onTHECD ( CDROM FILE ASSET Buddy Whittington Buddy concludes his three-part masterclass back on home turf, as he shows us some impressive Texas-style blues riffs, Charl Coetzee transcribes. INPREVIOUS ARTICLES Bven though Buddy isn'ta country guitarist Buddy talked about ways of | he cites country players like Roy Nichols and venturing outofthe three- | Phil Baugh as ig influences in his playing chord thing’ without losing “My Dad eame home with this album one theessenceoftheblues.In | timethat was Phil Baugh and Vern Stovall. It the third and final installment | was locally produced album, kind of alow wwelllookathow this great | budget album even, but man there's some playermixes rhythm and lead | stellar musieon it There's atune that you can playing along with some find on YouTube right now as a matter of fat coverdriven bluescomping. | ~i'salled Country Guitar. Buddyclearly understands | Somy Dad brings this recordin when Iwas theimportanceofbeinga | 10yearsold and he goes, “Ifyou can play like solidrhythm player.“That’s | this guythen you can call yourselfa guitar themostimportantthing | player.” And Thavetogetit out every once in rman," hesays."You can't put | whileandiisten toi, and just go, Tm stil thelead ontop ifyoudon't | nowherenearit’ you know what I mean? But L havea rhythm bed. You gotta | gotta keep working. it. You only got 24 frets have thegroove happening.” | andsixstrings and yetits an infinite palette to Example features some | work from. What you wind up with isonly lassie Texas-style rif limited by what you ean do physically and with the lines of bad boys 2 your imagination." Amen to that! andin Example2youcansee | Many thanks to Buddy forsharing his Buddy holding down the ort | rhythm playing expertise and approaches with ‘onboth rhythm and lead us, Ifyou ever geta chance to go and see him playing dts Tve make sureyou do because ibe ikeathreepecekind | esperence second to none Timtsyousstowtajoucan | £6 Pm trying to play less and doasfar a ead playing ates, less because sometimes you Hsthmgoing Andwhenyeu | 6AM find yourself playing way isrehedytioowsstes | to much and saying more fnckintierewiththestytim | than you need to say. 99 agri. ths Kesar ple sspatneneonige” | PRUE Ca a great player is when he is able . i sf o% MEE todoall the flashy stuff @ @ @ @ @ oe EERE realy goingtotownwhenit @@Ce@ Advanced “I'mstill trying to learn everything Lean eae CD: CD-ROMILE Accompaniment sis ancl make it into something that it's not Blues for the Lost Days (1997), Padlock on the Blues (1998) and 70th Birthday Concert (2003) illstrate his style with John Mayall’ es | TRAGK RECORD Ray Sharpe's Texas Boogie Blues (1980) offers a good insight into Buddy's early career, while Spinning Coin (1996), Bluesbreakers. Great solo offerings include Buddy Whittington (2007) and the recent Six String Svengali (2011), 62 GuitarTeehnique AvsBUDDY WHITTINGTON PART 3 MHEW 22). Ic74\))s EE cones {Bars 1-3] Buddy sets up the overall groove around an AS power chord along [Bar 9] Buddy played some great thee:notevoicings here for some added ‘with notes fom both the minor and major pentatonic scales harmonic depth and to add Istener interest {Bar 4 Excllen use of double-stops here to outie the basi blues [ar 101 This short section features some lovely movement around the E7 harmony. Notehow Buddy slides into the double-stops as wellasthecurl sound with the se of ths bend on the minor third onthe an of beat tree {Bar 11] Once agin Boddy creates some lovelyharmonic movement with (Sar 5 Buddy continues the descending fhe started on beatfourofthe the use of tvee-note voicing. ‘previous bar before moving into the D boogie iin bar 6, [Bar 12}For the turnaround Buddy slowee things right dow witha [Bare] Caste blues iffhere. Note how Buddy uses stacatofor some __itardando ashe played a descending bas line, Note how he changed his added shythmic punch. He als inched theb7 on te third beat ofboth bars_chordvoiings oft the descending basin, ‘where you would traditionally nly see a power chord. Thishelpstoflesh out [Sar 13} After the AS power chord Buddy gets more harmonicalyceative by land underline the overall dominant blues tonal ‘utliningan E augmented chor, which he approached chromatiall from {Bar} Mining the notes ofthe major and minor pentatonic scales again. the 3 ACE), See how many ideas here you'd kein yout oun playing Hybrid picking heoughout Ds er SOs DIA Air a7 E a eae > aw oi o7 a as aug » ‘August 2012 GuitarTechniques 63,STRAT EXAMPLE: ESHING OUTA RHYTHM PART WITF {Wars 1-21 The start ofthis section features nice contrast between rhythm playing inbar | anda fillin bar 2. The overall shyt is based around 3 typical funk patter andfor the fil Buddy used aC hybrid pentatonic scale ‘with some case blues phrasing {Bars 3-4] ere we carry on with the groove set up in bar 1. Buddy changed ‘theveicings slightly and used the pickto strum the pattern in bar 3s ‘opposed tothe hybrid picking approach used in bas 1-3 Note how he 89 co 87 c7 er er cs Hybrid picking == SS Te te} 15 teeta atone ae {64 GuitarTeehnique August 2012 ow Teco (& coROMFILE cones played something different on beatin every bar. Bar 3 featured siding hs ‘that outlined Ce and in bar 4 he played C9 stab, morelike something you'd ‘expec from a horn section. Funky [Bars 5-9 Here Buddy payed some great nes. Note how the overl fee Still being retained a he pays lead with the useof carefully placed accents ‘and forward moving momentum. Scale wise he’s mining both major and ‘minor pentatonic ideas along with some chromaticsm in bar 6 87 c7 co Se o TNT —o—TNIO=