sae Rica) df GN ‘MIDNIGHT AT THE OASIS’ ‘meet your gt tutor: not familiar with this of thing rsfor my album Kiss And Tel, pefOnmance notes AEs ane tn decided oefrst part you hear is really the tale end of the verse, trading lines with the sax in order to set the solo up. From there on, fm pretty much playing thematically, starting ofF with a phrase Which is @ sort of calland-answver affair played in Aifferent octaves, ‘As far as soloing is concermed, Its Lmportant to remember that you're supplying a melody rather than a series of notes which happen to correspond to a particular scale. So in many ways, playing tunes you hearin your head is far better way of carrying out your duties as soloist than it would be to constrict a solo from some sort of mathematical base. I's very easy for a student of jazz to hecome absessed with the scale side of things and gradually lose sight of any melodic expression in his or her soul ‘The solo’s only frenetic moment oceurs in bar 12, but a quick look at the tab will show you that this is a pentatonic scale being pulled of in the Arst postion. Ir may sound fast, but i realy is a case of the speed of the hand deceiving the ea. If your pall-off technique s uot quite up to seratch, this is quite a worthwhile lick to use For practising, Another technical moment appears in the bar immediately preceding this lick bar 11 ‘The moving chord shapes happen quite fast and 0 you'll need to keep your fingers in the corzect shape while you slide. The chord shape doesn't change, in fact, and so this isn’t as dificult as it might sound at first I's probably a good idea to take this bar out and practise it in isolation, just ‘to make sure that it begins and ends in all the right places One thing definitely worth mentioning here is that I'm playing with pick here - a thing | martin's gstCD gear hrc toring edule meas at ere ira acl mraeon oth mons tak he BCD ber out onerous layin wit il rare Roh Kings owe loin yon gis and cour get no» suo ised my Mile Vaaen signs our forth atk The ‘ihe gun tesesson nthe wet Kirk ln enor sax Pat etgesnonhgute Crs enon ass ane Bran Sewer en tebe tnd poo senerally do when playing with other instruments As we've seen before, when I play solo I use a fingerstyle approach, but soft flesh is no substitute for har plastic when it comes dawn to making, yourself heard In order to deal with the change in dynamles between pick and fingers, my signature Vanden sultar has a switeh-which alters the instrument’ overall eq, which means that tonally, I've more chance of sounding consistent Tm constantly being asked about what mental ‘wheels are turning when I play a solo - what I'm ‘thinking about and so on. IFT had to try to answer i, it would always be that Tm not ‘thinking at alll AU I'm doing is playing the musle ‘which comes to me at that precise moment. If there was a template to work from, 1 would say that all solos are based on the melody and mood of the piece I'm playing at the ime. So a thorough knowledge of a song's melody is essential if you want your solos to sit right with the rest of the piece. Good luck with ‘Midnight At The Oasis’ and see you next month with something different. Midnight At The Oasis Words and Music Copyright Space Potato Music { Notting Hill Music’ Jargon buster Meeig tee A jee eoresion ais ees hie ay 3 Tine and hes layer repli mith in” of hit oun ] ‘ref econ of hi rae ve fandom Mat Taos lets Sony ease Hse Tel ‘hich alate t yout cl ced tre - iss fie cles ST 3 oles # hie et === 8 co wy 10 s 7 70}. " co. 7-9 o-—- Bu LD pO. 7737.martin taylor “midnight at the oasis’ s eu wo > PBU LD PO CO Pou LD FOC By Lo PO co (oy aT me i (emai7) (emay7iah) (Emai7) (Emaj7ic4) a (0) HW —POMU PAU LD PO fe 8.8 FQCO _PBULDBU LD POCO 10-1121) 1012-108 ——HORTI-10—11—10—¢ GOH T-10—e—4 (may) (Emajriat) 42) guitar techniques september 2000 |(Emay7iGs) — (emer) (maya) 1) (09) co. 58s cous Se (emaj7) (€maj7162) an, (08) 5 (€maj7) (Emai7ic4) wn) (po) — wosexsoio Po co Poy io pos Po (OH —10—6 10-11 79 e— 7 (emair) (Emj7108) on (03) (may)