Plus:

Mark Cruz
Tim Lerch

Write On!
Lessons from Lenny
Classical Artistry
...and more!
 Contents

Series
Sean McGowan – Acoustic Jazz Café 53

Greg Stone – Lessons from Lenny 59 Features

Steve Herberman – Jazz Concepts 72 Earl Klugh 9

Zane Forshee – Classical Artistry 79 Tim Lerch 37

Kent Burnside – Write On! 83 Mark Anthony Cruz 27

Tony Greaves - Evolutionary Harmony 90

Departments
Workshops From the Editor 5
Jimmy DeHeno 93
Artist Profiles 7
Dylan Ryche 97 Sight and Sound 51
Bill Piburn 101 Guitar Gallery 105

Fingerstyle 360 Issue #6 4

 fingerstyle 360

W
The Journey
www.fingerstyle360.com
e all tend to compare our- I have finally
selves to others that we aspire arrived at the Content Creator/
to play like. While this is good conclusion after Co-Publisher
Bill Piburn
when looking for inspiration, we need forty-seven years of
piburnguitar@gmail.com
to be careful not to steal the joy away playing that we must do this for our-
from playing music. I know this to be selves. No one cares more than you do
true because I do it to myself. I often and no one is standing in line waiting
need to remind myself of what I can do to tell us how wonderful we are. Even Co-Publisher/Advertising
and not what I cannot do while still if they were, what makes them quali- Ron Garant
maintaining goals. fied to make the judgment? I believe it admin@fingerstyle360.com
was Vladimir Horowitz who said, ‘I dis-
Years ago I was studying harmony with like people telling me how well I Contributors
Kansas City legend John Elliott. I played. I know how well I played or
expressed my frustration to him about didn’t play.’ This may sound a bit harsh Sean McGowan
my progress. He responded by saying, but it’s true, is it not? Kent Burnside
Jimmy Deheno
“Progress can be difficult to see week
to week and should be measured over In the end no matter the level we cur-
a much longer period of time.” rently play or aspire to, we need to Zane Forshee
enjoy the music and yes, the journey. Tony Greaves
Steve Herberman
“Thus it is ever in life. The aims we once
When I complimented guitarist Lorne
Greg Stone
pursued no longer satisfy us; we aim, we
Lofsky, who is a former guitarist with

strive, we aspire, until sight fails, and

Oscar Peterson, he replied, “I’m a work
Dylan Ryche
mind and body find rest in the grave.”
in progress. As far as I’m concerned it’s
Fingerstyle 360
a lifetime journey.” I must say that the
PO Box 8120
musicians I have admired most all
Gallatin, TN 37066
understand that there is no destina- — Robert Schumann
tion, only the journey.

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5
 Artists Profiles
Sean McGowan is a fingerstyle jazz guitarist who com-
bines diverse musical influences with unconventional
techniques to create a broad
palette of textures. Sean earned
his DMA in guitar performance
from the University of
Southern California. Currently,
he is based in Denver, Colorado
where he directs the guitar
program at the University of
Colorado. Sean has conducted
master classes at Berklee
College, USC, Bowdoin College,
and the University of Maine. As
a soloist, Sean has performed at
several festivals including the Healdsburg Guitar
Festival, the Newport Guitar Festival, and the Classic
American Guitar show. He is the author of Fingerstyle
Jazz Guitar Essentials (String Letter/Hal Leonard).
www.seanmcgowanguitar.com
Zane Forshee is a winner of the first prize in the
National Guitar Workshop solo Guitar Competition. He
also took the top prize in the
Montpelier Artist Recital
Competition and was awarded
a Fulbright Fellowship to Spain
in support of his recording
project of contemporary
Spanish works.
In addition to his many
awards, he has an active per-
formance schedule. Zane has
been a featured performer at
the Palacete de Amezua in
Madrid, the Chimei Museum in
Taiwan, the Library of Congress, Washington, D.C. and
the Joachim Konzertsaal University in Berlin, Germany.
Zane holds a Doctor of Musical Arts Degree, Master of
Music Degree, and Graduate Performance Diploma
from the Peabody Conservatory of Music of John
Hopkins University. Presently, Zane is the chair of the
Guitar and Harp department of the Peabody Institute –
Preparatory Division. In addition to his duties at
Peabody, he serves on the faculty of the University of
Maryland, Baltimore County and the Performing Arts
Institute Summer Music Festival in Pennsylvania.
www.zaneforshee.com
7
Jimmy DeHeno calls Marine City, Michigan his home-
town. He is an award winning songwriter/composer
who in 2008, ’12 and ’13 placed
first at the Walnut Valley Festival
in Winfield, Kansas. He has also
been a top finalist at the Indiana
State Festival and the Gamble
Rodgers Festival in Saint
Augustine, Florida, and attended
Saint Clair County College where
he received a scholarship to
study classical guitar. After col-
lege he toured for many years
with his band but eventually set-
tled down to raise a family. Today Jimmy is a fulltime
private music teacher, performer and sideman.
jimmydeheno.com
Ohio native Kent Burnside is a Nashville-based gui-
tarist, composer, and educator. He has performed with
jazz artists such as Greg Abate,
Stacy Dillard, and Hank Marr, as
well as country and folk per-
formers including Stella Parton
and Louise Mosrie.
His musical influences include
John Renbourn, Muriel
Anderson, Laurence Juber, Bill
Evans, Keith Jarrett, Pat
Metheny, and Ed Bickert, who
described Kent’s playing as
“good sound, good swinging, and
good taste.” In addition to
acoustic music, Kent composes for his own jazz group
and for production music libraries.
Kent is also a freelance writer and currently serves as
Assistant Editor of The Nashville Musician.
www.kentburnside.com
Tony Greaves is a scholarship recipient and graduate
of Berklee College of Music. In addition to his “formal”
education, Tony has had the pleasure of studying with
Archie Shepp, Pat Martino, and Mick Goodrick. For the
better part of 10 years, Tony worked in the music
industry in varying capacities, sharing the stage with
Larry Coryell, Archie Shepp, Claudio Roditi, and John
Petrucci.
As an educator, Tony has taught at several music pro-
grams, including four summers at the original National
 Guitar Summer Workshop in
New Milford, Conn.. His work
as an educator has been fea-
tured on CNN, The Boston
Globe, and the Lime Wire Blog.
Currently, Tony splits his time
between teaching students all
over the world via Skype and
working on his forthcoming
book, Triad Pairs for Jazz
Guitar.
Visit Tony at:
www.facebook.com/triadpairs
Steve Herberman is a graduate of Berklee
College Of Music, and has performed at fabled
venues including Birdland in
NYC, Spazio in Los Angeles,
the NAMM shows in
Anaheim, Calif. and Nashville,
Tenn., and most recently at
the North Wales Jazz Guitar
weekend in the U.K. as a fea-
tured guest artist. Closer to
home, he has performed at
Blues Alley, the Smithsonian
Jazz Cafe, and the Kennedy
Center For The Performing Arts.
Steve has taught at Towson
University in Baltimore since 1999 as an adjunct
faculty member and has presented master classes
in the U.K., and at many universities across the
Downbeat magazine, Mel Bay’s Guitar Sessions, Just
U.S. He has also written instructional material for
Jazz Guitar magazine, the National Guitar
Workshop newsletter and columns for Modern
Guitars webzine. He is an online instructor for
on the cover of Just Jazz Guitar Magazine in
www.mikesmasterclasses.com, andwas featured
Febuary 2009.
www.reachmusicjazz.com
Gregory Stone has been a renowned guitar and
music teacher for three decades. He was head of the
Guitar Instruction Department at Yamaha Canada
where he created the very popular Yamaha guitar
course, and was responsible for training Yamaha
teachers throughout Canada. During this tenure, he
also authored two guitar class instruction books,
which are currently being used
as part of the Yamaha curricu-
lum.
He holds an RCM Grade 10
Classical Guitar Degree and RCM
Grade 5 Harmony, Counterpoint
and History Degree. He received
the Yamaha Level 4 Diploma,
highest in Canada.
Gregory has studied privately
with many acclaimed teachers:
jazz harmony and arranging
with Alan Michalek (Berklee), harmony, counterpoint
and history with Gordon McKinnon, (RCM) and classi-
cal guitar and pedagogy with Eli Kassner and Robert
Hamilton.
Gregory’s versatility over the years has been shown
through the various musical avenues he has traveled.
His extensive live performance credits include the
Toronto, Quebec City and Oakville Jazz Festivals. He
has performed/recorded with many premier Canadian
musicians including Guido Basso, Peter Appleyard, Ed
Bickert, and Don Thompson, and has been a session
player for the CBC and many record labels.
Gregory is the author of Bill Evans Collection for Solo
Guitar which was released through the Warner Bros.
Jazz Masters Series.
He maintains a busy teaching schedule in his home
studio, as well as Skype lessons, and custom transcrip-
tion services.
www.gregstoneguitar.com
Dylan Ryche is a composer/performer based in
Toronto. In 2012 he was the first place winner in the
prestigious Canadian Fingerstyle Championship.
Dylan’s inspiration spans a very diverse group of
musicians including Don Ross, Yes, Journey and Dream
Theater. Drawing from these
artists he has developed his
own brand of music. He made
his recording debut in 2011
with his aptly named Acoustic
Fingerstyle Guitar project. Today
Dylan can be heard playing
around Ontario both solo and
with fellow virtuoso musicians
Ewan Dobson, Maneli Jamal and
Calum Graham.
www.dylanryche.com
8
9
Klugh
Earl
hile playing the guitar is my first love, interviewing a
W guitar hero comes in a close second.

I first met Earl in 2005 when he released Naked Guitar;

what a pleas-
ure it was
to be his
guest in
Atlanta! We
laughed, played guitar, ate great food, had a glass or
two of wine and took the first steps of friendship.

Thanks Earl for all the times you have shared with
me and for the genius you bring to the guitar. You set a high
standard for all of us. —Bill Piburn
Photo by Tanner Photography
10
 Photo by Tanner Photography

EK: Hey Bill, how’re you doing? last few years I’ve been going to places I have
never thought about going but it’s nice because it
Good and you? changes things up.

I’m doing great (laughs). Have you ever thought about how many coun-
tries you’ve been to in your career?
You sure stay busy.
No, I am going to think about that because they’re
Yeah that’s all part of it. mounting up. We’re starting to do a lot of interna-
tional travel.
People look at a career like yours and think it’s
all glamour. They don’t realize how much hard I know, you were going to think about that but
work goes into it. you’ve been too busy!

Oh yeah, there’s a whole lot, you know, but it’s fun, Yeah! (Laughter)
it truly is.
You get over to Africa and say hello Toledo!
You do get to travel to places that most people
will never see. (Laughter) No, not quite. We had a really good trip
Yeah, that’s for sure — it’s really amazing. In the this last time. It was just a fun trip.
11
Well, it’s good to have you back. Let’s talk
about the new recording. I took another listen
this morning and gained new appreciation. A
lot goes into the process of doing a project like
this. Tell me about the conception of it.
First, I wanted to put together something for
guitar players and I keep that in mind. I think at
one time I told you about the Manchester
Craftsmen’s Guild in Pittsburgh. That’s where I
first got together with Bill Frisell and Russell
Malone and we started putting together some
guitar-based shows.
I’ll keep my fingers crossed that I’ll have a chance
to do that again with three or possibly four guitars.
I think it would be a great thing for all the guitar
players who enjoy that type of thing. The good
news is that I stay in touch with everybody and I’m
going to keep forging on to see if we can put it
together. The solo guitar world, there’s nothing
like it. That’s what I love to do the most. There’s
nothing like putting together some tunes and
doing your thing!
You know me, the band stuff is great but the
solo playing gives me more insight to you per-
sonally and how you think of harmony. I
always have those moments of how in the hell
did he think of that? What planet was he on
when he thought of that?
(Laughter) You’re funny Bill.
Well, let’s get on track about the record a little
bit. How did your special guests come to play
on your new project?
It kind of just happened. The first time I was invit-
ed to Clapton’s Crossroads I met Vince Gill. I had
never met him before. The next day I was having
lunch and he stopped by and we had a nice visit
for about twenty minutes. He was very laid back
and very approachable. I keep that in the back of
my mind because I knew that I wanted to make a
more guitar-orientated record.
Let’s talk about the Vince Gill track. It’s a nice
track and I was surprised when he sang a little
towards the end.
Yes, that surprised me. It was a very comfortable
situation. We went over to his house and recorded
in his studio and in the kitchen! (Laughter) You
can’t beat that.
No you can’t, close to the coffee and the refrig-
erator.
(Laughter)
Tell me about the other two duets on the
record.
Yeah, Jake Shimabukuro, I met him a couple of
years ago. He gained a lot of notoriety a few years
ago from a YouTube video playing “While My
Guitar Gently Weeps” on the ukulele. It’s had
something like ten million hits! It was one of the
early sensations on YouTube. We met when we
were both playing on a cruise ship. We both had
our solo shows and since you’re on the ship for a
while, we decided to play a few things together.
We said, let’s turn this equipment on and play
some music! (Laughter) That was the real start of
it.
The whole thing with Bill Frisell — he’s just very
easy to get along with, a nice guy. I like that he’s
not pigeonholed. He’s not a country player or a
jazz player, he’s his own thing. That was a lot of
fun.
He’s such an eclectic player. I was wondering
how his playing would work with you. I was
pleasantly surprised. He really filled in the
spaces well. There was a section toward the
end where he played some really nice chord
substitutions, very tasty.
Yeah!
Where was the track with Bill recorded?
That was recorded at a little studio up in Portland,
Oregon. I didn’t know what I would be in for trying
to put it all together. I wanted to get the record out
by late summer or early fall. I flew in from Atlanta
to Portland where Bill usually records. He only had
so much time because he had to leave for Florida.
We did the tune pretty quickly and went to have
12
Photo by Teresa DeLappe
13
 breakfast/lunch at his favorite place and I got back on
the plane to go back to other work I was doing! It was
crazy but fun too. I just showed up and told him how I
saw the tune. I’m very happy how it turned out. He’s
such a unique player, nobody quite like him. That was
good timing for me.

I like his chord voicings. He also played at a volume

and in a range that stayed out of your way.

Exactly, that’s a real gift because we can easily step on

each other (laughter).

I noticed that the CD has thirteen solo tracks. As I was

listening this morning I made some notes about signa-
ture things you do. Often instead of a bass line or chord in
the bottom you’ll have little counter melodies and fills.
“Alfie” and “But Beautiful” are two examples. You do it all the
time.

Yeah, for sure — I’ve always wanted the guitar to be a full instrument,
like we play it. Complete without having to fall back on anyone else. Playing
all the parts and finding really good harmonies. That’s the way I like to play.

It’s like orchestrating for the guitar. You are a true master of
that art.

(Laughter) We’ll I’ve tried hard enough!

I think it’s paid off.

I remember the first time

we met we were having a
conversation about being
able to play a song in multi-
ple key centers. You played
“But Beautiful” in about five
keys! Not only did you
make the changes but also
14
 late. I’ve got that
down for sure.

I’m going to have

to send you a Man
of the Year award
or something!

(Laughter)

It may be common
among piano play-
ers but not with
guitar players.

I do know that.
That’s why I work
on it so hard. I just
want it to be inter-
esting to the listen-
er. If you’re going to
play solo guitar
you’ve got to have
some good twists
and turns.

changed up the style and harmony with each
key change! It blew me away. Very few can do
that.
Thanks. Sometimes it works and other times it
doesn’t. Sometimes the range is too low or too
high. I’ll try to play the song without doing any-
I’ve listened to
some Art Tatum
records where he modulates for only a couple
of bars or other times in the middle of a bridge.
It will twist my head around and I’ll think, he’s
the man!
I know — he’s definitely the man!

I’ve been going back and forth on recording

thing fancy at first, just go through the key

with or without a click track. Without the click

changes. I’ve always wanted to be able to play that

I know it’s generally in time but moves a little.

way because all the good pianists can do it. The

What are your thoughts on this?

piano is such a big instrument that you can do all
that modulating. For my whole career I’ve been
trying to make those transitions. If you listen to
Bill Evans he’s constantly modulating. The piano is
very different than the guitar — we only have so
many places we can go but at the same time you
still can modulate quite a bit. I really enjoy doing
that.
I’ll tell you, I don’t think that’s as big of a problem
as you think — I shift in time too. I don’t look at it
as a bad thing especially when it’s just solo guitar.
You have more freedom to do more things when
playing solo.

Can you keep the improvisation going when

you modulate? With regard to choosing a key to play in, you
made reference to the register. Can you expand
Oh yeah, I can keep up the improvising as I modu- on that thought?
15
You want the music to sound in an
area that most people listen to
music in. It’s like the George Van
Eps thing with the extra bass string
— that sort of works but it’s some-
thing different.

I think the Lenny Breau extra-

high string may be a better way
to go.

Yep, I agree with that, it’s a better

alternative for the guitar.

We’ve never talked about your

early years in Detroit.

There’s not a lot of information

there but I was fortunate to have
started playing the classical guitar
and that really set my direction. At
one point I had a Chet Atkins
Gretsch but it felt like a foreign
instrument by the time I got it.

Chet was an early influence but

how did jazz come into your life?

There was a really great club in

Detroit called Baker’s Keyboard
Lounge and it was the real thing, not
just jazz on the weekend. I had the
chance to meet and sit in with peo- Sandee O.

You Forgot How Bad He Really Was.

ple like Sonny Stitt and George
Shearing. I even got to spend a little time with Bill
Evans! He was a nice guy. He was a little pressed
for time but it made an impression on me. (Laughter) That was the name of the record?

Just a few minutes with someone like that can How old were you when you played with him?
inspire you for a lifetime.
I was sixteen.

I remember you talking about the female

You got that right!

You know Earl, you may never know how much pianist who often played at Baker’s, named
you influence a young musician when you meet Terry Pollard, she was great.
them. You better watch what you say!
(Laughter) That is really true. She actually did the Steve Allen show a few times.

I’m impressed that you got to play with Sonny Yeah, I saw a clip of her playing piano and
Stitt. I have a recording of his called Just In Case vibes on that show.
16
Michael Cyra
Earl with Burt Bacharach
Exactly.
She was kickin’ ass and takin’ names.
(Laughter) You got that right! She was great. I had
the chance to open some shows for her at Baker’s
in my early years.
Tell me about your guitar collection. I know
you have many fine guitars.
Yeah I’m a pretty serious collector. I mainly have
guitars by American luthiers but I also have gui-
tars made by European makers as well. I really
enjoy having a collection like I do; it’s a lot of fun.
I noticed on your current recording you used
two or three different guitars. Is that based on
the sound or because it just happens to be the
guitar you have in your hands that day?
Usually I find myself playing a particular guitar for
a period of time. Lately I’ve been playing a couple
of my Paul McGill’s. He puts really nice instru-
ments together and I particularly like that he
doesn’t build the same way all the time, they have
17
a large personality of their own. They’re not cook-
ie-cutter and you can tell he puts in a lot of time.
All the builders [of guitars] that I own are great
and I enjoy the differences in each one.
Tell me about traveling with your guitars. I
know that can be a real hassle.
Oh yeah! It can be a dicey thing sometimes. Over
my career I’ve had some bad experiences. It’s hard
to travel with very expensive guitars (laughter)
without them letting you put it in a bin or storage
place. Also you deal with the temperature change
if the guitar is in the belly of the plane. It’s gotten
better, though, over the years. Now I’m often
pleasantly surprised. In the old days they got mad
if they saw you coming with one guitar much less
two! Then they were really mad! (Laughter).
I’m happy that it’s gotten better — you know,
we’re not playing a game, this is our livelihood.
Have you ever had a guitar severely damaged?
I would say only once and that was years and
years ago. I’ve had a few hairline cracks in the top
and a few things like that. One McGill that I’ve
been traveling with for many years has had to
have the top repaired seven or eight times. It’s sad
because it’s a really dynamic guitar and each time
that happens you lose a little.
Do you try to carry your guitar onboard?
I’ve been having pretty good luck in the past few
years or so. When they say I have to put it under
the plane I explain that I’m a working musician,
this is what I do. I bring two instruments, one I put
above in the bin and the other in the closet. It’s
been working pretty good for me lately. I hope
others will have the same experience.
We’ve had the discussion in the past but will
you share your thoughts about improvising?
Do you have any devices or guidance you could
share?
Gosh, I wish there was, it’s just an intangible thing.
I kind of knew what I wanted to do and when I
first heard Bill Evans it gave me a direction.
Because I played piano in my early years I could
apply a lot of what he was doing to the guitar —
things like the three-note chord clusters. I like
working in that direction. I’ve tried very hard
through the years to understand the improvised
right hand over the three-note triads in the left
hand.
Though you just released the new project, have
you already started thinking about the next?
Yes, I’m already trying to figure out what I’m going
to do. This past record was a lot of fun because it
was all guitars and there are a lot of people who
love and understand that. You’ve got to keep that
part of the career alive too you know (laughter).
All the material on the CD is great but this
morning I was listening to the standards like
“Round Midnight,” “But Beautiful” and “Love Is
a Many Splendored Thing.” It’s stunning, that’s
some deep water you got into there.
Thanks.
Please tell me about your original “Where The
Wind Takes Me.”
I wrote that a couple years ago. At that time we
were touring a lot and doing the weekend of jazz
events but I was also doing a few solo dates. About
that time I had the big thrill of playing a solo con-
cert in a hall that Mozart used to perform in!
That was really a treat!
Yeah, I’d want to rub all the surfaces that he
may have touched.
Me too!
Did you recently meet Burt Bacharach?
I did some stuff with him this last November but I
first met him early in my career while recording at
Herb Albert’s studio in Los Angeles. I believe it
was in 1980. Since that time I’ve run into him a
few times. This last time in November we had a
concert and I got to do a couple songs with him
and his band. It was really a big thrill for me.
Last question — for those who are serious
about the guitar, do you have any advice?
Oh boy! I’ll tell you I had kind of a backward
approach but I thought it was coming out pretty
good. What I mean by that is you listen to other
people’s music and you get a feeling of I like this or
I don’t like that, gosh, wish I could play this. This is
common to all of us. A lot of the time I try to think
of the guitar as not being a guitar — I may think of
it as a clarinet or a violin section or solo violin. I’m
always trying to integrate other things into the
guitar. Sometimes it works, other times it doesn’t
but sometimes you hit on something different and
special. Playing the guitar as well as you do and I
do, we’re able to manipulate where you want to be
on the instrument.
Are you playing the melody? Are you playing bass
notes? Are you playing clusters? I always look for-
ward to picking up the guitar because I usually
find something new to do if I sit there for a couple
hours (laughter). I know you’ve been there!
Every day!
http://earlklugh.com
18
19
 Earl Klugh:
My Mentor and Friend: George Benson
By Bill Piburn

T
here once was a time when an inspired young boy dreamed
of making music his life. He spent countless hours studying
his heroes and finding his way. One of those heroes befriended
him. Through inspiration, advice, and experience, George
Benson helped mold the young talent of Earl Klugh. The world
of guitar is a much better place because of it.
20
As you know, I’m doing an interview with George
Benson and I would like to hear your reflections
about him and your time with him. How did you first
meet?
The first time I met George I was probably seventeen
years old. Once I got my driver’s license, I would go to
Baker’s Keyboard Lounge [in Detroit] on the weekends.
I was underage but we had an arrangement that as long
as I sat at the bar and didn’t drink any alcohol, I could be
there [whereupon] I got a chance to see George Benson.
There was a gentleman in Detroit who, I believe, was a
relative of Kenny Burrell’s and a buddy of George’s.
George would visit in the afternoons. I would take my
acoustic guitar over when George would visit him. At
that time, George would be in town for ten days. He
would do Friday, Saturday, Sunday, off on Monday, and
then do Tuesday through Sunday. When George was not
busy, I’d take my guitar over to play for him and to ask
questions. He got a kick out of me playing the classical
guitar and fingerstyle. At that time, it was a bit of a nov-
elty. George would play at Baker’s a couple times a year
and, over time, we grew to be good friends.
I was just playing my gigs around town. If I fast forward,
I believe I was nineteen when I joined his band. We went
out on the road for about nine months and he intro-
duced me to a lot of people. I met most of the older adult
musicians I knew in Detroit through George. That helped
me a lot.
There was a lady in Detroit named Terry Pollard. Terry
was just a phenomenal piano player. I would open up for
her playing solo, and she would play with her band. She
used to be on the Steve Allen show a lot. When she
passed away, I played on Steve Allen’s tribute to her. At
that time, I got to be around a lot of good people. She
played many styles and was one of the reasons I became
interested in playing more of the piano types of sounds
on the guitar.
I would think being a young guy jamming with
George Benson could be an intimidating thing.
(Laughs) Yeah! When you’re a kid, you’re either going to
be nervous or you’re not going to be afraid at all and I
was that way. I’d watch George play and think that I will
never be able to do that — it wasn’t going to happen for
me; I would have to find another way.
In 1971, George called to say he was doing an album for
Creed Taylor and was going to use some Spanish guitar
in the record. He asked me to come out and see what I
could do. I played on several tracks but they cut me off
21
all of them except one. I started going on the road with
George right after that, in 1973. The first place we
played was Keystone Korner in San Francisco. It was a
quartet, George and I on guitar, with bass and drums.
The bass player was Roland Wilson from New York and
the drummer was David Parrish from Pittsburgh. We
toured that way for about a year. It really helped me gain
confidence. When you’re playing with someone like
George Benson, you see how much you have to develop
your craft. Back then we were playing five to six nights a
week in clubs and most of the time, two shows a night.
You end up doing a lot of playing. It’s the best possible
way to learn and it was the perfect time for me. I left the
band towards the middle of 1974. George wanted to try
playing with electric piano, bass, and drums. At that
point, he helped me get my record deal with Blue Note.
The gentleman at Blue Note was George Butler. He was
interested in signing young raw talent, like Ronnie Laws
and myself, up-and-coming artists, guys who were twen-
ty. It worked well.
George called me one time and said, “What are you doing
this weekend?” I told him I was home for the weekend
and not doing anything. He said, “Man, I’m doing a guitar
festival, one night only, at Carnegie Hall and I want you
to play with me.” I asked who else was playing and he
listed Bucky Pizzarelli, Jim Hall, and Joe Pass (laughter).
He kept going through these names. That night, I met
everybody — all of the jazz guys. It was really some-
thing! The sad part about it is they did not videotape or
record the audio. I guess they didn’t think it was impor-
tant enough to record. This was in the early ‘70s. At that
time, these guys were in the prime of their careers.
From what you have told me and what I’ve heard
from others, George seems to have a very mentoring
spirit.
He really does — it’s great to see. A lot of people just
don’t invest the time.
Did you see a lot of improvement in your playing
during that period with George?
Very much so, just to be able to keep up! (Laughs)
Keep up? I would think it would have been more
like, hang on!
Absolutely (laughs).
I remember early on, when I was first in his band, we
would play a show, and the guys in the band would all go
to eat after we played. One night, we went out about two
in the morning and got back around three. We went to
sleep and got up for breakfast. That morning, Roland
Wilson, the bass player, said something to me that real-
ly changed my work ethic. He said, “You know every
night after we play, we’re tired and we go out to eat.
George goes back to his room and practices.” (Laughs)
“He doesn’t hang out. He goes back to his room and con-
tinues to play.” I thought about that and I said, “Man,
that’s got to be it!” So, I started doing that. After the
shows, I would go back to the room, think about what we
were playing and try to keep learning. It made a differ-
ence; it really did. That made a big impact on me. You
can’t just think I’m playing in a band and I’ve got it made.
You’ve got to work hard. I wouldn’t have the energy
now; but I’m glad I did it then.
What is George like in the studio?
He’s spontaneous; however, he really knows what he
wants to do and he knows how to get it done. When we
worked on the Collaboration album, he was there work-
ing full time. We had an all-star band and everybody had
original music and ideas. It was one of my best memo-
ries of recording with George.
I hope you record together again one day.
I’m sure we will; especially since I’m getting ready to
sign with Concord and George is there, too — if not a
whole project, at least a tune or two.
Will you be able to record where and what you like?
Oh yeah! I keep control of my activity now, you know, I
really do. You’ve got to own your stuff (laughs).
Didn’t you and George do an outdoor concert in
Atlanta?
Yes, but I can’t think of the name of the amphitheater.
Lee Ritenour and I did a show at Chastain Park when I
first moved to Atlanta. I sat in with George there a few
years ago but I didn’t get a chance to play much because
the next day I was going to play at the White House for
George Bush. I was preoccupied! (Laughs)
That must have been really special.
It really was. I never knew how they picked us to play. I
never felt like I had any connections to the White House.
I do remember playing once for Colin Powell at a func-
tion for the State Department. He seemed to be a fan and
he likes all that Motown stuff, too. I kind of made friends
with him, maybe that’s how we got in.
He probably said enough of this classical stuff — let’s
get some jazz in here!
Exactly!
When I was young and first playing with George, I was
always nervous; but, I just kept playing and practicing.
We did a lot of playing. It was really good for my growth.
A friend of mine saw you play with George in Kansas
City at a club inside Union Station. He said you guys
played “Cherokee” and it was one of the most awe-
some displays of guitar playing he has ever heard.
(Laughs) I’m sure most of that was George. I was just
trying to hang in there!
In those days, how did you amplify your guitar?
Oh boy, I’ll tell you it was very hard. I had a DeArmond
pickup that was basically a glorified microphone. I used
a rubber band to tie the pickup to the top of the guitar; it
would feedback like crazy. George said, “Man, we’re
going to fix this for tomorrow night. I said, “OK, what are
we going to do?” George got a piece of insulation, like
you have in a house, and put it inside the guitar.
You mean fiberglass with paper on one side?
Yes! I played that way for about a year and a half. Back
then it was like the caveman days!
Anything you want to share about George?
Well, George is one of the most generous people I know.
He is always mentoring and not just with guitar players,
but all musicians. He takes an interest. It’s people like
him who keep jazz alive. I try to mentor some but I am
more introverted and George is more extraverted. It
works better for him.
How do you think history will remember George
Benson and his impact on jazz guitar?
Of all the jazz guitarists, I believe he is the top guy. There
are plenty of great players who have given so much, but
if you really look at what he has done, both musically
and commercially, he is the guy. Being famous and a
great player has sent many people to school and
inspired many people to learn to play. He has elevated
the jazz guitar because of his high level of exposure and
the high level of playing he has attained — it is a high
bar. It definitely separates the greats from the pre-
tenders.
22
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Art. Harmonic rake with a finger, R.H

17th fret move with chord shape.

26
 Mark
Anthony
Cruz

27
 Artisan
M
ark Anthony Cruz is the chairman of the guitar department at
Texas State University in San Marcos, Texas. He is the reigning
2013 Walnut Valley Festival’s International Fingerstyle Champion
and a former second place winner in 1993 and 2003. He is the first-
prize winner of the Austin Classical Guitar Society Composition in
2006, ‘07, ‘08 and 2010. Mark has also been the
featured artist on two occasions with the
Oklahoma City Philharmonic. His composi-
tions have been performed by notable gui-
tarists such as Adam Holzman, the Presti
Trio, the Texas Guitar Quartet and the
Hanser/McClellan duo.

Though his skill on the

guitar is obvious, it’s his tal-
ent as a composer and
arranger that separates him
from the pack. Mark’s insight
to harmony, counterpoint
and other compositional
techniques make him more
than the average guitar pick-
er. Personally, I think he is one
of the finest composers for
solo guitar on the scene today.
In a perfect world everyone
would know this. It was my
honor to talk with Mark and get
to know him better — I am truly
a fan.

— Bill Piburn

28
Great to talk with you Mark, I was so happy to hear that
you won the fingerstyle championship at Winfield this
year.
Thanks, it’s real exciting. I wasn’t expecting it.
Tell me about that experience.
I don’t know where to begin. It’s all kind of a whirlwind. It was
my fourth time to compete — I took second place twice so I
really don’t consider them disappointments. I
thought it was great. The second time I got
beat by Richard Smith, so I saw that com-
ing! (Laughter) It was fun to compete
with him and get to know him. I have
performed with Richard since, along
with my brother, Edgar, on a tour. I
was planning on doing well in the
competition this
year, but I
didn’t know
I’d do that
well.
29
What music did you play in the competition?
I opened with one of my hymn arrangements, “Praise The
Lord, the Almighty,” which is quite developed. I have a section
where I use an inversion of the theme in a fugal approach.
There is some pretty cool stuff in it, chromaticism and decep-
tive cadences that I think are unique and work really well. If I
had to pick something that I thought made me standout, it
would be that type of approach in my arranging. I followed
with my arrangement of “New York, New York.” I thought the
audience and the judges both would appreciate a
popular piece. In the second round I played
my arrangement of “Ode To Joy.” I guess
that’s my greatest hit, according to
YouTube standards, because it has
had more plays than my other
videos. It’s another arrangement
that is influenced by my composing,
sort of an amalgam of things I’ve
practiced both melodically and har-
monically. It’s a theme and varia-
tions that exposes a lot of elements
of my playing. I followed that with
my arrangement of “Folsom Prison
Blues.”
Wow, that’s a big switch! (Laughter)
Yeah, I
thought if I
played a
variety,
maybe
good
things
could hap-
pen.
Yeah, just
in case
you’re a fan of Beethoven and Johnny Cash!
(Laughter) That’s right! I played some Frank Sinatra too.
Your composing skills, as you say, have influenced your
arrangements but you are also one of the finest com-
posers on the scene today. How did you acquire your
knowledge and skills with composition?
I started composing in high school. I was always interested in
finding something new. Of course, my compositions in high
school weren’t very good, but I was always trying to stretch
my limit. It wasn’t until I started studying classical music in
college that I made real progress.
Most classical guitarists don’t really look at what is going on
inside the music. They are only thinking about the technical
aspects of playing. During my college years, I was thinking
about that, and I was also looking into what was going on in
the music, melodically, harmonically, compositional devices,
etc. I stored all that away in my head for future reference.
There are so many lessons from so many compositions. Bach’s
“Chaconne” in D minor for example, is a perfect example of
theme and variations! I also played William Walton’s “Five
Bagatelles” and that’s a huge stretch from Bach. I grew from
that as well. All of these different sonorities and rhythms had
an effect on me. During those years, I played three programs,
and each recital had a wide variety of music from great com-
posers.
I never learned anything that went unnoticed in regards to the
information inside a piece of music. I knew one day I would
try to do that myself. While I don’t believe I’ve written my
masterpiece, I do feel like what I’ve written is pretty good. I’m
happy with what I’ve produced to date, but I know there is
something better to come.
Well that’s why you’ll
keep getting better. It’s
the people who
are happy with
themselves that I
don’t want to lis-
ten to.
I agree. One of my
favorite guitarists and
composers is Pat Metheny.
Ever since I first started lis-
tening to him in the late ‘70s,
he keeps on transforming
himself. I am trying not to have
my future compositions sound
like my past.
I think my earliest compositions were just kind of practice.
Many were pastiche compositions, music in the style of others.
It was part of my growth in making sure I had a good har-
monic foundation and understanding of form. I keep trying to
write in different styles and hopefully will find my own one
day. Sometimes I go back to pastiche writing after being
unproductive for a long time just to get myself back in the
game of being creative.
Was your study of compositions on your own or was it
part of your formal education?
Well, I did study on my own in high school, but when I got to
college I was required to study composition. While studying at
Oklahoma City University I had a teacher, Frank Payne, who
was very encouraging. I guess he saw something in my work
and he actually published a couple of my pieces. Then I went
to work on my Masters degree at Southwest Texas State (now
Texas State University) where I studied composition with Dr.
Russell Reipe.
What sort of things did he have you work on?
Dr. Reipe sort of let me do my own thing. He encouraged me
to write a couple of piano compositions and a couple that
were for guitar with voice. He had a friendship with a singer
in New York named Isabel Ganz that he wanted me to work
with. I also wrote my first guitar quartet while there (SWT). I
look at it now and I realize it really wasn’t one of my best.
Overall I learned a lot while under his wing, like how just pro-
ducing a lot of material makes you realize what works and
what doesn’t. Dr. Reipe would play through my piano pieces
and say nice things almost every measure but he would also
offer suggestions. Having teachers who pushed me in a posi-
tive way was a great thing.
I do have to say that I think you have a natural gift that has
only been enhanced by your study.
Thanks. The graduate theory classes that Dr. Reipe also taught
were very inspiring. I would marvel at his ability to write in
the style of Bach on the chalkboard!
Do you think that your understanding of counterpoint,
harmony and form would have possibly been developed
to the level it is without a formal education?
That’s a good question — probably not. The thing I loved the
most about college was that it brought light to what the struc-
tures are. This helped me understand and want to use them
myself. My compositions began to make sense and I had a
foundation to develop my music. I learned how to use these
devices to create works that make sense.
I love your piece “Florinda.” Tell me about when you
wrote that and the collection it’s from.
Well, I left Southwest Texas State in 1991 and went back to
Oklahoma in need of a place to live. I called Edgar and he invit-
ed me to stay with him, which I did for the whole summer. I
wasn’t working so I had a lot of free time. It was during that
period that I wrote “Florinda” and several of the pieces for a
collection called Pequenas Piezas Para Mi Padre, which means
“Little Pieces for my Father.” The collection consists of twelve
works, each with a title that has something to do with my
30
31
father. “Florinda” is named after one of his sisters, he had three sis-
ters and of course there is a piece named for each.
Tell me about your musical family.
My father was a mariachi musician, so Edgar and I grew up listen-
ing to him. It’s amazing that for someone who was self-taught and
knew nothing of the academic side of guitar how really good he
was. No one taught him how to do fingerstyle, he just figured it out
on his own. One of the most incredible facts is that he learned by
taking pictures of the hands of a guy who knew all the chords! He
took pictures of the chords he liked and developed the pictures
himself (he was also a photographer). Dad was an amazing
fingerstyle guitarist. Most mariachi either play lead or rhythm.
Rarely do you see one that plays bass, lead and harmony all at
once. My dad could also make arrangements on the fly like Edgar
can. That’s where Edgar got his skill. I guess I picked it up from
them.
It was a real pleasure growing up with a father who was a guitarist.
I remember that once in a while my parents would throw parties
and the mariachi band would come. All the relatives and friends
would be there and they would be jammin’ away! It was a huge
lively place to be. Us kids would be downstairs doing our own
thing but I noticed what was going on up there (laughter).
Looking back probably wish you could have joined the party.
Yeah, I wish I could play back then so I could have joined in.
I need to back up and ask your father’s name.
Manuel.
Did he encourage you and Edgar to play?
With all those guitars lying around our home we just sort of picked
it up on our own. The first time I got really excited was when my
dad bought my oldest brother Rick an electric guitar and amplifi-
er for Christmas. I remember sitting it on my lap because I could-
n’t hold it up. I first learned “Closer To Home” by Grand Funk. I put
it down for several years, and then in middle school and high
school I started playing my dad’s guitars. I was self-taught basical-
ly through chord diagrams from rock publications. Edgar had a
friend in middle school named Brad who played and he taught me
my first pentatonic scales. I was a big Led Zeppelin fan at the time
and he said, “These are the scales that Jimmy Page is using.” So I
just started whaling away! I innately knew which notes to bend. I
remember going crazy as soon as he showed me the patterns.
Edgar and I both started playing about the same time. I remember
that he could afford a guitar before me, but I also remember he
liked to work and make money. So when he was gone I played his
guitar all the time.
You had it going on!
Yeah I did (laughter).
What is the age difference between you and Edgar?
We’re about a year and a half apart.
So Edgar lives in Oklahoma City and you are in Austin?
Yes. I moved to Austin in 1998 to be with my wife. We met in col-
lege at Southwest Texas State University, now Texas University. I
went there from 1989 through 1991. I then moved back to
Oklahoma City for a few years but returned.
So you moved out there for her initially but got the teaching
position later, correct?
Yes. The teaching position just fell into my lap a few months after
being here. It was amazing! I’ve been at TSU fifteen years.
Sounds like someone had a plan for your life.
I guess so — I’ve been very fortunate. After I graduated from SWT
and moved back to Oklahoma City, my former teacher at OCU left
his teaching position, and they were looking for a guitar teacher.
Of course they asked Edgar first, but he turned it down and I was
next on the list. That position just fell in my lap that fall after I took
the summer off. I taught there for five years and then just worked
as a professional musician for two years before returning to Texas.
Not to be too personal but did you stay in contact with your
now wife when you returned to Oklahoma?
We sort of went our own way but I couldn’t stop thinking about
her. I gave her a call one day and it hasn’t stopped since.
I know she is a musician.
Yes, she’s a choir director and a great pianist. Once in a great while
we play music together at home but it’s tough with kids.
How many children do you have?
We have two, a boy and a girl, eleven and fourteen.
We have a couple of concertos we have played and some
Beethoven pieces. She gets a bit frustrated with me because she
sight-reads well and I don’t (laughter).
Yeah, I know the sight-reading level of the typical guitarist.
(Laughter).
You are a great guitarist. You’re not just a composer who
plays a little. How do you balance your time between com-
posing and practicing the guitar?
Ever since I was a kid I knew that my time to practice and compose
was limited. So whenever I do sit down, I decide on what I’m going
to work on and I make sure to get the most out of the time as pos-
sible. In regards to practicing, I do a great deal of practicing
through visualization. I’ve learned to use all of those elements
although I could always be a better player — I’m not completely
happy with my playing and it’s the same with composing.
Fortunately when I decide to write, I’ve found that if I start with a
strong theme it writes itself very quickly. Actually when that hap-
32
pens I find they are my best compositions.
Do you always compose with the guitar in hand or at times
without?
I’ve rarely written anything just from my head. I remember once
writing the bridge to a jazz tune called “Fuzz” in my head on my
way home from teaching. It was amazing because it was very chro-
matic. I had to hurry home to dictate it. I, of course, later harmo-
nized it. That was the only time I remember composing something
complex without the guitar in hand. I’m like most composers who
sit with their instrument and just start hammering away at things.
When something good comes from it I’ll write it down or get a
recording device before I forget it or have to stop. When I do have
longer periods of time that I set aside for composing, I’ll just keep
going until I have something. Sometimes it takes a day and some-
times it’ll take a week or two.
I know you sell many of your compositions on your website.
That’s also a big investment of time, entering the music into
some type of notation software.
Yes, but I’ve learned to enter the music into Finale as I compose.
It’s then ready to publish when I finish the piece, other than edit-
ing and adding fingerings. It’s those details that seem to take the
most time. I used to have this romantic idea about writing all of my
music by hand like Mozart and Bach did. For the longest time I
took pride in my handwritten scores. Edgar tried for years to get
me into Finale. My students used to laugh at me when I gave them
handwritten scores and they would say, “Jeez, Mr. Cruz! Have you
ever heard of Finale or Sibelius?” (Laughter). The straw that broke
the camel’s back was when I was talking to Michael Chapdelaine
on the phone about the Master Anthology of New Classic Guitar
Solos (Mel Bay) that we both are in. When he asked how I sent my
music in I told him I sent in a handwritten copy, and he replied,
“Well isn’t that kind of like riding into town on a horse?”
(Laughter). That is when I decided to learn Finale — around 2005.
Do you find your compositions changing as you enter them
into Finale?
Oh sure. Often I’ll play it back and say to myself, “it just doesn’t
sound right.” So I’ll just tweak it until it does. Also when I compose
for a guitar trio or a quartet I obviously cannot play all the parts.
Finale is like having a pianist there who can sight-read in real time,
everything you write. The playback reveals undesirable choices
I’ve made and my ear tells me what notes to adjust or what phras-
es or even whole sections to delete and replace.
Do you have guitar students who compose?
I do. Actually I have one student, Matt Montoya, who wrote a piece
titled “Cobalt” for guitar quartet that’s pretty good. I uploaded his
quartet’s performance of this piece on the TSU Guitar Studio
YouTube channel. He’s composed some solos and some chamber
music, too. Of course, most students do some writing in other
styles, but of all my students, Matt has been the most ambitious as
far as classical guitar music goes.
33
I assume you have students play some of your music at some
point during their studies with you.
With solo guitar music, I try not to give out my compositions; if
they are guitar majors, I think they should be playing traditional
repertoire. There is plenty of music for them to play without me
getting in the way. Every once in a while someone will ask for one
of my solo pieces. Sometimes I’ll write a piece for guitar ensemble
because I’m still trying to build my ensemble library at school.
There never seems to be enough material when it comes to
ensemble music. Much of my ensemble music has been played at
TSU.
Do you have a favorite composer or period of music?
Well for the Baroque period, Bach is number one. I just feel that
contrapuntal music fits so well on the guitar as opposed to classi-
cal or romantic music. I don’t know if it’s the style or if it’s that I
can’t stand how they feel on the guitar. Joaquin Rodrigo is proba-
bly my favorite twentieth-century composer because he seems to
have created a balance between the modern and traditional that
appeals to my taste. He has beautiful melodies and lush harmonies
that carry tension without being extremely modern. I also like
Tedesco and Torroba.
I’ve always enjoyed Manuel Ponce’s compositions.
Indeed. We owe Andres Segovia a great debt for developing the
twentieth-century guitar repertoire. His relationship with Ponce
yielded an amazing catalog not only of pedagogical, but of chal-
lenging and significant works as well.
It’s interesting that when Segovia was alive he was wor-
shipped and now that he’s been gone for a decade it seems to
be in fashion to Segovia bash.
(Laughter) That’s true. He was the reigning king for so long
because he really didn’t have a lot of competition. He coexisted
with Barrios, who is one of the most celebrated composer/gui-
tarist of our time, but nobody knew about Barrios back then. I
think Segovia may have had a hand in squelching his career. I do
know that they met and that Barrios gave Segovia music that he
never played. I think he saw Barrios as a formidable opponent.
Kicking Michael Chapdelaine out of a masterclass for using his
own fingerings? It’s stories like these that hurt his legacy a bit.
The level of playing has reached so high these days in regards to
virtuosity, interpretation and tone. If you look at somebody like
Dennis Azabagic compared to Segovia, there is a huge gap in
improvement and there really is no comparison. Here again, we
have reason to complain.
I see so many virtuosos now and you just wonder where they
keep coming from!
(Laughter) I know! And the level keeps getting higher and higher
and it seems like it’s happening exponentially…it’s scary, but excit-
ing!
http://www.markanthonycruz.com
 “Most classical
guitarists don’t
really look at
what is going on
inside the music.
They are only
thinking about the
technical aspects
of playing.”

34
 Play Audio Divertimento
(2nd movement from Divertimento)
Mark Anthony Cruz

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35 2006 MAC Publications. All rights reserved.

21
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36
 T
M

37
Tim Lerch
My Journey
ften we overlook the

O indirect or subtle lessons

in life that make us grow
as a person. It can be a seemingly simple
experience or an encouraging word that later will
have a profound effect and set our course in life.
It would be hard to argue that who we are at the
core of our humanity does not reflect through
artistic expression. After all, art does not live in a
bubble without flaws or a fingerprint. Sometimes
it can take walking away from that art to better
understand who we are and in the end, be better
for the journey. My conversation with Tim Lerch
reinforced this belief in me and I’m personally bet-
ter for it. After all, no time is truly lost.
— Bill Piburn
Photos by Nate Smith
38
Tell me about your hometown and how you began
playing the guitar.

I grew up in Woodland, California, which is a small town

near Sacramento. I guess you could say it’s an agricul-
tural town.

It seems that I was always musically inclined. I was

always singing and before I could play an instrument I
was in a band with a drummer friend of mine. I would
play the shakers and sing. I didn’t get a guitar, or I
should say a guitar of my own, until I was thirteen. I
bought a nylon string with my paper route money.
That was the beginning of the end! (Laughter) I really
took to that guitar and spent a lot of time trying to fig-
ure it out.

What were your earliest musical influences?

I probably have all the same influences that other

kids in the ‘60s had. I listened to the radio a lot.
One of my earliest memories is holding a tran-
sistor radio against my ear listening to the
Rolling Stones.

I remember when I was a kid it was always

exciting for me to see live music on TV.
I would watch very intently
because it was so rare to
see music being
played.

Even to
this day I
don’t like
music as back-
ground. When I
hear good music
I have to stop and lis-
ten. For me listen-
ing to music is a
much more active
pursuit than just
having it on in the
background. So I actu-
ally listen to much less
than what you might
think.
I can appreciate that. I’ve actually stopped
under a speaker while at the grocery store.
(Laughter) Yeah right! Excuse me sir can I help
you?
Anyway, were you self-taught or did you take
lessons?
A little of both; I didn’t have lessons for the first
few years, I just picked up things from guys in the
neighborhood who knew more than me. I mostly
learned by just trying to pick things out that
sounded like something. By the time I went to high
school there was a guitar class that I learned a lit-
tle from but even the guy who taught the class was
not a great player.
I guess I was never really a good student, which
seems odd since I now make part of my living
teaching. I was never studious and needed to fig-
ure things out on my own. I needed to understand
the logic behind what I was learning — I’m still
like that.
I didn’t transcribe or steal licks off records but I
did play along with records. I sort of learn by
osmosis. I’ll listen carefully and just try to play
what’s rolling around in my head. Looking back I
could have been more efficient in my learning but
that’s just how I am.
I assume that means you didn’t work through a
lot of books or transcriptions.
I didn’t work so much on transcriptions but I do
like books that lay out concepts. I was never good
at learning music that was written down. It was
always more enjoyable for me to make up some-
thing. I guess I’m just an improviser at heart. I
don’t even make my own arrangements. I usually
just have a sketch and leave a lot of room to play
something new in the moment.
Would you agree that no matter how great gui-
tarists such as Lenny Breau and Ted Greene
were, they still worked from a basic arrange-
ment and embellished on it?
Yes. What I hear in Lenny and Ted is that they
really investigated the song. Lenny would often
play the same songs. I say this not as a criticism
but Lenny was not a guy who knew a lot of songs.
He had a few, maybe dozens, that he investigated
quite deeply. He played variations and continued
to explore those songs his entire life. Ted also
explored songs to a great degree but he had a
wider repertoire.
I think it’s important to understand that you can
play an arrangement of a song and not really know
the song. I experienced this myself with ‘Round
Midnight. I played it pretty much the same each
time. Then when I got together with some guys
who wanted to play it I realized I didn’t really
know the song. I could play my arrangement but I
couldn’t play the changes or the melody without
the supporting parts that I had learned. I now tend
not to play arrangements — I play songs that I’ve
been investigating and living with for a long time. I
just play and see what happens.
I can easily get bored with what I know so that
motivates me to dig deeper into the song I’m
working on. Finding new possibilities keeps me
interested.
You have a background in blues and jazz. How
do you see yourself as a musician?
I don’t think of myself as a jazz or blues musician. I
really don’t give it much thought at all. I just soak
in the music that I love, try to be spontaneous and
trust whatever comes out (laughter). I would say
that most of the music I love is from about 1920 to
1965. I love gospel music from the ‘30s and ‘40s
and of course I love jazz and blues. I also like some
pop music. Whatever I play I try to be honest and
authentic. Ultimately music has to have a human
quality for it to resonate with people. I appreciate
knowledge but if it doesn’t have a human quality,
it doesn’t mean much. I respond to honesty in the
music. It shouldn’t be just clever tricks that you
know.
Music can be very revealing when it possesses
that quality.
Yes and that’s more important than how many
licks you know or how much facility you have. A
40
lot of the time I hear guys playing fingerings. It can
be difficult to play a set of fingerings well but it
can sound like we’re playing fingerings and that’s
not enough. I’ve been guilty of this myself. It’s
important that once we know those fingerings that
we take the extra step and listen closely. We have
to play musical statements not just make physical
movements.
I’ve heard it said many times that people play
like their personality. Any thought on that?
I think that’s true whether we know it or not. It’s
also a matter of celebrating who we are and not
trying to be something we’re not.
How did you end up studying at GIT?
I attended a Howard Roberts seminar in
Sacramento about 1975. It was a three-day event
and it was my first exposure to jazz guitar teach-
ing. That led me to discover other jazz greats like
Charlie Parker and Art Tatum. I also discovered
Ted Greene’s only album and was amazed. I just
had to learn how to do that! Then I happened to go
to a NAMM show with the owner of a music store I
was working at and Ted was there playing in a
booth. I just stood there astonished. So I soon
bought all his books and studied them. Then one
day I was talking to a guy in Sacramento about Ted
and he said, “I have his number why don’t you call
him?” I believe I was eighteen at the time. I called
him and we had a nice conversation about my
interest and goals. He offered to send me some
materials in the mail and that started a series of
mail order lessons. Then in 1980 or maybe ’81 I
was in Los Angeles over the Thanksgiving holiday
and the day after Thanksgiving I went over to
Ted’s parents home and had a nice long lesson.
After some time of trying to figure it all out, I
decided to continue my education at GIT. They had
just come into being a few years earlier and I was
impressed with their roster of teachers. My wife at
that time found a job and her family was from
there so it all worked out. We eventually moved
into a duplex in Hollywood in 1983, ’84 and I start-
ed studying at GIT. I studied primarily with Joe
Diorio and Ron Eschete but also arranged occa-
sional lessons with Ted. I didn’t have a car at that
41
time so it was a bit difficult but I got up there as
often as possible. I also found out that I could take
lessons with Jimmy Wyble at a music store; I
believe the store was in Glendale. Jimmy and I
really hit it off. He was such a sweet man. He was
so kind and giving. I think everyone who ever met
him felt that way.
How did you meet and end up studying with
Lenny Breau?
I went to hear Lenny play at Donte’s one night and
he gave me a phone number to reach him for a les-
son. It was before he had moved out to LA and he
was staying with a friend. I don’t remember the
guys name but I remember going over to his place
to take my first lesson. Then when Lenny moved to
the Wilshire district I would go over to his apart-
ment for lessons. The lessons were always very
informal with Lenny. I was just trying to hang out
with the cats that I admired. I would learn by just
being around them.
I probably wasn’t studious enough for Ted because
he would give me a page to work on and some-
times I’d get it and other times I’d drift off in a dif-
ferent direction. He was open to dealing with me
as I was and not trying to make me somebody I
wasn’t.
Of the teachers you studied with, who were the
most prepared to teach?
Ted was clearly the most prepared because he
thought of himself as a teacher and he embraced
that. He had very clear ideas of what to teach and
how to teach. Lenny was happy just to hang out
and show you stuff but I don’t know if he thought
of himself as a teacher. Joe Diorio had a very
improvisational approach to teaching so it wasn’t
about prepared material. He’d hang with the stu-
dents and try to connect to each of them. I appreci-
ated Jimmy Wyble because he had quite a bit of
prepared material and he really had his concept
together. I was able to get a lifetime of work from
him in just a few lessons. I hate to compare them
too much because they were all wonderful people
who each had a profound impact on me.
Do you have any stories to share?

Yeah — when I was at GIT I used to skip classes
and just go to Joe’s office and hang out. He was
there every other week so when he was there I’d
just spend time with him. I used to get teased by
some of the students and I missed a lot of classes
but I don’t regret it because I developed a deep
and abiding relationship with him. I love Joe and
we still stay in touch.
One day Lenny came to the school and Joe and I
were both impressed with him and to be honest I
believe we both were in awe. As amazing as Joe
was he was still a lover of great guitar playing.
Anyway, Lenny came into to Joe’s office and it was
lunchtime so Joe invited Lenny and I to lunch. Joe
and Lenny both were pretty small in stature and
here I was this tall lanky kid with poor posture
walking down the hallway of GIT with two of my
heroes. I was about a foot taller than both of them!
To stand between two geniuses and be welcomed
into their world was very cool. I still get giddy
thinking about it.
It’s nice when a teacher makes a student feel
like one of the guys.
Yeah, Joe was like that and Jimmy Wyble was as
well.
I got to hear George Van Eps play at a club with
Tony Rizzi in a quartet at the Sunset Pub in Orange
County. It was one of George’s rare performances.
When I got there it was an amazing scene of lumi-
naries. Jimmy was there and he came over and
asked me to meet some of his friends. He intro-
duced me to an older gentleman named George M.
Smith who was an early studio guitarist in the ‘30s
and ’40 and had written some guitar folios. I was
impressed because I had seen an arrangement that
42
he did of “Dark Eyes.” He was pleased and a bit
surprised that I knew who he was. Then we were
all blown away by George’s performance. It was a
special night. It meant a lot to me that Jimmy
wanted me to meet his friends. It sounds simple
but it meant a lot to me.
Sometimes I think the greatest thing a mentor
can do is to inspire, it’s not necessarily the
information they gave you. Sometimes simple
moments with people you admire can take you
a long way.
I agree! Sometimes when my students say that
they are not prepared I tell them to come in any-
way because there is more to it than just the
exchange of information.
I’ve heard that Ted was very reclusive and a bit
different. I don’t know how he was during the
period you were with him but do you have any
43
thoughts on that?
Well I’ve read, and there is growing belief, that he
had asperger’s syndrome but that is a bit different
than my experience with him. For me Ted was the
first adult man that I met who apparently led his
life based on kindness and beauty. Ted had a kind
of emotional tenderness that I had never experi-
enced before in an adult male. That made a big
impact on me, not to mention his playing. I knew
from the beginning that he played beautifully and
then I met him I found out why.
I remember Ted telling me that he used to be in
the rock & roll scene but he realized it was not
healthy for him. Maybe out of self-protection but
maybe out of a sense of a greater humanistic
belief. He really stuck to his convictions and pur-
sued what he loved.
I was smart but I was also impatient and arrogant.
Ted showed me in his gentle manner that that
wasn’t the best approach (laughter). Little things
that he said made a big impact on me. I remember
wanting to please him so I would come bearing
gifts. Once I had a bunch of records that I offered
to tape for him and he kindly said, make me a list
and I’ll go buy them. It’s very important that if you
like an artist that you support him through paying
for it. His words hit and it told me that he genuine-
ly cared for other people. It’s a simple thing but
I’ve kept that in my mind. We’re living in such a
rip-off society now that this way of thinking is
almost out of the ordinary.
With Ted, more than any of my mentors, I wish I
had been more diligent and seen him more. That
may be because he’s gone now and I miss him but
not a day goes by that I don’t wish I could ask Ted
a question. I have spent a lot of time with his mate-
rial in recent years and I have absorbed more but
certainly not all of it. I still have a lot of questions;
maybe there is somebody out there that could
answer them — I sure hope so.
He once played me a B.B. King solo over the
phone. He said, isn’t that great! I thought, here
is this deep thinker loving a B.B. King solo. It
made me appreciate him even more.
Yeah, he loved BB King, especially the early
recordings. He loved his tone.
He loved guitar playing, and others who were
clearly less capable than him, but had something
to offer. That’s another lesson to learn. It would be
a lonely world if we got so accomplished that
everything else paled in comparison.
There was this great slide player named Robert
Nighthawk that only made a few records. One was
titled Live On Maxwell Street. He had a record
called “Sweet Black Angel” that B.B. King covered
but called it “Sweet Little Angel.” He was spooky
good and even though it’s pretty primitive music I
just love it! For me that lives side by side with all
the lush harmony and complexity of someone like
Ted or Lenny.
I remember you said that you’re also a fan of
Lightnin’ Hopkins.
Oh man, I love Lightin’ Hopkins! He was the first
real blues man I listened to.
He played out of tune and out of time, and yet it
was great!
He was out of everything (laughter).
I love Blind Blake the most. I really think he swung
as hard as Louis Armstrong. Perhaps not as inven-
tively but he was unique among his peers. He had
a flawless technique and his beat was so swinging!
http://youtu.be/l-C-Rj4xruA
What are you working on now or thinking
about musically?
Well, I’m a moving target. I have a few things in
the works but I hope to have a solo guitar collec-
tion soon. I feel like my playing is starting to reach
a place that I want to document it. I’m trying to
make decisions about the repertoire. At one time I
was working on an all Thelonious Monk recording
but I may record a solo project of blues and stan-
dards with a few Monk tunes included. On the
blues side of things I have an organ trio I play with
often and I plan on doing a recording with them as
well. To be happy I have to maintain a balance
between solo guitar and this kind of blues guitar
slinger kind of thing. I’m also involved with
instructional material at
www.jazzguitarsociety.com
Lately I’ve been doing video instruction on my
website and just asking people to pay what they
feel comfortable with. It appeals to my senses not
to put a price on something I really love. I want to
share with this community of guitar players that
you and I are a part of. Your magazine is like that
— it’s kind of a brotherhood. I hate to think we’re
just trying to make a living off of each other. The
videos are on my YouTube page and then I’ll send
people links for the video and a PDF of the music.
http://www.timlerch.com/
Do you do Skype lessons?
Yes. Probably a third of my lessons are given on
Skype. I like that I can reach out to those who are
not in the Seattle area or that may be housebound.
44
I have a new
studio and it’s
working out
great because I
can give Skype
lessons from the
studio between
lessons. I also do
workshops and
hope to do more
of that in the
future. I’d like to
travel more and
maybe do con-
certs in conjunc-
tion with work-
shops. To be honest with you, where my heart is
going it’s getting more difficult for me to play in
clubs.
When I sing, people pay more attention so I’ll sing
one and then play an instrumental. It’s difficult
sometimes to get people to pay attention and I
don’t want to demand their attention with volume.
I just hope to put myself more into the type of ven-
ues that are more conducive to my music.
By the way, I really like your voice.
Thanks, I’ve grown. A guy once told me, “You’re
not a great singer but you know how to deliver a
lyric” (laughter).
I really enjoyed the DVD you did for Hal
Leonard.
Thanks. It’s called Blues Guitar Road Trip. We
called it that because it seemed to have regional
approaches to playing and blues has always been
that way.
Do you play with nails?
I have a little bit of nail on my thumb that I only
use when playing harmonics and I have a little bit
of nail on my little finger which I often use for
playing chords. I do not have nails on my index,
middle and ring fingers. I definitely play with my
flesh when playing solo guitar. It works better for
me playing a Telecaster. I also think that playing
45
with all flesh has
helped my
groove.
Tommy
Emmanuel
plays without
nails. Martin
Taylor plays
with acrylic
nails. Earl
Klugh plays
with nails but
when I first
heard him I
thought he
played without.
I love the sound Earl gets — I also assumed he
played without nails. Unless you have good tech-
nique, nails can make a lot of noise.
Lenny’s nails seemed to get longer and longer
in the later years of his career. I often won-
dered why he let them get so long.
That’s the thing about playing with nails. You have
to taking care of them everyday — I just play with-
out. I do buff my nails to make sure they don’t
catch on the strings. When I pluck a string I like to
make solid contact with it as opposed to just strik-
ing at the string. It causes me to slow down a little
but it helps me get a better tone.
It’s interesting that you talk about making solid
contact with the string. All the greatest classi-
cal players in the world will tell you not to bat
at the string; that you must make contact
before plucking the string.
I didn’t know that but it’s nice to know I’m not too
far off!
When you listen to music what do you listen
to?
I listen to what I consider the most inspiring of the
various styles I like. I listen to the solo piano
recordings of Art Tatum. I have my favorite Bill
Evans recordings and I recently got an expanded
version of Jim Hall’s trio live in Toronto. I still lis-
ten to Lenny, especially his early recordings. I like
Ed Bickert and the recordings he did with Don
Thompson. I recently got Grant’s First Stand [Grant
Green], which is his first record and I missed it
somehow. It’s a great record, he’s really grooving
and his tone is really nice. I’m also a sucker for old
gospel music. I also listen to Ray Charles as often
as I can. For an educational purpose, I’ll listen to
orchestrations from Frank Sinatra records or from
old movies. I’ll sometimes sit with my guitar and
try to figure out how the voices are moving.
I find that listening to orchestrations can help
you get away from that block chord mentality
that’s easy to fall into with the guitar.
Yes! That’s definitely where my mind’s been lately.
I try to orchestrate on the guitar as opposed to just
playing a set of grips. I do that as well but I really
love it when the lines sort of swim elegantly with
each other.
The challenge is how to play a bass note yet at
the same time play contrary motion lines, espe-
cially in an improvised situation.
It can be done. My problem is doing it in quicker
tempos or in situations where you just don’t have
the presence of mind because of your surround-
ings. I can approach it in the right situations and I
continue working on it.
I think it requires breaking out of stock finger-
ings.
Yes, it means being able to be spontaneous with
your fingerings. You also have to develop a lot of
independence in your fingers.
Do you remember when you got turned onto
the tritone sound that Lenny often did in his
accompaniment?
I was always able to hear the lower and upper
notes but the mystery was the notes in the middle,
especially if they were moving. Lenny and Ted
were both good at that and even Barney Kessel in
his own way. Once I realized the bass note didn’t
have to be the root of the chord, I could logically
explore the possibilities I could find in the voicing.
It’s really as simple as low and high notes and try-
ing to do something interesting in the middle.
There are also the physical limitations to consider.
We all have to deal with that, so using logic can
help you find how something is being played. Then
if you put open strings into the equation that’s
another dimension. I would suggest trying to
ignore the top and bottom voices and just focus on
the middle. That can be a challenge but it can help
you hear what is going on.
How long have you been in Seattle?
I moved here in 1989 and then in 1994 I took a
break from music and moved away to Rhode
Island. Then in 2006 I returned to Seattle and
began playing music again full-time. I love Seattle
it’s the perfect size town for me. A lot of people
don’t like the weather but it doesn’t bother me.
With that time away from music, when you
came back were your feelings towards music
different? Can you talk about that period?
Yes, my feelings were very different when I came
back. I don’t mind talking about it though I don’t
talk about it much. My challenge is finding a way
that I am comfortable with. I was at a place in my
life that I was playing every night but my heart just
wasn’t in it. I also had a few personal issues I was
dealing with, I was dried up inside. I decided to
quit playing professionally though I did teach for a
while because I had to make a living. I spent a fair
amount of time meditating and just trying to find a
way of being in the world that was healthy. I
would go for months without touching the guitar
though I would occasionally practice in my mind. It
was a slow evolution but I regained my love for
music by getting away from it. I started to develop
my musical value system.
I was always blessed with being able to move my
fingers but I didn’t always know why I was doing
it. It may not be very efficient to quit playing guitar
to be a better guitar player but it was an important
period for me. I definitely returned a different
musician.
http://www.timlerch.com/
46
 Play Video
Tea for Ted

    


     
 



 
  
 
           


      
              

            
   



 
 




 






 

















  












 
  













 











 
    

         
          


 
   
        
     






  

 
 






 




    

  





 
 
 


 






    

   
               

            


       
    



   




















 








 



  




























 


 
     

     

   


           
           
               
    




     

 
                
 
 

 
    
   






 





 





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49
 “There is a real passion and
emotion in his work that,
combined with his unex-
pected and inspired chord
changes and melodic
twists, lifts you up and
carries you on a wave of
instrumental beauty
that transverses many
moods and atmospheres.” — Somojo Magazine

“Sera’s CD Reality Of The Fantasy is one of the best in-

strumental acoustic guitar albums of the 21st century.”
— Robert Silverstein (20th Century Guitar magazine)

“The rich narrative quality of the guitar work is some-

James Sera’s
fingerstyle debut release
“Reality of the Fantasy”
thing that is just not heard much in current music, and
showcases Sera’s skill as a musician.”
– Neufutur.com
Available From: CD Baby, Amazon, iTunes
www.jamessera.com

50
 Sight & Sound

DVD CDs

Larry Carlton Brooks Robertson & John Standefer

335 Improv We Came To Play
Larry Carlton is a three-time Grammy winner who has What happens when you mix the seasoned pro John
reached legendary status with over 3,000 recording ses- Standefer with the youthful virtuosity of Brooks
sions, 200 hits and Robertson? The
100 gold albums to answer is a mix
his credit. His of harmonic
guitar solos and knowledge,
accompaniment good taste,
parts have become groove and
part of the fabric of chops.
pop music.
Thousands of hours John says that
in the studio have after fifty years
given him great of playing the
insight that he now guitar, this past
shares on his new year has been
DVD 335 Improv. one of the best:
“Partnering with Brooks Robertson to form the Brooks and
This double DVD John guitar duo, performing together and developing the
set runs a whop- new CD has been like medicine to me.”
ping 377 minutes!
One of the first It is immediately apparent that great thought and
things that stood out was Larry’s at-ease presentation preparation went into this recording. Often with duo
and friendly nature. One gets the impression that he recordings this is not the case, which creates a thrown-
truly wants to share his knowledge and enjoys teaching. together sound. The playing is very tasteful and consid-
erate of each other. It is also apparent that the two
A few of the topics covered are Larry’s triadic approach took the approach of a more orchestrated use of the
as opposed to chord/scale thinking. He certainly does guitar and not the jam session mentality. The texture of
not discourage scale knowledge but when improvising sound between the nylon and steel string guitars is a
he relates more to chord tones and connecting chords wonderful mix that gives the listener a wide spectrum
to each other. He also discusses common tones, dynam- of tone color. This is all captured in a well recorded and
ics, vibrato, anticipating harmonies, slides, space, the- well-mixed CD.
matic development, altered chords with both the
melodic minor and diminished scales, playing the blues, A wide variety of music is offered ranging from pop
chromatic playing, tension and release and more! classics such as “My Cherie Amour” and “Time After
Time” to standards such as “The Girl From Ipanema”
Great job Mr. 335! This DVD holds great value to play- and “Summertime.” A standout is the Wizard of Oz
ers of all levels. medley.
http://truefire.com Congratulations to John and Brooks for making a
http://larrycarlton.com/wordpress/ recording to be proud of — boys, you did good!
http://www.johnstandefer.com

51
Pierre Bensusan Book
Encore
Brad R. Thomson
Pierre Bensusan is one of the select few living guitarists Modern Fundamentals 4 — Fingerpicking
that fall into the category of legend. He began his touring
Scales
career playing man-
dolin with banjo
great Bill Keith in In recent years the guitar world has seen an influence of
1974. When Bill classical right-hand technique in the world of jazz and
heard Pierre play popular music. Guitarists
guitar, he started such as Sylvain Luc and
giving him slots in MODERN FUNDAMENTALS
Sylvain Courtney in France
the show to per- as well as Scotty
4 FINGERPICKING SCALES

form. This was Anderson, Bill Solley and

or
How I Learned to Ignore Dogma

Pierre’s launching Craig Wagner in the

& E m b ra c e t h e Fre e S t roke

pad to a 40-year United States have taken

touring career as a the classical free stroke to
solo guitarist/com- Mars and back! While
poser. To date, Pierre has performed over three thou- each may vary a little with
sand concerts! In 2008 Guitar Player magazine readers their approach, the one
voted Pierre the ‘Best World Guitar Player.’ common denominator is
the use of the free stroke
by
Brad R. Thomson, M.M.

To celebrate his 40th anniversary as a touring artist, in a variety of patterns.

Pierre has put together a retrospective collection of live
performances. Encore is a three-CD set with thirty-five
tracks spanning his entire career. In the beginning, the
collection covered the time span from 1998 through
2013 until Pierre discovered a tape from Swiss National
Radio from his 1975 tour with Bill Keith. He then includ-
ed five titles from this live recording. Eleven tracks on
Encore have never been released, including two with
keyboardist Jordan Rudess from Dream Theater.
Of this collection, Pierre says, “I would say that Encore is
probably my most truthful recording ever, because the
studio is not always a dangerous place. You can start and
stop, and the intimacy is just between the artist and the
music.”
Encore is a peak behind the curtain in the development
of this important and legendary artist. It holds all the
magic that live performances bring.
Once mastered, these patterns can supercharge your
technique.
We have not been aware of a published collection of
these patterns until Modern Fundamentals 4
Fingerpicking Scales. To our good fortune Brad Thomson
has done an in-depth study and has seemingly explored
all possible patterns. Brad has detailed the right hand
possibilities by breaking them into 2-3-4 and5 notes per
string, as well as mixing various combinations.
Eventually you will be able to use the required right-hand
pattern on demand and in time you’ll see how ascending
and descending patterns can overlap to create a very
fluid technique. After all, in a real world situation, you
will be combining these various string groups and pat-
terns. Once you can freely move in and out of these com-
binations, the overall level of your right-hand technique
will skyrocket!

Concert dates for his 40th anniversary tour and the It’s now your job to be creative and make music with the
Encore collection can be found at his website. power of a new and improved technique.

http://www.pierrebensusan.com http://www.amazon.com

52
 Fingerstyle Jazz Café
By Sean McGowan
G
“Mile High Blues”
Series
reetings from Colorado and best wishes to you in
the New Year! It is a winter wonderland outside,
which means it’s a great time of year to play and
take a look at one of the integral musical foundations: the
blues – specifically, the ubiquitous twelve-bar blues pro-
gression, with common chords and substitutions frequent-
ly played by jazz musicians. If you’re accustomed to play-
ing the classic design of the I-IV-V blues progression, you’ll
still notice a few similar characteristics. Namely, the I
chord is dominant, and the 5th bar – in just about every
blues progression – is the IV chord. There is also a familiar
‘turnaround section’ in the last two measures, bringing us
back home to the I chord, or tonic.
The flavor is very similar to the I-IV-V blues; we’re simply
adding a few chords to help point us through the progres-
sion. Jazz musicians frequently employ secondary domi-
nant chords (chords functioning as a V7 chord, but not on
the V7 of the key), and superimposed ii-V-I progressions
(evident in measures. 4-5 and 8-9). Finally, most jazz musi-
cians play blues in the keys of F or Bb, due to the preva-
lence of horns in jazz – this is their home territory!
No worries, it’s just a step away from E blues and will
become familiar to play in no time! Let’s have a look at the
basic “Jazz Blues” progression in F:
| F7 | Bb7 | F7 | Cm7 F7 |
| Bb7 | Bo7 | F7 | Am7 D7 |
| Gm7 | C7 | F7 D7 | Gm7 C7 :||
When playing in a solo or duo context (e.g. without a
bassist), it is common for fingerstyle guitarists to replicate
a bass player and/or pianist by playing walking bass lines
and bass lines with chord ‘jabs’ on top, while accompany-
ing a vocalist or instrumentalist playing the melody or
improvising a solo.
In this lesson, we’ll work through four different choruses
of the blues. The first two choruses illustrate how to
53
approach a walking bassline, while the next two add chord
structures and some chord substitutions to add some har-
monic variety and interest to the basic progression. As
always, listen to masters of this style of jazz guitar. Be sure
to check out the solo recordings of Joe Pass (Blues for Fred
is one of my favorites), as well as his duo recordings with
Ella Fitzgerald. Another contemporary master is Tuck
Andress: listen to his solo version of “Stella By Starlight”
on his incredible Reckless Precision, and his solo comping
on “I’ve Got Just About Everything” from Tuck & Patti’s
Tears of Joy recording. Their time feel and swing is more
important than anything put in words or notation here, so
be sure to listen to the music!
First & Second Chorus
The first chorus shows a quarter note bassline ‘walking’
through the chord changes of F Blues, focusing on chord
tones and scale or chromatic passing tones to connect to
the next chord in the progression. Again, a good way to
practice is simply listening to jazz recordings that feature
great bass players such as Ray Brown and Sam Jones.
Listen to how they connect chords – it’s a study in archi-
tecture and thinking ahead in the form! One technique that
bassists do often shows up in measures, 1-2, and through-
out the song.
The rhythm is broken up a bit (or kicked up a notch) by
incorporating a dotted 8th-16th note figure. Sometimes
they’ll play swung 8th notes, as in measures. 4-5. The two
basic ways to articulate these are to quickly pull-off to an
open string (measures. 2 & 7) and to cross over to an adja-
cent string (measures. 1 & 4). Occasionally, bass players
will follow two 8th notes with an 8th note triplet figure
(measure 12) to add some intensity to the swing feel.
The second chorus features more of the same material,
including a triplet figure crossing strings in bar 20. Also,
it’s fine to repeat notes here and there, as shown in meas-
ures. 22-24; it creates a slightly different sound and even
builds a little tension on the V7 chord, which in this case is high E string. There are two chapters in my Fingerstyle Jazz
C7. Guitar Essentials book (String Letter/Hal Leonard) that break
down and illustrate these concepts in great detail if you’re
Third & Fourth Chorus interesting in further reading.

Now we’re ready to add some chord ‘jabs’ on top of the
bassline, which kicks off in measures. 24 leading us to the
third chorus. Keep in mind that pianists have two separate
hands to create this sound! We have only four fingers of the
fretting hand, and as a result, you’ll find yourself having to
utilize the index finger to move horizontally, covering most
of the bassline, while the other fingers fret the chord voicing
on top. The picking hand will articulate two basic attacks:
thumb and fingers together, or fingers plucking the chords
on different beats (against the thumb). As a warm-up exer-
cise, you might try simply plucking a four-note voicing (such
as the F13 chord in measures. 25) with the thumb and fin-
gers, and with the thumb followed by the fingers.
To create the short, staccato articulation for the chord jabs,
simply release the pressure of the fretting hand fingers in the
chord voicing, while the picking hand retains the basic ‘claw’
type of posture. Note that the chord voicings range from
three to five notes; for the five-note voicings, you’ll need to
use the pinky on your picking hand to grab the note on the
In these two choruses, we start to explore some chord sub-
stitutions. Note the two different turnarounds in measures.
31-32 and measures. 43-44, illustrating different ways to
connect the F7 and D7 chords in measures. 8 of the original
progression. Also, you’ll notice chromatic approaches with
chord figures in measures. 25-26 (A13 to Bb13), and tritone
substitutions in measures. 36 (Gb7 for the C7 chord) and
measures. 40 (Cm11-B13-Bb13, with the B13 subbing for the
F7).
Finally, feel free to express yourself with different substitu-
tions and directions as you see – or hear – fit! The end of the
last chorus features a unique descending turnaround in
measures. 47-48, borrowed from the standard “Autumn in
New York.”
In the next issue, we’ll explore different ways to improvise over
this progression in the solo guitar or duo setting. Have fun!
http://www.seanmcgowanguitar.com

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54
 Play Video
Mile High Blues Sean McGowan

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55
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57
58
 Lessons from Lenny
By Gregory Stone

W
Series

elcome to the second article in my series about Lenny Breau.

In the last issue, I wrote about my great fortune to have lived in Toronto during the time
Lenny was living and performing in the city. My first introduction to this genius was in col-
lege years earlier. A friend had lent me the LP The Velvet Touch of Lenny Breau. I took it
home and lined up the needle on “Bluesette.” What followed floored me, as it still does all
these years later.

The great Canadian multi-instrumentalist Don Thompson has played with more than one
jazz giant in his career, including Jim Hall, George Shearing, Paul Desmond and Ed Bickert,
just to name a few. He remembers his first time meeting and playing with Lenny. Don
recalls, “We wound up playing standards all night and it was amazing. Everything he played
was note perfect: every chord, every melody and every tune was as if he had written it.”

This is high praise indeed. The only time I have read the word “perfect” used to describe
music was in reference to the work of Bach. Trying to explain perfection in any art form is a
very subjective minefield for any writer. However, “Bluesette” offers some clues.

Notice Lenny’s use of 8-bar phrases in the solo’s development. Like Bach, his logical sense
of the form is on full display. The overall effect is more like a collection of miniature com-
positions than a typical jazz solo.

Let’s take a look.

“Bluesette”
Written by Toots Thielmans

Album: The Velvet Touch of Lenny Breau, 1969, RCA Records. Bass: Ron Halldorson, drums:
Reg Kelin

Lenny Breau’s version of “Bluesette” is a masterpiece that was captured on the live record-
ing from Shelly’s Manne-Hole in Hollywood. It was opening night of his three-night gig at
the legendary jazz club. The full-house crowd for this jaw-dropping performance included
guitar luminaries Joe Pass, Howard Roberts, and George Van Eps, and bassist/guitarist
Carol Kaye.

Carol had met Lenny months earlier while she was in Toronto doing a recording session
with the Canadian jazz/rock band Motherlode. When Lenny left for L.A. a week ahead of
this recording, Carol was on hand to meet him, and introduce him to some of the giants
mentioned above. She remembers Lenny and George Van Eps meeting for the first time.
George kept saying, “What a player, what a player!”

On the live recording, Lenny pulled out all the stops on “Bluesette”: blistering bebop lines,
meter changes, cross rhythms, simultaneous comping, and some spectacular chordal har-
monics. Most impressive is how Lenny combined all of these techniques into a remarkable
whole.

The Solo (see opposite page — text continues on page 54)

59
 Play Audio
The Solo

60
61
62
63
The Opening Statement

The first moments of any music greatly influences how we anticipate what is yet to come, much like the first page of a great
novel. The greatest jazz improvisers understand this, and more often than not, begin their solos with a strong idea, followed
by tasty amounts of space, contrast, or development. Lenny had me hooked in the first 5 bars.

The following 3 examples examine Lenny’s first chorus in 8 bar chunks:

First eight measures

Ex. 1

Lenny begins with a quote from the vocal version of the melody. The sparse chord shots are in perfect contrast to his melodic
idea owing to the exquisite articulation, sense of space, and balance of voices.

*Notice the tonic minor treatment of the vi chord Em(ma7) in bar 5. It is normally harmonized as an Em7 when part of a
cycle.

Development
Ex. 2

64
Lenny’s follow up to Ex. 1 features a busier melodic shape, utilizing loose, rhythmic quotes of the melody in bars 3 and 6. The
harmonic activity is a little thicker as well, owing to his choice of luscious voicings based on quartal harmony.

E4 = C 6/9 F4 = Cm7 (11) D4 = Bb 6/9 Ab4 = Bbm7

Set up

Ex. 3

Lenny’s switch to single note playing here is a harbinger of the bebop to come. (See Ex. 6, and Ex. 7)

The superimposed arpeggios; (Dma7 on Bm7, Bb on E7, and Eb on Am7 ) are bebop staples, and the use of cross rhythms set
up Lenny’s next chorus —See (Ex.4)

Simultaneous Comping

Of Lenny’s definitive techniques, comping underneath his solos is one of the most impressive. Professional musicians, who
performed and recorded with him, were often confounded by his ability to sound like two or more guitarists playing inde-
pendently. These next two examples, (Ex. 4) and (Ex. 5) illustrate two contrasting styles of Lenny’s comping behind his
improvisation.

Part Separation

Ex. 4

Lenny’s melodic sequence is underscored with a series of articulated tritone voicings. Notice the tonic chord blues treatment
(G7) and the re-harmonization of the F#m7b5 to a dominant (F#7). The 2 over 3 cross-rhythms in the first 4 bars set the
stage for what is to come — See (Ex. 5)

65
Block Style

Ex. 5

Lenny utilizes quartal voicings in this block style example — See (Ex. 2)
The combination of high register playing and propulsive cross-rhythms is highly pianistic and evokes the fire of Bill Evans’
playing on Live at Montreux II.

Blistering Bebop

Lenny knew the language of bebop very well, and possessed the chops to make it burn. Let’s examine a couple of elements
used in the solo. See Ex. 6 and Ex. 7

For further information on the bebop vocabulary, check out the following link for an excellent explanation of the techniques
of be-bop as applied in a Bill Evans solo. Many of the examples shown in this video resemble the shape of Lenny’s lines in
“Bluesette.”

http://youtu.be/oRCCku0CehU

Rhythm displacement/Passing tones

Ex.6

The displacement of the phrases propels the rhythm forward much like a Hemiola.
Lenny’s blue note laced treatment of the IV chord (Cma7) reminds us of the tune’s title.
The trio really begins to percolate at this point.

66
Sequential arpeggios

Ex.7

Lenny is at the zenith of his solo in this section. Each of these descending arpeggios (shown in brackets) fit the modality of
the host chords above.

The technique is called stacked triads or stacked 7ths. For instance, an Am7 (Dorian) contains the following triads when built
from the root:

Am - C - Em - G - Bm - D - F#0 or
Am7 – Cma7 - Em7 - Gma7 - Bm 7 - D7 - F#m7b5

A very useful tool when applied to all chords in any tune.

Transition

Trading Eights

Ex.8

67
This is from the end of Lenny’s solo, and his first trading eights. Look familiar? Scroll up and have another look at Ex.1.
Lenny’s rhythmic figures set up some of the ideas to come — See Ex.9.

Ex.9

Epilogue

Chordal harmonics

After some of the most virtuosic and energetic playing ever recorded, Lenny brings the tune to a close with 3 stunning minia-
ture masterpieces. In Ex.10, Lenny’s tapestry of chordal harmonics resembles the shape of his bebop lines, and is pure musi-
cal poetry.

Ex. 10

68
In reality, the term chordal harmonics is only partly right. While Lenny’s holding static chord shapes, the combination of right
hand octave harmonics, natural notes, and left hand slurs notate as scales. The effect is pianistic, as if played with the sustain
pedal depressed.

The first 5 chord shapes yield the following scales:

C6/9#11 C Lydian

Cm9 C Minor Hexatonic (Cm pent. With an added 9th C D Eb F G Bb C

Bb 6/9#11 Bb Lydian

Bbm13 Bb Dorian

Eb7#9b13 Eb Diminished

In bar 6, Lenny’s Ab6/9 arpeggio and the accompanying single note lick help to set
up Lenny’s final quote of the melody in Ex 11.

The Coda

Ex. 11

A common jazz tradition is the return of the melody after all solos have been completed.
Instead, Lenny gently reminds us with a tiny quote from the coda section of the melody. His harmonic shading here is based

69
on a subtle re-harmonization of the IIIm7 chord (Bm7), and the IIm7 (Am7) into m7b5 sonorities. Both chords are voiced as
minor (Ma7) chords: Am11b5= Cm9(ma7) Bm11b5 = Dm9(ma7)

Like Bill Evans, Lenny consistently searched for the re-harmonization that offered the most upper tensions.

Final Statement

Ex. 12

What an exquisite musical ending to the story of “Bluesette.”

Author’s coda: The Velvet Touch of Lenny Breau was a

groundbreaking album in the lexicon of jazz guitar playing,
and “Bluesette” one of Lenny’s finest performances ever.

As told in Ron Forbes-Robert’s book One Long Tune: “A

recording that confirmed the arrival of a huge talent on the
jazz scene and forever changed guitarists’ notion of what
was possible on their instruments.”

As jazz great Don Thompson said — “Everything he played

was note perfect: every chord and every melody and every
tune was like he’d written it.”

www.gregstoneguitar.com
“Greg Stone is one of the world’s foremost
experts on the guitar style of Lenny Breau.”
—Bill Piburn

Skype Lessons and transcription service

available at
www.gregstoneguitar.com

70
 Fingerstyle Jazz Concepts
“Drop Voicings”
thought for a nice change of pace we’d look at a
chordal solo I composed based on the chord progres-
sion to “On the Sunny Side of the Street.”
Improvising and performing a solo such as this can be diffi-
cult, but for lovers of multi-line playing I feel it’s important
to compose solos using these techniques in order to even-
tually improvise in this style. Once the guitarist can devel-
op a vocabulary with these multi-line sounds and tech-
niques improvisation becomes much easier.
Many of the voicings in this etude are of the Drop 3 variety.
A “Drop voicing” is an arranger’s term meaning that some
of the voices in the chords are spread apart and the voicing
is “open” in nature. An easy way to think of this is that
instead of all of the notes in the chord being close together
there are gaps in certain places.
See figure #1, which shows a 4-way close voicing of a C
major 7th chord. Next to it is a drop 3 voicing of that same
Figure #1
C Maj. 7 voicings
˙˙˙ ˙˙
4 way close Drop 3 4 way close Drop 3
˙ ˙˙
4
V4 ˙ ˙
˙ ˙˙˙ ˙ ˙˙˙˙
˙ ˙
chord. In a drop 3 voicing the largest gap is between the
lowest bass note and the next highest note. The reason
why the voicing is referred to as drop 3 is that if we take a
4-way close seventh chord and we drop the 3rd note from
the top (shown using an arrow), that note becomes the
new bass note.
Now we have a gap in the chord between the bass voice
and next highest voice. Notice there is also a gap between
By Steve Herberman
Series
the middle two notes of a drop 3 voicing. Drop 3 voicings
are useful for solo guitar because they often contain a low
bass note and cover a lot of range. The great rhythm gui-
tarist Freddie Greene often used drop 3 chords except he
often omitted the highest note turning a 4 note seventh
chord into a 3 note seventh chord with an omission of a
root or a fifth.
The bar by bar analysis provided should help you see
which devices are utilized in the solo. The focus in general
is the use of motion in all voices of the chord but not all at
the same time. It should be noted that there are easier
approaches to playing chordal solos. A block chord style
using common chord forms is one such approach and can
be very effective. Just listen to how Wes Montgomery cre-
ated magic using this approach paired with rhythmic and
melodic invention and it was by no means easy!
The approach shown here also has great potential in that it
gives a more orchestral approach, the effect of multiple
˙˙˙˙ ˙˙˙
4 way close Drop 3 4 way close Drop 3
˙˙
˙ ˙
melodies occurring often at the same time creates a con-
versation between voices.
I hope you enjoy working on this solo and that it helps
expand your approach to solo guitar playing.
Best wishes,
Steve Herberman
72
 Play Video
S On the Sunny Side of the Street
Med. Swing
with Drop 3 Voicings by Steve Herberman

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74
 Sunny Side p.3

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75
 “On The Sunny Side Of The Street”
Analysis of the Solo
Bar 1 – Soprano melody with chord roots in the
bass. Drop 2 chords over beats 1 and 2 and then
drop 3 on the second half of the bar.
Bar 2 – The Bb7#11 subs for the E7 as a tritone
sub. The 1st finger slides on the eighth note triplet,
beat 3.
Bar 3 – The G# diminished serves as the V7 of A
minor (or E7b9). G6 is a passing chord to B-7b5/F.
Bar 4 – Here, chromatic minor 3rd intervals and
eighth-note triplets go together well since 3rds are
normally easy to slide around.
Bar 5 – The G# is used as a lower neighbor tone
(Maj. 7th) to add melodic interest.
The D13 on the “&” of 4 employs two open strings
that add a “sheen” and help sustain the chord.
Bar 6 – The A note on the “&” of beat 2 should be
sustained by holding down the 4th finger until it is
re-struck on the “&” of beat 4.
Bar 7 – Here you will see a descending minor 3rds
cliché in the bass while the common note of A is
played in the soprano voice.
Bar 8 – Ab7#11 subs here for D7 or D-7.
Bar 9 – Here the intervals of 3rds in the lower
voice implies the sound of C, D-, D#- and E-.
Bar 10 – Normally E7 is played here for the entire
bar. My idea here is to ascend stepwise in the bass
leading up to the G# on beat 4 which defines the
sound of E7.
Bar 11 – The E7 in bar 10 is the V7 of the A- in
measure 11. Another descending minor line cliché
is used but changes to F natural on beat 4, which
anticipates the B-7b5 chord in bar 12.
Bar 12 – As mentioned the B-7b5 is anticipated.
For the following E7b9, a diminished chord with a
scale note suspension is used that moves up a
minor 3rd interval employing both the b9 and #9.
Bar 13 – The A# and D# notes are lower neighbor
tones to B and E respectively. Another descending
minor cliché appears in the bass.
Bar 14 – Notice the continuation of the descending
minor cliché line. Upper tensions 11 and #11 are
utilized on both chords respectively.
Bar 15 – Beat three would normally be G7 but
here I used an E minor triad sliding down chro-
matically towards the C triad in the following
measure.
Bar 16 – The G7 to C cadence on beat two is quite
low but does not linger for long. An F#-7 approach
chord leads use into the bridge with the G-7th on
the “&” of beat 4.
Bar 17 – Notice the ascending minor line cliché on
the G-7 chord. This line moves from the 5th to
#5th to the 6th and resolves on the b7th on beat
three. On the “&” of beat three notice the passing
chords of A-7 moving to Bb6 to B7 and arriving at
C7 at the top of bar 18.
Bar 18 - The Bb, D# diminished to C progression
repeats the rhythm from bar 17 using approach
chords back to the C harmony while targeting the
F triad in bar 19.
Bar 19 – Normally bars 19 and 20 are played as F
maj7. A descending chordal sequence is used with
a chromatic based melody utilizing two guide
tones in the soprano line (A – Ab – G – F – E) and
76
(C to Bb) interwoven. The middle line is using A
minor’s dominant E7. In this case the dominant
chord has a raised 5th.
Bar 20 – The D-7 is related to the subdominant
chord F. Next we wind our way down in step-wise
fashion to the A minor in bar 21 using A minor’s
dominate E7. In this case it also contains the raised
5th.
Bar 21/22 – Notice the ascending minor line
cliché against an irregular bass pulse that is entire-
ly on the beat.
Bar 23 – This measure has a quarter note bass
pulse with an “impressionistic” sounding D-11
with two open strings. On beats 3 and 4 are minor
7th intervals in the lower two voices that descend
in half steps into bar 24.
Bar 24 – This measure employs a syncopated bass
line against a melody played on the beat.
Bar 25 – Intervals of tenths with inner line motion
and dotted quarter note hemiolas.
Bar 26 – E7 is delayed by ½ a beat. An A harmonic
minor scale is used for an inner line.
77
Bar 27 – Note the repeated rhythm from the pre-
vious two bars but this time with a soprano
melody.
Bar 28 – E7 is delayed again sounding on the “&”
of beat 1.
Bar 29 – On beat three you’ll see a G#-7 passing
chord into A-7. A blue note, the b5 (Eb) is played
on the “&” of beat 4. A stretch has to be made to
get the first chord of the next bar.
Bar 30 – D7 is the chord normally played here but
I’ve stayed on A minor, the relative 2 minor of a II -
V progression. Notice the descending minor line
cliché. The use of open E will help you make the
fingering adjustment on beat 3.
Bar 31 - Normally D-7 is played here but I’m using
G7th, its relative V chord. Notice the ascending
chromatic line starting on the “&” of beat 1. The
line moves chromatically from C to E on the “&” of
beat 3.
Bar 32 – The last bar employs double chromatic
approach chords into C6/9. Notice the contrary
motion between the soprano and lower four notes
on the last two chords.
Action : Reaction
is available on
iTunes and at
www.reachmusicjazz.com
Other recordings include:
Ideals and Thought Lines
www.steveherberman.com
"Steve is the present and the future
of jazz guitar" — Vic Juris
 It’s
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78
 Classical Artistry
By Zane Forshee
H
ello and welcome to my workshop for Fingerstyle
Series
360!
For this installment, I wanted to explore the construction of
a right-hand arpeggio warm-up. We will look at the funda-
mental elements of an efficient right-hand technique:
Positioning, Alignment, Contact Point, Follow-Through, and
Relaxation. To support this discussion, we will examine var-
ious arpeggio patterns to get those fingers moving in a
series of combinations to build coordination, fluidity, and
speed—who doesn’t want that?
The Fundamental Elements of Right-Hand Technique
Positioning — When you sit down to practice, take a
moment to observe how you are seated with the guitar. You
want to sit up straight, but not be rigid in your posture.
Sitting at the edge of your chair can help with this aspect of
positioning tremendously. Generally speaking, you want the
guitar to contact the body at three specific points (at least
in classical positioning) and those are: the center part of the
chest (close to the sternum), the top of the left thigh, and
the inner part of the right thigh.
Now that you have the positioning of your guitar secure, it’s
time to look at your right hand alignment. The alignment
concept has to do with where your knuckle joints are in
relation to the strings they are contacting. We are working
to keep our knuckles directly above the string that a finger
is plucking. For example, if you are playing the first string
with your “a” finger, you want to align that knuckle joint
over that string. This alignment allows the finger(s) to
move freely without “bumping into” or “striking” adjacent
strings. Should you find yourself plucking adjacent strings,
check your alignment.
Now that we have our seating/positioning in order and our
alignment in check, we can investigate our contact point.
The contact point can be explained simply as the part of the
fingertip/fingernail that comes into contact with the guitar
string. We are looking to find a position that allows the fin-
gertip to connect with the string without getting “hung up”
or “snapping” the string when plucked. Building a contact
point also allows us to create a consistent tone from the
string, which is so important in developing control over
your sound.
The basic function of the contact point is to allow the finger
to push the string and swing freely into the hand.
79
Depending on whether or not your have fingernails will
impact this process (as demonstrated in the video examples
included in this workshop). The important thing to keep in
mind is that you do not use too much fingertip or “flesh” on
the string. If the fingertip is going below the string, you’re
probably overdoing it.
Follow-Through is accomplished when the three aforemen-
tioned elements are in order, by letting the finger(s) swing
freely into the palm of the hand once the string has been
plucked. The momentum generated by the finger to pluck
the string is released and the finger is able to move towards
the palm without resistance. It’s important to develop this
type of movement as it allows your fingers to move in a
relaxed manner. This follow-through offers your fingers a
moment to recover from the energy used to push the finger
through the string. You will discover that if you shorten
your follow-through, the tone produced changes and the
hand becomes tense.
The final stage of this process is relaxation. After the finger
moves towards the palm (follow-through) the finger should
relax so that it may easily swing back out. Ideally, the finger
should return to the string and land upon the contact point
to prepare for the next note to be played. It’s important to
note that the faster you are able to relax each finger, the
more quickly and fluidly you will be able to play.
Planting (Full & Sequential)
I mentioned this in a recent workshop for Fingerstyle 360,
but I wanted to touch upon it again because it is, to me, so
important in creating a dependable right-hand technique. If
you are unfamiliar with this concept, Planting, it is achieved
by placing a right-hand finger, or fingers, on the string
moments before the note is plucked.
Taking this a step further, there are two types of planting
techniques that are used when playing arpeggios: Full Plant
and Sequential Plant.
A Full Plant is accomplished when all the fingers involved in
an ascending arpeggio (ex: p-i-m-a, on the 5th, 3rd, 2nd, and
1st strings) are prepared simultaneously.
Sequential Planting changes this concept slightly by having
fingers prepare individually upon the strings in a descend-
ing pattern (ex: p-a-m-i on the 5th, 1st, 2nd, and 3rd
strings).
In case all of this has you scratching your head, you can see me demonstrate all of these concepts featured in The
Fundamental Elements of Right-Hand Technique and Planting (Full & Sequential) in my online video.

Trying it All Out

I’ve put together a series of ascending, descending, and combination ascending/descending arpeggios patterns while utilizing
an A Major Harmonic Progression. This pattern utilizes the top 3 strings (G, B, E) of the guitar with the open fifth string. The
left-hand fingers are on the 3rd and 2nd strings exclusively. The first string is always open as indicated in the first measure.

Play Video
The subsequent measures give the pitches for the left hand with the open 5th string.

Ex. 2 (A Major Progression)

 


 
  
 
 
 
 


 
       










    
 
      






 
 
 
 
 
 
 
 
      









    
      


Ex. 2a (p-i-m-a)

     


         

 
   





   
   



Ex. 2b (p-a-m-i)

     


         

 
   





   
   



80
Ex. 2c (p-i-m-a-m-i)

         




                   
   





       
       



Ex. 2d (p-m-i-m-a-m-i-m)

      


         

   
 



       
   



Ex. 2e (p-m-a-m-i-m-a-m)

  
  


           

 
 





       
 



Technical Tips:
Take Your Time!
Some of these concepts and patterns may be new to you. As
you work with them, go slowly so that the fingers of your
right hand are not tense and can move easily. Speed and flu-
idity will develop as the movements become familiar to your
hand with the condition that you take the time to establish
clear, refined movements (positioning, alignment, contact
point, etc).
note and this is an opportunity to explore why the note is
accented and how to resolve it. Ask yourself if the note/fin-
ger in question is tense? Am I out of alignment? Is my contact
point consistent? Have I shortened my follow-through? Or
perhaps I’m tightening my hand/wrist and this is causing the
accent. These arpeggios offer a great chance to explore your
technique as long as you take your time and listen with open
ears!
Good luck and feel free to send me a message if you have any
questions or comments: zane@zaneforshee.com

Listen to Detail Happy Practicing!

Each of these arpeggios has a tricky finger exchange at some —Zane

point and it’s important to listen to your sound as you work
through each arpeggio. At times you may hear an accented www.zaneforshee.com

81
 Zane Forshee

“Forshee immediately establishes
his credentials as an excellent
player, with clarity, precision and
an abundance of fine technique”
—Chris Durnigan
Classical Guitar Magazine
Initial
The debut album by Zane Forshee fea-
turing works by Domenico Scarlatti,
Leo Brouwer and Isaac Albeniz.
Available at iTunes and CD Baby.
For more information including video
clips and tour dates visit:
www.zaneforshee.com or visit Zane on
Facebook.

Southern Guitar Festival and Competition 2014

Application deadline: May 30, 2014
Total Prize Money: $1875

MARINA ALEXANDRA IVAN RESENDIZ

DIRECTOR GUEST ARTIST

GOHAR VARDANYAN SILVIU CIULEI

GUEST ARTIST GUEST ARTIST

SouthernGuitarFest.com
Welcoming students of all ages!
Hosted by Columbia College, Columbia, SC
82
 Write On!
By Kent Burnside
T
Series
he song we looked at in Issue #5, “When April
Comes,” relied heavily on jazz harmony. This time
around we’ll go in different direction
“Ellie’s Red Guitar” is based on simple diatonic chords, with
the exception of a few passing chords here and there. The
tuning is dropped G, in which the low E and A strings are
tuned to D and G, respectively.
With this tune the groove came first; the rhythmic consis-
tency of the bass part gives it steady forward motion. The
groove varies only in the short VImin-V-IV passage that
occurs in each A section (measures 21-26, 39-44, 69-74 and
77-82) and in the bridge. Muting the low D string slightly
with the palm of your picking hand will keep that note from
overpowering the higher strings, as well as providing more
definition to the rhythmic pulse.
Combining open strings and fretted notes gives a legato
quality to any solo guitar piece, and in “Ellie’s Red Guitar” I
rely extensively on this technique. The eighth-note melody
line in measure 8 recurs elsewhere, and there’s a variation
on it that appears in measures 32 and 62; in both passages
E and B are played as open strings, and D is a twelfth-fret
harmonic. Holding each fretted note as long as possible
enhances the flow of the melody, and also makes possible
the fast position shift that follows. Be careful to avoid the
open strings with your fretting hand.
www.kentburnside.com
83
The longest melody line of consecutive eighth notes occurs
near the end of the bridge, at measure 56. Here the combi-
nation of fretted notes, open strings and natural harmonics
should run together till the end of the measure, allowing
you quickly to get back to second position. Again, hold every
fretted note as long as you can for maximum effect.
Originally I played this tune straight through in 4/4, but I
soon became conscious that something was wrong in the
VImin-V-IV section; the IV (G) chord seemed to last too long,
robbing a bit of momentum each time it came around. I con-
verted this section to 3/4, followed by a return to the origi-
nal groove. The ending was more complicated, requiring a
move from 3/4 to 5/4 and finally back to 4/4. If you’re new
to reading shifting time signatures, watch the video before
attempting to play the song; the changes in time will make
more sense if you hear them first.
I really hope you enjoy “Ellie’s Red Guitar” as much as I
enjoyed writing it. The song is a tribute to Ellie Warmoth,
owner of Artisan Guitars in Franklin, Tennessee. Several
years ago Ellie connected me with a lovely Santa Cruz all
mahogany OM, which had a distinct reddish color. This is
the guitar on which the tune was composed.
Please drop me a line at my website, I’d love to hear from
you! Peace.
www.kentburnside.com.
Kent
Burnside
 Play Video
Ellie’s Red Guitar

By Kent Burnside

DGDGBE (Low to High)

Kent Burnside

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œ. œ. ˙. œ. œ. ˙.
2 0 2 0
3 3 2 2 0 3 3 2 2 0
0 0
4 2 0 4 2 0

j
## œ œ œ œ œ œ 4 ˙ œ œ œ œ œ œœ .. œœ .. œœ .. œœ ˙˙ 43
73

& 4 ˙
œ. œ. w œ. œ ˙ œ. œ ˙
J J
2 0 0 2 0 0
3 3 2 2 0 3 0 3 2 0 3
0 6 2 2
4 2 0
0 0 0 0 0 0
 · ··
# œœœœœœ 5 ˙ ‚ · œœœœœœ 5 ˙ ‚ ·
& # 43 43 43
77

4 4
œ. œ. ˙ ˙. œ. œ. ˙ ˙.
2 0 2 0 (7)
3 3 2 2 0 (7) 3 3 2 2 0 (7)
(7) (7 )
(7 ) (7)
4 2 0 4 2 0

·· ··
81
## 3 œ œ œ œ œ œ 4 ˙ œ œ œ œ · ·
& 4 4
œ. œ. w ritard w w
2 0 0 0
3 3 2 2 0 3 2 ( 7)
(7)
(7)
4 2 0
0

88
89
 Evolutionary Harmony
By Tony Greaves

I
Pt. II: Expansion of the 3-note Voicing

Series
n part one (see Fingerstyle360, Issue No. 5) of my In Example #2, we are simply inverting the original voicing
Evolutionary Harmony series, I introduced readers to a within the string set. Essentially, we have now re-voiced the
strenuous methodology that ultimately allows the original shape three different ways.
player to compile an infinite number of chord voicings based
on a simple triad. In this edition of the series, we will further Ex. 3
˙˙
V 44 œœœ œœœ
expand upon this concept by adding supplementary muta-
tions to a randomly selected 3-note voicing picked from part ˙
one. Please note: I strongly encourage readers to purchase
Issue No. 5 in order to get a full grasp of how we arrived at con-
structing this 3-note voicing.
T
Ex. 1
4 9 14
A 7 9 14
B 7 12 14

w
V 44 ww In this example, we are simply taking the top note of the voic-
ing and dropping it down into the bass. I also include the
inversions of the original shape. Players should pay close
attention to voicings that delve into the low register of the
T 5
4 guitar because they could potentially conflict with an accom-
A 7
B panist. For example, let’s say that the given chord symbol is a
CMaj7 and you decide to play a 3-note voicing in the low reg-
Here we have a simple 3-note voicing (A, B, E) commonly ister under a bass player. In this instance, it would not be
played in a “modal context.” In part one, we took a similar 3- advisable to play a B Natural in the bottom of the voicing
note voicing and harmonized it against every note in the while the bass player strikes a C because the resulting inter-
chromatic scale in order to determine its various functions. I val would be a minor 2nd.
highly encourage readers to do this with every new 3-note
Ex. 4
˙˙˙
voicing you may encounter. For the purposes of this study,
we will be primarily focusing on mutating the voicing and
4 œœ œœœ
then eventually applying it in a simple “modal setting.” V4 œ
Ex. 2

œ œœ ˙˙˙
V 44 œœ œ
5 7 12
T 5
4
10
9
12
14
A
B

T 5
4
10
9
12
14 In Example #4, we take the bottom note of the original voic-
A 7 9 14
B ing and put it on top of the chord.

90
Ex. 5

œ œœ ˙˙
V 44 œ
Example #5 takes the bottom note of the original voicing and
drops it down and octave. These chords are an example of what
usually described as “Spread Voicings.” Solo guitarists are par- œ œ ˙
ticularly interested in these kind of chords because they are
often utilized in any style of playing that employs the “Walking
Bass” technique. T 5
4
10
9
12
14
A
B
Ex. 6
5 7 12

Here, we have taken our source voicing and harmonized it through the C Major scale by step. I would encourage all players pur-
suing this method to take all of the relevant permutations through all 12 keys in a “scaleular” fashion. In addition to discover-
ing multiple harmonic functions, you will unlock the ability to improvise chordally through the various modes.

œœœ œœœ œœœ ˙˙˙

œ
V 44 œœ œœœ œœœ

T 5
4
6
5
8
7
10
9
12
10
13
12
15
14
A 7 9 10 12 14 15 17
B

Modal Example

In the final example, I illustrate what it sounds like to juxtapose single-line playing against various 3-note voicings. You will
notice that I apply a variety of voicings (closed and spread) across multiple string sets. Sometimes the voicings are directly
“answering” the single line phrase, while at other times, they act as harmonizations of an independent melody. The possibili-
ties are endless.

Play Audio

œ œ œ œ œœ œœ j
D -7

4 œœœ ... œœ .. œ
‰ J œ ‰ Œ œ
‰ œœ ‰ œ Œ œ œœœ
œœ œœ Œ
V4 œ. œœ œ œ
œ œ œ œ
5 8 5
T 8
7
6
5
5 6 6 10
9
8
7 7
5
4
3
2
5
4
6
5
6
5
A 7 5 7 5 7 5 5
B 7 8 7 5

œ œ œ œ œ œ œœœœ œ œ œœ œœ œœ œœ œœ j
V ‰ # œJ œ œ œ œ ‰ œœ Œ œœœ
œ
5

œ œ œ œ ‰ Jœ Œ Œ
3 3

8 12 10 7 8 7 5 7 10
10 8 10 8 10 8 6 8 12 3 3
7 10 10 9 7 7 2 2
11 9 10 3 5
8 7 5 7 10

91
 œœ b œ œ
œ œ œ œ œ œ œ œœ œ œœ œœ œœœ œœœ œœœ œœœ
œ œ
œœ œ œœ œ œ œ œœœ œœœ ‰ œœœ
9

V œ œ ‰ J Œ J Œ J J ‰ Œ
3
œ

10 8 10 12 10 8 7 5 1
8 9 8 8 10 8 10 10 12 10 8 5 6 5
10 7 10 7 9 7 9 10 9 7 7 9 4
9 7 7 7 9 7 9 7 9
7 8 8

œ
J œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ ww
œ œ œ œ œ œ œ œ
13

V‰ œ œ w
3

12 10 7
10 8 10 6 13 12 10 8 6
9 9 7 7 14 10 10 7 5
7 7 12 10 9 7 5
8 8
10

In our next lesson, we will take this concept and apply it to a Are.” Until then, I strongly encourage readers to explore this
set of changes based on the jazz standard, “All The Things You concept modally in all twelve keys.

92
 “Tracy’s Dance”
By Jimmy DeHeno

“T
racy’s Dance” was inspired by, and is played. This is the V chord of A
Series

dedicated to, my sister Tracy. The song major leading us back into A major in measure 24.
began its life with a pretty forgettable
melody and chord progression until I applied a Chord symbols have been added to the music. It’s
time signature of 9/8. It soon began to take shape interesting to note that the chord symbols reflect
and it felt like I was on to a piece of music that was the overall implied sound and often do not contain
deserving of the title. all the needed tones to actually spell the complete
chord. The implication of sound and the actual
The song begins in A harmonic minor. The scale for chord spellings are two different subjects. Simply
A harmonic minor is A, B, C, D, E, F, G#. The G# put, notes can be left out of the overall tonality but
gives us a V chord that is a dominant 7th and the F can still be heard due to the direction and relation-
natural is a lowered 6th, giving us that middle- ship of the notes that come before and after. The
eastern sound. The minor section shifts tonality to first measure is a perfect example of this. The
the parallel major for the second eight-measure implied sound is A harmonic minor due to the A
phrase (Parallel = A major, A minor). The major bass note on beat 2, and the F natural played on
section begins at measure 9 and the melody beat 3. It’s not until beat 5 that C natural is played
changes very little from the minor section. The which would actually spell the A minor chord.
biggest difference is on beat 4 through beat 9 in
measure 11. Notice the large interval spacing Notice that the majority of the piece is only two
between the bass and melody at this point. voices, melody and bass. Very few full chords are
played, yet the music feels full and maintains inter-
Measure 17 through 24 is my favorite section. Here est. This is commonly found in classical arrange-
it briefly shifts to C major but only for the first ments of violin and cello music adapted to solo
three beats. Note that C major is the relative major guitar.
of A minor. This section then moves away from C
with a series of borrowed chords for measures 17 With regard to performing the piece, I’d suggest
through 19. The borrowed chords that are outside keeping a steady pulse — it’s a dance after all! The
the tonality of C major are Ab, Ab/Eb, Bb7, Ab/Bb 9/8 time signature may feel a bit odd at first. It may
and B diminished. It’s important to know that help to think of a 3/4 time signature with three
music can stay inside a given tonality, change groups of triplets.
tonality or borrow from other tonalities. There are
no rules on imagination — if it sounds good, it is Incorporating your personal interpretation and
good. use of tone color and dynamics is encouraged.
Once you get the piece under your fingers, let the
Note that the B diminished on beat 7, measure 19, music come out!
is an example of an implied sound. Implied mean-
ing the ear hears it this way but the spelling of the I am so pleased that “Tracy’s Dance” won first
chord is theoretically incomplete. Notice the place in the new song showcase at the 2013
Ab/Bb leading to Bb7 on beat 6, measure 18. This Walnut Valley Festival in Winfield, Kansas.
can be thought of as Bb9(sus4) leading to Bb.
I hope you’ll enjoy playing “Tracy’s Dance.” It will
Measures 20 through 24 return to C major until always be special to me.
beat 7 in measure 24, where E with a B bass is http://www.jimmydeheno.com
93
 Play Video
%
Tracy’s Dance Jimmy DeHeno

B 7/D #
j A-
j F A -/E A-
j j
E7 E7 D-
œ j
œ œ œ œ œ œ œ œ œ
V 98 œ. œ.
œ œ œ œ #œ œ œ œ œ œ œ œ œ œ nœ
‰ ‰ œ ‰ œ #œ . œ ‰ ‰œ œ œ . #œ .

1 10 1 0
T 3 1 0 1 3 1 3 0
2 1 2
0 3 1 0
2
0 1 3
A 3 2 0 3 2 0 1
B 0 0
4
2

fi
To Coda

j j F A -/E j
œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œj œ œ œ # œ œ œ
E A- F- A -/E F E7
4
˙. œ œ j
œ œ
Vœ bœ nœ #œ œ œ œ .
‰ ‰ œ œ. œ. ‰ œ œ. œ œ
œ œ œ œ œ œ œ œ. J
0 1 10 1 0 0 1 0 0 4 4
3 1 0 1 3 1 0 1 3 1 0 1 5
1 2 1
2 3 2 3 2 0
0 3 2
0 0 0 0 0 0 0 1 0 1

A/C #
D/F #
A

œ # œj # # j j œ œ œ œ œ
A-

˙. œ œ œ œ œ œ œ œ œj œ
A A/E A D
j
œ œ œ œ
œ œ ‰ œ œœ #
8

V œ . œ œ œ
œ . œ œ œ œ
œ J œ. ‰ œ œ. ‰ œ œ. ‰ œ œ ‰ œ œ

5 5 2 20 2 0 5 9 9 9 9
0 3 2 0 2 3 2 3 0 0 5 5
5 2 1 2
3 2 2 4 2 0 4 6 4 7
0 0 0 0 5 4 0 7

# #
˙. #
A/E
œ j A
jD/F A/E D/F A/E D/F A
j
D E
12
### ˙ . œ œ j
œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ
V œ œ œ œ œ œ.
‰ ‰ ‰ œ œ. œ. ‰ œ œ.
œ
œ œ œ œ œ œ œ œ. œ J
12 2 20 2 0 0 2 0 4 4
3 2 0 2 3 2 0 2 3 2 0 2 3 5
1 2 1
11 4 2 4 2 0 0
0
0 0 0 0 0 0 0 2 0 2 0

Ab
A/C #
j A b/E b B b7 A b/B b Bb
j œ œj b œ œ œœ œœj # œœ œœj
C
œ j
G/B
. œ œ bœ bœ œ œ œ œ œ
A
˙ œ œ
A-
j
B dim
16
### œ nnn œ œ
œ. œ b œœ œœ œœ œ b œœ œœ
V œ œJ œ ‰ œ œ . œ . bœ . ‰ bœ ‰ bœ ‰ bœ ‰ œ ‰ nœ
œ. œ.
5 5 5 53 5 7 8 4 3 1 0 1 1 4 4
2 4 3 3 1 1 1 3 3 4 4 3 3 3 3
5 1 1 1 1 5 5
4 2 2 3 6 6
4 0 3 2 0 6 1 1 2
4 6

94
© 2013 Jimmy DeHeno. Used by permission. All right reseved
 j j j D- C/E E/B

œ j
œ œœ œ œ œ œ œ j
C F E- F C G
20
ww œ œ
œ œj œ œ œ œ œ œ œœ œ œ œ œ œ # œ œ œ
V œ. œ œ.
œ œ œ œ œ œ œ œ ‰ ‰ œ œ. ‰ œ œ. œ œJ
œ.
3 5 53 5 31 0 0 1 3 1 0 0 4 4
1 3 1 0 1 3 1 0 1 5
2 0 2 0
0 2 3 2 0 2
3 3 3 3 3 3 3 3 3 2
1 0 1

D.S al Coda

œ # œj 2.˙ . œ n œj
A

˙.
#œ œ ‰ œ #œ .. #œ œ ‰ œ #œ
24 1.

V
œ J œ. œ J œ.
5 5 2
. 5 5 1

.
2 2
4 2 2 4 2 2
0 0 0 0

fi
Coda A-

˙. œ.
œ œ ‰ œ œ.
26

V
œ J œ.
5 5
5
3 2 2
0 0

95
 Composing With Voices
By Dylan Ryche

R
ecently, I’ve had people asking for help You may have heard the term
counterpoint; this is basically what I’m talking
Series

with writing their own music. Composing

music is such a vast and complex topic —
I’m sure there are infinite ways to get from an
idea to fully realized composition, none better or
worse. However just saying, “You can start any-
where you like, finish anywhere and go wherever
you like, there are no rules!” is not really helpful
for someone looking to improve as a writer.
My objective is to throw out a few concepts and
hope that you can find something that will strike a
chord (pun intended) that will help you realize
your creative potential.
We are going to talk about using multiple voices
as a compositional tool. The term “voices” comes
from the layout and technique for writing for mul-
tiple voices (bass, tenor, alto and soprano) in
chorale music. However, we are obviously going
to look at it from within a fingerstyle guitar con-
text.
about but not in the classical definition of the
word with its ridged rules. Thinking of the indi-
vidual parts, ‘voices’ is also helpful on a very basic
level. The idea is that instead of trying to concep-
tualize an entire piece of music at once, you might
have success breaking it down into individual
voices and working on one part at a time. It’s
about thinking horizontally as well as vertically
on the stave. It’s something certainly worth exper-
imenting with if you are new to it.
Example #1 is a very simple D major melody I
have written. As you can see, it’s mostly made up
from one repeated rhythmic pattern. Take note of
the accompanying chords — you’ll notice that
each bar of the melody begins and ends on a
chord tone. Please note that you’ll need to lower
your 6th string E down to D.
Play Video

Voice 1 - Melody
D A G A
## 3 œ œ ˙ œ œ ˙ œ ˙ œ œ ˙
V 4 œ

2 0 0 0
T 3 2 3 0 2 3 2 3
A
B

D A Em A D
# œ œ ˙ œ ˙ œ ˙.
V # œ œ œ
5

2 0 0
3 2 3 0 2 3 2 3

97
Example #2 shows my bass line or second ‘voice.’ It contains some chord tones, stays around the
Once again it is very simple and begins each bar on same area of the D Major scale, between the first
the root note of each chord, with some scale notes two voices and without any major intervallic leaps.
joining them together. Sometimes it follows the bass line in rhythm (bar
Voice 2 - Bass line
D A G A
#
V # 34 œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ

T
A 0
B 4 2 0
5 4 5 4 2
0 2 4

D A Em A D

#
V # œ
5

œ œ œ œ œ œ œ œ
œ œ œ ˙.

0
4 2
Example #3 demonstrates what our two voices
sound like when played together. It is still rather
simple, but you can hear it developing.
Here is our third and final voice and I think the
one that glues it all together.
Voices 1 and 2 combined
0 0
5 4 2 0
3) while elsewhere it’s harmonizing the melody
(first half of bar 6). It also strengthens the harmo-
ny by adding some minor and major thirds and, by
virtue of some contrasting rhythm, helps to create
movement in our piece.

D A G A
# œ œ ˙ œ œ ˙ œ œ ˙
V # 34 œ œ œ œ
œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ
2 0 0 0
T 3 2 3 0 2 3 2 3
A 0
B 4 2 0
5 4 5 4 2
0 2 4

D A Em A D
# œ œ ˙ œ ˙ œ ˙.
V # œ œ œ œ
5

œ
œ œ œ œ œ œ œ œ
œ œ œ ˙.
2 0 0
3 2 3 0 2 3 2 3
0
4 2 0 0

98
5 4 2 0
 Counter melody - harmony

D A G A
#
V # 34 ˙ . ˙. œ œ œ ˙ œ

T 2 2 0 2 0 2
0
A
B

D A Em D
##
A

œ
5

V ˙. œ œ œ œ ˙ œ œ ˙.

0 2 0
2 2 2 0 2 0
4

“Three Voice Etude” is our completed piece with
all three voices put together. You can hear how
these three incredibly simple individual parts
almost magically combine to create a genuinely
pleasing, functioning piece of music. This was an
intentionally simple tune to demonstrate the
process, but you can probably already see how you
could apply this to more complex harmony, differ-
ent time signatures and styles.
If you were to look deeper into ‘four-part vocal
writing’ you would discover a lot of principles and
rules exist within that realm. I’ll leave it up to you
if you want to delve further into that particular
world but I will give you a few tips to get started
with.
Now, I wouldn’t go as far as to call any of these
‘rules,’ but here are a few things that you might
find helpful, especially if you’re just getting started
with these concepts:
• Try and give each voice its own space.
Maybe stick to a certain register (just like
baritone, tenor etc.) for each voice.
• Try varying the rhythms. If one voice has
a long sustained note, have some shorter
notes in another voice and vice versa.
• Try avoiding big intervallic leaps (1/2 and
whole steps usually sound good) and make
use of some common chord tones, e.g. in the
first 2 bars of our piece “Three Voice
Etude,” the 3rd voice sustains the note A,
which is a common chord tone for both D
and A major chords.
• Remember that some intervals are
stronger than others. A 5th gives a nice
thickening kind of sound, but is fairly neu-
tral and doesn’t affect the overall tonality.
Major/minor 3rds and 7ths have much
more of an impact in really detailing the
harmony.
That should give you a good place to start; I’ll be
back in the next issue with another article that
continues with this premise. Until then, good luck
and have fun!
www.dylanryche.com

99
 Three Voice
Three Etude
Voice Etude
6 =D
Dylan Ryche
D A G A
# œ œ ˙ œœ œ ˙ œœ œ œ œ œ
V # 34 œœ œ œ œ
œœ œ œœ œ
œ œ œ œ œ œ œ œ œ œ œ
2 0 0 0
T 2
3 2
2
3 0
0
2 3
2 0
2
2
3
0
A 0
B 4 2 0
5 4 5 4 2
0 2 4

D D
D A Em A
## œ œ ˙ œœ œœ œœ ˙. ˙.
œœ œ œ œœ œ œ œ œ œ œ œ .. ˙ .
5 1. 2.

V œœ œ œ
œ œ œ œ œ œ œ œ œ œ œ ˙. ˙.
1. 2.
2 0 0
.
.
3 2 3 2 0 0 2 3 2 3 3
2 2 4 2 0 2 0 0
0 4 2 0 2 4 4
4 2 0 0
5 4 2 0 0

100
 “City Blue”
By Bill Piburn
Series
“City Blue” is an original that was first published in
Premier Guitar January 2010. We are going to look at
chord voicings, chord alterations, chord texture, orna-
ments, syncopation, tritone 7th and tritones used as
altered dominant sounds. We will also discuss implied
harmony. At times these points of topic may overlap,
because multiple things can happen at once.
Implied Harmony
When dealing with harmony, one could say that a
chord has to have the major or minor third to define
the quality of the chord, and that is true in a textbook
definition. In the real world of hearing music, whether
or not a chord is major, minor, diminished, altered, etc.
is often determined by the context; what precedes and
follows is just as important, if not more important.
Perception becomes reality because our ear perceives
the sound. This perception is not only based on what
precedes and follows but is also affected by the
expected harmony of the key center we are in at the
moment.
A few examples of implied harmony are as follows:
Measures 1 through 8 imply a harmony, even though
it’s just a bass line with no chord or full chord struc-
tures. This is a perfect example of implied sound. It’s
about where the line leads and what precedes it.
Notice the chord symbols in these measures and see if
you agree.
In measure 9 the chord symbol indicates C minor;
however, there is no minor third in the chord. Why
does it sound minor? The answer is in the preceding
bass line and with what follows. The second chord in
measure 9 is indicated as an Ab7. Why does this imply
the sound of Ab when there is no Ab note in the
chord? The answer is in the key center, which contains
Ab. The flat 7th and third that follow also affect the
perception. It’s about context and perception. You’ll
see the very same thing happen on the G7 in measure
10.
101
The last implied sound I will point out is an altered
sound that happens in measure 12. On beat three,
you’ll see the chord symbol G9#5. The altered sound
happens on the upbeat. This sound is perceived as an
altered G only because of the reference of G that hap-
pens in the first beat of the measure. We retain that
musical reference. If I had played the same notes alone
you might hear it as a B7th chord – why? They contain
the same notes. The answer is reference; in other
words, implied harmony. As you play other arrange-
ments and arrange for yourself, keep it in mind to look
for these implied sounds and use them to your advan-
tage.
Syncopations
Syncopations are nothing more than playing the note
or chord on the upbeat, a.k.a. the weak beat. They can
be cut short or tied over into the following downbeat.
Musicians refer to this as a ‘push.’ You can make the
personal choice as to pushing the top of the chord,
bass only or whole chord. For single-note references
take a look at the intro. Chord syncopations happen in
several places within “City Blue.” First, take a look at
the Ab7 in measure 10 going into measure 11 and
then, take a moment to spot other syncopations. I
encourage you to start using syncopations in your
arranging and playing. It’s really a feel thing. Don’t
overthink it, feel it.
Chord Voicings
Chords can and should vary in texture, meaning densi-
ty or number of notes played. At times I choose to play
full chords and other times just two or three notes. I
like to vary the texture. This is always a choice done
by ear. Use your ear but be aware of the choices you
have.
Chord Texture
I only used a couple of notes to outline the chord
sounds in measure 9. As it moves into measure 10,
you’ll see three-note chords. In measure 14, you’ll see
a four-note chord on the Amin7b5 and at the end of the
piece in measure 35. I used several five-note chords for
a bigger and more dramatic ending.
Tritones
A tritone is an interval of a raised 4th. This interval dis-
tance is created and found in all dominant 7th chords.
The interval of a tritone happens between the third and
the flat 7th of the chord. It’s a great tool to use and
understand that we can outline the sound of a 7th
chord by only using those two notes. The root of the
chord can be left out. Take a look at the Ab7 in measure
9 and the G7th in measure 10. Look for the tritone
shapes on the fingerboard. They are very useful built
off of the 6th, 5th, and 4th strings.
Tritones Used as Alterations
I’ve found that the tritone shapes can be moved around
the guitar to imply altered sounds. The key is to first
establish the chord sound, as I did in measure 12. Beat
one outlines the G7th while a tritone shape moved up
to D# and A outlines the sound of G9 (#5). This is a
powerful tool! If you incorporate it into your arranging
and writing you’ll be amazed at the sounds you’ll find.
Ornaments
Ornaments are slides, slurs, hammer-ons and pull-offs,
and can really help the phrasing and feel of the music.
Especially when it comes to the blues sound. Where
would Ray Charles have been without slurring into the
notes, both in his voice and piano? Where would B.B.
King be without the bent slurs? In “City Blue” I do not
use bent notes, but I do use many other ornaments.
I’ve discussed several topics in this article that I believe
will make you a better player and arranger/composer. I
personally use this every time I pick up a guitar. Give it
consideration and, if you apply it, you’ll open new and
exciting possibilities for your music.
Transcription on next page »
102
 City Blue
Blue
Play Audio City Bill Piburn

C- b
A 7 Dm7 ( b 5 ) C- A 7 b G7

b 4 j j
V b b 4 œ. œ bœ . j
œ œ œ œ œ. œ œ œ bœ nœ œ œ œ œ
4

œ œ
1 1 2

bœ nœ œ .
3 3
1 1 1
1
1

mutted bass intro.

T
A 5 4 3 6 4 5 5 3
B 3 5 3 6
2 3 4
6 6 6 5 3

C- A 7 b Dm7 ( b 5 ) C- b
A 7 G7 C- G7

b j j
V b b œ. œ bœ . j
œ œ œ œ œ. œ œ Œ ‰ j j
bœ nœ œ . œ œ œ œ. œ
1 1
1
5

5 4 3
5 3 6 6 5 3 3
2 3 4 3 3

A b7/C j
b b j G9#5 rœ
œ n œ œ b œœ œœ . n œj œj œ œ œ œ œ nœ œ .
G7/B
j œ œ œ.
C- A 7 G7 C- A 7
4

œ
bb ‰ œ nœ œ œ œ
4 3 3
3 3

b
4

nœ œ
2 2

V œ œ Œ bœ bœ ˙
‰ b œ œ ‰ ‰ n œœ œœ ‰ ‰ # Jœ œJ ‰
œ œ
4 2

‰ œ œ œ œ œ œ ˙
3

‰ J 2 2

J J J
2

J J
1
3 1
9
III 4/6 5
III
IV
3 6 4 3 7 8 10
4 6 4 4 6 4
5 4 5 5 4 3 45
5 4 3 4 4 3 7
3 3 2 6
6 3 4
C-
B7( # 11)
Am7 ( b 5 ) b b
œ j
œœœ œœœœ # œ œ j j
B/C G7
j j j
A 7 Cmin6 D 9

b œ #œ œ˙ œ œ œ n œœ .. œ n œœ b œœœ ˙˙
3

œœ œœ ... n œ b œœ œœ ..
1 4

Vb b nœ j
1 3 4

œ
4 3

‰ J œ œœ .. ˙˙
˙ nœ . n œœ œœ . bœ ˙ œ. J
œœ bœ
J
13
VIII VII
J J 3 2
VI III I
V IV
8
8 7 6 4 6 4 4 3 1 4
8 8 8 5 45 4 2 4
10 9 6 5 4 3 1 3
6 3 4

F13/E b
8 7 5 4 3

b b
D 7( b 9) b A b7
G b13
œ bœ œ nœ œ
G13/F

b b ‰ œœj œœ œ œ b œ! œ œ œ œ œ . j ‰ œj
Cm9 E /D
œ
4

œ œ œ œ œ œ n œ œ b œ œ
1

œœ œ œ
1 2

b n œ ˙
4
j
4 2

nœ œ œ
4 4 1

V b œ Œ Jœ œ b œœ ˙˙
4 1 2 4

œ œ œJ ‰ ‰ b œœ ‰ ‰ ‰ ‰ Jœ ˙
n œ
‰ nœ ‰
3

17 2
IV
1 1
VI 4/6 hinge
J 1
1
I III VI VIII
IV
8 6
3 1 4 3 6 4 8 4 6 4 7 8
1 4 5 7 45 8 9 8 5
1 3 5 7 4 6 9
3 4 4 6 8 2
4

©2010 Bill Piburn. Used by permission.

103
 # b Am7 ( b 5 ) b b
A b7
C7( 5)/B A 7 A 7/C G7/B

j‰ j
Cm11

œ œ œ œ b œœœ œœœ ‰ b œœ . œ b œ n œœ œœ œ. œ œ œ œ n œ œ œ œ b œœ œœ
F7

œ œ œ œ bœ œ œ
1

b œ œ œ
4
r
V b b œœ ... n # œœ œœ ..
2 4 1 4
4 4 1 4 1 4

œ œ œ. nœ œ. bœ œ . œ œ. nœ œ . œ œ œ œ œ
œ œ œ
3

21 J J J J J J 2 2
III I IV
IV I
3 1 12 1 1 2 3
4 6 4 4 1 6 4 4 34 1 4
3 1 5 2 5
3 2 4 4 3 1 4
3 1 0 3 2
4 1 3 4 6

b b b b
fl
G7/B
fl
C-7

œ œ œ
B7 C7/B F7/A A 7/G C-

œ œ œ œ œ œ œj ‰
4 F-7/A

œœ. . œ n œ ˙ œ
j
C- 4 3

b #œ nœ œ Ó bœ œ
œ œ œ b œ œœ .
œ œ œ
4

V b b ‰ # n œœJ œ œœ Ó bœ .
3

nœ œ . bœ
3 3 2 3 3

n œœ
2 4

nœ . J J J ‰ J
J J
3

25
VIII 4/6 VI 4/6 IV 4/6
VIII VIII
11 10
7 8 8 6 76 4 6
8 10 8 8 10 10 8 8 8 5 5
7 8 10 9 8 7 6 4 5
3
7 8

j b
‰ b œJ œ œœ œ œ œ œ œ Œ
œ
F7/A
4 G 7 F7

b 24 j ‰ œ n œ 44 ‰ # œj n œ œ œ œ œ œ b œ
3

Vb b ‰ J œ œ b œj n œ
4 1 2

J ‰ ‰ œœ Œ # œ œœ
1 2

œœ b œ b œœ œ
4
j
2

œ œœ œœ n œœ
4 4

Ó n˙
3 1 4 2 4
# œ
J œ
3

3 4
29
5
III 4 sts III II I
8 1
76 6 1 4 3
8 5 8 5 3 3 2 1 2 5
8 5 45 43 2 1 6

B b13
3 45 3 6 3 0
6 3 2 1

b b Ab
b Eb b fl
A13

B b7/D j
E 13 F13 A 13

B b7 B b7
G
j D œ
E13

n œœ œœ
D G

œ
Bdim

œ n œ b œ n
4

‰ œœ # # œœ œœ ‰ n n œœ # # œœ œœ
C-
j ‰ œ
4 4

b
4 4

V b b nœ bœ œ œ œ œ œ œ œ œ œ œ œ œœ # n œœ n œœ ‰ b œ n œ b œ Œ j ‰ Ó
2

œ œ
0 1 2 1 4

œ œ . b
1

œ ‰
4 4

˙ nœ . bœ œ .
1

J
1

J J J J œ
33
6
3 3 3 fl 2

6 7 8 11 12 13
0 6 7 8 11 12 13
3 3 35 3 3 5 6 7 10 11 12
6 3 6 6 3 6 3 5 6 7 10 11 12
1 5 3 4 5 6 9 10 11
7 6 1

104
Guitar Gallery
W ayne Henderson is
a luthier that lives
in the small town of
Rugby, Virginia - near the foot
of Mount Rogers.
Wayne is also a talented musician, which cer-
tainly gives him a unique insight when build-
ing instruments. His clients include Eric Clap-
ton, Tommy Emmanuel, Doc Watson, Peter
Rowan and Gillian Welch. Building only twen-
ty instruments a year, Wayne’s focus is on the
ĂƌƚŽĨĮŶĞŐƵŝƚĂƌŵĂŬŝŶŐ͕ŶŽƚƉƌŽĚƵĐƟŽŶ͘

/ŶϭϵϵϱŚĞǁĂƐĂǁĂƌĚĞĚĂEĂƟŽŶĂů,ĞƌŝƚĂŐĞ&ĞůůŽǁƐŚŝƉ
ŝŶƌĞĐŽŐŶŝƟŽŶŽĨŚŝƐĞdžƚƌĂŽƌĚŝŶĂƌLJŝŶƐƚƌƵŵĞŶƚŵĂŬŝŶŐ͘
/ŶϮϬϬϱƚŚĞŬClapton’s Guitar, Watching Wayne
Henderson Build The Perfect InstrumentŽƵƚůŝŶĞĚƚŚĞ
ƉƌŽĐĞƐƐŽĨďƵŝůĚŝŶŐĂŐƵŝƚĂƌĨŽƌůĂƉƚŽŶ͘

/ŶϮϬϬϴtĂLJŶĞǁĂƐƉƌŽĮůĞĚŝŶƚŚĞĚŽĐƵŵĞŶƚĂƌLJFrom
Wood To Singing GuitarĂƐǁĞůůĂƐďĞŝŶŐĨĞĂƚƵƌĞĚŝŶ
Fretboard Journal͘

dŚĞŐƵŝƚĂƌƉŝĐƚƵƌĞĚŝƐtĂLJŶĞ͛ƐKDŵŽĚĞů͘/ƚ͛ƐĐƌĂŌĞĚ
ĨƌŽŵƉƌĞŵŝƵŵ<ŽĂĂŶĚƉƉĂůĂĐŚŝĂŶƌĞĚƐƉƌƵĐĞ͘dŚŝƐ
ĐŽŵďŝŶĂƟŽŶƉƌŽĚƵĐĞƐĂǁŽŶĚĞƌĨƵůĚƌŝǀĞǁŝƚŚƐƉĂƌ-
ŬůŝŶŐŚŝŐŚĞŶĚ͘/ƚƐƚĂŶĚƐƵƉƚŽĂŐŐƌĞƐƐŝǀĞƉůĂLJŝŶŐLJĞƚŝƐ
ǀĞƌLJĞdžƉƌĞƐƐŝǀĞǁŚĞŶƉůĂLJĞĚǁŝƚŚĂůŝŐŚƚĞƌƚŽƵĐŚ͘dŚĞ
ŐƵŝƚĂƌŚĂƐǁĞůůĚĞĮŶĞĚƚŽŶĂůĐŽŵƉůĞdžŝƚLJƚŚĂƚƐĞƉĂƌĂƚĞƐ
ŝƚĨƌŽŵƚŚĞƌĞƐƚ͘

&Žƌ,ĞŶĚĞƌƐŽŶĂŶĚŽƚŚĞƌĮŶĞŐƵŝƚĂƌƐƉůĞĂƐĞǀŝƐŝƚ͗

ŚƩƉ͗ͬͬǁǁǁ͘ĚƌĞĂŵŐƵŝƚĂƌƐ͘ĐŽŵ
 More fingerstyle transcriptions and audio tracks await you at

www.fingerstyle360.com, including books from various artists,

and loads of Fingerstyle Guitar Magazine back issues!

Check it all out at http://fingerstyle360.com/GearWorks.php

and

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