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Stanley
Clarke
W W W. G U I TA R P L AY E R . C O M
A pioneer of
jazz-rock bass
shredding talks
about his career,
technique, gear,
and more in this
classic GP cover
story from 1980
Reviewed!
Ten High-End
Acoustics
Steve Stevens
John Scofield
Plus
3 Free Song
Transcriptions
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contents
Steve Stevens
Stanley Clarke
Clarkes work with Art Blakey, Stan Getz,
and Return to Forever made him one of
the most acclaimed jazz-rock bassists of
all time. In this classic GP cover story
from 1980 he talks about his career,
technique, gear, and much more.
38
John Scofield
(from the September 1979 issue of Guitar Player)
GeAr
46
Roundup
Ten High-End Acoustics
oN the NewsstANd
68
lessoNs
70
Superimposition Strategies!
Jamie Kime on Building Colorful Solos
Over One-Chord Jams
72
sessioNs
80
trANscriptioNs
82
94
100
artist feature
Forever Young
steve stevens
alt Fano
F A N O
Humbucker Music
humbucker music.com
G U I T A R
D I A M O N D
D E A L E R S
Coda Music UK
coda-music.com
GTR Store
Wildwood Guitars
Max Guitar
Rainbow Guitars
gtrstore.com
wildwoodguitars.com
maxguitarstore.com
rainbowguitars.com
For a complete list of Fano Guitar dealers see fanoguitars.com GF6 GF4 Bass Clean Fanos Custom Sphears
Many styles
One voice
Celestion.
Dont trust your tone
to anything less.
www.celestion.com
classic interview
may 1980
may 1980
classic interview
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CLASSIC INTERVIEW
from the May 1980 issue
of Guitar Player magazine
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classic interview
september 1979
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CLASSIC INTERVIEW
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gear
roundup
Guitars priced at or above the $2,000 mark are desirable for rea-
begin to emerge the minute you catch a whiff of the nitro lacquer.
sons that range from the purely aesthetic (as in the beauty of the
woods, binding, and inlays) to the practical (great tone and playabil-
that stirs your soul the second you give it a strum are some of the
obvious things. But theres also the X factor that comes with having
an instrument that a celebrated builder had their hands on. After all,
lot of choices these days. And while we didnt purposely seek out
the costliest models that are out there, this roundup definitely goes
uptown with a spectrum of guitars that range from the $2,849 Taylor
Each of these guitars has its charms that might sway you one
way or the other, but all of them are pro-grade affairs, as confirmed
gear roundup
Bourgeois BK/slope D
M a i n e - bas e d lu t h i e r da n a b ou rg eo i s h as lo n g b e e n k n ow n as a n
acoustic builder at the top of his game, and the BK/Slope D is very much the kind of guitar that helped
to build his reputation. Its just the sort of big, bold, slope-shouldered dreadnought that would be known
as a rhythm cannon in many circles, except that the BK/Slope D does so much more than that. Rhythm,
flatpicking, fingerstylethis powerful flat-top belts it all out, yet with great dynamics and finesse when
you need it to, and not merely the kind of power that gets you heard on a crowded stage. And therein
lies the origin of the BK tag: Dubbed the Banjo Killer by bluegrass ace Bryan Sutton, for whom the
first example was built back in 1995, this new BK/Slope D comes with a substantial pedigree.(After
Suttons original 1995 Bourgeois Banjo Killer was damaged in the Nashville flood of May 2010, Bourgeois and team took the guitar in for a laborious restoration, reconfirming the specs of these reissue
examples in the process.)
Even before you hoist BK/Slope D, the woods in its top and body jump out at you as something
special. The solid Sitka spruce top dances with interesting bearclaw figures within what is already
an extraordinary, almost luminescent grain, and the back and sides are made from beautifully figured
solid mahogany. Ivoroid binding graces the top and back (although the fingerboard and headstock are
roundup
unbound, as per Suttons specs), theres a tasty multi-ply soundhole rosette, and a
gear
MODEL
backstrip of elegant wood purfling. Add in the custom Tor-tis pickguard; a fingerboard,
Bourgeois BK/slope D
belly bridge, and headstock facing made from lushly figured ziricote; and ebony bridge
ContaCt
bourgeoisguitars.com
pins with pearl dots, and its an impressive package. Final touches such as a bone nut
PriCe
and saddle and Waverly tuners lend a traditional look, while enhancing the guitars res-
S p E c i f i c at i O n S
nut Width
C profile, but anything much fuller might make it a tricky reach across the 1 23/32 nut
neCk
width, inhibiting the picking speed that many players will want to show off on such an
Fretboard
Ziricote
instrument. It feels great right up to the 14th-fret neck joint, thanks in part to a confident
Frets
setup at the Bourgeois shop, with an action that is easy on the swift runs, yet doesnt
tuners
Waverly
body
Dana Bourgeois says this model has a deep, broad tone, and through wood selection and voicing, we push it in the direction of a bigger bottom end, a lush top end,
bridge
on the BK/Slope D, while the high notes in any simple Travis-picking figures ring vel-
Weight
4.25 lbs
vety and clear. The midrange is rather scooped, yet both pleasant and present, and the
built
USA
kudos
Whether youre looking for a flat-picking bluegrass performer to get you heard when
you take your turn stepping up to the mic, or a big-voiced accompanist to bolder singer-
ConCerns
None.
songwriter work, the Bourgeois BK/Slope D has an awful lot to offer, and as such it earns
an Editors Pick Award.
D av e H u n t e r
gear roundup
roundup
around the top. The maple neck is also treated to koa trim atop 3-ply binding, and the
gear
MODEL
tion inlays. The headstock wears a classy gloss black facing that complements the gold-
Breedlove
Master Class PaCifiC
ContaCt
breedlovemusic.com
PriCe
$4,499 street
ebony fretboard is adorned with yet more 3-ply binding and abalone sea leaves posi-
The Pacific is a nimble instrument thats easy to play thanks to its satin-smooth neck
and well-finished, neatly trimmed frets. The necks medium D profile and low-action
setup facilitates speedy picking, yet you can still dig into the strings without them buzz-
S p E c i f i c at i O n S
ing against the frets. The headstock shape and arrangement of the tuners provide for
NUT WIDTH
1 3/4"
a very straight string run across the smoothly worked nut, which yields an easy pull to
NECK
FRETBOARD
FRETS
20
ity and focus in the Pacifics tones, which are bright, smooth, and imbued with plenty
TUNERS
Gotoh die-cast
of oomph in the lows. The midrange is very even and with no tendency to sound honky
BODY
Intonation is tuneful in all positions, and this definitely enhances the sense of solid-
top
or boxy, and coupled with the strong top and bottom presence, the Pacific takes things
in a more hi-fi sounding direction than most flat-tops.
BRIDGE
detail, warmth, complexity, and touch responsiveness. This is a guitar that will please
WEIGHT
4.12 lbs
fingerstylists and flatpickers alike with its open and expressive tone, and overall I found
BUILT
USa
KUDOS
tic guitar that has the craftsmanship and vibe of a small-lot-custom, but pushes well
beyond the classic designs of the 30s and 40s, the Master Class Pacific is something
has a solid lead on what it takes to build a modern flat-top, so if you want an acousCONCERNS
gear roundup
Brock Model oM
B roc k Johnston has B een B uilding guita rs since 1981 wit h t he goa l
of creating instruments that combine immaculate aesthetics with unequaled tonal balance and projection. Based on the classic Martin OM (which made its debut in the late 1920s), Brocks Model OM blends
top-notch materials and impeccable construction details in what is a surprisingly affordable contender in
the premium market. As such, the Model OMs aesthetic is one of classy, understated elegance, with not a
hair out of place anywhere. From the immaculate frets to a sterling interior (where we find parabolic Sitka
spruce bracing) to the high-gloss nitrocellulose lacquer finish and curly koa-wood binding, the Model OM
delivers exactly what is to be expected from a high-end acoustic guitar. The open-gear Waverly tuners
with ivory-colored buttons are a classy touch, and this guitar manages to visually pop without resorting to
overblown cosmetics. Heck, the only shell inlay on the entire instrument is the headstock logo.
The Model OM is an absolute joy to play. Its nimble feeling C profile neck makes marathon chording sessions a breeze, and when an acoustic inspires you to simply strum first-position chords, you know youve
got a keeper! The edges of the fretboard are super smooth, and the frets are consistent in shape and polished to a nice matte sheen. I found the string spacing to be comfy as heck whether I was fingerpicking or
flatpicking, as it allowed ample room for my picking hand to operate. The instrument balanced on my lap
perfectly, but the lack of an endpin strap button was inconvenient from a gigging perspective. Not a big
deal, though, since Brock will install one for no extra charge if requested. You probably cant see it from the
photo, but theres a clear pickguard to protect the finish in the strum zone.
roundup
gear
MODEL
BroCK MoDel oM
ContaCt
brockacoustics.com
PriCe
S p E c i f i c at i O n S
nut Width
1 3/4"
ultra-musical fashion. The dynamic response is such that you can go from soft, bell-like tex-
neCk
Honduran mahogany
tures to an authoritative bark that will stand out in a band with its broad projection and taut
Fretboard
low-end. Theres a tactile sense of muscle and focus behind the notes, and much of this is
Frets
due to the Model OMs stellar intonation, which allows simple or complex voicings to ring
tuners
Waverly
clearly in all regions of the neck. The sonic detail is impressive as airy harmonics blossom
body
Sonically, the Model OM emits a hefty amount of volume and punch, albeit in a refined,
in response to your touch, and the low-end presentation is wonderfully clear and round,
never sounding too boomy or in any way detached from the core tone.
While shooting a knowing glance toward tradition, yet managing to impart its own
bridge
Ebony
sonic DNA, the Brock Model OM is a wondrous piece of work that celebrates one of the
Weight
4.4 lbs
most iconic acoustic guitar designs. Its refreshingly simple look belies the excellent crafts-
built
USA
manship and the obvious eagle-eye attention paid to the smallest details. This guitar is a
kudos
blast to play and is highly suited to a variety of musical applications. Ultimately, however,
its the Model OMs bold tones and exceptional playability that seal the deal and earn it an
Editors Pick Award. D a r r i n
ConCerns
None.
Fox
gear roundup
Collings CJ35
Bill Collings got his start in the guitar Business after reloCatin g
from Ohio to Houston, Texas in 1970, where he began building guitars on his kitchen table using just a
few hand tools. His interest and talent for improving his craft soon let to the creation of instruments
that caught the ears of Lyle Lovett and Rick Gordon. You might say the rest is history, but Collings has
been constantly seeking to make better guitars, and, as witnessed by the CJ35 on review here, the
results are impressive. Inspired by golden age American-made flat-tops, circa 1930 to 1942, the new
CJ35 is a guitar that adheres to the concept that more is indeed more when it comes to large-bodied
acoustics. Based on Collings proven CJ design, the 35 features a slope shouldered body with solid
mahogany back and sides and a solid Sitka Spruce top. Internally, the formula gets tweaked a bit in the
form of non-scalloped Adirondack spruce bracing with a system of three tone bars. A slightly shorter
24 7/8 scale neck joins the body at the 14th fret via a mortise-and-tenon joint.
roundup
Visually, the CJ35 is a class act. The cosmetics are tasteful and the optional dark
gear
MODEL
collings cj35
hues in the CJ35s top reveal the distinctive parallel graining of the Sitka, which plays
ContaCt
collingsguitars.com
well with the tiger-stripe celluloid pickguard and the ivoroid binding and rosette. Flip-
PriCe
ping the guitar around, we find a 1 style walnut back stripe dividing the solid mahogany back, and another piece of creamy ivoroid capping the heel of the neck. Other nice
S p E c i f i c at i O n S
touches include a facing of ebony on the headstock and nickel-plated Waverly tuners
nut Width
1 3/4"
with exposed gears and butterbean tips. The guitar came up to pitch easily and held
neCk
its tuning with uncanny stability despite the climate change from Texas to our offices
in Northern California.
Fretboard
The neck offers an excellent feel with its medium profile and compound radius. Intonation is tuneful in all positions, and the playability certainly benefits from an easier
Frets
20
feel created by the shorter scale. The action is a tad on the high side, but theres no fret
tuners
buzz either to diminish the feeling of limitless headroom. Collings states that the CJ35
body
is designed to deliver deep bass and powerful highs in a package that is well suited
bridge
for both fingerstylists and flatpickers, and that squares with what we experienced.
The CJ35 has a huge presence, and it can pump out an amazing amount of volume
with incredibly little effort. The upper-midrange emphasis in its voicing makes the CJ35
Weight
4.16 lbs
an excellent choice for flatpicking solos or strumming rhythm parts. But this highly flex-
built
USA
ible instrument with its rich, blossoming sound is equally cool for fingerstyle playing or
kudos
backing a singer-songwriter. Like a car with a high-output motor, the CJ35 has a lot of
reserve power when you need it, and if you play unplugged gigs where a mic is your only
amplification system, this big beauty has you covered and then some!
ConCerns
None.
Art thompson
gear roundup
roundup
gear
MODEL
gibson
sJ200 Western ClAssiC
fairly low action, the playability is light and easy, and the absence of any fret buzzing
ContaCt
gibson.com
PriCe
$3,999 street
S p E c i f i c at i O n S
is just icing on the cake. The string spacing proved equally comfortable for fingerpick-
NUT WIDTH
1.725", bone
ing or flatpicking, and in a nod towards contemporary expectations, the SJ-200 guitar
NECK
eastern curly maple with compound dovetail joint secured with hide glue.
intonates well and sounds musically tuneful as you move around the neck.
FRETBOARD
that is due mainly to the Indian rosewood body construction. Ideal for pop, folk, coun-
FRETS
20
try, and pretty much anything else you care to throw its way, the sweetly voiced SJ-200 is
TUNERS
Waverly, gold-plated
loud enough for stage use (though it probably wouldnt be able to out-gun a good dread-
BODY
This guitar has a big, open sound with robust lows, rich mids, and a twangy presence
spruce top
nought in a volume shootout), and it responds well to your picking dynamics, blossoming nicely when played lightly and able to pump out a full bodied and non-compressed
BRIDGE
not only a one-of-a-kind among modern flat-tops, its also one of the nicest Gibson
WEIGHT
4.84 lbs
acoustic reissues Ive ever seen. The price tag for this very special guitar seems like a
BUILT
USa
real bargain too, considering what it takes to create something of this magnitude in an
KUDOS
of what a flashy stage axe should be, and it has the performance to back it up., All considered, it earns an Editors Pick Award.
American factory. The SJ-200 Western Classic would satisfy almost any expectation
CONCERNS
none.
Art thompson
gear roundup
roundup
gear
MODEL
mcphersonguitars.com
PriCe
S p E c i f i c at i O n S
uses an extremely thin, flexible film sensor to capture the motion of the soundboard.
nut Width
1.75"
Its well suited for the McPherson concept. The Camrielles amplified sound is natural
neCk
Mahogany
and open, without any of the boxiness or weird spikes in the frequency spectrum that
Fretboard
you sometimes hear when pushing an acoustic guitar though an amp or P.A. system.
Frets
20
tuners
Waverly gold-plated
body
The Camrielle 4.0 sounds great from the players perspective, and much of this is
due to the upper location of the soundhole. It doesnt direct the sound at your noggin
like a guitar with an opening on the upper bout, but it does create a sense of in-yourbridge
eleCtroniCs
a little more produced, the Camrielle is no slouch in the volume department either.
Controls
Volume
Its tonal complexity and touch sensitivity are obvious priorities, but in terms of loud-
ness, this guitar had no problem hanging with any of the others we tested. And while
Weight
4.9 lbs
you might think that its less constrained top would compress more readily under hard
built
USA
strumming, the Camrielle sounded and felt absolutely firm when played aggressively.
kudos
The Camrielle 4.0 brings some interesting things to the table, but they come at a steep
price. That said, if youre a player of means who already owns everything under the sun,
a Camrielle 4.0 could be an interesting addition to your collection.
ConCerns
art thompson
gear roundup
roundup
Grabbing ahold of the OM-18, the first thing youre struck by is the size and shape of
gear
MODEL
neck with a pronounced V shape. For those who are only used to playing modern
Martin
OM-18 authentic 1933
acoustics, itll take a little getting used to. For me, its a dream to play on, providing
ContaCt
martinguitar.com
ample support for my fretting hand whether Im strumming barre chords or flatpicking
PriCe
$4,999 street
the neck. Martin calls it their 1933 Barrel and Heel and what it feels like is a big, chunky
S p E c i f i c at i O n S
incredibly clear. Every note in every chord seems to occupy its own little niche in the
nUt WiDtH
1 3/4"
sonic spectrum. It pumps out sweet highs and lows, but the mids are the defining fre-
neCK
quencies to my ears and they make this guitar project like crazy. Combining harmon-
FretBoarD
ics and fretted notes or doing harp-like cascades produced a rich, pianistic sound that
FretS
20 (14 to body)
was delicious. One thing that might contribute to the lively tone is the fact that this
tUnerS
guitar is a full pound lighter than any other guitar in the roundup. It is startlingly light.
BoDY
Also, the OM-18s substantial neck dimensions just have to be doing something cool
to the tone. Whatever the explanation, the recipe works and works fabulously. Initially
BriDGe
we noticed some slight intonation discrepancies, with the G string coming up a touch
flat on a Peterson tuner. But as with a lot of great old guitars with uncompensated sad-
dles, some subtle retuning by ear seemed to rectify any and all of those things, and I
WeiGHt
3.4 lbs
BUiLt
USA
KUDoS
Obviously the OM-18s price tag is not for the faint of heart, and that kind of money
Martin tones.
could also get you a supremely cool vintage Martin. But for anyone who wants a brand
new instrument with vintage vibe and construction, this guitar deserves a serious audition. For what it is, its one of the nicest Ive played. M at t
ConCernS
Blackett
gear roundup
roundup
gear
MODEL
prsguitars.com
PriCe
$6,260 MAP
S p E c i f i c at i O n S
boomy bottom. The Angelus Cutaway doesnt do that. It has an incredibly balanced,
nUt WiDtH
1 3/4"
musical tone that works for whatever style or technique you throw at it. Strummed
neCK
FretBoarD
and youll swear that must be what they had in mind when they designed the guitar.
FretS
21 (14 to body)
The Angelus seems at home and sounds astoundingly good for any kind of music. It
tUnerS
Proprietary Robson-Designed
also has cannon-like volume and projection, which, coupled with its impressive sus-
BoDY
tain, means youll cut through and shine in any acoustic jam.
BriDGe
System sounds great, even when just plugging in direct. I also really dig the fact that it
eLeCtroniCS
sports just a simple volume wheel in the soundhole and no big, clunky preamp crammed
ControLS
Volume
onto the sidenor any real need for one, as I got very pleasing results with minimal out-
WeiGHt
4.82 lbs
BUiLt
USA
KUDoS
This is one of the few guitars in this roundup with electronics, and the PRS Pickup
If you tell most guitarists that a guitar in this price range is great, theyll say Well, it
better be, and theyre right. For this kind of cash you deserve absolute perfection and,
like theyve done so many times before, PRS delivers exactly that. This is a handcrafted,
American-made work of musical art and further cements PRS reputation as a major
player in the high-end acoustic market. Bravo!
ConCernS
None.
M at t B l a c k e t t
gear roundup
roundup
Sonically, the OM Grand is just plain gorgeous. Santa Cruz bills it as the bigger,
lusher, louder sister to their OM model. We didnt have little sis around to compare but
gear
MODEL
one strum showed why this model is abbreviated OMG. It sports impressive power and
ContaCt
santacruzguitar.com
brilliant sustain. What strikes me the most about it, however, is its incredible balance
PriCe
$4,950 retail
and clarity. The string-to-string definition and separationeven on busy Travis-picking passagesis truly remarkable. It accomplishes all this while still retaining a sea-
S p E c i f i c at i O n S
nut Width
1 3/4"
chords, single-note lines, hybrid picking, and fingerpicking all sound great on the OM
neCk
Grand, and they all bring out a kaleidoscope of different timbres and harmonics. I didnt
Fretboard
bring this guitar into the studio, but Im positive it would record like a dream. I did have
Frets
21 (14 to body)
occasion to audition the OM Grand in an acoustic duo and with a bassist, and in both
tuners
body
All over the neck, the OM Grand plays cleanly and evenly. The action is surprisingly
low but theres no buzzing to speak of until you really dig in. For an instrument that is
bridge
capable of such delicate sounds, it feels incredibly tough and sturdy. You can bash it
Weight
4.12 lbs
built
USA
great acoustics, no. Different materials will obviously produce different tones, and one
kudos
prominent acoustic artist felt that there was something lacking in the mid frequencies, but
ConCerns
None.
So is there anything not to love about the OM Grand? For me, for what I dig about
I dont hear that. To my ears and touch, this guitar is simply stunning. M at t
Blackett
gear roundup
roundup
is decorated with ivoroid heritage diamond inlays. Tuning is accomplished via goldplated Taylor machines, and the strings glide over a TUSQ nut that is precisely slotted
and neatly trimmed on the ends.
The 714ce is a rewarding guitar to play and a lot of this is due to its incredibly comfortable neck shape and superb fretwork and setup. The string spacing is perfect for
gear
MODEL
tAylor
t
tA
Aylor
Ayl
714ce GrAnd Auditorium
ContaCt
taylorguitars.com
PriCe
$2,849 street
playing with fingers or a pick, and though the strings are quite close to the decksomething that acoustic shredders will appreciatetheres absolutely no buzzing. Also, the
S p E c i f i c at i O n S
intonation is extremely sound, allowing chords to ring out clearly and accurately wher-
nut Width
1 3/4"
ever you grab them. The acoustic sound is impressive. This guitar has a ton of spar-
neCk
kle, but its all well balanced with firm lows and a warm, upfront set of mids. The 714ce
Fretboard
pushes out a lot volume too, making it an excellent choice for rhythm and lead playing
Frets
20
tuners
Taylor gold-plated
body
The 714ce offers a lot in the flexibility department courtesy of its onboard Expres-
sion System. This all-magnetic pickup system uses what Taylor calls a Dynamic Body
Sensor mounted under the soundboard and a Dynamic String Sensor under the fret-
bridge
boardboth of which feed a discrete preamp with Volume, Bass, and Treble controls.
eLeCtroniCs
The system has some obvious advantages in that it is easy to use, makes little visual
ControLs
impact on the clean lines of the body (the three soft rubber knobs are barely noticeable
on the upper bout), and it doesnt create any of the plasticy artifacts that piezo pick-
Weight
4.84 lbs
ups can often inject into the sound. Instead, the 714ce delivers a warm and balanced
buiLt
USA
tone thats easy to dial-in with almost any amplifier or P.A., and less prone to feedback
kudos
The 714ce is a superior performance guitar that plays like a dream, sounds excellent
unplugged or amplified, and nails that ideal of a fine instrument that isnt too prissy to
take on a cross-country trip!
Art thompson
ConCerns
None.
current issue
Heres whats in the August 2013 issue of Guitar Player, on Newsstands Now!
RIFFS
Brendon Smalls Heavy Metal Harmonic Convergence, Richie Faulkner on Judas Priest,
Debashish Bhattacharya goes beyond, and more!
COVER STORY
High-End Acoustic Roundup
Ten gorgeous steel strings from Bourgeois, Breedlove, Brock, Collings, Gibson, Martin,
McPherson, PRS, Santa Cruz, and Taylor. Bonus Features! Budget Buyers Guide for
acoustics, mandolins, and ukuleles; performance tips from the Band Perry; and acoustic
recording tips.
Artists
ARTISTS
Steve Stevens David Barrett Steve Lukather Poncho Sampedro Elliott Randall
LESSONS
Under Investigation
A thorough examination of a particular style or player. This month: The Monkees!
40
Rhythm Workshop
What would Jimi do? Play awesome rhythm guitar, thats what.
G U I TA R P L A Y E R . C O M / A U G U S T 2 0 1 3
T EST D RIVE
Fretboard Recipes
Intervallic Designs, Part 7, excerpted from Jesse Gress Guitar Cookbook.
GEAR
116
New Gear
Knaggs Guitars Steve Stevens Signature
MJ Duke Deville Solidbody
Stompbox Fever! Strymon Mobius
G U I TA R P L A Y E R . C O M / A U G U S T 2 0 1 3
Lessons
Speed Rating Four mini reviews: Radial Engineering PZ-DI Piezo Optimized Active Direct
Box, EarthQuaker Devices The Warden Compressor, Way Huge Echo-Puss Analog Delay,
Stonewall Signature P-90 Set
Fable Fighters Whats the Big Deal About Vintage Effects Pedals?
Ex. 1
= ca. 158
1
C(I)
10
10
10 8
10 10
10 10 10 8
10 10
10 10 10 8
10
10
10 10 10 8
Wipe Out By Robert Berryhill, Patrick Connolly, James Fuller, and Ronald Wilson. Copyright Miraleste Music and Robin Hood Music. All Rights Reserved.
Used by permission.
108
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etc.
etc.
T
A
B
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F(IV)
G U I TA R P L A Y E R . C O M / A U G U S T 2 0 1 3
10
ChATTER
Craig Anderton Stompbox Distortion Aint Just for Guitars
Gary Brawer Acoustic Tips and Tricks
Nicky Garratt The Epic Struggle of Stage Volume
lessons
LESSONS Soloing Seminar
Superimposition Strategies
Jamie Kime Shares Ways to Build Colorful
Solos Over Static One-Chord Jams
By JudE GOLd
its open to everyonebut, after you experience the epic fusion odysseys Kime,
Ziegler, and the rest of the house band
play to kick off the night, youll quickly
realize that this isnt your average open
mic. If youre planning to step onto this
stage, youre expected to take your solo
to the moon and back, or at least be willing to crash and burn trying.
As is often the case in jam-friendly environments, the repertoire at these sessions (which delves deep into the music
of everyone from Coltrane and Shorter
to Zappa and Miles) often lands on the
jam-friendly terra firma of extended oneor two-chord funk vamps. After all, its
a lot easier to take a big solo when you
dont have to worry about chord changes
or shifting key centers, right?
Not necessarily.
When the stakes are this high, its a
mistake to think that improvising over a
fixed harmony is any less daunting than
doing so over a busy chord progression.
Ex. 1
Ex. 2
Freely
Dm (C triads - - - - )
1
4
4
3
T
A
B
12 10 11
10 13
14
13 16 15
13
15
Ex. 3
A altereddominant scale
IV
= root
november 2009
Soloing Seminar LESSONS
Lets take a look at some of Kimes
musical ideas. For instance, if Kime
is handed a wide-open Dm groove, he
might start his solo, like legions of other guitarists, in D Dorian.
But there are so many other notes
to explore as well, says Kime. Over
Dm, I might also think of superimposing C#maj7 [Ex. 1], which adds two very
special notes to the mix: the major 7
(C#), and the #11 (G#). I love the way
those chord tones sound over a minor
background. You can get a similar sound
by simply playing C# major triads in the
form of a C# major arpeggio over Dm [Ex.
2]. Youre superimposing interesting
melodies in bite-sized chunks.
Of course, continues Kime, you
can also think altered-dominant to project an altered V chord soundA7#5b9
over Dmby playing this scale [Ex. 3].
It has the exact same notes as Bb melodic minor, but I find that if you think
of it that way, you naturally start veering towards the harmony Bb just like
if youre driving while looking right, your
car may drift to the right. So think of it
from the A perspective.
Another thing Kime loves to superimpose upon a static minor chord is the
Coltrane changesthree separate key
centers a major third apart, la Giant
Steps. Over Dm7which Kime thinks of
as the IIm chord in C this means Kime
will tag the keys of Ab, C, and E. I love
that sound, because it creates so much
Ex. 4
(C)(C)
5 5
Dm7
Dm7
EE
A A) )
A7A7
()()
4 4
4 4
3 3
=100-130
= 100-130
(C)(C)
Dm7
Dm7
3 3 2 2
(B(Bm7m7
4 4
1 1
1 13 3
2 2
1 1 2 2
1 1
2 2
2 2 1 13 3 2 2
3 3
T T
A A
B B
7 76 6
5 56 67 78 89 9 6 6
6 6
6 6
7 7
8 8
7 74 4
5 5
6 6
5 5
4 4
4 48 8
5 5
6 6
6 6
7 7
7 7
lessons
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Master Class LESSONS
SEE video footage of
this lesson online at
guitarplayertv.com!
Fingerstyle Blues
Trace the Evolution of Delta,
Piedmont, Nashville,
Rockabilly, and Ragtime Guitar
on Your Favorite Steel-String
BY JON CHAPPELL
H A N D S H OT: J O N C H A P P E L L
P L E C T R U M N OT S P O K E N H E R E
Fingerstyle is the preferred approach for
acoustic blues, because separating the functions of the plucking hands thumb from its
fingers allows you to play independent bass
lines against treble voices. More than just
plunking out a thumb brush strumming style,
an independent thumb means the thumb and
fingers can play entirely separate musical
rolesalmost like a mini rhythm section
much the way ragtime pianists of the late
19th and early 20th century divided their right
and left hands into different functions.
The piano model could not have been lost
on the solo guitar players in the rural South
around the same time. Savvy guitarists realized that the thumb could act like a pianists
left hand (performing the bass lines), while
the fingers sounded chords, fills, and melodic
lines, just like a right-hand piano part. And
this approach worked for all the different,
emerging styles of the day, including Delta,
Piedmont, and country-ragtime blues.
BLUES BRANDS
A word about styles and labels: Delta
describes not only a region where the blues
ALL THUMBS
Many fingerstyle players use a plastic or
metal thumbpick to give their bass parts
increased authority and efficiency. And
when you look at the way your pluckinghand thumb meets the strings without a
thumbpick, its obvious why a little help
is in order. When youre playing fingerstyle, the thumb naturally strikes the
strings in a sideways fashionunlike the
fingers, which pluck the strings at a
more efficient, perpendicular angle. A
thumbpick solves this glancing blow
problem by enabling the tip of the pick to
strike the strings at a right angle. And a
thumbpick also provides an extension
for the thumb, giving the appendage
increased power, much the way a wrench
or hammer gives your arm extra leverage
and/or velocity. Thumbpicks arent for
everyone, but if youre planning to play
fingerstyle blues, theyre worth getting
used to. Need proof? Just listen to fingerstyle geniuses such as Chet Atkins, Merle
Travis, Tommy Emmanuel, and Doyle
Dykes; and electric blues players such as
Albert King, Albert Collins, Freddie King,
and Sonny Landreththeyve all donned
thumbpicks.
G U I T A R P L AY E R J U N E 2 0 0 7
111
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L E T YO U R F I N G E R S F LY
Achieving independence between the
thumb and fingers is key to all fingerstyle
blues. Example 1 shows a basic Delta blues
passage in which the thumb metes out an
insistent, plodding bass line in deliberate
sounding shuffle eighths. The thumbed
bass part leaves the plucking fingers free
to play contrasting and complementary figures in the upper voice, such as short fills
between vocal phrases, solo lead lines, or,
as in this example, sustained chords.
Example 2 retains the eighth-note shuffle, but now the chords take on a more
active role, providing syncopation and
melodic movement. The 5-6 motion (B-C#
in E, E-F# in A) in the upper-voice chords is
the familiar figure heard in the rhythm playing of Jimmie Johnson and, most famously,
Chuck Berry. But Robert Johnson was doing
it first, and he often put it in the bass line,
strumming double-stops with his thumb.
To keep things accessible, were putting the
moving figure in the chords while keeping
the single-note bass line intact. Notice that
syncopation has been introduced in the upper
voice, with chord strikes on the and of beat
two (bars 2-4), and the and of beat four (bar
FA N CY PA N T S
In Ex. 4, we take our bedrock of quarter-note
bass notes and play an entire four-bar melodic
solo. The opening phrase is similar to the
one in Ex. 3, but its fleshed out and fancier,
owing much of its flair to the eighth-note
triplets in the upper voice. The last two bars
feature back-to-back classic blues quotes,
played by everyone from Muddy Waters (who
brought Delta blues to Chicago and electrified it) to Stevie Ray Vaughan.
Practice the Piedmont passage in Ex. 5 by
first playing the bass line. Apply a slight palm
mute with the heel of the plucking hand so
that the notes stay short and crisp. Piedmont
blues is jauntier than Delta, and placing a
spring in the step of your bass notes will
LISTEN HERE
Acoustic fingerstyle blues is a timeless style that has a deep lineage, populated with such immortal figures as Robert Johnson, Skip James, Mississippi John Hurt, and Taj Mahal. This table lists fingerstyle players who made major impacts on blues music and culture, the specific style with which
theyre generally associated, and a sample of their influential recordings.
ARTIST
STYLE
RECORDING
LABEL
Delta
Piedmont
Piedmont
Piedmont
Delta
Delta
Delta
Country, Rockabilly
Country
Rockabilly
Country, Folk
Country, Folk
JSP Records
Vanguard
JSP Records
Yazoo
Document
Sony
Columbia/Legacy
Proper Records
RCA
Import
Sony
Rounder
112
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Ex. 1
= 80
**E7
A7
E7
0
2
0
0
3
1
B7
Shuffle feel
*P.M.
0
3
1
T
A
B
0
0
1
*Slight palm mute on R.H. thumb only. **In all examples, symbols may reflect only general or implied harmony.
2
0
2
3
2
1
2 2
0
2
1
2 2
2 2 2
Ex. 2
= 80
E7
A7
E7
B7
Shuffle feel
0
1
2
0
T
A
B
2
1
2
0
3
1
2
0
2
1
2
0
0
2
0
0
2
2
0
0
0
0
0
0
0
2
0
0
0
1
2
0
2
2
2
0
0
0
0
0
1
2
0
2
2
2
0
0
0
0
0
2
1
2
3 0
2 2
1 1
2 2 2
Ex. 3
= 84
E7
A7
E7
B7
Shuffle feel
T
A
B
0
0
0
2
0
3
1
2
2
0
2
2
0
1
2
0
Ex. 4
= 84
E7
A7
E7
3
3
3
4
Shuffle feel
T
A
B
0
0
0 2 3
2 0
Ex. 5
2 0
3 3 3 3 3 3
4 4 4 4 4 4 2 0
0
2
0
2 0
2
0
= 84
C7
D7/F
G7
0
1
0
3
0
1
3
1
1
2
2
1
2
3
1
0
3
4
4
Shuffle feel
T
A
B
1
0
2
3
1
0
2
3
G U I T A R P L AY E R J U N E 2 0 0 7
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Ex. 6
= 84
Shuffle feel
T
A
B
1
2
1
2
= 84
D7/F
Ex. 7
2
3
Shuffle feel
T
A
B
0
0
1
2
3
2
3
1
3
2
3 1
2
1 0
3
2
2
3
Ex. 8
= 100
Shuffle feel
1
T
A
B
2
0
2
0
2
0
B7
6
5
6
0
T
A
B
114
2
0
2
2
0
2
2
2
2
1
J U N E 2 0 0 7 G U I T A R P L AY E R
0
2
2
1
0
2
0
Scan for
a FREE
Sample
Lesson
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Page 116
= 84
E7/G
up and down the neck. The harmonic content of this melody incorporates notes from
both the major scale (E, F#, G#, A, B, C#, D#)
and the blues scale (E, G, A, Bb, B, D), so
its a cross between country and blues. The
chords, meanwhile, have a strong blues
and ragtime quality. Atkins and Reed based
many songs on this ascending blues
bass line, including Jiffy Jam and Blue
Finger, and this approach represents the
combining of many elements to produce
an arranged approach to fingerstyle blues.
Jon Chappell has written many instructional books on guitar, including Blues Guitar
for Dummies [Wiley Publishing]. g
F 7/A
C 7
F 7
2
4
3
4
3
2
B7
E7
2
1
2
1
0
Shuffle feel
T
A
B
Ex. 10
= 84
E/G
A7
F 7/A
E/B
C m
F 7
B7
Shuffle feel
T
A
B
116
0
0
J U N E 2 0 0 7 G U I T A R P L AY E R
7 5 6
8 7 5 7
0
9
7
2
4
2 0
3
2
0
1
3
0
2
2
2
0
2
P H OTO : J O H N B Y R N E C O O K E W W W. C O O K E P H OTO . C O M
june 2007
lessons
sessions
truefire
transcriptions
doobie brothers
doobie brothers
transcriptions
doobie brothers
transcriptions
doobie brothers
transcriptions
doobie brothers
transcriptions
transcriptions
the animals
the animals
transcriptions
the animals
transcriptions
transcriptions
traditional