b Fasion maestro Frank Gambate returs with an chsive aigit-taxng sao 2. Fal ace seeping ard econ pectin Iwo saat Searenag as are of Fans rman nme appoares hese tecoiqus Ts ee abo reguses agua urdeant9 faci ant motes - and ow tolinkthen samy - 303 2 owed a te ees meet the gt jass team: Concluding our two-part exclusive feature with Australian fusion Pi got ogee wth partner master Frank Gambale. . . asia veaia ao 4 ease you into what les ahewd, Frank put together by Phil Hilborne, auth myself playing tulsa ly dom track at his approach to ass. Frank did not hear the track until he arrived fo. THe whole afar very and discusses the atthe studio, so everything here was improvised sce, though the this a bit 100 difficult, try to take veered lame pt te ank and improvise in your own style notes dow on morc. he extends them to geta Fxereise 1 illustrates Frank's solo, Bars 1-4 und. kick off with Frank introducing a melody based me for the main solo, so | hope around E Dorian ared yoursel for ERR GOAT BST GHIDITE PERSE NA AREMEY CATED don't try to do too much Frank also includes notes from the E blues scale break it down int at bar 3 bunks before jumpi EQRCRANG ADU performance notes OATS The piece transcribed is a solo that Frank sion featured last Through bars § to @ Frank includes more melodic aber CD for Dorian-based lines, plus a D/P triad in Bar 6 eakdown of scale). The track was over the D/E chord. At bar 7, Frank inchides the Cnote, which could be taken from E Aeolian, the sixth mode of 6 major EOI RAREE RIA SIN BTC TDI Am AeAeeT NSC eT. Bars 9 to 12 introduce the chorus and modulate to C Lydian, the fourth mode of G major CRD AEN MRO TAUB RNG: RMSE TSI Watch the phrasing here, as you'll notice that, Frank uses swung sixteenths as opposed to Straight sixteenth. He also includes a fast run that uses ecomomy picking in bar 12 Bars 13 to 16 reintroduce the verse progression based around E Dorian, Here we see more E blues scale lines, plus some fast licks based around E minor pentatonic ESUIORARIMRROETE LSE ASE NTA Bars 17 10 20 include more rapid Dorian lines, plus some tasty, bluesy bends. Bar 19 includes a very fast arpegio section. With this type of He 1 ‘would ty 40 target notes to specific beats instead of tying to read the raythm exaetly. Once the lick is under your fingers, the timing of ic should fall into place. Bar 20 wraps up the second verse with a B major arpesgio figure. He also includes the G note that originates from B Mixolydian i, the fifth mode of & Melodic Minor: Bor oF Ee SRS A foG AB 5 ew 1 Bars 21 t0 24 include the sceond ehorus, with bars 21 and 22 showing off Frank’s incredible sweep-picking technique. For ease, 've quantised he nearest beat to make: practising them slovily with the metionome a lo ‘easier. Don't try this ton fast to start with; practise ita bar a atime. This type of cascading arpeagio idea is very common in Frank's playing, Here he {s using arpeggios that are diatonic to C Lydian. Bars 23 and 24 conclude the chorus with more rapid Dorian Kine. Bars 25 to 28 introduce the Final verse, and ick off with another fast sweep-picked arpeagio and fast Dorianjpentaronic lines Bars 29 to 22 show 1 verse, with yet more Dorian phrases and Bs Mixolydian 96 over the Byusé chon at bar 32 Bars 33 10 36 conclude the piece, with Frank lasting through some terrifying pentatoni scale licks garnished with some sweep-picking ‘Hood measure. Exetese 2 illsirates the rythm guitar part bars 1 to 8 show the verse progression, based “ ‘ythi., This type of thing is quite tricky to get around a single-note sixteenth-note syncoy smooth and constant. Check out some of Lake's playing on his recordings with Toto and Michael Tackson, The verse concludes at bar 8 with at arpeggiated Bsusd chords Bars 4 10 12 illustrate the chorus progression, anil includes some cle that follow the keyboards, During the second verse ths is doubled by an overdriven second guitar To cap it off, bars 33 and 34 include the final mt chord that is performed witha reversed rake across the strings There, we made it There's a ot here for you to {get your tet into, Just remember to take i slowly and spend time with the transcription Have funt gt jargon buster es Fin ee un So ee Pete ee Pee a ces mewn unig se Ree em, LA vies Cannel om pe 26 Ea ao — 02 geese tay ta) es it 1 november 2001 | gulitartechniques | 59frank gambale masterclass part Il SS SS SS nl Sr ee Oe Oe Sn A517 15-10 112 — Hin re rT 11a)-1846 ail) ERIE SN crate eterna coeeo CS A ere eo ee pote =e = ff 20 Rea RPE LD PAU LD PO Satta —anMiant nto diakr7it@) 17s} 4514-15 1214-12. ap gee Po er By 19 jplssaaraar ie He Shene dsr ey Lo 782s tei | centes ans | eeuliens aabieienees hd:frank gambale masterclass part Il 1215-1817) —12- = ee ef ee ae ee fa eS eae fe ae é SSS = sms ess 5 ass "sina 72 = a ee 2 80 8 eu ree atte qa ciennantaya 62| guitar toctuslaues | november 2001 | wwr.intermusiccomgL wits ie — cartes ue Emit eer 5 1A AAAI Loting =e ted | november 2001 | quttar tectaniemes | 63hh _ # frank gambale > 4. dee masterclass part I Fran ed We ne sgntre Yarara gitar tougn a x vat Canin Haein rp ‘ath he flor 64| quiiarteckaiques | november 2001 | wawintermusicicom