Acoustic Special

ERIC CLAPTON & JIMMY PAGE UNPLUGGED
279 MARCH 2018
39 PAGES OF LESSONS!
ACOUSTIC
SPECIAL
Top lessons in many acoustic styles
Folk, blues, jazz, classical and more
New guitar for Xmas? Get playing!
ROCK
105
Solos, chords,
licks & scales
JIMI to learn!
HENDRIX GYPSY JAZZ

Learn the rhythm and lead
licks of the best of all time! Django
Reinhardt
Unravel the playing secrets
of this true guitar genius
FOLK-BLUES
HOUSE THE
OF
RISING SUN
Legendary folk-blues tabbed for solo guitar
CLASSICAL
MOONLIGHT SONATA
Play one of Beethoven’s most beautiful pieces
COOL LESSONS
PLAY... TOP STYLE STUDIES
10 0 Y E A R S OF T H E BE S T Joe Bonamassa Fiery electric bluesman
Duane Allman Blues-rock slide supremo
Acoustic Blues
From the Mississippi Delta to the studios of LA,
Mundell Lowe Tribute to a jazz master
we bring you a century’s finest players

ISSUE 279 } MARCH 2018 READY TO
SUBSCRIBE?
www.myfavourite
magazines.co.uk
Just a few of your regular
GT technique experts...
RICHARD BARRETT
WELCOME
FOR THE FIRST issue on sale in the new year Josh White; the awe-inspiring Blind Blake and
One of the best players around, Richard
is adept at most styles but truly excels in we bring you a GT Acoustic Special. The very Lonnie Johnson; right up to contemporary
the bluesier side of rock. He currently best of the best from the GT vaults it covers a players like Kelly Joe Phelps and Eric Bibb. It’s
plays with ex-Spandau Tony Hadley. host of styles at a variety of levels. There’s sure stuffed with amazing ideas; learn them
to be something for every acoustic guitar fan. wholesale or pick individual licks to add to your
SHAUN BAXTER We begin with two superb British electric own acoustic arsenal... it’s up to you!
One of the UK’s most respected music
educators, Shaun has taught many who blues and rock guitarists, who also love to go 1LFN'UDNHZDVDQHQLJPDWLF¿JXUHRQWKH
are now top tutors themselves. His Jazz unplugged. But while Eric Clapton likes to doff English folk scene; a shy performer but a
Metal album is considered a milestone. his cap to his Mississippi blues heroes, Jimmy staggeringly inventive and musical guitarist.
Page is more about open-tuned folk and world Stuart Ryan offers a warm tribute to his unique
CHARLIE GRIFFITHS
music styles. This intermediate level feature approach to writing and playing, with a quirky
Guitar Institute tutor Charlie first came
to fame in Total Guitar’s Challenge from Richard Barrett is chock full of fantastic tuning you’ve probably never tried.
Charlie series. He’s also one of the UK’s licks and tricks from the two ex-Yardbirds. Stuart also arranged and transcribed an
top rock, metal and fusion guitarists. From the sublimely intermediate to the American folk ballad made famous by The
ridiculously advanced, next we meet gypsy Animals. This version of The House Of The
PHIL HILBORNE
The UK’s original magazine guitar tutor,
jazz’s founding father, the unbelievable Django Rising Sun though, is for solo acoustic guitar.
Phil’s something of a legend. A great 5HLQKDUGW'MDQJRGLGPRUHZLWKD¿UH While bound to test your picking skills it will
player, he’s currently touring Europe damaged hand and only two fully functioning also provide a wonderful performance piece.
with the Champions Of Rock show. ¿QJHUVWKDQPRVWRIXVFDQZLWKDFRPSOHWH Last but not least in our new year acoustic
digital compliment. John Wheatcroft, himself a line-up, Bridget Mermikides takes a
PAT HEATH
BIMM Brighton lecturer, ESP product renowned gypsy jazz performer, created this Beethoven piano masterpiece and
demonstrator and all-round busy lesson for you. It’s not for the faint of heart, transfers it seamlessly to the classical
musician, Pat brings you six cool licks but if you fancy some Hot Club action then guitar. It’s incredibly rewarding to play
each month in 30-Minute Lickbag. there’s no better place to start. - as are all these carefully chosen pieces.
Next we take a virtual 100-year So do enjoy these and all the usual
HARRISON MARSH
Harrison has taught guitar for over tour of acoustic blues. Tristan fantastic fare on offer, and
seven years. With an ALCM diploma he Seume went back to the early I’ll see you next month.
teaches all levels and ages via Skype, as 20th century to reveal the
well as face to face in Somerset, UK. earthy styles of Robert
Johnson and Big Bill Broonzy;
RONAN MCCULLAGH
Ronan works with major labels and TV the more country or ragtime
alongside playing live and teaching at inspired Reverend Gary
BIMM in London. He also holds clinics Davis, Mississippi John Hurt Neville Marten, Editor
and masterclasses across the UK. and Doc Watson; the folky neville.marten@futurenet.com
BRIDGET MERMIKIDES
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
DON’T MISS OUR AMAZING DIGITAL EDITION
examiner, a respected classical player
and award-winning blues guitarist. Guitar Techniques’ iPad* edition is now even better!
MILTON MERMIKIDES
One of the country’s most respected
music professors Milton’s list of credits is
embarrassingly long. Go to miltonline.
com to learn all about him.
STUART RYAN
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs
throughout the UK. His latest book/CD
The Tradition is available now.
JUSTIN SANDERCOE
One of the most successful guitar
teachers ever, justinguitar.com is a mine Tap the links Animated tab & audio Play the videos
of information, and his YouTube channel Finding your way around the All the mag’s main lessons have the Certain articles have accompanying
boasts almost 500,000 subscribers! magazine is easy. Tapping the feature audio built in with a moving cursor videos full of useful insight and
titles on the cover or the contents that shows you exactly where you additional information. Once again,
TRISTAN SEUME page, takes you straight to the are in the music. Simply tap the ‘play’ tap the play buttons to enjoy
One of ACM Guildford’s leading tutors relevant articles. Any web and email button and you’re off - you can fast- video masterclasses on your iPad
Tristan is also busy on the folk circuit links in the text are tappable too! forward or scroll back at will. (recommended) or smartphone.
playing with Jackie Oates and others.
His great CD, Middle Child, is out now! PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital
edition regularly, go to www.myfavouritemagazines.co.uk/GTQsubs
JOHN WHEATCROFT * PLEASE NOTE: Only the Apple version contains interactive tab and audio. Zinio and others do not.
A phenomenal guitarist, John is a
master at all styles but a legend in Gypsy DISC AUDIO PRINT VERSION ONLY Sometimes the GT CD features some of the backing
Jazz. His new album Ensemble Futur is tracks as mp3 files due to space. These will be found in a folder on the CD-ROM section of
out now on iTunes and Amazon. the disc, accessible only via a computer, and will not work in a regular CD player.
4 March 2018
CONTENTS
TURN TO
PAGE 24 NOW
FOR OUR LATEST
s # /. 4 % . 4 3 s - ! 2 # ( s SUBSCRIPTION
OFFERS
Our cover star is REGULAR FEATURES

a Martin D-28 1937
Authentic model WELCOME 4
Nev introduces this acoustic-themed issue.
INTRO 6
Food For Thought, Session Shenanigans, Jam
Tracks, One-Minute Lick, Talkback and more.
USER GUIDE 12
Our easy-to-follow musical terms and signs.
FRETBOARD DIAGRAM 14
How to find all the notes on the neck
SUBSCRIPTIONS 24
Save time and money; it’s simple to get your
copy of GT delivered every month.
BACK ISSUES 94
In case you missed one recently.
ALBUMS 95
We review and rate some of the latest CDs.
SIXTY SECONDS WITH... 96
We introduce guitarist Tom Leighton from a
great Midlands rock band The Bad Flowers.
NEXT MONTH 98
Peter Green: a musical look at the life of this
glorious player. Dorian mode: learn the secrets
of this evocative minor scale. And much more!
LEARNING ZONE
LESSONS INTRODUCTION 61
ACOUSTIC Our music editor Jason Sidwell introduces this
lessons section with more great advice.
SPECIAL 30-MINUTE LICKBAG 62
Pat Heath has six more luscious licks to play.
See if you can complete the full half dozen.
BLUES 64
Ronan McCullagh examines the playing of an
undersung but brilliant blues-rock guitarist,
FEATURES FEATURES Frank Marino of Mahogany Rush.
ROCK 68
ACOUSTIC SPECIAL ACOUSTIC SPECIAL Martin Cooper pays homage to AC/DC’s king
of rhythm and riffs, the great Malcolm Young.
ACOUSTIC GIANTS NICK DRAKE
Clapton and Page 16 Legendary folk singer-songwriter 46 JAZZ 72
Two of the greatest British blues-rock guitarists This troubled genius had a style all his own. John Wheatcroft celebrates the genius of the
are also fine acoustic exponents. While Clapton Stuart Ryan pays tribute to a rare minstrel who almost unbelievably gifted, Earl Klugh.
displays his Delta influences Page is more folk struggled with insecurities but created beautiful
and world music inclined. Check them out! music in some of the most unusual tunings. CREATIVE ROCK 78
Shaun Baxter brings you another in his series
DJANGO REINHARDT THE HOUSE OF THE RISING SUN examining the more unusual Pentatonic scales.
Gypsy jazz genius in 25 licks 26 Traditional folk-blues 50
One of the most extraordinary musicians of all The Animals did a brilliant British R&B take on FRETBOARD FLUENCY 84
time, he influenced many greats who came after this ballad of a Cajun bordello, but here Stuart Martin Goulding guides you in that ongoing
him. Learn his stunning style through 25 licks. offers his solo guitar take on the trad legend. quest for perfect fretboard navigation.
VINTAGE TO MODERN BLUES SLIDE GUITAR 88
100 years of the greats 34 CLASSICAL TAB Harrison Marsh meets another top slide player.
It’s such a compelling style to play, so here we This month the legend that is Elmore James.
cover a century of music via those that created MOONLIGHT SONATA
the genre and ot that cont t today. Beethoven’s piano masterpiece 54 IN THE WOODSHED 92
It’s one of the most beautiful and recognisable Charlie Griffiths offers more help with honing
pieces ever written. And it transfers brilliantly those vital guitar skills. This month: how to
from piano to guitar, as Bridget demonstrates. master playing in the 5/4 time signature.
March 2018 5
Intro
FOOD FOR thought
Justin Sandercoe of justinguitar.com lends GT his insight as one of the
world’s most successful guitar teachers. This month: It’s all about rhythm?
H
ow is it that the great a very uncomfortable feel grow into
blues masters can say super musicians by working on it,
so much with so few so I’m certain that it’s possible to
notes? How can BB develop it. Though how it happens
King tear out my heart with just naturally remains a mystery.
IRXURU¿YH",FDQSOD\WKRVHVDPH Even in my early teens I could
notes, maybe even get creative ‘feel’ something deep in music that
with them and use them in the connected somewhere in my
right place and the right way - but subconscious. I spent most of my
have nowhere near the same formative years transcribing and
impact. Most people will likely playing along with songs I liked,
agree that it’s the feel, but what is and I’m sure that’s one way to
that that makes a great and develop that kind of connection.
effective ‘feel’? I think it’s great But I’ve still spent a good deal of
food for thought. time trying to learn about feels,
particularly trying to work on my
QNOTES jazz ‘time feel’ – something I know
,¶PSUHWW\FRQ¿GHQWWKDWPRVW I need to do. I had a fascinating
intermediate players can ‘play the conversation with legendary jazz
notes’ in the BB King Blues box or teacher Les Wise about it and he
Minor Pentatonic scale. It’s not strongly suggested that it can be
hard. Most people realise (some learned by picking solos that you
sooner than others!) that the scales really connect with the feel of, and
are just alphabets and they need then playing along with them until
words to communicate, so they you could not distinguish your
learn licks. But a handful of licks Just says great playing from the original. I’ve been
does not a BB make! rhythm is a huge exploring this and agree that with
Most people need to start with part of great feel VRPHH[SHULPHQWLQJ\RX¶OO¿QGD
the notes, because without getting volume where if your time is bang
the notes right, it’s hard to develop QMICRO TONALITIES FRQ¿GHQWDQGIHHOVQDWXUDOHYHQLI on then you don’t hear the original
the rest. But getting the notes right What I’m referring to here is the you had to work on it). part but if you’re late or early you
UHDOO\LVMXVWWKH¿UVWVWHS way many great musicians will. Try it with a four or eight-bar
manipulate pitch in a subtle (or not QRHYTHM section and see what happens.
QDYNAMICS so subtle) way to help express The more time I spend studying It’s at the very least a fascinating
The volume of individual notes is a themselves. Be it the use of vibrato, music the more I believe that it’s experiment; at most it may change
very strong expressive device that string bending or the use of things the rhythm that really makes the how you practise.
all good musicians can and should like the common blues quarter-tone biggest impact on how we feel I found the above particularly
use. Expressing a tender feeling bend on the m3rd – they can have a about music, and is therefore effective for learning blues too –
with a gentle pick, or anger very powerful emotive effect. Many the most potent ingredient in a and while notes, dynamics and
through an aggressive ‘thwack’ of these techniques would not be performance. The subtle nature of micro-tonalities are important for
should be fairly obvious, though immediately obvious to someone rhythm is quite fascinating. A sure, I think the study of the
often lost when people are still not musically trained but removing mathematically perfect beat doesn’t rhythm is the most effective and
thinking too much about notes. WKHPRIWHQGUDVWLFDOO\µÀDWWHQV¶ feel good to most people – there is EHQH¿FLDOH[HUFLVH\RXFDQGRDQG
Less obvious but just as important music (hear someone play a blues something that needs to connect the intense listening required will
is the volume of notes within each solo from a tab rather than listening with our humanity. The rhythms of mean you pick up information
phrase; which notes are accented, to the original recording!). the blues are most fascinating to me about dynamics (and more)
which ones are ghosted and the Some of these devices require because they can be so free – try without even trying.
range of volumes used. the study of technique, the accurately writing down a slow Like most of these things, until
So after getting the notes right, mechanics of performance and blues solo and you’ll soon know you try it and see the positive
I think the next stop on the repetitive practice of these what I mean (you’ll get the same EHQH¿WVIRU\RXUVHOILWZRQ¶WUHDOO\
expression train should be techniques until they become idea from looking at a transcription make sense – so go grab your guitar
dynamics and exploring the impact instinctive. If you have to think but it won’t be as painful). and see how you feel about working
of dynamics. It’s a very hard thing about stuff like this while playing on your feel!
to learn any other way than it’s unlikely that you will get truly QFEEL
NICK DELANEY
listening and imitating – which is ‘in the zone’. Make sure your string How is it that some people seem to Get more info and links to related
the way it’s been done from the bends are in tune (assuming you naturally have a great feel while lessons on all Justin’s GT articles
beginning, so don’t be afraid of it. want them to be) and that vibrato is others don’t? I’ve seen people with at www.justinguitar.com/gtmag
6 March 2018
Intro
SESSION shenanigans
The studio guitarist’s guide to happiness and personal fulfilment, as related to us by
Mitch Dalton. This month we find our hero pleading, art for art’s sake...
I
t has occurred to me that in booked to play bottleneck electric
recent articles I may have given It’s not all five- guitar as a soloist in a quasi Ry
the misleading impression that star travel, caviar Cooder ‘Paris Texas’ style, albeit
and champagne,
the self-employed professional says our Mitch within the context of a complex
guitarist’s life is composed mainly modernist orchestral work. Due to a
of a series of highly remunerated combination of factors, including
cameos in which little work but the ongoing development of the
PXFKLQGROHQWORD¿QJ LV GRQH ballet in a series of workshops, the
Before initiating the main thread of uncertainty of whether or not Frank
this month’s bulletin, I must dispel felt comfortable performing the
this (possibly self-perpetuating) part live with an orchestra, the
illusion with the Trump-esque FDQFHOODWLRQ RI WKH¿UVWUHKHDUVDOD
retort “Fake News!” Having just few weeks earlier due to the ballet
returned from a 10-day arena tour UHPDLQLQJ XQ¿QLVKHGDQGDEXQFK
featuring the cinematic image of a RI RWKHU VWXII WKH52+KDGVHHQ¿W
deceased vocalist who intones the to book me as Frank’s deputy. Just
catch phrase “Uh-Huh” with in case. I explained that I didn’t play
considerably more insight than his violin. They said that they’d tape the
current president’s Twitter feed, I part if necessary. I explained that I
can vouch for the brutal nature of didn’t play Dobro. They said
that itinerary. ERWWOHQHFN JXLWDUZDVMXVW¿QH,
A kaleidoscopic daily sequence explained that I wasn’t a MIDI
of dawn departures, trains, planes, computer operator. They said
hotel check-ins and outs, sound they’d take care of it. I offered to
checks and three-hour concerts give up the fee. They wouldn’t hear
resulted in my returning home on of it. Nevertheless, Frank had
the last night from the aesthetic decided that he would perform the
delight that is The O2 Arena in a part in any case. As far as all
state of near collapse. Napoleon’s involved were concerned, I didn’t
mishap during the away leg in knowledge that every individual immediately clear to me that Mr have a job unless the Moonster
Moscow may have been more with whom one comes into contact Moon was no mug. The composer of happened to fall between the wheels
challenging back in the day, but as sits at the top of their profession this magnum opus was busy setting of a London Omnibus on his way to
far as I’m aware none of that and has worked their socks off to up his gear in the midst of the full work. Which thankfully he didn’t.
bedraggled bunch of defeatists left get there. Orchestra, conductor, orchestra. A bunch of computers, And which is how I came to
their violin, their suitcase or their dancers, choreographer, set screens and software programmes watch scenes of whirlwinds, rape
music behind through sheer fatigue designer, composer. Not forgetting ZHUH DOO XQGHUJRLQJ SUHÀLJKW and murder in Texas from a box at
during that frosty foul-up. the guy that designed and built the checks prior to wind-off, as it were. The Royal Opera House (six times),
All of which is but a feeble unique wind machine at the core of As was his electric violin. And his learn the score and pray for the
attempt to offer some the production. All brilliant people. electric Dobro. At this point I continued good health of one F
counterbalance to the tale that In short, it felt like a privilege to be a entered the outskirts of Unease, a Moon esq. And then wait at home
follows, possibly the most unusual for a text message from Nigel every
episode in my varied career as a AT THIS POINT I ENTERED THE evening at 5pm to inform me that
wandering minstrel. It started
promisingly. A message from The
OUTSKIRTS OF UNEASE, A SMALL the star of the show was indeed in
the building and that I was released
Royal Opera House, inviting me to SUBURB NEAR QUEASY FEELING IRU WKH HYHQLQJ ¿YHWLPHV5DWKHU
VHYHQUHKHDUVDOVDQG ¿YH small part of so much talent small suburb near Queasy Feeling. oddly, I felt a vague sense of
performances of a newly working in tandem as I entered the %HIRUH,DUULYHGDWP\¿QDO camaraderie with the Battle Of
commissioned ballet, The Wind, enormous rehearsal room deep in destination, Mad Panic, I needed to Britain pilots of back in the day.
with music composed by Frank the bowels of Covent Garden, on the ascertain exactly what my role 0LQG\RX$6SLW¿UHLVQRZKHUH
Moon and performed by The Opera ¿UVWPRUQLQJ¶VUXQWKURXJK might involve in this high-end near as dangerous as a bottleneck
House Orchestra, natch. Which is when things started to creative endeavour. A quiet word Strat. Obvs.
Now I do understand that become a tad, er… elliptical. Nigel was required with the two main …but money for Gawd’s sake.”
elitism isn’t for everyone (come on, %DWHVWKHVXSUHPHO\HI¿FLHQWDQG men. And pretty damn quick. (If you care to revert to the top of
this is comedy gold; try to keep up) reassuringly genial Music The session was scheduled for the page).
but there is something special about Administrator for The Royal Ballet 10am and it was now 9.50. At which
working within a building of was there to greet me and duly point the story began to unfold. And For more on Mitch and his music
stunning grandeur, in the introduced me to Frank. It was not in a good way. I had been go to: www.mitchdalton.co.uk
March 2018 7
Intro
INSTRUMENTAL inquisition!
Instrumentals have supplied some of music’s most evocative moments.
We asked some top guitarists for their take on this iconic movement.
This month: modern acoustic sensation, Mike Dawes.
GT: What is it about instrumentals that in a show it’s important. This
that appeals to you? leads to certain creative decisions
MD: I’ve never been hugely into that avoid too much repetition.
lyrics. And given that I am a lousy GT: Any favourite keys or tempos?
vocalist myself, I always gravitated MD: Not consciously, although I do
towards playing instrumentals. But tend to gravitate towards mid-
I don’t value instrumentals more tempo tunes in D or Dm. I put that
highly than vocals; it’s still just lead GRZQWRWKHLQÀXHQFH'$'*$'
over harmony. tuning had on my upbringing.
GT: What can an instrumental GT: Minor or major keys?
provide that a vocal song can’t? MD: That depends on the tuning. A
MD: The most obvious thing would tuning like DADGAD is just as easy
be subjectivity. Instrumentals to work with in D or Dm because it’s
expand the capacity for self ambiguous, just root, 4th and 5th.
discovery on an emotional level. My tune Somewhere Home actually
Essentially vocals tell you what to drifts from E to Em for this reason.
feel, melodies amplify your feelings. GT: Any favourite modes?
GT: Anything you embrace or avoid? MD: I grew up on rock and metal so
MD: I try to avoid losing the melody Phrygian was always there. Most of
LQDÀXUU\RIWHFKQLTXH RU VLPSO\ my early tunes were based around
misplacing it in the surrounding Aeolian. I love a bit of cheese.
frequencies. It’s super important to GT: Modulations into new keys?
emphasise your melody, both MD: Pierre Bensusan does this well.
Mike Dawes
dynamically and tonally. I always uses new My tune, Maybe Someday Soon
aim to have a whistleable tune; tunings for modulates from C to D easily as the
sometimes if I come up with an idea inspiration tuning didn’t hinder it. But another,
I deliberately won’t record it or Forest Party goes from D to E and I
write it down for a day, then if I I grew up in a small town without a MD: One big inspiration is playing literally drop a capo mid song.
come back to the instrument and huge number of musicians, and solo in a new tuning. There are a couple There was no other way! Please, jazz
can remember the tune, it’s pretty writing enables you to do what you of tunes on the new album Era, in police, don’t arrest me!
solid. Another feature of my playing want, when you want. an open Bm9 tuning that I hadn’t GT: And harmonising melodies?
is the stacking of rhythms. This can GT: How do you name a piece? used before. They came out almost MD: It’s another tool I use to add
contribute much to an instrumental MD: Usually the tune reminds me instantly, it was so inspiring. I also interest and variation to an
piece, and to my own dexterity. of something and that’s where the try to write at home, in comfort and instrumental, be it through
GT: Is a typical song structure always name and theme comes from. with tea. There will always be days interesting chord voicings or just a
relevant for an instrumental? GT: How useful is studying a where the tunes won’t come out, doubled line, Thin Lizzy style.
MD: I would recommend this to vocalist’s approach? and when that happens I’ll put the GT: What three guitar instrumentals
someone getting into composing, MD: I feel a vocalist’s approach isn’t guitar down and do something else have inspired you?
as structuring pieces can be very really that much different from that for hours; watch movies, see friends So Long Michael by Pierre
daunting. But a rough structure I of an expressive and soulful player. etc. That usually inspires me. Bensusan is probably the reason I
have been using a lot is a sort of There are obvious things like Another thing would be listening to SOD\¿QJHUVW\OH,W¶V+8*(LQP\
sandwich, beginning with a theme vibrato and other articulation, but your favourite musicians, although family. My Dad is always whistling
and taking the listener on a journey RQHELJEHQH¿WRIDSSURDFKLQJ that can also lead to the ‘I’ll never be WKH¿UVWOLQHEHIRUHLWJRHVPHQWDO
before returning to the theme, or a music as a vocalist is being good enough’ depression. The Release by Petteri Sariola. Do
variation thereof. You can hear this XQFRQ¿QHGPHORGLFDOO\,I,¶P GT: What do you aim for when your check his new album, Resolution.
in tunes like The Impossible, writing a top line for a piece, I’ll performance is centre stage? 6XU¿QJ:LWK7KH$OLHQE\-RH
Somewhere Home and The Old often sing it. This way I’m not 0'0XVLF¿UVWEXWLQGRLQJWKLVDV 6DWULDQLZDVWKH¿UVWLQVWUXPHQWDO
Room. I would certainly encourage FRQVWULFWHGE\P\¿QJHUVUXQQLQJ a full live show there needs to be guitar tune I ever heard. I actually
experimentation; just remember to up the same scales in the same variation. Every song needs a learned it for my GCSE
have something to say. shapes. Highly recommended! ‘thing’. I remember talking about SHUIRUPDQFH7KDWGH¿QLWHO\
GT: What are the pros and cons of GT: Is there a typical approach or this with my super talented buddy changed the way I looked at the
making solo guitar instrumentals inspiration when composing? Petteri Sariola and I really believe guitar, as I’d never heard it take the
versus those that involve a band? place of the vocal before. Joe is such
MD: I got into this for two reasons.
LISTENING TO YOUR FAVOURITE a melody guy. Awesome tune.
LARRY DIMARZIO
Firstly I’m a massive control freak.

I’m a perfectionist and I’m sure it MUSICIANS CAN LEAD TO THE ‘I’LL NEVER For more info, tour dates, albums
annoys those around me. Secondly, BE GOOD ENOUGH’ DEPRESSION and more, go to mikedawes.co.uk
8 March 2018
Intro
. JAM TRACKS tips
Use these tips to navigate our bonus backing tracks
2008 Bossa Nova Blues (Bm)

Let’s start with an easy-to-
approach feel-good bossa nova
style blues jam in B minor. Use B
Minor Pentatonic (B-D-E-F#-A), B
Blues scale (B-D-E-F-F#-A) and B
Minor scale (B-C#-D-E-F#-G-A)
PAUL REED SMITH RELEASES THE as starting points and feel your way
PRS Starla, a singlecut mahogany body with through it!
mahogany neck and rosewood board with dot
inlays. Unique in the history of PRS it’s fitted with G Harmonic Minor Jam (Gm)
a Bigsby vibrato, Grover tune-o-matic bridge, T bluesy 12/8 jam was made for
This
vintage styled tulip tuners and a pair of chromed
custom-voiced pickups. With volume, tone, built-in
ou to really dig into your G II-V-I Jazz Jam (Gm)
H
Harmonic Minor scale (G-A-Bb-C- Here’s a jazz play-along in G minor,
at
coil-tapping and a three-way selector switch it’s grea
D-Eb-F#). It moves between the on the classic minor II-V-1. Chords
tr llook
for both single-coil and overdriven sounds with a retro k and feel.
chords Gm (Im) and D (V). You can are Am7b5-D7-Gm-Gm. G Minor
SPACE EXPLORATION IS IN TOP GEAR AS THE also mix in some tasty G Minor scale (G-A-Bb-C-D-Eb-F) works, and
Automated Transfer Vehicle is launched from Guiana Space Centre taking Pentatonic (G-Bb-C-D-F), but for the D7 chords, use G Harmonic
cargo to the International Space Station; NASA’s Phoenix spacecraft lands beware of clashing with that crucial Minor (G-A-Bb-C-D-Eb-F#).
on the northern polar region of Mars; the Messenger space probe makes F# note on every D chord. Arpeggios: Am7b5 (A-C-Eb-G); D7
its closest flyby of Mercury; the Fermi Gamma-ray Space Telescope is (D-F#-A-C); and Gm7 (G-Bb-D-F).
launched; Iran sends a rocket into space from its newly-opened space
centre; and the SpaceX Falcon 1 becomes the world’s first privately
7/8 Shuffle Groove (Am) Happy jamming!
Here’s a fun odd-meter groove jam
developed space launch vehicle to make orbit successfully.
made for improvising on A Dorian Jam tracks by Jacob Quistgaard.
TTHE KING COBRA IS THE LATEST mode (A-B-C-D-E-F#-G). The For free scale maps and
edition to the impressive range of Matchless chord progression moves between hundreds more tracks, visit
amplifiers, boasting a 35-watt, twin-EL34 power stage Am7 and D7. Good old A Minor www.quistorama.com. You can
with added reverb and tremolo. Hand-wired point-to- Pentatonic (A-C-D-E-G) will work, also subscribe to www.youtube.
point circuitry, top-dollar materials throughout and but for extra colour mix in E Minor com/QuistTV to get all the latest
quality of build insures an impressive and powerful Pentatonic (E-G-A-B-D) and B WUDFNV DQG OLFNV 2U ¿QG 4XLVW MDP
delivery from this weighty combo. Naturally the price
Minor Pentatonic (B-D-E-F#-A). Twitter, Instagram and Facebook.
tag is also hefty but an exceptional dynamic range and responsiveness
coupled to brilliant tones and projection gives this Cobra plenty of bite.
RAGE AGAINST THE MACHINE PLAY THEIR

first shows outside the States since reforming, headlining in Australia
and New Zealand. Michael Jackson’s Thriller 25 celebrates the 25th
anniversary of the biggest selling album of all time with Jackson as
executive producer; and System Of A Down guitarist Daron Malakian,
tells MTV that he is concentrating on his new project, Scars On
Broadway, so the band is unlikely to reform.
FEARS OF A FINANCIAL RECESSION IN THE USA.

Stock markets around the world plunge and the UK loses confidence in
the banking system after unsafe investments are announced by many
major highstreet banks. Northern Rock is the first in trouble and is
quickly nationalised by the government. But things only get worse.
THE GIBSON CUSTOM SHOP RELEASES

a limited run for their 50th Anniversary 1958 ES-335. The original
concept was for a guitar with the warmth of a hollowbody combined
with the power and sustain of a solid, and it passed with flying colours.
This model is equipped with Classic‘57 humbuckers plus the original
rounded neck and dot markers, full binding to body and neck, nickel-
plated hardware, tune
tune-o-matic
o matic bridge, stopbar tailpiece, volume and
tone controls plus a three-way switch and
vintage tulip tuners all gently aged in
Vintage Original Spec (VOS).
RODOLFO SASSANO / ALAMY
For jam track 3,

pull out some of
your Robben-
style licks!
March 2018 9
Intro
TALKBACK your letters...
GT CHANGED MY LIFE (SORT OF) iPad version (but not Android). We
in there including four jam tracks,
Just wanted to say thanks for (kind can’t yet upload MP3s so they can be
and backing tracks to all the other
of) changing my life. Back in ’95 I was burnt, but we are working on it.
content. What I love the most is the
heavily into SRV but stuck in the 3. Where can I find a list of all the
variety of styles and techniques.
Minor Pentatonic. However I found a Guitar Techniques mags ever made?
Knowing there will all this stuff in
new magazine in the small Swedish I’m afraid we don’t even have that,
every issue means I have to subscribe
town I was living at that time. In it Nate. With such a small team it’s been
now. It’s also great to see chords
was an article about Steve Vai’s style impossible to upkeep such a list.
above everything, especially in the
E\'DYH.LOPLQVWHU,WÀRRUHGPH, When the system to download MP3s
classical music; I don’t think any of
had never heard about the Lydian is sorted, there will be the best list we
my classical guitar books have the
scale and it was a real eye-opener. I can find also downloadable.
changes written out. I wish this
studied every article in that issue and 4. What software do you use to
magazine was in the guitar book
started to practise several hours a produce the notation and tabs for
section of the book stores or in Guitar
day. I soon attended a one-year Dave Kilminster Guitar Techniques?
Center because than I would have
guitar course in Sweden and started was one of Guitar We have always used Finale.
found out about it a lot sooner. The
to get a little more knowledge. After Techniques’ early 5. Is there an official musical
only reason I even noticed it in the
contributors
that I moved to London and enrolled notation rule concerning when to
magazine section is because it had
at Musicians Institute in Wapping. use the (8va) symbol or is it all up to
that CD icon at the top. I also like all
What a great year. Wonderful tutors, What a great tale, Magnus. You know, the person writing the music?
the album listening suggestions and
great musicians from all over the it’s been a decade since Eric died; Dave It depends on the music – how broad
the album review page. Anyway I
world and a chance to play styles that K is now playing with the legendary in tonal range it is – and the discretion
have a lot of questions so I’ll just
were new to me. The great Eric Roche Roger Waters; Guthrie is a veritable of the transcriber.
number them in a list. Thanks so
was a tutor and I studied the same guitar superstar and Jacob still writes 6. How much do back issues cost in
much for the great product.
year as Jacob Quistgaard (he was a for us (in between touring with Bryan Nate, Colorado the digital iPad version?
monster player and still is). After that Ferry). As far as writing a column, send Check www.myfavouritemagazines.
I moved back to Sweden and went to an email to jason.sidwell@futurenet. Thanks for your lovely comments, co.uk (note ‘favourite’ spelt the
a guitar school in Stockholm. When com with an example of your work. Nate. As with all publications things English way) as there are regular deals
P\VWXGLHVZHUH¿QLVKHG,SOD\HG We’re not looking for anyone at the move on and GT was no exception. on subscriptions, plus regular offers to
guitar for a living for 12 years, moment but it’s always great to know I’ve answered (as best I can) your buy all back issues.
recorded several albums, did there are those that could step in if individual questions below. 7. How far back does the iPad
sessions and even managed to get a needed. Thanks for being such a loyal version go?
Guitarist Of The Year award, which reader. Oh, and it was our pleasure! 1. What Issue does Paul Bielatowicz’s They go back to when Apple launched
was handed over by Kee Marcello. tapping lessons start in? Newsstand in autumn 2011.
When I was done with touring I LOVING THE LATEST FORMAT Paul did three: GT273, 274 and 275.
landed a teaching gig and have been a Wow! I bought Guitar Techniques a 2. Does the IPad version have all the Send your views on the world of
full-time guitar teacher since 2012. few weeks ago. I haven’t looked at same audio as the CD, including the guitars, guitarists and guitar
So once again thank you. I couldn’t one since 2013 and I feel like I really jam tracks and the extra stuff that is playing to: Guitar Techniques, 5 Ivo
have done it without GT. missed out. I thought it was great sometimes in CD-ROM? If so are the Peters Road, Pines Way Industrial
Magnus Åkerlund then but now I am totally blown away MP3s accessible so I can put them Estate, Bath BA2 3QS. Or email to:
PS: Writing a column for GT is still by how awesome you guys made this into iTunes and burn my own copy? neville.marten@futurenet.com
on my bucket list! thing! You jammed even more music All the content on the CD is also on the using the header ‘Talkback’
PHIL HILBORNE’S ONE-MINUTE LICK Swing Blues Lick

HERE’S A FOURBAR question and answer
Moderate © ¡¶™
swing-blues phrase, built mainly from an A7
–
qq=qce
A7
~~~~~
arpeggio: A-C#-E-G. There are also a couple of .
extra notes: the b3rd (C) and 9th (B). Picking-wise
the first two bars have all the ‘up’ beats played F ~~~~~
with up-strokes and all the ‘down’ E
B 5
5
10
G 2 2 4 6
beats played as down-strokes. This D 2
A 0 3 4
makes it ‘feel’ better to play as the
pick strokes correspond to the groove.
E
1

The second two bars use sweep picking ~~~~
D9
. ~~~~~
on a descending A7 arpeggio with the
first note of each four-note group falling
on a down-stroke. This sequence is
great for re-use in rock, metal, country, E 12 9 9
~~~~ ~~~~~
B 10 10 10
jazz and fusion. The final bar’s F# and C are G
D
12 12 9 12 9
11
12 9
11
11
10
the ‘targeted’ 3rd and b7 of the next chord in A 12
the progression, the IV chord of D9.

E
4

10 March 2018
GT User Guide
You can get more from GT by understanding our
easy-to-follow musical terms and signs...
RELATING TAB TO YOUR FRETBOARD OUR RATING SYSTEM

Every transcription or lesson in GT is graded
2 m
3 1 i according to its level of difficulty, from Easy to
a
Advanced. We’ll also let you know what aspect of
4 c
your playing will benefit by attempting a lesson.
T p
Advanced
Moderate-Advanced
NUT & FRETBOARD
HAND LABELLING The fretbox diagram above represents Moderate
Here are the abbreviations used for each finger: the fretboard exactly, as seen in the
Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), accompanying photo. This is for ease of Easy-Moderate
i (first finger), m (second), a (third), c (fourth). visualising a fretboard scale or chord
shape quickly. Easy
READ MUSIC
Each transcription is broken down
into two parts...
œ œ œ œ
2nd string 2nd string 3rd string 4th string
3rd fret 1st fret 2nd fret Open
1E
CHORD EXAMPLE CHORD EXAMPLE WITH CAPO

2B 3 1
3G 2
4D 0
5A
The diagram represents the G chord in the photo. The The blue line represents a capo – for this A chord, place it 6E
‘O’ symbol is an open string, and a circled number is a at fret 2. Capos change the fret number ordering – here,
fretting finger. Intervals are shown below. the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.
MUSICAL STAVE The five horizontal lines for
music notation show note pitches and rhythms
and are divided by bar lines.
x x
A major scale C Em D7 A m7
8
œœ œœ # œœ œœ
œœœ œœ œœ œœ
œœ œ
1E 0 0 2 0
2B 1 0 1 1
3G 0 0 2 0
4D 2 2 0 2
R 9 5 7 5A
6E
3 2
0
0
TAPPING & HARMONICS TABBING Under the musical stave, Tab is an aid
SCALE EXAMPLE The left box shows an A minor to show you where to put your fingers on the
The diagram shows the fret-hand fingering for Pentatonic scale with added fretboard. The six horizontal lines represent the six
the A major scale (root notes in black). The photo tapped notes signified by ‘T’s. strings on a guitar – the numbers on the strings
shows part of the scale being played on the fourth Above shows a Cmaj9 (no 3rd) are fret numbers. The two stave and tab examples
string with first, third and fourth fingers. with harmonics at the 12th fret. show 4 notes and 4 chords; C (C major), Em (E
minor), D7 (D dominant 7) and Am7 (A minor 7).
GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC...

PICKING VARIATIONS AND ALTERNATIVES
Up and down picking Tremolo picking Palm muting Pick rake Arpeggiate chord
w
nœ n œœ ¿¿ gg # ˙˙˙
œ œ œ œ bœ # œœœ œœ
¿ ggg ˙˙˙ ggg # ˙
œ @ @ @ @ gg ˙¿
œ œ œ œ œ rake ggg # ˙ ggg # ˙˙
PM PM
ggg 00 ggg
E 5
E E E B E 4
X
gg 22 gg
B B B 8 8 B 5
G X
@ @ @ @
G G 5 4 7 8 G 7 7 G 4
ggg X2 ggg
D D X
D 7 5 D 6 6 D 4
A A A 7 7 A A 4
≥ ≤
E E E 0 0 0 0 0 E E 5
Q The first note is to be down- Q Each of the four notes are to Q Palm mute by resting the edge Q Drag the pick across the Q Play the notes of the chord by
picked and the last note is to be be alternate picked (down- & of picking-hand’s palm on the strings shown with a single strumming across the relevant
up-picked. up-picked) very rapidly and strings near the bridge. sweep. Often used to augment a strings in the direction of the
continuously. rake’s last note. arrow head.
12 March 2018
FRETTING HAND
Hammer-on & Pull-off Note Trills Slides (Glissando) Left Hand Tapping Fret-Hand Muting
~~~~~ 6
nœ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿
œ œ œ œ œ œ # œœœ
tr
œ œ ˙ (œ œ) b˙ œ ¿¿ ¿¿ ¿¿ œœ ¿¿ ¿¿
œ œ
œ
~~~~~
≠
tr
E E E E E
B B 8 X X X 8 X X
(7 5)
B B 5
G 5 7 7 5 G 5 G 5 7 5 7 G 7 X X X 7 X X
D D 8 D 7 D 6 X X X 6 X X
A A A 7 A 7 X X X 7 X X
E E E E E
Q Pick 1st note and hammer Q Rapidly alternate between Q Pick 1st note and slide to Q Sound the notes marked Q X markings represent notes
on with fretting hand for 2nd the two notes indicated in the 2nd note. The last two with a square by hammering muted by the fretting hand
note. Then pick 3rd note and brackets with hammer-ons notes show a slide with the on/tapping with the fretting- when struck by the picking
pull off for 4th note. and pull-offs. last note being re-picked. hand fingers. hand.
BENDING AND VIBRATO

Bendup/down Re-pick bend Pre bend Quarter-tone bend Vibrato
Q Fret the start note (here, Q Bend up to the pitch shown Q Bend up from the 5th fret Q Pick the note and then bend Q The fretting hand vibrates
the 5th fret) and bend up to in the brackets, then re-pick to the pitch of the 7th fret up a quarter tone (a very small the note by small bend ups
the pitch of the bracketed the note while holding the note, then pick it and release amount). Sometimes referred and releases. The last example
note, before releasing. bent note at the new pitch. to 5th fret note. to as a blues curl. uses the vibrato bar.
HARMONICS
Natural harmonics Artificial harmonics Pinched harmonics Tapped harmonics Touch harmonics
# ‚‚ ‚ ‚ ‚
‚ ‚ ‚ — — — ‚
‚ ‚ ‚ ‚
œ
NH AH16 AH17 AH19 PH TH17 TH19 TH17 TCH
E E E E E
B 12 7 B B B B
G 12 7 G 4 7 G G 4 G
D
2 9
D 12 7 D 5 7 5 D 5 7 D
A A A 7 A A
E E E E E
Q Pick the note while lightly Q Fret the note as shown, Q Fret the note as shown, Q Fret the note as shown, but Q A previously sounded note
touching the string directly then lightly place the index but dig into the string with sound it with a quick right- is touched above the fret
over the fret indicated. A finger over ‘x’ fret (AH ‘x’) and the side of the thumb as you hand tap at the fret shown marked TCH (eg TCH 9) to
harmonic results. pick (with a pick, p or a). sound it with the pick. (TH17) for a harmonic. sound harmonic.
VIBRATO ARM AKA WHAMMY BAR CAPO

Vibrato arm bends Scoop & doop Dive bomb Gargle Capo Notation
Q The note is picked, then the Q Scoop - depress the bar just Q Note sustained, then the vib Q Sound the note and ‘flick’ Q A capo creates a new nut,
whammy bar is raised and before striking the note and is depressed to slack. Square the tremolo bar with picking so the above example has the
lowered to the pitches shown release. Doop - lower the bar bracket used if a long-held note hand so it ‘quivers’. Results in a guitar’s ‘literal’ 5th fret now as
in brackets. slightly after picking note. has new articulation applied. ‘gargling’ sound! the 3rd fret.
OTHER TECHNIQUES
Pick scrape Violining Finger numbering Pima directions Right-hand tapping
Q The edge of the pick is Q Turn volume control off, Q The numbers after the Q Fingerpicking requirements Q Tap (hammer-on) with a
dragged down or up along sound note(s) and then turn notes are the fingers required are shown at the bottom of finger of the picking hand
the lower strings to produce a vol up for a smooth fade in. to play the fret numbers in the tab notation. onto the fret marked with a
scraped sound. Called ‘violining’. the tab below. circle. Usually with ‘i’ or ‘m’.
March 2018 13
14
March 2018
Many guitarists
notation below.
other musicians.
struggle to know
at each fret, with

to different keys,
are to get on as a
when it comes to
fret on the guitar.
its corresponding
This is vital if you
player - especially
Here are the notes

or interacting with
reading, transposing
which note is at what
HOW TO...
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D
C D #
D /Eb E F F#/Gb G G#/Ab A B C D #
D /Eb E F #
F /Gb G #
G /Ab A
B C#/D b A#/Bb C#/Db
G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F
FRETBOARD } FIND NOTES
# b E F #
F /Gb G #
G /Ab A #
A /Bb B C #
C /Db D #
D /Eb E F #
F /Gb G #
G /Ab A #
A /Bb B C
D D /E
Open Strings
A A#/Bb B C C#/Db D D#/Eb E F F#/G b G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G
E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B C C#/Db D
√
Open Strings œ # b # b œ # b
œ œ œb # bœ œ œ œb # bœ
E 1
œ # b # b √
œ œ œb # bœ œ œ œb
B 2
# b # bœ œ #œ b
œ œ œb
G 3
...find all the notes on the fretboard
œ œ œb # b
D 4
œ œ
A 5
# bœ œ #
E 6
# # œ œ œ
œ # bœ œ #œ b
PLAY } ACOUSTIC ON THE CD TRACKS4-13
Acoustic giants
There’s more to these guys than crunching riffs and soaring solos.
Check out Richard Barrett’s detailed examples for an insight
into the acoustic styles of Eric Clapton and Jimmy Page...
experimental acoustic styles of John
ABILITY RATING Moderate -----
Renbourn and Bert Jansch (among others)
Info Will improve your… General fingerpicking
from a very early stage, and his distinctive
Key Various Tempo Various CD TRACKS 4-13 Knowledge of open tunings Timing and chord changes acoustic playing features heavily on nearly all
of Led Zeppelin’s albums. He jokingly refers
A
LTHOUGH BOTH PRIMARILY known a good overview of these techniques and to his eclectic mix of acoustic styles as his
for their groundbreaking electric work others, without the need for years of dedicated CIA (Celtic, Indian, Arabic) connection and
– Clapton in the Blues Breakers, study (you can always do that too, of course!). LWLVDVVLJQL¿FDQWDSDUWRIKLVVW\OHDVWKH
Cream, Derek And The Dominos and More good news is, you don’t need racks of electric playing that frequently causes
as a solo artist, and Page primarily in Led expensive gear to get close to the required =HSSHOLQWREHPLVODEHOOHGDVµKHDY\PHWDO¶
Zeppelin and various collaborative forays – tones. Admittedly Eric’s vintage Martins and Page’s frequent use of both altered and open
these two British icons have also done much his own signature EC model’s price tag puts tunings enhances his vocabulary of exotic
for the furtherance of the acoustic guitar as a VXFK LQVWUXPHQWV ¿UPO\ RXW RI WKH UHDFK RI scales and chords learned from the likes of
serious instrument of rock and blues. Davy Graham, and from his own extended
While their styles are very different, with ERIC WAS ALWAYS A WUDYHOVLQ1RUWK$IULFD-LPP\ÀXFWXDWHV
3DJHPRUHLQÀXHQFHGE\WKHIRONVFHQHDQG
world music, and Clapton maintaining his
BLUES PURIST, WHILE between this dissonant approach and a
contrasting, more melodic folk sensibility.
blues roots, both guitarists display great touch JIMMY WAS DRAWN 2XUH[DPSOHVUHÀHFWWKLVXVLQJD
on the instrument. I’ve taken some of their TO THE FOLKY STYLES PL[WXUHRIFODZKDPPHUVW\OH¿QJHUSLFNLQJ
best-known approaches and laid them bare in
the following seven pages, so you can pick
OF JOHN RENBOURN DQGPRUHFRQYHQWLRQDOµÀDWSLFNLQJ¶
technique. Though Page was notable for
apart the acoustic styles of these two AND BERT JANSCH DGGLQJDPELHQWUHYHUEVDQGHYHQÀDQJLQJ
legendary players. There’s tons here to get many players, but in truth any reasonable effects to recorded acoustics on occasion,
\RXUWHHWKLQWRVRJUDEWKDWÀDWWRS¿QG\RXU DFRXVWLF ZLOO VXI¿FH the basic tone was never completely
best pick and emery those nails to perfection. Eric favours smaller bodied guitars for the obscured. The GT examples steer clear of
Get plucking and enjoy the ride! more focused midrange and clarity that they the more outlandish effects, making it
Eric Clapton
deliver. For bottleneck, he often employs a easier and more satisfying to sit and play
UHVRQDWRUJXLWDUIRUWKHGLVWLQFWLYHµER[\¶VRXQG WKHPXQDPSOL¿HG
that’s ideal for this technique. Page has used a wide variety of guitars,
Heavily inspired by the likes of Robert The examples on the GT audio were including a Harmony, Gibson J-200, Martin
Johnson and Muddy Waters, Eric has always recorded with a Yamaha CPX 900, which was D-45 and occasionally, a custom double-
been a blues purist. So much so that he left mic’d in front of the soundhole. A little reverb neck Ovation for live work. So it’s fairly safe
The Yardbirds when they were on the brink of was added for ambience afterwards. If you WRVD\WKHVRXQGLVLQWKH¿QJHUVUDWKHUWKDQ
commercial success, objecting to the pop have an acoustic with a built-in pickup (like coming from any particular instrument.
direction of For Your Love. Though a pioneer Eric’s) then you may want to do the same with As with our EC examples, the GT
of loud overdriven electric guitar, Eric’s DPHGLXPµURRP¶VHWWLQJVXEWO\EOHQGHGLQ recordings were made with a Yamaha CPX
Jimmy Page
passion for the acoustic has been clearly 900, mic’d at the soundhole. A few different
demonstrated over the years. He is a master of reverbs were used to give a little extra
many traditional techniques, such as authenticity, but these are by no means
bottleneck, clawhammer and using the ,QLWLDOO\LQVSLUHGE\VNLIÀHDQGURFNDQGUROO necessary to make these examples sound
SLFNLQJKDQG¿UVW¿QJHUWRµÀLFN¶FKRUGVZLWK but eventually becoming famous as the correct. Jimmy himself would have come up
an upstroke motion, while playing bass notes ultimate Gibson Les Paul-toting riff- with the ideas and tunings long before
with the thumb. Our examples aim to give you machine, Jimmy Page was also drawn to the studio effects came into the picture.
CLAPTON TRACK RECORD Unplugged – The ‘unplugged’ session that started a craze, with everyone ditching their electrics to demonstrate their
songs in a new stripped-down arrangement. A great opportunity to glean a few technique secrets by watching up close. Me And Mr Johnson – Eric gets
back to his roots performing songs by his hero Robert Johnson. This album is full of his acoustic playing, so gets almost as many votes as Unplugged.
PAGE TRACK RECORD Led Zeppelin III - the most acoustic-based of all their albums, this demonstrates almost every aspect of Page’s acoustic
style featuring altered tunings, bottleneck and lush strummy 12-strings. Unledded - this 1994 duet with Zeppelin vocalist Robert Plant shows Jimmy
continuing to pioneer new tunings and an ever-increasing Moroccan influence. Also available on DVD, to help you steal those fingerings.
16 March 2018
APTON/PAGE { ACOUSTIC SPECIAL
IAN DICKSON / GETTY IMAGES
Page playing a
Martin D-28 with
taped-on pickup
LARRY HULST / MICHAEL OCHS ARCHIVE / GETTY IMAGES
Clapton with his

priceless prewar
Martin 000-45
March 2018 17
ERIC CLAPTON ACOUSTIC STYL

CLAPTON EXAMPLE 1: ARPEGGIATED CHORDS CD TRACK 4
These melodic chords will have a familiar ring to most Clapton fans. self-contained part; this is further enhanced by the piano style chording
Mixing chord shapes with melodic details and linking lines gives a very in bars 3 and 4.
A E F m7 # D /F # D /Fb F m7# B m7/E A
# #
3
n gg
Let ring
E
B 3 2 3 2 0 2 3 2 2 2 2 3 3 ^2
G 2 4 2 1 2 2 2 2 1 1 2 2 2 2 2
D 2 2 2 4 4 3 3 2 2 4 4 2
A 0 0
E 0 2 0 2 1 2 0
CLAPTON EXAMPLE 2: CLAWHAMMER PICKING CD TRACK 5
This rhythmic clawhammer style is fairly simple to execute but gives an notes in a repetitive pattern that remains almost identical throughout.
effective and complex sounding result. Basically, the thumb plays the Start slowly and all will become clear quite quickly. It works brilliantly in
root notes in a crotchet/quarter note ‘pulse’ with the fingers adding top open tunings such as drop D, too.
A maj7 b
B dim B m7 Cdim
#
bœ n
Let ring
E 0 0 2 2
B 2 2 2 2 3 3 4 4
G 1 1 0 0 0 2 2 2 2
D 2 2 2 2 2 2 2 2 4 4 4 4 4 4 4 4
A 0 0 0 0 1 1 1 1 2 2 2 2 3 3 3 3
E
#
C m7 #
F 7sus4 #
F 7 Bm7 B m7 5 b E sus4 E
#
œ
E 4 0
B 5 5 2 2 3 3 0 0
G 4 4 4 3 2 2 2 X 1
D 6 6 6 6 2 2 2 2 4 4 3 3 4 4 2 2
A 4 4 4 4 2 2 2 2
E 2 2 2 2 0 0 0 0
CLAPTON EXAMPLE 3: D TUNING SLIDE CD TRACK 6
Using open D tuning (low to high; D-A-D-F#-A-D) this example mixes Though some handling noise from the slide is unavoidable - even
bottleneck with traditional chording. Again, it’s a very self-contained desirable – it’s a good habit to mute the strings behind the slide
sound and perfect for accompanying vocals, as Eric does so brilliantly. (headstock side) to avoid unwanted notes.
© ©»©
–3– F D5 Gsus2/B D7 Gsus2/B D 3 3 D5
Swung
#
3 3 n n
All slides with bottleneck
D 12 12 12 12 12 12 12 12 12 12 12 12 12 12
A 12 12 12 12 12 12 12 0 0 0 12 12 12 12 12 12 12
F# 12 12 12 12 12 12 12 1 3 1 12 12 12 12 12 12 12
D 0 3 0 0 0 0 0 0 0 0 0 0 0 0 3 0
A 0 3 0 2 3 2 0 0 0 0 0 0 0 0 3 0
D 3 0 0 0 0 0 0 0 0 0 0 0 0 0 3 0
Open D tuning
18 March 2018
WHEN YOU ADD A SINGER, THAT’S WHEN THE

MUSIC BECOMES SERIOUS; IT GOES FROM BEING
A JAM TO A GENUINE MISSION Eric Clapton
CLAPTON EXAMPLE 3 ...CONTINUED: D TUNING SLIDE CD TRACK 6
G sus2/B D7 b 5 G D F G D G D F D Gsus2/B D
#
n n b
D 5 5 5 5 0 3 3 5 5 0 5 0 3 0 0
A 0 0 0 5 5 5 5 0 3 3 5 5 0 5 0 3 0 0
F# 0 1 2 3 5 5 5 5 0 3 3 5 5 0 5 0 3 0 0 0 0 1 0
D 0 0 0 0 5 5 5 5 0 3 3 5 5 0 5 0 3 0 0 0 0 0 0
A 2 3 3 0 3 2 1 0 2 0
D 0 0 0 0 0
CLAPTON EXAMPLE 4: UPSTROKE ‘FLICK’ TECHNIQUE CD TRACK 7
Playing palm-muted bass notes with the picking hand thumb and and rhythm are well established, it’s possible to do this for surprisingly
using the first finger to ‘flick’ the high strings in an upstroke motion, extended periods without losing the thread of the piece. Check out the
this example breaks into a mini ‘solo’ in bars 3 and 4. As long as the riff tab, but use this idea as a springboard for further improvisation.
© ©»© ;
–3–
A7 Adim
n A7
# bœ
‰
PM
(Bass
notes)
E 9 9 9 8 8 8 9 5 5 5 5
B 8 8 8 7 7 7 8 5 5 5 5
G 9 9 9 8 8 8 9 8 7 5 7 5 6
D 7 7 0
A 0 0 0 0 0 0 0 0 0 0 0
E
#
n n
D7 A7 A Bm Cdim A 7/C
#
œ #
E 8 8 8 8 10 8 7 3 3 3 3
B 7 7 7 7 7 7 7 2 2 2 2 3 4 5
G 7 7 7 7 7 7 7 2 2 2 0
D 0 0 0 0 0 0 0
A 0 0 0 0 0 2 3 4
E
CLAPTON EXAMPLE 5: BOOGIEWOOGIE STYLE CD TRACK 8
Very reminiscent of a ‘boogie-woogie’ piano part, this idea uses offbeat smooth non-accented fashion, keeping the focus on the moving chord/
bass notes in a shuffle style. Like many of these examples, it can take riff. Also, note the rhythm/riff pattern is intentionally broken from time
a while to make it sound ‘right’. In this case, play the bass notes in a to time. Check bars 4, 6 and 7.
© ©»© ;
–3–
#
# #
E G F m7 E
3 3
œ œ n œ œ œ œ œ
E 0

B 0 1
G 0 1 2 4 2 0 1 2 0 2 0 1 2 4 2 0 1 2 4
D 0 2 2
A 2 0 5 4 2 4 2 4 5 4 2 4 5
E 0 0 0 0 0 3 2 0 0 0 0 0 0 0 0
March 2018 19
CLAPTON EXAMPLE 5 ...CONTINUED: BOOGIE WOOGIE STYLE CD TRACK 8
A7 E 3
3
#
œ œ
œ
E 5 0 0
B 2 3 5 3 1 2 3 5 0
G 0 1 2 4 2 0 1 2 4
D 4 5 4 2 4 5
A 0 0 0 0 0 0 2 4 5 4 2 4 5
E 0 0 0 0 0 0
JIMMY PAGE ACOUSTIC STYLE

I CHANGE TUNINGS AROUND. I’M SEARCHING
FOR NEW CHORDS AND SHAPES. I DON’T JUST SIT
DOWN AND PLAY SCALES Jimmy Page
PAGE EXAMPLE 1: DADGAD TUNING CD TRACK 9
Using one of Page’s favourite tunings, D-A-D-G-A-D (low to high) this The hammer-ons and pull-offs are a little fiddly at first, but a few plays
example mixes exotic scale patterns with occasionally dissonant chords. through should make it more comfortable.
C sus2
#
œ œ
D 0 0 0 0 0 0 0 0 0 0 0 0
A 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3 3
G 0 2 0 0 2 0 0 0 0 0 0 0 0 0 0 0 0 0
D 0 2 4 4 4 1 3 1 0 0 0 0 0 0 0 0 0 0 0 0 0
A 0 2 3 3 3 3 3 3 3 3 3 3 3 3
D
DADGAD tuning
G/B 3
# ...
1/4
.. œ œ n œ
D 0 0 0 0 0 0
A 2 2 2 2 2 2 1/4 0 0
G 0 0 0 0 0 0 0 2 0 0 4 5 4 0 2 0 2 0
D 0 0 0 0 0 0 0 2 4 4 0 4 0
A 2 2 2 2 2 2 2 0
D 3 0
20 March 2018

PAGE EXAMPLE 1 ...CONTINUED: DADGAD TUNING CD TRACK 9
Csus2 b
B maj7/D D5
D 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 3 3 3 3 3 3 3 3 3 3 3 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0
G 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3 3 3 2
D 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A 3 3 3 3 3 3 3 3 3 3 3 3 5 5 5 5 5 5 5 5 5 5 5 5 5 0
D 0 0 0 0 0 0 0 0 0 0 0 0 0 0
PAGE EXAMPLE 2: G TUNED CLAWHAMMER CD TRACK 10

Played in open G tuning (low to high, D-G-D-G-B-D) this example takes also demonstrates some interesting chord voicings that would not be
a more melodic, folky approach with clawhammer fingerpicking. It possible in conventional tuning.
G G maj7 G6 G
#
œ
D 5 4 2 0
B 0 0 0 0
G 0 0 0 0 0 0 0
D 5 5 4 4 2 2 0 0
G 0 0 0 0 0 0 0 0
D
Open G tuning
Cadd9 Bm 5 # Am7 B 6 b Am7 G
#
b
D 0
B 5 5 3 3 1 1 1 0
G 0 0 0 0 0 0 0 0
D 5 5 4 4 2 2 3 2
G 5 5 4 4 2 2 3 2 0
D
PAGE EXAMPLE 3: STRUMMING WITH SUS CHORDS CD TRACK 11
Using standard tuning, this example would also sound great on a adding a couple of sus2/sus4 melodic details and a nice ‘harmonics’
12-string. It demonstrates Jimmy’s approach to strummed chords, chord at the end!
D D Dsus2 Am Asus4 Am A sus2 C

^ G
# ^ ..
.. œ
gœ œ
E
^ ^
2 2 2 3 2 0 0 0 0 0 0 0 0 0 0 0 0 0
B 3 3 3 3 3 3 1 1 1 1 3 1 0 1 1 1 1 1 5
g
G 2 0 0 2 2 2 2 2 2 2 2 2 2 0 0 0 0 0 5
D 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2 0 5
g
A 0 0 0 0 0 0 0 3 3 3 3 3 2 0
E 3 3
March 2018 21
PLAY } ACOUSTIC ON THE CD TRACKS 4-13

PAGE EXAMPLE 4: VOICE LEADING CD TRACK 12
Using altered chord shapes to facilitate the top-line melody, this various stages. Note the slight variation in picking for bar 6, allowing
example keeps the finger-picking nice and even as it descends through the melody to continue unbroken through the D7/A chord.
A m7 F/A Am G /A G7/A G6/A
E 3
B 8 6 5 5 6 5 5
G 5 5 5 5 4 4 4 4
D 7 7 7 7 5 5 5 5
A 0 0 0 0 0 0 0 0
E
D /A D7/A Fmaj7/A F/A
E 0 0
B 3 3 3 1 1
G 2 2 2 5 5 2 2 2 2
D 4 4 4 4 3 3 3 3
A 0 0 0 0 0 0 0 0
E
PAGE EXAMPLE 5: STRUMMING PLUS BASS NOTES CD TRACK 13

Using open G tuning (as described earlier, but as a quick reminder straightforward to play by this tuning. Using a pick, keep the strumming
D-G-D-G-B-D, low to high) this example contains elements of jazz chord relaxed and watch out for the single bass notes, as these are an
voicings and chromatic chord movement, made relatively simple and important detail.
G Gadd9 G G7 G9 E m11/G Gadd 6 b Gadd 6/ 9 b

b
#
Gadd 6
^
gg œ œ
D ^0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
G 4 4 2 0 4 4 2 0 4 4 2 0 4 4 2 0
g
D 0 0 0 0 3 3 3 3 2 2 2 2 1 1 1 1
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
D
Open G tuning
G D /G G G maj7 A m7/G G A m7add11 Cmaj 9

(no 3rd)
# ^
œ œ œ œ œ œ œ œ œ œ œ œ œ œ g
D 0 0 0 0 0 0 0 0 0 0 0 0 0 0 ^0
B 8 8 0 7 8 3 3 3 3 3 1 0 1 1 1 1 5
G 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 4
D 9 9 7 9 4 4 4 4 4 2 0 2 2 2 2 5
G 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 0 2 2 X 5
D
22 March 2018
Clapton: again
playing a fabulous
vintage Martin
March 2018 23
Subscribe to
Save time and money; get GT delivered every month
CHOOSE YOUR PACKAGE
PRINT DIGITAL
Play
alo to the
ng
animated tab
in our iPad
edition
Every issue delivered to your Instant digital access on your iPad, iPhone, or
door with a Guitar Techniques’ CD Android device. The iPad version also includes
packed full of video and audio. video with animated tab and audio
ONLY £17.00 ONLY £6.75

Every 3 months by Direct Debit Every 3 months by Direct Debit
24 March 2018
GET THE COMPLETE PACKAGE
PRINT + DIGITAL BUNDLE

O Receive a Guitar
Techniques’ CD packed
full of audio and video
every issue
SAVE
31%
O Every new issue in
print and on iPad, iPhone
or Android device **
O Never miss an issue,
with delivery to your
door and your device
O Huge savings, the best
value for money, and a
money-back guarantee
O Instant digital access
when you subscribe
today
** Android does not have
audio or animated tab!
ONLY £20.00
Save 31%, every 3 months by Direct Debit
ORDERING IS EASY. GO ONLINE AT

www.myfavouritemagazines.co.uk/GTQsubs
Or Call: 0344 848 2852
TERMS AND CONDITIONS Discounted subscription price: Prices and savings quoted are compared to buying full-priced UK print and digital
issues. You will receive 13 issues in a year. You can write to us or call us to cancel your subscription within 14 days of purchase. Your subscription
is for the minimum term specified and will expire at the end of the current term. Payment is non-refundable after the 14 day cancellation
period unless exceptional circumstances apply. Your statutory rights are not affected. Prices correct at time of print and subject to change.
For full terms and conditions please visit http://bit.ly/magtandc. UK calls will cost the same as other standard fixed line numbers (starting 01 or
02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff ). Offer ends 28/02/2018.
March 2018 25
PLAY } GYPSY JAZZ ON THE CD TRACKS 14-21
Django Reinhardt
His style in 25 licks
In this special feature John Wheatcroft takes a licks
based look at the unique style of Belgium born gypsy guitarist
Jean Reinhardt, better known to the world simply as ‘Django’.
jazz, and the trumpet style of Louis Armstrong
ABILITY RATING Moderate/Advanced ----- LQSDUWLFXODU'MDQJRZDVSHUIRUPLQJDJDLQ
Info Will improve your… Picking technique DQGLQKHIRUPHGWKH4XLQWHWWHGX+RW
Key Various Tempo Various CD TRACKS 14-21 Gypsy jazz vocabulary Projection and dynamics Club de France with Stephane Grappelli. This
ZDVWKH¿UVWDOOVWULQJMD]]JURXSDQXQXVXDO
D
jango Reinhardt is the complete executed with total ease. I literally couldn’t line-up of two rhythm guitars, violin, double
guitarist’s guitarist. George Benson, believe that the guitar could sound that EDVVDQGZLWK'MDQJRRQDFRXVWLFOHDG
Brian May, Jeff Beck, Hank Marvin, beautiful, and when I then learnt that he was ,QKHYLVLWHG$PHULFDDVWKHJXHVWRI
Peter Frampton, Les Paul, Yngwie executing all of this with mostly two fretting 'XNH(OOLQJWRQDQGRQKLVUHWXUQKHVZLWFKHG
Malmsteen, Allan Holdsworth, Chet Atkins ¿QJHUV,EHFDPHDIDQIRUOLIH6RZKHUHGLG to electric guitar and began incorporating the
and millions of guitarists worldwide, famous this musical genius come from? LQÀXHQFHRIµEHERS¶LQWRKLVSOD\LQJ6DGO\KH
and not so famous, have been captivated by 'MDQJRZDVERUQLQLQLQ/LEHUFKLHV VXIIHUHGDIDWDOVWURNHLQ%XWHDFK\HDU
the self-taught gypsy genius who knew Belgium, into a family of Manouche gypsies. in June thousands of music fans visit the Jazz
nothing of music theory and could barely read Prodigiously talented, by age 13 he was Manouche festival in Samois to celebrate the
and write. What’s more, he only had two legacy of this gypsy jazz maestro.
IXQFWLRQLQJ¿QJHUVRQKLVIUHWWLQJKDQG DJANGO STRETCHED ,¶YHSUHVHQWHGH[DPSOHVWKDWZRUNLQD
I was around 14 years of age and was being THE GUITAR IMAGINATION variety of harmonic settings, followed by a
told off by my dad yet again. “Turn that racket ORQJHUEDUVWXG\DJDLQVWDEOXHVLQ*
down, and anyway; that music’s terrible. You TO ITS LIMIT. HE WAS minor. This is literally the tip of the iceberg, as
should listen to this guitarist. He’s by far the THE FASTEST, THE MOST ,FRXOGHDVLO\SUHVHQWDQRWKHUQHZLGHDV
EHVWDURXQG´&HUWDLQWKDWDUHFRPPHQGDWLRQ each month for the next 10 years. The aim is
from my dad was bound to be rubbish and
CREATIVE, HE HAD GREAT encourage some research of your own, as this
that my pointy-headstocked-wielding, RHYTHM, AND HE WAS A is where the real learning will begin, but for
spandex-wearing, uber-shredding hero could GOOD COMPOSER TOO now grab your acoustic and dive in.
not possibly be topped (it was the 80s, after There’s no need to play the examples using
all), I begrudgingly checked him out, mainly
George Benson 5HLQKDUGW¶V¿QJHULQJVDOWKRXJKLW¶VDOZD\V
so that I could point out how unbelievably performing with the street entertainers of fun discovering how they work). In a
misguided and out of touch the old man was. 3DULVEXWLQKHVXUYLYHGD¿UHWKDWOHIW performance situation anything goes, so I’d
Such is the impetuousness of youth. KLPZLWKDVHYHUHO\GLV¿JXUHGOHIWKDQG+H advise that you play them whichever way
+RZZURQJFRXOG,EH'MDQJR¶VSOD\LQJ RQO\KDGIXOOXVHRIWKH¿UVWDQGVHFRQG works for you. I hope you enjoy play these
had it all: technical dexterity beyond anything ¿QJHUVEXWZLWKJUHDWGHWHUPLQDWLRQKH ideas as much as I did putting this article
I’d ever heard before (or since for that evolved a completely new method for WRJHWKHU6RjELHQW{WHWERQFKDQFH
PDWWHU¿OOHGZLWKVHQVHRIMR\DQG ¿QJHULQJXVLQJWZR¿QJHUVIRUVLQJOHQRWHV
playfulness. There was the feeling of no and making limited use of the crippled third 5 5 5
restrictions whatsoever, with such a complete DQGIRXUWK¿QJHUVIRUSOD\LQJFHUWDLQFKRUGV 3 3
expressive and dynamic delivery, and all Inspired by the radical new art form of
GAIN BASS MIDDLE TREBLE REVERB

TECHNIQUE FOCUS Django’s Picking
A huge amount of Django’s tone, drive and musical personality came from his incredible picking technique.
The technique comes from a completely ‘broken-wrist’ motion and its accommodating floating posture,
rather like a controlled version of the move you’d use to shake your hands dry, and it’s hugely weighted in The above settings are for an acoustic amp. Django
favour of the downstroke. The general rule is to start each new string with a down, even when descending used a Selmer guitar by Maccaferri, but there are many
through a scale or arpeggio. You’ll notice that most of Django’s really fast phrases are generally ascending, affordable replicas, from bespoke hand-built jobs from
although he had his moments going the other way too! To assist the production of volume for what is Dupont and Rob Aylward (what you hear on the CD), to
essentially a completely acoustic style of playing, you’re after the plectrum equivalent of the classical guitar great off-the-peg brands such as Gitane and
Manouche. Strings are light for an acoustic (.010 or
rest-stroke, although here the destination string that our pick comes to rest is nearest the floor. The type of
.011), but these guitars have an extra-long scale length
pick you use makes a massive difference too. Generally they’re huge (5mm is not uncommon) and made and the action needs to be high for projection and
out of genuine tortoiseshell, today a pretty non-PC material to be seen with. Thankfully Michel Wegen clarity. Of course any acoustic will do until you decide
produces by far the best and most popular man-made alternatives (www.wegenpicks.com). to get serious about playing gypsy jazz.
26 March 2018
NGO REINHARDT { ACOUSTIC SPECIAL
N
Django: note the

withered but not
entirely unusable
3rd and 4th fingers
WILLIAM GOTTLIEB / GETTY IMAGES
TRACK RECORD My personal favourites are the three JSP box sets chronologically covering his career from the earliest Quintette 78s to
his later electric guitar sessions. Django was remarkably consistent, and I’d happily endorse anything that has got his name on it, but if
pushed to pick just one CD that showcases his finest playing I’d choose (today at least) Jazz In Paris – Swing 48 (SSC 2002).
March 2018 27
PLAYING TIPS CD TRACK 15
[Lick 1] We kick off with a bouncy idea than outlines the move from chord V7 usual 3rd and 7th degrees (B and F) but the 3rd and 6th (E and A). This line, like
(G7) to chord I (C), although you’ll notice that often Django targets not the all of these examples, should be played with a ‘swung eighth’ feel.
©»™™º G 7/ 6 C
E 3
B 5 5
G 2 3 4 4 4 5 5
D 5 4 3 5
A
E
[Lick 2] Two omnipresent themes within Django’s soloing are the targeting of but in single-note form - Django would often preface an arpeggio with a
the 6th degree (here we’re looking at this against a minor triad to create chromatic note from below, giving it much more sophistication. We can clearly
R-b3-5-6 = m6), and the chromatic decoration of basic triad and 7th chords see both of these concepts employed in this neat II-V-I idea in the key of A.
©»™™º B m6 E7
# A
# ‰
3 3
E 10 14 12 14 12 11 12 9 10 9 10 9
B 9 12 10 10 12 10
G 11 9 9
D 9 12
A 9 10 11
E
[Lick 3] Django’s lines had great rhythm, and he had fantastic timing. In this chromatically ascending arpeggio idea phrased in 6 against 4. You’ll find this
phrase, usually played in a break (when the rhythm section stops playing fingering for major arpeggios used a lot in Django’s soloing, as this is one of the
and the soloist is left to his own devices to keep time), he superimposes a easiest shapes to play convincingly with just two alternating fretting fingers.
©»¡™º D7
b #
G
E 2 3 3 4 4 5 5 6 6 9 12 9 10
B 3 4 5 6 7
G 2 3 4 5 6
D 0 4 0 5 0 6 0 7 0 8
A
E
[Lick 4] Here’s a Django intro that leads to the key of D. He uses a mixture of see frequently in both Django’s soloing and his unaccompanied style, no
chords tones, Whole Tone scale and chromaticism in one lick. Augmented doubt influenced by a combination of their musical effectiveness and their
ideas tackled with whole steps moving diagonally are another idea that you’ll fingering logic when using just the first and second fingers.
©»¡™§ #E 13 A 9#5
.. ‰ .. ‰ ‰
3 3
E
B . 9
7
7 9 7
9 7 . 7
6
5 7 5
6 4
G
D
A
. 7
6
7
9 6 . 6
5
6 4
7 6 5 4 3 7
0
E
[Lick 5] We begin with a closely positioned semitone neighbour-tone To facilitate the wide stretches Django would retract the first finger and turn
decorated C6 arpeggio (C-E-G-A), moving onto a widely spaced Cdim7 his wrist to an angle counter-clockwise, so these kinds of stretches presented
(C-Eb-Gb-Bbb ), and ending with a touch of blues by targeting the b3rd (Eb). no problem to him. Mere mortals might like to use the third finger instead.
©»™º C C dim
bC C 6/ 9
b
3
E 4 5 8 10 11 10 8 10 8 8
B 4 5 4 5 7 10 8
G 4 5 4 5 5 8 7
D 4 5 4 4 7 7
A
E
28 March 2018
N
[Lick 6] Athough famous for his ability to play in all keys it was not uncommon guitar works best. This idea sets up another rhythmically displaced phrase,
for Django to change the key of a piece to allow him access to a greater range here 3 against 4, and he’d keep this going for as long as an entire chorus,
of open strings and all the natural harmonics available in keys in which the making amendments to the note content to maintain a sense of surprise.
A b9 G b9 G9
b . . . . .
b bb
C
© ™º b bb
.
E 11 11 11 11 11 9 10
B 11 11 11 11 11 9 10
G 12 11 10 11 12 11 11 11 11 11 9 9
D 0 10 0 10 0 10 0 10 0 10 0 10 10 10 10 10 10 8 9
A
E
[Lick 7] Move over Yngwie Malmsteen, here’s a five-string major triadic sweep the jaunty nature of the line. The phrase begins with a device bebop musicians
lick that dates back to the early ‘30s. Once again, this is perfectly playable with refer to as enclosure, boxing in the root of our G major triad with the semitone
just two fingers; you just need to jump about a little bit more but this adds to below (G#), and the scale tone above (A).
© ™¡º G
E 15 14 17 14 15 14 17 14 15 14 17 14 15 10 10 15
B 12 12
G 12 12
D 12 9 9 12
A 10
E
[Lick 8] This phrase spells out the chords of Dm6 (D-F-A-B), moving towards joining the 5th and 6th of D (A to B) with the semitone found nestling in-
Am. As you’re no doubt beginning to spot, Django really liked to use between. This lick showcases the first instance of the semitone bend, another
chromatic notes to connect strong chord tones together, so in this case we’re Reinhardt staple move and instantly recognisable as him.
© ¡§º D m6b 3
3 3 b nœ #œ
j
Am
w
Am6/ 9
‰
3 3 3
3 3
BU
E 7 6 5 5 6 7 8 6 (7 ) 7 7
B 6 6 4 5 7 7
G 7 4 4 7 5 5
D 7 7 7 7
A 8 5 5 8
E 7 5 7
[Lick 9] Django had a knack of making the simplest musical ingredients sound (Db-F-A b-C b-E b) resolving to C. Theoretically astute readers will recognise this
great. In this case it’s the humble C Major scale (C-D-E-F-G-A-B), although as a ‘tritone substitution’, and if ever there was the perfect lick to be executed
things get spiced up harmonically speaking with a shift towards Db 9 with just two fingers then this is surely it!
D b9
C
b
C B 6 C6
3 3 3 3
E 7 8 4 5
B 9 4 5
G 8 4 5
D 9 4 5
A 0 2 3 3 2 0 0 2 3 3 2 0 8
E 3 3 3 3 9
[Lick 10] Never mind two fingers, how about no fingers! Django used this resourceful and open to any idea you really can make such a little go a really
idea to begin one of his most famous improvisations, showing how if you’re long way. Follow the picking indications and you should be good to go.
Rubato A11/E 5 A 11/E 5
j j . œ œ j j . œ œ
œ œ œ œ œ œ
Let ring Let ring
E 0 0
B 0 0 0 0
G 0 0
D 0 0
A 0 0 0 0 0 0 0 0
E 0 0 0 0 0 0 0 0

March 2018 29
[Lick 11] This lick uses the same geometric shape moved horizontally to spell actually use all four fretting fingers on occasion, and especially for chord
out the underlying chord changes. Pick each four-note group with three playing. He was just unable to move the third and fourth digits independently
consecutive downstokes and one upstroke. If you were wondering just how and without shifting his entire hand which, as you can imagine, usually proved
Django might finger such an idea, you may be surprised to learn that he did to be too fiddly for single-note work.
A7
œb # œ
Dm
b
E 0 3 3 6 6 9 9 7 7 10 10 13 13 10 10
B 2 2 5 8 6 9 12 9
G 3 3 6 9 7 10 13 10
D
A
E
etc
B b6
#
A7
b b
E 9 9 12 12 9 9 6 6 5 5 8 8 11 11 10
B 8 11 8 5 4 7 10
G 9 12 9 6 5 8 11
D
A
E
[Lick 12] As we’ve seen, a huge amount of Django’s soloing vocabulary comes us many of the intervals found within G6 (6-R-3), so therefore both can be
from the notes contained within the actual chords themselves, and this idea perceived as one and the same. In this line we also see the use of D Dominant
is no exception. Chord/arpeggio plurality is a frequently exploited Reinhardt Pentatonic against D7 (R-2-3-5-b7). I prefer to see this as a condensed version of
device. So for example, E minor (E-G-B) positioned against a G root gives a G9 arpeggio (R-3-5-b7-9), but with all the notes found within each octave.
©»™¡º G D7
#œ
j G D7
BU BD
E 3 7 10 8 9 (10 ) ( 9) 7 7 10 8
B 5 10 7 8 8
G 7 4 9 7 7 7 7
D 5 2 5 9 9
A
E
[Lick 13] You see quite a lot of 6/9 chords in Reinhardt’s style, both as an considered by many to be the king of the octave in jazz - and Hendrix in blues
accompaniment device and as a means of adding intensity to his improvised and rock - as with so many techniques Django got there first and made them a
solos. Although legendary electric jazz guitarist Wes Montgomery is big part of his soloing vocabulary.
F #6 / 9 G 6 / 9 G #6 / 9 A 6 / 9 B b6 / 9 B 6 / 9
b n
C 6/ 9
#œ
j ~~~
E 2 3 4 5 6 7 8
~~~
B 2 3 4 5 6 7 8 8 8 6 8
G 1 2 3 4 5 6 7 8 9 9
D 1 2 3 4 5 6 7 5 5 3 10
A 10
E
[Lick 14] The fifth mode of the Harmonic Minor scale, the Phrygian Dominant and even Baroque-era classical composition, all big influences on Django. The
(R-b2-3-4-b6-b7) produces a sophisticated and highly exotic sound against a use of this tonality gives much of Reinhardt’s soloing style a distinctly non-
dominant 7th chord. You’ll hear it in flamenco, eastern European folk music, American jazz flavour.
A7 b 9
©»¡¡§ .
.
#œ
E
B 8 9 10 8 8 10 11 10 11 10
G 9 10 9 10 9 7 6 6 9
D 8 7 5 5 8
A 8 7 5 4 7
E
30 March 2018
N
PLAYING TIPS CD TRACKS 17-18
[Lick 15] This unaccompanied intro phrase implies the harmony of D7, G13(b9) encourage Django to accentuate his staccato phrasing. Once again, he’d use
and G13, using a combination of Pentatonics and arpeggios. These stretches his dormant fourth finger for the high E note in our final G13th chord.
G13 b 9
© ¡ª™ D7 G 13
..
n b ..
E 5 8 12 8 5 5 8 12 7 4 4 7 12 12
B 5 8 7 6 10 10
G 5 7 10 10
D 5 7 9 9
A
E
[Lick 16] Our next example showcases Reinhardt’s mastery of manipulating point at the harmonic ‘node’ point exactly 12 frets higher than the note you’re
artificial harmonics, sometimes over a complete chorus or greater. The trick fretting with your other hand. This is a tricky, but highly effective technical
is to hold the pick between thumb and second finger, using the first finger to approach to get under your fingers.
D b7 G m7 b 5 C7 b9
© ¡¡§ b b
F
AH AH AH AH
19
E
B 8 11 10
G 10 10 7 6 9 9 7
D 10 9 8 11 7 10
A 7 10
E
[Lick 17] I could easily have filled this entire article with just Django’s chord fragment combination was inspired by the sound of a train hurtling by
fascinating chord-based ideas, such was his inventiveness. Unfortunately for at top speed, so aim for accuracy and work with the metronome daily to get
now this one will just have to whet your appetite. This rapid-fire bass line and things up to pace.
B b7 E b7 A b7 D b7 D bdim
C6 G7/D C6 B7 C6 A7 D7 G7 C6 D m7 G7
œ œ bœ œ b œ
E
B
G 9 10 9 8 9 7 6 6 5 5 4 10 9 9 10 10
D 7 9 7 7 7 6 5 5 4 4 3 9 7 8 10 9
A 6 5 10
E 8 10 8 7 8 6 5 4 3 9 8 9 10
[Lick 18] This idea is about fretting the same note in two different locations displacing the shift in groups of three against two/four. He’d often move up in
on the guitar, sliding into the lower note and adding interest by rhythmically semitones, targeting a strong chord tone to come off at an appropriate place.
© ™¢º G G A b7 # 9 G
# . .. œ
.
E
B . 5 5 5
10 10 10
5 5 5
10 10 10
5 5
10 . 3 4 7
7 3
5
G
D
A
. . 5
4 5 5
5
E
[Lick 19] Reinhardt was one of the first guitarists to exploit the potential of were no doubt carried over from playing the violin, helped by the fact that
bending strings, along with his expert control over vibrato. These techniques Django favoured extremely light strings but with a really high action.
© ™ºº B7 B7 b 5 E
# nœ . œ
j .
BU BU
E
B
G 10 (11 ) 9 (10 ) 8 10 9
D 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
A
E
March 2018 31
[Lick 20] The important factor when using such open-ended chromatic Django’s playing always had a super-strong sense of intent at all times. One
vocabulary as you see here is having a clear destination point in mind, so never gets the impression that he doesn’t know where he is heading with any
that the exit sounds bold and confident and is approached with conviction. particular musical idea.
©»™ºº b E7 b
B 7 Am
# n
.
E 12 12 11 11 10 10 9 9 8 8 7 7 5 5 4 4
B 6 6 5 5 5
G
D 7 7
A
E
[Lick 21] Here we see a typical arpeggio based idea against the chord of F7, this kind of stuff all over Django’s late 40s playing, especially when he’s using
morphing into a bluesy phrase against our destination I chord of C. We’re a magnetic pickup into a small valve amp. Django had heard blues guitarist
exploiting the minor 3rd against major here, a typical blues move, and you see Lonnie Johnson and there’s clearly some of Lonnie’s influence at work here.
F7
b bC7 b
#œ
j
~~
.
3
E 10 8
BU
8 10 11 10 8
~~
B 11 8 9 (10 ) 11 10 8
G 7 8 8 10 8 9
D 10 9 8 9 8 7 10 7
A 10
E
[Lick 22] Even though Django was completely self-taught, he’d often display straightforward to play, the implied harmony comes from D Whole Tone scale
a thoroughly developed sense of harmonic sophistication within his lines. for the D7 (R-2-3-#4-#5-b7), G Lydian b7 for G7 (R-2-3-#4-5-6-b7), and then the
While this example, against the B section from ‘rhythm changes’, is fairly same choices down a tone for C7 to F7.
# # # #
nœ
#œ œ œ œœ #œ œ nœ œ œ œ œ œ œœœ œ œœ n œœœ œ œœ
D9 5 G7 11 C9 5 F7 11
E 10 12 10 12 9 10 12 13 9 10 12 13 8 10 8 10 7 8 10 11 7 8 10 11
B 11 13 11 13 9 11 9 11
G
D
A
E
[Lick 23] And here’s a technically more challenging idea over the same chords. (D-F#-A-C and Eb) and C7 (C-E-G-Bb-Db). Once again, we can sense a strong trace
This time we’re utilising a chromatically decorated G7(b9) arpeggio for both D7 of flamenco in Reinhardt’s choice of notes and rhythmic phrasing.
n # . .
b .
D7 G7
E 11 12 9 9 9
B 10 13 9 8 10 10
G 11 10 10
D 10 12 13 9 9
A 9 12
E 10 11 10 9 10
C7 b F7
n . .
.
œ
E 9 10 7 7 7
B 8 11 7 6 8 8
G 9 8 8
D 8 10 11 7 7
A 7 10
E 8 9 8 7 8
32 March 2018
N
[Lick 24] Our penultimate phrase takes the chromatic connection concept with another example of the enclosure concept, that is to go a semitone lower
a stage further, with an initial idea that connects a selection of tone gaps and then the scale tone higher than each chord tone that we have in sight.
consistent with E13-E9. Once again these three-note couplets are rhythmically You can create numerous variations on these ideas by mixing up the order,
displaced against our underlying eighth-note quaver pulse. We end this phrase although it usually sounds strongest if you exit on the chord-tone itself.
E7
n A
~~~~
#
E 9 8 7 4 7 5
~~~~
B 9 8 7 9 8 7 4 9 5
G 9 8 7 9 8 7 5 7 6
D 6 7
A
E
[Lick 25] Okay, so I couldn’t resist shoehorning another chordal idea in, but is quite an amazing feat considering the extent of the damage to his paralysed
this one’s so cool I’m certain you won’t mind. Here we’re connecting a series third and fourth digits. But the music came first and necessity being the
of associated voicings in D major with an associated first-string melody note. mother of invention, this is but one of the many solutions Reinhardt came up
Once again, Django would approach these with all four fingers, which in itself with to satisfy his desire for piano-like harmony from the guitar.
D6 A7 b 9 D A7 D6 A G Dmaj7 D
b
Rubato
E 14 15 12 14 10 12 9 10 7 9 5 7 3 5 2 2 5 7
B 12 11 10 8 7 5 3 2 3 7
G 14 12 11 9 7 6 4 2 2 7
D 0 4 7
A 0
E 2 10
COMPLETE SOLO: Minor Blues] We conclude our look at Django’s unique superimposing some effective substitution in the appropriate locations, such
soloing style with a complete solo study based around a typical blues 12-bar as G7 as a precursor to Cm (the secondary dominant principle), and A b 7 in
sequence in the key of G minor. The basic chords are Im (Gm), IVm (Cm), place of D7 (tritone substitution). I hope you’ve enjoyed this look into the style
and V7 (D7), although Reinhardt demonstrates his harmonic awareness by of one of the true giants of guitar.
© ¡¶§ b n .
Gm
n n
‰
3 3
E 6 10 8 10 8 8 11 9 10 6 7 10 11 7 10 8
B 8 10 8 9
G 7 8 7 7
D 5 7 8 10 8 9
A
E
1
C m6 Gm
3
j
#œ
3 3 3 3 3
3 3 3
BU
E 11 15 11
B 10 8 8 10 13 13 3 4 5 6 4
G 8 8 10 12 8 5 6 (7) 3 5
D 10 9 8 7 10 7 5 7 5
A
E
5
D7 Gm D7 b 9 Gm
‰
3
E
B 3 4 3 4 6 4 3 8 8
G 5 3 2 5 0 7 8 5 7
D 5 4 6 8 5 7 4 5 8
A
E
9
March 2018 33
PLAY } ACOUSTIC BLUES ON THE CD TRACKS 22-29
A hundred years of
Acoustic blues
In this fascinating feature Tristan Seume takes a stylistically in-depth
look at the acoustic blues greats of the last century, from Son House and
Mississippi John Hurt up to Eric Bibb and Kelly Joe Phelps...
ABILITY RATING Moderate ----- Mississippi Fred McDowell, brought the
Info Will improve your… Slide playing in open tunings skilful touch and precise intonation of a
modern virtuoso to the blues. And Martin
Key Various Tempo Various CD TRACKS 22-29 Fingerstyle co-ordination Blues licks repertoire
Simpson, inspired by the likes of Big Joe
Williams, switches from English ballads to
F
ew playing styles provide us with the bass pattern offset by a syncopated melody. authentic Delta blues with ease. Another
same level of satisfaction as acoustic 7KHPRVWQRWDEOHH[SRQHQWRIUDJWLPHJXLWDU QRWDEOHFRQWHPSRUDU\¿JXUHLV1HZ<RUNHU
blues. In spite of the sorrowful tales the was Blind Blake – a player with speed and Eric Bibb, a wonderfully tasteful player with
lyrics often tell, there is something GH[WHULW\WKDW¶VFRQVLGHUHGUHPDUNDEOHHYHQ DVPRRWKYRFDOVW\OH+LVSOD\LQJLVDPL[WXUH
deeply appealing about the image of sitting on by today’s standards. of Travis-style alternating bass, with chord
the front porch with nothing but three chords In contrast to the mournful rural sounds of FKDQJHVLPSOLHGE\LPSURYLVHG¿OOV
and a beat-up Gibson, Harmony or Kay. With the Mississippi Delta, the lighter side of blues The following pages aim to demonstrate a
that in mind, for this feature, we’ll be looking ZDV GHPRQVWUDWHG E\ ¿JXUHV VXFK DV %LJ %LOO ZHDOWKRIEOXHVLGHDVZLWKH[DPSOHVRIVOLGH
in depth at the tricks and idiosyncrasies of the UDJWLPHDQGVHOIDFFRPSDQLHG¿QJHUVW\OH
acoustic blues greats from the likes of Robert
Johnson and Blind Blake, right up to date
INTERNATIONALLY culminating in a sort of ‘ultimate blues’ that
incorporates a bit of everything.
with modern day masters such as Eric Bibb RENOWNED ARTISTS As ever, our aim is for you to use these
and Kelly Joe Phelps. SUCH AS BILL BROONZY H[DPSOHVDVDODXQFKSDGIRU\RXURZQ
One classic sound identifying early Delta creativity. This is such a wonderful style to
Blues was bottleneck or slide guitar, in which WOULD INSPIRE AND KDYHXQGHU\RXU¿QJHUV±HYHQLIEOXHVLWVHOILV
players would adopt an open tuning, typically PAVE THE WAY FOR not particularly your thing – that everyone
open E or A, and move an object such as the can enhance their breadth and repertoire by
neck of a bottle, a piece of copper tubing or
NEW GENERATIONS adopting some of these ideas. Check out some
even a knife up and down the neck creating OF ACOUSTIC BLUES of the fabulous footage that’s now accessible
rudimentary harmonies, and microtonal
increments. Charley Patton, Son House and
GUITARISTS RQ<RX7XEHWRR+DYHIXQ
%XNND:KLWHZHUHLQÀXHQWLDOH[SRQHQWVRI Broonzy, whose more urban, populist sound 5

this style who used National resonators to would see him perform at prestigious venues 3 7 7
3
SOD\UHSHWLWLYHRSHQDQGVLQJOH¿QJHUFKRUGV to black and white audiences alike (at a time
LQWHUVSHUVHGZLWKVOLGH¿OOVXVXDOO\ZLWKD when segregation was still rife in certain areas
simple bass-string accompaniment. of America). Broonzy’s sound was muscular
Possibly the greatest of all the bluesmen DQGIRUFHIXOVRPHWLPHVSOXFNLQJVR¿UPO\
(certainly according to Eric Clapton) was the that the strings bent sharp. He was, however,
enigmatic Robert Johnson, whom Son House a highly rhythmic and articulate player, with
Most of the early bluesmen like Robert Johnson
VWURQJO\LQÀXHQFHG-RKQVRQ¶VP\VWHULRXV songs such as Hey, Hey encapsulating his
and Blind Blake used small-bodied guitars –
demise at the young age of 27 is one of the light-hearted approach perfectly. portable and easy to handle. I used my diminutive
great legends of music. Johnson made just a Internationally renowned artists such as 00-sized Fylde Goodfellow for the recording. For
handful of recordings, notably Sweet Home Broonzy would inspire and pave the way for slide work, steel resonators sound great, and
Chicago and, of course, Crossroad Blues. new generations of acoustic blues singers these days, there are many good instruments in
the sub-£500 range. Try a variety of slides, bearing
0XFKRIWKHHDUO\EOXHV¿QJHUVW\OH and guitarists: Kelly Joe Phelps, a former in mind that the heavier it is, the longer the
repertoire was based on ragtime – a style jazz musician converted to the blues after sustain will be.
borne out of classical idioms such as a leaping listening to the old masters such as
34 March 2018
OUSTIC BLUES { ACOUSTIC SPECIAL
Son House: One of

the Delta’s most
legendary blues
performers
HULTON ARCHIVE / GETTY
TRACK RECORD There are many great acoustic blues compilations out there but here are some of my favourites: Son House, Father Of
The Delta Blues: The Complete 1965 Sessions (1992); Robert Johnson, The Complete Recordings (1990); Blind Blake, The Best Of Blind Blake
(2005); Big Bill Broonzy, Trouble In Mind (2000); Kelly Joe Phelps, Shine Eyed Mr. Zen (1999); Eric Bibb, Booker’s Guitar (2010)
March 2018 35
EXAMPLE 1: SON HOUSE Son House’s rudimentary bottleneck style was all hitting the bass and treble strings using open tunings such as open G
about feel and attitude. He played with his thumb and first finger, alternately (D-G-D-G-B-D) as in this example.
G C G B 5 G 5 C5 G C B5 G5 C5 G
#
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
D 0 5 0 0 5 0 0 0 5 0 0 5 0 0
B 0 5 0 0 5 0 0 0 5 0 0 5 0 0
G 0 5 0 0 5 0 0 0 5 0 0 5 0 0
D 0 0 0 0 0 0 4 0 0 0 0 0 0 0 0 0 0 4 0 0 0 0
G 0 0 0 0 0 0 4 0 0 0 0 0 0 0 0 0 0 4 0 0 0 0
D
1
Tuning – Open G – DGDGBD
D C5 B 5 G5 b C G 5 C5 b
B 5 G C G B5 G5 C
#
œ œ œ œ œ œ œ œ œ œ œ
D 7 7 7 7 5 5 5 5 0 5 0 0 5
B 7 7 7 7 5 5 5 5 0 5 0 0 5
G 7 7 7 7 5 5 5 5 0 5 0 0 5
D 7 7 7 7 0 5 3 0 5 5 5 5 0 5 3 0 0 0 0 0 0 0 4 0
G 7 7 7 7 0 5 3 0 5 5 5 5 0 5 3 0 0 0 0 0 0 0 4 0
D
5
EXAMPLE 2: ROBERT JOHNSON This intro lick is a classic dissonant phrase to an A chord. The last notes imply an E7 turnaround chord announcing the
for a blues in A, using a descending dominant 7th chord shape, that resolves beginning of the song.
A7/E 3
b
A 7/E 3 G 7/E A N.C. E7
qq=qce
# bn 3
. . . . . Œ Œ
PM
E 9 9 8 8 7 5
B 8 8 7 7 6 5
G 9 9 8 8 7 6 7
D 6
A 9 8 7 7
E 0 0 0 0 0 0
1
EXAMPLE 3: ROCK AND ROLL INSPIRATION Following the intro idea, here’s a placed in the upper octave with a monophonic thumbed bass. In bar 2 fret the
groove that inspired the classic A5-A6 phrase so common in 50s rock ‘n’ roll, but F# bass note with your thumb by reaching over the top of the neck.
A7 D7/F # A7 E7
qq=qce
#
œ œ
BU
E 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
B 5 5 7 7 8 8 7 7 1 1 3 1 3 (4 ) 3 1 5 5 7 7 8 7 5
G 6 2 6 7 7 7
D 6 6 6
A 0 0 0 0 0 0 0 0 7 7 7
E 2 2 2 2 0 0 0 0
1
36 March 2018
EXAMPLE 4: MAJOR-MINOR Robert Johnson used open tunings for his toys with the bluesy ambiguity between the minor and the major 3rd in G
bottleneck playing on songs like Travelin’Riverside Blues. Here’s a slide riff that major. The tuning for this example is open (G-D-G-D-G-B-D), low to high.
#
G7 9
#
œ œ n
D
B 0 0 0 3 0 0 3 5 3 0 0 0 0 3 0 0 0 0
G 0 3 0 0 3 0 0 3 3 5 3 0 3 5 0 3 0 0 3 0 0 3 0 0
D 3 3 3 5 3 3 3 2 0
G 0 0 0 0 0 0 0
D 3 2 0
1
EXAMPLE 5: LONNIE JOHNSON Joining up chordal passages with licks that Johnson, whose playing crossed over into jazz, for an object lesson in taste.
target notes in the chord changes can add a touch of class. Listen to Lonnie Notice the piano-like hammer-ons, which add articulation and definition.
qq=qce E7
> >
3
# n
‰
3 3 œ œ 3 3
3
E 5 3 4
B 0 5 5 7 5 0 0 5 5 0 5 7 5 3
G 6 6 6 0 1 7 7 6 4 5
D 6 6
A
E 0 0 0
1
A7 E7
# > > > >

3
6 3
BU BD
E 0 7 9 0
B 5 5 9 7 (8) (7) 5 2 0 5 5
G 6 6 6 6 4 2 0 1 7 7
D 5 5 2 6 6
A 0 0 0
E 0
4
EXAMPLE 6: BIG BILL BROONZY Here’s a similar idea, but with a repeated double-stops; Broonzy would often play with such power as to inadvertently
melodic motif, in the style of Big Bill Broonzy. Notice the semi-muted bass play two bass strings at once – but it sounded great!
C C6 C C7 C6 C F F6 F F7 F6 F
qq=qce
E 0 0 0 0
B 4 3 1 1 1 1 1 1 1 4 3 1 1 3 1 4 3 1
G 2 0 0 2 0 3 2 0 2 0 2 2 2 2 2 2
D X X X X X X X X
A 3 3 3 3 3 3 3 3 X X X X X X
E 1 1 1 1 1 1
1
March 2018 37
F7 F #
F dim G C
#
E 0 0 0 0
B 4 3 1 1 1 1 1 0 0 0 3 4 3 1 1
G 2 0 2 2 2 2 0 3 3 2 0 0
D X 2
A X X X X X 3 3
E 1 1 1 2 2 3 3
5
EXAMPLE 7: BROONZY TURNAROUND Broonzy’s light-hearted approach major. Notice the lack of the usual V chord at the end of this phrase, giving a
is shown here, with a turnaround phrase for the last four bars of a 12-bar in E sense of urgency to the overall feel.
qq=qce B 7/A 3 A7 . E7 3
#
3
E 5 4 7 5 3 2 0 4 0 2 0 4 0
B 4 3 3 3 3 0
G 4 4 0 1
D 4 4 2 2 2
A 0 0 0 0
E 0 0 0 0 0 0
1
EXAMPLE 8: MISSISSIPPI JOHN HURT For a more country-blues sound, in the dropped D tuning (low to high D-A-D-G-B-E) and alternating the bass as shown
vein of great guitarists such as Mississippi John Hurt or John Fahey, try this here. This style re-occurs often in the playing of these bluesmen.
D G
# . .
E 5
B 6 7 6 5 3 3 6 5 3
G 4 4 4
D 0 0 0 0 0 0 0 0
A
D 0 0 0 0 5 5 5 5
1
Tuning – Dropped D
D D7 D
# .
. .
E 5 7 10
B 3 3 6 7
G 2 2 5 2
D 4 4 4 4 0 0
A
D 0 0 0 0 0 0 0
5
38 March 2018
Big Bill Broonzy:

He influenced
many later blues
musicians
March 2018 39
EXAMPLE 9: DOCWATSON Doc Watson’s take on the blues crosses over with chord. Why not try hybrid-picking this example, using a pick and your second
country and bluegrass. Note the banjo rolls in bars 3-4, which arpeggiate an E7 and third fingers.
E7 A 7 9/E b E7
qq=qce
# b .
Œ
E 7 6 4 0 0
B 5 5 3 3 3 3
G 6 4 4 4 4
D 6 6 5 5 6 0
A
E 0 0 0 0 0 0
1
A9 A7 9 b N.C. E
# b .
nœ #œ œ œ œ n w
E 7 6
B 5 5
G 6 4 3 2 1
D 5 5 5 5 2
A 0 0 0 0 2 2 4 2 5 4 3 2
E 0 3 4
5
EXAMPLE 10: JOSH WHITE For a minor blues like this one, the impeccable followed by choppy chords, to give a driving feel over which he could sing his
Josh White sometimes played offbeat grooves, beginning with a bass note and deeply narrative songs.
Am F E7 Am
qq=qce
.. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ .. ‰ ‰ ....
œ œ
E
B . 0
1
0
1
0
1
0
1
0
1
0
5
3
3 1
1
1
1
1
1
1
0
0
0
0
0
5
0
3 1 . 0
1
0
1
0
1
G
D
A
.0 2
2
2
2
2
2
2
2
0
2
2
2
3
2
3
2
3
1
0
1
0 . 0
2
2
2
2
2
2
E 1 0
1
EXAMPLE 11: BLIND BLAKE Blind Blake’s style was highly individual and implied passing chords, and also how he would regularly pre-empt the beat by
greatly admired. This ragtime style excerpt shows his sophisticated use of changing the chord early - which sounds very modern.
C G 7/B F7 C G6 C G7
3
qq=qce 3 3 3 3
‰
œ œ œ ‰ œ Œ œ bœ nœ œ œ œ
Œ
3
E 3 1 0 0 0 1
B 1 3 0 1 4 3 1 1 1 0 0
G 0 3 2 0 2 0 0 0 1
D 1 2
A 3 2 3 1 2 3 2
E 3 1 3 3
1
40 March 2018
A7 D7 G C G 7/B F7 C G6 C
3 3 3
3 3
3
‰
Œ ‰ œ ‰ Œ Œ b n
J 3
E 3 2 3 1 0 0
B 2 1 0 1 3 0 1 4 3 1 1
G 2 2 0 3 2 0 2 0 0
D 2 0 1
A 0 3 2 3 1 2 3
E 3 1 3
5
EXAMPLE 12: REV GARY DAVIS Here, we recall the straightforward gospel- ever, with the thumb) and incorporating ‘blue notes’ such as the minor 3rd, Eb in
like harmony of the Reverend Gary Davis, using an alternating bass (played as bar 1, which resolves up to the major, immediately afterwards.
C G
qq=qce
œ
E 0 0 3 0
B 4 3 1 0 0 3 0
G 0 0 0 0 3 2 0
D 0 0 0
A 3 3 3 3 2
E 3 3 3 3
1
C C7 F #
F dim7 G7 C
‰ ‰ ‰
#
E 0 0 3
B 4
G 0 0 3 2 2 2 0 0
D 2 3 3 1 3 2
A 3 3 3 3
E 1 1 2 3
5
EXAMPLE 13: ERIC BIBB Eric Bibb’s blues playing is fresh and sophisticated. sings, interspersed with Pentatonic and Mixolydian licks (R-2-3-4-5-6-b 7). The
This idea demonstrates his style of playing a slow, simple groove over which he tricky part is keeping the bass going through it all.
A D /A A A7 3 3 3 3
qq=qce 3 3
#
PB4
E 5 3 3 3 3 3 3 3 3 3 3 3 3
B 5 4 5 5 10 7 5 5 5 5 5 5 5 5 5 5 5 5 5 BD
G 6 5 6 7 5 6 (5)(4 ) 2 2
D 7 7 4 2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
E
1
March 2018 41
EXAMPLE 14: ERIC BIBB DORIAN GROOVE This driving G Dorian groove melds the traditional with the sophisticated. Notice the unusual low-string
(R-2-b 3-4-5-6-b 7) is typical of Eric Bibb’s arresting solo style, which brilliantly chord voicings here.
1 2
qq=qce Gm C /G D m/A Gm C/G Dm/A Gm C/G Dm/A 3
.. ..
3 3 3
œ œ œ œ œ œ
> > > > > >
E
B . . 0
G
D
A 3 5
0
. 0
2
3
3
5 3 5
0 0
2
3
3
5 3 5
0
. 0
2
3
3
5
3 5
E 3 3 5 3 3 5 3 3 5
1
C F/C G m/D 3 C F/C G m/D Gm C /G Dm/A D 7#9

3 3
> > > > > >

E 0
B 6
G 5 2 3 5 2 3 0 0 0 5
D 3 5 3 5 3 5 2 3 4
A 3 3 5 3 3 5 3 5 3 5 3 5 5
E 3 3 5
5
EXAMPLE 15: KELLY JOE PHELPS Phelps is a slide guitar master, regularly with all the strings tuned down a tone from there. He plays licks where he
playing in open D (D-A-D-F#-A-D) which is essentially the same as open E but switches from regularly fretted notes to notes played with the slide.
...~~~~~
N.C. G
#
n n #
D 0 4 0
~~~~~
A 0 3 5 3 0 5
F# 3 2 0 5
D 0 3 0 0 5
A 0 3 BU
D 0 3 (4) 0
1
Tuning – DADF#AD
EXAMPLE 16: KELLY JOE PULL-OFFS One of his favourite tricks is to play pulls- be too heavy-handed with the slide, as you don’t want to push the notes all the
offs from notes played with the slide, such as in this example - be careful not to way down to the fretwire.
N.C.
D 12
A 5 0 7 0 9 0 10 0 10 12
F# 0 0 0 0
D
A
D 0
1
EXAMPLE 17: MARTIN SIMPSON, RY COODER By lightly strumming behind atmospheric chords - players like Martin Simpson and Ry Cooder like this
the slide, providing you don’t mute the strings as normal, you can create technique. Use open Dm tuning here, also known as D-A-D-F-A-D.
Dm
...~~~~~
Am
~~~~~ Gm
~~~~~
Dm
~~~~~~
# ^ ^ .. ...
.. ...
^ ^
. .. w
g g . g . gg
D ^ 12
~~~~~ ^ 12 7
~~~~~ ^ 7 5
~~~~~ ^ 5 12
~~~~~~
A 12 12 7 7 5 5 12
F 12 12 7 7 5 5 12
D 12 12 7 7 5 5 12
A 12 12 7 7 5 5 12
D 12 12 7 7 5 5 12
1
Tuning – DADFAD
42 March 2018
Eric Bibb: Modern,

sophisticated blues
singer, songwriter
and guitarist
March 2018 43
EXAMPLE 18: PUTTING IT ALL TOGETHER Here’s a piece that I’ve concocted of the article. When you’ve learnt this, why not put some of your personal
using a variety of the ideas from some of the guitarists featured in the rest favourite licks together and come up with something of your own?
qq=qce A7
3
E7
# j
nœ
œ
œ œ
E 9 9 9 5 5 5 5 5 5 5 5 5 5 0
B 8 8 8 3
G 9 9 9 6 2 0 1
D 5 4 3 1 0
A
E 2 0 0
1
A7 Am
# nœ
j
3
œ
Œ n #
E 3 3 3
B 1 2 5 2 5 2 1 1 1 5 3 1
G 1 2 2 2 2 2 2 2 0 2
D BU
A 0 0 0 0 0 0 0 0 0 0 0 0 3 (4 )
E
4
3 3
3
j
n œ #
D7 A7
j
Œ
3
# œ
n # Œ
E 5 5 7 5 8 10 8 9
B 7 6 7 7 1 1 1 10 10 8
G 5 4 5 5 2 2 2 9
D 0 0 0 0 0 2 4 5 4 2 10 11
A 0 0 0 0 0 0
E 2 3 4
8
E7 E7b9 D7 A7
3 3 3
E 4 4 7 2 0
B 3 3 6 1 1 5 5 4 4 3 3
G 4 4 7 2 2
D 0 0 5 4 3
A 0
E 0 0 0 0
12
E7 A G #dim7 A7
# 3
j ^ ^
œ nœ œ n # ggg œ ggg
Œ œ nrit
E 0
B 2 ^3 ^5
G 2 0 1 4 6
D 2 1 0 7 5 3 5
g
A 0 7 6 5 0 3 4 0
E 2 0 0 5 0 3 4
15
44 March 2018
Kelly Joe Phelps:

Another great
modern acoustic
blues virtuoso
March 2018 45
PLAY } ACOUSTIC ON THE CD TRACK30
Nick Drake
guitar styles but the amazing thing about Nick
Stuart Ryan unveils the exotic tunings and Drake was that he was using these tunings in
beautiful melodic and rhythmic concepts used by the 70s - the use of DADGAD was only
the legendary singer-songwriter Nick Drake. becoming prevalent from the guitar work of
'DYH\*UDKDPLQWKHVVRWR¿QG'UDNH
using such a range of tunings shows his
unique approach to guitar.
7KHUHDUHVRPHÀHHWUXQVLQ'UDNH¶VPXVLF
so your fretting hand will need to be up to
speed on its hammer-on and pull-off
WHFKQLTXHVWRPDNHVXUHHYHU\WKLQJÀRZV7KH
picking hand will also require the ability to
play a strong consistent rhythm - one of the
most striking things about Drake’s
YOUR FRETTING
HAND WILL NEED TO
BE UP TO SPEED ON
ITS HAMMER-ON AND
PULL-OFF TECHNIQUES
TO MAKE SURE
EVERYTHING FLOWS
accompaniment is how steady it is and how
much it grooves, propelling the music along.
Today we are in the unusual tuning of
B-E-B-E-B-E (low to high). You’ll notice that
all four lower strings are dropped down
considerably compared to concert pitch.
When using tunings as low as these you may
¿QGWKHVRXQGUDWKHUPXGG\LQWKHEDVV,IVR
try a capo at the 2nd fret or beyond - the tone
ZLOOEHEULJKWHUOHVVÀDSS\DQGZLWKPRUH
separation between the notes.
NEXT MONTH Stuart looks at the style of another

ABILITY RATING would use unisons on the bass strings tragically starred musician, Elliott Smith
(B-B-D-G-B-E and A-A-D-E-B-E). A
----- Easy/Moderate repertoire based around such disparate 5 6 6 6
Info Will improve your… tunings would cause problems between songs. 3
Key: E Picking-hand rhythm $VK\PDQZKRIRXQGLWGLI¿FXOWHQRXJK
Tempo: 140bpm Accompanying skills performing in front of people, the agony of the
CD: TRACK 30 Confidence in open tunings GAIN BASS MIDDLE TREBLE REVERB
silence between tuning changes was one of the
reasons Drake didn’t enjoy playing live.
T
roubled folk pioneer Nick Drake was a As a result of these sometimes bizarre
great English singer-songwriter and his tunings Drake’s guitar work gave him access
hauntingly beautiful music stands out to beautiful, ethereal chords that sometimes Nick Drake played a Guild M20 acoustic. In
for both its lyrical and melodic quality. only altered tunings can achieve. Couple this some altered tuning situations a small-bodied
guitar can help - it is less likely to muddy up as
Drake’s guitar work is full of unique ideas with with the low resonance of his detuned sixth
much as some dreadnoughts on the low
a melodic motion that pulls you in with every DQG¿IWKVWULQJVDQG\RXKDYHDJUHDWELJ
register. If you plan to use a lot of altered
twist and turn. Altered tunings formed a huge guitar sound to complement his voice. tunings it’s also worth exploring how different
part of his style; from simple tunings such as Acoustic guitarists Martin Simpson and scale lengths affect the guitar. A longer scale
open D (D-A-D-F#-A-D) and double dropped the late Michael Hedges also use(d) a large OM style may be preferable to the shorter 000.
D (D-A-D-G-B-D) through to those where he number of altered tunings to service their
JEFF MOORE / PHOTOSHOT
TRACK RECORD Nick Drake only recorded three albums in his lifetime and all are indispenable. You can start with the best of, Way To Blue,
but you would be as well off getting hold of Five Leaves Left (his debut, recorded when he was still at Cambridge University), Bryter Later
and Pink Moon (his final album stripped bare of the band and orchestration of the other two).
46 March 2018
DRAKE ACOUSTIC SPECIAL
EXAMPLE NICK DRAKE STYLE CD TRACK 30

[Bar 1] A classic intro with a descending line. Nothing tricky but be careful [Bar 11] A good exercise is to take sequences like this and then try them with
with the low bass notes - don’t whack them too hard or they’ll flap about! as many different rhythmic permutations as you can think of. Listen to how
[Bar 8] Big chords in open tunings like this can sound muddy so new strings effortlessly Nick Drake accompanied himself, varying things when he felt it
and a lighter touch may help; or try a capo and play in a higher key. necessary, or simply to maintain listener (and player) interest.
#
©»¡¢º E 5/B E add 11 E add11/B E /B
#
œ œ œ œ œ œ
E 4 4 4 4 4 4 4 4
B 5 5 5 5 5 5 5 5 5 5 5 5
E 7 7 7 6 6 6 5 5 5 4 4 4
B 0 0 0 0 0 0 0 0 0 0 0 0
E
B
1
Tuning BEBEBE
E5 E add 11 # E add11/B E /B
#
œ œ œ
E 4 4 4 4 4 4 4
B 5 5 5 5 5 5 5 5 5 5
E 7 7 7 6 6 6 5 5 5 4
B 0 0 0 0
E 0 0 0 0
B 0 0 0 0
5
E B 7(add11) Asus2 E add9/G #

#
œ
E 0
B 0 0 0
E 0 0 0 0 0 0 0 0
B 0 2 5 4 5 5 7 7
E 0 2 5 5 4
B 0 2 4 0
9
B sus4 E5 Asus2 E add9/G #

#
E 0
B 0 0 0 0 0
E 0 0 0 0 0 0 0 0 0 0 0
B 7 7 0 0 0 4 5 5 7 7
E 7 0 5 4
B
13
March 2018 47
PLAY } ACOUSTIC ON THE CD TRACK 30
EXAMPLE NICK DRAKE STYLE CD TRACK 30
[Bar 23] One of those fleet fingered runs to watch for - the trickiest thing is [Bar 29] A simple variation on the opening sequence, taking advantage of
perhaps the transition from the steady fingerpicking sequence into something the possibilities and varieties of arpeggiating a chord sequence. In this strange
like this, and then back again. Make sure you lay back and don’t rush. but very appealing tuning the notes sound simply gorgeous.
B sus4 E5 #
C m7 Bsus4
#
œ
œ œ œ œ œ
œ
E
B 0 0 0 0
E 0 0 0 0 0 0 0 0 0 0 0 0
B 0 5 7 7 0 0 2 2 0 0
E 7 0
B 2 0
17
A maj9 B7 E m9 G6
#
œ œ œ nœ
œ nœ œ œ œ œ
E 0
B 0 3
E 0 0 0 0
B 0 4 0 2 5 5 0 2 0 0
E 4 5 5 0 2 3 3 3
B 0
21
Asus2 11 # G6 Bmadd11/F # E
#
œ œ œ œ nœ œ œ œ œ œ œ œ
w
E
B 0 3 3
E 0 0 0
B 0 4 0 0 0 0 0 0 0 0
E 5 5 3 3 2 2 0
B
25
E 5/B E add 11 # E add11/B E
#
œ œ œ
E 4 4 4 4
B 5 5 5 5 5 5 5 5 5 5
E 7 7 7 6 6 6 5 5 5 4
B 0
E 0 0
B 0
29
48 March 2018
Find Your Perfect Tone
Every issue, Guitarist brings you the best gear, features,
tuition and interviews to fuel your passion for guitar
Guita t m a ine is also available on

Newsstand for iPhone, iPad & iPod touch
Also available to order online at www.myfavouritemagazines.co.uk

PLAY } ACOUSTIC ON THE CD TRACK31
Traditional folk-blues
When Stuart Ryan visited a house in New Orleans
he wound up ruined, but not before he’d arranged and
transcribed this fabulous folk-blues tune for you.
of our favourites is by the black acoustic blues

ABILITY RATING
man Josh White, whose heartfelt rendition
JOSH WHITE’S 1947
----- Moderate takes some beating.White’s 1947 recording RENDITION PREDATES
Info Will improve your…
Key: Am Travis picking
predates The Animals by 17 years, it also
sticks to the original narrative which talks
THE ANIMALS BY 17
Tempo: 100bpm Chord stretching about a New Orleans brothel, not a gambling YEARS; IT ALSO STICKS
CD: TRACK 31 Style arrangements den as Burdon, Price and co had it.
For the solo acoustic guitar player, songs
TO THE ORIGINAL
T
hink of House Of The Rising Sun and like this can either be a great bonus or a NARRATIVE THAT TALKS
it’s impossible not to imagine The hindrance: a bonus as the simple melody ABOUT A NEW ORLEANS
Animals’ version of the tune. With offers many arrangement possibilities; a
Hilton Valentine’s arpeggiated Gretsch hindrance as the man in the street is so used BROTHEL!
intro chords (that everybody had to learn as WR KHDULQJ WKDW ¿UVW DUSHJJLDWHG $ PLQRU to play anything it is required to, and bigger
their six-string rite of passage in the 60s), chord that he may look at you strangely if you stretches must be overcome. When playing
Eric Burdon’s fantastic vocal delivery, Chas do anything different. the chords make sure everything rings out so
Chandler’s thumping Epiphone Rivoli bass +RZHYHULWLVDVXUH¿UHZLQQHUWRKDYHLQ the melody can be clearly heard against the
and of course that unforgettable organ solo the repertoire as its universal appeal and underlying harmony.
from Alan Price. However it is actually a LQQDWHEOXHVLQHVVPHDQVWKDWLWVKRXOG¿QG It’s really worth taking a simple song like
traditional American folk song (some even favour, whatever the audience. this and re-arranging it (and check out Josh
believe it to be a traditional English folk song So how do we go about arranging such an White’s version with its bluesier chords).
that was taken over to the States and turned iconic piece of music? I decided to take two Enjoy learning this arrangement, but do use
into a blues number), and has been recorded GLIIHUHQWDSSURDFKHV¿UVWO\WRLPDJLQHKRZD it as a springboard for your own ideas.
by artists as diverse as Bob Dylan and Nina Travis picker such as Tommy Emmanuel
Simone. Even The Beatles did a version. One might approach it and then to tip a hat to The 5 5 5
Animals’ recording and use some arpeggios 3 3
but with more sophisticated voicings and

TECHNIQUE FOCUS physical stretches, as a jazz guitarist like
Arranging Styles Martin Taylor might do.
If you are new to Travis picking this
When sitting down to arrange a piece of music
for solo guitar it’s worth thinking about the
arrangement will give you a great opportunity
style you are going to create the arrangement to work on the technique as the melody notes
are quite long and you can really focus on Any guitar will do here – a nice full-bodied
in. As you can see here I have used the Tommy acoustic or even a clean-toned electric or
Emmanuel/Chet Atkins influence for the putting the bass line and top melody together.
semi-hollow (Chet Atkins played a fair amount
first run through and then finished off with If you are already a Travis picker you won’t
of his repertoire on a Gretsch). Many of the
some Martin Taylor/Joe Pass influenced ideas. encounter too many problems, but it’s worth
blues guys (including Josh White, pictured
Sometimes this approach can be enough but it thinking about the tail end of the arrangement opposite) chose smaller-bodied acoustics for
might also serve as an indication that you need where you can try your rolling arpeggios on their mix of clarity and projection. The above
to get some more styles under your fingers. some tricky chords – remember that with all settings are a starting point for an acoustic amp.
guitar styles the fretting hand should be able
TRACK RECORD Everyone is probably already familiar with the version (that many people mistake as the original) recorded by The Animals.
But you could try listening to versions by Bob Dylan or Nina Simone as their reading of it could give you some indication of how to adapt the
melody. Josh White’s much more mournful and bluesy version is on various compilations including the CD Blood Red River.
50 March 2018
USE OF THE RISING SUN ACOUSTIC SPECIAL
BETTMANN / GETTY IMAGES
Josh White: top

folk-blues man here
with a stunning
black Martin 000-42
March 2018 51
PLAY } ACOUSTIC ON THE CD TRACK 31
[Bar 1] This is a little co-ordination exercise as you have to ensure that first to get a sense of what is going on before you put both parts together.
the hammered-on chords are played in time with the picking hand that’s [Bar 7] A swift movement is required from the barred Am7 chord back to the
sounding the alternating bass line. Larger chords in bar 2 create even more of a open C chord where the melody appears at the 3rd fret. Try this slowly at first.
challenge so work on that fretting-hand strength and timing. [Bar 13] This more complex bass line will push you a little further with your
[Bar 5] Here is the melody - it is syncopated in places (played off the beat) so if Travis picking; it’s easy to get stuck in the rut of playing only one alternating
you are new to the technique try playing the bassline and chords separately at bass pattern, so it’s crucial to be able to adapt to any variation.
#
©»¡ºº Am11 Am11 5
œ œ œ œ
PM bass throughout
E 0
B 0 1 0 1 1 0 1 1 0 1
G 2 0 2 2 0 2 2 0 0 2 0 2 2 0 2 2 0
D 2 0 2 2 0 2 2 0 2 3 0 3 3 0 3 3 0 3
A 0 0 0 0 0 0 0 0
E
1
Am11 Asus2 C
. .
E 0 0
B 1 0 1 1 0 1 1 0 1 1 0 1 1 0 1 0 1
G 2 0 2 2 0 2 2 0 2 0 2 2 0 2 2
D 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 2 2 2 2
A 0 0 0 0 0 0 0 0 0 3 3
E
3
D /F # F Am7 C E A sus2 C
..
. .. . ... . .
# n œ
E 5 5 3 0 0 0
B 3 1 5 5 1 1 0 0 1
G 2 2 2 5 5 0 0 1 2
D 0 0 3 3 5 5 2 2 2 2 2 2 2 2 2 2
A 3 3 2 2 0 0 3 3
E 2 2 1 1 5 5 0 0
6
D /F # F A5 E A5
. .. . .
# n
E
B 3 1 0
G 2 2 2 2 2 1 2
D 0 0 3 3 2 2 2 2 2 2 2 2
A 0 0 0 0
E 2 2 1 1 0 0 0 0
10
Asus2 C D/F # F Am7 C

..
. .. . ...
. .
# n
E 0 1 5 5 3 0
B 0 1 3 1 1 5 5 1 1
G 2 2 2 2 5 5 0 0
D 2 2 2 2 0 0 3 3 5 5 2 2
A 0 3 3 3 3 3
E 0 3 2 1 5 5
13
52 March 2018
USE OF THE RISING SUN ACOUSTIC SPECIAL

[Bar 16] Sometimes a lick like this can be a useful ‘punctuation mark’ (or just an [Bar 22] For this Martin Taylor-style section, big chords and flowing arpeggios
opportunity to show off!). I remember seeing Tommy Emmanuel throw in licks are the order of the day so make sure everything is clean, even and well timed.
like this and it always sounded very impressive to me and his audience. [Bar 29] This sequence featuring a descending bass line has obvious echoes
[Bar 20] Here is a ‘response’ lick – a common device in blues both vocally and but it’s actually based on an old Broadway sequence that found its way into
on guitar; whereas the previous idea is descended from the first string, we now the rock arena. It’s a useful device – as the top line ascends, the bottom one
have an ascending idea from the sixth string that leads nicely to the E. descends and this contrary motion idea should be in any arranger’s arsenal.
N.C. E aug Asus2 C D 7/F # F

w # n
E 5 5 0 0 0
B 8 6 6 6 6 6 0 1 3 1
G 7 5 5 2 2 0 2 2
D 6 2 2 2 2 2 0 0 3 3
A 0 3 3 3
E 0 0 3 2 1
16
Asus2 E A5 N.C. E Amadd 9
. ...
#
E 0 5 5 7
B 0 3 0 5 5
G 2 2 1 2 1 1 5
D 2 2 2 2 2 0 2 3 2 9
A 0 2 0 0 2 3
E 0 0 0 1 4 5
19
C add9 D7 C maj9/F Fmaj9/A
E 8 8 12 10 10 8 8 5 5 5
B 8 10 10 8 5
G 9 11 9 5
D 12 10 12 5
A 8 8
E 8 10 5
23
E m7 b
E ( 9) Am Am/maj9/G # A m7/G A m7/C
E 0 0 0 5 7 8 12
B 8 8 0 5 5 5 5 10
G 7 1 5 5 5 12
D 5 3 7 6 5 10
A 7 2
E 0
27
D7/C Fmaj7 E 7sus4 b

E 7 9/F Amadd 9
E 10 5 5
B 10 10 10 10 10 10 9 5
G 11 9 7 7 9 5
D 10 10 9 9 9
A 8 7 8
E
30
March 2018 53
PLAY } CLASSICAL ON THE CD TRACKS 32-33
Moonlight Sonata
Ludwig van Beethoven
Bridget Mermikides has elegantly transposed this
stunning peice by Ludwig van Beethoven, one of the most
influential composers of all time, from piano to guitar.
ABILITY RATING Moderate/Advanced ----- Piano music arranged for solo guitar is
always compromised by the fact that we
Info Will improve your…
cannot play as many notes simultaneously as
Key Am Tempo 70bpm CD TRACKS 32-33 Classicaltechnique Romanticrepertoire Arpeggio playing
a pianist is able to. So some editing is
necessary to make it physically playable, while
T
his classical piece is one of Ludwig van when music critic and poet Ludwig Rellstab striving to maintain the harmony, voicing and
Beethoven’s most well-known piano compared the effect of tune to that of spirit of the piece.
solos. In fact it’s one of the most moonlight shining on Lake Lucerne. Also, in order to play it effectively on guitar
familiar of all classical pieces, and is The usual format for a Sonata is three it has been transposed from the original key of
recognised by almost everyone whether they movements, the tempos of which are normally C#m to the far more guitar-friendly Am. This
know what it’s called or not: the moody and fast, slow, fast. But this piece breaks that not only makes it easier to play, it actually
evocative Moonlight Sonata. The piece was mould with a slow and extremely melancholy makes it sound better on the guitar, as it uses
originally called Quasi Una Fantasia, meaning ¿UVWPRYHPHQW7UDJLFDOO\%HHWKRYHQORVWKLV the natural resonance of the instrument in
‘almost a fantasy’ and the title Moonlight hearing towards the end of his life and the that register - and of course some open strings
Sonata only came after Beethoven’s death, Moonlight Sonata was written in the early - to good effect. Purists might balk at such
stages of his deafness. The downright blasphemy, but we’ll risk their
piece was dedicated to
Beethoven’s pupil, 17-year- PIANO MUSIC
old Countess Giulietta
Guicciardi to whom the
ARRANGED FOR
composer had proposed a SOLO GUITAR IS
marriage. The marriage - to
this obviously much older
COMPROMISED BY THE
man - was forbidden by the FACT THAT WE CANNOT
parents of the Countess and
the piece’s tragic quality has
PLAY AS MANY NOTES
made a strong impression on SIMULTANEOUSLY
many listeners. Indeed, John wrath this time in the knowledge that Ludwig
Lennon is said to have loosely himself would have probably loved the idea.
based his song Because from If you enjoy playing this piece try
The Beatles’ Abbey Road arranging other famous classical tunes by
album on it, in order to Bach, Mozart and Schubert for the guitar.
capture the same sad mood. Many of them translate really well and it’s
The French romantic most educational, a really worthwhile
composer Hector Berlioz is challenge and also a lot of fun. And of course
quoted to have said, “It is one you can also transpose pieces to more familiar
of those poems that human keys should the opportunity present itself.
language does not know how Anyway, I’m sure we’ll be returning to this
to qualify”. Beethoven idea in the months to come so, as always, your
Beethoven: himself, however, became suggestions are most welcome.
his Moonlight
Sonata, a tale of exasperated by the popularity
unrequited love of the piece saying, “Surely NEXT MONTH Bridget arranges the Oboe
I’ve written better things!” Concerto in Dm by Alessandro Marcello
TRACK RECORD There’s a great album of Beethoven’s best-known sonatas out on Decca. Entitled Beethoven’s Favourite Piano Sonatas it
has all three movements of the Moonlight, as well as Pastorale, Tempest, Appassionata, Waldstein, Rondo, Les Adieux and more. It’s a great
place to start if you want to try your own transpositions of the great man’s piano music for guitar.
54 March 2018
MOONLIGHT SONATA { LUDWIG VAN BEETHOVEN

[Bars 1-12] The start of the piece sets up the arpeggio accompaniment The barre is back at bar 12 but should be placed on the final 16th note of bar
figure and is straightforward: bass notes are plucked with the thumb and the 11. On beat 2 of bar 12 we unfortunately lose the full length of the melody
arpeggios notes with i-m-a. Keep the volume low and, to help the melody note Eb when reaching down for the bass note G. However the ear manages
stand out from the accompaniment, rest stroke can be used. A barre is needed to still ‘hear’ the melody note even though it does not sustain and it does not
at bar 10 but can be dropped on the last beat when the Eb note comes in. spoil the overall effect of the piece.
Adagio sostenuto
Am Am/G F b
B /D
3 3 3 3 3 3 3 3 3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w w

E
B 1 1 1 1 1 1 1 1 1 1 3 3
G 2 2 2 2 2 2 2 2 2 2 3 3
D 2 2 2 2 2 2 2 2 3 3 3 3
A 0 5
E 3 1
1
i m a i m a i m a i m a etc
p
E7 Am/E E sus4 E7 Am E 7/G #

3 3
œ .œ œ . œ œ œ. œœ
3 3
#œ œ œ œ œ
3 3 3
œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ
£ w
# 3
3 3 3 3
E 0 0 0 0 0
B 3 1 0 0 1 1 3 3 3 3
G 1 2 2 1 2 2 2 2 4 4 4 4
D 2 2 2 0 2 2 2 2 2 2 2
A 3 3
E 0 0 5 4
4
Am Dm D m/F C /G G G7 C
œ
œ Œ
3
£ œ¡ œ ‰ ¢œ
œ
œ œ œ œ œ œ œ
™œ œ £Œ
œ œ œ œ
3 3 3 3 3 3
3 3 3 3 3
E 0 1 0 3
B 1 1 3 3 1 1 3 1 1 1 1 1
G 2 2 2 2 0 0 4 4 0 0 0 0
D 2 0 3 2 5 3 5 2 2 2
A 0 3
E 3 3
7
Cm E 7/Bb b E 7 b A b A /Gb D 7/F # D7

3 3 3
¡ .™ £ .™ ¢ ¡ . . 3
‰ £ ¡
™
¡ ¢
b . œ œ ‰ b£ bœ œ œ œ
3
£ b 3 #™ 3
3 3 3 3 3
E
B 4 4 4 4 4 4 1 3
G 5 5 5 5 6 6 6 6 5 5 2 2 5
D 5 5 5 5 5 5 5 5 6 6 0
A 6 6 6 6 6 6
E 8 6 4 3 2
10
Gm Cm6 C m6/E b Gm/D D7 Gm G
¡ ¡
£ ¢ ¡ ¡ ¢ ‰¢ ¡
‰
™œ œ œ
3
™
3
™
3
£
3 3
w 3 3 3 3
3 3 3
E 3
B 3 4 3 3 3 3 3 3
G 3 3 2 5 3 3 2 2 3 3 4 4
D 5 5 5 5 7 5 5 4 4 5 5 5 5
A 5 3 6 5 5 5 5
E 3 3
13
March 2018 55

[Bars 16-24] This is tricky and the fretting hand feels a little squashed at the fingering indicated here is a good solution for keeping the triplets fluent.
beginning of the bar. Also, once more the melody note is unfortunately lost; Alao again, a barre should be placed on the final 16th note of bar 24 to keep
this time on beat 2 in order to accommodate the accompaniment, but the the melody connected.
b b # b b #
>
Cm 6/G Cm C m/E F dim/C G C m 6/G Cm Cm/E F dim/C
b ¡ . ¢ b œ¡ b . ¢ b œ¡
‰œ œ œ
™œ
‰œ ™œ ¡œ # œ‰ ¢œ œ£ ‰ . œ œ œ œ œ œ œ œ œœ œ œ œ œ™ ‰ ™œ ¡œ # ‰œ œ¢ œ£
£ œ
¡ 3 ¢bœ 3 ™ œ 3 ¡ 3 ¢ œ 3 ™œ 3
£ £ £ £ £
3 w3 3 3 3 3
E 4 2 3 3 4 2
B 4 4 4 4 3 3 3 3 4 4 4 4
G 5 5 5 5 4 4 4 4 5 5 5 5
D 5 5 5 5 5 5 5 5 5
A 3 6 3 3 6 3
E 3
16
G #
C dim7/E A7/C # Dm Dm/F b
E /G #
G dim7
œ œ b b£œ
œ œ œ œ œ ‰ bœ #œ œ œ œ œ œ œ ‰œ œ œ œ œ œ œ bœ œ œ œ nœ œ œ œ
£
# # 3 ¢
3 3 3 3 £ 3 3 3 ™ 3
3 3 ™ 3
E 3 3 3 1
B 3 3 2 2 5 5 3 3 4 3
G 4 4 3 0 3 2 0 2 2 2 0 3 0 3 4 4
D 5 0 3 1 3 3
A 4 5
E 3 0 3 4
19
Am Asus2 A Dm A7
™ Œ ¢ ™
. .
œ œ ™ ¡œ £œ œ œ œ œ œ œ œœ
œ œ œ œ œ œ¡ # œ
3 3 3 3 3 3
3
3 3 3
3 3
E 5 5 5 5 5
B 3 6 6 8 8 8 8
G 2 2 2 2 2 7 7 6 6 6 6
D 0 3 0 3 0 2 2 3 3 7 7 7 7 7
A 0 0 0 4 5 0
E 5
22
Dm #
G dim/B Dm/A E 7/G # Am Dm6 #
D dim7
¢ ™
¢ . £ ¡
¡
™ ¢ £
£
™ ¡ £
œ #œ œ ‰œ ‰ ‰
£ #œ ™ 3
œ #œ
3
3 3 3
3 3
3 3 3
™ 3
¡
cresc
3 F
E 5 4 5 7 7 8 7 5
B 6 6 6 6 5 5 5 5 10 10 6 7
G 7 7 7 7 7 7 7 7 9 9 7 5
D 7 6 6 6 10 0
A 5 0 0 6
E 7 4
25
E G dim7/E# E E7 9b Am/E
¢
¢ Œ ¢
3
‰ ¢ ™ ‰ ™ £ ¡ ¡
¡
3 3 3 3 w 3 3 3
3
w 3 3 3
E 4 0 1 5 8 5
B 0 0 0 3 0 0 0 0 5 5 5 5
G 1 1 1 4 1 1 1 1 5 5 5 5
D 6 2 3 0
A 3
E 0 0 0
28
56 March 2018

[Bars 31-42] A half barre should be used on beat 3 of bar 33 and the following when committed to memory; that way it’s possible to see what you’re doing!
three bars are a good training for diminished 7th arpeggios. This part is easiest The main theme begins again in bar 42.
A m/E #
G dim7/E 3 Am/E 3 3
3 3
3
¡ ¢ 3
¢ ¢
œ œ œ œ œ
3
‰ ¢ ¡ œ #œ œ œ œ œ £
™ ¡
œ¡ œ œ œ œ œœ ™ ¢ œ
¢
™
w w w
3 3 3 3
E 1 4 5 8 5
B 1 0 3 0 3 5 5 5
G 2 2 1 1 2 5 2 5
D 2 2 2 2 3 0 3 2
A 3 3 3 3 2 3
E 0 0 0
31
# # 3
3 3
#¡ £ ¢
F dim7/E 3 G dim7/E 3
#¡ £ #¢ #¢
3 3
¡ £ ¢ £ ¡ £ ¡
3 3 3 3
3 ¢ ¢ ¡
# £ ¢œ £ ¡ ™ ¢ £ £ ¡ ¢
œ # œ œ œ œ œ
w w w
F
poco cresc
E 5 8 5 11 14 4 7 4 10 13 10 16 19 16 13 10 7 1
B 7 7 13 6 12 18 15 12 9 3
G 8 5 8 7 13 10 4
D 7
A
E 0 0 0
34
Dm/A #
G dim7 Dm/A #
G dim7 B b Dm/A
3
¡ 3 3 3 3 3 3 3 3 3 3 3
¢ ™ ¢ ¡ œ œ ™ #£ œ œ œ œ # œ œb œ œ
‰™
dim 3 p F
E
B 3 0
G 1 1
D 3 0 3 0 0 3 0 2 3 2 0 0 3 0 3 0 2 3 2 0 0 3 0 3
A 2 0 2 0 1 0
E 0 4 4
37
E7 9b F F/A Bm7 5 b E E7 Am
3 3 3 3 3 3 3 3 Œ .
œ œ œ œ
3
3 3 3
E 0 0
B 1 1 1 1
G 1 2 2 2 2 1 1 2 2 2 2
D 0 2 3 2 0 0 3 2 0 2 2 2
A 3 0 3 2 2 2 2 0
E 0 1 0
40
E 7/G # Am Dm C/G G G7
. .
# 3
3
3 3 3 3 3 3
3 3 3 3
E 0 0 0 0 1 0 3
B 3 3 3 3 1 1 3 3 1 1 3
G 4 4 4 4 2 2 2 2 0 0 4 4
D 2 2 2 2 0 3 2 5 3 5
A 0
E 4 3 3
43
March 2018 57

[Bars 52-57] In bar 52 we have the awkward fretting-hand issue again where work! At bar 57 we get this lovely descending sequence; if possible aim to
the fingers feel squashed in too close together. With perseverance it does allow the upper melody notes to sustain over each triplet figure.
C G7 C E 7/B Am
¢ ¢
œ Œ œ Œ œ . .
‰ œ œ
.
œ œ œ ‰ œ œ
w w3 3
œ 3 3
3 3 3 3 3
3 3 3
cresc
E 3 3 3 3 3 3 5
B 1 1 1 1 1 6 6 6 6 5 5 9 5
G 0 0 0 0 4 4 4 4 5 5 7 9 5
D 2 2 2 5 5 5 5
A 3 3
E 3 7 5
46
E7 Am B b/D Bb E7 Am A
¢ b œ # ¡ œ¢ ™œ . œ
œ œ œ œ œ™ £ œ œ œ £ œ™ £ œ œ œ œ œ
3
3
3 3 3
Œ 3 3 3 3 3 3
p
3
E 7 8 6 4 5 5
B 5 5 10 10 6 6 5 5 5 5 5 5
G 7 7 9 9 7 7 7 7 5 5 6 6
D 6 10 0 8 6 7 7 7
A 0 0
E 0 0
49
Dm b 6/A Dm Dm/F G #dim7/D A D m b 6/A Dm D m/F G #dim7/D
b .¢ ™ ¡ ¢ £
b .¢ ™ ¡ ¢ £
£ £¢ £ £
¢
3 3 3 3 3 3 3 3 3
3 3 3
E 6 4 5 5 6 4
B 6 6 6 6 5 5 5 5 6 6 6 6
G 7 7 7 7 6 6 6 6 7 7 7 7
D 7 7 7 0 7 7 7 7 7 7 0
A 5 8 0 5 8
E
52
A Dm G7 C Am b 6 Bdim E 7/G # Am
. ¢ £ £ ¡
3 3
3
3 .3 3 3
œ 3 # 3 3
3 3
™
E 5 5 3 3 1 1 0 0
B 5 5 6 6 6 6 6 5 5 3 3 1
G 6 6 7 7 4 4 4 5 5 4 4 2
D 7 7 5 5
A 0 5 3 0 2 0
E 3 4
55
58 March 2018

[Bars 60-end] From bars 60 to 65 there is a dotted eighth note, plus 16th- requires a bit of precision with the thumb. The piece eventually dies away
note playing beneath the eighth-note triplets. This is not too difficult and just softly in A minor arpeggios and the final A minor chords.
Dm6/F D m6 E sus2 Dm6 A m/E E E7 Am

3 3 3 3
¡ ¢ £
™ œ œ .™
3
3
3 3 3
3 3
3
œ. œ
E 0 1 0 0
B 3 0 0 1 1 0 0 1 1 1
G 2 4 2 4 2 2 2 2 1 1 2 2 2 2 2
D 3 0 2 0 2 2 0 2 2 2 2
A 0
E 0 0 0
58
E7 Am/E G #dim7/E
3 3
3
3 3
# . œ¡ œ œ œ œ œ
3
3 3 3 3 3 ™
¢œ £œ œ œ œ œ œ œ œ œ œ 3
œ œ œœ
œ œ #œ œ
™ œ
. . . . . .
E 0 5 8 12 8 7
B 3 3 3 3 1 1 5 10 10 9 9 6 3
G 4 4 4 4 2 10 7 4 1
D 2 2 2 2 2 3 3 2 0
A
E 0 0 0 0 0 0 0 0 0
61
Am/E G #dim7/E Am/E Am

3 3
3 3
3 3 3 3
3 ™ 3 3
3
œ
. œ . œ. œ
decresc
E 0 5 8 12 8 7 0 5 8 5 5
B 1 1 5 10 10 9 9 6 3 5 5 5
G 2 2 10 7 4 1 2 5 5
D 3 3 2 0 7
A 3 3
E 0 0 0 0 0 0 0 0 0
64
A m/E Am
3
3 3
3

E 0 5 5
B 1 1 5 5
G 2 2 2 5 5
D 2 2 2 2
A 3 3 0 0 0
E
67
March 2018 59
The No.1 website for musicians
Love this magazine?

You’ll love musicradar.com
Thousands of gear Tips and techniques
reviews and killer to help you play and
video demos sound better
LEARNING
ZONE
Lessons from the world’s greatest teachers and schools...
Brought to you by…
THE INSTITUTE OF CONTEMPORARY

MUSIC PERFORMANCE
IN LESSONS
GT #279
wrong but, in the context of the class’s ability,
H
ave you ever been told, “You can’t
do that!”? If the person was more he was right. Why? Because learning the most
advanced than you (especially a IUHTXHQWO\RFFXUULQJDVSHFW¿UVWLVEHVW6RLQ
tutor), it’s likely you would have this case the b3-3 movement is by far the most
corrected yourself. The thing is common option in blues and other styles (it’s a ROCK .............................................................68
though, sometimes with enough focus and VDWLVI\LQJUHVROXWLRQ6RJHWWKRVHGHYHORSLQJ This month Martin Cooper checks out the playing
application, a ‘wrong’ can end up being great. students to recognise and use the preferred of a rock guitar icon who put Seattle on the map
For example, using a thumb over the neck RSWLRQ¿UVWWKHQZLWKH[SHULHQFHDQGLQVLJKW long before Kurt and Nirvana ever did.
is completely unacceptable in the world of address how to approach the lesser used
classical guitar - it’s a dreadful approach due to option. Want to hear this ‘wrong’ in action?
how it positions the fretting hand so is Check out Brian May’s solo on Queen’s Tie
banished from a student’s playing as soon as it Your Mother Down; he plays a couple of 3-b3
appears. But watch jazz icon Pat Metheny and downward bends that not only sound great but
his often visible thumb over the fretboard is a present a lesser-travelled road in rock soloing.
big part of his chord and soloing playing (his 6RWKHµZURQJ¶KDVUHVXOWHGLQVRPHWKLQJJUHDW
sixth and fourth strings are often fretted this As you work through this issue, you’ll see
way). Jimi Hendrix favoured the thumb too GT focused on the common, the popular
for both licks and chords (just check out DQGWKHJUHDW<RX¶OODOVR¿QGDIHZ
Little Wing!). In the world of electric guitar, µZURQJV¶EHLQJFKDPSLRQHGWRR6WRS
this ‘wrong’ is perfectly acceptable, DQGGZHOORQWKHVHDV\RXPD\¿QGWKH\
HVSHFLDOO\IRUVWULQJEHQGVDQG¿QJHUSDG marry well with your own tastes.
(not tip) fretting; but neither of these Indeed, they may even
options is hugely common among give you an extra dash of
classical guitarists. uniqueness, and who
Another example: I heard a doesn’t want a little more of
great tutor state to a class, that? Enjoy!
CREATIVE ROCK ................................... 78
“Never follow the major 3rd (3) How can adding a minor 3rd to the Mixolydian
with a minor 3rd (b3) when scale expand our Pentatonic possibilities? Once
soloing over a dominant 7th again Shaun Baxter gets us right on track.
chord. He was both right and
March 2018 61
LESSON } 30-MINUTE LICKBAG ON THE CD TRACKS 34-39
30-Minute Lickbag
Pat Heath of BIMM Brighton brings you
another selection of licks at easy, intermediate
and advanced levels. Can you master every one?
EASY LICKS EXAMPLE 1 SOUNDGARDEN CD TRACK 34
Approach this part with slow and controlled downstrokes with plenty of mood to capture the piece’s melancholic nature. Perhaps add a little vibrato with the
fingers on the tail of each chord and make sure you don’t rush between the notes.
©»¡ºº Am Dm C
.. ..
F
Let ring
E
. .
. .
B 13 6 5
G
D 14 7 5
A 12 5 3
E

EASY LICKS EXAMPLE 2 OASIS CD TRACK 35
For this Gallagher-esque anthemic strummer, a fat, overdriven humbucking tone and lots of attitude are the order of the day.
b
# ©»ª A5 A6 A5 A6 A5 A 6 A 5 A 6 A 5 A6 A5 A6 A5 C D m A5 A6 A 5 A 7 A5 A6 A 5
n #
F PM PM
E
B
G
D 2 2 4 2 2 2 4 2 2 4 2 5 2 4 2 2 2 4 2 2 2 2 2 2 4 2 5 2 4 2
A 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 4 0 0 0 0 0 0 0 0
E

INTERMEDIATE LICKS EXAMPLE 3 DEF LEPPARD CD TRACK 36
This part has been doubled with clean and overdriven sounds to capture Mutt Lange’s production techniques from the 30-year-old Hysteria album. Mute all notes,
letting the open fourth string ring as a drone. On the clean (transcribed) part, let all notes ring.
# #
©»¡¡º E madd9 Cadd 11 D add11 E madd11 Cadd 11 D add11 A5
#
F Letœ ring œ
E
B
G 0 0 0 0 0 0 0 2
D 4 4 4 4 4 4 4 4 4 4 2
A 7 3 5 0 0 7 3 5 0
0 0
E
INTERMEDIATE LICKS EXAMPLE 4 ERIC CLAPTON CD TRACK 37

This A Major Pentatonic part needs a light overdrive, plenty of attack and loads of bluesy swing. As a suggestion for practise, work on the ‘chordal’tones at the end
as a separate lick and join the two ideas together once both have been learnt.
©»¡º
_
~~~~
N.C. 1/4
qq=qce
#
F 3
E
~~~~~ 1/4
B 5 7 5 7 7
G 5 6 6
D 7
A
E
1
62 March 2018
30-MINUTE LICKBAG LEARNING ZONE
INTERMEDIATE LICKS EXAMPLE 4 ERIC CLAPTON ...CONTINUED CD TRACK 37
# ~~~~ n
1/4
n
1/4
Æ
3
E
~~~~ 8
1/4
8
1/4
5 5
B 7 5 5 5 7 5 7 7 7 5 5
G 6 5 6 6 6
D 7
A
E
3

ADVANCED LICKS EXAMPLE 5 JOHN SCOFIELD CD TRACK 38
This idea is based around a jazz II-V-I idea and uses typical Sco-style passing tones inside the arpeggios. I’d suggest looking at the Dm7-G7-C maj 7 arpeggio
shapes as chords first, and then work the lick around them.
N.C.
©»¡§
œ
F
E
B 6 5 3 6
G 5 7 5 7 7 6 5 4
D 7 7 8 7 6 5 3 5
A 5 8 2 5
E
1
3
1/4
1/4
E 3 5 3 7 3
B 5 4 3 3 5 5
G 4 5 4 7 4 7 4
D 5 5 5
A 3 7
E
4

ADVANCED LICKS EXAMPLE 6 PAUL GILBERT CD TRACK 39
Strap in for this high-octane alternate picked Minor Pentatonic idea which will work over any static Em chord. As with any demanding idea it should be practised
slowly at first, nailing the position changes thoroughly and only then increasing speed.
©»¡¡º N.C. 3 3 3 3
3 3
F 3
3
PM
E
B
G 12 14 17
D 12 14 17 12 14 17 12 14 17
A 10 12 15 10 12 15 10 12 15
E 10 12 15
1

~~~
3 3 3 3 3 3 3
3
~~~
PM
E 15 17 20 20
B 15 17 20 15 17 20 15 17 20
G 12 14 17 12 14 17 12 14 17
D 12 14 17
A
E
2

March 2018 63
LESSON } BLUES ON THE CD TRACKS 40-43
Brought to you by… back in the listener as his shows never get stale;
Joe Bonamassa he is often changing material, ensemble sizes

and themes. Next time he’s in the UK it’ll be a
spectacular, new and entertaining show, so be
sure to get your tickets when he comes to your
Delve into the virtuosic world of Bonamassa area. Not to mention you get to hear and see a
with Ronan McCullagh as he examines real 1959 Les Paul (and other great guitars)
trying to destroy a vintage tweed Fender amp,
the New Yorker’s powerfully versatile style. with a true blues master in the driving seat.
-RH¶V VW\OH LV GLI¿FXOW WR GHVFULEH DV KH
embodies so many different musicians that
have moulded the language of blues. If it were
to be summed up in two words it would be
‘powerfully versatile’. It’s obvious to any fan of
the blues that Joe has spent considerable time
researching Clapton, Gary Moore, Rory
Gallagher, Stevie Ray and Jimmie Vaughan,
the three Kings, and so many more. However,
he has another edge with vocab from the likes
BONAMASSA IS YOUNG,
HE’S GOT GREAT IDEAS.
ONE OF A KIND. THE KIND
THAT WILL BE A LEGEND
BEFORE HE’S 25 BB King
of Danny Gatton, Robben Ford and Eric
Johnson which is why Joe is such a well-
rounded player. This knowledge that he has
gained from hours of transcribing is the
foundation of Joe’s playing – a big reminder
to us all of the importance of understanding
the language. It doesn’t stop there with his
playing as Joe has a way of mixing all this
iconic vocab together, delivering it with a
personal touch, honesty and conviction. He
really has a wide palette to play with, from
lower dynamic phrases with lots of space right
up to relentless machine gun-like lines that
Joe Bonamassa: are treated with grade A precision.
playing a ’64 style
Gibson Firebird I NEXT MONTH Ronan explores the playing of
Mahogany Rush’s incredible Frank Marino
Bluesbreakers Featuring Eric Clapton. This is
ABILITY RATING
still evident in his playing and choice of ‘main’
----- Moderate to advanced guitar today: the 1959 Gibson Les Paul.
5 4
3
Info Will improve your Danny Gatton played a big role in Joe’s 8
9
Key: Various String bending musical upbringing as a tutor, mentor and
Tempo: Various Melodic soloing friend. BB King was another giant of the
CD: TRACKS 40-43 Pentatonic vocabulary guitar to come along and discover the young
Joe, who was being driven up and down the
B
lues-rock guitarist extraordinaire Joe country to small and frequently under-
Joe is gear mad! His amp rig has changed through
Bonamassa was born in New York in attended bar gigs. Often welcoming him to his the years from Fender Super Reverb, to Marshall
1977, and he began by picking the own stage, King offered 18-year-old the Silver Jubilee and plexi, Dumble Overdrive Special
strings of a short-scale guitar at the age opening slot on his 80th birthday celebration andTwo-Rock with the Silver Jubilee, to the Fender
Twin tweed amps he tours with now. Guitar-wise
of four. His father, a guitar player and dealer, tour. That association and the national TV Joe can be seen with pretty much anything but
showed him a thing or two but more coverage it engendered, meant Joe’s parents favouring vintage Fender and Gibson. Go for a
importantly shared his great record collection were inundated with phone calls from smoothly driven tone, with no fizzy gain but plenty
of natural valve-like guts. Add delay and reverb to
with the youngster. One record in particular managers and record companies.
taste but don’t overdo things.
grabbed Joe’s ear: John Mayall’s Joe’s taken on BB King’s advice of investing
CHRISTIE GOODWIN
TRACK RECORD Some say Sloe Gin (2007) was the album when the songs really came together for Joe; that doesn’t mean it isn’t full of
epic guitar work. On this album, you can find beautiful acoustic playing through to warm, silky slide guitar tones that explores all sides of
the word ‘dynamic’. The collaboration with Beth Hart is great too, and there’s no better place to start than the Live In Amsterdam DVD.
64 March 2018
JOE BONAMASSA LEARNING ZONE
EXAMPLE 1 SOLO 1 CD TRACK 40

This first solo is aimed at the earlier Joe Bonamassa style during the Bloodline major 6th (A#) and 9th (D#), which is a Dorian mode colour Joe would have
era. The framework is very much C# Minor Pentatonic (C#-E-F#-G#-B) with used often to expand upon his Pentatonics. Another element to note is the
plenty of string bending with a wide vibrato and the odd faster run that busy nature of the solo. Joe has an amazing ability to keep that intensity within
requires some legato work. As the piece develops we get the addition of the his playing and never seems to run out of steam.
# #
©»ª™
C 7 9
œ j ~~. nœ œ œ nœ œ œ œ
1/4
# nœ œ œ œ œœ œ
‰‰
3
~~~
1/4
BU BU BU
E 9 12 14 12 9 9
B 12 (14 ) 12 (14 ) 12 12 (14 ) 9 9 12 14 12 12 12 9 12 9
G 11 11 9
D
A
E
1
# n 1/4 1/4
1/4 n
BU 1/4 BU
1/4 1/4
E 4 7 9 7
B 9 12 [12 ] (14 ) 5 7 5 7 9 12 (14 )
G 11 9 11 9 11 9 4 6 4 4 6
D 11
A
E
3
~ .~
# n . . ~~~ ~~~ . .
BU ~~~ BU BU BU ~~~~ ~~~~~

E 9 9 14 (16 ) 14 ( 16 ) 14 (16 ) 12 14 14 14 14 12
B 12 (14 ) 12
G 9 11
D 11 11
A
E
5

# ~~~ n .
. ‰
.
E
~~~ 18 19 16 18 16
BU BU BU
B 14 19 17 19 16 17 17 (19 ) 17 ( 19 )
G 18 17 16 18 9 ( 11 )
D 18 17 16
A 19 16 16
E
8
March 2018 65
LESSON } BLUES ON THE CD TRACKS 40-43
EXAMPLE 1 SOLO 1 ...CONTINUED CD TRACK 40
#
1/4
~~~~~
. ‰
E
1/4
~~~~~~
B 9
G 9
D 11 9 9 9 11
A 11 11 10 9 9 9 11
E 12 9 9 12
11
# n # n
BU BU BU BU
E 11 11 11 9 9 9 9 9 9 9 9 9 9 9 9
B 12 12 12 11 9 12 (14 ) 12 ( 14 ) 12 ( 14 ) 12 (14 )
G 13 13 11 9 11 9
D 11 11
A
E
13
n n
# ~~~~~~~
E
BU
11 (12 ) 11 12
BU BU ~~~~~~~
B 11 (12 ) 11 9
G 11 (12 ) 11 9 9
D 12 9 12
A 12 12
E 9
15
EXAMPLE 2 SOLO CD TRACK 42
This solo looks at the opposite, more current side of Joe’s playing. He seems to those strings as it is such an expressive technique that we are equipped with as
have developed a very strong melodic language and quite often chooses the guitarists. If you are relatively new to bending be sure to build up the strength
slower tempos. The framework is B Minor Pentatonic (B-D-E-F#-A), with the 9th and intonation before you go ahead and add the vibrato. If your bending is
degree (C#) making an appearance at times; the concept is the idea of playing already comfortable and accurate remember you don’t have to add vibrato to
less but saying more. Embrace the space between what you play as it will every bend. There’s a few of those vibrato-less bends in there to break those
make your next phrase even more powerful. Take full advantage of bending bad habits and bring back that control.
©.»ª Bm B m/A Bm/G Bm/A Bm

~~~~~~~~~~
Bm/A Bm/E
~~ B m/G Bm/A
# . . . . .
. . ..
..
E
BU BU BU BU ~~~~~~~~ ~~~~~
B X
G 2 4 4 6 6 (7 ) 7 (9 ) 9 (11 ) 9 ( 11 ) X
D X
A X
E
1
66 March 2018
JOE BONAMASSA LEARNING ZONE
EXAMPLE 2 SOLO 2 ...CONTINUED CD TRACK 42
~~~
Bm Bm/A Bm/G B m/A Bm Bm/A
# . . .
‰. . œ‰ . . ‰. . ‰
œ .
E
~~~ BU
B
G 7 7 ( 9) 9 7
D
A 5 7 7 5 5 7 7 5 5 7 9
E 7 7
5
B m/A B m/G
~~ ~~
B m/A Bm
~~~~ .~ B m/A
.
B m/G
..
Bm/A
# .
1/4 1/4
. . . .
E
~~~~~~ BU ~~~~~~~ 1/4 1/4
B 10
G 6 7 4 9 ( 11 ) 7 9 7 7
D 9 9
A
E
8
#
Bm
. B m/A Bm/E
œ
B m/G Bm/A Bm Bm/A
. . . . . .
. œ
œ 3
BU BD
E
B 7 10 7 7
G 9 9 7 9 7
D 9 7 9 7 9 7 9 7 7 9 ( 11 )
A 9 7 9 7 9 7 9
E 10 7 10 10
11
.~~~~~~
Bm/G B m/A Bm Bm/A Bm/E Bm/G Bm/A Bm
#
1/4
. . ‰ ‰
œ . . œ œœ
œ
E
BU ~~~~~~
B 10 12
G 1/4
7 9 11
D (9 ) 7 7 9
A 7 7 5 5 7 (9 ) 5 7 5 5 7 9
E 7 7 5 7
14
March 2018 67
LESSON } ROCK ON THE CD TRACKS 44-46
Jimi Hendrix
WKH\ZHUHÀRRUHGEXWKLVOHJDF\OLYHVRQLQ
This month Martin Cooper checks out the HYHU\NLGWKDWSLFNVXSDJXLWDUDQGGUHDPVRI
playing of a rock guitar icon who put Seattle on EHLQJDURFNOHJHQG%HJLQQLQJZLWK¶V
the map long before Kurt and Nirvana ever did. $UH<RX([SHULHQFHGRQHFODVVLFDOEXPDQG
SHUIRUPDQFHIROORZHGDQRWKHUEXWWKHPXVLF
ZRUOGORVWRQHRILWVPRVWIDPRXVVRQVZKHQ
-LPLGLHGLQDJHGMXVW
2XUWUDFNIHDWXUHV+HQGUL[VW\OHULIIVDQG
VRXOLQÀXHQFHG3HQWDWRQLFUK\WKPSDUWV
ZLWKDEOXHV\VRORWKDWRIIHUVORWVRIUK\WKPLF
YDULDWLRQ:H¶UHLQWKHNH\RI(PLQRU
()*$%&'EXWWKHUHDUHDYDULRXV
µRXWVLGH¶QRWHVVXFKDVWKHPDMRUUG*
DQGb%b7KHUHDUHDOVRVRPHW\SLFDO
+HQGUL[VW\OH FKRUGV WKDW KDYH WKH URRW QRWH
HENDRIX IS AS ICONIC
TODAY AS WHEN HE FIRST
BROUGHT HIS UPSIDE-DOWN
STRAT AND MARSHALL
STACK TO PROMINENCE
WK DQG WK VOLGLQJ DURXQG WR DGG PHORG\ DQG
KDUPRQ\WRWKHXQGHUO\LQJSDUWV7KHFKDUWLV
VLPSOHLQWHUPVRIJHQHUDOKDUPRQ\EXWWKHUH
LVDORWJRLQJRQLQWKHUK\WKPVXFKDVWKH$
0LQRU3HQWDWRQLFULIILQWKH%VHFWLRQDQGWKH
DIRUHPHQWLRQHGFKRUGVWKDWVOLGHDURXQG
XQGHUDQ$PLQRUEDVVULIIDIWHUWKH
3HQWDWRQLFVFDOHQRWHVRIWKHUK\WKPWUDFN
+HQGUL[LVDVLFRQLFWRGD\DVZKHQKH¿UVW
EURXJKWKLVXSVLGHGRZQULJKWKDQGHG6WUDW
DQG0DUVKDOOVWDFNWRSURPLQHQFHLQWKH
An iconic photo VDQGLW¶VLQFUHGLEOHWKDWZHFDQVWLOO
of the most OHDUQ IURP KLP DOO WKHVH \HDUV RQ
iconic guitar
player of all NEXT MONTH Martin pays fond tribute to Angus’s
‘right-hand man’ in AC/DC, Malcolm Young
EOXHV-LPLWRRNWKHVHIRUPVWRDZKROHQHZ
ABILITY RATING
OHYHOUHGH¿QLQJJXLWDUWRQHDQGHYHQWKHZD\
----- Moderate WKHLQVWUXPHQWZDVSOD\HG$ORQJZLWKKLV
6 6
7 7 3
Info Will improve your… EDQGPDWHVDQGHQJLQHHU(GGLH.UDPHU

Key: Em String bending and legato +HQGUL[UHFRUGHGVRPHRIWKHPRVWJURXQG
Tempo: 116bpm Use of chord inversions EUHDNLQJPXVLFLQURFNKLVWRU\KHSLRQHHUHG
CD: TRACKS 44-46 Dynamics and attitude WKHXVHRIIHHGEDFNDQGZDVSLYRWDOLQWKH

VRXQGWKDWEHFDPHWKHEDFNGURSWRWKHQH[W
J
LPL+HQGUL[LQÀXHQFHGHYHU\RQHIURP IRXUGHFDGHVLQPXVLFDQGSRSXODUFXOWXUH
Jimi famously played a right-handed Fender Strat
-RH6DWULDQLDQG6WHYLH5D\9DXJKDQ $IWHUWRXULQJZLWKWKH,VOH\%URWKHUV/LWWOH
left-handed, and is probably the most famous
WR3ULQFHDQG7KH%HDVWLH%R\V7KH 5LFKDUGDQG&XUWLV0D\¿HOGIURPZKRPKH Marshall amp user in history. He also brought
5RFNDQG5ROO+DOORI)DPHFDOOHGKLP OHDUQHGKLVQRZUHFRJQLVDEOHUK\WKPVW\OH effects such as fuzz, delay, univibe, wah-wah, and
µWKHPRVWLQÀXHQWLDOLQVWUXPHQWDOLVWRIDOO -LPLIHOWWKHQHHGIRUDPRUHFUHDWLYHRXWOHW octaver to prominence. Go for a neck pickup tone
WLPH¶ZKLOH*XLWDU:RUOGPDJD]LQHQDPHG WKLVOHGWRDPRYHWR/RQGRQDQGWKH that isn’t too overdriven, but has a rich creaminess.
Add whichever effects you deem appropriate. I
MARC SHARRATT / REX / SHUTTERSTOCK
KLVUHQGLWLRQRIWKH6WDU6SDQJOHG%DQQHUDW IRUPDWLRQRI7KH([SHULHQFHZLWK1RHO used aThorn SoCal S/S guitar on the neck pickup
:RRGVWRFNµWKHJUHDWHVWSHUIRUPDQFHHYHU¶ 5HGGLQJDQG0LWFK0LWFKHOO:KHQ(ULF and a‘virtual’Marshall on a Kemper Profiler.
,QLWLDOO\LQVSLUHGE\URFNDQGUROODQG &ODSWRQDQGKLVFRQWHPSRUDULHVKHDUG-LPL
TRACK RECORD Although Jimi only released three studio albums before his death there are many classic songs. 1967’s debut, Are You
Experienced features Purple Haze and The Wind Cries Mary, while the following year’s Axis: Bold As Love includes Little Wing and Spanish Castle
Magic. Electric Ladyland boasts Crosstown Traffic and Voodoo Chile and there are many live recordings and ‘best of’ compilations.
68 March 2018
JIMI HENDRIX LEARNING ZONE
EXAMPLE RHYTHM CD TRACK 45

There’s a general 16th-note pulse that runs through the track as far as picking hand goes (Jimi’s rhythm was beautifully loose), even though a lot of the rhythms
are actually eighth-notes. Make sure that there aren’t any unwanted open strings or extra noise added, and watch for the lightly muted notes too.
©»¡¡§ N.C.
# .. ..
bœ œ bœ bœ œ œ œ bœ
œ œ #œ œ œ #œ œ œ #œ œœ
E
B . .
G
D
A
. 7 5 7 7 5 7
.
E 0 3 4 5 6 X X 0 3 4 5 6 X X 0 3 4 5 6 X X 0 3 7 6 5
1, 5
Em F
# j j
‰ œ œ
œ
j
œ
j
E
B
G X X 12 12 10
D X X 12 14 12 14 12 12 12 10
A 14 12 12 14 12 14 12 10 12 10 10
E 12 12
9
Em F
# ‰ œ
j
œ
j
j j
œ œ
E
B
G X X 12 12
D X X 12 14 12 14 12 12 12
A 14 12 12 14 12 14 12 10 12 10 10
E 12 12 13
11
Em F
# ‰ œ
j
œ
j
j j
œ œ
E
B
G X X 12 12 10 12 10
D X X 12 14 12 14 12 12 12 10 12 10 10 12 10
A 14 12 12 14 12 14 12 10 12 10 10 12 10
E 12
13
Em F Am
# ‰ œ
j
œ
j
j j
œ œ
E
B 10
G X X 12 12 10 X X 5 5 5 X X 5
D X X 12 14 12 14 12 12 12 10 X X 5 5 7 7 7 X X 5
A 14 12 12 14 12 14 12 10 12 10 10 12 7 7
E 12
15
March 2018 69
LESSON } ROCK ON THE CD TRACKS 44-46
EXAMPLE RHYTHM ...CONTINUED CD TRACK 45
# œ
j
œ
BU BD BU BD
E
B
G 5 7 X X 7 ( 8) ( 7) 5 X X 5 5 5 X X 5 5 7 7 (8 ) (7 ) 5
D 7 5 7 X X 7 ( 8) ( 7) 5 7 X X 5 5 7 7 7 X X 5 7 5 7 7 (8 ) (7 ) 5 7
A 7 7 7 7 7 7
E
18
BU BD
E 5 7 7 7 7 10 10 10 10 12 12 12 12 14 14 14
B 7 (8 ) (7) 5 3 5 5 5 5 8 8 8 8 10 10 10 10 12 12 12
G 5 5 5 X X 5 5 7 X X 7 ( 8 ) (7 ) 5 7
D 5 5 7 5 7 X X 5 7 5 7 X X 7 5 7 7 7 7 10 10 10 10 12 12 12 12 14 14 14
A 7 7 7
E
21

N.C.
#
‰
# bœ œ # bœ
œ œ
E 14 17 17 17 17 19 19 19 19
B 12 15 15 15 15 17 17 17 17
G
D 14 17 17 17 17 19 19 19 19
A 7 5 7
E
24 0 3 4 5 6 X X 0 3 4 5 6 X X
#
bœ œ œ œ bœ bœ œ
œ # œ œ #
E
B
G
D
A 7 5 7 7 5
E 0 3 4 5 6 X X 0 3 7 6 5 0 3 4 5 6 X X
27
G5 A 5
#
œ bœ bœ œ œ
œ œ #œ œ œ #œ œ œ œ bœ œ
E
B
G
D
A 7 7 5 7 5 7
E 0 3 4 5 6 X X 0 3 4 5 6 X X 0 3 7 6 5 3 5
30
70 March 2018
JIMI HENDRIX LEARNING ZONE
EXAMPLE SOLO CD TRACK 45
Make sure that the staccato notes in the solo are played accurately and in time; the blend of staccato and legato lines help give the track its soulful edge.
©»¡¡§
N.C.
.~~~ .
#
‰ ‰
E 2 BU ~~~ 12
BU BD
B 15 (17 ) 15 12
G 14 (16 ) ( 14 ) 12 14 12
D 14
A
E
25
. . . . . . ~~~
#
E
BU BU BU BU BU ~~~
B
G 12 14 14 (16 ) 12 14 ( 16 ) 12 14 (16 ) 12 14 (16 ) 14 (16 ) 14 12 12
D 14 12 12 14
A 10 14
E 12
27
. ~~~ G5 A5
#
3
œb
E
BU ~~~ 0 0
B 5 3
G 14 (16 ) 12 12 2 3 2 0 2 0
D 14 2 0
A 2 0
E 7 6 5
30
International readers can subscribe too!

Don’t wait for the latest issue to reach your local store
- subscribe today and let Guitar Techniques come
straight to you. You can read the print, digital, or the
complete print + digital bundle from just $36/€36!
IT’S EASY TO SUBSCRIBE...

ONLINE www.myfavouritemagazines.co.uk/GTQsubs
TERMS AND CONDITIONS: Prices and Savings quoted are compared to buying full priced UK print and dig gittal
issues. You will receive 13 issues in a year. If you are dissatisfied in any way you can write to us or call us to
cancel your subscription at any time and we will refund you for all unmailed issues. Prices correct at time of
print and subject to change. For full terms and conditions, please visit http://bit.ly/magtandc
March 2018 71
LESSON } JAZZ ON THE CD TRACKS 47-60
/RZH¶VSOD\LQJZDVJUDFHIXOEHDXWLIXOO\
Mundell Lowe FRPSRVHGDQGVXSUHPHO\VRSKLVWLFDWHGKLV

FKRUGZRUNKDUPRQLFDOO\DGYHQWXURXVDQG
KLVVLQJOHQRWHOLQHVVZXQJOLNHFUD]\+LV
LGHDVFDPHDFURVVDVIXOO\IRUPHGORJLFDOO\
John Wheatcroft pays heartfelt musical GHYHORSHGDQGLQVWDQWO\PHPRUDEOH+HDOVR
homage to a jazz guitar legend, the incomparable UHSXWHGO\NQHZWKRXVDQGVRIVRQJVLQFOXGLQJ
DOOWKHO\ULFVDQGYRFDOQXDQFHV7KLVLQIRUPHG
Mundell Lowe who passed away just last month. KLVPHORGLFDQGDFFRPSDQLPHQWFKRLFHVKH
NQHZH[DFWO\ZKHQWR¿OOLQDQGZKHQWRKROG
EDFN1RZRQGHUVRPDQ\VLQJHUVORYHGWR
ZRUNZLWKKLPDQGZK\SHUKDSVZHVKRXOG
VWULYHWRHPXODWHWKHVHDVSHFWVWRR
/RZHUHOHDVHGKLVODWHVWDOEXP3RRU
%XWWHUÀ\ MXVW ODVW \HDU DQG KH ZDV SHUIRUPLQJ
WITH MY KIND OF
JAZZ, IT’S EAR MUSIC.
IF YOU CAN’T HEAR IT,
DON’T PLAY IT, BECAUSE
IF YOU CAN’T HEAR IT
THEN THE LISTENER
CAN’T HEAR IT M. Lowe
UHJXODUO\ XQWLO VKRUWO\ EHIRUH KH GLHG
7KHUHDUHQLQHPXVLFDOSKUDVHVWKDWIROORZ
HDFKLOOXVWUDWLQJDSDUWLFXODUFRQFHSW
DSSURDFKRUWHFKQLTXHWKDW0XQGHOOPLJKW
HPSOR\ZKHQHLWKHULPSURYLVLQJVHWWLQJXS
WKHPRRGRUZLQGLQJDVRQJGRZQZLWKDQ
DSSURSULDWHHQGLQJ<RX¶OOQRWLFHWKDW/RZH
WXQHVWRGURS'H[FOXVLYHO\VRZKLOHVRPHRI
WKHVHH[DPSOHVGRQ¶WDFWXDOO\XVHWKHORZ'
VWULQJ,PDGHWKHGHFLVLRQWRVWLFNWRWKLV
WXQLQJWKURXJKRXWIRUWKHVDNHRIDXWKHQWLFLW\
DQGDOVRWRKRSHIXOO\FRQMXUHXSVRPHRIWKH
Mundell Lowe VSLULWRIDGYHQWXUHDQGH[SORUDWLRQWKDW
who passed ZRUNHGVRHIIHFWLYHO\IRU0XQGHOOWKURXJKRXW
away aged 95
KLVVWDUVWXGGHGDQGGHVHUYHGO\JOLWWHULQJ
FDUHHU 5,3 0XQGHOO /RZH
YLUWXRVRSOD\LQJRISLDQLVW$UW7DWXPWKH
ABILITY RATING
\RXQJ0XQGHOOGHFLGHGWRWDNHDFKDQJHRI NEXT MONTH John takes an in-depth look inside
----- Moderate/Advanced GLUHFWLRQWRZDUGVMD]] the style of the most masterful Earl Klugh
Info Will improve your… $QGZKDWDIRUWXLWRXVGHFLVLRQWKLVSURYHG
Key: Various Chordvoicingsindrop-Dtuning WREH0XQGHOO¶VFDUHHUZDVSKHQRPHQDOO\ 5 5
4
Tempo: Various Motificdevelopment VXFFHVVIXO+LVUHVXPHLVHVVHQWLDOO\D:KR¶V 3 3
CD: TRACKS 47-60 Phrasing and line construction :KRRIMD]]LQFOXGLQJDUWLVWVVXFKDV&KDUOLH
3DUNHU%LOOLH+ROLGD\'L]]\*LOOHVSLH%LOO
A
s has happened all too often recently, (YDQV%HQQ\*RRGPDQ6DUDK9DXJKDQDQG
ZH¿QGRXUVHOYHVPRXUQLQJDQRWKHU (OOD)LW]JHUDOG)URPWKHZRUOGRISRSXODU
JXLWDUOHJHQG+RZHYHU0XQGHOO/RZH PXVLFKHKDVSHUIRUPHGUHFRUGHGDQG
KDGDWOHDVWOHGDORQJDQGIUXLWIXO DUUDQJHGIRUKRXVHKROGQDPHVVXFKDV%DUU\
Mundell played a beautiful collection of archtops
FDUHHUERWKDVDVRORDUWLVWDQGDORQJVLGH 0DQLORZ+DUU\%HODIRQWH%REE\'DULQ throughout his career, including Guilds,
VRPHRIPXVLF¶VPRVWLFRQLFDUWLVWV+HZDV 3HJJ\/HHDQGFRXQWOHVVRWKHUV,QWKHV Benedettos and more recently an instrument
DOVRJLJJLQJULJKWXSXQWLOKLVGHDWKDWWKHULSH /RZHZRUNHGDVJXLWDULVWDUUDQJHUDQG made by James Mapson. We’re after a balanced
warm clean tone so select your neck pickup, roll
ROGDJHRI FRPSRVHUIRUWHOHYLVLRQDQG¿OPIRUERWKWKH the tone down a little, and go easy on the reverb.
%RUQLQ/DXUHO0LVVLVVLSSLLQ/RZH¶V 1%&DQG&%6RUFKHVWUDVSOXVKHKDGD You’ll get a much smoother and more authentic
LQWURGXFWLRQWRSOD\LQJJXLWDUZDVYLDFRXQWU\ VXFFHVVIXOFDUHHUDVDQHGXFDWRUWHDFKLQJDW tone if you pick towards the neck, even as far as
over the pickup, although be careful to avoid the
PXVLF%XWLQVSLUHGE\WKHUHYROXWLRQDU\ ERWKWKH*XLWDU,QVWLWXWHRI7HFKQRORJ\*,7
HERITAGE IMAGES / GETTY IMAGES
plectrum striking the metal casing.

JXLWDUVRXQGVRI&KDUOLH&KULVWLDQDQGWKH DQGWKH*URYH6FKRRORI0XVLF&DOLIRUQLD
TRACK RECORD Guitar Player (Dobre 1977) is a wonderful introduction to Lowe’s beautiful playing. His phrasing is inventive, expressive
and technically superb. Numerous examples of his stunning chord/melody playing can be found on Guitar Moods (Riverside 1956), and we’d
also like to recommend his trio album, Uptown (Telarc 1990), with pianist André Previn and bassist extraordinaire Ray Brown.
72 March 2018
MUNDELL LOWE LEARNING ZONE
EXAMPLE 1 BLUESY BEBOP LINES THROUGH THE CHANGES CD TRACK 47

Mundell made light work out of rapid tempo sequences of bebop chord notes from each of the chords found in this functional progression in the key
changes and always managed to sound relaxed, bluesy and composed at the of F, although the secret to his sound is to be melodic and create bold phrases
same time. Much of the material here is based around connecting the strong that will withstand both repetition and development.
©»™£º Swing Gm7 C7 Gm7 C7

b b
‰ ‰
Sixth string tuned down to D
E
B 9 10
G 9 10 9 12 11 10 9 12 11
D 12 10 10 12
A 13 10 12 11 10 12 13
D
1
F6 F 7/A B b6 Bdi m7 F7/C B b7 Am7 b 5 D7 G m7
b b
‰
E 10 13 10
B 10 13
G 10 11 12 10 10 13 14 12 13 12
D 13 12 13 15 12
A
D
6
EXAMPLE 2 BLENDING LINES WITH CHORDS CD TRACK 49

This example makes good use of small chord voicings and connecting connection between the chord shapes that you regularly employ and the
single-note lines that can be considered to be ‘in orbit’ around these melodic potential based around all the tools you might use, such as scales,
chord forms. One feels that Lowe had a specific chord shape in mind for arpeggios, Pentatonics, licks and lines. This example also makes effective
almost all of his soloing vocabulary, so see if you can make the explicit use of Mundell’s drop D tuning, albeit just for one solitary note in bar 9.
©»™£º Swing n
A7 D11 D9
# . #
‰ ‰ ‰ ‰ ‰
E 6 7 6 7 5 10 10
B 5 7 8 8 8 7 7
G 6 7 9 9
D 10 10
A
D
1
D7 b 9
..
G9 C7
. . b #
E 10
B 10 9 10 8 7 6 7
G 10 10 7 7 8
D 9 10 9 8 6 7 10
A
D 0
6
March 2018 73
EXAMPLE 3 CLEAR MOTIFS THROUGH BOSSA CHANGES CD TRACK 51

While again there‘s nothing too technically demanding, each idea has the compositional approach to melodies. Why not compose a solo against these
potential for development, is easy to remember, easy to sing and all fit the changes? If it takes a while then no problem; the next time will be quicker and
harmony beautifully. Although developing a vocabulary to match Mundell the next quicker still. Improvisational ability, like almost every other musical
might take a lifetime, you can certainly speed things along by taking a skill, responds to hard work and effort so you really do get what you put in.

Straight Dm7 G 13 B m7
b nœ
E9 Am7
. ‰
E 6 7
B 5 5 9 8
G 4 5 6 7 7 7 7 9
D 9 10
A
D
1
D9 D7sus4 E b7 A bmaj 7 Dm7 G7

#
‰ ‰
3
E 9 10 7 12 8 8 12 13 9 11
B 10 10 9 11 13 13 10 13 10 12
G 9 10 9 10 10 12 10 10
D 13 12
A
D
6
EXAMPLE 4 CONTROL OF TENSION AND RELEASE WITH MELODIC CHOICES CD TRACK 53

This example shows us how Mundell might balance consonance, by selecting underlying F7 to create F7b9. While in isolation this is quite an abrasive sound in
notes that fit perfectly against the harmony, with select moments of the context of what comes before and the subsequent resolution to Bbmaj7 in
dissonance. Let’s look at the strong Gb note in bars 3 and 4, held against an bar 5, this tension is both logical and musically colourful.
Cm7 F7 b 9

Straight 3 b
‰ ‰
3
E 10 13 13 13 9 10
B 11 10
G 12 11 11 12 10
D 12
A
D
1
B bmaj7 B bm7
# # b n
‰
6
6
E 6 7 8
B 10 6 7 8
G 10 11 12 10 6 7 8
D 10 12 12 10 6 7 8
A 13 13
D
5
74 March 2018
EXAMPLE 4 CONTROL OF TENSION AND RELEASE WITH MELODIC CHOICES ...CONTINUED CD TRACK 53
E b7 b 9 A bmaj7
b b
Dm7 G13 Bm7
b
‰ ‰ ‰ ‰
E
B 8 11 8 9 11 8 9
G 5 6 8 9 8 8 8 8 12 9 10
D 10 10 9 10 11 12
A
D
8
EXAMPLE 5 BIG VOICINGS IN DROP D TUNING CD TRACK 55

Mundell’s decision to switch to drop D tuning exclusively was prompted by reality, Lowe would take more rhythmic liberties here, pushing and pulling the
studying Segovia transcriptions using this tuning. He instantly fell in love with duration of each chord to great expressive effect, although for the ease of both
the extended bass range and the ease of fingering to create lush and complex reading and learning we’ve kept the length of each chord uniform. Naturally,
harmonies with the minimum of effort. This example illustrates this sonic and once you’ve learnt this as written, feel free to deviate in any direction you
kinaesthetic potential perfectly, with a selection of chords in the key of F. In consider appropriate from both a rhythmic and harmonic perspective.
Straight A b9 G b9
Am9
n bb
Gm9
b
b œ b œ
Let ring Let ring Let ring Let ring
E 7 6 5 4
B 8 7 6 5
G 9 8 7 6
D 10 10 8 8
A 7 6 5 4
D 7 6 5 4
1
G m7
#9
D7#5 G m7 G b7
b
Fmaj7 F /C '
œ œ b œ
E
B
Let ring
3
3
Let ring
1
1
Let ring
3
3
Let ring
2
2
Let ring
3
5
Let ring
' 13
10
G 5 3 3 3 5 10
D 7 4 3 2 3 10
A 3 5 5 4 3 12
D 3 0 5 4 3 10
4
SUBSCRIBE TO THE O Instant digital access

O All styles and abilities from
DIGITAL EDITION OF intermediate to advanced

O Lessons from world class players,
GUITAR TECHNIQUES all clearly explained
O iPad version includes moving tab
FROM JUST £6.75! perfectly synched to top-quality
audio for every lesson
FROM JUST £6.75 O Full tracks transcribed, the world’s
EVERY 3 MONTHS best tuition guaranteed
www.myfavouritemagazines.co.uk/GTQsubs
EXAMPLE 6 DEVELOPING MOTIFS THROUGH SWINGING FUNCTIONING CHANGES CD TRACK 56

There’s more motific development to be found in this snappy example. sure you observe the rests correctly and resist the temptation to rush
Take note of how the rhythm of each phrase remains remarkably whenever there are silences, the curse for many a guitarist; trust me, the
unchanged throughout the chords, specifically through bars 4 to 7. Make other musicians in the band will notice and they don’t like it one little bit.
C #dim7
Swing N.C. Cmaj7 Dm7 G7
‰ # ‰ ‰ ‰ œ ‰ ‰
œ œ œ
3
E 3 3
B 4 5 6 7 6 4 3 5
G 5 5 2 5 7
D 5 5 7 6 7 9 7
A
D
1
E m7 Cmaj7 Dm7 G7 C6 Cmaj7 F #m7 b 5 B7 b 9

b
‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
E 8
B 10 9 8 8 10 8
G 9 10 9 7 9 9 7 8 7
D 9 10 9 10 10 10 10
A
D
6
EXAMPLE 7 CHORD/MELODY AND SINGLENOTE LINES CD TRACK 57

More motific development, specifically bars 5-7. Again we see the seamless combination of eighth-note triplet and swung eighth-note rhythms as in
integration of chord voicings and single-note lines to great effect. The bar 10 is a bebop cliché that you’ll hear over and over again in this idiom.
Cmaj7 C #dim7 C #dim7

Swing G13 Dm7 G7 Cmaj7 Dm7 G7
œœœ œ œœ œ œ
‰ ‰ ‰ ‰ ‰ ‰
E 5 5 7 5 8 7
B 5 5 5 5 5 6 8 5 6
G 4 4 5 3 6 7 7 6 7 5 4
D 3 3 5 5
A 4
D
1
F #m7 b 5
C6
.
Fm7
b b b
C maj7
b .
‰ ‰ ‰
3
E 7 8 8 8 11 10 8
B 5 5 8 9 11 9 8
G 5 4 4 5 7 9 10
D 7 6 5 7
A
D
7
76 March 2018
EXAMPLE 8 CHORD FRAGMENTS WITH‘OVERTONE’BASS DRONE CD TRACK 59

This example combines small three-note chord voicings with 12th-fret improvisation considerations we covered in Example 3 are equally
harmonic ‘overtone’ bass drones and is typical of the way Mundell might applicable here. Naturally, Mundell’s decision to tune both sixth and fourth
set up a tune. Creating effective intros and endings is a remarkably strings to the same note affords us some musical potential that he would
effective and oft-neglected skill and the previous compositional/ use to great effect in a line like this.
#
Swing '
E m/D F/D
'
E m/D E b/D
' '
·
E 7 8 7 6
B
G
D 12
g 8
9
9
10
12 12 12
8
9
7
8
12
A
D 12
1
# . '
G/D A badd # 11/D
'
G/D
' D dim7
O O O
'
'
·
NH
E
B
G 7 7 7 10
D 9 10 9 9
A 10 11 10 11
D 12 12 12
6
EXAMPLE 9 CONNECTING DIMINISHED VOICINGS FOR CHORD/MELODY CD TRACK 60

We’re back to chord/melody for our final example in the key of D major. management of connecting from chord to chord in a smooth and seamless
Mundell’s command of three and four-note voicings is superb, no doubt way, and his use of symmetrical diminished voicings to connect these
the result of his extensive study of harmony and his experience and chords and to create horizontal motional along the fretboard in a logical
skill as an arranger. Make note of the efficient use of voice leading, the and musically cohesive fashion.
C #dim
©»¡¡º Straight
D6 A7 D6 Dadd9 D 6 / 9 Ddim7

D 6/9
#
...
E 10 9 12 10 5 5 4 7 5
B 12 10 14 12 7 5 3 6 5
G 14 12 15 14 9 4 4 7 4
D 4 3 6 4
A
D 0 0
1
D 6 / 9 C #dim7 D 6/9 Ddim7 D 6/ 9 C6 D b6 D6

# #
œ bœ œ œ
E 10 9 12 10 5 4 7 10 12 13 14
B 10 8 11 10 5 3 6 10 10 11 12
G 9 9 12 9 4 4 7 9 12 13 14
D 9 8 11 9 4 3 6 9
A
D 0
6
March 2018 77
LESSON } CREATIVE ROCK ON THE CD TRACKS 61-63
Unusual Pentatonic scales

for Dominant soloing
How can adding a minor 3rd to the Mixolydian referred to as a #9 in chords.
Finally in this lesson, we are going to look
scale expand our Pentatonic possibilities? Once at the m6 Pentatonic scale.
again Shaun Baxter gets us right on track. Am6 pentatonic scale:
A-C-D-E-F#
ABILITY RATING ,Q WHUPV RI 3HQWDWRQLFV ¿YHQRWH VFDOHV 1-b3-4-5-6
we have thus far looked at the following scales Here, note that the #2 (B#) can now be
----- Moderate to advanced in this mini series: considered as a b3 (C) because there is no
Info Will improve your… Major Pentatonic scale: 1-2-3-4 -6 other 3rd in the scale.
Key: A (A7) Alternative Pentatonics knowledge Dominant Pentatonic scale: 1 -2-3-5-b7 Diagram 1 shows all three scales in each of
Tempo: 60bpm Visualisation of unusual Pentatonics Indian Pentatonic scale: 1-3-4 -5-b7 its CAGED shapes. Note that the 7#9 and 6#9
CD: TRACKS 61-63 Unorthodox Pentatonic repertoire
In rock and blues, it is also common practice Pentatonic scales are shown with a major
to use the Minor Pentatonic scale as a darker
R
ecently, we have been exploring alternative: 1 -b3 -4 -5-b7. EACH SCALE PROVIDES A
various different ways of using This scale possesses a b3 that does not exist DIFFERENT MENTAL AND
Mixolydian (1-2-3-4-5-6-b7) over a within Mixolydian, but has the effect of providing
Dominant chord (1-3-5-b7). some ear-catching dirt that helps our lines to AURAL PERSPECTIVE,
So far, we have extracted different ‘devices’ sound bluesier. By adding a b3 to Mixolydian, we LEADING YOU TO PLAY
DQG ÀDYRXUV IURP WKH VFDOH WULDGV DUSHJJLRV end up with an eight-note hybrid scale:
Pentatonic scales etc). Each provides a A hybrid Dominant scale:
DIFFERENT IDEAS
different mental and aural perspective, A-B-B#-C#-D-E-F#-G chord as a main superstructure, whereas, for
leading you to play different ideas each time. 1 - 2 - #2 - 3 - 4 - 5 - 6 - b7 the m6 Pentatonic scale, it’s a minor chord
Note that, when writing the scale (due to the lack of major 3rd).
(Mixolydian with an added b3), the b3 Here, we will be looking at musical
w be described as a #2 as there is
will H[DPSOHVZLWKLQHDFKRIWKH¿YH&$*('
already a major 3rd present in the shapes of these scales; however, this should
scale. In this lesson, we are going to just be the start of the process, and your aim
look
l at Pentatonic scales that can be should be to start developing your own
derived from this scale that incorporate personal repertoire of licks and lines in each
the #2(b3). shape, so that you have more ammunition to
A7#9 Pentatonic scale: work with when improvising.
A-B#-C#-E-G The backing track is very slow (60bpm);
1 -#2 - 3 - 5 -b7 so, don’t worry too much about the sight of so
Although
A this could be called 7#2 many 32nd notes in the musical examples
Pentatonic, it’s betterl to think 7#9 as since, speed-wise, they are equivalent to
that’s how a #2 would normally appear 16th-notes at 120bpm.
in a chord (an octave higher):
A7#9 chord: 5 5
4
A-C#-E-G-B# 7 3
1 - 3 - 5 - b7 -#9
6R WKLV¿UVW3HQWDWRQLFVFDOHFDQDOVR
be
b thought of as a 7#9 arpeggio in
which
w all the information is
compressed within each octave.
The next Pentatonic has the same
notes as an A6#9 arpeggio where, For this lesson, all the examples were recorded
again, all the information is using a standard blues-rock sound - a Fender
Strat through a distortion pedal (Zendrive) into
compressed into each octave:
a slightly overdriven Marshall JCM 800 valve
A6#9 Pentatonic scale:
head. Go for a tone that mixes clarity with
A-B#-C#-E-F# enough guts to sound right for the blues-rock
1-#2-3-5-6 genre. A nice splash of delay or reverb will help
Yes,
Y it could be called A6#2, but, as the notes to sing out and sustain.
b
before, it’s more common to see the #2
DAVID LYTTELTON
TRACK RECORD American jazz guitarist John Scofield springs to mind as a player who likes to explore these unorthodox Pentatonic
scale-types. John is a great fusion-style composer and has played on lots of records, both solo and as a sideman; however, if you’re new to his
work, I still recommend a string of three consecutive solo albums that he did between 1986 and 1987, Still Warm, Blue Matter and Loud Jazz.
78 March 2018
UNUSUAL PENTATONIC SCALES LEARNING ZONE
DIAGRAM 1 ALL THREE SCALES IN EACH OF ITS CAGED SHAPES
SHAPE 1 SHAPE 4
SHAPE 2 SHAPE 5
SHAPE 3
EXAMPLES UNUSUAL PENTATONIC SCALES CD TRACK 62

EXAMPLE 1 We start with a different example in each of the five CAGED on if there weren’t a defined concept shaping the results. Basically, the more
shapes of the A7#9 Pentatonic scale (see Diagram 1). This first one is based concepts you have, the greater the variety and contrast of your musical ideas.
around CAGED shape #1, and exploits the subtle difference between a C# and EXAMPLE 2 Next, we move up to CAGED shape #2 of the A7#9 Pentatonic.
a C note that is bent up towards C#, but never quite makes it (curl). On the face Although the start may look like standard blues fare, I’m sure you’ll agree that
of it, this might look like a standard blues line but, without thinking in terms the second half of bar 4 doesn’t. Again, this is purely because the discipline
of the 7#9 Pentatonic, the eighth note of the sequence would probably have of having to stick slavishly to the concept of shape #2 of the A7#9 Pentatonic
been a D instead of a C#, and the line may have deviated even further later scale forces us to break out of our usual patterns of play.
©»§º ~~~~
1/4
n
Ex 1 Ex 2
#
1/4 3
. ‰ . ‰
3 6
n
3
6
~~~~
1/4
1/4
E 5 8 5
B 5 5 8 5 8
G 6 5 6
D 7 5 7
A 7
E 8 9
1
~~~~
#
1/4
n
®
E
BU ~~~~ 1/4
B 8
G 6 9 9 6
D 7 7 7 10 7 7 10
A 10 10 7
E 8 (9 )
4
March 2018 79

EXAMPLE 3 By laying out these Pentatonic scales on the guitar’s fretboard, EXAMPLE 5 This is the first in a succession of shape #5 lines. Note that this
you will start noticing new shapes to explore. For example, this shape #3 line one features a wide stretch between the second and fourth fingers on the first
starts off with a four-note diagonal shape that falls under the hand very nicely string. Although there are hammer-ons, slides and pull-offs throughout, aim to
and sounds suitably ear-catching too. Try to take note of the accents within this keep to a strict 32nd-note rhythm from start to finish.
particular line. EXAMPLE 6 In this next shape #5 line, rhythmic interest is provided by playing
EXAMPLE 4 There are more accents in this shape #4 line too, as well as some a three-note motif to a count of four. Musically, this ‘three against four’ effect is
string-skipping to keep things from sounding predictable. known as a hemiola.
slow
Ex 3 1/4
# n > > . ‰.
slow
1/4
E
B 13 10 10 10 13
G 12 12 9 12 9 9 12 9 12 14
D 11 11 10 11 11 11 10 11 10 11 10 10
A 10 10 12 12 10 12
E
6
Ex 4
> n> > n # n # ~~
#
Hold
E 12 15 12
3
12
BU
~~~
B 13 14 13 (14 )
G 14 12 12 14 12 12 14 12 14 14
D 11 14 11 14 11 11 11 14
A 12 15 15 12 15 12 12 15
E 15 12 15
8
Ex 5
# ™ ¢ ™ ~~~~ Ex 6
‰.
n
E 15 17 21 17 15
~~~~
B 17 17
G 14 17 18 18 17 14
D 14 17 17 14 17 14 17
A 16 15 15
E 17
10
n n ~~ ~~
# n # n # n # # n
E 15 17 15
BU ~~~~~~
B 14 17 14 17 14 17 14
G 14 17 14 17 14 17 17 21 (24 )
D 17 14 17
A
E
12
80 March 2018

EXAMPLE 7 Like Example 3, this final shape #5 line exploits forms that visually Zawinul ofWeather Report. Finally, note how this example finishes on a b7 (G
jump out at us once we see the scale represented on the guitar neck. Here, we natural), which is not part of the 6#9 Pentatonic scale, but just sounded right.
use a convenient triad pair (A and C) that exists within the A7#9 Pentatonic EXAMPLE 9 This shape #2 line starts with a two-note pick-up and reverts back
scale as the thematic basis of this rhythmic and melodic line. to the more traditional shift from b3 (C) to 3 (C#) at the start of bar 18.
EXAMPLE 8 Next, we move on to different examples in each of the five CAGED EXAMPLE 10 A three-note pick-up this time is used at the start of this line
shapes of the A6#9 Pentatonic scale (see Diagram 1). More often than not, that traverses shapes #3 and #2. Here, we’re using a symmetrical arrangement
blues-rock players will use a b3 to approach a 3, and not the other way around; whereby the pattern on the top string-pair (second and first strings) is
however, here, in this shape #1 line, we do see C# followed by C twice. This shift replicated an octave lower on the middle string-pair (third and fourth strings).
from 3 to b3 is something frequently exploited by modern jazz artists such as Joe Note how we pass from C to C# and also vice versa.
~~ ~ ~
Ex 7
n # n # n n # n
#
~~~~ ~~~
E 15 17
B 14 17 14 17 14 14 17 14
G 14 17 14 17 14 17 17 14
D 14 17 14 17
A
E
14
~~ ~~~
n # n # n
Ex 8 Ex 9
#
‰ ‰.
E 5 8 5 9 8
~~~ 9 8 5
~~~
B 5 7 7 7 5 7 10
G 5 6 6 5
D 7 7 4 7 5
A 7
E
16
~~~~~~~
1/4
Ex 10
# n # ~~~~ n
. ‰ ®
E 8 9
1/4 ~~~~~~~ BU ~~~~~ 8
B 10 7 7 10
G 9 6 7 (9)
D 7 10 7
A 9
E
18
n ~~~~~ slow
#
1/4
E 9 12 9 8
~~~~~~ slow
1/4
B 10 7
G 9 6 5 5
D 7 4 7
A 7
E
20
March 2018 81

EXAMPLE 11 Often, it’s good to consciously escape‘guitaristic’interpretations how the same motif can be shifted laterally up or down the neck, morphing as
of a scale (in other words, familiar‘under the fingers’ideas). Here, the four-note it travels through one shape to the next. Have a look at what other ideas can
pattern on each string-pair in this shape #4 line is more typical of a sax player also be shifted in a similar manner with each of the three Pentatonic scales
than a guitarist, but will yield fresh-sounding results. Again, take note of the featured in this lesson.
accents, which will help to make the line less mechanical and rigid. EXAMPLE 14 Finally, we move on to different examples in each of the five
EXAMPLE 12 There are more accents in this shape #5 line, which will give it a CAGED shapes of the Am6 Pentatonic scale (see Diagram 1). The eagle-eyed
bit of added rhythmic interest. Notice the convenient 9th and 12th fret note- among you will notice that this scale has the same notes as D Dominant
configuration repeated on all of the top three strings in this shape of the 6#9 Pentatonic scale (in other words, it’s one of its five modes). Most of the
Pentatonic scale. examples in this lesson feature 32nd notes; however, this shape #1 line
EXAMPLE 13 Although we have been focusing on lines that dwell within a demonstrates the sort of languid and sleazy results that can be created by
single CAGED shape for each of these Pentatonic scales, this example shows playing much slower.
>
> >n # >n #
Ex 11
# > >
. ‰
E 12 14 17
B 13 14 13 14
G 11 14 11 14
D 11 14 11 14
A 12 15
E
22
œ œ
#> n > # n # œ
Ex 12
n n
#
1/4
E 14 17 14
B 14 17 14 14 17 17 14 1/4
G 14 17 14 17 17 17 14 17 14 14
D 14 16 16 16 14 14 16
A 15
E
24
Ex 13 n
#
E 17 20 17 14 17 14
B 17 19 17 19 19 19 17 14 17 14 17 17 17 14
G 17 18 18 18 17 18 14 17 17 17 14 17
D
A
E
26
()
# ~~~~
Ex 14
~~ ~~~
‰.
E 12 14 12
~~~~ ~~ BU
5
~~~
B 13 14 13 14 14 14 13 5 5 6 (7 )
G 11 14 14 14 11 14 5 7 5
D 4 7
A 12
E
27
82 March 2018

EXAMPLE 15 We switch to a triplet feel for this shape #2 Am6 Pentatonic line. EXAMPLE 17 Similarly, this shape #4 line starts with a straight F#m7b5
Also, it features some chromatic notes that are always used as bridging notes arpeggio (which has the same notes as Am6)
from one valid scale-note to another (in this case, C# passing between C and D, F#m7b5: F#-A-C-E Am6: A-C-E-F#
and then Eb passing between D and E). 1-b3-b5-b7 1-b3-5-6
EXAMPLE 16 We’re back to straight 32nd notes for this shape #3 line. Note EXAMPLE 18 Finally, we conclude with a line that starts in CAGED shape #5 of
how the first nine notes are taken straight from a D7 arpeggio. Am6 Pentatonic and then finishes in shape #1 of the same scale.
n. #. .
Ex 15
n
#
6
.
3 6
BU
5 3
BD
E 8 9 10 (12 ) (10 ) 9 8 8
B 10 7 10 7 10 10
G 9 8 7 8 9 8 7 7
D 10 7 10 7 7
A 9 7 9
E
29
Ex 16
n ~~
#
3
1/4
‰
n œ™
E 10 12 10
~~~
B 10 13 13 13 10
1/4
G 11 11 9
D 7 10 12 12 10 7
A 9 12 12 9
E 8 12 10 8
31
1/4
.
1/4
n
Ex 17
# b ~
E 12 14 17 14 12 14
1/4 1/4
~~~
B 13 15 13 13
G 11 14 14 15 14 11 14 14 11
D 14 14 12
A 12 15 12 15
E 14 14
34
Ex 18
~~~
# ‰
E
BU
14 17 20 17
~~~
B 15 15 17 15 15 17 19 17 19
G 17 (19 ) 17 14 14 17 19 17
D 16 14 16
A
E
36
March 2018 83
LESSON } FRETBOARD FLUENCY ON THE CD TRACKS 64-69
Brought to you by...
Fretboard fluency Pt 3
This issue Martin Goulding explores one In the third example, we’ll work on
developing our recognition of the strongest
of the most popular scales for improvising over intervals in Dorian – the chord tones, or notes
minor 7 chords: the ever musical Dorian mode. of the m7 arpeggio (R-b3-5-b:H¶OOGRWKLVE\
‘enclosing’ each consecutive chord tone using
an ‘upper neighbour tone’ (scale note higher
than the chord tone), followed by a ‘lower
neighbour tone’ (one scale degree lower). This
provides a visual map of the key intervals
from which we can start and resolve our
melodies when improvising.
:KHQSOD\LQJLQWHUYDOOLFSDWWHUQVWKDW
require fretting-hand barring and rolling
when playing adjacent notes across two
strings, adopt a ‘square and dropped’ hand
position with the thumb positioned in the
PLAYING THROUGH
THE EXAMPLES MAY
PROVE CHALLENGING,
SO BREAK THEM DOWN
FOUR NOTES AT A TIME
middle of the back of the neck, and with
plenty of space between the underside of the
neck and the ‘cup’ of the hand. This ‘classical’
hand position may feel unusual if you are
from a blues-based background and play
‘thumb over the top’ style. But with the hand
position square, you’ll be able to stretch out
DQGSRVLWLRQ\RXU¿QJHUVIRUJUHDWHUDFFXUDF\
ZLWKWKH¿UVW¿QJHUVHWWRPXWHRIIWKH
adjacent lower string with its tip, as well as
UHVWLQJÀDWRYHUDQ\KLJKHUWUHEOHVWULQJV
XQGHUQHDWK:LWKWKHSLFNLQJKDQGPXWLQJRII
Carlos Santana’s any unattended lower strings, the notes
playing is often should sound clear and even in velocity.
tinged with the
sound of Dorian NEXT MONTH Martin continues his series that
helps to hone your Fretboard Navigation
Based around last month’s formula, we’ll
ABILITY RATING
arrange the Dorian mode as two ‘master
----- Moderate/Advanced exercises’ in positions 1 and 4, with the chord, 7
6 6 6
3
Info Will improve your: scale, arpeggio and intervallic pattern all
Key: A Dorian Alternate picking incorporated into a single exercise for
Tempo: 120bpm Muting, barring and rolling PD[LPXPHI¿FLHQF\:H¶OOEHSOD\LQJWKURXJK
CD: TRACKS 64-69 Interval recognition WKHVFDOH¿UVWO\LQUGVDQGWKHQLQWKVZLWK

strict alternate picking. Playing through these
D
orian is the second mode of the Major LQWHUYDOVPD\EHFKDOOHQJLQJDW¿UVWVRWU\
I’d recommend you practise using a medium
scale, so in the key of G Major that breaking each example down four notes at a overdrive sound as it’s one of the best ways to
would be A Dorian: A-B-C-D-E-F#-G time and work on memorising each ‘fragment’ monitor your muting techniques (any unplayed
(R-2-b3-4-5-6-b7). A popular choice before moving on. Pay particular attention to strings can produce unwanted dissonant
overtones).The overdriven sound is also the tone
when improvising over m7 chords, Dorian WKHUHFRPPHQGHG¿QJHULQJVDVZHOODVWKH of choice for many contemporary styles, and will
mode is characterised by the major 6th degree direction of the pick strokes, which form the lend a more fusion-orientated sound when playing
STARTRAKS PHOTO / REX / SHUTTERSTOCK
(F#) which differentiates it from Aeolian and momentum of the technique. As with all some of the more jazz-based concepts we’ll be
covering, with the ideas easily integrated with your
Phrygian, the other minor modes, both of exercise routines, shake out the hands and
existing blues and rock vocabulary.
which contain the darker minor 6th (F). arms as soon as you feel tension or fatigue.
TRACK RECORD Santana is well known for using Dorian colour tones in his Minor Pentatonic phrases; examples include Oye Como Va
and Evil Ways. Intervals of a 3rd form the basis for classic melodies including Bowie’s 1977 single, Sound And Vision, while 3rds can fatten
up lead melodies - think of The Boys Are Back in Town by Thin Lizzy and Hotel California by The Eagles, both featuring harmonised 3rds.
84 March 2018
DORIAN MODE LEARNING ZONE
EXAMPLE 1A MASTER EXERCISE CD TRACK 64

Let’s take the‘master exercise’that we’ve been using over the last two lessons find a comfortable speed. If you experience a build up of tension or fatigue,
to practise the G Major scale, and apply it to the A Dorian mode position 1. stop and shake out the hands and arms until any feeling of discomfort has
Starting off with the associated Am7 chord for reference, we’ll ascend and subsided. Use strict alternate picking, starting on a downstroke. The whole
descend the scale and arpeggio forms before continuing playing the scale exercise is written as eighth notes, so try tapping your foot to accent the
in 3rds. Isolate these three main sections and repeat slowly until memorised, downstrokes at the start of each beat. As the speed increases gradually over
before assembling the whole. Once you are able to play through the whole the weeks, you may wish to reinterpret the exercise as 16th-notes with the click,
example cleanly with good timing and accuracy, turn on the metronome and downstroke accent and foot reinforcing the beat every four notes.
©»¡™º Am7 N.C.

¢ ¡ œ£
¡ ™ ¢ ¡ #£
œ ¢ ¡ £ ¡ ™ ¢
¡ £
E 5 7
B 5 5 7 8
G 5 4 5 7
D 5 4 5 7
A 5 7

E 5 5 7 8
1
etc
¢ £ ¡ £ ¢
¢ ¡ ¢ ™ £ ¡ ¡
¡ ¢ ™ ¡ £
œ £ ¡
¡ ¢ £ ¡ ¢
E 8 7 5
B 8 7 5 5 8
G 7 5 4 5
D 7 5 4 5 7
A 7 5 7
E 8 7 5 8
4
¡ ¢ ¡ ¢
¡ ¡ ¡ ¢ ¡ ¡ £ #£
£ ¡ £ œ ¢ £ ¡ ¡ ¢ ™ ¡ ¢ ™ ¡ ¢ ™
¢ ¡ ¢ £ ¡
E 5
B 8 5 5 7 5 8
G 5 4 5 4 7 5 7
D 7 5 4 5 4 7 5 7
A 7 5 7 5 7
E 8 5 8 7 8
7
¡
# £ ¢œ ¡ £ £ ¡ ¡ ¢ ¡ ™ ¢
¡ ™ ¢ ¡ ™ ¢ ¡ ¡ £ ¢ ¡ £ ¡
E 5
B 7 8 5 7 5
G 7 5 7 4 5 4
D 7 5 7 4 5 4
A 7 5 7 5
8 7
5
E
11
EXAMPLE 1B PLAYING A DORIAN IN 4THS CD TRACK 65

This example ascends and descends our position 1 A Dorian mode in 4ths. muted off with the tip of the finger. When descending the scale, simply
This will require the use of fretting hand barring and rolling techniques, reverse the process with the tip of the finger set to mute the adjacent lower
so break the pattern down two notes at a time and work on playing the string before leaning forwards from the wrist and pinching onto the lower
first note on your fingertip before leaning back from the wrist to play the string to play the note. Once memorised, see if you can play through the first
adjacent note (fingerpad), and then with the previously played lower string ‘master exercise’ again, this time replacing the 3rds with 4ths.
©»¡™º Am7 N.C.

¡ ™ ¡ #£ £ ¢ ¡ ¡
¡ œ ¢ ¢ ¡ ™ ™ ¢ ¢ ¡ ¡ ™ ™ ¢ ¢
¡ ¢
E 5
B 5 5 7 8 5
G 5 4 5 7 4 5 7
D 5 4 5 7 4 5 7
A 5 7 5 7

E 5 5 7 8
1
etc
March 2018 85
LESSON } FRETBOARD FLUENCY ON THE CD TRACKS 64-69
EXAMPLE 1B PLAYING A DORIAN IN 4THS...CONTINUED CD TRACK 65
£ £ ¡ ¢
¡ £ £ ¡ ™ ¡ ¢ ¢
™ ™ ¡ ¡ ¢ ¢ ™ ™œ ¡ ¢ £ œ
£ ¡
E 7 5
B 7 5 8 7 5
G 7 5 4 7 5 4
D 7 5 4 7 5 7 5
A 7 5
E 8 7 5
5

EXAMPLE 2A A DORIAN MINOR 7 CHORD, ARPEGGIO AND SCALE CD TRACK 66
In examples 2a and 2b, we’ll apply the same approach with our A Dorian more, use alternate picking and concentrate on clear note separation, with
‘master exercise’arranged in position 4, with the minor 7 chord, Dorian mode, each digit released as the next goes down. On the 4ths, listen out for notes
minor 7 arpeggio and intervallic pattern again played in succession. Once sounding together as you roll and barre the fingers across the adjacent notes.
©»¡™º Am7 N.C.

¢ ¡ ™ ¢ ¡ #£
¡ ™
ww # ¡ £
œ œ œ œ
£ ¢

¡ £ ¢ ¡
E 12 14
B 13 12 13 15
G 12 11 12 14
D 14 12 14
A 12 12 14 15

E 12 14 15
1
etc
¢ #£ ¡ ¢ ™ ¡ ¢ £ ™
™ ¡ £ ¡ ¢ £ ¡
£ ¡ ¢ £ ¡ ¢ ¡ ¢
E 15 14 12
B 15 13 12 13
G 14 12 11 12 14
D 14 12 14
A 15 14 12 12 15
E 15 14 12 15
4
¡ ™ £
¡ ¡ ¢ ™ ¡ ¢ ¡ ¡ £ ™ ¡ ¢
£ ¢ ¡ ¢ £ ¡ ¢ £ ¡
¡ ¢ £ ¡ ¢ £ ¡ ¢
E 12
B 13 12 13 12 15
G 14 12 11 12 11 14 12 14
D 14 12 14 12 14
A 15 12 12 14 12 15 14 15
E 15 10 15 14 15
7
¡ ™ ¢ ¡ ™ £ ¡ ¢
¡ ¡ ™ ¢ ¡ ¡ £ ¢ ¡ £ ¢ ¡
£ ¢ ¡ £ ¡
E 12
B 13 15 12 13 12
G 14 12 14 11 12 11
D 14 12 14 12
A 15 14 15 12 14 12
E 15 14 12
11

86 March 2018
DORIAN MODE LEARNING ZONE
EXAMPLE 2B A DORIAN MINOR 7 CHORD, ARPEGGIO AND SCALE CD TRACK 67
©»¡™º Am7 N.C. ™ ¢ ¡ ¡

¢ ¢ ¡ ¡
œ £ £œ ¢ # ¡œ ™ ™œ ¢œ ¢
œ # œ¡ ™ ¡œ £
¡ ¡ £ £
E 12
B 13 12 13 15 12
G 12 11 12 14 11 12 14
D 14 12 14 12 14
A 12 12 14 15 12 14 15

E 12 14 15
1
etc
#£ ™ ¡
¡ ¢
£ ™ ™ ¢
¡ #¡ ¢ ™ ™ ¡ ¢ £ £ ¡ ¡
¢ ¢ £ £ ¡
E 14 12
B 13 12 15 13 12
G 14 12 11 14 12 11
D 14 12 14 12
A 15 14 12 15 14
E 15 14 12
5

EXAMPLE 3 ‘ENCLOSING’USING NEIGHBOUR TONES CD TRACK 68
Our final example uses eighth-note lead-ins on beats 2 and 4 to target the direct the listener’s ear towards the resolving target chord tones, which
notes of the Am7 arpeggio – A-C -E-G (R-b3-5-b7th). Each lead-in phrase occur on the main downbeats – 1 and 3. Once memorised, play over the
consists of an upper neighbour tone (one scale degree higher than the backing track on the GT audio before improvising around the framework,
target chord tone), followed by a lower neighbour tone (one scale degree experimenting with melodies and phrases, remebering to always start and
lower). Together, these surrounding intervals heighten tension and end phrases on the stronger chord tones.
©»¡¡ N.C.
¢ ¡ ™ ¢ ¢
œ œ œ ¡ œ ¢ ¢ ¡ ™ ¡ ™ ¢
¢ ™ ¡ £ ¢ ™
¡
E
B 7
G 4 7 4 5 7
D 4 7 4 5 5 7
A 5 5 7

7 3 5 7 8

E
1

¡ ¡ £ ¢ £ ¢ ¡ ¡ £ ¢ £ £ ¡ ¢ ¡ ™
¡ ™
E 5 7 5 5
B 5 7 8 8 7 8 7 5
G 7 7 4 5 4
D 5
A

E
4

~~~~~
¢ ¢ ¡ ™ ¡ œ
™ ¢
œ
¡ œ
£ ¢ ¢ ¡ ™
E
~~~~~
B
G
D 7 7 4 5 4
A 5 7 5
7 7 3 5
E
7
8

March 2018 87
LESSON } BEGINNER’S SLIDE ON THE CD TRACKS 70-77
that would later be a highlight of the At

)LOOPRUH(DVWOLYHDOEXP7KH&RULFLGLQ
SDLQNLOOHUERWWOHKH¿UVWXVHGDVDVOLGHDIWHU
sustaining an injury would become a signature
RIKLVHPXODWHGE\PDQ\RWKHUSOD\HUV
5ROOLQJ6WRQHSXW'XDQH$OOPDQDWRQ
their list of the Top 100 Guitarists, second only
WR-LPL+HQGUL['HVSLWHDQLPSUHVVLYHVWXGLR
FDWDORJXHLQDUHODWLYHO\VKRUWFDUHHULWZDVOLYH
WKDW$OOPDQVKRQHEULJKWHVWZLWK/LYH$W
)LOOPRUH(DVWDUJXDEO\WKHEDQG¶V¿QHVWKRXU
Allman’s phrasing was at times fast and
FRPSOH[DOZD\VZLWKDXQLTXHYRLFH0RVWO\
using open E tuning, he could still play
HIIHFWLYHO\LQDZLGHUDQJHRINH\V+HDOVR
used the whole neck of the guitar, including
ROLLING STONE PUT

DUANE ALLMAN AT #2
ON THEIR LIST OF THE
TOP 100 GUITARISTS
EVER, SECOND ONLY TO
JIMI HENDRIX
beyond the pickups (as can be heard on the
IDPRXV/D\ODVROR$OOPDQORYHGWR
intertwine his lead lines with those of Clapton
RU'LFNH\%HWWV$VZHOODVKLVIDPRXVDELOLW\
DWLPSURYLVLQJKHZDVPDVWHUIXODWFUHDWLQJ
Duane Allman was KRRNVDQGULIIVZLWKDQGZLWKRXWVOLGH
one of slide’s most Duane’s slide playing alone makes The
influential figures
Allman Brothers essential listening for any
guitarist, but with both Derek Trucks and
Duane Allman :DUUHQ+D\QHVSOD\LQJZLWKWKHEDQGDOEHLW

years after Allman’s death, the group and its
fabulous guitarists remain one of the biggest
LQÀXHQFHV RQ PRGHUQ VOLGH JXLWDU
This month Harrison Marsh explores
NEXT MONTH Harrison examines the playing of a
the style of one of the most influential and real innovator, the legendary Elmore James
revered slide guitarists the world has known.
6 5 6
6
KDYLQJ DOUHDG\ KDG D VXFFHVVIXO FDUHHU DV D
ABILITY RATING 2
VWXGLRPXVLFLDQ+HUHFRUGHGZLWKDUWLVWV
----- Easy VXFKDV$UHWKD)UDQNOLQDQGIHDWXUHGKHDYLO\
Info Will improve your on Eric Clapton’s Derek And The Dominoes
Key: Various Blues slide technique DOEXP/D\OD$QG2WKHU$VVRUWHG/RYH6RQJV
Tempo: Various Playing with fingers (1970), after Clapton heard his famous solo at
CD: TRACKS 70-77 Touch and taste WKHHQGRI:LOVRQ3LFNHWW¶VFRYHURI+H\-XGH
While arguably most famous for (Top Gear While he used a range of guitars including
D
Stratocasters and a National Duolian, Allman
espite his tragically early death at the WKHPH-HVVLFDWKHIRXU$OOPDQ%URWKHUV was most famously associated with Gibson Les
age of 24 in a motorbike accident in albums with Duane are essential listening for Pauls and his famous medicine bottle slide. Any
1971, Duane Allman was a hugely- DQ\RQHZDQWLQJWRLPSURYHWKHLUVOLGHJXLWDU guitar with a high enough action will work for
LQÀXHQWLDOJXLWDULVW,QIDFWKHYLUWXDOO\ phrasing (as a side note, Allman’s non-slide slide but to get close to Allman’s tone, a
humbucker-equipped guitar with bridge
MICHAEL OCHS ARCHIVE / GETTY IMAGES
UHYROXWLRQLVHGVOLGHJXLWDUSOD\LQJ$ORQJZLWK SOD\LQJZDVHYHU\ELWDVLQVSLULQJ
pickup selected, a glass slide and a little
EURWKHU*UHJJWKH1DVKYLOOHERUQJXLWDULVW $OOPDQVWDUWHGWRSOD\VOLGHKDYLQJKHDUG overdrive on the amplifier will work well.
formed The Allman Brothers Band in 1969, 7DM0DKDO¶VYHUVLRQRI6WDWHVERUR%OXHVDVRQJ
TRACK RECORD The Duane Allman Anthology (1972) highlights his playing as a session musician including The Weight, with Aretha
Franklin. Check out Layla And Other Assorted Love Songs (1970) too, especially Key To The Highway and, of course, The Allman Brothers
albums starting with Live At Fillmore East and One Way Out (2004), and Statesboro Blues (the Allman Brothers’ version).
88 March 2018
DUANE ALLMAN LEARNING ZONE
EXAMPLE 1 SLIDE IN C TRACK 70

All examples here use open E tuning and the slide worn on the third finger. This is a typical phrase Allman would use in the key of C. Be careful when moving
quickly up to the 12th fret not to overshoot the desired pitch. Don’t overdo the vibrato when practising but learn it in a subtle and progressive way.
©»¡¢º .
C7
‰
3
Open E tuning
E 8 6 8 6 10 12 8 8
B 8 6 8
G# 6 8
E 8
B
E
1
F7 . C7
b
E 13 6 8
B
G# 11 13 6 8 6 8 6 8
E 8
B
E
5
EXAMPLE 2 INCORPORATING DOUBLESTOPS IN E TRACK 72

The gradual double-stops and change of direction with the slide here both need to be worked on carefully so you don’t lose intonation. Try with quite a clean
tone first and a slow tempo to allow you to hear any mistakes and rectify them during practice.
©»¶ E7
n b n
#
Open E tuning
E 12 12 10 10 12
B 12 12 12 12 11 12
G# 12 10 11 12
E 12 12 10 12
B 12
E
1
n
n n
# ‰ ‰
E 12 12 15 16 12 12 12
B 12 13 15 12 12 12
G# 11 13 11 12 12 10
E 12
B
E
3
March 2018 89
LESSON } BEGINNER’S SLIDE
EXAMPLE 3 PLAYING ABOVE THE TOP FRETS TRACK 74

Allman regularly used the higher frets of all the six strings, so if you’re a vintage Strat or Tele player the 22nd fret here will be virtual as the slide goes past the end of the
fretboard. This puts your hand in an unusual position so back off the muting for just that note if necessary. Listen carefully as you now only have your ear for intonation.
A7 E7
.
#
Open E tuning
E 17 17 15 15
B 15 17 17 17
G#
E
B
E
1
() D7 A7 E7 A7
n n . .
# ‰ .
E 22 23 22 20 15 17 17 17 15 17
B 15 17 15 17
G# 15 17
E
B
E
4
EXAMPLE 4 JAM TRACK TRACK 76

This stomping track is based on the kind of thing Allman might improvive over something like Statesboro Blues. As you can see, we spend all of our time above
the 12th fret, where notes are closer together and intonation more critical. Vibrato can be a great friend here, helping the notes to sound more on pitch.
©»™¡º A7
# ‰ ‰ ‰
Altered tuning
E
B
G#
E 17 17 15 17 15 17 15 17 17 15 17
B 17 17
E
1
D7
.
# ‰ ‰
E 17 17 15 17 19 20
B 15 17 17
G#
E
B
E
4
90 March 2018
DUANE ALLMAN LEARNING ZONE
EXAMPLE 4 JAM TRACK ...CONTINUED TRACK 76
() A7
# ‰
E
B 17 15 15 17
G# 15 16
E 17 15 17 17 15
B 17 17 17
E
8
E7
E 17 15
B 15 17 15 17
G# 15 17
E
B
E
11
D7 A7
E
B
G# 17 15 17 15 17 15 17 15 15 17 15 17
E 17 17 17 17 17 15
B
E
15
Love this magazine?

You’ll love musicradar.com
March 2018 91
LESSON } IN THE WOODSHED ON THE CD TRACKS 78-87
In The Woodshed
PXFK IRUFH MXVW D JRRG VROLG ¿QJHU GURS 7KH
Master an essential facet of legato technique as ¿UVW WLPH \RX WU\ WKLV \RX ZLOO SUREDEO\ QRWLFH
Charlie Griffiths shows how to incorporate that you not only hear the note you are
fretting-hand hammer-ons into your playing. hammering to, but also a lot of noise from the
open strings. This is normal, of course, but we
need to eradicate all this extraneous noise
with some careful string muting.
There are three points of contact which you
can make with the unwanted strings. For the
bass strings you can use the side of your
picking hand palm to mute, but for the treble
VWULQJV \RX QHHG D OLWWOH PRUH ¿QHVVH 7KH
general rule is to use the underside of your
IUHWWLQJ ¿QJHUV WR OLJKWO\ WRXFK WKH VWULQJV
above the one you are playing. Also use the tip
RI \RXU ¿QJHU WR WRXFK WKH VWULQJ GLUHFWO\
below the one you are playing. With these
three points of contact all working in unison,
you should be able to produce a single clean
tone without any extra noise.
Our second example shows how you can
incorporate this technique into a simple
descending scale. Notice that all six strings are
played without a single pick stroke. Fretting-
Fretting-hand
hammers require hand hammer-ons are great for descending
strong fingertip scales and arpeggios smoothly and quickly.
connection to the Example 3 is more riff based and will help
strings as seen here you get used to using the technique in the
PRUH GLI¿FXOW DVFHQGLQJ IDVKLRQ 7KLV H[HUFLVH
ZH SLFN WKH ¿UVW QRWH RI HDFK VWULQJ WUDQVLWLRQ ZLOO DOVR KHOS WUDLQ \RXU ¿QJHUV WR VWD\ FORVH WR
ABILITY RATING
This enables you to eschew the use of the pick the strings. Example 4 puts the technique in a
----- Moderate to advanced DQG XVH RQO\ \RXU IUHWWLQJ ¿QJHUV WR LQLWLDWH more hard rock lead guitar context. The
Info Will improve your… the string change, sometimes called melody descends through a sequence of four
Key: Various Fretting hand timing ’hammering-on from nowhere’, or ‘fretting- notes while each descending string change is
Tempo: Various Finger placement accuracy hand tapping’. Players like Eddie Van Halen, performed with a fretting-hand hammer-on
CD: TRACKS 78-87 Effective string muting to a new string. Example 5 combines tapping
Pat Metheny, Richie Kotzen, Greg Howe and
Allan Holdsworth are the greatest at this with fretting-hand hammer-ons to create a
F
retting-hand hammer-ons are an approach and, as their playing demonstrates, smooth descending Eddie Van Halen-style
essential facet of legato technique. It can yields very smooth, speedy results. stream of notes.
PHDQV GURSSLQJ \RXU ¿QJHU RQ WR WKH Example 1 will introduce you to the basic Practise each lick slowly and accurately
string to cause it to vibrate and mechanics of the technique. With this before gradually building up the speed until
therefore create a note. This is quite H[DPSOH \RX ZLOO XVH HDFK ¿QJHU WR KDPPHU you’re ready to play along with the backing
straightforward when staying on one string, on to a new string. When you hammer on to tracks we’ve provided.
but crossing strings is where the real skill of WKH VWULQJ PDNH VXUH \RXU ¿QJHU ODQGV DV FORVH
the technique lies. Traditional hammer-on to the fret wire as possible for the cleanest NEXT MONTH Charlie examines the art of
and pull-off style legato typically means that possible tone. You shouldn’t need to use too mastering the tricky 5/4 time signature
EXAMPLE 1 CD TRACK 78
Use your first finger to play the 5th fret and fingers two, three and four to play the 6th, 7th and 8th frets. As well as producing clean hammer-ons, focus on muting
the higher strings with the underside of your fretting fingers and the adjacent strings with the tips of whichever fingers are fretting notes.
©»¡ºº A F
# .. ..
E
B
G
D
.
.

5
6
5
7

5
8
5
7
.
.
A
E
92 March 2018
HAMMER-ONS LEARNING ZONE
Descend through this A Minor Pentatonic phrase smoothly and evenly. Use the underside of your first finger to keep the treble strings muted and use the side of
your picking hand palm to touch the bass strings. Lift your fretting fingers off one string at a time.
©»¡ºº Am
~~~~
.. ..
œ
.
~~~~
E
B
.
5
8 5
.
.

G 7 5
D 7 5
A 7 5
E 8
For this prog-style riff, keep your first finger close to the fretboard and keep the underside of the finger in contact with the strings as much as possible. Hammer
on the first note with your first finger, then the next two notes with second and fourth fingers throughout.
# #

Badd9 E add9 F add9 C add9 Badd9
©»ªº
# .. ..
œ
E
B
G
D
A
.
.

9
11
7
9
11
9
11
13
11
13
11
11
9
.
.
E 7 9 9
This lick is based in E Dorian (E-F-G-A-B-C-D) with an added b5 (B b) for a cool bluesy sound. Maintain the first, third and fourth finger positioning throughout and
descend four notes at a time. You can re-pick the first string, but hammer on to all the descending string changes with your fretting hand.
Em
# ©»¡¡º ..
~~~
..
E
B
G
D
A
.
.
15 14 12

15
14 12
15 14
12
15 14 12 15 14 12

15
14 12
15 14
12
15 14 12
14
~~~
.
.
E

Here we initiate the first string with a picking hand tap to the 12th fret. Next pull off three notes before hammering on to the second string with your fourth finger.
Next move down a string and repeat this pattern again. The phrasing of the lick is in quintuplets, which means five even notes per beat.
©»¡ºº 5
o
~~~
.. ..
5 5
E
B
G
D
.
.
12 8 7 5
8 12 8 7 5
8 12 8 7 5

7
~~~
.
.
A
E 5
March 2018 93
NEVER
MISS
ANOTHER
ISSUE
BACK ISSUES
24
Turn to page
to su bs cr ib e!
The last six months still available!

Missed one of our recent fabulous issues? Get one now while stocks last.
FEBRUARY GT278 JANUARY GT277 DECEMBER GT276

SPEED UP YOUR LICKS BEATLES CHORDS BLUES SCALE
Fast Pentatonic licks can sound most impres- Learn the chords and sequences that helped There’s way more to the Blues scale than
sive. We show you a bunch of brilliant ones! create the sounds of the greatest ever band. meets the eye; make amazing music with
John Mayer is a bona fide guitar great, AND Discover sweep picking (all styles and levels; these six notes in a host of styles. Grunge! We
a mega pop star. Check out his cool style! not just neo-classical rock). Plus: Tom Petty bring you 10 great pieces in the style of 10 of
Plus: play the Monty Python theme, learn the tribute, Tudor composer Robert Johnson’s grunge’s top acts. Bach’s Goldberg Variations
styles of The Police, Jimmy Bruno & more! ‘Alman’ tabbed, and so much more! tabbed, and so much more inside!
NOVEMBER GT275 OCTOBER GT274 SEPTEMBER GT273

GARY MOORE SOUTHERN BLUES ROCK SWINGIN’THE BLUES
We look at this awesome guitarist’s full range Southern rock took the 70s by storm. We Jazzy jump blues will stretch your chops a
of styles and bring you six fantastic solos to show you how the bosses of the style did it. little but prove a whole lot of fun. Play like
play. Learn how where you place the note Learn how heavy rock tones and licks have the titans of the genre! String skipping and
around the beat can have a huge impact on influenced modern pop, and find out how tapping are not just for mega-rock; they can
how you sound. Play a hot rock solo piece, to do it yourself. And, learn a hot Texas blues be applied to all styles with great results. We
two-hand-tapping style. And loads more! using two-hand tapping - it’s awesome! show you how... and so much more!
TO ORDER BACK ISSUES: Call 0844 848 2852 or visit www.myfavouritemagazines.co.uk

Please do not call or email the magazine directly as we cannot deal with subscriptions or back issues. We regret that we cannot photocopy transcriptions from back issues
Each back issue costs (including postage and packing) QUK: £5.99 QEurope: £6.99 QRest of the world: £7.99
94 March 2018
WHAT OUR RATINGS MEAN ----- Buy it ----Excellent ---Good --Average -Bin it! MUSIC } REVIEWS
NEW ALBUMS was followed by the highly

acclaimed Introvertigo in 2016 and
since then, live appearances – most
recently a UK tour with Joanne
A selection of new and reissued guitar Shaw Taylor in autumn 2017 – have
releases, including Album Of The Month bolstered his reputation as an
DOOURXQG6WUDWSRZHUHG¿UHEUDQG
Album of the Month and his collection of positive
reviews and awards has begun to explained, “With Faced With Rage
TOMMY EMMANUEL multiply. Both his previous albums I wanted to continue the same
ACCOMPLICE ONE have been produced by Theo Crous, heavy journey that we began with
Mascot Label ----- but Perfection Kills sees the 2015’s Emergence but this time
It’s a contentious thing to say but Tommy bluesman take over production occasionally delve into more
Emmanuel could be the best steel-string duties himself. “I learnt so much atmospheric and textural sounds
acoustic guitarist in the world. Why? Well, working with Theo,” he explains. “I that we’d not previously explored.”
his sense of timing and stunning technique worked on pre-production and It’s a dark journey, for sure, but the
beggar belief. With this new album, he duets songwriting with Theo on a couple landscape is a fascinating one;
XSZLWKDZRQGHUIXOFDVWRIPXVLFLDQVVSDQQLQJ0DUN.QRSÀHUDQG of the tracks for Perfection Kills and constantly undulating with
Jerry Douglas to Ricky Skaggs and Bryan Sutton. With a superbly crisp applied what I learnt to the writhing, twisting guitar riffs and
production the 16 tracks are a real joy. Tommy is a rounded musician in recording and production process subterraneous bass parts, held
the fullest sense - he can blaze up front, comp with inventive and solid of this one.” The result is a raw, together with Darran’s dystopian
ideas and has a wealth of taste and tricks for six-string anoraks like us. energy-enriched rollercoaster of an lyrics. Shafts of light emerge with
Want some shred? Check out C-Jam Blues with David Grisman album that kicks of with the tracks like We Are Leaving, a
PDQGROLQDQG%U\DQ6XWWRQDFRXVWLF6PRNLQJ:DQWWDVW\ high-octane throb of Johnny and widescreen starless ballad with a
emotion? Keeping’ It Reel with Clive Carroll is beautifully performed. continues apace with some truly creeping melodic guitar solo. It’s
Jazz with pretty chords? Djangology with Frank Vignola and Vinny excellent rhythm and lead from an album that is constantly
Raniolo is foot-tapping and gorgeous. As for nice songs, You Don’t Dan’s battered 60s Strat. intriguing with labyrinthine
Want To Get One Of Those is humorous and chilled, as if Tommy and “Perfection Kills is all about my changes of pace and colour, and
0DUN.QRSÀHUDUHLQ\RXUORXQJHRQHHYHQLQJKDYLQJD*XLQQHVVRU vision of making a record that still ZH UHDOO\ OLNH LW
WZRDQGMDPPLQJZLWKVPLOHVRQWKHLUIDFHV,WWDNHVFRQ¿GHQFHWDVWH
and ability to be this exposed on an album, but with Tommy it’s a walk MOONPARTICLE
LQWKHSDUN+H¶VZD\PRUHWKDQPHUHO\DFFRPSOLVKHGWKDW¶VIRUVXUH HURRICANE ESMIRELDA
Moonparticle -----
are pounding riffers that evoke ‘Led Ex-Steven Wilson guitarist Niko
Zeppelin meets Soundgarden’ Tsonev has gathered together an
territory, with guitar work that’s impressive prog posse for this solo
both memorable and rhythmically project. Moonparticle is a collective
twisting. Four tracks in, All That makes the songwriting a priority as of musicians drawn from every
Once Shined features not only a LQ WKH SDVW WKH ¿QDO SURGXFW point of progressive rock’s
great vocal performance from Zakk, delivering a far more real and compass: this includes Theo Travis
EXW WKH 6DEEDWKOLNH ULI¿QJ DOVR organic result…” There are certainly RQVD[6WHYHQ:LOVRQ5REHUW
inspires a fantastic solo; Wylde’s signs of an ongoing development in Fripp, Soft Machine Legacy),
BLACK LABEL SOCIETY vibrato is one of the best in all of the crafting of songs like the moody YRFDOLVW*URJ/LVHH2]]\
GRIMMEST HITS hard rock. It’s not all pounding and brooding Mayday which stands Osbourne) and drummer Craig
Spinefarm Records ----- dropped tuning though, as The Only in direct contrast to the powerful %OXQGHOO6WHYHQ:LOVRQ±\RXJHW
Best known as Ozzy Osbourne’s Words is a lovely light-footed song grunt of Too Far Gone and Junket the idea. A successful online pledge
guitarist during the late 80s and 90s, with an emotive vocal and clean Man, the latter complete with a FDPSDLJQ\LHOGHGWKH¿QDQFHWR
Zakk Wylde and his EMG-equipped single-coil guitar playing; a potential guitar solo that not only shreds, but make the album and those who
Les Paul make for one of the most radio single for sure, alongside The pays due deference to Patlansky’s contributed have had their faith
revered six-string pairings in rock. Day That Heaven Had Gone Away hero Stevie Ray Vaughan at the fully rewarded as the record dips
For over a decade Zakk has also ZKDW D JRUJHRXV VROR ,I \RX¶UH D same time. An album full of and dives into melodic, well-
fronted Black Label Society, and fan of great guitar playing and an colourful contours, Perfection Kills constructed songs, atmospheric
Grimmest Hits is their 10th release; eclectic mix of rock songs, this really certainly stands repeated listening instrumental passages and
not a greatest hits but rather a set of LV ZRUWK JHWWLQJ and we suspect that when he pounding guitar riffs. It’s an
12 slamming new songs. Think hard returns to these shores to headline a impressive beginning and we’re
REVIEWS BY JASON SIDWELL AND DAVID MEAD
rock meets southern rock with DAN PATLANSKY tour in March, the album will have already hungry for more.
ODVKLQJVRIEOXHVVFDOHULI¿QJEOD]LQJ PERFECTION KILLS won him a new legion of fans.
picking and pinch harmonics. The Caroline International -----
appeal with Zakk’s music is his South African blues rocker Dan GODSTICKS
ability to uniquely blend his Patlansky has been building a FACED WITH RAGE
LQÀXHQFHV%ODFN6DEEDWKDQG reputation as both a songwriter and K Scope -----
Lynyrd Skynyrd to Eddie Van Halen virtuoso guitarist since his album As regular contributor to our sister
and John McLaughlin) to create a Dear Silence Thieves made a magazine Guitarist, and Godsticks
IUHVKQHZVRXQG7KH¿UVWIHZWUDFNV serious impact back in 2014. This frontman Darran Charles
March 2018 95
INTERVIEW }
SIXTY SECONDS with...

A minute’s all it takes to find out what makes a great guitarist tick. Before he jumped
into his limo for the airport we grabbed a quick chat with Tom Leighton,
guitarist and lead singer for Midlands-based rock band, The Bad Flowers.
GT: Do you have a type of pick that 7/,KDYHQRWLFHGGLIIHUHQFHVLQ GT: What kind of action do you GT: And your worst playing
you can’t live without? clarity between different brands. have on your guitars? nightmare?
TL: I use the Jim Dunlop Jazz IIIs, ,¶YHDOVRWHVWHGRXWGLIIHUHQWOHQJWKV TL: It’s not too high and not to low. I TL: It’s got to be gear failure. I had
the red Max Grip ones. I kept of cable to and you do seem to lose OLNHWKDWIHHOLQJRIKDYLQJD¿JKWZLWK an old Marshall that used to pop
dropping picks all the time because some signal with longer cable the guitar. I think it adds to my tubes just for fun! I was always
of sweating on stage but these are lengths. I’m currently using Klotz SOD\LQJ,KDYHWKHVDPHWHFKVHWXS counting my blessings when we got
great. They’re also really easy to cables; they’re really well made and all my guitars, so they’re all pretty DOOWKHZD\WKURXJKDVHW%XWZH
tuck away when I need to use my seem to stand the test of time on the similar and we tune down a half-step played in Swansea recently and I hit
¿QJHUVWRSOD\,¿QGKHDYLHUSLFNV road. In fact, I remember buying my so it has to be right for that too. WKH¿UVWQRWHRIWKH¿UVWQXPEHUDQG
better for control and dynamics. ¿UVWKDOIVWDFN\HDUVDJRDQGWKH GT: What strings do you use? my sixth string went... there was
GT: If you had to give up all your VDOHVPDQWROGPH,¶GKDYHWKH.ORW] TL: I’m using D’addario NYXL 0.11s VRPHVHULRXVLPSURYLVLQJJRLQJRQ
effects pedals but three, what speaker cable longer than the amp. at the minute. I switched to them throughout that song!
would they be? He was right. I still use it now. the last year and they seem to last a GT: What’s the most important
7/,¶YHDFWXDOO\VFDOHGGRZQP\ GT: Is there anyone’s playing (past little longer and don’t need musical lesson you ever learn?
SHGDOVPDVVLYHO\UHFHQWO\,ZDV or present) that you’re slightly stretching in so much. The bends TL: I think it was learning when not
going out with a huge pedalboard jealous of? feel great and the tuning stability is WRSOD\DQGOHDUQLQJKRZOHDYLQJ
and I kind of took a step back and TL: Well last year we toured with GH¿QLWHO\LPSURYHG VSDFHLQWKHVRQJVFDQDFWXDOO\KDYH
thought, What can I get away with Jared James Nichols and his GT: Who was your first influence to just as much impact as a note or a
OLYH"%XWWKHUHDUHWKUHHSHGDOVRQ playing is insane. No pick, no neck play the guitar? FKRUG,¶YHKDGDVWHHSOHDUQLQJ
that board I really couldn’t do pickup and he just shreds. He mixes TL: There’s always been music in FXUYHZKHQLWFDPHWRVRQJZULWLQJ
without. First is my Analogman a lot of different styles and does my family. My Dad and Uncle were too. I had to learn to write parts for
King Of Tone. I use the orange side VWXIIZLWKWKHJXLWDU,¶YHQRWVHHQ both pro musicians so I had a lot of the song, and not just cram things
WRGULYHP\DPSDQGWKHUHGIRUOHDG anyone else do on the circuit. LQÀXHQFH IURP WKHP %XW DV D NLG , in for the sake of it.
breaks. Such a good pedal. The GT: Do you still practise?
others are my EHX Micro Pog and I’VE HAD TO LEARN TO WRITE PARTS TL: Yeah! I try and practise as often
%DVLF$XGLR*QDUO\)X]]7KHVHWZR FOR THE SONG, AND NOT JUST CRAM as I can but it’s normally just
just work so well, and when used off-the-cuff stuff. I like trying to
together they add a monstrous
THINGS IN FOR THE SAKE OF IT come up with new riffs and chord
thickness to my tone. GT:Your house or studio is burning was obsessed with Thin Lizzy, structures and just sit and enjoy
GT: Do you play another musical down: which of your guitars do you especially the twin-guitar stuff that SOD\LQJWKHJXLWDU,¶YHEHHQXVLQJD
instrument well enough to do so run in to salvage? 6FRWW*RUKDPDQG%ULDQ5REHUWVRQ lot of the backing tracks you can
in a band? TL: I’d be running back in to get my did. I’d spend hours locked away ¿QGRQOLQHUHFHQWO\WRSUDFWLVHVROR
7/,¶YHSOD\HGDOLWWOHEDVVRQVRPH 2005 Les Paul Standard. It’s unique learning all the parts to stuff like OLQHVDQGWU\DQGLPSURYHP\UDQJH
demo stuff at home but I wouldn’t ZLWKWKHEXUVWLWKDVRQWKH¿QLVK Emerald and Dancing In The of scales. It’s all about repetition;
VD\,¶PJRRGHQRXJKWRHYHUGRLW and it was a gift for my 18th Moonlight. Pretty weird really as the more you play something the
OLYH,¶YHDOZD\VIDQFLHGOHDUQLQJWKH birthday from my Dad ,so it has a lot ,¶YHHQGHGXSLQDWULR EHWWHU\RXJHW,GRQ¶WWKLQN,¶OOHYHU
drums, as I hear guitarists say that RIVHQWLPHQWDOYDOXH,MXVWVHHPWR GT: What was the first guitar you EHVDWLV¿HGWKDW¶VWKHEHDXW\RILW
LWUHDOO\LPSURYHV\RXUUK\WKP connect with it and it sounds really lusted after? (YHU\GD\¶VDVFKRROGD\
when going back to the guitar. I absolutely killer! 7/7KDWZRXOGKDYHWREHP\'DG¶V GT: Do you have any kind of pre-gig
WKLQN,ZLOOJLYHWKHSLDQRRU GT: What’s your favourite amp and old tobacco sunburst Les Paul. I warm-up routine?
keyboards a try next though; I think how do you set it? UHPHPEHUWKH¿UVWWLPH,HYHUVDZ 7/,WU\DQG¿QGVRPHZKHUHRXWRI
it would be pretty cool to use it on TL: I’m using an Orange OR50 head it, and just thought it was the most WKHZD\WRZDUPP\YRLFHXSIRUD
some recordings in the future. through a 1970s Orange cab. It’s DPD]LQJWKLQJ,¶GHYHUVHHQ+HVWLOO few minutes. Then I’ll sit and
GT: If a music chart were put in VXFKDJUHDWDPS,¶YHDOZD\VEHHQD has it nd I still think the same thing. noodle on the guitar a little; try and
front of you, could you read it? fan of single-channel amps that GT: Can you remember t the best JRRYHUVRPHVFDOHVDQGZDUPP\
7/2KKHOOQR0XVLFFKDUWVEDIÀH take pedals well. I used to run a gig you ever did? ¿QJHUVXS7KHQ,QRUPDOO\SDFHXS
PH,¶PVHOIWDXJKWVR,¶YHDOZD\V 0DUVKDOO-70EXW,FRXOGQHYHU TL: We did a show at the Camden and down waiting to go on stage, or
learned by ear or from tab. To be get the break-up out of it unless I Assembly last summer, opening for I’ll grab a pre-show whiskey - just
honest though, I think it’s turned it up super loud, which 7\OHU%U\DQW 7KH6KDNHGRZQ,W the one though!
something I’m going to start didn’t make me popular with the ZDVWKH¿UVWWLPHZH¶GEHHQSDUWRI GT: If you could put together a
looking at to expand my mind; I just sound engineers. The Orange I run a sold-out show in London and the fantasy band with you in it, who
GRQ¶WZDQWLWWRNLOOWKHFUHDWLYLW\RI the gain at half and use my pedals to atmosphere was amazing. The would the other players be?
writing music. push it a bit more. It also has this crowd was amazing too and I think 7/,WZRXOGKDYHWREH-RKQ
GT: Do guitar cables really make a cool ‘punch’ knob that adds extra we fed off that and played one of the %RQKDPRQGUXPV*HH]HU%XWOHU
difference? What make are yours? PLGV,UXQWKDWDOPRVWÀDWRXW best shows of 2017. RQEDVV'DYH*URKORQUK\WKP
96 March 2018
SIXTY SECONDS WITH { TOM LEIGHTON
JXLWDUDQGYRFDOVDQG7RP0RUHOOR
on lead guitar. I think that would
make for a pretty interesting show!
GT: Present company excepted,
who’s the greatest guitarist that’s
ever lived?
TL: My mind changes all the time.
At the minute, due to the style of
music we’re writing, Tony Iommi is
ULJKWXSWKHUHZLWKWKRVHPDVVLYH
JXLWDUWRQHV%HLQJIURPWKH
0LGODQGVP\VHOI%ODFN6DEEDWK
really shaped the music that came
from this area. I managed to catch
them at Download a few years ago
and his tone and playing really
made the hair on the back of my
neck stand on end.
GT: Is there a solo you really wish
you had played?
7/2QHRIP\DOOWLPHIDYRXULWH
VRQJVLV6LQFH,¶YH%HHQ/RYLQJ<RX
by Led Zeppelin. Jimmy Page’s solo
in that is incredible; the feeling and
intensity of the song is amazing.
GT: What’s the solo or song of your
own that you’re most proud of?
7/:HKDYHDQHZVRQJRQRXU
DOEXPFDOOHG/HW¶V0LVEHKDYH,¶P
super proud of that one. It’s
probably got the longest solo on the
album, but we really tried hard to
lock it in with what the drums were
doing in certain parts of the track so
it adds to the feel.
GT: What would you most like to be
remembered for?
TL: I’d like to be remembered as a
good songwriter. I want to make
people feel something with the
songs we create. If we can make
people connect with the lyrics,
THE FIRST guitar parts, drum beats, bass lines
then I’ll be happy guy.
TIME I SAW MY GT: And what are you and the band
DAD’S LES PAUL up to at the moment?
7/7KH%DG)ORZHUVUHOHDVHRXU
I THOUGHT IT debut album, Starting Gun, on
WAS THE MOST February 16th. We then tour with
6WRQH%URNHQDQG
AMAZING THING Jared James Nichols
I’D EVER SEEN from 22nd February
MARK VARNEY
2018. For more info,

Tom Leighton KHDGRYHUWRZZZ
WKHEDGÀRZHUVXN
March 2018 97
NEXTMONTH SUBSCRIPTION & BACK ISSUE ENQUIRIES
UK: 0344 848 2852
International Tel: +44 344 848 2852
Email: guitartechniques@myfavouritemagazines.co.uk
MORE OF THE WORLD’S BEST LESSONS… Subscribe online at:
www.myfavouritemagazines.co.uk
FEATURE #2 EXCLUSIVE VIDEO Future Publishing Ltd, Quay House, The Ambury, Bath BA1 1UA
Tel: +44 (0) 1225 442244 Fax: 01225 732275
DORIAN MODE CARL VERHEYEN Email: guitar.techniques@futurenet.com
Its musical secrets revealed Soloing masterclass EDITORIAL

Editor: Neville Marten, neville.marten@futurenet.com
This most accesible minor mode lends This superb player takes an improvised Art Editor: David Dyas, david.dyas@futurenet.com
sweetness and melody to many styles. solo on Jason Sidwell’s track, Roll With Production Editor: Katie Nicholls, katie.nicholls@futurenet.com
Senior Music Editor: Jason Sidwell, jason.sidwell@futurenet.com
Jon Bishop has some cool licks to try. The Green. Full explanation and tab! Music engraving: Chris Francis
Animated tab and audio syncing: Cliff Douse
CONTRIBUTORS
CLASSICAL TAB TECHNIQUE & THEORY Richard Barrett, Shaun Baxter, Martin Cooper, Mitch Dalton,
Charlie Griffiths, Pat Heath, Phil Hilborne, Martin Holmes, David
ALESSANDRO MARCELLO NEW THINGS TO TRY Lyttleton, Harrison Marsh, Ronan McCulloch, Bridget Mermikides,
Oboe Concerto in D Minor 5/4 time and 5ths & 6ths soloing Roger Newell, Jacob Quistgaard, Stuart Ryan, Justin Sandercoe,
Tristan Seume, John Wheatcroft
Bridget arranges, transcribes and Charlie Griffiths and Martin Goulding
ADVERTISING
explains this delightful and evocative have some excellent hints and tips on Commercial Sales Director:
oboe piece, for classical guitar. soloing in odd times and intervals. Clare Dove: clare.dove@futurenet.com
Advertising Sales Director:
Lara Jaggon: lara.jaggon@futurenet.com
Account Sales Director:
Alison Watson: alison.watson@futurenet.com
Steven Pyatt: steve.pyatt@futurenet.com
Guy Meredith: guy.meredith@futurenet.com
CIRCULATION
Head of Newstrade: Tim Mathers
A career-spanning look at the legend that is... PRODUCTION
Head of Production: Mark Constance
PETER GREEN!
One of the most loved and revered players in blues and rock, we examine the
Production Project Manager: Clare Scott
Advertising Production Manager: Joanne Crosby
Digital Editions Controller: Jason Hudson
Production Controller: Nola Cokely
INTERNATIONAL
Guitar Techniques is available for licensing. Contact the International
diverse musical approaches of this master of touch, taste and tone, from The department to discuss partnership opportunities
International Licensing Director: Matt Ellis,
Bluesbreakers to Fleetwood Mac. Phil Capone is your guide. matt.ellis@futurenet.com
MANAGEMENT
Managing Director: Aaron Asadi
Commercial Finance Director: Dan Jotcham
Editorial Director: Paul Newman
Group Editor-In-Chief: Daniel Griffiths
Group Art Director: Graham Dalzell
Printed in the UK by: William Gibbons & Sons Ltd.
Distributed by: Marketforce, 2nd Floor, 5 Churchill Place,
Canary Wharf, London E14 5HU. Tel: 0203 787 9060
We are committed to only using magazine paper which is

derived from responsibly managed, certified forestry and
chlorine-free manufacture. The paper in this magazine was
ELECTRIC LESSONS TOO! sourced and produced from sustainable managed forests,
conforming to strict environmental and socioeconomic
standards. The manufacturing paper mill holds full FSC
30-Minute Lickbag (Forest Stewardship Council).certification and accreditation
All contents © 2018 Future Publishing Limited or published under licence. All rights reserved.
Six more great licks to try No part of this magazine may be used, stored, transmitted or reproduced in any way without
Elmore James the prior written permission of the publisher. Future Publishing Limited (company number
2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath
Father of electric blues slide BA1 1UA. All information contained in this publication is for information only and is, as far as we
are aware, correct at the time of going to press. Future cannot accept any responsibility for
Malcolm Young errors or inaccuracies in such information. You are advised to contact manufacturers and
retailers directly with regard to the price of products/services referred to in this publication.
Tribute to AC/DC’s rhythm king Apps and websites mentioned in this publication are not under our control. We are not
responsible for their contents or any other changes or updates to them. This magazine is fully
Frank Marino independent and not affiliated in any way with the companies mentioned herein.
If you submit material to us, you warrant that you own the material and/or have the necessary
Blues side of this mega player rights/permissions to supply the material and you automatically grant Future and its licensees a
Earl Klugh
licence to publish your submission in whole or in part in any/all issues and/or editions of
publications, in any format published worldwide and on associated websites, social media
channels and associated products. Any material you submit is sent at your own risk and,
Incredible jazz virtuoso although every care is taken, neither Future nor its employees, agents, subcontractors or
Elliott Smith licensees shall be liable for loss or damage. We assume all unsolicited material is for publication
unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.
Enigmatic acoustic genius
PLUS ALL THIS…

Mitch Dalton, Justin Sandercoe
Creative Rock, 60 Seconds With,
Instrumental Inquisition, Fretboard
Navigation, and a whole lot more! Future plc is a public Chief executive Zillah Byng-Thorne
company quoted on the Non-executive chairman Peter Allen
London Stock Exchange Chief financial officer Penny Ladkin-Brand
(symbol: FUTR).
APRIL 2018 ISSUE ON SALE WEDNESDAY 14TH FEBRUARY www.futureplc.com Tel +44 (0)1225 442 244 (Bath)
NOTE: CONTENTS SUBJECT TO CHANGE

900
9001

Acoustic Special

Uploaded by

Copyright:

Available Formats

You might also like

Acoustic Special

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Acoustic Special

Uploaded by

Copyright:

Available Formats

ERIC CLAPTON & JIMMY PAGE UNPLUGGED

279 MARCH 2018

HENDRIX GYPSY JAZZ

we bring you a century’s ﬁnest players

Our cover star is REGULAR FEATURES

Firstly I’m a massive control freak.

2008  Bossa Nova Blues (Bm)

RAGE AGAINST THE MACHINE PLAY THEIR

FEARS OF A FINANCIAL RECESSION IN THE USA.

THE GIBSON CUSTOM SHOP RELEASES

For jam track 3,

PHIL HILBORNE’S ONE-MINUTE LICK Swing Blues Lick

the progression, the IV chord of D9.

RELATING TAB TO YOUR FRETBOARD OUR RATING SYSTEM

CHORD EXAMPLE CHORD EXAMPLE WITH CAPO

GUITAR TECHNIQUES: HOW THEY APPEAR IN WRITTEN MUSIC...

BENDING AND VIBRATO

VIBRATO ARM AKA WHAMMY BAR CAPO

at each fret, with

Here are the notes

Clapton with his

ERIC CLAPTON ACOUSTIC STYL

A E F m7 # D /F # D /Fb F m7# B m7/E A

CLAPTON EXAMPLE 2: CLAWHAMMER PICKING CD TRACK 5

CLAPTON EXAMPLE 3: D TUNING SLIDE CD TRACK 6

WHEN YOU ADD A SINGER, THAT’S WHEN THE

CLAPTON EXAMPLE 4: UPSTROKE ‘FLICK’ TECHNIQUE CD TRACK 7

CLAPTON EXAMPLE 5: BOOGIEWOOGIE STYLE CD TRACK 8

CLAPTON EXAMPLE 5 ...CONTINUED: BOOGIE WOOGIE STYLE CD TRACK 8

JIMMY PAGE ACOUSTIC STYLE

PAGE EXAMPLE 1: DADGAD TUNING CD TRACK 9

JIMMY PAGE ACOUSTIC STYLE

PAGE EXAMPLE 2: G TUNED CLAWHAMMER CD TRACK 10

Cadd9 Bm 5 # Am7 B 6 b Am7 G

PAGE EXAMPLE 3: STRUMMING WITH SUS CHORDS CD TRACK 11

D D Dsus2 Am Asus4 Am A sus2 C

JIMMY PAGE ACOUSTIC STYLE

A m7 F/A Am G /A G7/A G6/A

D /A D7/A Fmaj7/A F/A

PAGE EXAMPLE 5: STRUMMING PLUS BASS NOTES CD TRACK 13

G Gadd9 G G7 G9 E m11/G Gadd 6 b Gadd 6/ 9 b

G D /G G G maj7 A m7/G G A m7add11 Cmaj 9

CHOOSE YOUR PACKAGE

ONLY £17.00 ONLY £6.75

PRINT + DIGITAL BUNDLE

ORDERING IS EASY. GO ONLINE AT

GAIN BASS MIDDLE TREBLE REVERB

Django: note the

PLAYING TIPS CD TRACK 15

PLAYING TIPS CD TRACK 16

Rubato A11/E 5 A 11/E 5

PLAYING TIPS CD TRACK 17

PLAYING TIPS CD TRACKS 17-18

PLAYING TIPS CD TRACKS 18-19

PLAYING TIPS CD TRACKS 19-20

%XNND:KLWHZHUHLQÀXHQWLDOH[SRQHQWVRI Broonzy, whose more urban, populist sound 5

Son House: One of

PLAYING TIPS CD TRACK 23

2008 Bossa Nova Blues (Bm)

BU ~ BU BU BU ~~~

Info Will improve your… EDQGPDWHVDQGHQJLQHHU(GGLH.UDPHU

Mundell Lowe FRPSRVHGDQGVXSUHPHO\VRSKLVWLFDWHGKLV