring
4
2 0
2 0 0 2 0 2 0 2 0 2

D 2 0
A
3 0
. .
E
Ex 3 Major chords superimposed over tonic pedal
E 03 0
. ' . 60
B 2 3 3 3
BU BU ~~~~ BU BD
of then late~~~
Let ring

G ( 4 ) (
E4 ) ( 4 ) ( )
2 0 D /E 4 G /E 2 0 G/E
A/E E
# # # #chords superimposed over tonic pedal 0n n 0

2 2 2 3 4

ExAMplE 3 Major Chords superiMposed over toniC pedal cd track
.
D 2 0 2 0 0 2 0 2 0 2 0 2
4
14 /
. (4use . (E4) triad over( 4)pedal (2note /E and youll find0 that, by34bending 0atG/E
nG/Eyour finger ... youwill also...
the first joint,
A 0 2 2 0
) . this
Ex 3 Major
& 4 page would E
E
E Steve Marriots pioneering style was copied by many bands 60s barring with
3 your third finger across the second, third and fourth strings;
. n n
' 2.. 0 2 0 2 .
B 2 3 3
2 0 nmute J
G and early 70s; Jimmy ) 0 Dapproach 2
A/E
in several #Zeppelin tunes. The E and D barre chords n
2 2 2 3 4
D
# # 4 should
n
J

be fretted by 2

0
.
simultaneously

14

/ the first
n
string. 2 0 0 2 0
& # chords .. tonicpedal .. ..

A 0 2
4 superimposed 3 0
n
E

Ex 3 Major over
n n . n / G3/E A/E J3 E .
. J '
' nG45/E A/E67 G/E45 E122 ... ... 00 .. .
E D /E G/E
E
B # # # #chords
Ex 3 Major
4 superimposed over tonic 9pedal
... E 99 99 D77/E 2 0

9
n
7

14
n n

3

5
5
3
& 4
14 /
. n 3 //' 0 n 33 55 J33
G

D
n n 000 .. .
#### 4 . 7

7

J
5

2 2 0
' n 45 67 45 122 .. ...

A
n n
E 14
...
E 0
99 99 77 2 0
B 9 9 7
& 4
14
G

D
7 7 n 5 n . n 3 0 3 5 J3
2 2 0
00 ..
J7
A
. 0 9 /' 4 6 4 01 .
Ex 4 Minor pentatonic lick with open string
E pull-offs
. .
B 9 3 5 3
. .
14
Ex 4 Minor pentatoniclick with open string

j 7pull-offs
9

j
7
9 7

G
5
Am
3 0 33 55 33 0 .
D 9 9 7 2 0 5 7 5 2
4 .
. J
'
A 2 2 0 2
& 4 . Am
E
E 0 0 0
. . pull-offs . 62
B 9 9 7
4 applyinG 9 .
14 /
2 3 5 7 3 5 22 cd3 track
open strinG 7 double-stops
9 9 7 4 6 4 1
j 9j
G
5

D 7 0
AExAMplE
Ex
E
At&the4
4
4 Minor
. J
end.of bar 1 fret the G note on the second string (8th fret) with
pentatonic lick with open string
0 pull-offs
7 to 2 32 0
3
0

0

sure you maintain the shape while pulling off to the open strings. Releasing

.
your third finger

BU
j open 5. and

Am then slide the note up the neck to the 14th fret. Fret the BU
j fingers, 5.
defined pull-offs. 3 00 1512 003 1512 00 15123 00
your fingers with a sideways flicking or snapping motion will create more
4
5lick
using (fourth 15 0 15 0 15
E
& 4 ...Am J jBU

Exdouble-stop on the 12th
4 Minor pentatonic fretwith yourstring first pull-offs making clearly 3

B 8(10) 8 10) 8 12 0 12 0 12
G
. . 003 1512 00 15123 00 1512 003 1512 00 15123 00

D BU
.. J (10) (10) 8 j
A
4
E
E 5 5 5 15
& 4 ..
B 8 8 12
G
D
. J 5j (10). 5j (10). j5 8 .
A BU BU
E
E 15 0 15 0 15 0 15 0 15 0 15 0
j12 03 12 0 j 123 0 12 03 12 0 123 0
. 0 15 0 ..
& .
B 8 8

G
. J (10). (10). 8 .
D BU BU
5j j j
A
E 5 5 15 0 15 0 15 0 15 0 15

j12 0 12 0 j 12 0 12 0 12 0 12 0
. ..
E
.
B

8 8
&
G
D
5 j (10) 5. j (10 ) 5. j (10) 5.

A
BU BU BU BU BD
..
E
(9 ) (7 ) 5
j j
E
B
G
& J 8 8 8
7
5 7
5
5 7. .. 81
BU
. BU
. BU
. BU BD 7 7
D
A
(10) (10 ) (10)
j j j
.
(9 ) (7 ) 5
j April 2015 GuitarTechniques
7 7 5 7 5 7. ...
E 5 5 5 5
j
J
E

B 8 8 8
G
D
A
& 7 5
&4 .
3 3 3 3
lesson:.. r&b
BU BU
E 5 5 5 15 0 15 0 15 ON0 THE
15 CD
0 15 TraCks
0 15 56-67
0
B 8 ( 10) 8 ( 10) 8 12 0 12 0 12 0 12 0 12 0 12 0
G
D
A
E
ExAMplE 4 applyinG open strinG pull-offs to double-stops cd track 62

j .
j .
j .
j
j
& J . ..
BU BU BU BU BD
E 5 5 5 5
.
.
B 8 (10) 8 (10 ) 8 (10 )
G 7 (9 ) (7 ) 5 5 7 5
D 7 7 5 7
A
E
ExAMplE 5 arpeGGiated open Chord riff cd track 64

2 xxxxxxxxxx
To facilitate a quick chord change, keep your third finger hovering above by playing the first four notes in bars 2 and 4 with down picks. For an
the 3rd fret while picking out the notes of the E7 chord. This can be played authentic 60s vibe, amp tremolo or a tremolo pedal is ideal (but dont set
using regular alternate picking, or a mix of economy and alternate picking the depth too high).
Ex 5 Arpeggiated open chord riff
E 7
n # j
G A E7 G B
#### 4 . n ..
4 .
&
n n n n n n nn

Let ring (throughout)
E
. 3
.
. .
B 3 4
G 1 1 0 2 1 1 4 4
D 0 0 0 0 0 2 2 0 0 0 5 4
A 2 0 2 5 2
E 0 3 0 3
ExAMplE 6 final
GUITAR jaM
TECHNIQUES MAGAZINE 2 4 1 cd track 66
BRIT R N B - SMALL FACES - Phil Capone
Its important to keep the G# note fretted while sounding the lower notes phrases or simply changing wholesale between E major pentatonic (bars
of the E7 in the first bar; removing your finger will unwittingly
BRIT create
R N Ban- SMALL
25 and 26) and
FACES - EPhil
minor pentatonic (bars 27 and 28). Notice also that the C#
Capone
Ex
E minor 6chord!
GUITAR FINAL JAM of the
TECHNIQUES
Be aware MAGAZINE 2 4 that
riff variations 1 occur in bars 12 and 14, is frequently added to the E minor pentatonic when playing over A7 chords

BRIT R N B - SMALL FACES - Phil Capone
before the B7#9 chord and after the A5. The solo phrases often switch (bar
E 727). As always, youll achieve the best results by working through this
D 5/E
#### 4
Ex 6 FINAL JAM 3 of 3 chunks.
between minor and major tonality by incorporating the G# at the end example slowly, so tackle the solo in manageable two or four-bar
Ex 6

FINAL JAM
j n 3 n nD5/E
j n 3
&
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D
E 2 0 X
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E
A5 G /A A5 0 X E7 D5/E
82 GuitarTechniques April
8
2015
####
3
&
A5
A5
nGG/A/A AA55
j n 3 n E7
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E
B
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4
3
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Let ring
3 THe SMaLL FaCeS3
4 4
Learning Zone
G
B 2 3 2 0 0 1 2
3 2 3 2 0
D
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A
D 2 2
0 X 2
0 0 2
E
A 0
2 X
X 2
E 8 0 X
8
ExAMplE 6 final jaM ...CONTINUED cd track 66
A5 G /A A5 E7 D5/E
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TraCks 56-67
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48
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lesson: jazz ON THE CD TraCks 68-79
Mike Stern
celebrated Lifecycle. Big Neighbourhood
(2009) threw up a varied list of collaborators,
including steve Vai, Eric Johnson and
Medeski, Martin and Wood, and was recorded
PART 2 between New York, Austin and Los Angeles.
In early 2012 Guitar Player awarded Stern
Join Pete Callard as he uncovers some of the their Certified Legend Award, with the album
All Over The Place following later in the year.
greatest licks from the giants of jazz guitar. This Sterns latest recording, 2014s Eclectic, sees
month, a second look at Mike Stern... him again joining forces with Eric Johnson in
a stripped-back small group setting, and was
recorded primarily live in a period of three
Upside downside and Time in Place. The days at Johnsons Austin studio.
ABILITY RATING
acclaim of sterns debut recordings as leader Today we continue to examine sterns jazz
Advanced led to a steady stream of solo releases. His style and discuss his approaches on popular
third album, Jigsaw, was released in 1989, jazz sequences. The six examples take in long
Info WIll Improve your followed by Odds Or Evens in 1991; both saw
Key: Various Jazz soloing him further developing his distinctive angular I check out a lot of sax
Tempo: Various
CD: TRACKS 68-79
Bebop vocabulary
Picking technique
and emotive compositional style and unique
solo voice. The following year he became part
and trumpet players. I try
of the reformed Brecker Brothers band led by to get some of those ideas
As i sAid last month i thought it would be
illuminating to focus on Mike sterns more
saxophonist Michael and trumpeter Randy,
on the album Return Of The Brecker Brothers
on the guitar. Mike Stern
straight-ahead jazz style. Last time we and the live dVd spherical. 1992 also saw the and short ii-V-i ideas, bebop bridge, rhythm
discussed his development as a guitarist and release of an acclaimed album of primarily changes and jazz blues sequences, and focus
the early part of his career, culminating in the straight-ahead jazz standards (And Other in on his bebop vocabulary, substitutions,
release of his first two official solo albums, songs), leading to the award of Best Jazz outside ideas, intervallic patterns and use of
Guitarist of the Year from Guitar motifs. All the examples are uptempo, and
Player magazine. He followed this feature a torrent of amazing and inspiring
with is What is and Between The ideas. stern tends towards picking every note,
Lines in 1994 and 1996, both so the examples provide quite a picking hand
Grammy nominees. sterns 1997 workout, and he imbues everything with an
release Give And Take saw a return understated swing and subtle dynamics,
to straight-ahead jazz, featuring ghosting some notes and phrases while lightly
saxophonists Michael Brecker and accenting others to create real light and shade
david sanborn alongside bassist in his seemingly endless lines. its really worth
John Patitucci, drummer Jack spending some time with these and last
deJohnette and percussionist don months examples, as between them Mike
Alias, and won him the Orville W stern presents a genuine masterclass in the
Gibson award for Best Jazz art of contemporary jazz guitar.
Guitarist. 1999s Play teamed stern
with jazz guitarists Bill Frisell and NeXT MoNTH: Pete switches his focus to that
John Scofield, while Voices (2001) jazz-blues master, Robben Ford
saw him exploring world music,
with wordless vocals from Richard
Bona, Arto Tuncboyaciyan and Get the tone
Elisabeth Kontomanou. After 15
years with Atlantic, 2004s These
Times saw stern move to EsC 3 5 4 3 2
records, and again featured Richard
Bona alongside guests including
saxophonist Kenny Garrett and Mike Stern plays a Yamaha PA511MS model and a
Michael Aronson custom guitar with a 50s Fender
banjo virtuoso Bela Fleck. Who Let Broadcaster neck, and Bill Lawrence and Seymour
The Cats Out (2006) saw Stern Duncan pickups, which he had built after his old
again move label, this time to Heads Tele, bought from Danny Gatton and previously
Up international, and won him owned by Roy Buchanan, was stolen in a mugging
another Grammy nomination. The in Boston. Stern uses Boss distortion and delay
following year he was awarded the pedals and a Yamaha SPX-90 which gives his
trademark chorused sound, through Fender Twin or
Miles davis award at the Montreal Yamaha G100-212 amps. Use the neck pickup and
Mike Stern: one
Jazz Festival, at which he performed roll the tone off, or take the treble down on your
of the modern
onstage with The Yellowjackets, an
ROB VERHORST / GETTY IMAGES
jazz greats amp, and add a fairly heavy, slow chorus.

association that led to 2008s
Track record Some listening recommendations for Mike Stern include Upside downside (1986), Time In Place (1988), Jigsaw (1989), Is
What It Is (1994) and Voices (2001). For Sterns more straight-ahead side, Id recommend Standards (and other Songs) (1992) and Give
and Take (1997), and his rittor Music guitr instructional video, intriguingly entitled Guitar Instructional Video!

MIKE STERN PT 2 LEaRNINg ZoNE
The Pete Callard Jazz Club presents
EXAMPLE BeBop BridGe
GUITAR1 TECHNIQUES in Bb
MAGAZINE M I K E S T E R N (part 2)
241 cd track 68
The Pete Callard Jazz Club presents
Stern begins around D
Ex 1 - Bebop bridge Mixolydian and D major Pentatonic in the first two
M I K E S T E R N (part 2) bars 5 and 6 he plays around C Half-Whole diminished resolving to F7, then

GUITAR
bars, TECHNIQUES
suggesting MAGAZINE
Dm7 (or Fmaj7) and G72in4 bars
1 3 and 4 resolving to C7. In outlines F7b9 (bar 7) and F altered (bar 8) resolving to Bb in the final bar.
Ex 1 - Bebop
bridge
D7
n # n
The Pete Callard Jazz Club presents G7 C7

b 4 n n n
# n j n
M I KPete
E SCallard
TERN Jazz(part
Club2)presents
& b b
GUITAR TECHNIQUES MAGAZINE 2 4 1 The
n
n
D7 The Pete Callard Jazz Club presents G 7 C7
44 M I K E S T E R N (part 2)
n n # n 7
# j n
Ex 1 - Bebop bridge M I K E S T E R N (part 2)
b
&- Bebop
4bridge n 7 n
Ex 1 - Bebop D7 G7 C
# n

Ex 1 bridge
b
4 # n n n j n 7
nn n
D G7 C7
& bb bb nn n # jj
n
D7 G7 C
44 # n nn 8
E
B &
& 44 b 7
10 8 7 7 n ## nn nn 11
G
E 7 9 7 9 7 7 7 10 9 8 11
D
B 10 8 7 7 9 7 7 10 7 8 9 9 10
A
G 9 7 9 7 10 8 9 7 8 7 7 10 9
E
D
E 1 7 9 7 7 10 7 8 9 9 10 8 11
A
B 10 8 7 7 10 8 9 7 8
E
E 7 8 11
G 1 9 7 9 7 7 7 10 9
E 7 10 8 7 7 8 11
n b b
B 9 7 7 10 7 8 9 9 10
b
D
10 8 7 9 7 7

B
9 7 7 7 10 9

G
A 10 8 9 7 8
F7 B
b
9 7 9 7 9 7 9 10 7 10 9
#
G
9 7 7 10 7 8
99n b b 77 88 7 10
D
E
b n b b b
D 1 9 7 10 8 7 8 9 9 10

A
& bb
10 8

b # #
A F7 B
b
E
# n b b
E

1

1
&b n b b #
F7
F
# # Bbb
B
b nn bb bb F7 b n b b

7
& bb bb ## bb nn bb b # #
B

& b ## #
&b
12 11 9 8
#
E
B 11 8 9 10
G
E 12 11 9 8 11 8 11 8 11 10 9 8 10 6
D
B 11 8 9 10 10 10 7 6
A
G 11 8 11 8 11 10 9 8 10 6 9 8
E
D
E 7 12 11 9 8 10 10 7 6
A
B 11 8 9 10 9 8
E
E 12 11 9 8
G 7 11 8 11 8 11 10 9 8 10 6
E
B
D 12 11 9 8 11 8 9
EXAMPLE 2 Bb rhythm chanGes line 10 10 10 7 6 cd track 70
B
G
Ex
A 2 - Rhythm changes line 11 8 9 10 11 8 11 8 11 10 9 8 10 6 9 8
G 11 8 11 8 11 9 G78with
10and 6 7 6 passing notes, resolving to the root of Bb. The final
10 chromatic
10 (B) of
10D7,
b
D moves up chromatically over the Bb to land on the 13th
E
Stern 10 Bthen
Ebm,
D7 10 7 6 9
n bItgetsn quite out

n with substituted
nD7 n II-Vs, outlining
A 8 D7
bsequence.
Ex 2 - Rhythm
in superimposed
A changes line
arpeggios outlining Cmaj7, D7 - although he ends up on 9 launching
section starts slowly before 8 into 8th notes for the I-I7-IV-#IVdim
# #Ab7
E
b 44Am7 b
C Minorover the
E 7
b B7 and Bb overthe Edim7, Cm7

the maj7th (C#) - E7 (also with a maj 7th) and F#7 over the D7. Over theBG7 he then
n n
7
& bF7, then b n

n suggesting G7, Cm and F7Dresolving
n to the 3rd (D) on#the final
b b F Altered Bb

outlines
Ex 2 - G7 and and comes
line down G Mixolydian into Bb over the Bb, Bb7 and Eb, then F#m, and
44 changes
Rhythm changes
C7 and C Diminished
Ex 2&
in the second bar. Over the F7 he suggests
# Bb.
b n b n nn nnDD77 n # #
Ex 2 - Rhythm line 7
- Rhythm changes line
b
4
BBbb
b bb nn bb nn n n n ## #
6
& b bb 44 3 n
E
B &
& 4 b 4 6 7 8
4 5 6 7
5 8 5 7 #
G
E 7 8 4 5 6 7 3 5 8 5 6
D
B
A 6 6 7 8 5 7
G
E 7 8 5 6
D
E
A
1 4 5 6 7 3 8 5
B
E
6 6 7 8 5 7
E 4 5 6 7 3 8 5
4
G 7 8 5 6
88n 66
1 5 6 7 3 8 5

E
6 7 8 C 75 7
n # n # # n
B
D G7
n 66
6 7 8 5 7
n
B
G
A 7 5

G 7 5
n
D
n # # n # #
E
b n
D G7 C7
n
A 1
& bb n
A
E

E 1
n # # n # # GG77 n
1
&b
G7
n n n
C7
C7
b n # # nn ## # n n
n nn nn
C7

& bb bb n # #
# 12 9 #11 13
n
E
B
G
&
&b
10 7
9
8
10
12
10 15 12
15 12
13
12
17 13 15 13 12
15 13 12 13 15
11 15 13 11 10
13
E
D 10 7 12 9 13 10 17 13 15 13 12 11 15 13 11 10
B
A 9 11 12 13 15 13 12 13 15 13
G
E 8 10 12
D
E
A
5 10 7 12 9 13 10 15 12 17 13 15 13 12 11 15 13 11 10
B
E
9 11 12 13 15 13 12 13 15 13
E
G 5 10 7 8 12 9 13 10 10 15 12 12 17 13 15 13 12 11 15 13 11 10
E
B
D 10 7 9 12 9 11 13 10 12 15 12 13 17 13 15 13 12 15 13 12 13 15 11 15 13 11 10 13
9 11 12 10 13 12 15 13 12 13 15 13
b
B
8
n
G
A
b b
G 8 F7 10 12 B G7

D
E
b bF7
D 5
n
A
Bb
& bb n b b b j j
A
b b
E
G7
n b b
E
bF7 n j
5
&b b b Bbj
n b b b n b b Bbb G7
G7
b nn bb bb bFF77 n
& bb bb b b bb n b b j j
B G7
bb nn bb bb jj jj
E
&
&b b nn bb b
b
B 12 10
G
E 13 11 10 10
D
B 12 10 13 12 11 10 9 11 7 9 7 6 6
A
G 13 11 10 10 9 8 8 7 6 8 5
E
D 13 12 11 10 9 11 7 9 7 6 6 9 9 6
E 9
A
B 12 10 9 8 8 7 6 8 5
E
E
G 13 11 10 10 9 9 6
E 9
B
D 12 10 13 12 11 10 9 11 7 9 7 6 6
B
G
A 12 10 13 11 10 10 9 8 8 7 6 8 5
G
D
E 13 11 10 13 12 10 11 10 9 11 7 9 7 6 6 9 9 6
D
A 9 13 12 11 10 9 11 7 9 7 6 9 8 6 8 7 6 8 5
A
E 9 8 8 7 6 8 9 9 6 5
E 9 9 9 6
9
lesson: jazz ON THE CD TraCks 68-79
2 xxxxxxxxxx
EXAMPLE 2 Bb rhythm chanGes line ...CONTINUED cd track 70
2 xxxxxxxxxx
b b
Cm 7 F7 Dm 7 G7 Cm 7 F7
b b B 7
B

2 xxxxxxxxxx
b
2 xxxxxxxxxx
&b #
b b
Cm 7 F7 Dm 7 G7 Cm 7
F7
bb b b BBB bb777
B
b
bb bb #
Cm 7 F7 Dm 7 G7 Cm 7 F7 B
& b bb
b
Cm 7 F7 Dm 7 G7 Cm 7 F7 B
6 6 6 ##
E
& b
&
B 7 9 7 6
G 5 7 5 8 8 5 6
D 5 8 5 7 8
A 8 5 6
E
E 13 6
B 6 6 7 9 7 6
E 6
b 5 7 5
b 8 8 5 6
G
E 6
B 6 6 7 9 7 6
E dim7 5 8 5C m7 7 F 78
b n
D E 5B 6 6 7 9 7 6
B
G 5 7 8 8 5 6
b b n b
A
G 8 5 6 5 7 5 8 8 5 6
5 8 5 7 8

D
b
E 5 8 5 7 8
n b b
D

A 13 8 5 6
& b Eb
A
E 8 5 6
E 13
13
Bb
Ebdim7

E dim7 C m7 F7
E bb
E dim7n Cbm7 b n F7 b B bb
n
b
C m7 F7
b b
& bb bb 6 8 9 n 7 bb bb n b n b b
E B
n b nn 3 bb b
&b 7 6
& 7 4 5 6 4 3 b
E
B
5 4
G 5 4 5 3
D 7 4 3
A 6 5
E
E 17 6 8 9 7 5 4
B 6 7 4 5 6 4 3 3
E
7 6 8 9 7 5 4
G
E
B 6 6 8 9 7 5 4 7 4 5 6 4 3 5 4
3
5 3
EXAMPLE 3 BeBop line in Bb
D
B
Ex 3 - Long bebop
G 7 6 line in Bb 7 4 5 6 4 3 5 4 3 5 3
7 4 3 cd track 72
A
G 7 5 4 5 3 7 4 3 6 5
b b
D

E
D 7 then
4 Gb 3 and
Stern moves down the Bb Major scale with a chromatic passing note over Db over the Ab7, 6 Cb5 over the G7. Over the C7 he comes down

A 17
n b
A B maj7 6 5 E 7
b
theEEBb
b
major 7, then plays Eb Mixolydian over the Eb7 (although it could a couple of triads a tritone apart - E, Bb then E again - and over the Cm7
& b 44
17
J
17
equally be seen as suggesting Bbm7, Eb7 and Abmaj7), then moves into suggests Cm and G7, outlining Cm7 and F7b9 over the F7 and resolving to
Ex 3 - Long
a sequence of superimposed
bebop line in Bb
triads moving up in 4ths, outlining Ab and the 5th (F) on the Bbmaj7.
B bmaj7 b

Ex 3 - Long bebop line in Bb
BB bbmaj7

Ex 3 - Long bebop line in Bb E 7
bb
b 4
& bb bb 44 nnn bbb J b
E 7

maj7 E 7
11 J bb
& b 44
& 10 J
E
B
G
12
10
12 10 10
D 14 13 12 11 13 11 13 11 10
A
E
E 1
B
E
11 10
12 12 10 10 10
b
b 1212 1010nC147 13 1010 12
G
E
B 11 10
b
14 13 12 11 13 11 13 11 10

D 11 10
b
B A 7 G7
b 14n 13
12 10
# n b 12
G
b b
A 12 10
n n # #
G
D 11 13 11 13 11 10
b
E
D 11 13 11 13 11 10

A 1
b
A
& Ab b7
E
E 1
1
b b bbb nnCC77n
G7 C7
G7
b
A bb 7
A 7
b bbb b bb bb n n # n bb
G7
nn n ## ##
b b
& b bb b bb bb 11 14 X 12 n ## nn b n nn # 9 #
& b b
&
E
B 11 14 11 12 12 11
G 10 13 10 11 13 10 9 9 9 11 9
D 10 13 10 11 14 12 9
A 11 13
E
E 5 11 14 X 12
B 11 14 11 12 12 11 9
E
10 13 10 11 11 14 X 12
G
E
B 11 14 11 12 11 14 X 12 12 13 11
10 9 9
9
9 11 9
D 10 13 10 11 12 13 14 11 10 12 9
11 11 14 11 12 b 9
B
G
11 10 13 10 9 9 9 11 9
A
G Cm 7 10 13 10 11 10 13 10 11 F 7 13 14 7 10 12 13 9 9 9 11 9
b n b n b
B maj 9

D
E
11 10 13 10 11 14 12 13 9
D
A 5
b
A 11 13
& J
E
E 5
5
B bmaj 7
b
Cm 7 F7
b n FF77 b n 77
B bbmaj
& b bb n bb nn bb
b
Cm 7
J
Cm 7 B maj

E
B
& b 8 10 8 7 n 7
& 7
JJ
G 8 10
D 10 9 10 9 8 10 7 10
A
E
E 9
B
E 7
G
E 8 10 8 7 7 8 10
B
D 10 9 10 9 8 10 7 10 7
B
G 8 10 8 7 7 8 7 10
A
G 8 10 8 7 7 8 10
D
E 10 9 10 9 8 10 7 10
D
A 9 10 9 10 9 8 10 7 10
A
E
E 9
9

MIKE STERN PT 2 LEaRNINg ZoNE
3
EXAMPLE 4 chorus of Blues in f - out motifs cd track 74
3
Stern
3 outlines
Ex F7 of
4 - Chorus over thein
blues F7Fchord, and over the Bb7 outlines Abmaj7 and
- out motifs Dorian. Over F7 he moves the same phrase down a tone, but starts a beat
Bb7
Cm(maj7),
3 continuing into Cm(maj)9 (or F13#11) and F Lydian b7 over the F7 later, outlining Abm(maj9) then suggesting Em7 and A7 over Am7 and D7.

n n
Ex 4and
chord - Chorus
down of blues in
C Dorian F - out
over Cm7 andFF7.
the motifs 7 Over Bb7 he repeats the F7 On the Gm7 he moves between Gm7 F 7 and D7, then up G Minor over C7 and
b b
44 n b
phrase
Ex 4 down a tone, outlining out motifs and Bb Melodic minor then Bb b
in F - Bbm(maj9) back down C7b9 into a four-note chromatic motif over the final chords.

- Chorus of blues
& b
Ex 4 - Chorus of blues in F - out motifs

F7
bb
B 7

F7
n n

b b
4 nn nn b
F7 B 7 F7
& bb
n
F7 B 7 F7
44
bb bb bb nn
& b
& 4
E 10
B 8 8 12 12 8
G 10 8 8 8 8 7 7
E
D 7 7 10 10 10 10 9
B
A 8 8 8 12 12 8
E
G
E 10 8 8 8 10 8 7 7
B
E
D1 7 7 10 8 10 8 12 10 12 8 10 9
G
B
A 8 10 8 8 8 8 8 12 12 8 8 7 7
D
G
E 7 10 8 7 10 8 10 8 8 7 10 9 7
A 1
D 8 7 7 10 10 10 9
b
B 7 8
E
A

Cm 7 F7 Bdi m7 F7

E 1
1
Bb7 b b b
&b
Cm 7
FF77 b j BB bb77
F7
b
Bdi m7 F7
b
b b b b b

Cm 7 Bdi m7 F7
& bb
Cm 7
b jj b b
Bdi m7 F7
b b b
& b j b b b b b b b
&b b b b b b
E 8 5
b b 6 3
B 6 4
G 6 5 5 4 3
E
D 10 8 7 8 5 8 7 8 6 5 6 3 6
B
A 10 8 6 5 6 8 6 4 3 4
E
G
E 8 5 6 5 5 6 3 4 3
B
E
D5 10 8 7 8 5 6 8 7 8 6 5 6 3 4 6
G
B
A 10 8 6 5 6 6 5 5 8 6 4 3 4 4 3
D
G
E 10 8 7 6 5 8 7 5 8 6 5 4 3 6
A 5
D 10 8 7 10 8 6 5 8 7 8 6 5 8 6 4 3 6
E
A 10 8 6 5 8 6 4 3
E 5 Am 7 D7 G m7 C7 F7 D7
5
& b Am
7b # b b bDD77 #
n DD77 #
Am 7 D7 G m7 C7 F7
bb b
bbD7
G m7 C7 F7
& bb b nn # # b #
Am 7 G m7 C7 F7
& # b b #
E
& b bb n

# ## b #
B 2 3 2
G 2 5 3 2 2 3 5 3 2 1 4 3 2 3 2 1
E
D 5 4 3 5 2 5 2 3 5 4 4 5
B
A
E 2 3 2
G
E 2 5 3 2 2 3 5 3 2 1 4 3 2 3 2 1
B
E
D9 5 4 3 5 2 5 2 3 5 4 4 5 2 3 2
G
B
A 2 5 3 2 2 3 5 2 3 2 1 3 4 3 2 2 3 2 1
D
G
E 5 4 3 5 2 5 2 3 5 2 5 3 4 2 4 5 2 3 5 3 2 1 4 3 2 3 2 1
A 9
D 5 4 3 5 2 5 2 3 5 4 4 5
E
A
E 9 Gm 7 C7 F7
bC7
9
& b Gm7 b n n # F7 b # n n

bCC77
& bb bb
Gm 7
bb n n #
F7
b # n n

Gm 7 F7
nn nn ## bb ## nn nn

& b b
&
E
B 3 4 3 5 6
G 4 3 2 5 4 3 4 3 2 6 5 4
E
D
B
A
E 3 4 3 5 6
G
E 4 3 2 5 4 3 4 3 2 6 5 4
B
E
D 13 3 4 3 5 6
G
B
A 3 4 3 2 4 5 4 3 3 4 3 2 5 6 5 4 6
D
G
E 4 3 2 5 4 3 4 3 2 6 5 4
EXAMPLE 5 out motivic line over short and lonG ii-v-i
A 13
D cd track 76
Ex 5 - Out motivic line over short and long II-V-Is
E
A
E 13outlines A major over the Amaj7 and Bmaj7 over
Stern the Bm7 and E7, then (suggesting a II-V-I in F), then down a tone over the C7 to outline Bbmaj7,
13
A maj 7 Bm 7 then again to outline
E7 Abmaj7 overAmaj7
# #

moves
Ex 5the idea
- Out downline
motivic a tone,
overplaying around
short and long Amaj7
II-V-Is over the Amaj7 chord. the Fmaj7, moving into Cm7 and F7 on
He Ex
adapts
4
the pattern, starting a beat earlier
# long
and working
7 II-V-Is
5 - Out motivic line over short and long II-V-Is it around the Gm7 beats 3 and 4,

resolving

to F with a chromatic passing note.
# #E7 # #
& 4 ##
A maj Bm 7 Amaj7

Ex 5 - Out motivic line over short and
4

A maj 7
A maj 7

Bm 7
# #EE77 #
Amaj7
# #
&4 # Bm 7
# ## #
Amaj7
#
##
& 44
& # #

E 12 11 10 7 9
B X 12 12 10
G 6 6 9 6 7 11 9 8 9 7 6
E
D 7 12 11 X 10 7 9 7
B
A 7 X 12 12 10
E
G
E 6 6 9 6 7 12 11 11 9 8 10 7 9 9 7 6
B
E
D1 7 X 12 12 11 12 X 10 7 9 10 7
G
B
A 6 7 6 9 6 7 X 12 12 11 9 8 10 9 7 6
D
G
E 6 7 6 9 6 7 11 9 8 X 9 7 6 7
A
D1 7 7 X 7
E
A 7
E 1
1

lesson: jazz
4 xxxxxxxxxx
ON THE CD TraCks 68-79
EXAMPLE 5 out motivic line over short and lonG ii-v-is ...CONTINUED cd track 76
4 xxxxxxxxxx
G m7
b C7
b b
b b
& #

G m7
b C7
b b
b b
&
#
E 13 10 12 11 8 10 9 6
B 11
G 13 12 10 9 10 8 7
D
A 7 5 4
E 7
5
E 13 10 12 11 8 10 9 6
B 11
G 13 12 10 9 10 8 7
b 4 7
D Fmaj7
7 5
b b b
A
& b n
5

b
Fmaj7
b b b
& 8 9 b n

E
B
G 8 6 5 5
D 8 7 7 6 5 7
A 8 8 7 5
E 8
8
E 8
B 9
G 8 6 5 5
Ex
D 6 - Chorus of blues in F - intervallic
8 motifs
67 5
7 motifs 7
EXAMPLE 8 chorus of Blues in f - intervallic cd track 78
Bb7

A 8 8 7 5
E 8
chorus of F blues, Stern begins with aFrepeated
7 F7
For this three-note motif changing to B Diminished over the Bdim7,
with varying intervallic skips which he carries through the opening five bars, scale over the F7 and Am7. Over the rest of theb sequence
8
4 around to the
then straight down F Major
b
he returns
Ex 6& 4 of blues in F - intervallic motifs b J b

staying within
- Chorus
F Mixolydian.
Over the Bb7 in bar 6 he stays in F Mixolydian, opening intervallic motif, although this time playing C7/F Major.
Bb7
F7 F7
b
E
B
& b 44 b b
J 8
G 7 5 7 8 5
D 5 8 5 7 7
A 6 6 8 8
E
1
E
B 8
b
b n #
7 5 7 8 5
6
G
8
Cm 7 F7 B 7 Bdi m7 5F 7 7 A m7 7 D7
b
D 5 8
j
A 6 8
b
E
&
1
b
Cm 7

F7 B 7
b Bdin m7 #
F7 A m7 D7
b b j
E
B
& 6 5
8 10
10
8 10
8 11 8 10 8 7 10 9 7 8
11 10 8

G 7 8 5 8 10 9 7
D 10 8 8 7
A
E
5
E 6 5 10 8 11 8 10 8 7 10 9 7 8

B 8 10 8 10 11 10 8

77 8 5 8 F 7 10 9 7

G

Gm C7 F7 D7 Gm 7 C7

D 10 8 8 7

A
&b
E
5

Gm 7 C7 F7

D7 Gm 7
C7
F7

E &b 10

12 17 15

B 10 8 10 11 11 10 11 13 15 17
G 7 9 9 12 15 15 17
D 8 10 10
A
E
10
E 10 12 17 15
B 10 8 10 11 11 10 11 13 15 17
G 7 9 9 12 15 15 17
D 8 10 10
A
E
10

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lesson: acoustic ON THE CD TraCks 80-81
Paul Weller This month Stuart Ryan shows how to nail the
acoustic guitar style of The Jams iconic frontman
and perrennial solo artist, the great Paul Weller.
Paul Weller: in I rediscovered my

acoustic mode
on Gibson J-45
guitar in the 1990s.
Paul Weller
fretting some chords. Although i havent
focused on this here, its something thats
worth getting into your playing as it facilitates
some chords that would be much harder to
execute otherwise.
weller often starts with conventional
major or minor chords and then releases or
moves some of his fingers to get a different
voicing which provides colour. you can hear
this effect in wild wood as he starts off with a
conventional B minor chord but then releases
the fretted notes on the second and third
strings for a more interesting Bm7sus2. if you
find yourself writing this way I wouldnt get
too hung up on the theory (chords can end up
having very complicated names that confuse
the issue), just make a shape you know and
add or remove fingers until you hear the
desired result; its a liberating way of writing.
Beyond that youll also hear weller use the
standard major and minor 7th chords these
will also add colour to your writing but the iV
chord as a minor 7b5 is the one that really
stands out (for theory buffs you can also view
ABILITY RATING great acoustic moments from the driving, this as a V chord in which case its acting as
riff-based All the Pictures on the wall to the the decidedly jazzy 7#5b9 see what happens
Easy strumming on hung up. however, its the if you use that down at the folk club!).
eponymous title track thats probably the
Info WIll ImprovE your most famous cut from the album. wild wood NeXT MoNTH: Stuart tackles the acoustic
Key: A minor Use of m7b5 chords is a great example of how weller will set up a blues style of Rory Gallagher
Tempo: 148bpm Chord embellishment simple strummed or fingerpicked chord
CD: TRACKS 80-81 Dynamic strumming progression but add some unexpected twists
in the case of wild wood its his innovative Get the tone
Although synonymous with his use of the minor 7b5 chord, not a device you
spiky, post-mod electric guitar stylings with hear in mainstream writing every day. you
the Jam, acoustic guitar has always featured can also hear this in English Rose where a 3 7 6 6 3
strongly in Paul wellers playing - a track like simple three-chord progression is made
Gain BaSS Middle TReBle ReveRB
1980s thats Entertainment featured a unique by the inclusion of a minor 7b5.
driving acoustic at the fore, though this served For this study we see how a standard chord Given that we are mostly strumming for this
style a large-bodied, warm-sounding guitar
as stark contrast to much of the bands other progression can be given some Paul weller-
would be perfect but any acoustic attacked
output at the time. it was when he started to style colour by changing some of the chords
with gusto will produce the desired results.
develop his solo career that the acoustic from what your ear may be anticipating.
Weller himself often favours a vintage
became a more prominent voice in wellers Although weller uses conventional
Gibson J-45. The above settings are a starting
writing. his 1993 album wild wood is strumming and fingerstyle techniques he is a point should you have an acoustic amp.
predominantly electric but features several thumb over the neck player when it comes to
Track record Weller really came of age with the 1993 release Wild Wood. Its crammed with innovative acoustic guitar writing (even
the heavier electric tracks sound great strummed on a flat-top); or try the live album days of Speed to hear how Paul re-works his
LIVEPIX
not insubstantial back catalogue for acoustic guitar. The greatest hits package, Modern classics tracks his post-Jam career to 1998.

PAUL WELLER LEARning ZonE
EXAMPLE PAUL WeLLeR ACoUStIC cd track 80

[Bar 1] Nothing to contend with here, its a simple strummed A minor V chord of A (also favoured by John Lennon - a big influence on Weller),
chord to get us going; but its important to pay attention to the syncopated can handle all this tension before releasing back to the much more settled
rhythm as you play on the and of beat 3. I chord of A minor. This can be quite a tricky chord to grapple with so Ive
[Bar 3] Rather than staying on an A minor chord a simple change of added a suggested fretting-hand fingering.
fingering yields this open sounding and James Taylor-esque A7sus4 chord. [Bar 14] For this second pass through the chord progression well add some
[Bar 11] Here is a chord that you may not be expecting, the tense sounding Weller-esque embellishments such as the hammer on figure at the end of
E7#5 (also known as an E7 augmented). The idea here is that this chord, the this bar - its a simple move but lifts the piece dramatically.
GUITAR TECHNIQUES 2 4 1 Stuart's Acoustic
PAUL WELLER STYLE
GUITAR TECHNIQUES 2 4 1 Stuart's Acoustic
PAUL WELLER STYLE

GUITAR TECHNIQUES
Am 241 Stuart's Acoustic A7sus4
A7sus4
& 44 TECHNIQUES
PAUL WELLER STYLE
24 1 Stuart's Acoustic

PAUL WELLER
STYLE
Am
GUITAR

& 44 Am

A7sus4

4 0 0 0 01 01 01 01 01 A7sus4
E
& 4 Am
12 12 12 2 2 2 2 2 030 030 030 030 030 030 030 030
0 201 201 201 012 0 203 0
B
4 20 20 20 201 203 203 203 203 032 203 032

G
& 4 0 12 12 12 2 2 2 2 2
D
0 0 0 0 0 0 0 0
E
A
B
E
0 021 0 0 0
G1
D
E 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0 2
0
A
B
E
1 1 1 1 1 1 1 3 3 3 3 3 3 3 3
G
1 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
D
Fmaj 7/C 2 2 2 2 2 2 2 2 C maj 7 2 2 2 2 2 2 2 2
A 0 0 0 0

E 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
&Fmaj 7/C0
E
B 1 1 1 1 1 1 1 1 3 3 3 3 3 3 3 3

G1
0
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0
2 2 2Acoustic C maj 7
7/C
D 2 2 2 2 2 2 2 2 2 2 2 2 2 2
0
C maj 7 0
A
&
E

1 Fmaj

&Fmaj012 7/C 012 01 01 01 01 01 01 01 Fmaj 0 C7/Cmaj0 7 00 00 00 00 00 00 00 00 00 b 5
23 123 002
E Dm7
B
3 3 23 23 23 23 23 23 02 0203 0203 02 02 02 0203 0203 02
013&013 003 0030 0030 0030 0030 0030b
G
& 132 132 013 013 013 013 013 013 00 00 00 00

D
E 0 0
2033 2033 0023 023 02 023 023

A
2033 2033 2033 2033 2033 2033 023 023 02 02 023

B
E
G5
D
E 3
0 3
0
A
B 13 13 1 1 1 1 1 1 1 1 0 0 0 0 3
0 0 0 3
0 3
0 0
E
G 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0
D
5
E37 3 3 3 3 3 3 3 3 3
0
#
E 72 05 2
0
2
03
2
03
2 2 2 2 2 2
00 00 0 03 03 1 1 1
A 3 3 3 3 3 3 3 3 E 3 3 3 3 3 3 3 3
#
E 0 0 0 0 0 0 0 0 0 0 1 01 0 1 10 10 0 10 10 0
01 01 1 1 1 1
B
#
E
# #
B 1 1 1 1 1 1 1 1 1 1 2 02 0 2 20 20 0 20 20 0
02 02 2 1 1 1
G
& #
G5 2 2 2 2 2 2 2 2 2 2 0 0
3 E 72 35 3 30 30 23 23
0 3 30 30 0 0 0 0
E 7# 5
E37 D
D 3 3 3 3 3 3 3 3 3 2 32 32 2 32 32 2

A 3 3 3 3 3 3 3 3
A
3 3 3 33 3 3 3 3 33 33 3 3 3 3 3
& E7 # #
E
E
# #
21
5
0 0 0 0 0 Cmaj7 0 0 0 0
E
& E7 # 001 01 01 01 # 001 01 01 01 E 7# 5 # 011 11 11 11 # 011 011 011 011A m
00 00 00 00 00 00 00 00 00 002 002 00 00 00 00 00
B
& 0 0 201&201 0 # 211 21 0 # 21 21 21 21

G
# 201 201 201 201 # 201 201 11 11

D
00 00 00 100 100 100 100 100

A
00 00 00 00 00 00
B
0 0201 0020
E
G9
0 0 211 0 211
D
E 0
A
B 2
0 2
0 2
0 2
0 2
0 2
0 2
1 2
1 2
1 2
1 2
1 2
1
E
G 1 1 1 1 1 1 1 1 1 1 1 1 1
D9 Am 0 0 0 0 0 0 0 0 0 0 0 0A9sus4 A m0 0 0 0
A 2 2 2 2 2 2 E 2 2 0 0 2 0 02 02 0 0
2 0 2 0 00
2 00
2 2 0

E 0 0 0 0 0 0 0 0 0 0 00 00 0 0
E 0 0 0 0 0 0 0 0
B
0 0 00 1 0 1 0 00 0 10 10 1
01 01 1 1
B
G 0 0 0 0 0 0 10 10 2
&
G9 1 1 1 1 1 1 1 1 1
Am 21 21 1A9sus4 A m1 1

0 0 0 0 0 0
D
0 0 2 2 0 2 2 2 2 02 02 2
30 30 0 3 0 0 0
D

A 3 3 3 3 3 23 23
0 0
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2

E
E 0 0
&
Am 25 A9sus4 A m

9
0
E
& A m 01
2

01
2
01
2
01
2
01
2 A m7 01

01

01

01
A7sus2
A9sus4 00 A 1m 01
2

01
2
01 01 Am
2 2
0 0 0 3 2 & 0 220 220 220 220 000 22 2001 2001 2001 2001
B
201 201 201 201 201

G
12 12 12 12 00 12
D
& 220 220 220 220

E
220 220 220 220 220

A
00
B
0
0 3 2
E
0 0 21
G 13
D
E 2
0 2
0 2
0 2
0
A
B 1 1 1 1 1 1 1 1 1 0
0 0
1 0
1 0
1 0
1
E
G 2 2 2 2 2 2 2 2 2 0 2 2 2 2 2
E0 7 # 5 0 2
D 13 2 2 2 2 2 2 2 2 0E 7 2 2 2 2 2
Am 00 00 00 0 0 00 0 0
A 0 0 E 2 0 0 0 0 0
0 3 #
E 0 0 0 0 0 10 11 11 11 0 0 0 0 0 0
1 10 0
E B
#
B 1 1 1 1 1 01 02 02 02 0 1
0 1 0 1 1
2 20 0
G
& A m0 # 0 2
G 13 2 2 2 2 2 2 0 2 2 2 2
0 3 2 E7 52 2
2 2 2 2 2
D 22 22 22 E7 2 2 22 2
00 2 2 2 2
D

A 0 0

A 0 0 0 0 0 0
E 7# 5
# #E7
E
E
& Am
29

13
0 0 0 0 0 0 0 0
E
& A m 01
2

01
2
01
2
01
2
01
2

01
2
01
2
01
2 E 7# 5 #
110 11 11 11 #E0017 01 01 01 01
0 0 00 00 00 00 00 April 2014
GuitarTechniques

B
201 201 201 201 201 201 201 201 0 # 201 201 02001 02001 02001
G
21 21 21
93
# 201
D
&
E
2 2 2 2 2 2 2 2
A
1 1 1 1
B
E
G 17
G 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
D 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
E 0 0 0 0
9
lesson: acoustic

Am

ON THE CDA m TraCks 80-81
A9sus4

&

WeLLeR ACoUStIC ...CONTINUED
EXAMPLE PAUL cd track
80
[Bar 23] Get your ears ready for this dark sounding Dm7b5 chord. If you are [Bar 30] Heres another useful change you can make to the open position A
new to the sound of this one it may take a while to adjust, but listen to it in minor chord, this A7sus2 (which you could also label Em/A) is neither major
E 0 0 0 0 0 0 0 0 0 0 0 0 0 0
theBcontext of the whole
1 piece and
1 it1sounds
1 wonderful 1 another example nor minor so
1 adds a nice
1 ambiguity
1 1 to proceedings.
0 1 1 1 1 1
2
G tension and release
of the 2
effect. 2 2 2 2 2 2 2 0 2 2 2 2 2
D 2 2 2 2 2 2 2 2 2 0 2 2 2 2 2
A 0 0 2 0 0 0 0 0 0
E 0 3
13
Am E7 5 # E7

& # #

E 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0 0 0
G 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1
D 2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 0
A 0 0 2 2 2 2 2 2 2 2 2
E 0
17
2 Acoustic
2 Acoustic
Fmaj 7/C Dm7 5 b

2 Acoustic
&Fmaj 7/C b b
Dm7 5 b

&Fmaj 7/C

0

0

0

0

0

0

0

0
b b 5
Dm7 b
0 0 1 1 1 1 1 1 1 00
& 12 12 1 1 1 1 1 1 1 1 b 111 11 11 11 11 b 111 11 11 11 0
E
B
G
D
E
A
303 303 0
3
23 0
3
23 0
3
23 0
3
23 0
3
23 0
3
23 0
3
23 0
3
23 0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
B
E 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0
G 21 2 2 2 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 0
D 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0
E
A 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 1 1 1 1 1 1 1 1 1 0
B
E 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0
G 21 2 2 2 2 2 2 2 2 2 2
D Cmaj7
3 3 3 3 3 3 3 3 3 3 A1
0m
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
0
0
A

3

3
3
3
3
3
3
3
3
3

&Cmaj7
E

21
Am

&Cmaj7 Am

0 00 00 00 00 00 00 00 00 00 01 01 01 01 01 01 01 01
& 00 0 0 0 0 0 0 0 0 0
E
2 2 2 2 2 2 2 2
B
0 0
G
D 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
E
A 0
3 0
3 0
3 0
3 0
3 0
3 0
3 0
3 0
3 0
3 0 0 0 0 0 0 0 0
B
E 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1
G 25 0 0 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
D 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
E
A 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 3
0 0 0 0 0 0 0 0 0 0 0
B
E 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1
G 25 0 0 0 0 0 0 0 0 0 0
D A m7
2 2 2 2 2 A7sus2
2 2 2 2 2 Am 2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
A 3 3
3
3
3
3 3
3
3
3
0
0
...
& A m7
E
.
25
A7sus2 Am
...
& A m7 A7sus2 Am
.
01 01 01 01 00 00 00 00 01 01 01 01 01 ...
& 0 0 0 0 0 0 0 0
E
2 2 2 2 22 .
B
0 0 0 0
G
D 2 2 2 2 2 2 2 2 2 2 2 2
E
A 0 0 0 0 0 0 0 0 0 0 0 0 0
B
E 1 1 1 1 0 0 0 0 1 1 1 1 1
G 29 0 0 0 0 0 0 0 0 2 2 2 2 2
D 2 2 2 2 2 2 2 2 2 2 2 2 2
E
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B
E 1 1 1 1 0 0 0 0 1 1 1 1 1
G 29 0 0 0 0 0 0 0 0 2 2 2 2 2
D 2 2 2 2 2 2 2 2 2 2 2 2 2
A 0 0 0 0
E
29

Music Reviews WhAT our rATings meAn: HHHHH Buy it HHHH Excellent HHH Good HH Average H Bin it!
New Albums
Stewart and Billy Preston on keys. The
band performed five nights at the
Forum and this one opens up with a
rather raw version of Honky Tonk
Women. Things improve as the
concert moves on but this is still a raw
A selection of new and reissued guitar sounding era for the band. Keith
Richards seems very happy with
releases, including Album Of The Month... Ronnie in the band and both
guitarists do a great job on solos and great tracks and a bus-load of guitar
in recreating the recorded Stones solos. Taking a break in his heavy
Album of the month sounds - that said theres nothing but touring schedule earlier this year he
Angie from the earlier days. Still more slipped into the studio to record his
Jeff Beck blues influenced than soul at this 15th album. American Kids was
LIVE IN TOkYO point in time, this series is fantastic for released as a single in the States and
the hardened fan but will do little to sold wel,l and like much of this album
Eagle Vision HHHHH
encourage new listeners. However the shows a move to appeal to a younger
Shot at Tokyos Dome City Hall this comes restoration job on this is excellent so audience. It certainly works. The
with much expectation from Becks fans. its a very worthwhile project. material is strong with a lot more
Of his band Jeff comments Nicolas Meier emphasis on rock than ballads and we
is a great guitar player, more a jazzer but eChoSmith particularly like Save It For A Rainy
with an eastern flavour. Bassist Rhonda TAlking DreAms Day, the hard hitting Drink It Up and
Smith, shes my anchor, ex Prince and Parlophone HHH the stomping title track with its
funky as they come, and drummer Echosmith is a young quartet based in practiced guitar solo. While this will
Los Angeles and their video of Cool definitely appeal to the hardened fan
Jonathan Joseph has a bit of Billy Cobham and a bit of Vinnie; hes
Kids (included on the album) has had it also provides a great chance to
amazing! The concert kicks off with Loaded which demonstrates over nine million hits on YouTube and discover Kenny Chesney for yourself.
how much you can put into an instrumental that sits on one chord. that could well translate into a huge Yes hes been around for a while but
Jeff has an amazing ability to take songs like Little Wing and turn selling album. Fronted by female hes still a force to be reckoned with
them into his own instrumentals, full of emotion and laced with vocalist Sydney Sierota and when it comes to playing great guitar.
guitar trickery that leaves you spellbound. This video is imaginatively supported by her brothers Jamie, Give this one a listen.
shot from on and off stage with plenty of close-ups so you learn a Noah and Graham this is essentially
few things as you get drawn right into this stunning performance; mainstream pop but the difference StoneWire
its packed to the rafters with guitar expertise. We particularly like here is that they sound like a band When The CroW Flies
Hammerhead, Where Were You, A Day In The Life and the slide guitar 22:11 Records HHH
This debut album from StoneWire is a
on Angel (Footsteps) but its all brilliant. A setlist commentary and
cool mixture of Southern American
an interesting band-on-band interview are included. blues and good old-fashioned British
rock. This fusion is made possible by
Ice. If this does prove to be their very the vocal talents of Sky Hunter. Sky is a
last studio album then it stands as a great personality and at times sounds
solid testament to one of the greatest a bit like Robert Plant; she also has the
rock bands that has ever existed. They enviable ability to project her voice
will tour again in 2015 with Stevie but rather than the over-produced singles way over the hard delivery of the
whether the recently drugs busted that currently dominate the airwaves. band. Guitar duties fall to Gareth
Phil Rudd will also be involved, The songs are well constructed with a Annable, an accomplished player who
remains to be seen. slightly quirky element but can really punch out high-octane riffs
immediately catch the ears. They and solos, ably assisted by bassist
the rolling StoneS could be seen as an American Steve Briggs and drummer Rob
AC/DC lA Forum live in 1975 alternative to Denmarks Alphabeat or Glasner. This tight and powerful
roCk or BusT Eagle Vision HHH Sydney as a new Avril Lavigne, but British quartet released a self-titled EP
Columbia HHHH This is part of the new series of live their potential could be even greater in 2012, opened for Michael Schenker
Although itsbeen a rocky time for performances from The Stones that than both. Jamies guitar work is good during the Swedish section of his
the band this finds AC/DC still have been given a video and sound and he adopts some unusual sounds Temple Of Rock tour in 2013, and has
playing like they mean business, in makeover for this, their first official here and there and neatly finally produced this album of eleven
spite of saying that this is likely to be release. This is from their Tour Of The demonstrates that you can find a original songs. Try and get a listen to
their last album. Sadly Malcolm Americas 75 and its their first tour niche in music whatever age you are. the single pull Favourite Bitch - which
Young is not directly involved due to with Ronnie Wood who had recently If this is what our kids are going to is very representative of this album
his medical condition; however replaced Mick Taylor on guitar, with listen to then things arent all that bad. but by no means the best track in our
much of the material was drawn the rest of the band still intact from opinion. We suggest you check out
from earlier recording sessions so he the early days. There are other players Kenny CheSney Southern Honey for a better idea of
is actually on the record. Along with too; percussion, brass and both Ian The Big revivAl what the band is really capable of.
Angus, Brian, Cliff and Phil for this Sony Music HHHH
recording, second guitar was played Every now and again you just need to
by Stevie Young who is the nephew hear some down to earth country rock
REVIEWS BY ROGER NEWELL
of Angus and Malcolm, so theres guitar and for that this latest studio
plenty of Young DNA still present. album from Kenny Chesney has got to
The title track and Play Ball have be one of the best. Kenny has
both been released as singles and gradually been slipping away from his
serve well as a taster for this southern rock country roots but now
follow-up to their 2008 album, Black hes back loud and proud with eleven

lesson: rockschool ON THE CD TraCk 82-87
Reading Music PArt 9
Use of Ornaments
this month Charlie Griffiths continues his series
on sight reading with a look at special ornaments Brought to you by...
used to add extra colour to musical phrases.
trill in that it involves a rapid alternation

between the written pitch and an adjacent
higher diatonic note, but only happens once
at the beginning of the written pitch. on the
guitar this is typically played as a quick
hammer-on and pull-off. A turn is shown as
a wavy horizontal line similar to an s and is
essentially a more complex mordent. in the
case of a turn, the single written note
actually becomes a sequence of five adjacent
notes; after playing the initial note, go up to
the next scale tone, then return to the
original pitch, then go down a scale note and
finally return to where you started. Placing a
short vertical line through the centre of the
mordent and turn symbol reverses the
sequence of notes.
The next two ornamentations are
commonly referred to as grace notes on the
Trills, mordents and guitar and are very commonly used when
grace notes: common quickly sliding into, or hammering-on to, a
in guitar playing note. Acciaccatura is from the italian verb to
crush; appropriately enough the idea is to
squeeze in a quick extra note before an
use glissandos to slide smoothly between existing written one. They are shown on the
ABILITY RATING
melody notes. notation as small quaver notes with diagonal
Easy/Moderate Trills are a common ornamentation on the lines through them and are intended to be
guitar involving rapidly alternating between played a fraction of a beat before the main
Info WIll IMprovE your two notes. A simple tr. written above the note note, although technically they have no exact
Key: Various Notation reading to be trilled is the generally accepted method mathematical value.
Tempo: 80 bpm Fretboard knowledge of indicating this technique. The duration of The appoggiatura looks similarly small
CD: TRACKS 82-87 Employability! the trill is indicated by the note value itself, but does not have a diagonal line crossing out
the quaver note. in this case, the grace note
This monTh we will add some symbols Trills are a common starts on the beat and lasts for exactly half the
which can be assigned to any note to add
interest to melodies without necessarily
guitar ornamentation and duration of the note it precedes.
Finally we have the glissando symbol - a
having to write in more notes; this originates involve rapidly alternating wavy line between two notes. This indicates a
from classical composers such as Bach or
Chopin who were prone to writing ornate between two notes. gradual, continuous glide from one note to the
next - slide a finger up or down the string, or
melodies, but who developed a kind of but the speed of alternation is essentially left use the whammy bar to control the pitch. A
short-hand to keep the page cleaner. to the musician to decide. The written pitch of gliss is slower and more deliberate than a
we will start with three methods of the note is always assumed to be the lower slide which is a little quicker.
embellishing melodies with trills, mordents note of the two trilled notes and the higher Remember to test your reading skills by
and turns. secondly we will see how note is either a semitone or a tone, depending looking at other articles in GT too!
appoggiaturas and acciaccaturas are used to on what is diatonically appropriate.
precede written melodic pitches with A mordent is shown as a short horizontal NEXT MONTH: Charlie continues on his
different types of grace notes. Finally we will zig-zag line above the note and is similar to a quest to get you Reading Music
Track rEcOrd For perfect examples of trills, mordents and the like, look no further than Bachs Well Tempered clavier. Many great
recordings of this masterpiece exist, but we suggest try the piano versions performed by Sviatoslav richter (rca Victor), Glen Gould
(Sony) and the harpsichord version by Pieter-Jan Belder (Brilliant classics) are well worth checking out.

USE OF ORNAMENTS LEARNiNg ZONE
ExAmplE
GUITAR 1 Trills MAGAZINE 2 4 1
TECHNIQUES Charlie Griffiths cd tRack 82
For the notes marked with tr above, add the next highest adjacent trills use your first and third fingers. Use hammer-ons and pull-offs to
READING
note guided by the key signature of A minor [A-B-C-D-E-F-G]. For Part 9 alternate between the two notes as quickly and evenly as possible.
semitone trills use your first and second fingers, and for whole-tone Think of les paul for semitone trills and Hendrix for whole-tone trills.
Ex 1 Trills
~~ ~~ Charlie Griffiths ~~ ~~
& 44 ..
..
READING Part 9
Ex 1 Trills
Mordants
Ex 2 ~~
& Inverted Mordants
~~ ~~ ~~
m
GUITAR 4TECHNIQUES m m m M M M
. m
& 4 . & inverTed
ExAmplE2 MordenTs
m
MAGAZINE MordenTs
241
m
Charlie m
Griffiths M

M
M Mcd tRack M ..
83
& 4
READING Part 9 the initial note to sustain. For the second two bars invert the mordent
For the first two bars add a mordent by quickly hammering-on and
Expulling-off
1 Trills to the next highest note from the key of A minor, then allow by pulling-off and hammering-on to the next lowest note.
m ~~
Ex 2 Mordants & Inverted Mordants
m ~~m m m M ~~M M M M ~~ M M M
Ex 3 Turns & Inverted Turns
GUITAR 4TECHNIQUES
mT m2T4 1
.. T mTMAGAZINE T T T T T .
& 44 T T T T
Charlie Griffiths
T T T .
&4
READING Part 9
Ex
Ex 1
Ex 23 Trills
Turns & Inverted
Mordants Turns
& Inverted Mordants
mT~~mT& Appoggiatura
Ex 4 Acciaccatura
mT m T mT ~~mT mT m T T ~~M
M T M T M T M T
~~ M T M T M T

GUITAR 4TECHNIQUES
. j
& inverTed
CharliejGriffiths ..
& 44 ..3Turns
& 4
ExAmplE
.
j
MAGAZINE

2 4 1
Turns READING
j
Part 9
; ; ; ; cd
tRack ..
84
For the first two bars add a turn to each note by hammering on to to create a five-note melody - again within the A minor scale. For the
the adjacent highest note, then pulling off to the adjacent lower note
Ex 1
second two bars invert the turn by playing the pattern in reverse.
3 Trills
Turns & Inverted Turns
T~~mT mT mT m
Ex
Ex 24 Acciaccatura
Mordants & Inverted Mordants
T ~~M
& Appoggiatura
m T ~~mT mT T M T T T T ~~ M
M T MT M T
j ~~j ~ m ; ~~~ M; M
Ex 5 Glissando
44
&
&4
... j j
.. ~~~~~~~~ ~~~~~~~~ ~~~~~~ ~ ~ ~ ~ ~~ ~~~~~ ~~~~~ ; ~~~~~~~~~~~~~~

;
...
& 44 ~~ ..
Ex
Ex 3 Turns & Inverted Turns
Ex 245 Acciaccatura
Mordants & Inverted Mordants
& Appoggiatura
T
Glissando
T M T T M T M
44 .
m mT mT mT m

~~~
T mT ~m~Tj ~ T
j ~~~~~~ ~m
~~~~~ ; ~~M~~~~~TM~; ~TM~~~~ ;M ~~~~~~~~~~~~~~
T M

T
; cd tRack
..
~ ~ ~~
j
&
ExAmplE
j
~~~
~~~~~~~ &~AppoggiATurA
& 44 . 4AcciAccATurA 85
The first bar here consists of acciaccaturas played just before the consists of appoggiaturas which are played on the downbeats and are
downbeats. play these as very quick hammer-ons. The second bar worth exactly half the value of the following note.
Ex
Ex 3
5
4 Turns & Inverted
Glissando
Acciaccatura Turns
& Appoggiatura
T T T T T T ~T T T T T T T ~~~~~~~~~~~~~~
T T T
4 ~~
& 4 .. ~~~~~~~~ ~~~~~~
j j j ~ ~~~
~~~

j ~~ ~ ~ ~ ~ ; ~~
~~~ ;
~ ~~~ ~~~~~~ ~; ; ..

Ex 5
4 Glissando
Acciaccatura & Appoggiatura

4 . ~ j ~~~~~j ~~
~~~~~~j ~~~~~~~ ; ~~~~~~~~; ~ ~~ ; ~~~~~~~~~~~~~~
; cd tRack 86..
~ ~~
~~~~ ~~
& 4 . 5 glissAndo
ExAmplE
j ~ ~~~ ~
play the notes in the first bar with your first finger and gradually blur notes in the second bar with your third finger and gradually blur the
the notes into each other with slow ascending slides. Next play the notes into each other with slow descending slides.
Ex 5 Glissando
~~~~~~~~~~~~~~
4 .. ~~~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~~~ ~~~~~~~~ ~~~~~~ ~ ..
&4

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play lead with fingers 14 acoustic 92

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