Guitar Techniques 306 (Sampler) by Future PLC

306 APRIL 2020

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BEST MAJOR LICKS EVER! Learn why the Mixolydian mode is blues, rock, jazz, country & funk’s best friend 20 examples • 3 performance pieces!

Solos, chords, licks & jam tracks!

ROY BUCHANAN Two full solos in his unique blues-meets-country style

THE

BLACK CROWES

Play the southern rock licks of Rich Robinson

NE W SERI ES !

Fingerstyle

CHRIS BUCK

Blues Masterclass The Welsh whizz-kid shows how he does it!

BLUES

Master this delightful style over four lessons

PLAY } MODES

ON THE CD

TRACKS 4-29

The Mighty Mixolydian Does the term ‘modal improvisation’ put you in a cold sweat? If so, let Phil Capone demystify the indispensible Mixolydian and offer a unique multi-genre approach to getting it into your playing style. ABILITY RATING Info Key Various Tempo Various CD TRACKS 4-29

Moderate/Advanced Will improve your… Harmonic sophistication Soloing skills Understanding of how modes work

he Mixolydian mode dates back to around 700BC and the music of the ancient Greeks. In its modern day form Mixolydian is the perfect scale or mode for creating beautiful melodies, lush chords and harmonically sophisticated solos. But what exactly is the Mixolydian mode and where does it come from? The starting point for any Major mode is the Major scale itself. Ascend one octave from C to C (corresponding to the white keys on a piano) and you will produce the familiar sound of the C Major scale (the ‘do-re-me-faso-la-ti-do’ scale). But what if you were to ascend an octave, still using the notes of the C Major scale, but this time starting and ending on a different note? This results in a different structure of tones and semitones so creates an entirely new scale form. The six intervals of C Major produce six different modes, in order they are: D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian and B Locrian. We’re

TECHNIQUE FOCUS

The Mixolydian CAGED! We’ve included fretboxes for the A Mixolydian mode in the five CAGED shapes, so give yourself time to work through these thoroughly before you start the lesson. Even if you know them already it’s well worth taking time out for a bit of revision. This is a dominant mode so why not set up an A7 vamp (or just a sustained chord) using a loop pedal (or get a mate to play it for you on guitar or piano). This will allow you to hear how each note works against the chord and allow your ear to develop as you practise. Remember also that practising the A7 arpeggio alongside the mode will enable you to identify the chord tones, an invaluable skill if you’re serious about improvising.

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focusing on the fifth mode in this lesson, which is our Mighty Mixolydian. So let’s take a look under the hood and examine the engine: the DNA of what is arguably the most important of all the Major modes. The Mixolydian has an interval structure of: T-T-ST-T-T-ST-T, where T is tone (whole step), and ST is semitone (half step). In

THE MIXOLYDIAN MODE FITS DOMINANT 7TH CHORDS LIKE A GLOVE: IN FACT IT DESCRIBES A DOM7TH WHEN YOU PLAY IT

practice it is essentially the same as the Major scale apart from one important note: the 7th interval, which is flattened (a half step lower). All of the intervals in the Major scale are major or perfect, whereas the Mixolydian has a more dark and dissonant sound because it mixes one Minor (flattened) interval with those Major and perfect steps. When you compare the sound of the Mixolydian mode with the Major scale starting on the same root note, you can really hear the impact of that flattened 7th step. Playing A Major followed by A Mixolydian in fourth position (see Technique Focus) reveals an identical sound until you hit the flattened 7th (G). Unlike the Major scale, the Mixolydian is unstable because the b7th step follows three Major intervals (the 2nd, 3rd and 6th). The 3rd and b7th also produce a tritone interval when sounded together; this is what makes a dominant 7th chord sound the way it does. In the Middle Ages this interval

was banned as it was believed to summon the devil. No wonder the blues was originally called ‘the devil’s music’! This is not as shocking to our ears as it once was because, like everything else, harmony is constantly evolving, so we have become accustomed to it because of the prevalence of dominant 7ths in pretty much all popular music. So, because of its make-up the Mixolydian fits the dominant 7th chord like a glove. And that is the essence of this mode: it describes a dominant 7th chord when you play it. So if you’re fed up with playing the same old Minor Pentatonic licks then you’ve come to the right place. The Mixolydian can revolutionise your playing and take your comping and soloing to the next level, whatever style you play. In this lesson we’ll look at five styles of music - classic rock, slow blues, funk, jazz and country, with 10 great examples to let you hear and feel the sound of Mixolydian in these different contexts and in all the CAGED shapes/positions on the fretboard. We follow this with three mini pieces - classic rock, slow blues and funk - designed to solidify your understanding of how this fantastic scale can work for you and your playing. Have fun! 5

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There’s a real mix of styles in this lesson, as it’s important to illustrate how versatile this mode is. So you’ll cover everything from clean funk and jazz tones to overdriven lead ones. Plug into your amp’s clean channel and use a good overdrive for crunchy tones and a distortion for full drive. Or simply drop the gain on an overdrive pedal for less raunchy sounds. And don’t forget that your guitar’s volume control is great for cleaning things up, too.

THE { MIGHTY MIXOLYDIAN Wes Montgomery used Mixolydian to create awesome jazz guitar solos

Brad Paisley: this country superstar cranks out amazing Mixolydian licks

VAL WILMER / MICHAEL OCHS ARCHIVE / MICHAEL PUTLAND GETTY IMAGES

COVER STORY

Jimmy Pageâ&#x20AC;&#x2122;s bluesy-rock solos are packed with Mixolydian ideas

Freddie King influenced the greats with his Mixolydian blues

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3 4 52

PLAY } MODES

2 2

ON THE CD

2 2

TRACKS 4-29 4

3 GT 3 0 6

CHORD CHART A MIXOLYDIAN CAGED

A Mixolydian CAGED

Shape Four (open)

Shape Five

Shape One

Shape Two

Shape Three

Shape Four 1 1

11 – 1

1 1

2 2

1 1

1 1 2 2

4– 2

1 1 1

2 2

1 1

3 4

1 1 1 9– 1

6–

3 4

4 4

2 3

4 4

3 4

3 4 4

4 4

EXAMPLE 1 CLASSIC ROCK: A7 SHAPE 5

CD TRACK 4

Alternating the low G note with a simple open A chord creates a third inversion fret, this leaves your second finger free for the low G. Note that the G chord Shape TECHNIQUES Two Shape Three Shape Four GUITAR 0 6 a powerful riffing THEtool MIGHTY MIXOLYDIAN dominant (meaning withMAGAZINE the 7th in the3bass), that is sounded against an A pedal bass note so technically it is G/A (A9sus4). It’s is widely used in this style. Use your first finger to barre across the second unlikely that many rock guitarists will view it this technically though. GUITAR TECHNIQUES Ex 1 Classic Rock: A7 MAGAZINE Shape Five 3 0 6 GUITAR TECHNIQUES MAGAZINE 3 0 6 A 1 1 1 1 1 1 9 –Shape 6 – Ex 1 Classic Rock: A7 Five Ex 1 Classic Rock: A7 Shape Five 1 1 1 2 1 1 2 2 2 2 A A 3 3 2 3 4

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5 7 5 5 7 5 Funk: A7 Shape Two

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2 2 2 0 2 2 2 0 2 0 CD TRACK 6

and musical accompaniment that says so much more than just strumming basic chord shapes.

sounded against a high backbeat ‘chip’ on the second beat. This creates a fluid G 5 A5

nA7œœ œœ œœ ¿ Aœ A7 œ œ ⋲ œ ⋲ ¿ Aœ nn œœœ œœœ œœœ n ¿œ œœœ œœ œœ ⋲⋲ œœ ⋲⋲ ¿¿¿ œœ œ œ œ nn ¿œœ œ œ 3 3 3

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In this example notes picked out from a full shape 1, A7 barre chord and Ex 2 Slow Blues: A7are Shape One Ex 2 Ex 2

5 7 5 7 A7

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PLAY } BLUES

ON THE CD

CD-ROM & 30-34

Chris Buck Interview & masterclass When a player goes on to win Best New Guitarist in our sister magazine Total Guitar’s online poll, it’s time to sit up and take notice. David Mead is your guide.

he above was the case with Chris Buck, whose soulful bluesy Strat tones ripple tonefully throughout his band Buck & Evans’ debut album, Write A Better Day. The album is causing a stir, with singles receiving A-list play on radio and live dates creating a buzz at venues across Europe. He’s even got his own set of signature Strat pups from Radioshop Pickups and we hear that they’re the company’s top-seller. He’s still in his 20s, and Chris’s reason for starting to play guitar is laced with juvenile cunning. “I guess I’d have been about 12 or 13 when I started and, hand on heart, it was an excuse to get out of maths lessons in school, because I realised the guitar slots coincided with my maths lessons,” he tells us. “A mate of mine started playing and, suddenly, come 2pm on a Thursday afternoon, he was buggering off for guitar lessons, so I thought, ‘I’ll have a bit of that action too.’” And thus, a career in music had, albeit unwittingly, begun. Retrospectively, his choice to pursue guitar was a natural progression, as Chris remembers. “I’d always been surrounded by guitar music I guess, looking back, whether it was The Beatles or Stones or Dylan…” After the maths-dodging guitar lessons had begun to bite, a few guitarists first captured Chris’s imagination. “Clapton was the first guy I remember being conscious of as a guitar player. [John Mayall’s] Blues Breakers was the first album where I became aware of the guitar as a virtuoso instrument. Then, going through high school and listening to a lot of different bands, I guess Slash was the first guy that I latched onto as someone I discovered myself. Whether it was trying to look like Slash, playing a low-slung Les Paul, or wanting a stack of Marshalls to play in the bedroom to annoy the neighbours, I was just immersing myself in this guitar god that I’d sort of

April 2020

discovered myself. So Clapton and Slash are the two biggest individual influences, I guess.”

Your chord style evokes Hendrix – when did you become aware of Jimi? “Sacrilegiously late. Jimi Hendrix was one of those guys that inevitably you get turned onto the moment people know you’re into guitar. I feel a little ashamed to admit that I didn’t get it for the longest time. I think I saw the theatrical side of his live performances, but I just found it a little bit messy and a little bit out of tune. I filed him in this sort of mental cabinet: ‘I’ll come back to this, because that many people can’t be wrong.’

competitions on behalf of the school.’ I won and it really took me by surprise, because prior to that I had no aspirations – all I knew was that I enjoyed it and it felt like it came relatively naturally.”

It must have been quite a thrill to go to America while still fairly young? “Retrospectively, that was one of the things that gave me the confidence to try and have a crack at this being my living. Being in a situation where you are suddenly whisked off to this place that you’ve only ever dreamed about playing, where all this great music has come from. I played with Slash on a couple of

[GIGGING IN AMERICA] WAS ONE OF THE THINGS THAT GAVE ME THE CONFIDENCE TO TRY AND HAVE A CRACK AT THIS BEING MY LIVING “And I remember coming back to it. I think it was hearing Bold As Love for the first time, and being amazed at just how strong the songwriting was, getting into it in a big way. Coming to appreciate the idiosyncrasies and everything that had turned me off it when I was younger and didn’t have the maturity to understand or appreciate what I was hearing.”

When you did decide that you wanted to make music your career? “It was never a conscious decision. It just felt like a natural progression from making music at school to suddenly leaving school and going to do a music degree – which I dropped out of in the first year, because the band I was in started to get a lot of gigs and we were going to the US and all this kind of stuff. I entered a competition when I was a kid – Caerphilly Young Musician Of The Year, or something like that – and I won it. I didn’t go into it expecting anything at all. The school made me enter it because it was a sort of, ‘If you’re having guitar lessons, you have to enter these

occasions – totally surreal. He’s been incredibly generous with his time and with everything he’s said about me.”

Did Slash influence your initial choice of Les Pauls before you switched to Strats? “I think as a consequence of being such a Slash fan, it was the low-slung Les Paul and Marshall half-stack, which – naturally, when you’re 14 – you think you need. I suddenly realised that trying to drag that setup into the Dog & Down on a Friday night, it’s not necessarily what is required. So for the longest time it was the Marshall half-stack with the Les Paul, and anything else other than a wah pedal in between was witchcraft. “I think the Strat thing came about because I suddenly became very conscious of the fact that I sounded exactly like Slash. There’s only so long that people telling you that is perceived as a compliment and I kind of wanted to sound a little bit more like me at some point. I had a Strat knocking round that me and my old man had cobbled together

PLAY } BLUES

ON THE CD

CD-ROM & 30-34

Chris Buck: one of the up and coming stars of the blues

from various bits that we bought on eBay. I remember plugging it in for the first time and being incredibly disappointed because it didn’t sound like a Les Paul.”

What made you persevere with the Strat? “It reached the point where I thought, ‘Well, let’s immerse myself in some different sounds and see what it brings out of me.’ That, for me, at least, was the making of me in terms of finding my own voice and listening to Strat players more attentively and trying to pick out bits and nuances of their tone that I wanted to try and replicate. That was undoubtedly the moment that turned me onto pedals, because Strats sound beautiful clean. Les Pauls, I’ve never been entirely happy with the way that I can get them to sound clean, you know? In hindsight, I was just doing everything wrong. I had this pivotal moment in terms of, ‘Well, let’s try some pedals, and maybe set the amp slightly cleaner and use an overdrive pedal,’ and before you know it you’ve gone from a Boss Blues Driver to 15 pedals sat in front of you while you’re still chasing about one pedal that will make you sound like Stevie Ray.” The Strat you’re using today isn’t a wildly expensive Custom Shop model, either, is it? “I’ve always been slightly suspicious of more expensive guitars. I’m lucky enough to have a couple that I use that are great for studio stuff or just playing round the house. But in terms of gigging them and touring them, I’m always a little bit reticent to take the nice stuff out of the house, just because you’re worried about what’s going to happen to it. We’ve all heard horror stories. Luckily, I’ve not had any happen to me yet where a guitar goes into a plane in one bit and comes out in two. It’s just wanting to minimise the chances of things 32

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going wrong. We do a fair amount of flying round Europe and there’s that slight trepidation, watching that guitar disappear through the conveyer belt… If I can emotionally detach myself from that as much as possible and financially detach myself from it as much as possible, it takes some of the worry out of the flight.”

The Highway One Strat – which cost you only £400 – was bought as a test bed for your signature Radioshop pickup set… “Yes, that Strat was bought entirely with no aspirations of keeping it on past using it as a donor guitar for the design of the pickups. Probably on some subconscious level, having gone through that prototyping stage of trying different styles, different winders, different wires, that was the guitar that those pickups were developed to use with. I bonded with it, I

delay pedals; for some people, it’s modulation, different phasers, different Uni-Vibes or whatever. But, for me, it’s always been overdrive pedals. I’ve probably spent a bloody astronomical amount on overdrive pedals over the years that I’ll never quite recoup, because I’m useless at selling anything that I own. The pedalboard is undoubtedly the most expensive part of my rig. It’s actually frightening to think about, really.”

Tell us about your latest pedal discovery… “A guy called Joe from a company called Hello Sailor [Effects] got in touch with me a couple of months ago saying, ‘Look, no obligation. Not expecting you to do anything about this. Just want to see what you make of it as much as anything.’ So he sent me this pedal, and it’s a Rangemaster with a Klon buffer in it, I think – it’s just labelled ‘Rangemaster’ – and that

THE STRAT THING CAME ABOUT BECAUSE I SUDDENLY BECAME VERY CONSCIOUS OF THE FACT THAT I SOUNDED EXACTLY LIKE SLASH guess, without necessarily realising it. That guitar plays beautifully and, again, being £400 it’s just slightly less irksome if anything does actually happen to it.”

You’re a self-confessed pedal enthusiast – what’s the story there? “Oh, man. That’s a hell of a journey unto itself. I think the key to pedals is not getting so totally bogged down in them that you become reliant on them. I would be just as happy if you plugged me straight into an amp with a bit of dirt and told me to do a gig with that. But, for me, it’s the different shades, different colours, different textures that draw different facets out of my playing. For some people, it’s

pedal sounds absolutely fantastic. “I’m slowly turning onto overdrive pedals that are a little bit more gritty and a little bit more ‘warts and all’. I think the younger you are, the more you want something that’s smooth and kind of takes the edges off things a little bit, and ultimately makes you sound a little bit better than you probably are. But the older I get, the happier I am to play with those slightly nastier, sort of grittier overdrive pedals. As I mentioned, it’s the journey, the ongoing journey of trying to find the things that you feel most at home with.” Buck & Evans’ album, Write A Better Day, is available now: www.chrisbuckguitar.co.uk

LESSON } VIDEO

ON THE CD

CD-ROM & 35-44

Rocco Zifarelli Video Masterclass pt 5

ON VIDEO

In the fifth instalment of our six-part video series, Rocco Zifarelli demonstrates some exciting jazz-fusion soloing over a 6/8 groove with plenty of chord changes. Jon Bishop is your tour guide.

In the tutorial chat Rocco also demonstrates more of concepts we looked at in last month’s offering, including doublenote phrasing that is inspired by listening to saxophone players like Michael Brecker. The amount of information presented is an awful lot to remember, and memorising the whole solo certainly would be quite an undertaking. So we suggest making a start by establishing a solid fretboard roadmap and identifying which part of the neck each of the ideas is played. From here you can then hopscotch through the chord changes with a firm foundation. It’s also well worth starting simply, so do try not to let yourself get away with not playing the chord tones, even if it is for only one note per bar. Hopefully there will be a new technique, lick or phrase in here somewhere for you to perfect. If you find one you like then memorise it and use it in future where appropriate. As ever, Jason’s excellent track is also included without Rocco’s guitar featured for you to practice over. Have fun and catch you next time! NEXT MONTH Rocco solos over his final GT track, this one entitled The Return Of Johnny F 6

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Rocco used his 1968 Gibson ES335 into a Kemper set to a Dumble amp profile. Rocco uses gauge .10 Ernie Ball strings and a heavy pick. Any electric guitar will work well for this month’s performance, just dial up a sophisticated sounding, lightly overdriven tone and be prepared to experiment with the guitar’s controls to achieve the desired settings. A bit of compression, reverb or long delay can be added for that final classy touch.

TRACK RECORD Since 1997 Rocco has performed regularly and tours internationally with the renowned film music composer Ennio Morricone. He’s appeared on the stages of the most prestigious theatres and arenas in all the greatest locations around the world. Rocco’s own albums include, Lyndon, and the new Music Unites with a virtuosic rendition of The Untouchables movie theme. 38

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D NARDACCI

Sidwell; Fortitude. The first thing to note is the piece has a 6/8 time signature. There are moments though where you could feel it as Will improve your Info 3/4 time. The tempo here is 180bpm for each Key: Various Improvising over chord changes of the six quaver pulses so it’s well worth Tempo: 180bpm Fast paced jazz fusion soloing having a fretboard roadmap established prior CD: TRACKS 35-44 Chord and scale knowledge to setting sail on a freeform-improvised solo. As Rocco explains, the track has a lot of different chords and many of them are from his month we are delighted to have yet different keys, so it’s not possible to navigate another chance to study with and learn the song with just one or two scales. from Italian fusion wizard, Rocco In fact trying to improvise a solo using Zifarelli. This time we are looking at a scales would be incredibly challenging and the very harmonically challenging piece by Jason results may not end up being that musical to the ear. To this end there is no need to have scale boxes to work from this month. Instead Rocco demonstrates his strategy of establishing a fretboard road map of triad arpeggios. These arpeggios outline the chord changes in a far more musical way. Rocco meticulously talks us through the various options and demonstrates them in the video. To help you conceptualise these fingerings we have notated the eight demonstrated examples from Rocco’s chat (see boxout examples 1-8). By studying these examples you will be able to memorise the various fingerings and arpeggio shapes required. We have also written out a chord sheet for you to study; this is important as it This month Rocco will help to inform you has a challenging which of the harmonic piece for you choices goes where.

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Advanced

LESSON } VIDEO

ON THE CD

CD-ROM & 35-44

EXAMPLE FORTITUDE

CD-ROM & 35

INTRO [Bars 1-6 ] The track starts with a six-beat drum fill, which acts as the VERSE 1 [Bars 7-18] The verse section moves between two unrelated chords, count-in. In the opening section Rocco bops through the changes using sparse for the most part (Am and Fmadd9) Rocco uses arpeggios as the foundation for and simpleTECHNIQUES rhythms. The 6/8 time signature look more his phrases and-then in thetranscript odd flavour tone. This flavour tone can either GUITAR MAGAZINE 3 0 6makes the notation Rocco's FORTITUDE - Track Jonadds Bishop intimidating than the solo actually is. be a scale tone or a chromatic note. INTRO B b/D

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& E B G D A E

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11 16

April 2020

Œ.

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8 9

10 13

11 13

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13 12

PLAY } CLASSICAL

ON THE CD

TRACKS 45-46

Christoph Gluck Dance Of The Blessed Spirits ON VIDEO

Bridget Mermikides creates a solo arrangement of the stunning flute melody of Dance Of The Blessed Spirits from Christopher Gluck’s opera Orpheus And Eurydice.

n this latest issue, we return to a wonderful work by the operatic composer Christoph Willibald Gluck (1714-1787). Gluck was born in Bavaria, and was urged to follow his father’s profession of forester. Thankfully for the development of Western music, Gluck resisted this and left home in his early teens, moving to Prague and supporting himself with his prodigious talent as a church musician while continuing music education. He moved to Vienna in his early 20s, finding the necessary studies and network of people to develop what would be an illustrious international career as an opera composer. Gluck’s bold, dramatic style revealed itself Gluck: he resisted family pressure to become a forester

✪✪

through a staggering 49 operas, which transformed and reinvigorated both the Italian and French operatic traditions. Gluck’s profound compositional skill resisted flowery arias and ‘crowd-pleasers’ of the day, in favour of a more purified style,

CHRISTOPHER GLUCK’S COMPOSITIONAL SPIRIT CAN BE CLEARLY BE HEARD IN THE OPERAS OF MOZART, ROSSINI, WAGNER AND BEYOND which was in a way more timeless, morally and spiritually intense and justifies his association with classical mythology. Gluck’s compositional spirit can clearly be heard in the operas of Mozart, Rossini, Wagner and beyond. Perhaps his most popular and enduring work is his late opera Orfeo Ed Euridice which was premiered in 1762 in Vienna, and revised several times for different performers, and in 1774 with a French libretto (Orpheé et Eurydice). The myth of Orpheus, a great musician who embarks on a dangerous journey to rescue his dead wife Eurydice from the Underworld, has inspired many a musical composition, but Gluck treats the story with a noble simplicity and the purity of his composing in service of the drama, is a masterpiece. Here I’ve taken the

famous Dance Of The Blessed Spirits from Act 2, Scene 2. Scored for two flutes and orchestra, in the ‘pastoral’ key of F Major, the soaring melody beautifully depicts the serenity of Elysium, a Classical conception of the afterlife. Back in issue 295, I arranged the opening F Major section of this work, but here I have made an arrangement of the middle section, which is based in the relative Minor key of D Minor. I’ve preserved this key using drop D tuning. If you’d like to play the two arrangements in succession and still preserve the key relationship you could use a capo on the 1st fret for the first ‘movement’ (which I arranged in E Major) and then remove it and use drop D tuning for this section. The beauty of this melody has inspired countless arrangements for a variety of ensembles, particularly (but exclusively) with flute as the melodic voice. The main challenge here is to capture the lyrical melodic phrasing, with a harmonic accompaniment. The tab captions will help you get to grips with the techniques needed so you can perform this with the elegance such a wonderful piece deserves. NEXT MONTH Bridget arranges and transcribes the Andante from Bach’s Violin Sonata #2

TECHNIQUE FOCUS

Picking-hand alternation Alternating the picking-hand fingers is an integral part of classical guitar playing and it is essential for a proficient and fluent technique. If you play with a habit of repeating one finger or if you don’t pay attention to your alternation it will be worth addressing. Try practising a simple one-octave scale on the top three strings with the combinations: i m, m i, a m, m a, i a, a i. Practising this in both rest stroke and free stroke regularly (even for a few minutes) with the best tone you can muster will hugely benefit your technique.

TRACK RECORD For the 1762 Italian version I recommend John Eliot Gardiner’s recording Gluck: Orfeo Ed Euridice with soloists Ragin, Sieden and McNair (Decca 1994), and for the 1774 French libretto, the tenor Richard Croft as the title role directed by Marc Minokowski (Decca 2004) is wonderful. For a different approach, check out Jason Sidwell’s rock guitar and piano version on youtube! 50

April 2020

HERITAGE IMAGES / GETTY IMAGES

Moderate/Advanced ✪ ✪ ✪ ABILITY RATING Info Will improve your… Combining melody and accompaniment Key D minor Tempo 68 bpm CD TRACKS 45-46 Rest stroke vs free stroke Melodic phrasing

DANCE OF THE BLESSED SPIRITS { CHRISTOPH GLUCK GUITAR TECHNIQUES MAGAZINE 3 0 6 PLAYING TIPS CD TRACK 46 GUITAR TECHNIQUES MAGAZINE 3 0 6 GUITAR TECHNIQUES MAGAZINE 3 0 6 Guck's "Dance of the Blessed Spirits" - arr. Bridget Mermikides We are in TECHNIQUES D Minor with drop D tuning. This of a classical with theSpirits" accompaniment. To beMermikides clear which notes are which, in the notation GUITAR MAGAZINE 3 0 is 6 a typical example Guck's "Dance of the it Blessed - arr. Bridget Guck's "Dance of the Blessed Spirits" - arr. Bridget Mermikides guitar arrangement with three musical components; melody line, bass line and melody notes always have the stems pointing upwards and accompaniment Guck's "Dance of the Blessed Spirits" - arr. Bridget Mermikides

harmony accompaniment between the two. The challenge is to be sensitive Dmpicking hand to project the melody without enough with your ¡ ¢ overpowering

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stems pointing down. Where possible play with a full sounding rest stroke on A7 on the accompaniment. the Asus4/E melody and a light free stroke

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11 11 11 11

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10 10 10 10 10 10

April 2020

LESSON } 30-MINUTE LICKBAG

ON THE CD

TRACKS 47-52

30-Minute Lickbag Pat Heath of BIMM Brighton brings you another selection of easy, intermediate and advanced licks to learn. Can you crack them all in half an hour? GUITAR TECHNIQUES MAGAZINE 3 0 6

Brought to you by…

Pat Heath's LICK BAG

EASY LICKS EXAMPLE MAGAZINE 1 KIM THAYIL GUITAR GUITAR TECHNIQUES TECHNIQUES MAGAZINE 3 30 06 6

CD TRACK 47

Pat Pat Heath's Heath's LICK LICK BAG BAG This basedstyle on Kim Thayil of Soundgarden’s 90s grunge vibe using open chord shapes, steady picking and an exaggerated chorus effect. Exexample 1 Kim is Thayil

©»•º # # # 4©»•º & # # 44 ∑ & # 4 ∑

Ex Ex 1 1

Kim Kim Thayil Thayil style style

E B G E E D B B A G G E D D A A E E

C add9

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Fadd 11

C add9 G5 œ œ œ œ œ œ C add9œ n œ œ œ œ œ œ G 5 n œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ nœ œ nœ œ œ œ œ œ nœ œ nœ œ œ œ œ œ nœ nœ œ œ nœ œ F nœ nœ F 2 3 3 A A

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≤ ≤33 CD ≤ TRACK ≤ 48

Matt and his band The Coldhearts’ rhythmical acoustic style using Am-C shape chords picking open strings and using hammer-ons between the bass notes. Ex Ex 2 2

Matt Matt Mitchell Mitchell style style

©»•º 4 & 44 ©»•º∑ &4 ∑

E B G E E D B B A G G E D D A A E E

Ex 3

Am7

1 C 1 1 C C

Am7/B

2 C 2 2 C C

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D Am7 Am7/B Dadd11 D add9add11 add9add11 œ œ œ œ .. .. Am7 œ œ œ œ Am7/B œœœœ œ œ œ œDadd11 œ œ ggg # ˙˙˙˙ œ œ # œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ .. œ œ œ œ œ œ gg # ˙˙˙˙ œ œœœœ œ œœœ œœ œ œ ggg ˙ F œœ œ œ Let ring F ggg 030 Let ring ring 1 1 1 3 1 . . Let 0 0 0 0 0 .. 0 2 11 0 2 0 2 0 11 0 2 2 3 2 11 0 2 3 5 4 33 0 4 .. 2 3 2 11 0 2 ggg 0403350 . ≥00 ≥22 ≤ 0≤ 22≤ ≥00 22 ≥00 ≤ 0≤ 22≤ ≥22 33 ≥22 ≤ 0≤ 22≤ ≥33 55 ≥44 ≤ 0≤ 44≤ . ≥22 33 ≥22 ≤ 0≤ 22≤ gg ≥04455 ≥ ≥≤ ≤ ≤ ≥ ≥≤ ≤ ≤ ≥ ≥≤ ≤ ≤≥ ≥≤ ≤ ≤ ≥ ≥≤ ≤ ≤ ≥ Paul Kossoff style 1, 3

1, 1, 3 3

4 4

INTERMEDIATE LICKS EXAMPLE 3 PAUL KOSSOFF

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CD TRACK 49

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1/4 Ex 3 Kossoff Exwas 3 aPaul Paul Kossoff style N.C. soloist. Use slides and hammer-ons E 5 to accentuate N.C. E5 N.C. rock tone. Paul master riffer style and great melodic this open-string example using a loud but undistorted 1/4 1/4 1 1//4 4 N.C. E5 5 N.C. E5 5 N.C. N.C. E N.C. E N.C. 1 1 1//4 1//4 4 4

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CD TRACK 50

This example requires close muting at the bridge on the fourth string and a ‘bounce’ on and off a 4th interval on the third and second strings. This lick ends with a Dm arpeggio as Reb famously loves to combine frightening lead guitar with cool riffs. Ex 4

Reb Beach style

©»¡¡º 4 &4

D m7

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E B G D A E

6 5 1

April 2020

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∑ ∑

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~~~ ≥00 ≥00 ≥00 ≤00 ≥ ≥00 ≥00 ≥ ≥ ≥ œ ≤ D m≥ ≥ ≥ ≥ ≥ ≥ œ≥ œ ≥ ≥ √ œ ~~~ D œ √D mm~~~Œ Ó œ œ œ 3 Œ Ó 3 ~~~ 3 17 22 PM PM PM PM 6 PM 6 18 PM Let ring ring 5 4 Let 0 19 ~~~ 0 0 0 0 0 0 0 0 0 0 19 17 22 17 22 2 3 17 20 6 6 18 0≤ 0 ≥00 ≥ 1919≥ 1919≥ 18≥ ≥ ≤ ≥00 ≥00 ≥00 ≥00 ≥655 ≥00 ≥00 ≥644 ≥00 ≥ 0≥ 0≤ ≥ 0 0 2 3 17 2 3 17 20 20 CD TRACK 51 ADVANCED≥LICKS EXAMPLE 5 STEVE KHAN ≥ ≥ ≥ ≥ ≥ ≥ ≤ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ Ex 5 Stave Kahn style These shapes will be familiar to those with the CAGED system under their belts and some knowledge of the jazz stylings of this fine player (son of legendary A maj 7 with a Latin bounce, focusing on the call andFm7 songwriter Sammy Cahn). Move through these chords response between thumbed bass and fingerpicked chords. ©»¡™º œœ œœ œœ Ex 5 5 Stave Stave Kahn Kahn style style Ex b n œœœ # œ œ œ œ ## 4 b œ œ œœ ⋲ œ œ œ A maj maj 7 7œ Fm7 A Fm7 n œ œ œ œ œ œ œ œ⋲ œ⋲ œ⋲ œ ⋲ n œ b n œœ ⋲ œœ ⋲ œ œ œœ ⋲ & 4©»¡™º ∑ nœ œ œ œ œœœ œœ œœ œ œ œœ œœ ### 4 œ b œ œ œœ ⋲ œ œœ ⋲ œœ ⋲ œ œ œœ ⋲ n œ n œ ⋲ œ ⋲ œ œ œ ⋲ œ ⋲ ∑ & 4 F n œ œ œ œ œœ œ œ œ 45 4 4 4 8 8 8 8 F 56 5 5 9 9 9 9 6 6 6 8 8 8 8 0

0 0

6 5

PM PM 0

PM PM 6 5 0 6 6 6 6 4CD TRACK 5 4 5 50 0 0 6 4

6 6 5 5

1 1

E B G D E E A B B E G3 G D D A A E E 3 3

E B G D E E A B B E G G D D A A E E

E B G D E E A B B E G G3 D D A A E E 3 3

F m9

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1 1

5 5 5

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9 9 7 9 9 9 9 7 7

7 4 4 5 5 6 6 7 7

0 0

5 5

œœ œœ œ ⋲ œ ⋲ œœ œ œ œœ œ ⋲ œ ⋲ œ œ 9 9 7 9 9 9 9 7 7

9 9 9 9 GUITAR TECHNIQUES MAGAZINE 3 0 6 ADVANCED LICKS EXAMPLE 6 ZAKK GUITAR TECHNIQUES MAGAZINE 3 0 6WYLDE

9 9

9 9 7 9 9 9 9 7 7

7 4 4 5 5 6 6 7 7

10 8 8 9 9 8 8 10 10

8 8 A 7sus4

0 m11 0 0 D0

10 8 8 9 9 8 8 10 10

8 8

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6 6 6

4 4 6 4 4 4 4 4 6 6 4 4

6 6 6

6 6

10 8 8 9 9 8 8 10 10

8 A 8 7 8 8

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4 4 5 4 4 4 4 4 5 5 4 4

6 6 6

Pat Heath's LICK BAG CD TRACK 52 Pat Heath's LICK BAG From his inception into Ozzy’s band still in his teens, Zakk’s cool but uncompromising attitude was ever present. For best results, attack this riff with a sharp Ex 6 Zakk Wylde style angled pick, chorus pedal and accentuate the 1 beat on each bar, taking care not to rush the 16th-notes and keeping the slides in time and accurate. Ex 6 Zakk Wylde style N.C. N.C.

D B D G B D G A D D A 1 D 1

‰ ‰

Dropped D tuning Dropped D tuning

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N.C. N.C.

˙ ˙˙ œ œ œ œ 0

N.C. N.C.

D5 œœœ D5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ œœ œœœœ œœ

D5 D5

10 7 10 7 10 7 10 7

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9 9

7 7 10 7 10 7

9 9

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9 7 9 7 7 9 7 9 7 9 7 9 7 9 7 9 7 9 7 0 9 7 9 7 9 7 9 9 7 0 0 0

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14 14

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12 12 12 12

April 2020

LESSON } BLUES

ON THE CD

Roy Buchanan

TRACKS 53-56

Brought to you by…

Phil Short checks out the country-meetsblues stylings of the tragically starred Master Of The Telecaster himself, Roy Buchanan. approach and singing tone - legend has it that he played his Fender Vibrolux amplifier flat out but laid the combo on its front to minimise the output volume. Another favourite technique was to use the volume control to swell the notes for a ‘violin’ effect - the title track from his 1985 album When A Guitar Plays The Blues is a wonderful example. His use of the guitar’s

Roy Buchanan: a supremely gifted but tragic figure

ROY’S MAIN TELE WAS NICKNAMED ‘NANCY’ AND ITS BRIGHT, SUSTAINING TWANG CAN BE HEARD ON CLASSIC TRACKS SUCH AS SWEET DREAMS controls didn’t stop at the volume knob; he also used the tone control in a similar fashion to create a wah-wah type sound. Buchanan was apparently dismayed to learn, after seeing Jimi Hendrix perform, that the wah sound he’d spent so long perfecting with his tone pot could be replicated by a simple pedal. As a result he re-focused his approach on other expressive techniques such as pinch harmonics (a now common technique especially among rock and metal guitarists); and the speedy picking and single-string flights for which he became legendary. NEXT MONTH Phil visits the bluesier side of modern guitar superstar John Mayer

Info Key: Various Tempo: Various CD: TRACKS 53-56

Will improve your Country-blues soloing Faux pedal steel bends Melodic phrasing

his month we check out American guitarist, Leroy ‘Roy’ Buchanan. An eclectic player with a wide range of influences, Roy started out his musical career at the tender age of 15, originally starting out on pedal steel before switching to more conventional electric guitar in the

early 50s. The steel guitar sound was of course a staple in country music, along with lap steels and other forms of the instrument, played with a slide to create long, sustained notes. The steel’s solidbody construction and single-coil pickup also gave a bright, fat but twanging tone. This sound remained Roy’s staple, his use of the Fender Telecaster along with ‘mechanical’ sounding string bends lending his solos that faux steel type effect. Roy’s main Fender Telecaster was affectionately nicknamed ‘Nancy’, and its bright, sustaining twang can be heard on classic tracks such as Sweet Dreams, which pefectly showcases his lyrical string bending

6 2

GAIN

BASS

MIDDLE

TREBLE

REVERB

Roy used Fender Telecasters and a cranked Fender Vibrolux which gave him a slightly overdriven and aggressive, cutting sound. A bridge single-coil will be best, but a humbucker with the mids and bass dialled back will get you close. Try the above settings with a low-gain overdrive pedal, running the volume hard but keeping the gain low to maintain a clean but gritty sound. Picking nearer the bridge will also yield a brighter tone.

TRACK RECORD Roy started his recording career in the 1960s but it took off in 1971 when he landed a record deal with Polydor. He went on to record 11 studio albums and 12 live albums until his tragic death in 1988 (he was found hanged by his own shirt in police custody after being arrested for public intoxication). He also features on a large number of compilation albums such as Sweet Dreams: The Anthology. 58

April 2020

PAUL NATKIN / GETTY IMAGES

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced

LEARNING ZONE

ROY BUCHANAN EXAMPLE 1 ROY BUCHANAN STYLE

CD TRACK 53

This study focuses on capturing Roy’s bright and gritty sound as well as his melodic phrasing. When string bending Buchanan style, the idea is to sound as mechanicalTECHNIQUES as possible, so aim3to0make GUITAR 6 your bends sound as though they were created by a pedal steel guitar’s levers. Interestingly, Roy used little or no vibrato.

Phil Short's BLUES DUES - ROY BUCHANON - Study 1 -

GUITAR TECHNIQUES 3 0 6

Phil Short's BLUES DUES - ROY BUCHANON - Study 1 -

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©.»•º

GUITAR TECHNIQUES 3 0 6

E B G D A E B E G D A E B E G D E A B E G

œ Phil Short's BLUES DUES - ROY BUCHANON - Study 1 -

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D A E

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E B G D A E B E G4 D A E B E G4 D E A B E G4 D A E 4

E B G D A E B E G8 D A E B E G8 D E A B E G8 D A E 8

E B G D A E B E G 11 D A E B E G 11 D E A B E G 11 D A E 11

E B G D A E B E G 14

1/4

LESSON } ROCK

ON THE CD

The Black Crowes Martin Cooper checks out the southern boogie sound of The Black Crowes, formed by Georgia brothers Rich and Chris Robinson.

TRACKS 57-59

Brought to you by…

Queensryche, AC/DC and Mötley Crüe. One of their career highlights was shows in Los Angeles and New York in 1999, where they were joined for the evening by Jimmy Page. Rich Robinson’s guitar style (along with Marc Ford who has also featured in the line-up over the years) is heavily influenced by The Allman Brothers, and Robinson has also said that Fleetwood Mac legend Peter Green is his favourite guitarist of all time. The track this month is written in the key of G Major (G-A-B-C-D-E-F#) as far as the chart is concerned, but is built around the G Mixolydian mode (G-A-B-C-D-E-F) for

RICH ROBINSON IS HEAVILY INFLUENCED BY THE ALLMAN BROTHERS BUT HAS SAID THAT PETER GREEN IS HIS FAVOURITE GUITARIST OF ALL TIME

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate Info Key: G Tempo: 129bpm CD: TRACKS 57-59

Will improve your Mixolydian rhythm playing Minor Pentatonic soloing Southern blues-rock feel

he Black Crowes formed in 1984, and released their debut album Shake Your Money Maker in 1990. The band has had numerous line-up changes over the years, but has always been built around the Robinson brothers, Rich on guitar and vocalist Chris. The band took influence from fellow Georgians REM, plus southern rock

acts like Lynyrd Skynyrd, with a healthy nod towards The Rolling Stones and Aerosmith. After turning down initial record label offers, the Crowes eventually signed to A&M, and went into the studio with producer George Drakoulias to record the debut album. By the time Shake Your Money Maker had run its course, it had sold more than five million units, and the band recently announced a 2020 tour to celebrate its 30th anniversary. Follow-up albums didn’t manage to match these sales, but the band has managed to keep a loyal following over three decades. During their heyday they opened for the likes of ZZ Top, as well as being on the Monsters Of Rock European bill alongside

NEXT MONTH Martin checks out the playing of Scott Holiday and his LA band Rival Sons 5

GAIN

BASS

MIDDLE

TREBLE

REVERB

Rich Robinson has used classic guitars such as Gibson SG, ES-335, and Fender Telecaster, plus Vox AC30 amps. Effects include tape delay, tremolo and Univibe. Try for that classic southern rock sound, with plenty of fuzzy bite, but not too much saturation. Use the above settings with a light overdrive pedal, or crank the gain to 7, with light delay for some sparkle.

TRACK RECORD The debut album Shake Your Money Maker from 1990 includes Twice As Hard, Jealous Again and the band’s big hit cover of Otis Redding’s Hard To Handle. The follow-up release The Southern Harmony And Musical Companion features Sting Me and Remedy, and the live album Live At The Greek with Jimmy Page includes plenty of Black Crowes and Led Zeppelin classics played with vim and gusto. 62

April 2020

GARY MILLER / GETTY IMAGES

Rich Robinson with his Gibson signature ES-335 model

most of the rhythm part, and G Minor Pentatonic (G-Bb-C-D-F) for the solo. This generally gives the song a ‘Major’ sound, but combined with a bluesy Southern feel. It’s not difficult to play, but will involve pick and with fingers, keeping more than one ear on what the other instruments in the arrangement are doing, and also playing with a relaxed feel throughout. Rich Robinson often plays in open G with the strings tuned D-G-D-G-B-D (low to high), but the track this month was recorded in standard E-A-D-G-B-E tuning.

LESSON } JAZZ

ON THE CD

TRACKS 60-67

One note harmonisation John Wheatcroft shows how directing your attention on just one note can open up a whole new world of harmonic possibilities.

amount, and consequently the associated musical effect by moving the floor up or down. The examples that follow all exploit this principle and outline the musical applications for visualising the same note from every angle. This musical plurality allows us to reharmonise melodies, imply consonance or dissonance, create held melodies against shifting tonalities, modulate through a variety of keys and much more. This ever-changing relationship is a crucial, and it’s often an area we guitarists neglect, considering tune and chords to be two distinct entities, rather than intrinsically connected aspects of a whole.

I’M KIND OF A TROUBLE MAKER, I LIKE PUTTING MYSELF IN A SITUATION WHERE I DON’T HAVE A GOOD WAY OUT YET Julian Lage

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced Info Key: Various Tempo: 90bpm CD: TRACKS 60-67

Will improve your… Chord voicing vocabulary Melody and harmony connection Reharmonisation potential

single note in isolation has limited value and weight. It’s neither sad nor happy, colourful or dissonant. Only when used in combination with other notes do relationships reveal themselves. While a C note by itself might suggest a tonality of C, place an A underneath and we’ll begin to hear and sense an A Minor tonality. Change A to Ab and Ab Major begins to emerge. The way that we attribute value to notes,

3rds, b7ths, 4ths and so on, is by measuring these relationships, counting the distance between the floor and the ceiling, from lowest to highest note; and we quantify this distance in relationship with the Major scale. Most traditional harmony is taught in this way, starting with the root, adding a genderdefining 3rd (Major or Minor), building stability with the 5th, and adding colour with 7ths and beyond. While this has obvious merit (you wouldn’t build a house by starting with the roof), there’s an argument for turning things upside down and looking at harmony from the top down. If we derive the value of a note by measuring the distance from the floor (root) to the ceiling (note), we can change this

NEXT MONTH John expands on this month’s ideas with more on the use of one-note harmonies 5

GAIN

BASS

MIDDLE

TREBLE

REVERB

You can use pretty much any guitar sound, although the popular choice is to select the neck pickup and dial in a warm, clean tone. Given the polyphonic nature of much of the material seen here, it makes most sense to articulate these ideas with a purely fingerstyle technique, although hybrid picking is a solid option and for some of the examples you could select a plectrum-only approach with just a little bit of modification.

TRACK RECORD The jazz guitar in solo context is a great place to hear these ideas contextualised. Try Solo Guitar by Ted Greene (Art Of Life 1977), or Martin Taylor’s aptly titled album, Solo (Guitar Label 2010). For a more recent take on it, try Jonathan Kreisberg’s One (New For Now 2013). The Joe Pass instructional DVD, Solo Jazz Guitar (Hotlicks 1986), is essential viewing any aspiring guitarist, in any style. 66

April 2020

HIROYUKI ITO / GETTY IMAGES

Jonathan Kreisberg is a modern player who applies this month’s ideas

This month’s eight examples all highlight one specific application of this concept, ranging from spelling out II-V-I progressions with one specific melody note, changing the value of one note to represent firstly the root, 3rd, 5th or 7th of a chord, before ultimately taking on all 12 possible intervallic values. We cover chord voicings, single-note lines and two-part role reversal, where the melodic interest switches from the treble to bass and more. As always, use these ideas a springboard towards the creation of your own original vocabulary and enjoy.

LEARNING ZONE

ONE NOTE HARMONISATION EXAMPLE 1 II-V-I SEQUENCES WITH CONSISTENT TOP NOTES

CD TRACK 60

We begin by looking at the ubiquitous II-V-I sequence in both Major and Minor change, the function in relation to the underlying harmony shifts, so C against forms. The idea is to maintain a consistent top note through all three chords, Dm7 gives us the b7th, against G7 we get a suspended sounding 4th or 11th, so keep your eyes and ears on the highest group. As the -chords for the final chord, our CWheatcroft note gives us a resolute sounding root. GUITAR TECHNIQUES MAGAZINE 3 0note 6 of each JAZZ CHOPS One Notewhile Harmonisation - Cmaj7, by John

Ex 1 II V I sequencesMAGAZINE with consistent GUITAR TECHNIQUES 3 0 6 top 1a) II V I Major Dm7 G11 Ex 1 II V I sequencesMAGAZINE with consistent GUITAR TECHNIQUES 3 0 6 top 1a) II V I Major Dm7 G11

notes JAZZ CHOPS - One Note Harmonisation - by John Wheatcroft

Cmaj7 D m7 G9 C maj9 Dm9 G 13 C maj7 ©»ªº notes JAZZ CHOPS - One Note Harmonisation - by John Wheatcroft ˙˙ ˙˙ ˙˙ ˙˙ Ó 4 ˙ ˙˙ Cmaj7 ∑ ˙˙ Ó D m7˙˙˙ G9˙˙˙ C maj9 & 4 ˙ Dm9 G 13 C maj7 ˙ ˙ ˙ ˙ ˙ ˙ ©»ªº Ex 1 II V I sequences with consistent ˙ Harmonisation ˙ ˙ ˙top notes ˙ ˙ ˙˙ ˙ GUITAR TECHNIQUES MAGAZINE 3 0 6 JAZZ CHOPS One Note by John Wheatcroft ˙ ˙ 1a) II V I Major 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Ó D m7˙ G9˙˙ C maj9 ˙˙ ˙ Ó & 4©»ªº ∑ Dm7 Cmaj7 Dm9 ˙˙ G11˙˙top notes ˙˙ G 13˙˙ C maj7 ˙˙ ˙˙ ˙ ˙ ˙˙ Ex 1 II V I sequences with consistent ˙ ˙ ˙ 4 ˙ ˙ ˙ 1a) II V I Major ˙ ˙ ˙ ˙ ˙ ˙3 Ó ˙1 Ó D m7˙3 G9˙˙3 C maj9 ˙˙5 & 4©»ªº ∑ ˙˙5 G11˙˙12 Cmaj7 ˙˙55 G 13˙˙54 C maj7 Dm7 Dm9 ˙˙42 ˙˙42 ˙53 ˙23 ˙45 3 3 3 3 ˙ ˙ 5 3 5 2 3 5 ˙˙5 ˙˙35 ˙˙35 4 ˙ ˙ 3 ˙ ˙ ˙ 1 1˙ 3˙ 3 3 ∑ ˙ Ó ˙ Ó ˙ ˙ &4 ˙˙45 ˙˙53 ˙23 ˙˙53 ˙˙23 ˙˙53 ˙43 ˙˙42 ˙˙42 5 5 3 3 5 2 3 ˙ ˙ 3 3 1 1 Dm9 3 7/ 6 3 5G7 5 Cmaj9 5 D m11 G13 C56 / 9 G 13 3 Cmaj D m 7 /6 2 4 5 2 4 5 4 4 ˙ ˙ 3 2 ˙ 3 3 2 3 ˙ 3 5 ˙ ˙ ˙˙˙ ˙˙ ˙5˙ 3 ˙ ˙ 3 ˙ 5 2 3 5 ˙ 3 ˙ ˙ ˙ ˙ ˙ ˙ 3 3 ˙5˙/9 12 Ó 14 Dm9˙ G 13˙˙ 35 Cmaj˙327/ 6 Ó34 C6 D m 7 /6 5G7 5 Cmaj9 5 & D m11 ˙ ˙ G13˙˙ ˙˙ 53 ˙˙ 43 ˙˙ 45 ˙˙ 35 ˙˙32 3˙ 3 2 ˙ 2 ˙˙˙ ˙˙ 5˙ 3 ˙ 3 ˙ 3 ˙˙ G 13˙˙ ˙ 5G7˙˙ 3 Cmaj9 ˙ 7/ 6 Ó ˙˙/9 3 Ó C6 Dm9 Cmaj D m 7 /6 & D m11 ˙ G13˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙3 ˙˙3 ˙˙3 ˙ ˙78 5 5 5 7 7 ˙˙5 G 13˙˙5 ˙6 ˙5 7/ 6 Ó ˙˙32/9 Ó 6 & D m11 ˙ C6 Dm9 Cmaj D m57 /6 G7 Cmaj9 ˙55 G13˙˙54 5 4 4 7 7 ˙˙ ˙˙ ˙ 5 ˙ ˙˙53 ˙˙35 ˙˙˙33 ˙˙33 ˙˙23 ˙ ˙˙765 ˙˙76 ˙˙355 ˙778 ˙˙55 ˙˙54 Ó ˙˙54 Ó ˙˙32 & ˙553 ˙ 4 5 7 7 ˙ 3 2 3 3 5 ˙ ˙

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13 13 13 12

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13 13 13 12

13 12 13 12

3 3 b 5 G7sus4 Dm7 2 2

˙ ˙˙ 3 ˙ ˙˙ 3 ˙ b 5 G7sus4 Dm7 2 ˙ ˙˙ 2 ˙ ˙ ˙ b Dm7 5 G7sus4 ˙˙ ˙˙˙ ˙˙8 ˙˙8 ˙67 b 5 G7sus4 Dm7 ˙6 ˙˙6 ˙˙75 ˙˙86 ˙˙86 7 7 6 5 Cm11 8 8 6 6 7˙ 7 6˙ 5 ˙ Cm11 8˙ 8 6˙ 6 Ó 7˙ 7 6˙ 5 Cm11 ˙˙ Ó ˙˙ Cm11 13 ˙ Ó 11 ˙10˙ 12 ˙˙ 13 11 Ó 12 10 13 11 12 10

13 11 12 10

5 5 Cm9 5 3

5 5 4 3

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8 12 b 8D m7 5 8(add 11) 8 12 D m7 b 5 8(add 11) 8 8 12D m7 b 5 (add 11)

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15 13 13 12

5 5 4 3

3 5 5 Dm7 b 5 4G 7 b 9

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April 2020

LESSON } BLUES

ON THE CD

TRACKS 68-73

NEW SERIES! Brought to you by…

Eric Bibb is a modern master of fingerstyle acoustic blues

will only get you so far if you can’t sing the melody, and I always needed a backing track and PA to demonstrate the rock guitar soloing on which I worked incessantly. Over time, I gravitated towards acoustic blues because it meant I could pick up a guitar and play chords, bass and lead at the same time. It was like being my own backing track. Emulating the early acoustic blues style can be challenging because modern guitarists can be over-reliant on the pick, and at the heart of acoustic blues is independence between the thumb (or pick) and the fingers. The following series of four lessons will help

THIS STYLE WILL SET YOU APART AND HELP YOU DEVELOP A UNIQUE APPROACH THAT WILL GIVE YOU A LIFETIME OF PLEASURE

Joseph Alexander of Fundamental Changes begins a four-part series on the impressive and rewarding fingerstyle blues guitar technique. ABILITY RATING ✪ ✪ ✪ ✪ ✪ Easy/Moderate Info Key: Various Tempo: Various CD: TRACKS 68-74

Will improve your Fingerstyle technique Digital independence Knowledge of the blues

he blues is at the root of modern rock, pop and jazz and became popular on the guitar around the turn of the 20th century. Artists who popularised early blues guitar include Lead Belly, ‘Mississippi’ Fred McDowell, Blind Lemon Jefferson, Blind Blake and Charley Patton. These players were among the first to record and preserve the tradition of early acoustic blues.

While the music of these players varied, there were certain things that linked their styles and approaches. The first and most obvious factor was that they intricately wove chords, bass lines, and single line soloing into one cohesive piece of music. Fingerstyle blues can often sound like two, or even three guitars are playing at the same time. As modern guitarists, learning to play acoustic blues guitar in this style has some great benefits. Not least is the ability to accompany ourselves when there is no band or backing track to help us. As a young electric guitarist and terrible singer, I was always stuck for something to play when people asked me to demonstrate my so-called ‘talents’. Strumming the chords to Oasis songs

NEXT MONTH Joseph introduces part two of his series on Acoustic Blues Fingerstyle 5 3

GAIN

BASS

MIDDLE

7 3

TREBLE

REVERB

Most acoustic blues players in the early times used small bodied guitars, often parlour models, since 000, OM and dreadnought designs were new or not even invented. Son House, Tampa Red and others used the powerful resonators of the age. Of course, any acoustic will do for this lesson - a cheap flat-top box may even sound the most authentic!

TRACK RECORD Some notable artists who popularised early blues guitar were ‘Mississippi’ Fred McDowell, Lead Belly, Blind Lemon Jefferson, Blind Blake and Charlie Patton. You can find ‘greatest hits’ packages from these and many other acoustic blues masters such as Robert Johnson, Josh White, Son House and Big Bill Broonzy. Also check out modern players like Eric Bibb and Kelly Joe Phelps. 74

April 2020

MATT JELONEK / GETTY IMAGES

Acoustic fingerstyle

you develop this skill musically. It’s important that you proceed slowly and train your fingers to play exactly what’s written. It’s easy to lose focus and allow them to start dictating the music. At first you must be deliberate about every single note as it is the only way to develop true independence in your fingers. You will soon find it a rewarding and impressive way to be expressive on the guitar; the style will set you apart from others and help you develop a unique approach to music that will give you a lifetime of pleasure. Enjoy the journey and have fun.

9000

LEARNING ZONE

ACOUSTIC FINGERSTYLE BLUES EXAMPLE 1 BASIC PICKING STYLE A)

CD TRACK 68

GUITAR TECHNIQUES MAGAZINE 3 0 6to play the bass notes on the six In the following examples, use your thumb

constant thumb pick on the quarter note. Keep your thumb picking firmly FUNDAMENTAL CHANGES - Fingerstyle Blues Part 1 and fifth strings, and your first and second fingers to play the melody notes. downwards on the sixth string and use the picking fingers to play the rhythms These first two examples combine the basic rhythms of the blues with a on the top string. Listen to the audio track to help you master the rhythms.

Ex 1 N.C. GUITAR TECHNIQUES MAGAZINE 3 0 6

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FUNDAMENTAL CHANGES - Fingerstyle Blues Part 1

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CD TRACK 70

0 thumb thumping 0 the quarter-note 0 bass line. melody 0notes and keep that

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CD TRACK 69

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April 2020

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