PS eR HEC UMM) VZa rts AEST ae Nema Amt Nd) Nene BLUES, AERO T etoeU le rl Blind Blake, Big Bill Broonzy A mates dna V4 | Ee tag IT Play wailing lead like Free’s OR Ue OUiy aCe loc) By VaR A aS Larry Coryell plus jazz-blues basics PRUSSIA UIE a) er RTPA UEC)ro i Sound Philosophy Drawing inspiration from the past whilst developing guitars a ene een eC Rd ee ee egos 5 CISL La eee Think Acoustic. Live Electric. Play Takamine. Pe ere eetGuitarPechni ISSUE 182 SEPTEMBER 2010 STEVEALLSWORTH OnectGutarXstoptutorsstevehas bean aGT wrerforsometime One ‘themostsiled guts round takes huge ide inistancrbig, SHAUNBAXTER Oneckthe Usmostrespected music cestors Sanhastaughtminy \Whoarenowtoprutor. Hsalbum bz> atlwnshalesseamiestone PETECALLARD Petesmany ces indude Lion! Fiche Anne Lenox Gata Khan and Stile Sassy Hewerksregulain thesia, on TVandin the West. MARTINCOOPER ‘tutor 80 ghtn, Martins lock celine arewrtenvithsyleand Ra cermin zosaeamstacor ‘TheUnonisvalableon Tunes, 4 GGIANLUCA CORONA FecommendediotheGutorinstae byID Meola Ganlucahascastion credentials Hestused at I with ScoftHendesonandettGased PHIL HILBORNE ‘TreURsergaltechiqueswrter Ph requ paysoutarn WeWitRoce NouinLondons WestEad Healo, heedtolaunch Teck 154 JAMIEHUMPHRIES, MeHumphressoneofGTssahart ‘vrtersondmusians ving been with he magaineto yeas Hea > plasin WR th Phiten occsien SCOTT MeGILL, Us-bomScetrunstheBAHons couse ‘aNMBnghion Hbook The Guar ‘epeogioCompendium andsoloD Symptom Imperative outro DAVIDMEAD Beedtorof Gutarechnicuas Daud istheUistopreterof quart books Hesaka astentyworkingen thefolonoto album Noctuna BRIDGET MERMIKIDES GulcallndoyalAcadery tained, BidgetisaRoyalcalegeor tus, ‘mine respected csi payer Sndowerdwining blues gars. STUARTRYAN Stuarts Head Of Guitar at MASS teochesatBathSpa University ands topsdloacoustcqutarvituosa Hs debutcd The Const Road soutnow ‘TRISTANSEUME ‘sans ACM saccutcexpert an Inedemandtutrandanoutstandiog Player He sab asoloacousicartst who regulytoursthe and Europe JOHNWHEATCROFT Head OfGutaratLondonsGulter®, Jemalsadevastacingployerinal moderates Hels atop YES) |zzrand pys wth Jchn Jorgenson © musicradarcon Teh eta FOR THIS MONTH'S cover feature on playing great acoustic blues -and another on clectrie blues through the ages that’s coming soon - I did abit of delving into some ofthe formative musicians whose names don't get bandied about somuch. Duc to the wonders of YouTube one is abe to seck out almost any Dit of music that was ever filmed, so there are some amazing gems up there that we might otherwise never have seen. Among fabulous performances from Big Bill Broonzy, Josh White (check ‘out Nobody Knows You When You're Down Ane Out) and others, are some astounding performances by the man they say was the firstever to soloon the guitar, Lonnie Johnson. Johnson was a friend of Edie Lang, one ofthe other acknowiedged leaders in the move to use the guitar asa solo instrument, and there are recordings of them together that are well worth searching fo. ‘What realy slew me, though, were some ofthe Jonson recordings from the 1940, 30s and even20s, singing and playing and showing just what a great player and innovator he was. There's performance of Uncle Ned Don't Lose Your Head ~Google it, it comes straight up - recorded in 1931 and it sounds remarkably like Django Reinhardt. Bear in mind that Reinhardt had only recently switched to guitar from violin and that Lonnie had his style fully formed by then. Django ‘must have heard him, along with other American ‘musicians like Louis Armstrong, an acknowledged influence, and theres certainly more than a sprinkling of Johnson magic in Django’ playing. The truth, 1 suppose, is that everyone was being influenced by everyone else at that musically formative time. It’salso interesting to see how much eloser jazz and blues were back then. Itwas as though there was no real delineation between the two, certainly once guitar solos started to happen, and that they diverged sometime after this when blues stayed pentatonic based while jazz became more harmonically complex. ‘The other thing that struck me about Lonnie Johnsonis that he seemed like an absolute gentleman -he was softly spoken, un-egotistieal and wholly respectful of others. In these days of riders and tantrums, how refreshingis that tosee? Okay Douse, where are my blue M&Ms? And I said Chateauneuf du Pape 1998, not 1997 you idiot! See you next month... Natl The GT Promise. (erie is O Da ‘a NON aNHIy OF TUMION Fhe September 2010 Guitar Teduniques 3 oy {Techniques + CONTENTS + SEPTEMBER 2010 « ULTIMATE ACOUSTIC BLUES Play like the greats! Learn theses ofthe most influential acoustic blues guitar greats from the ast 100, years Tristan Seume is your host. a DOKKEN «el 1 Scary ke Play this amazing. high actane instrumental bythe mighty George Lynch a SLASH WELCOME 3 Play hike this guitar giant! 38 Nevinoducesthismontsisue Steve Alsworth uniecksthe style of ne of TALKBACK 6 thetitans of modem ack-GNRand Velvet Including Star Letter and My Favourite Things Revolver axe legend Slash! Tae 6 INTRO. News stores Freeze Frame, One-Minute Lick, HotFor Teacher end more,UES : Pa riya BACK ISSUES a1 Missed recent copy of Gitar Techniques? SUBSCRIPTIONS. 87 (Great offers and GT delveredte your door, ALBUM REVIEWS 38 This months CD and DVD releases, ‘THEORY GODMOTHER 90 Horefied by hammer ons? Traumatsed by tapping? Write tothe Venerable Mead aot rae blues sing USER GUIDE 92 How to use GT's tab andnotation Includes ataison cking and fretting hands, Bending, ‘ibrtorand harmonies ‘TEACHER DIRECTORY. 94 Finda local teacher vith genuine Registy of Guitar Tutors credentials now! NEXT MONTH 7 See what fabulous tunes and tutorials weave in storeforyouinournest issue, musicradarcom The Nol website for musicians | T LEARNING ZONE LESSONS INTRODUCTION .....49 ‘Special Agent Sidwell issues us with aicence te practiseand save the word fom Blane ‘guitar playing. 30-MINUTE LICKBAG 50 ‘Suu leks from BIN Brighton's mastertl Seatt Mell From Easy to Ea! BLUES 52 John Whesteraft took lnok tthe bles rack Style of Free’ legendary Paul Kossoff. But he's alight ond ROCK. 56 Martin Cooper cissects the style of Them ‘Crooked Vultures FUSION, 60 ‘Gianluca Corona.n jazz rocklegend and Eleventh House member Lary Coryell CREATIVE ROCK 64 This month Shou Baxterlooks at blues turnarounds witha diference! CLASSICAL n Another wonderful piece by the famous Kalin guitarist and composer Mateo Cacasi-its pus 60,No6. JAZZ 76 Pete Calard shows ushow to jazz up aminor blues chord progression ACOUSTIC 82 ‘Stuart Ryan avoid lasing his temper ashe Udemonstrstesthe art of coe picking! SHEN - : a CARL VERHEYEN TUTORIAL PT2 68 Inthe second tuto ois series, the master demonstrates hiscoolapproach ta blues September 20'0Guitar Techniques 5Back HEDGING MY BETS ve been playing the guitar now for about 13 years and ave been reading Guitar Techniques for Almost as long. remember my first ‘copy contained a Michael Hedges piece, Lonono, which thelate great Eric Roche tabbed. Ljust had to learn this songand soT spent ‘months trying to perfect it. Tthen ‘moved on to playing rock and blues andlearnt many Zeppelin, ‘Metallica, Hencrand SRV Ticks, “However, Tam ashamed to say that Ilmost forgot about the beauty of what an acoustic guitar can produce on itsovn. Ithen Iheard the Michael Hedges song ‘Aerial Boundaries and my jaw Iierally dropped! Thad never fl so excited about the gultarin years. 1 just had to play the aeoustie 0 re-Jeart Lenono (from the coviginal mag Ist have!) and subsequent bought allof Michael Hedges albums. For the past two years just {allen in love with his musi adit Ina led me on to discover the music of Ee Roche, Pierre Hensusan, Andy MeKee and many more great acoustic guitarists, What is unique about these players that net only Ihave they amazing technics but they re truly great composers. am now learning many more seoustic fingerstyle pieces, although Ido stil takeout the Las Paul and deafen the neighbours ona regularbasis! Damien teland (JONAH AND HIS WAIL ‘With reference to.Fonah Pardy’s letter questioning the legendary status of Jeff Beck; ofcourse everyones entitled to an opinion, and until recent Twasn'ta great faneither, Maybe Jonah should {ake alisten to Emotion And Gommetion and he m) hismind ‘Thanks toyour magazine [now realise the man is agenius, who! think has styled himeeifon the unique Roy Buchanan whom he sreallyadmired. Surely nobody ean ‘question Roy's technique even wa Ves ain BATS onrcbowhe FAR producedeuch fe amasinascunds fomhe 508 ss =, in), Fe ing {6 Guitar Techniques September 2010 Write to: Guitar Techniques, 30 Monmouth Street, Bath BAT 2 BW. Email: neville:marten@futurenet.com 1 GAN'T MEMORISE STUFF have afew real world learning issvesthatThope you can provide some adviee on. Thave had lessons. from about five different teachers over the past 20 years everthing rom bluegrass tojazzand blues However, find that Tdon’last long with them, 281 simply cannot keep up with the weekly homework’. 1 find that I need alotof time too over and over concepts and techniques, and with a poor ability to ‘memerse find that fam sil trying to earn oF ‘memorise the basis while the teacher has moved on with yet more new material. ‘So, how can Imaximise my learning from eael lesson and what can Idoto help memorise? Also, ‘what isa reasonable time between lessons? Toul prefer monthly, but most eachersare not interested Thavesigned up to numerous on-line websites but none ofther seem to have any genuine support for individuals. hope you can shed somelight on what Tam sure isa very common issue for many learning guitarists TonyPolamara Peter Green: why not learn ome of his lovely ticks? meaware of Joe Bonamassa and Aynsley Lister, who are both superb live and couldinol their own with any artist pastor present. Teil admi that there re certain time is truly amazing. fifties and only forthe lastfouryears have Isettime aside toplaythe instrument Hove most sell never be much good, and string (Often fin thats theiove ofa Iype of music ora that ght the freof wanting tleara top. then ‘ls that fire as your playing gets beter ond corer to what you're aiming for get the pression that youswanttoplaybatarenot ently sure what syle you ‘dont mention actual guts you be, bust say az ‘bluesandbluegass: suspectyouenotayoungsterso youre not outto make acareerinmusi butratherwontta sai Jonging to play. vereyou Fi serteonasiyle even an ‘artist withinastyle~and concentareon that rs. 8lves ‘isthe simplest oF those youmention so why notchoosea ployeror album you ike, or even osong, end aska teacher tohelpyounatt ‘you choose something simple but tosty-Need Your ove So Bad by Fleetwood Macy ony goodteacher shouldbe happy shew youthe chordsend break down the solos bit by bit When you go back and Id ‘compromise an go fertnighly you shovidhave broken theback ofsomecks and be ready for thenext challenge Learning ocr three tack bythe ame player ete syouintather mindset and allows you to develop amcor for working things outyoursel as you get farsior with thei ingerings andsoon, Itterms ofmemorsing the same applsifyou know ‘andlove4 song 0 yascan sing ailthe icin your head then getting them down onthe fetboordisalwoys ease. Youcould ry some bosic ear training learning Ye sound ‘of semitone one fet) atone two fe), minor third (thee ets, majrthia fou fets)andso.n which will fomilarise you with he intrvelsinthe licks youre trying toleom.Andsinging what youplayisasoa great boon, ost embeds thenotesand, again, beginsto ton the ingers and the ear together. Learning to read music willbenefityovencrmoush, ‘otthough ending between the ines detec thot thsi noton your ogenda ft would hep with eveything though, pone). Last: any good teacher shouldbe ‘hoppy toworkat you paceand notforce theirs oto you Ihope thishelpsfocusyou abitle= good fuck ‘STAR LETTER PRIZE ‘ OuifiendsarSourdTechnelogy ft Hardie Stereo ReveroRV-7peda! tarhewtercfourStrleter Reinhard and Roy Buchanan Doth truly great musicians and flawed geniuses Last, e's remember that p01 don'thave to hes howseholed name gultarlegends thatdonothingfor | bending is almost certainly tobeagreat guitars, althoughit Jinimy Pagebeingone, responsibleformycarpaltunnel | helps the bank balance! Even BB sithough Iwonldnever question his | syndrome. ButT'm not giving up! | King's career tookon anevslease of texpertise—hejustdoesn' play what | Thanks foragreat magazineand | life when he stole the show from U2 Ianto hear Forme Hendrix will | thevaried music you cover. Without | playing to young people who knew alwaysbenumberone,andthe | it wouldneverhave purchased | nothing about the man. sic he produced in such short ‘books on thelfeof Django CChrisParker, Crowthorne, BerksWOULDA, SHOULDA, COODER Tama fan of Ry Cooder, andon the Old Grey Whistle Test with The (Chicken lin band in 1077 he played the track Jesus On The Mainline, and L wondered what strings he would have used. [know he played a Martin D-45 with = preamp. My acoustics a Yamaha Compass with Seymour Duncan, pickup, fed through a Laney | TA065D acoustic amp Tthink the strings are either Gibson gsr DR 138 please ean you hel ‘Also, what affordable guitar ‘could Tse for Vigilante Man —T vas thinking ofthe Walden (CG600CR tor that bigbluessound, ‘orpethapsa Fairclough Nightingale. Can you help? John Bicker, Rochester, Kent Itseemstkehesin open Dtuningtop tobotiom DGCFAD~andhie singe ‘areheavyenoughto sound strong but ‘easyenoughtobend.|would op for 013 gauge strings for thatlow tuning especay when playing sie, and ‘ether Gibson ar DR woulsbe great phosphor bronze onesprelerably. With regord the tone on Vigilante ‘an, it the some guitar and reckon Just the recording is what's mating it sound so big Ry ites he ‘ereadnought syle Martin becouse of ‘ts big boss and balanced mids and top, but ony good quality instrument ofthe samesize wll raduce great results: Why not adda bi of everbon your Laney and boos the bassand tmidsa touch tr surethat wil get you ‘nthe right ballpark. The Nightingale and CG600CRare both smaller bodied ‘guitars end won'tprovde thot big bottom end Fairclough flockbrd isa ‘much large instrument andche Walden 0570 Natura'sthe same size ‘os ysMarti, these would be beter prospect think. eed I WANT A FAT NECK! have been subscribing to Guitar ‘Techniques for many years nowand Thave to tell you thatyou and your colleagues should be extremely proud of the quality material that you continue totura out month after month, The value ofthe ‘magazines absolutely fantastic, 0 ‘keep up the good work (itt for sister mag Guitarist), ‘Secnndly after wanting one for some tirty-odd years Lfnally purchased a Gibson ES 425 in 2006 from a UK high street store (which isnolongerinusiness) and subsequently discovered thatthe ‘ussrod will ot provide any relief inthe nock (confirmed by my local si store) Gibson told me that thedistributor provided the warranty (struck me a abit ofa cop out) hut having exchanged many stern email with the then distributor goto the point where there was no trust there, Consequently that avenue did not lead to anything. My dilemma is that really want Dot fat nek’ 335 (leant get on with the skinny neck) but eannot bring myself tosimply pass this ‘matter on tosome unsuspecting purchaser. In adliton livin Jersey (relatively small sland) and its not a good moral practice Theone thought Thad wasto senditbackto Gibson and have a Dot fat neck puton the guitar whieh imagine wouldn't be cheap but ‘would perhaps be less expensive ‘than hacingit repaired, selingit and then purchasinga new Dot fat neck, Are youableto offer any thoughts or advice? Paul Kelly Jersey Thanks forthe nice words about the rmagazine() Poul Gibson sight though: inal your recourseistotheshoptharsoldthe ‘uitarand its hei responsibility tot itsorted out hrough thedstrbutor. (Obviously thars nox now posible Soyouteletinacetstick-your rmorasletatina that you won't ssa tog'ontothenext Unsuspeeting customer andthe ) at: BALL SIN enya a fe) 245 THANK YOU JEFF, On an 4 hl g WWW.ERNIEBALL.COM ave /LSA Larry Coryell EVADE ATVI eco Advanced NFO WILL IMPROVE YOUR KEY: Various | Etter hamony TEMPO: Various |S (CD: TRACKS 3139 | BORNIN 194gin Galveston, Texas, Larry Coryell grew up in Richland, Washington State, where he discovered fingerstyle guitar thanks to Chet Atkins and soon started to copy the complex phrasing of zz artist ike ‘Tal Farlow, Bamey Kessel and Les Paul from recordings. This bg attraction for improvised ‘music also involved other idioms like blues and rock tha, along with classical music and jazzavant-garde, contributed greatly to shaping Larry Corvell's unique syle. {60 GuitarTeehmiques Se>tembe: 2010 One of the most influential fusion guitarists, Larry Coryell added a bluesy slant to his jazzy playing Gianluca Corona examines this great innovator... Apassion for journalism brought him to Seattle where he continued playing with bands, jammed with Gabor Szabo and got to know Wes Montgomery personally. His passion for music soon overtook that of Journalism and by theage of 2, justone year before finishing his stint at university, Coryell packed his bags and guitar and moved to New York. This move, as has occurred throughout the history of azz, proved to be crucial in giving Coryell the experience that any ‘improvising musician requires started catching up with peoplelike the great Grant Green, saxophonist Charles Lloyd, and with rock-blues guitarists Robbie Robertson and Michael Bloomfield, Attracted twavant-garde, he also played with drummer Bob Moses and saxophonist Jim Pepper who, along with bassist Chris Hills, wound up on THE GD &} TRACKS st-39 supporting Coryell on his first soo album Out OfSight And Sound, under the name of The Free Spirits, “These heady times also saw Larry doing his first big gig Tis was with Chico Hamilton and beeame the first in a long series of stellar bands and artists he found himself involved with, ineluding legends sueh as Gary Burton, Steve Swallow, Roy Haynes, Billy Cobham, Randy Brecker and Miroslav Vitous to name just few Initially an electric player, as much influenced by blues and rock as jazz, Coryell was drawn to the acoustie world in the mid ‘70s when he toured with Philip Catherine ‘and contributed to some of theacoustie tio concerts alongside Paco de Lucia and Jolin ‘MeLaughlin, Further extending his range in the early Sos, he also ventured in recording, classical musi for the high-end Japanese label Nippon Phonogram, Coryell has been, at one time or another, aloud electric rock’n'roller, an urbane jazz soloist, a sensitive acoustic guitarist and a classical performer. Ina sense, his dilemma js that ofany great player in today’s jazz and fusion scene, in that he has sometimes found itdlificut to unify all of tse seemingly opposing facets- despite his enormous talent. However, over four decades Larry has been one of the guitar's most consistent performers with the gift to surprise, always delightfully avoiding easy forms of plagiarism andsterile clichés, 661 wanted to inject more ‘down home,’ blues-based energy into jazz ideas 99 Larry Coryell GETTHETONE a ea ak a eet i) cease nett Bec) ‘TRAGK RECORD There are so mary great Coryell recordings but Spaces (1970) Is strat azz and jazz-rock a ts best while The Eleventh House (1973) offers virtuosity and atmospheric minimalism; Together (1985) has Coryell working with the greatly missed genius Ely emer ‘on second guitar and Live From Bahia (1992) fs pure Latin vibes with a big hand of mainly Brazlian musicians,LARRY CORYELL STYLE MBM LSI 15 EXEL: Coryell was one ofthe ret use ‘aries harane’=somethingthatcan make thathfinger with anormal fngerstle technique, th the harmonies abtanad Yyourchords sound etherel Neri how todo" Point you picking hands fist with same procedures deverbed These cxampies show arange of sing Enger ites up rom tetretted note omahichyoursaneto cents harmonic, skpningpaterns Ive nisoinluded option ke ating witha conwertionaly than plekthestiigapprosimetly we Inches bck for therewith the pkreld fretted note orinuding legato tehngues Ie pul of Fel rete experiment bythe thumb and the second finger scaly we lternae eal notes executed by withthe chotds and ther pattems therearerelinis ete omaeia commsesstes ania: rsa emits mzienb omsiaett EUUnEs |nezqutariss often avoidchoras wth foutarmorenteswhen paying over Thepogreson has extended and alteed chore and ands with yan nord busy changes. Thee-note shapes have enough armani defvon andare F#m SP) bull upon the Ma five eh key (cl Ths reates suspense before the Sheylomave qucky. The root soften souitadtagetarmaelnteesing hoe, Rralc major ahd. seta progression underpins the next example deem ome €8 mts 7 Amit Figs 87 emit Amit L September 2010 Guitar Techniques 61LA) NM arto cma woe mis ataim Fimo Eee Simply ignore one cherd.Ityouhave sllV movein one bar simply choose the whatchords Tm getting id of then workout what interval layed against the Chord hat inspite you mast andi fori Het impronsing overs simpler Suiving ards hint the daminant ones svallglveus more options). en? » om? or © ay amtis ae Famajoa SUNSET Ces ‘More atitcal harmonies here: but histime ete using the same base technique the stings trougheut for bath down andup strokes. Start wl and focus ‘but odsing some summing Keep the Ws Wager and pick pertectyin ise wih sighly more an the painting Hating tan he pick SUES EereD ‘Again the solo tackles the chord nthe sie form, oss toemphasze hese Bat Em7BS, hroral pases they every cho then an E7 mises Interlleappraachshown Before Here iran stayrsof hat going on pega complementing the. an anvis erat am {62 GuitaTeehmiques Sectembes 2010LARRY CORYELL STYLE BAUM 20) 1/0745 Ee ar 4:67 Bechighghting # C}andb2 (The bar has four groups of sia notes but quite a subtle change sake care wit it Over G heck starting onthe tie ‘thethythm isased ons aroun of our ntestobulé up some nythmictencion, eat highlights he #5 eb) and bo Chown a5 G¥ here fan essantal pati he peasing thats characterise of Coralie Bars Over thelckstrts with tha minor pertain, thenntoan Faminshed Bae-titapproachcariesonwit gloups of sand fvenctesusedtagether, srpagahebghlighting the 69 nhs om? ra ‘emai EEE ‘Again the chords often don't have the root as thei bas note ifthey dts usually over off bats to veld inerfernce with he bas player. THM PAR IEE ICDTRACK 37 Ja Ame Serbs evbobwop ame mst eves am GA Amma ay__arts ‘emair ums ers mencan September 2010 Guitar Techniques 63PUTATIVE oven macs ona Blues turnaround lings, ==" This month Shaun Baxter starts a new series " pscanseven-note scale ike Doria, devoted ta improvising over the last two bars of a _| Mixolydianand tydian dominant typical 12-bar blues - the turnaround a rr rr A Miolyian: a 8 DE eG Ofthetwehetursinatypial =| 1 2 3 4 $6 br blues chord progression i'sthelast_| ALydlan Dominant: twotlatoferthebiggestrangeof | Ak Ge (OR RGF possiblities. Here'satypical 1203 4 5 6 mG examplein a And even eight note scales ike Dorian blues Ar wzick 7 aden? | andthe hale whole scale we 8 | ADorian Blues Overthenextiewissuss weare | A 8 cD © mG goingtobelookingattheselastiwo | 1 2 #2 4 BS 5 6 BF Basin depth (known asa AttaleWhole eae turnaround, beeausitsoundsand | tn 9 fimetionsothasaconchaiontothe | Aah” ef cH” DFE FG twelvebarsoquence,wiiltalbo | 1 82 3 5 8 Br settingupthe following z-bar blues | _Onthismonth’sGTCD, youTthear medemo chorus). This month we'regoingio| sateen differentbiues tumaround lines using Sartofby looking playing/ | either one ora combination ofthese different floating over the entire chord scales, Bea in mind that most es sequence usingany one ofa range of | turnaround lines finish on the root ofthe final manAreotnole( | ebord (inthis case, 7) sales starting fe abasie shape foreach one the Noxt month, we'l belookingat ways of scales diseussed in thisarticleis | becoming more specific by focusing on arange shown in Diagram 2). ‘ofparticular chord tones. Until then, try ‘Most guitar playersare used to | experimenting with these samescales to make playing the five-note minor upyour own tumaround lines, and use the fll pentatonicscale,orthesix-note | backing rack to insert them inthe appropriate ‘minor blues seale of over any partof | place when improvising over an entize 12-bar ax2-harbluessoquence,and thelast | blues sequence. Ano pena G6 Of the twelve bars ina * GS 4 5 & | typical blues chord S z progression, it’s the last ‘oo % © 5 & | twothat offer the biggest However there areother pentatonic choices, such asthe major pentatonic, m6 eco Moderate pentatonieand dominant pentatonic (make a Se een a ee mI) enter pr sng ogergr ache a A those scales) TEMPO: 12pm | inn tema sts este er c Taare Semmens, | Axictsims | ACS) EITORWLasarckguitarphyesyouere | 1 tS Sea foingtobefrequenty testedonsouraliliyto | AméPentatonic aroncers Play te bincs. tt maybe dosing an iopromptn | [hs Tg ieierry Tecalsarprtyoravvedding ormerey forthe | A Dominant Pntton: panini sere ‘tuthentcty oftheblcsinfuenced ping | As ce ks | 3 zi and vibrato within your rock plying, 1 2 3 s 7 Grammy-award winning American blues guitarist Stevie Ray Vaughan. Try the compllation album, The Essential Stevie Ray Vaughan and x TRACK RECORD [fyou are crock gitar playor who Is intarestod inthe blues you could do far worse than to listen to tho ato and great Double Trouble (2002). Any Gary Moore compilation wil offer a more Ang-Irish take on the blues. 64 Guitar Techniques September 2010BLUES TURNAROUND LINES MRE 4= 0) /07400"3 ‘Aminar pentatonic minor blues «Amor pentatonic —AmGpentaoric Ayan dominant A dovan Dues : 3 3 *| fers] ° ‘si tel s 4 . 4 fe o o . 6 =toot note A A dominent pentatonic. & mor bss Adorn Amioiyian Ahatinote ° SETA XAMPLE Thc teste A minor bles cle inthe syle of Gry Moore Avene 480 AT AMC} By Bid ame Te ” ——— EXAMPLE 2: interestingly. the m6 pentatonic sa mode of he dominant pentatonic in his cas, Am pentatonic asthe same notes a dominant pentatnic {ths should become apparentto you when you establish the varoustwo-noter erting patterns for both ofthese sealed a7 aver Spor pam meg? ” [EXAMPLE 3: This uses the A minar pentatonic scale, siting through several postions. EXAMPLE 4: The dominant pentatonic canbe seen as ath arpegaiotbecauseithas the same notes (2,35, » September 2010 Guitar Techniques 65RYU See ez EXAMPLE 5: Note thatthe fistsb notes of hi line could ao be seen as belng derived fiom A ydlan dominant scale. EXAMPLE 67. Wevestudied the halfwholesealeonly recently. "san eight” name). Modern jazz playerslite John Scofield (guitar) and the ate Michael note scale octatonc that's ke Lyaian dominant, but thas a b2and #2 Brecker saxophone] have favoured this cae because I ends itsefto thematic Instead ofa 2 The mostsgnifeantarpect othe hawholescalesthat tie development, ae any of ne canbe transposed up or down nconsecive symmetrical consists of consecutive half steps and whole stepshencethe minor thirds ands ema withthe scale. a anc or, iam amr a EXAMPLE & The contents ofthe second ba ofthistine could be seen as being an Amajor‘ia, whereby the Cnatual at he star ofthe baris acting as ‘erived ftom A major blues scale: however, the thinking mainly based around. passing noteto the folowing C a arei 07 tsi amen » ar amet 07 tin? amor er a EXAMPLE 10This uses A mixlydin, A minor pentatonic and then Amajr pentatonic to fish, a7 janet 07 ote army ar a (66 GuitaTeehmiques Septembe: 2010BLUES TURNAROUND LINES MRE 4= 0) /07400"3 See ey EXAMPLE TI: Thisline finishes onthe major third ofthe E chord Most players fnsh onthe root note) Because s more straightforward, and ess ‘prety. Ar nveh 7 iam ae a” EXAMPLE 12:Agan he Exercise the notes ofthe second bar of thisline canbe seen as being detived from an Amar blues scale. EXAMPLE 18-This features A doslan and A major pentatonic closing witha ehomaticwalkup to an note a a a _, Amebepenmone | _ Gexmbrsesyee EXAMPLE 14:As you can se, ths lines variation onthe previous example. orkrean EXAMPLE 15-Tis show a guitarist he Stevie Ray Vaughan might have rived his scale usage EXAMPLE 16"This how a guitarist he Eric Clapton might mixhis scale usage ay arity, ine ayer a September 2010 Guitar Techniques 67VIDEO VTHECO eD-ROMFILE ur. Carl Verheyen tutorial, === and match asapproprate tothe situation. “hisalso manifests itself inthe sounds he For the second part of his exclusive masterclass, ci Theft generation eecticbloes CarlVerheyen demonstrates his unique approach | Raven ciinnc Rare te to blues playing, Jay Stapley transcribes. loud enough forse ofthe larger veces marmun and found sustain that comes from valves that have been eft heating up for THEGREATMAGICofthe | three hoursand wound up to the max. Dluesis that all we human, Moder players have to deal with singers Deingshaveexperienced pain | and landlords complaining that “the guitar's and oss, and blues enables usto | too loud,” so we use pedals and sophisticated ‘express and share these amp gain structures toallowus toget that emotions. Theanswertothe | same sustain atlowerlevels, and thishas ‘age-old question,“Canwhite | addeda much more fluid sound to the ren play the blues?" is, of vocabulary of the blues. Carl used a Rat pedal course, Yes." Andblues has | for our masterclass, not too distorted, but Decomea universal framework | enough to simulate an overdriven power-amp inwhichtoexplore musical stage and get that singing sustain ata level ideas:i'sa simple formknown | quiet for metoplay along on acoustic toall musicians. without being drowned out Our first example (blues ‘The second example (blues chorus 2) horus) shows Car's demonstrates Car's modem, eclectic straighter blues approach. I's | approach. We'd been playing an Albert King authentic in terms ofsound and | typeblues in Aband Iasked him where he notes but demonstratesfirstly | would gofrom this starting point. He started hiscontrolofthe instrument, | affstraight enough, but then took offon a and secondly the fat that flight of fancy, blending rock, jazz, blues, ‘whatever he plays, and in country... ou nameit, it'll in there! gj whatever situation he's playing, it, he does it with conviction and It’s easy to play with an Miwiciergea audience in front of you; the refomancesceo tine challenge is to play with the ‘easy toplay well when you have anaudience infrontofyou Same fire when sitting all feeding you energy the i s challengeistobeabletoplay @lone ina studio booth withthe same fre when you are sittingaloneinastudiobooth | TTS Ty ona cold wet morningafer Strigling through the rish-hour traf and picking up Sparkingticketwiletoading CM es hs your gear up three fights of a alts tothe studio! orem Carl belongs to what we REEMA generally regard asthe modern school of players’ These r sammy | sicians don'ttake the view that bhues is, blues, country is country, rock is rock, and all it Moderate/Advanced | ¢rriese styles should bekept separate. Their pens EVOUR | | Playingencompasses many influences, and switches from style tostye, sometimes within single lick. rock lick may inlude a country ‘ ee bend, ora blues solo can feature hybrid oe pickings there are no rules, just the ever: Ye Various | Hccompaniment sis TEMPO: Various |g Jazz chord knowledge (CD: CD-ROMile |g Dynamics asaplayer 10 As well as literally hundred of albums by dzens of different artists ~ including most of Supertramp’s recent output - Carl has.ahost of Cs avalableto hear samples from and buy on his website at www.cariverheyen.com. On thom youl hear his great range of playing styles using an enviable roster of guitars, Car's new CO, Trading s,s binding and features numerous guest guitarists. (68 Guitar Technique September 201¢CARL VERHEYEN TUTORIAL PT 2 RAMUS), 7400's EOE {Blues chorus 1 bars 1-13] Watch out forthe wide bends:there'samajor popular technique inblues Als in bar 6,he switches pickups ust after ‘third in bar 3. Ths tkes great strength ond eceuracy not to mention ® the sweetener’ from middle to bridge position. This a common Fetare ‘certain amount of courage fyou are using an Tt as you frst string. Nosice of his paying-he sometimes switches pickups inthe middie ofa note. hhow Cart'sweetens the minor third in barby bending it up towards (but Concentrate on the singing quality of thi so. The sound comes from the ‘not quite allthe way te) the major third just beforehe campsit.Thsisa picking hand digging into the notes and the Feting hand being trong, Aly ‘Blues Chorus + ° 4 wy ite ette)— 8) — 1 aie 119 uns Chorus? » September 2010 Guitar Techniques 68ASA EE {Blues Chorus 2, bars 15-28) The ile lickhere isn bars 20 and 21.Cal ‘tarsoff witha blues igure in Ab then shifts to an Eb base sition note {the slde on the ast sem-quaver, whieh is how he achieves the change n position) and then plays ajazz favoured arpeggo of Dbl over the W ‘hor Bats 23 and 24 conta Wks that ae more country avowed, wth tasty bends andthe bebop fal off to he sth fF) 35 the second note nba 4 {intervalc bis lek veineluded is ekfor two reasons Rs, suggests ay ep *e, te 13 —— sw a0)-00) 10} errr ae ‘tues Inervaic Uke 70 Guitar Techniques September 2010 “(20 — "0-8 Freee 1-8— 84 owme.co & co-ROMFLE ‘that he's not just wtting out one of hisstock ek, but isactualy thinking bout what he's going to play nex iteraly making t upashegoes slong) Secondly, t's another steat example af cat's eclecticism. Hete he ntegates his interac sporoach into blues Ick, The fst change in poston tte beginning of bar 31 onthe fst ving (Bb. The nex comes at beat 3a the sameba, the thi finger onthe eting Rand goes upto the thet so the ‘ustinger i positioned at he TTth fet Realy nce stuf eu 80 ae eonwww. guitar OU co.uk Specialist in fine new and used classic guitars a Eee THE UK’s #1 SPECIALIST GUITAR STORE IVOR MAIRANTS MUSICENTRE Service..Since 1962 Sastman FULL RANGE OF GUITARS AND ACCESSOMIES FROME Danslectra 'X> weransen BD 56 Rarnuons: PLacr, Orr 0: ‘ets 207 636 14S Pox: 0207 $46 627 fSSG ‘ow THE oD &} TRACKS 49-47 Matteo Carcassi For the sixth in her series of intermediate level classical guitar lessons, Bridget Mermikides returns with another piece by the Italian guitarist and composer Matteo Carcassi MATTEO CARCASSI ACHIEVED faine in his lifetime both as.a performer and a teacher, and his Complete Method for G remains valuable, relevant and widely used today, The 25 Studies, Opus 60 are widely available and are standard repertoire for students and professional performers around the world, ‘This article follows on from last ‘month with the use of simultaneously played rest stroke finger and free stroke thumb technique. However, we are now introducing the idea of two or more independent musical lines (or polyphony) rather than just a ‘melody and bassline or simple arpeggio pattern. In this study, the dass line becomes as important as ‘he top line, and requires a developed thumb technique. When practising the piece, become familiar with both top and bottom ‘melody lines so you can play them. separately; and make sure you can hear them both ata times. ‘The technique exercises that precede the main transcription are designed to pinpoint and highlight some key features ofthe piece and sive simple examples with detailed instruction on how to practise them. They should be followed very precisely in order to gain the most benefit. ‘Asever, be patient and enjoy the learning process rather than rushing ») 5 “ CO OX towards yourend goal POTENT | ©O% — Moderate [eo] Wit prove Your KEV:C ‘Fee stoke thonbtecaque ‘TEMPO: Various _| & Combining thumb and fnges |CD:TRACKS 43-47 | sPoiphonicrceleaéng Preparation: Polyphony is where two or more independent melody lines of musie appear in the same texture. In Exercise 1 we havea moving bass ine and upper melody notes. This is reminiscent ofthe beginning, cof the piece and points out the basie techniques; the thumb is nicely featured as the main moving part and should be played free stroke (the digit fllows through and does not come to rest on the adjacent string). full and warm tone should be the goal forthe thumb with the right wrist, arched fairly high for get a good angle of attack.’The upper notes are played with the fingers and should be rest stroke where possible (the digit comes to rest ‘on the adjacent string) but on the first beat of the bar only. Free stroke is needed on beat 3 due to the thumb playing the fourth string; we do not want to mute it In Exercise 2 this two-part ‘writing isnow reversed; the ‘moving lines now on top and played with the fingers, and longer notes are inthe bass, played with the thumb, Thumb again is free stroke and this time the fingers will play all free stroke ‘except for the open Enote which will be rest stroke. This teaches the plucking hand fingers to switeh easily between free and rest stroke taking care not to alter the picking hand position or forearm, The bass notes should lasta full two beats each which ‘means holding down the fretting Ihand finger for the full duration of each note. It does not mean holding them down for longer ‘than their allocated time; there should be no over-ringing of these notes, just seamless connection. For Exercise 3: again we have ‘two voiees here and this exercise represents the technique that ‘would be appropriate in bars 24/25 of the study. Usea strong rest stroke for the top notes and hold om to it whilst executing the ‘bass notes with the thumb, The upper note ‘must sustain over the moving bassline. G6 The technique exercises that precede the main transcription are designed to highlight some key features of the piece and how to practise them 99 ‘TRNGK RECORD Axeard wining David Tanenbaum ts chat ofthe gultar department at San Fransisco Conservatory and has been artist in ‘residence atthe Manhattan Musle School. Along with many recordings featuring modern classical gultar repertoire he has also produced a ‘range of albums in the more traditional style. His Estudles - Carcass, Sor & Brouwer comes highly recommended, 72 Guitar Teciques September 2010WATTEO GARCASSI OPUS 60 NO.6 MRL 12.1) (c74i))3 Cee7] Here aretineeshortexerciesthatl prepareyouorthe MattenCarcase/s In particu focus on eaity between the twa pats augmented by free OpussoNnos Strokes andrest stokes. Jeo 95 Fest coke fnger Fig stoke hunb & figs TT NN Snot alow nas note tower ng en cron SDS a EEnzEs aang enreres ‘prone wnchis aster month PO est ska old bess note fo al Bate ° 8 6 . EERE iz Ceres Fel ois aon br 2 abe el "7 OF Learn Get Watch how to play more free video better at recording tips tutorials at musicradarcon musicradatcon: musicradatcon \ tag iigetson Nepean Aya RevensTaton “cert Seeman Orman » September 2010 Guitar Techniques 73SSE SOME thetone and volume evenly between the owo pars. The plucking hand should {one ass I and where possible rest stoke nthe fingers. he thumb, which also stveto adopt» postion that does not deviate much om one physical [soften nealected, gets good workout here andthe tngers should used postion Am tavold excess movement of the hand anafoream, working the tothe fesing of switching between est stoke and ree stoke Almtobalance gers and thumb from thelr ase krucle and finger Jl, ‘The ist ight bars shoud we fee stroke inthe thumb witha good svong Jeo & Fa om on se on Feros ° a ore oo em . ° on eer © Am Dr DG Em Cam = G Ama 0 Gr 74 Guitar Techniques September 2010WATTEO GARCASSI OPUS 60 NO.6 MRL 42.130) (c74i))3 shouldbete allow notestoovervng when changing strings. As you cn ee.gettng the play smooth lowing ines toughout To achieve this eect¥e mustuork _iulation and note lengths jst ight acral ingredient fo sounding ‘on connecting one notetothenextwithout makingthem seem detached great ts this Kind of attention téetalthat makes athe dference 50/0 frseaccat cata quchhy)Atthe other and fthescale wemmustalo not enaurethat you get each sactlon right before maving an. ey er reir pere ——— om 6 © er tm ar cam a7 c Fame c one © Fame ° ore © Fame ¢ axe © Fdmc 6 ane C September 2010 Guitar Techniques 75| Minor blues soloing How can we sound fresh and original when soloing over familiar progressions? Pete Callard shows us how to make a simple minor blues sound jazzy. tack a familiar sequen minor ives progression. ast month we approached it froma hythm guitar perspeetives this time we're going tobe soloing So where do we start? Well hove about with the scale thats most familiar tous all? The minor pentatonieseale is the most useful seal the improvising guitarist wil ever learn for three reasonsit's easy to pay iL fits nto neat Tittle boxes that fall comfortably under the fingers; fused correctly, it works over almost everything; and ifused with taste, every note sounds great, soyou can neverland ona bad one, That'snot to say we shoulda’ earn other scales and arpessios, but ifwe truly master this pentatonic scale itprovidesus ‘withan exellent foundation to move out from, and come back to, For soloing on the minor blues sequence that we explored ast Lime, the easiest thing todo is simply play Cminor pentatonic ‘over the whole progression (fr the five shapes see Diagram 2in (GT¥80), butcan we improvise comfortably and competently inall five shapes of the scale? Let's work ‘on some improvising exereises First, solo through the pro five times, but fr each chorasuse only a single shape of the C minor pentatonic seale until you've worked through PAG a TO all five. Next try moving shapes every four bars ee Easy/Moderate soing through each shape unt you reach the top of the neek (Example), then come back ae WILLIMPROVEYOUR | | mn. Incidentally, find that knowing where KEY:Cminor | Pentatonicknowiedge ‘the notes are that Iean bend really helps with ‘TEMPO: 120bpm | Arpeggiokrawledge feeling comfortable in each shape. ‘One way tomake our pentatonic scale improvising sound less predictable is toapply string-skipping- not so much Paul Gilbert style shed licks, more the general idea of avoiding playing notes on consecutive strings A good exercise for this isto play over the progression (CD: TRACKS 48-52 | © Soloing ideas WELCOMETO THE thirdin our short series of columns aimed at introducing some of the basics ofjaze, but without ever moving too far away from what you already know in terms of ‘chords and scales, This month we continue to ON THE op &} TRACKS 48-52 staying a single shape but aiming to never play anything on consecutive strings (Example 2). Work on thisin all five shapes then just improvise, aiming to ineoxporate string skips much as possible. One ofthe big differences berween blues rock soloing and jazzsoloings that, whereas blues/rock players tend to stick tooneseale that isthe whole sequence, jazz players ike to improvise chord by chord. This can be atrcky approach at ist -try soloing over this sequenes ‘and each time the chord changes, say the now ‘chord outloud without stopping what you're playing. Itmay seem hard, but that’s essentially ‘what we're doing when we playshythm guitar thinking aboat and following the chords, ‘The notes ofachord played individually are called an arpeggo, and arpeggios are what jazz soloists use to outline the chords that theyre playing over, Examples demonstrates soloing around our sequence just using Une notes from the chord shapes that we worked on last month. ‘You wouldn't play an entire soo ike this, bt ‘mixed in with pentatonic ideas itcan add real sophistication to your soloing Let's go one step further and ehange scales with the chords. Examining the pentatonic scale youll seeit contains ll the notes of ‘minor 7 chord -in fact’ basicaly a arpeagio with an extea note the nth). Bearing thatin mind, we ean use the minor pentatonie sale tooutline both the Car7 and Fm chords inthe minor blues we just need toswitch to Fmpentatonic over the Farr chord then back toCim pentatonic forthe Cm ehord. Ifwe play around our shapes for Abyand ‘outline the whale progression (Example 4). ave fun experimenting with these ideas work on them individually and then practise combining them. hope you'l ind ita rewarding thing todo. Join menext ime when \wellexplore the major blues progression. G6 Just remember if you're not sure what to play over a particular chord, use the notes of the chord 39 iat ac 6 @ @ @@ males ‘TRNGK RECORD 4 few classic minor bes tunes from the worids of jazz and blues include John Coltrane's Mr PC (from Giant Steps) and Equinox (Cttrane’s Sound), Footprints by Wayne Shorter (Adam's Apple) Nothing Personal by Michael rocker (Michael Brecker), The Til s Gone by BB King (Completely We, Last Nite by Larry Cartton (Last Nite) and Dirty Pool by Stovie Ray Vaughan (Texas Flood) 76 Guitar Teciques September 2010MINOR BLUES SOLOING MAUS) (0740's EUUGIEE POET) Example 1s base around a great exercise for working on knowledge of and shapes every four bars going through each shape in turn unt you reach he ‘eatvty with allfve shapes ofthe nor pentatonic Fst salothroughthe top. the neck, then dathe same thing coming bak down The sample solo ‘whole progression five tes, but foreach chorus ure onlyasingleshape of demonstrates this, starting atthe ac fet with shape 4 and moving up a shape ‘the C minor pentatonic scale until you've done alfive.Next practice moving eve fou bars, ending an shape dan actave highet. ee ee ar or Cy en ea Cor poratonesnape t= f= Fa a =a etme te ee SS mr ‘cm _ a (mor persone shape ===> f= = i = where wi — Beit Ciminr penta shape =~ Fig — » September 2010 GuitarTeciques 77saa EVIE xan Example features another creative Cminor pentatonic exercise. The ans shape, ut practice thisinal five shapes and then just improvise, aiming 16 pay ever the progression staying inasinglesbape but aiming to never play —_toincorporate sng skips as much as posible Yeul soon se that the tnything on consecutive stings. The sample sole uses minor pentatonic pentatonic can sound way more sophistiated and unusual = Scere 7 puso ou sete) 810) setore—x Feit em? alr (3) hoya — eee ee 78 Guitar Techniques September 2010MINOR BLUES SOLOING MAEM! \307(c74i))s SUNT Lastmonth we worked onthe chords tothis progression, soletsuse that that we eamed lst ime. As with ast mont’ examples the ist 12 barsare knonledge to help expand ourseleing. Example }demonstates soloing ___basedaround the shape Cin? chard onthe 3 fret we the second T2 bars round the minor lues sequence just usingtne notes Fam the chord shapes moveuptathet shape Cin? onthe Sth fet rier nor na smog Cm & Em hard hae = Far cm === Frctrt shaper ring Gv? & Gm crows ore= f= an ar om a7 rein & 67 eno snape Fm mr lng Cn? & Co cord rape = |= == al er emr er em? D —~ € 2 Asner snapa G7 tard napa == 67 ero saps Team Watch how topley freevideo better at recording tips tutorialsat musiciadatcon musiciadateom musicradar: » September 2010 Guitar Techniques 79ETI ‘Now let's taka this one step further and se the pentatonic scalatooutine the toour chord shapes for AB and G7, we can outline the whole progresion. The Cin? and Fi inthe minor blues so over the Cm? chords wellplay Cminor sample solo uses shapes and 1 of Cand F minor pentatonic stating around ‘ematoni and overthe Fn? chord we'llplayFminar pentatonic we stick the edt forthe rst chorus, then moving up tothe Bh fet forthe second. F mor petatone tape Cmeorpentatone shaped — ar or om? or sing 6 G7 cher ahape Cmmorpeistnc | mning@& G7 rd shape ‘Cminr penton shape = == Fe om F minorpentatone stape =f = minor porta shape I= = == oa Og ge sie oY ent eS ont crt stape fC mapanatne-BACK ISSUES LOOK WHAT YOU'VE MISSED! Missed a copy of Guitar Techniques? Order a back copy now, but hurry ~ stock is limited cee pra z010 6176 SPRING 20106077 Guitar UK BLUES Vs US STEVIE RAY ROCK VAUGHAN i ca eo ie) ex som ‘Two cracking songs tabbed his month: Gary Moore's unbeatable still Got The Blues wath its fabulous one- take solo; and Van Halen's SRVS superb performance of Stevie Wonder Superstition is transcribed In full as is the gorgeous Genesis ballad, Ripples. Plus 20 killer tricks. And don't miss the start of two fabulou classical an eck out all the other great features too! ew columns fusion! May 201067178, JUNE 2010 GT AC/DC YOUR GUITAR This month's cover feature NEEDS YOU! looks at this great rock band earn to play in the style of the mia} olm’s lead and rhythm styles. U2 and BB King’s brillant When Love Comes To Town and Miles Da ‘So What also tabbed. There’ something in this GT for Limi Hendiix Wing and Tuck Andress superb version of Michael n’s Man In The Mirror. JULY 2010 GTI80 AUGUST 2010 TIS) INSTRUMENTAL CLAPTON’S BEST MASTERCLASS BLUES Petes Lean to play three A ful transcription of cracking instrumentals: The jows’ Wonderful Land, Fleetwood Macs Jigsaw Puzzle Blues, and Steve Vals Juice. Plus the styles Henderson and the Cream’s blues-rock gem Sitting On Top Of The World featuring vintage EC! Plus learn how to play in the styles of Django Reinhar ge) late, great Edie Cochran uncovered TO ORDER BACK ISSUES: Call 0844 848 2852 or email guitartechniques@myfavouritemagazines.co.uk Peeasedo not callore ns or back su Were Each back issue costs (including postage and packing) ll UK: £7.25 py tan sues Europe: £8.2 the world: £9.25, September 2010 Guitar Techniques 81Learn crosspicking (FA Continuing his plectrum studies Stuart Ryan =? focuses his attention on the art of crosspicking, as wu perfected by players like Tommy Emmanuel... THIS MONTH Wi continuing ourstudy of pick style acoustic playing with a study influenced by the grest Tommy Emmanuel. We will focus on the technique of erosspicking: picking rapid arpgeggiated chords across the strings either sequentially or with string skipping, Although you could play this study with your fingers (and you may find iteasier that way) itis \worth working om this with a pick for several reasons, Firstly the pick ean give you ‘crisp, even sound that you may not necessarily get with he fingers - this ean be useful ifyou are recording. ‘andyou want an even dynamic throughout ora tone which will eut through the mix. Alternatively you may find yourself strumming with the pick and then encounter a passage that has a rapid picked ‘breakdown’ (you will hear this in Joe Bonamassa's acoustic playing as well as Tommy's uptempo stuff). Tommy Emmanuel plays several pieces using the pick or the piek and fingers and you may also want to apply MMA PPODGA te latter approach tothis PR erin Cop the ickin EERE between the thumb and tose finger as you would suena normally and then pick ihe first and second Strings using them’ and’ fingers orjust @Oe Moderate then finger: Weare now inthe realinof [10 WILL MAPROVE YOUR | | BYbFid picking, a technique beloved of any Stetson-toting country guitarist! When playing this style of guitar itis essential that you keep a relaxed picking hand throughout. Any tension and you will kev: 0 Genera stamina | TEMPO: VARIOUS | Crsspiching speed |CD:TRACKS3.— Fretingacuaqy on tie 00 Tracks lose dynamies, speed and dexterity. 1 find thata thicker plectrum helps immensely ‘when playing inthis way, it wll bounce off the strings and back more readily and you can geta greater attack without digging in too hard. Also bear in mind that you are striving for perfect synergy between picking and fretting hands so ensure that you are ‘comfortable with the chord shapes all the way through. Crosspicking can be a challenge when you are faced with many different picking patterns in the space of few bars, so i's essential to work a picking pattern up slowly, eommitit to memory and then build up the speed. The more you focus on it this way the more you will come tosee picking patterns as second nature, This is harder to do with a plectrum than the picking hand fingers as there can be ‘more jumping around, so apologies if you end up ‘eross’ picking. (uch!) 66 Tommy plays several tracks using pick or pick and fingers, so you may want to apply the latter aproach to this piece 99 GETTHETONE et Besoin ere erst FS] TRACK RECORD There are many great acoustic players who uso lek n this sts. Havealston to Tommy Emmanue's cass album Ra {nly 2001 or chook out ve Gat The House To My salt 2002) and Evocative (2009) by David Gren £82 Guitar Techniques September 2010LEARN GROSSPICKING MREM US )/0740.18 EXAMPLE morenre) {837 1) We tar off with some ‘sequential pattems picking adacent stings; (Bar 14)One ofthe greatest challenges is when you start realy ‘ssp ‘thetempo squitehigh so maybe tart slow togetthe pattern in place and whichotten involves sige jumps ike this one trom the sith string tthe thir tealy focus on aelaved picking hand wit some snp to Sting This canbe awkward at sts perhaps slate and work on this ba {Bar 10) Aftertne fay static chores in thefistfout bars wenowinreduce [Bar 22|Thsisanexample of how you can really mix things up easily withthe some frewing hand movementin each bar. The picking pater stays thesame _pecrum-Wwe goffom astumming lcinco amore detailed harwmer on/p thoughso itsjustacaseof synchronising pking and et ng hands ‘off sequence folowed by» picking pater focusing on te lower stings wT AY UR we beue2 Devezis Desue2 anodes as ams Devst 05 avez bo 06 ome Devel _05_Deuaa ne. amore Daaatia » September 2010 Guitar Techniques 83LESSON: ACOUSTIC Ti [st 28) Theresa sudden jumphere-rapid hammer on/p of lekinthe (ys 21-32] Another of those "wider picking patterns make sue alnotes are ‘pen positional theway up tothe chord at ets 7 and 10 (ba 25} precelyand evenly picked, {Bar 30] Heres another grat leap forthe fretting hand, this will requea__[Bar 36] And finally another crsspiking sequence with some movement ‘api jump so make sue youate comfortable wih thesetwo chardshapes _thechotd oy, aga familie the retting hand with ths patern and watch before geting things upto speed by now you want the picking handto be on outor the GIA chord which requites picking pattrnfiem the Ffthstingall ‘autoplat soyou can lace the focus onthe etting hand the way tothe fateting and backup, a poreres) ne. ° Dewss Ds Dause as cons sua Dewezin Devezause on Daastva ‘94 GuitarTeehmiques Septembes 2010(Eee ee er ‘Gibson Elis Preslay Dove Wf Fender Classic Vibe Tele Thinline Tsung tas snoueirapesete rrnnertpsedy | Bs nse dg Las gs yrs Ibanez TCY20104 Black Electronica ia a's J vox30¢-23 Double Cutaway The satse OLD Inpucae cont ae {esa cane iagietee aha, rec aacrees| ere Gara fae Gute ad a cg Betcha as sist) bec) eee cs Sry Fee Spe sonata ean SAVE MONEY NOW AND BUY ONLINE Se rrr one oha Onin ligett Soapmartie fanatectonees gy BOS Stes uote ria AS emai tepetednotl ag “ tre oa cD See Te Helicon Voal Synth Pedal The G21 Mut Fotis aay of Fray he cy Seana reagent peg Ee usteg tn reine ct y v0. ‘eal nts ° = op frm Rtn 0 am) else Niberourenca lle 02 FemondR arin ereng Sh. s120 Fert ciressPeak 50 Penton pe Pisa a= ny-cg ee es ee oe cere forange Stereo Micro Crush Comba Blackstar HTS Sw Valve Stack Trance PX Mateo cen Pacingal fe geaore epowresty 0 aon ar Pos ‘sirnatve abe ae hare wie ela fee eat oes anaeaed oir re mo johnnie snpateleg = ae) Sonus ES note bute {tec Gtr Amos Bae GaAs Gibson Burstbucker Pickup 1K Multimedia Amplitube Rig Type 12oa- MSTA Pagyourgvar a sugarcane weal tah rear fo Kinsman Premium Guitar Bag Vox amPlug Headphone Amp Premimdecrs || HioAxigte anPip- beat Coaréay mates | | galararp ats eu ono aug tego poecen en Ey -— ‘oi gals rte. cine. oS: @& ves eatphones get Tie Fo 5m SrensmPrsMohgns 2D Dyelcutas ter SeersiCeateat Texan ratre aeteteanMeROTON RD ee US erat Fenech fm my oe MONEY BACK NEWS PAGE Gime Pray oed www.gear4music.com email: info@gear4music.com tel 10843 155 0800P ay Great Acoustic! With Guitar Techniques’ new acoustic DVD and magazine - only £4.99! Exclusive video tutorial ‘with BIMM Bristol's Head of Guitar, Stare Ryan Intermediate level: not too hard, not to0 easy Everyone can improve! Packed with great hints, tips and ticks to make you a better player Useful exercises will help you develop all the necessary techniques Plus five great pieces to play, in classic and modern acoustie styles Top tution guaranteed from the people you trust at Guitar Techniques See your newsagent cr buy online at wir. musicradaccom/store AY IMPROVE YOUR ayaa uly Mecca) Alll you néed to be a better player! ~ Includes FIVE great pieces to play aa een] ST ert Ceca end SOUND LIKE Lecce es Johnny Cash, Newton er eg eee Tay We promise to make you a better acoustic player... On sale now at only £4.99 - don’t miss it!SUBSCRIBE TO GUITAR TECHNIQUES TODAY... ..and get a Cool Cat pedal worth up to £55! i. Lbscribe today and get every issue of Guitar COOL CAT FUZZ: Gets you right back to those rocked- Techniques for 20% less than the cover price, plus__up psychedelic 60s tones, liquid to eday and.. ‘manic’ ‘ne of the following Cool Cat pedals! All for just £13.65 COOL CAT VIBE: Gives you that real ‘vintage amp’ vibe. per quarter! dig that ‘square wave’ setting! COOL CAT DRIVE: Thickens your tone with a warm saturation © Choose one of three Cool Cat pedals! © Never miss an issue or CD again © Save 20% off the cover price © All 13 issues per year delivered FREE to your door! Silay . ieiaaee wo simple ways to subscribe... for just © Online [J myfavouritemagazines.co.uk/gtqp13 £13.65! ind quote reference GTQP13 dam-dom Satucays September 2010 Guitar'Techniques 87WHAT OUR RATINGS MEAN: tc sosc Buy it tose Eicellnt sein Good se erage _# Bint style vocals on Over And Done and the classic Leslie West string bends and vibrato.onTraveln'in The Dark This ts great abumall round and undoubtedly the best offering ‘rom Norum toate. ‘MARILLION LESS IS MORE eaMUSICR Ie road. Singer-guitais Bary Gorey Marillion continue to come up with admitsthey'vebeen influenced by new musicand surprises, and this Queens OfTheStone Age,The back catalogue influenced project Clash and Joy Division but there’ falls into thelatter category. For tlehere that makesthatoverly _thealbum (and subsequent tour) a ‘obvious as Black Soul Strangers are PETERFRAMPTON _ 2p!c2sinaiy individual and Their THANKYOU MR. ‘musics fresh and clean, and CHURCHILL predominantly indie-pop-rockin ature, butthereisa heavier Eagle cord ee Undercurrent that suggests these Wow, thisis a very pleasant guyslikeabit of aggressionin the l New Albums The latest guitar releases, including Album OfThe Month and Classic Album... surprise- Frampton is bad mmictoo. Like many up-and-coming aie srivanavengeaceinsis | baitheyneedtomaether i sa eaen ene presence felt-and thats not easy neg anda Siventheenormousswatheo’_theyhaveremodelled the bhupe leap focwer! ror: Sr0UpSOUt there desperateto __stctureof several tracks intoan Fingerprints hls previous breakthvough-but touting the UK ‘unpluggedformatandas they fort This s mainstream hard tockwith Peter's usual shouldhelptospreadthe word _havesensibly avoided the more outstanding vocal delivery buti's the guitar playin andintioduce thisqualtyacttoa _ popularand’hit'songsitisavery stealsthe show withits vary ofsounds.etfects occasional | muchwider audience, successful transposition. As sucht harmony and sheer strength of attack There are lots of atfrstseemsmore downbeat than highlights here including the instrumental Suite Liberte and | JOHN NORUM ‘you would normally expect from thesongs Road To The Sun (which features son Julia PLAY YARD BLUES ‘theband, but things pick upas the vocals) Asleep AtThe Wheel. |WantItBackand Unde Moscot ecards woke album progresses. Guitarist Steve ir er Although Norumisperhapsbest Rothery uses great restraint on Sone sandal maa known forhisimpressivelead —_Quartzand the upbeat Latin slecticsalo-The linet notes helpfully ist which ofPeters suitarworkwithchartbusters _versionof i My Heart Were A Ball quitarsis usedon each track-anice touch! Europe, hehasalsofmly {both originally rom ‘Aneraknophobia), and this helps Os HORM FLA YAR BLES, both tracksto stand out from the ‘crowd. Although the projectis seemingly finterestonly tothe diehard Marilion fans, the band has ahabitof reaching the masses when youleastexpectit, soles just see what happens with this unexpected release, stance anda contemporary mix Although they certainly have their ‘own sound, youll fel very much at home ifyour taste encompasses thelikes of Whitesnake, Extreme, Europe, John Parr or Richard Mar. Thisis also a beautifully presented album and features Steve Overland onvocalsand imKirkpatrickon | establshed.asolocaresrandthis RON THAL guitTherearegreatsongs, | albumshowsjusthowfarhehas THE ADVENTURES OF BUMBLEFOOT meoningfullis andveried | come Thisisareallysoid (2010 REISSUE) -METROPOUS arangements with plenty flight | performanceallround. withmost _shyoprel eae ify Records am andshade-werealy cantpraise | ofthemateralbeingosginal, Ron Thal- alias Bumblefoot- || Doyoeverhenkerforthose | Metropolis andFMhighly enough, | though John al makeshismatk _probebiybest known these days heedyhardrockdaysofthe | soignoreit at your pei onthyeelsserknown wack rom 1980sbutpreer amore moder the likes of Mountain, Thin Lizzy twist fyoudo-andthereare | BLACK SOUL STRANGERS snd anogany Rush. Norumis3 2] mary ofuewhotallintothat | ANIMATE greatsinger anda superb guitarist, «category then checkout this ‘with an erviable ability to capture «album from FM. The band was the heart and feeling of another 5] indeedtoornin that decadesoit’s | London in 2009 and the addition of | bandorartist, end ittohisown {ullofhardanthemicrock, solid | Philip ustin\Wertoprovideextra_ | needs then use it successfullyina vocals and rousing guitarsolos | guitar keyboards and vocals, this | track Just checkout the butwith amore aggressive bandhasreallyputitsshow onthe | Whitesnake feel and Coverdale £88 Guitar Techniques Sectember 2010forbeingoneofthesiesting _Leeds College of Musicand PORCUPINE TREE incumbents in the ever changing Guildhall James has already ANESTHETIZE GunsN'Rosesline-up-buttofans clocked upsome considerable eEpeRTEE of slightly off the-edge-of the-bat experience on the freelance scene, : ‘An ominous low chord sounds, thee stage guitar playing. he been alegend having playedat Ronnie Scots, screens fre upand the audience stirs foralotlonger.Indeed, The the Alber Halland the 02.He has Suddenly the band there Stephen Wilson's Adventures OfBumblefoat was also studiedindian classical music eins figgc ation cet as Paar ot Thal’ fist album, originally and the starfor many years, which Blank Planet This could be nothing else than released backin 1995 andnew —_alladds uptoaninteresting range ae Rane ER re-issued with an extra seven of influences. From the albums Rochas Poreiping red sine Tema hearoa esac tacks. Sots key that this ‘opening track's evident that Geni aT Win uuaorereneet er TRE cio particularrelease will need very __wetenat infor just another tired Barbier timein Japan perhaps?) butitis defintely fully ‘engaging and the excellent video production here Undoubtedly helps to keep youalert John Wesley on guitar and vocals is one ofthose'additional'musicians that prove theirweightin gold ina lvesituation we simply must applauc this fraternity that can augment its long-serving line- Upand help make up forthe studio overdubs His solo work liteintroduction tothe readers of re-reading of modern jazz guitar GTHoweveritsstllastefeshingly antics. Theresan immediate depth loonyas ever withits distinct to Kemp's Corner, with sparse Vai-ere Zappainfluencesvery chordal guitarand Wayne Shorter ‘much intactTacksrangefromthe style soprano sax over brooding Dbumpingrindofthetitletrackto _bassand drums. When itstimeto ee enenreemeancy oo aoa ee ere be hereis particularly well executed just check out the tile I eee cae cae track Anesthetize for confirmation. ifyoullke your music. seven bonustracks?Well we’ guitar toneon the verge of Fei oa acenee wana apr pleasedtoreportthateverything overdrive. Overall the album s here is delightfully sureal- \atied and extremely adept-this u2 actualy there'sanairof Guthrie guyisdefinitely a nameto watch 360° TOUR aboutit-andifyoufoundyourself out for. More detalsand giginfo at oI EEE thinking that theoriginalalbum www jamespusey.com. Pain career muleesene \was way too short, then this rangement ofthe band's recent tour Simp reissue willockyour word fi my called'the claw; tsets anew concert stage size record and featuresan all-round screen JAMES PUSEY heme = above the stage plus bridges to an outer ring FIRST CHAPTER = that gives better accessto the audience. This Pee Titan shor he fonc on Fade Tet James Pusey is arelatively ew ras on mater from throughout the band’s career but nar onthe Ute guter scene starring tun spo be hugescle fal and First Chapter is his debut ‘there is still real intimacy and the audience obviously loves it. album as leader. A graduate of Bonois on top form (and he must be fit in orderto run round sevsnu eh ansngh ary Malena Pcuassica Cloyonmates realy so yt section ano course The Lee cn re oes BON+IOY Manag and sounds as the set progresses. Thete ate lots of extras on Page SLIPPERY WHENWET the second disc butthisisa simply fantastic visual and sound experience. As this only the regular’ DYD version, we can't Uaitto see the Blu-ray one when it comes out! RUSH BEYOND THE LIGHTED STAGE Banger fil/Uriversal ae Atlast we havea comprehensive lookat the careerof Rush three prog rockers from Macuy te ‘Once upon a time, record companies used to give bands {a chance to reach success and it was a policy that paid off ime and time again, even though many o the world’s Canada who started together at school best didnt find instant mass Geddy Lee, AlexLifesonand John Rutsey appeal. For Bon Jovi it was the third alourn that made them a were curious combination of players who household name, Slippery When Wet was released in 1986, hot stayed away from the mainstream, never played dance music and wrote the own material from the Cutset. Gradually they became known and were offered 2 ‘ourin America but drummer Rutsey balled out Enter the ‘moustachioed Neil Peart, who came to audition and pounded his double-bass-drum kt so awesomely that Geddy and Alex knew he was the man for the job. Rush opened for Manfred, Man's Earthband and Uriah Heep and this was their perfect Never Say Goodbye were also given single release status. audience. The story is less complicated than that of most Slippery When Wet has sold well over 28 milion worldwide, bands since mutual respecthas kept ths ine-up together which speaks fr isel.If you have to have only one Bon Jov ever since. Theres more band inputthan on the malarity of album in your CD/MP3 collection its got tobe this one! these history DVDsand there sa better insight because oft. Pluslots of extras oo that will keep the fans happy! fon the tal of the singles livin On A Prayer and You Give Lo} Bad Name. revealed a confident lead singer in Jon Bon Jo. anda stunning guitarist, Richie Sambora, who also boasted a not-half-bad set of tonsils. The band was tight and heavy but their songsalso had instant appeal and were great to sing along to. Suecess was all but inevitable, Wanted Dead Or Aliveand September 2010 Guitar Techniques 88tesrmporancthat youl these ses for more than jist few repets~ yu need tobe able ply ‘hema con aound a mint atlas. Arig lesthan that enhancing you samira an to weaken this skeof things 00 50 set yous sone minute minimum “ zm Now move on to x3: these ate 3 theesting exercbes hich all on yeuto change stings more han before Ap the sme sort of es here wher metronome times ate Post your playing posers and technical teasers to: Theory Godmother, _ | concemed ana make'100% clean Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email meat | yee. guitartechniques@futurenet.com - your wish is my command! peomresig lth baty sepa butts isnecesayincdero make sure that ceasing develops erect over Caught Speeding atk eee ay pace | ees rien eng see emrzer | tire dri ese hate a Dear Theory Godmoter rete Sasstincletoarsnerboth | andtns wil ow youcounoe, | oighsresomelmpoemeten he Please can you help? There are ‘questions at once, let's look at what Once you've checked these points | short term, but you stand the risk of {wothingsIneedalitle advice on, | younetodotoworkonyaur speed | andaresuethyovtealean man | ksngeering youve ged uns Fast, Ihave been playingforsome | Tobeanintlets check the bs: | pckngmachine wecanbegn sore | the practeerouines msintaned ot tine andcan sound gdtemistal | tleagood ook yur pEingand | eceswinaeaseyouspecd. | apeiodoftie and bucuo Son, tihen{phyatssiowormoderate_| fetinghord postions Ufotunstdy | Nowhaveyeugetarmaonome? | Remember that mule deepen pace Hever assoonastnyand | tot heetochectonouand | it goandborow orbuyone | teexesand soon dant eben Sereciesbtotspeedincmy | sottebeatringlensingestee | ~ordoreleatateonefaxyour | ovmnightand se mae sue you aged poet et tree | Sista sre cen | Pcie orehsoe Tee caet | corr elferesemtts rele! Thitthestingstoohard withthe | YouTubeandmatesuethatyou | ypedoentmaneslongasis | patos afte eval ay eset Ric lll sel peten eerie Ueno tel tac ily wel pages on 8 inet aaa deal Fetes tsPay eae | lr eye Merete CT | rei ots eaeetar ep Somedetnitveercceslcan | ottntontothepckinghondasive | hareyeiind ncouce csinge- | neadtotaethe mevonome sod fotoimpror Nstipaymay | fondtonepsincetiatmot | stingeettestotstyoupcling | bod dowegoninods top them blues with abitofjazzand country | sposdeleied problemstendtobe | technique Start he meter cleanly while you faarse youre thrown in) seated hereabouts Areyouclenching_| around 80 bets per minute BP vith ther. Theninciease the sped Secondly Iveneverbeen able | yourhandrather than ating your | andmake sure that youare metrically sa smallincrements~ doa’ ghein ‘tocome up with anideal practice | spate'fnges‘en outwhen you pkk? | onthe buttonwwith everynote,then | to impatience ane ty any bi esp routine which willeadte steady | The ersionthtclenching preduces | Inciesse the BPM uni hings begin te. | atthis sage because youlrun into rooress. tend to dipin and out | candzcreaseyourpicking efficiency | fllapart Makeancteofthe &PMat | 1roublethatwoy ‘Of things, avoid doing thebasics | sncso heideshereisto laxihe | whichthishaprensand witeitdown: | Inall honesty thes enough here landseemtogothrough periads | handarmuchasposable Areboth | thisiewherewavilmeasureyour | tokeep you gong fers good these Where seeno improvement inmy | vristsasstaight as possble? ether | progress. you revise these exercises | to four months~anditwillely have playing tall. thave an hour aday | hand’ atrightanglesto yourarmits | on a requlerbaas, youll sbletose2 | eect iyou practise it every day. You ‘opractise, what should Ibe doing? | not doing you any good and wilact | st aalance you picking speed has ‘Andy asanopeniewitation wa conditions the | inceased ornot few minutes each practice session for tendonitisand 0 on Newt move on toEx2these them towodk, Afterthat youre tee think ts they hat the second Nowlook athe way youre holding | erereer span two stings Once again, | to nave cn and warkon other areas paragraph of yourletertllsus the | your pick between thumb anc setyourmetronometo between | of your technique lem songs, lok Causeoltheproblemsinthefist, | forefinger vith any the top 2mm | BI-ICOHPM and consciously aim 0 through transcriptions et But can ‘oy! you want increase your | cominginto ezntactwith thestring on | plckevenyting clean.ncreasing | guarantee that fyoure sit with picking accuscy st spd then you | single note paying? Any mare meons | the speed onlywhen yougetacear | yours'end dedicate litle me to By SUT TL tured couse ofexeraces | thatyou have o ie thepickacross the | round every ime wong ‘against the codon: irae kun 66) write on guitar which isa help and a hindrance. It helps your guitar playing because when you sit around and just practise all your fast licks all the time you tend to miss things. But writing music and putting together songs on the guitar has led me to chord voicings and, Em various kinds af music that | wouldn't maybe do otherwise. Iget in Foraker situations where | wonder what this melody would sound like over this mjseretuar se chord and you have to slow down a litle bit. By Siesta. 90 GuitarTeehmiques Septemibes 2010bass youl see provements in bth your speed ancl accuse bere too long These exercises ely do work Filly, overyane has endure thos lng periods where thei peying doesn-seem to progies facts 50 ‘common that teachers refer ta them asipbteou phases: Just keep aping witha structured dally prectce routine and youl wn though, DADGAD String Set? eat Theory Godmother {re there string sets that ae specially voiced for dropped tunings ike DADGAD? It accursta me that 9 standard set allindlude strings that are the cortect thickness and tension for standard tuning, but surely these have to change once you tart altering the pitch of thestrings. Does thismake sense ram |obsessing? ‘ore Acouple of companies wil spy strings for dropped tunings but nthe ‘main most plyes vill compensate forthe aight opin tension by moving up. gauge ard leaving it at that When you thinkabout [DADGAD only ifr tom tends turingin the fist second aed skh stings ~the rest ae the samepich and so changing fom a set of sy. 115 to 125 would probably bathe only adjustment youd need to make Having so that you could explore custom setslite the ones provided at Newone mwnnemtonestingicom and experimenca le, but Ithink youl find tha upping your sing gauge wil do the tick, Which Chord? Dear Theory Godmother This might sound complicated, but {need to know how to write out some chords. The thing shave an ascending series of triads in the key ‘of Dimajr that goes ,G, 8,6, and Dut they areal played over ‘aD bass note al the way tough Sowhen change from the to the GGtiad, does thismake the chord suspended somehow? fm thinking thataD chord with aGinitisaD usd. And whathappensto the est ofthe chords? be really grateful if you could clear this one up forme! Darren Its move simple than you think F youre playing a series ofadsin any eyuith a frecbass nove -oF pedal fone then the acs concemed retain ther cighal names Al wehave todoiscallthem G/D(Gchord overa PONS bass note) or A/D and evewhing is 2s clear as neds be Ifyou look at Stead s guess at what yout chord arrangement might lookike on pape. AA the chord names remain intact ts |stthottve added that essential piece information that they are tobe played over asingle bas note Cracking Up Dear Theory Godmather iy 15 yar ld Svat har ot some inde oitin ckypcret well See enna ea done aything ke this bore and soineedtoknow Wiss asimole Jo and othe covers jutcome of eden nerersedel anthat arn Inhinkcrackes pickup coversona Strat lok realy good, bu #youte set an changing them. Fistyoull ned to makesure that theplace youte buying ftom prides the covect sie replacements Thee have been minor ‘vations over the years andit sit case fone size fis an lew ofthe fact that your guitar wllvery soon be regarded as vetagefd go with the official Fender part inorder to keep the ‘alos of the nstuentntact Keep the ald ones though — collectors ae funny about tha kind of thing, New. youl need to procees with eter cate vihen removing the pickups this ithe rst time youve done something ike this then recarnmend you seekthe help ofa good guitar epaier isthe east thing nthe world vo makea okie ristake when venturing under ‘guitars bonnet forthe fist time ands simple mistake cauldend up costing youa new picup. ‘When you have the pickup out oi ty to remove the cover nt youl absolutely suet ee ro come off nd not snagged on the col inside Most Fender pickups ve removed have had covers that almost tral, {allan yourhand, but sometimes ‘they can baceme snagged ofthe pickup has been wax potted thay «an become stuck and any foret ‘removal wil esultin abroken col which snot good news Visit www.davidmead.net to check ‘ut Davids books and soo .. September 2010 Guitar Techniques 91GT USER GUIDE You can get more from GT by understanding our easy-to-follow musical terms and signs. RELATING TAB TO YOUR FRETBOARD We our i \ W HAND LABELLING Here ate the abreitons vad for ach frger Fring hand 2.9.4 Peking hand pho dea, mms a amulet nce sroere (CHORD EXAMPLE Tre diagam represents freting ge tervals land cided number ia hon belo Amar scale SCALE EXAMPLE Te iogom show the et hand froin for the major vee foot ote mae) The hte ‘ows pat ofthe seeing payed on ther sing wah fingers and GUITAR NUT & FRETBOARD the fetbowd erat a seen nthe {sccomariing phot. Ts for ease ‘ot vaaiuing 3 fetboad sale ed ual, ‘CHORD EXAMPLE (WITH CAPO) The ue lnerepeers capo fr thi chord poe ther2 Cops change he etre dein “hee tre cvaina eS beams et 3 et no Fe TAPPING & HARMONICS Derttone sei th de {Speed notes served by TS, Coat Ve et PICKING VARIATIONS AND ALTERNATIVES matinee tobe dom: ickadand thes oelstbe wwpcted each oft fowentertet0 beste picked ow ppd vey anlar ss poimucebyresng theedge friingtand amon the Sahar rear the brdoe eri moapthepcaconthe Sains shown wha sige Sraen Oem redo sent Cinna ery wanscrinon or leon in Gis aed cording oe eee ety, om 3) t0 Favanced We also et ou know what aspect of Your plying wil ent tempting eso eco ee Moderate e Easy Moderate e ay READ MUSIC Each transcription is broken down into two parts Imusic tation shew note pches and hyn dare ded by ba nes. 1G Under the musa save Tab a aid ‘0 show you where pur your Anges on the fretboard Te sx hrzontl ies represen the ‘ings on agua =the numbers on te ing ‘how 4 notes and chev ¢malon Em E Inia D7 © dominant?) and Ard (Amo 7 SSS rarer ey metatyctceae Sombra ‘92 GuitaTechniques September 2010FRETTING HAND fn th etting handor 2a hot Then pik tote and pul otto st note imap aerate between brackets th armen one anapulos BENDING AND VIBRATO rere sarcnore ee, the sth fet and bend yp the pte af the bracketed not, bette releasing. HARMONICS rs mck te note whe hty touching te ving det, over the fe ndeated A armani ests. 27a upto te pitch shown Inthe bakers then eck the note wile heldng the bent nae arth neh, then ign place theindex Finger ovr et AH’ and ick th ack pera) VIBRATO ARM (AKA WHAMMY BAR) ‘wham beri raised and lowered theptces shown OTHER TECHNIQUES the cage otthe pik ragged downor up loro ‘thelower sings‘ preducea ‘raped sound before tiking the note and reease Doep lower he bar Stay ae plcang ate, ‘Tun volume cont of ‘und ott) and then um Vel up fora smooth aden Glee veting| Ex Iie st rote and ide to rote show 9 ge with ne Tas notebeing re pieced send up om the sth tet {othe pen of me th tet rot, thenpck and release tosth tet note butaig imo te sting wn thesde of the thumb you ‘und ewith he pick tote sustained chan evi Is depressed sack guste bracket ted alongeld note as new arcuaven spot. she numbersaterhe rots ae the Fingers equed topiy te et nombre in thet belon witha squat by hammering ‘taping vith the tering rand inet. upaquarer coe a ery shall Stroun. Sometime feed ta sbives cur Sound wth 3 qu igh hand ap atthe et shown (TH fer harmon Seund he note and fet the temo bar with pieing hand givers Ress n2 ‘yang sound FFEEE EEPEEEI muted the retng hand sien atekby te era The etng mand vats the note by smal bend ups Sdleses, The last ample ts the rts bar ae ‘A previous sounded note ‘Etouched above thee marke TCH ep FH 910 ‘ound harmente CAPO so he shove expe the ‘gar ikea sth ret non as thea tee ‘a egarplcaing requirements {re hon atthe boom of the mb norton, {51 harmaron}wvtha fingerofthe pecking hand ‘tothe et marked itn 3 ‘hee Ul wen om September 2010 Guita Techniques 93GT Teachers’ Directory Looking fora tutor? The Registry of Guitar Tutors (RGT) has some of the country’s best teachers on its books. Check out the teachers below - if you can't find one near you, go to www.rgtorg LONDON CENTRAL EASTANGUA Leonardo Ditorenzo Philp S0ckelford TesonoGuitart academy sen Suffolk Borcer InSoha ightinte eat erialtondon spedising in ssa Hues ook bss, ‘wwe payyourgatarcouk Playyourgotorcouk TNevch electie, acoustic and bese guitar ata levels, Recording cites tve eon performancea specahy Fly quipped studi, home vise HOME COUNTIES rable. 25per hour, 15 for Somins ColinBerrdoviptcu Suey mio sour Email coin beridow bintemetcom PaulWisby icon Teko1aveaasis/0r762 Oxfordshire enon ‘wwaumyspacecomi/pauisby Billayles and ager catered for, Emali pwsbyegmalcom Rock blues country, folk. Te 0995 708809707854 Ispedaliteinfolerockand 708985 Celie leer acoustic and Quality guts lesrons Dass gute, Dalabe tom experienced Teachevmgr examines al David Strand, Styles lec bass acouste suey ultarand popular muse sravcgutrleeoneworceter theory entered or pankcouk Inetuaing Registry of utr muir dvidsvandahotmall, Tutors grades 1108 et 07837 231 762 each beginners te aavanced uta players inalstyles, thet formuse grades or ust, forfunor jamming with other Ingruments Recording studio Rory Davidson COnfordsie Berke ‘woatoryaaviason zouk Ema oryevorydavidson cock e1077085%0519, [specialise inom autor Ross White and musie theory CRB Essex ‘ec Lalso have BA Hons, evasossuhitemusiccom stn Contemporary Popul Emalivessuhiteemecom Muse. Tak o1398 379889 /07067 953379 SOUTH COAST Aileyles nd levels taught beinguitrsndbes tcl GeotfLea cerutied BND Wert Logie Southampton Studio tuiten Recording, wwu.geofiagutastcouk ‘xing, masterng.CD/OVD Ema Geoff Gunlieston Vinvisighal—— geolleguiaris.co.uk [Spectalze n teaching rock JamesRensch and pop grades 8, music nen Gtr Ton theory: tam GT egies fai jamese sre CRB checked ane am 3 GIT fteexqutartoncouk ——_sraduate. ‘erernea 773968) oroteeesase SOUTH West ‘Allstyles taught, ncuding Fock meta et,plvs moe Al Summers theory Alleeleandages ——Wiltshve ‘recor. Gradinguition ——_wwu.gandamusie co.uk from grades 8,239 erhour Email gandoegandamusc co lesion ue (94 GuitaTeehmiques Seotembe: 2010 Teko1905 211786 ‘Theory merorzation, composition assis 22, Sldeal taught Workshops held onthe premises. Speciiztintutor ing, ‘mentoring ane constaney, SOUTH west hed Gorge Somerset, overage: Cheddar, somerset, Weston Super More, Wels srr tonpuaraitr hk Ena tonyatonyeardgutor Mab-o777 987863 Extablned in 1990, Gorgeous ‘studio orl vavel Alves, dies, elec lead shyt, bass aeuste tngertye, sel Len Ca Forest ‘roup performance gras! {theory optional, Jon Van-Gowler frat Clevedon, Glastonbury, ‘erjorwangomierco ke Erralljohnvangoniers Btinemetcom. GT registered tor. ore than25 years experience All Siyles beginnesto advanced, Grades V evar undertaken, Most pupite gain diinctons YORKSHIRE Graig Went icv Sheteld Ema went-craigahormal ‘et o79e 513223 Specinietin RG gracesiall levels tom preliminary to

You might also like

• Diferencias de Nulidad en El Codigo de Velez y El Actual

  

  Document15 pages

  Diferencias de Nulidad en El Codigo de Velez y El Actual

  Sensei9

  No ratings yet
• Plenario Pujol

  

  Document5 pages

  Plenario Pujol

  Sensei9

  No ratings yet
• Salvataje (Dasso)

  

  Document13 pages

  Salvataje (Dasso)

  Sensei9

  No ratings yet
• • Magazines
  • Podcasts
  • Sheet music
• FORD ECO SPORT Controles de Embrague

  

  Document9 pages

  FORD ECO SPORT Controles de Embrague

  Sensei9

  No ratings yet
• Libertad Sindical - Justo López

  

  Document123 pages

  Libertad Sindical - Justo López

  Sensei9

  No ratings yet