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THE FINEST GUITAR LESSONS ON THE pLANET

241 APRIL 2015

20 YEARS OF THE FINEST GUITAR LESSONS

ExCLUSIvE LESSON!

Playing with
FINGERS
PLUS...
Theory questions
answered, learn to
read music, give
your chops a
workout, &
Ditch your pick and join a host more!
of great guitarists that have
turned on to Flesh Tone! CLASSICAL
MOZART
Play Eine Kleine
Nachtmusik for
YOUR ULTIMATE... solo guitar

COUNTRY WORKOUT
Get your country rhythm, lead and hybrid picking
chops up to speed with our comprehensive feature

PLAY LIkE
PAUL WELLER
CLASSIC TABBED! His mellow acoustic side

THE WHO BRAD PAISLEY


Scary country-blues licks!
GEORGE HARRISON
Baba ORiley Post-Beatles era including slide
Learn a classic from Whos
Next - plus Paul Gilberts Mr THE SMALL FACES
Big guitar intro tabbed! Steve Marriotts bluesy R&B style
ISSUE 241 aprIl 2015 the
finest
guitar tuition

Welcome
you can
Just some of your regular buy !

GT technique experts...
shaun baxter
One of the UKs most respected music WHEN I LEARNT to play lead I had a cheap this months other big feature - Your Ultimate
educators, Shaun has taught many who acoustic and Id often lose my only plectrum Country Workout. If youre a regular reader
are now top tutors. His album Jazz Metal and have to resort to fingers. I soon developed youll know that no style is an island unto itself
was hailed as a milestone.
a method of using thumb and first finger that and that licks from one genre, or techniques
jon bishop sounded convincing, but different to the tone generally reserved for that genre, can be
Jon is one of those great all-rounders that emanated once Id retrieved my pick from succesfully transplanted into others.
who can turn his hand to almost any down the side of the sofa. Fingers also allowed With that in mind I dont know of ANY
style. No Jack of all trades and master of me to play things I couldnt with a bit of plastic. guitarist that wouldnt want a bit of Chet-style
none, he nails every one with ease!
It gave me another string to my bow within picking, Albert Lee-style pull-offs or Brad
pete Callard my relatively limited style, and its great to call Paisley-style machine gun lead in their
Petes credits include Lionel Richie, Gary on when looking for a softer type of attack, or a arsenal. So, even if youre a rock, blues or jazz
Barlow, Annie Lennox and Shpongle. He particular dynamic to suit a certain song. player, PLEASE give this one a go as Steve
can be seen and heard on numerous tv So successful has it been that a number of Laney has done the most thorough piece on
shows, recordings and film soundtracks.
great players have copied me and are now the subject - both rhythm and lead - weve ever
phil Capone doing the same thing themselves (joke, by seen. Its not for the faint-hearted, but if
Phil is a great guitarist who specialises in the way). Jeff Beck, Mark Knopfler, you glean just five ideas it will be worth
blues and jazz. He teaches at ICMP in Lindsey Buckingham, John Mayer, at least the cost of a years subscription.
London, writes for GT and Total Guitar Robby Krieger, Hubert Sumlin and a A quick note about the main song:
and has published 10 top tuition books.
host of others use the technique all the The Whos Baba ORiley is not their most
Charlie griffiths time, or simply bring it to bear guitar-heavy track, but its one of their
Guitar Institute tutor Charlie first came when the moment feels right. best so Steve Allsworth has tabbed
to fame in Total Guitars Challenge So Jon Bishop has come Pete Townshends synth
Charlie series. Hes also one of the UKs up with a feature that part for guitar, and also
top rock, metal and fusion guitarists.
focuses on playing lead Mr Bigs superb version.
phil hilborne guitar using flesh only. If Give it a go, have fun and
The UKs original magazine guitar tutor, youve not done this Ill see you next time.
Phils something of a legend. A great before, do get into it
player, he regularly plays guitar in the and I guarantee it will
Queen musical, We Will Rock You.
add a new dimension to
pat heath your existing style.
BIMM Brighton lecturer, ESP product While we were in
demonstrator and all-round busy a picking frame of Neville Marten, Editor
musician, Pat brings you six cool licks mind it prompted neville.marten@futurenet.com
each month in 30-Minute Lickbag.

bridget mermikides
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
DONT MISS OUR AMAZING DIGITAL EDITION
examiner, a respected classical player
and award-winning blues guitarist.
Our digital edition for iPad, iPhone, Kindle Fire and Nook is now even better!

jaCob quistgaard
Royal Academy trained, Quist is a
superb player who can turn his hand to
any number of styles and topics. Hes
currently on tour with Bryan Ferry.

stuart ryan
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs
throughout the UK. His latest book/CD
The Tradition is available now.

andy saphir
A top teacher at the Guitar Institute
(ICMP), Andy is a phenomenal player in a
host of styles. He mixes just the right
degree of flash with consummate taste. Tap the links Animated tab & audio Play the videos
Finding your way around the Most songs and lessons have Certain of the articles have
tristan seume magazine is easy. Tapping the the audio built in, with a accompanying videos full of
One of ACM Guildfords leading tutors feature titles on the cover or moving cursor showing you useful insight and additional
Tristan is also mega busy on the folk the contents page, takes you exactly where you are in the information. Once again, tap
circuit playing with Jackie Oates. His straight to the relevant articles. music. Simply tap the play the play buttons to enjoy
brand-new CD, Middle Child, is out now! Any web and email links in the button then you can fast- video masterclasses on your
text are tappable too! forward or scroll back at will. iPad or smartphone.
john wheatCroft
A truly phenomenal guitarist, John
heads up the guitar facility at Tech Music PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition
Schools in London. Hes a master at all regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can
styles, but a legend in Gypsy Jazz. also find us on www.zinio.com (NB: Zinio editions do not yet have interactive tab or audio).

April 2015 GuitarTechniques 3


C ON T E N T S a pr il 201 5

Learning Zone
lessons introduction 55
Music editor Jason Sidwell muses over this
months full-as-ever lessons section.
30-minute lickbag 56
BIMMs Pat Heath with six new licks to try.
blues 58
John Wheatcroft looks at the bluesier side
of country picking wizard, Brad Paisley.
rock 62
Martin Cooper focuses on George Harrisons
post-Beatles playing style, including slide.
video 66
Carl Verheyen astounds us with his ability to
navigate the neck - luckily he shares his secrets.
creative rock 72
Shaun Baxter shows how to move cell shapes
conveniently up and down the fingerboard.
cHops sHop 78
Andy Saphir shows how string skipping can
make you sound a whole lot classier.
britisH r&b 80
Phil Capone examines a band that was way
ahead of its time - Steve Marriotts Small Faces.
jazz 86
Pete Callard examines Mike Sterns straighter
CoVer FeaTUre jazz side in this second in a two-part series.

play lead with fingers 14 acoustic 92


Stuart Ryan reveals the gentler, acoustic side of
Many of the greatest players have chosen to
revered singer-songwiter-guitarist, Paul Weller.
ditch the pick in favour of the more organic
tone of flesh. Jon Bishop says you can too! music reading 96
Charlie Griffiths on the use of ornaments.

FeaTUreS rEGuLAr fEAturES ViDeo MaSTerCLaSS


welcome 3 carl verHeyen part 2 66
trAnSCrIPtIon #1 Nev gives this months issue the finger(s)! Check out Carls totally improvised piece on
video - and prepare to be amazed!
tHe wHo talkback  7
Baba ORiley 26 Go on, get on your high horse...
No Teenage Wasteland here as Steve Allsworth
not only tabs out the full Who version but also
tHeory godmotHer  9
David Mead answers your theory queries.
Paul Gilberts amazing synth intro on guitar.
intro  10
Includes Phils One-Minute Lick, 60 Seconds
SPECIAL fEAturE With, Mitchs Session Shenanigans and more.

ultimate country workout subscriptions  71


Save time and money get GT delivered!
Nashville here we come!  34
Steve Laneys comprehensive study will give back issues  91
you all the chops you need to survive the most Check out what you missed and how to get it!
stressful country gig or recording session.
albums  95
New guitar CDs and DVDs reviewed and rated
trAnSCrIPtIon #2 by our very own Roger Newell.
next montH  98
mozart We have something for every guitar player
Eine Kleine Nachtmusik 48 including 25 Greatest Blues Licks Of All Time,
Fancy a little night music? Bridget Mermikides 10 RocknRoll Rhythms, Queens Now Im Here
has arranged and tabbed one of Mozarts most tabbed; plus Rory Gallagher, Santana, The
famous and best loved pieces for you to play. Hollies & The Doors and much, much more!

April 2015 GuitarTechniques 5


Write to: Guitar Techniques, 30 Monmouth Street, Bath BA1 2BW.
Email: neville.marten@futurenet.com using the header Talkback.

PERFORMANCE ISSUES someone so eminently qualified. Im


I enjoyed your editorial in the Feb sure our injured readers will take heed. Tone: is it a
bottomless
issue about the organisation and pit of woe for
techniques for live performance. A DECENT LEAD TONE? guitarists?
Recently Ive returned to playing Last night I gigged at a venue with a
solo acoustic instrumental sets local low ceiling and lots of hard
venues. This got me thinking more surfaces. When I engaged the pedal
about preparing and performing I use for soloing it fed back
live, particularly when as a solo instantly. I turned off all reverb and
performer you feel even more under had no delay, but unless it was set
the spotlight. A recent gig at a wine on zero gain and no volume boost, I
bar with 150 people was a big deal couldnt use it. This is a typical
for me and made me focus on how I problem faced by guitarists.
prepare and practice in advance, Another problem is the lead sound
and deal with the performance on disappearing into the mix. I tried
the night. This made me consider out an amp in a shop many years
various areas (level of practice, ago and was so impressed I bought
extent of improvisation, choice of it there and then. I took this new
set, audience contact etc) which I amp to my next gig and whenever I
dealt with in my own way, and led to started soloing I couldnt be heard:
an enjoyable night. However, how I tried turning up the volume,
do the professionals deal with this boosting the mids, turning up the
whole area. Your editorial rhythm channel instead of using the
prompted me to think it would be lead channel. Nothing worked. I
great to have an article (even a used this amp at a recording session
periodic feature) on the psychology and it was great but I couldnt use it
of taking your techniques from the live. Why did the sound cut through
bedroom into the live arena. in the studio but not on stage? How
Paul Hill about an article on how to respond
to these typical types of issues?
Weve thought a lot about that, Paul. Also, different ways to set up
The thing is, whenever we try it we effects: for example, if using the
always come back to the fact that we distortion channel on a two-
are a magazine about playing music channel amp (a JCM900), whats a
and we should really retain all the space good way to make a lead sound? I gear. Thats what your EQ is for to NOT TOO MUCh BLUES!
for that. Yes, of course ones state of currently just use my distortion tweak a hard-edged room softer; or I was just going to write you an
preparation in all areas is key to playing pedals to boost the signal on top of add presence to a room full of carpets email telling you how much I
that music live, but articles like this the amps dirty channel, but and cushions and people! My first port enjoyed GT236, Blues Workout,
inevitably get pushed to the back. I will sometimes it feeds back and is of call would be to make sure your amp when I got my February issue and
have another think, though, as a while noisy. I have in the past just left the has enough headroom: what might read the Talk Back letter titled Too
back we received an offer from a amp on the clean channel and used deafen you in a shop could be killed Much Blues. Though its shockingly
specialist in performance anxiety, to pedals for rhythm and lead sounds once the drummer and bassist kick in, hard to understand, I guess not
do just such a thing. but the amps distortion channel in a proper live situation. Secondly, lay everyone loves the blues as much as
sounds better for rhythm. Is there back on the distortion: by its nature I do. I found the GT236 issue
A DOCTORS ADVICE a better way? distortion removes definition, but also incredibly valuable. My band plays
I am a long-time guitar player (55 Ive owned different systems often removes middle and adds bass a couple gigs a month (were in the
years) and a long time ER doctor ranging from racks to plug in and and treble; these can be wiped out by Seattle, Washington area) and I try
(40 years). Regarding rehab play, but problems like this can bass guitar, keyboards, hi-hat and to find a way to integrate all that
(GT239/240); my view is that you occur regardless. You may one week cymbals, whereas the middle Ive learned about the blues into
cant get meaningful advice this play open air and the next youre in frequencies are where good guitar tone whatever song were playing. I love
way, it has to be face-to-face with a a poky little bar and your set-up lies and where those other instruments Guitar Techniques and only hope
good history and physical done. sounds completely different. My dont excel. Most guitarists imagine youll continue to cover as much
However, find a physical therapist pedal board doesnt include a great rock tones are all about blues-related material as possible.
specialising in hand and wrist compressor, buffer or EQ; could distortion, but listen to EVH or Hendrix I couldnt disagree with Mr.
recovery, follow their advice and one of those solve these issues? and youll be surprised at how clean Wilkins more - no, we HAVENT
be patient - a combination of time, So how about an article on their tones mostly are. So I would had enough!
patience, hard work that is sound and set-ups for working always start with the cleanest sound Ken Craig
professionally advised, can guitarists? In the meantime can you you can get away with and work up, not
accomplish unimaginable things! answers the above questions? the other way around. Many GT tutors Ha-ha! Thanks, Craig. As I keep saying,
Jon Mustonen Roderickdav swear by compressors, so that might be we try to balance the styles but blues
a way to help your sound punch keeps dong best on the news stand and
Thanks, Jon. I kind of said that in my This is a huge question. First, even with through the live mix. so we use it on the cover to sell issues.
long-winded way (and that a music the best gear on the planet, youll get a This is the kind of series that But if non-blues-lovers open the mag
magazine has no place giving medical different sound from gig to gig; thats Guitarist would do brilliantly so Ill they will find loads of stuff in other
advice!). But its great coming from the nature of sound, not the nature of talk to the editor and suggest it! genres. And I mean loads!

April 2015 GuitarTechniques 7


Q&A
Theory Godmother
Post your playing posers and technical teasers to: Theory Godmother,
Guitar Techniques, 30 Monmouth Street, Bath, BA1 2BW; or email me
at info@davidmead.net - every wish is your Godmothers command!

Root Of The Problem EXAMPLES 1 - 6


Dear Theory Godmother
I am trying to learn and practise Ex 1 Ex 2
scales. The problem is how am
I supposed to practise them in Ex 2 Xxxxxxxxxxxx
different keys? Im told all you need
to do is find the root notes, but it isnt
Ex 3 Xxxxxxxxxxxx
that simple is it? Any advice would be
greatly appreciated.
Louis Ex 4 Xxxxxxxxxxxx
GUITAR TECHNIQUES MAGAZINE 2 4 1 Theory Godmother - David Mead

When you first start out practising the Ex 33 DDNatural MinorScale


Natural Minor Scale


scales in different keys it can seem a
little bewildering. But there is a system
b 4 . ..
and, once youve mastered it, youll & 4 .

find it becomes easier and easier to
1 2 b 3 4 5 b 6 b7 1
D E F G A Bb C D
traverse from one key to another. The
first thing you need is a chart of the E
B . 5 6 8
5 6 8 6 5
8 6 5 .
guitar neck that shows you where all
the notes are. Ive provided one in Ex 1,
G
D
A
. 5 7 8
5 7 8
5 7 7 5
8 7 5
8 7 5
.
E 8 6 5 6 8
but it would be better if you copy it out
onto a large sheet of paper and hang Ex 4 Ex 5 Ex 6
it somewhere that youll see every day.
Dont worry about the sharps and flats
for now; it makes things a lot clearer if
you notate only the whole notes and
remember that sharp means one fret to
the right and flat means one fret to the
left as you view the fretboard from the
playing position.
Next, Im assuming that you have
a book detailing the scales you want
to learn and Im hoping that, in all
instances, the root notes are clearly You can be amazingly economical with chords successfully and with relative
marked. Then, all you have to do is Economic Sanctions chord voicings, Jed. The basic major ease. I am now trying to move into
take a scale pattern, locate the relevant Dear Theory Godmother or minor chord comprises only three jazz and add 9ths but, apart from
root and play it. To begin with, youll I gave up the idea of ever becoming notes so its feasible to break the fuller the dominant 9th shape, I find the
have to perform this task slowly and a flashy lead player a long time ago. I chord shapes on the guitar neck down major 9th and minor 9th such a
methodically, but as you get more used can pull off a reasonable solo as long to root, 3rd and 5th (Ex 4). You can even finger-twister that I cant get to either
to the system youll find that matching as its short, sweet and fairly slow but go with root and 5th or root and 3rd. fast enough. I know practice makes
up a scale with any particular root note anything else is virtually out of the Dominant 7ths can be pruned down to perfect, but can you tell me if there is
takes no time at all. question. So Im turning my attention essentials, as in Ex 5 where were only an easier, finger-happy configuration
In Ex 2 Ive written out a couple of to rhythm, my goal being that I playing the 7th, 3rd and 5th. to play major and minor ninths?
examples of scale diagrams with the can one day join a band and play a Get a chord book to see where Andrew
root marked; one major scale, the other useful role as a solid accompanist. the intervals fall within the various
minor. If I wanted to play the major The trouble Im having is translating shapes, then try trimming them down Of the chord shapes you sent me (see
scale example in the key of B, all I have the chords I see in songbooks into and playing them in different songs Ex 6) the major version is a bit of a
to do is find a B on the sixth string at something that sounds right. If I to see if they sound more like what handful, but the minor shape is quite
the 7th fret match it to the root and play whole barre chords in some youre hearing on records. And get common and shouldnt be causing
play the shape in the diagram. rock songs, it just sounds wrong, too transcriptions of rhythm parts so you you too much of a problem. Regarding
Its very important that you begin crowded and not at all like the record. can see specifically what different the minor 9 chord, a lot of players
on the root, as Ive outlined in Ex 3. I know that rhythm players often play players do to trim their chords down. leave out the two lower bass strings
Even if there are a few spare notes at reduced versions of chords, but how and just play the top four strings as
either end of the scale, always begin do I know how much is enough? How Jazz Nines a barre with the 9th played by the
and end on the root note as this will economical can you be with a chord Dear Theory Godmother fourth finger. Its a lot easier and, in
go a long way towards tuning your ear and still get the point across? I have been playing guitar for a few context with bass and even keys, no
into the correct sound of each scale Jed years and can play open and barre one will hear any difference.

April 2015 GuitarTechniques 9


60Seconds with...
Gu i ta r t e ch n iqu e s a Pr iL 201 5

Jam tracks tips


Use these tips to navigate
our bonus backing tracks.
We ask a famous guitarist all those little questions you really do want the answers to.
This month, ex-Procol Harum and solo blues-rock guitar legend, RobIn TRoWeR. 1. Blues Shuffle in G
Heres an uptempo 24-bar blues
GT: Do you have a type of pick that shuffle in G to get you started. For
you cant live without? scales, consider using G minor
Pentatonic (G-Bb-C-D-F), G minor
rt: ernie Ball medium. blues (G-Bb-C-C#-D-F) as well as G
GT: If you had to give up all your Dorian mode (G-A-Bb-C-D-E-F) and
pedals except three, which ones G Mixolydian mode (G-A-B-C-D-
would they be? E-F). Of course knowing and
rt: that would be my Fulltone outlining the arpeggios for this
rtO (my signature overdrive), basic I-IV-V (G7-C7-D7) blues is
more than helpful too!
Fat Boost, and Deja Vibe.
GT: Do you play another 2. F Dorian Funky Rock Jam
instrument well enough to do so This is a specifically F Dorian mode
in a band? two-chord vamp (Fm-Bb), which
rt: not really. means if you were to play a
GT: If a music chart were put in seven-note scale on this, F Dorian is
your top choice (F-G-Ab-Bb-C-D-
front of you, could you read it? Eb). Of course you can also stick
rt: not a note! with F minor Pentatonic (F-Ab-Bb-
GT: Do you believe that guitar C-Eb) and even add the blue note
cables really make a difference? B to make it the F Blues scale for
What make are yours? extra bluesy colouring.
rt: not sure if they do but i use
3. Lydian Grooving (A)
Fulltone cables. Heres a groove-based A Lydian
GT: Is there anyones playing (past mode track, which you can use to
or present) that youre slightly get your Zappa/Vai/Satriani licks
jealous of? out! It features a basic two-chord
rt: i would not say im jealous, vamp, which alternates between
but i do love the playing of albert the chords A and B/A. A Lydian
mode consists of the notes
King and Jimi hendrix. A-B-C#-D#-E-F#-and-G#.
GT: Your house or studio is burning
down: is there one particular 4. Medium Swing Jazz Blues (G)
guitar you would save? This is a jazz blues in G and
rt: the two latest signature although you can attack it from a
models received from Fender. basic blues perspective mixing the
G major Pentatonic (G-A-B-D-E) and
GT: Whats your favourite amp and Robin Trower: the G minor Pentatonic (G-Bb-C-
how do you set it? one of our great D-F), you can also arpeggiate your
rt: Marshall 1987X blues guitarists
way around the chords effectively
GT: What kind of action do you bringing out more of the colour
have on your guitars? GT: Whats the most important rt: crosscut saw by albert King inherent in this brilliant
progression. This is especially
rt: i use a quite high action but musical lesson you ever learnt, GT: Whats the solo or song of your
handy when dealing with bar 6 (C#
tune down a whole step. and can you share it with us? own of which youre most proud? dim chord, arp = C#-E-G-Bb) and
GT: What strings do you use? rt: to never try to learn other rt: have not recorded that yet. bar 8 (E7 chord, arp = E-G#-B-D) of
rt: e Ball 12-15-17-26-36-48 players licks. GT: What would you most like to the 12-bar progression.
heavy on the top for better tone. GT: Do you still practise? be remembered for?
Created for you by Jacob Quistgaard.
GT: Who was your first influence to rt: i try to play every day if i can. rt: For being a soulful musician. For free scale maps and hundreds
play the guitar? GT: Do you have a pre-gig more tracks, visit www.quistorama.
rt: scotty Moore. warm-up routine? Robin Trowers new album, com. Also subscribe to www.youtube.
GT: What was the first guitar you rt: i always play for 15-20 Somethings About To Change is com/QuistTV to get all the latest free
really lusted after? minutes before a gig. released by Manhaton Records jam tracks and licks!
rt: a strat. GT: If you could put together a on March 9th. He tours the UK
GT: What was the single best gig fantasy band with you in it, who from March 26th to April 17th
you ever did would the other players be? with special guest artiste Joanne
rt: Winterland, in san Francisco rt: i would have loved to play Shaw Taylor. 24 hour box office:
in 1974 with James Brown. 0844 478 0898 or book tickets
GT: and your worst playing GT: Is there a solo by another online from www.thegigcartel.
MIKE PRIOR

nightmare? guitar player that you really wish com. Further information:
rt: Playing to an empty room! you had played? www.trowerpower.com.

10 GuitarTechniques April 2015


Dances From pedal board, containing the usual

A Small Island Mitch Daltons stuff. compressor, overdrive


(Fulltone OcD), a rather nice retro
after a week of rehearsals in Boss Digital Dimension pedal in
Londons deeply untrendy Kings lieu of chorus, a noise gate and a
cross industrial estate, the combined delay and reverb.
strictly come Dancing tour another volume control sits at the
tangos out of town. Four end of the chain. its all rather
continuous weeks of sell-out arena retro. however, the computery,
gigs, culminating in six shows in digital fun is all around.
London (two at Wembley arena;
Our hero finds himself on 31-date, We listen on headphones to
four at the O2 arena). Make no major arena jaunt. Playing second click tracks for all the dances. the
mistake, this is a proper tour. any guitar in a reformed Led Zeppelin? clicks are mapped for each dance
band would kill to make it this big. Helping out The Stones? McCartney? arrangement. that way the
By the time we hit the billowing dancers get to hear the music
pillows of the canary Wharf
Elton? U2? Nothing so pass, dear... exactly as they wish to perform to
Marriott hotel on the last night, its the Strictly Come Dancing Tour! it. and means that there can be no
we will have played to nearly complaints. its the same every
200,000 foxtrot fanatics. night. the fact that i start to doubt
We perform the opening waltz if i will actually play in time ever
of this Ballroom Bonanza in have learned from experience if You could see Me now. a Di again is but a small price to pay.
Birmingham, at the national that it will get easier with box receives a jack input from at the conclusion of our stay in
indoor arena for a week of full repetition. and repetition there both my electro-acoustic and each of Britains mostly northern
company rehearsals and then five will most certainly be. thirty-one electro-classical guitars. i cities we pack down the gear.
performances. sixteen trucks, four bits of repetition. interface a volume pedal between this consists of a speeded-up
crew buses and two artiste coaches it and them, thereby allowing me backwards movie version of the
disgorge their contents into the Sixteen trucks, to use one jack plug to switch set-up, as the stage is invaded by
giant Brummie shed that between both instruments without dozens of locally hired crew.
describes this passable imitation
four crew buses and detonating unwanted acoustic i disassemble the gear as if my life
of all the other giant sheds that we two artiste coaches explosions throughout the arena. depends on it (which it almost
will visit for the next month. it seems to be appreciated by the certainly does) and flee the vicinity
somewhere in the midst of this disgorge their sound chaps, who even provide to the soundtrack of apocalypse
terrifying scene of half-erected contents into a giant me with a cute mini foldback now. Within an astonishingly few
scaffolding, lighting, cameras, wedge to monitor my efforts. minutes the entire staging has been
hard hats and shouting, is the Brummie shed. the third feed is from my reduced to its component parts.
primordial outline of a stage. and For those that have miked up Mesa-Boogie amp, i slip out of my fetching black
on that stage my five instruments, quickstepped their way thus far, through which i play my heavily suit and matching accessories and
flight-cased amp and accessories i send three separate feeds to the modified clapton strat (or upper head for the artiste bus.
await me. sound desk. a simple microphone clapton strat, as this former theres no Business Like show
i proceed to set up amid the suffices to waft my banjo stylings hackney boy refers to it) and Business... Which is the last tune
chaos. its a tad laborious but i to an unsuspecting world for Gibson L-4. in between is my of the night. every night.

PHIL HILBORNES ONE-MINUTE LICK NON-DIaTONIC aRPEggIO IDEa


There are often situations in music when you are not Emerson use similar ideas. It works well because you can
playing over any chords at all just a single pedal bass still hear a logical progression of arpeggios. I have used a
note. This particularly applies to a bass, drums, guitar line- mixture of mini sweeps, legato and slides all the fingering
up. When this occurs or also when you are composing and picking directions are given. However, feel free to
you dont have to slavishly follow strict harmonic guidelines, experiment with your own chosen articulations and dont
rules and schemes. This months lick is a great example of forget to compose other similar ideas of your own invention
this. Here I have harmonised E Natural minor (E-F#-G-A- using as much variety in terms of scale choice, rhythms
B-C-D), but with every note as a major chord as opposed to and techniques as you can think of. Bear in mind that some
GUITARusual
the more TECHNIQUES MAGAZINE 2 4 1
Em-F#dim-G-Am-Bm-C-D ONE scheme.
diatonic MINUTE LICK
scales-will
bynot
Phil Hilborne
work so well using this approach but you
This is an interesting sound, and keyboardists likeNON DIATONIC ARPEGGIO
Keith can have a LICK
lot of fun experimenting.
#
n n
N.C. F G A B C D E

# n # n
n
b
n n . w ~~~~

# #
n n n
& # # 44

~~~~
E bass pedal (throughout)
E 7 6 5 4 6 9 10 7 9 12 14 11 12 15 17 14
B 5 7 8 10 12 13 15 15 17
G 4 6 7 9 11 12 14
D
A
E
1
April 2015 GuitarTechniques 11
That Was
The Year...
Presley, Cremona
and Kit Kat
hARMoNyS cReMoNA AcouSTic RANGe
gets a major overhaul with several new
models being introduced; from the H1263
Grand Concert version to the top of the range
H1307 Cremona VII with its distinctive Wine
Red Shaded carved spruce top, herringbone
top trim, flamed maple back and sides. The neck
has a soft-V profile, pearl inlays and a racing stripe on
the fingerboard. During wartime the whole range is modified
new gear unveiled at nAMM 2015!
with the tuners and tailpiece quality downgraded due to metal a lot of exciting new gear has been thing in the form of t-rexs new
shortages, but it remains a great series of guitars. shown for the first time at this replicator, which boasts an extra
iN ceLeBRATioN oF KiNG GeoRGe vs Silver Jubilee the London years naMM show in anaheim, tough proprietary cassette, two
North Eastern Railway introduces the Silver Jubilee streamliner including Fenders highly-awaited playback heads, chorus, plus
service between Kings Cross and Newcastle-Upon-Tyne, employing hot rod DeVille ML. Designed in tap-tempo and expression-pedal
Nigel Gresleys LNER Class A4 steam locomotives. The driving test is conjunction with Michael Landau control! Visit www.t-rex-effects.
made compulsory, populated areas are given a 30 mph speed limit himself, the new ML model is com for more.
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The FiRST DeMoNSTRATioN oF RADAR takes place in DeVille iii, with tube circuitry and new pedals including: super
Daventry conducted by Robert Watson-Watt; the new steelworks 60-watt output, two 12 speakers, Pulsar, a state of he art tremolo
at Corby begins production; and the Hawker Hurricane fighter spring reverb and an effects loop. with powerful controls; Octavix,
performs its maiden flight. Designed in the the ML version ups the ante by for that late 60s fuzzed-out, octave
International style the De La Warr Pavilion incorporating volume-switching up sound with great modern
opens in Bexhill-On-Sea; Penguin Books and boost capabilities. Visit www. enhancements; and Good Vibes, a
publishes paperbacks for the first time; and fender.com for further details. uni-Vibe-alike, blending chorus
Rowntree produces its Chocolate Crisp bar - those craving the warmth of old and vibrato into one little box.
soon to be renamed Kit Kat. tape echoes can now buy the real Visit www.ehx.com for more.
New TADpoLeS iN The poND include Elvis Presley, Jerry Lee
Lewis, Alex Harvey, Gene Vincent, Luciano Pavarotti, Barry
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See Satch play in (drums, percussion).
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Mathis, Julie Andrews, television presenter Simon Dee, Rod Hull Joe satriani has announced his Birmingham symphony hall
(and Emu?) and actors Donald Sutherland, Woody Allen and Doug shockwave uK tour which will (Monday nov 2); Glasgow royal
McClure. Leaving the pond is The Sorcerers Apprentice composer take in nine dates from 1st concert hall (tuesday nov 3);
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GiBSoNS New MoDeLS BRochuRe reveals the new Super next studio album. a nov 4); cardiff st.
400 archtop guitar, and in true Gibson fashion its named after ticket pre-sale has Davids hall (thursday
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brochure but the small L-30 archtop is now presented with a
991 and www.ticketline. 7); Bristol colston hall
highly striking all-black finish.
co.uk/joe-satriani. (sunday nov 8);
BRiTAiN iS coNceRNeD by the German re-armament Joes band comprises Portsmouth Guildhall
and the countrys introduction of conscription, so the Bryan Beller (bass), (Monday nov 9); and
government responds with plans to increase the size of the Mike Keneally London eventim
JON LUINI

Royal Air Force. Somewhat surprisingly, Britain comes to an (keyboards, guitars) apollo (tuesday nov
agreement with Germany that allows it to increase its navy.
and Marco Minneman 10). Dont miss it!
epiphoNe iNTRoDuceS The MiGhTy eMpeRoR
acoustic archtop to take on its main rival for jazz
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features a carved spruce top, maple back and NAMe: Jo Harlow TowN: Maidstone, Kent
sides, carved back and multi-bound body. The STyLeS: Jazz, rock, pop, soul, blues, folk, Latin
maple neck has a 20-fret bound ebony jazz, classical SpeciALiTy: Chordal playing,
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Cremona Brown Sunburst. eMAiL: joharlow.guitarmagic@yahoo.co.uk

12 GuitarTechniques April 2015


play: fingerstyle ON THE CD TraCk 4-7

Play lead with


your fingers! Jon Bishop shows how you can boost your soloing
potential with 10 examples inspired by some of the
greatest fingerstyle lead guitarists of all time.

playing lead with the fingers exclusively. Jeff will just need to know p = thumb, i = first
ABILITY RATING
favours a combination of down picking with finger, m = second finger and a = third finger.
moderate the thumb for a fat tone and plucking with the The ten examples are in a variety of keys,
fingers, which is all topped off with his expert styles and tempos and have been written to
Info WIll Improve your manipulation of the whammy bar and volume highlight a specific technique or famous
Key: Various Fingerstyle technique controls. Mark plays lead lines by plucking the players approach. The idea here is to practice
Tempo: Various Lead feel and phrasing strings with the thumb, first and second these examples at a slow tempo at first and
CD: TRACKS 4-7 Expression and tone fingers, with the remaining digits acting as an then work up to the performance tempo. A
separate backing track has been provided for
The phrase The tone is all in the fingers If you are new to playing Examples 1 to 5 and Examples 6 to 10 so you
can play along and practise your new skills.
is particularly relevant to this months feature.
The flesh and nails of your picking-hand electric lead guitar with the Theres also a full piece to learn, complete
fingers are full of great tone and can make the fingerstyle technique, why with its own backing track to play it over.
plectrum sound bland by comparison. The If you are new to playing lead guitar with
fingers also have great dexterity, and are not use this feature as an fingerstyle, why not use this feature as an
handy for playing ideas on adjacent strings
and also ideas that require string skipping. In
excuse to give it a go? excuse to give it a go. You may simply want to
use the technique occasionally, for a specific
contrast the plectrum is perfect for playing anchor on the pickguard. This technique is as sound or feel; or, as happened with Jeff Beck,
fast tremolo picking ideas and also provides a unique as it is unconventional, but you cant it could change the way you play forever!
uniform attack. Many players have combined argue with the results!
the plectrum and remaining fingers to great Other players such as Joe Pass, Eric
effect (referred to as hybrid picking and youll Clapton, George Benson and Ritchie Kotzen Get the tone
find a bunch of it in Steve Laneys Country dip into the fingerstyle approach as required.
Workout feature). Holding the plectrum puts Jazz legends Wes Montgomery and Jim
the first finger and thumb out of action, so Mullen use the flesh of the thumb exclusively 6 6 7 7 3
while hybrid picking is more versatile than to brush the strings with fabulous effect.
Gain Bass Middle TReBle ReveRB
pick alone, dexterity is still reduced when Whatever your style, its hard to ignore the
compared to pure fingerstyle. wonder of utilising the fingers for lead guitar A variety of guitars, pickup selections and
Another popular route is the use of a playing. This feature aims to identify some pedals were used to perform our examples
thumb pick. The thumb pick clips onto the core techniques and ideas that you can then and all the settings have been notated in
thumb and therefore doesnt require holding, use in your lead work. the tab. The Jam solo was recorded with a
thus maintaining full fingerstyle dexterity. For notation purposes the picking hand light, blues overdrive and a hint of
slap-back delay. To get the sound with your
The thumb pick ads definition to bass notes thumb and first three fingers are labelled as p,
own rig simply follow these directions, as
and is popular with country and acoustic i, m and a. The fourth finger (c) is rarely used
they will provide a good starting point for
fingerstyle players. due to its relative weakness, and most
your own efforts. The main ingredient of all
Electric guitar players like Mark Knopfler applications can be covered with the thumb the tones is of course the use of fingerstyle.
and Jeff Beck have made a career out of and three fingers approach. For this piece you

TRACK RECORD Jeff Becks acclaimed album Guitar Shop (1989) contains a fine selection of famous fingers only guitar playing, and also
showcases Jeffs innovative use of harmonics, gargles and the whammy bar. If you are looking for a fine selection of Mark Knopfler
guitar moments why not try the compilation Sultans Of Swing, The Very Best Of Dire Straits (1998).

14 GuitarTechniques April 2015


Play lead with your fingers!
TIM MOSENFELDER / GETTY IMAGES

Mark Knopfler:
using fingerstyle on
his Schecter T-type

April 2015 GuitarTechniques 15


play: fingerstyle ON THE CD TraCk 4-7

ExAMPlE 1 Mark knopfler Style part 1 TRACK 4


Mark Knopfler is one of the best known, exclusively fingerstyle electric guitar so it juts across, adjacent to the strings with the two fingers curled up and
players and we have devoted two examples to him. The first focuses on ready. Anchoring the remaining two fingers on the pickguard gives a point of
GUITAR TECHNIQUES MAGAZINE 2 4 1
Marks early Dire Straits lead style, which combined a snappy
LEADclean toneFINGERS
WITH and reference
Ex 1 - 5for the hand and helps with control. All picking directions have been
use of the thumb and first two fingers. Position your picking hand thumb notated so use them and play the example through slowly a few times.
Example 1 - Mark Knopfler Style part 1

C #m
2 .~~~~~
Count in
GUITAR TECHNIQUES MAGAZINE A B B

#### 4
241
j WITH FINGERS Ex 1 - 5

LEAD


& 1 - Mark4 Knopfler Style part
Example
1 J
A Bridge & middle pickup C #m
# Count 2 in
j clean
compressor

B
.~~~~~
B

# #4 with

~~~~~
& # 4
BU
E 9 J
B 9 12 9 9 9

13 Bridge
G 11 ( ) 11 11 9 9 11 8
D & middle pickup 11 9 11
A

~~~~~
clean with compressor
E
1 BUp i m p p i p p p i m p i
E 9
B 9 12 9 9 9
C #m
11 (13 ) 11 11 9 9 11 8
.
G

p i p p
A B B A
9 j 11 B
j

D 11

# # i m pj
A

& # # J i
E
1 p p i m p

C #m

.
A B B A B
j j
# ## BU
j
& # J
BU BD BU
E 9
B 12 9 9 9 12 (14 ) ( 12 ) (14 ) 12 9
G 9 8 11 9 11 9 11 (13 )
D 11 11
A
E
3 i p i p i p i p i pBU i m i iBU BD BU i i
E 9
B 12 9 9 9 12 (14 ) ( 12 ) (14 ) 12 9
C #m 9 #
11 Bj j . 11A B
G 8 11 9 G m 11 9 11 (13 )
D

# # p p i p i p i p i m i i i i
A

& # #
E
3 i i

# #

C m
Bj j . A B G m

# ## BU BD BU
E
B
& # 12 9 9 12 9 9 (14 ) ( ) (14 ) 12 9 12 9 12 9 7 9 7 9 7
12 12 5 7 5 7 5 2

5 4 5 4 2 0
G
D
A
E
6 i p i p pBU BD BU i i i i i i i i i i
E 12 9 12 9
B 9 9 12 (14 ) ( 12 ) (14 ) 12 9 12 9 12 9 7 9 7 9 7 5 7 5 7 5 2 5 4 5 4 2 0
G
Example 2 - Mark Knopfler Style Part 2
D
ExAMPlE 2 Mark knopfler Style part 2 TRACK 4

A

This
E

#4
6 example focuses
second i on pKnopflers
i later
p work
p and combines a medium
i i i provides
i
A5/E
j
plentyi of dynamic and tonal
i
j
E5
i nuances. Thei trick ~~
i to playingi this style of
A5/E
j
E5
~~
.
Drum break

overdrive with the same fingerstyle technique as example 1. Using the fingers
& 4

riff is to combine the rhythm and lead aspects into one seamlessj phrase.

Example 2 - Mark Knopfler Style Part 2 J
Drum break
A5/E E5
j ~~ A5/E E5
~~
#4 j j
Bridge pickup w/ith overdrive

. ~~ ~~
jBU
and mid boost
E
B
& 4 J
2 (4 )

G 2 4 4 2 4 4
D 2 2 2 2 2 2
A Bridge pickup w/ith overdrive
E

E
m
i
1
and mid boost
m
i
m
i
~~ ~~ i BU
B
G 2 4 4 2 4 4 2 (4 )
D 2 G5 A5 2 2 2 E5 2 2 A 5/E E5

# j j

A

mi i
E
j
&
m 1 m

i i

G5 A5 E5 A 5/E E5

# j j
E &
jBU


B 5 3 0
G
D
A
2 ( 4) 2 0
2 0 0
0
2
2 2
2 2
4 4 2 4 4
2 2 2
E 3 0 X X
3 m iBU p m p p p m
E i i
B 5 3 0
G 2 ( 4) 2 0 0 2 2 4 4 2 4 4
D 2 0 0 2 2 2 2 2 2
A
E 3 0 X X
3 m i p m p p p m
i i

16 GuitarTechniques April 2015


Play lead with your fingers!
2 xxxxxxxxxx

ExAMPlE 2 Mark knopfler Style part 2 ...CONTINUED TRACK 4

~~
D5 E5
#
2 xxxxxxxxxx
j
&
j

J
2 xxxxxxxxxx

~~
~~
D5 E5
# 5 3 0 4 2 0
& 5 0 3
BU
E
j
2 (4) j
J 2 0 05 2 2
B

D
G
D

~~
E25
#
A 0 2
E
i i i ~~ m i p j pi
&
6 ij i i
BU
E
B 5 0 3
J 5 3 0

p
p
ExAMPlE 3 Jeff Beck Style
' '
Example
G 3 - Jeff Beck Style 2 (4 ) 4 2 0 TRACK 4

2
D 2 0 0 2 2
~~
Jeff Beck A mto great effect. This
A is another iconic guitarist who uses fingerstyle thescoops
hitting motion will momentarily raise
0 the2guitars pitch.
2 The rest of the

4
E BU

j
exampleE 6combines down picks of
i the thumb with use of the
i whammy bar -ma example i combines scoopsp of the whammy bari with legato.
i Jeff is a master
&4
i i i

.
real JeffB Beck trademark. The 5 first
0 phrase
3 is augmented by hitting the back 5of 3 of
0 improvised phrasing so once you have
p the pmain techniques
p under your


G 2 (4 ) 4 so to
2 speak,
0 branch out and create some of your own.
the vibrato unit with your hand. This will only work on a floating system, as fingers,
0
D 2 0 0 2 2


' '
A
Example 3 - Jeff Beck Style 2 2

and mid boost


E

2
6 Bridge pickup w/ith overdrive strike bridge
i i i Am i m i p i i i

' '.
scoops

4 scoops p p p
E
B
& 43 - Jeff Beck Style j

0 3 5 3 strike ' '
Example
G

Bridge pickup 2 w/ith overdrive A


D
A m 3scoops
3

4
E 5 3 0
j
1 bridge

&4
p i p

' '. scoop


and mid boost

'

' ' ' ' '
scoops
scoop
E


B
scoops scoop
G
D
3 0#
G


D Bridge pickup w/ith overdrive

&
strike bridge

j 5 i scoops J
' ' scoop
A and mid boost 3 3 3

b
E 0 3 5
E
1
p p

scoops ' '


B

' 'bridge
' strike ' '
G

# ' '
D scoop
A G D 3 3 3 scoop


'scoops' ' b j 0 5 7 scoop
E 0 3 5 scoop 5 3 0 scoop scoop
scoops

& ' J'


1
p i p

'
E

5') (5')
0 3 5 5' (strike

B 8 5 7 5 8 5
G 7 5 7 5 7 5
D scoop scoop
G D3
#
' ' J'
A 3 5 7 5 6 5

p scoop
E

& j
3 p i bridge i p p p

' ' ' ' ~~~~~


scoop scoop

b
'
scoops

scoop
. ' scoop
E
B G 8 scoop
5 D7 5 8 5

0p 5 7 8p' ' '


G 0 5 7
scoop 7 5w/bar 7 5 7 5
#
3

0 3 5 scoops
D

strike bridge
( )

37 5 6 5

doop Gargle

' ' ' i


A 5 ( 5 ) 5 3 5 3 scoop scoop
E
E 3 & p i
# p p

' ~~~~~
B 5 7 5 8 5

'
7 5 7 5 7 5

# '
G

. '
D
G scoop D

'
A scoop 5 ( 5 ) (5 ) 3 5 7 5 6 5 3 w/bar
scoop 3 scoop w/bar

E 0 3 5 scoop

#
3 doop
doop scoop Gargle
Gargle

p i i 3 p p p p
E
B
&
'
7 5
5
' ~~~~~
. '
G 7 5 5 scoop 7 [ 7]
D scoop 7 5 G 7 5 4 D
w/bar

& '
scoop
#
A 3 7 5 3

' # ' ~~~~~
E doop Gargle

3

6 p p p p p p p w/bar
scoop scoop


doop scoop

Gargle

'
E
B
Example 7 Clapton
4 - Eric 5

7 Style
5

# # # 4'
1/4

n '
G 5 5 7 [ 7]
n
'
2
D 7 5 7 5 4

j ~~~~~
D9
A scoopshuffle 7 5 3
j j j
scoop
n w/bar


E doop scoop Gargle
6

& 4
E p p p p p p p
B 7 5

5

''
G 7 5 5 7 [ 7]
ExAMPlE 4 eric clapton Style
D 7 5 7 5 4 TRACK 4

Example 4 - Eric Clapton Style
A 7 5 3
3 3 3 1/4


Eric is
aEfamed for using a pick, but forw/fingers BridgeBaby
songs like Reconsider and middle pickup
he prefers playing across the strings and with string skipping. Also
1/4 you can get under the
6

### 4
p shuffle
the fingerstyle approach. 2
D9with light overdrive
You may find the dexterity of fingers can help with p p p p p p
n n
strings for super attack and this sounds very different to the tone of a pick.
5 5 5 5 n
j
BU j
BU j BD
BU j BU

& 4 - Eric
4 Clapton Style '
E 5 8 5
B
Example 5 8 5 1/4 8 5
G 7 (9 ) ( 9) (9) (7 ) 5
7 7 7 ( 9)
D
shuffle 2 D9 3
n
n '
### 4
A 3 3


j p Bridge j jp j
n i
E and middle pickup
w/fingers 1/4
1
withi light

overdrive

& 4
i p i i
BU BU BU BD BU
E 5 8 5

with light overdrive '


B 5
3 5 5
3 3 5 5 8 5 8 5
G 7 (middle
7 ( 9 )Bridge and 9) 7 (9) (7 )
pickup 5 7 ( 9)
D w/fingers 1/4
A
E BU BU BU BD BU
1 p i i p i i p i
E 5 8 5
B 5 5 5 5 5 8 5 8 5
G 7 (9 ) 7 ( 9) 7 (9) (7 ) 5 7 ( 9)
D
A
E
1 p i i p i i p i

April 2015 GuitarTechniques 17


play: fingerstyle ON THE CD TraCk 4-7

ExAMPlE
3 4 eric clapton Style ...CONTINUED TRACK 4

'
1/4

n ' ~~ b j n n j
A9

# #
1/4 j j ~~ j
j n n J

& # J

3 J
'
3 3 3 3

' ~~ '
1/4
BU 1/4
~~ 1/4 BU

# # # j n '
E 5 5 7 6 5 8 5 5
j ~~ j n
A9 5

n ~~ j
n j
B 10 8
8 5 8 5 8 5 5 8
7 (9 ) 5 1/4
j7 5 7 b 7 (9 )
n 7
5

G 9

J J
D

&
A

J
E
3 m i p

''
3 3 3 3

' ~~
1/4

~~
10 8 n j 5 n 7 j5 8 ~~~ 5
E9 D9 A9 E9

# # 5
BU 1/4
1/4 BU
j 3

& # J(9) 5 5 n (9 ) 5
E 8 5
8

5 6

J 5 8 5 8
B
G 7 7 5 7 5
9 7
D 7
A
E 3 3

'
3 m i p
BU BU 1/4

'
E 5

~~~
n j n 7j
B E59 5 8 5 5
~~~
D9 A9 E9

# #
1/4
G 7 (9 ) 7 ( 9) 7 5 7 5 7 3 5
j
& # J n
D 7
A
E
6

J 7

3 3

8jG5b7 BU ' / ' TRACK 4


Example 5 - Freddie King Style

5
BU / 14
ExAMPlE
E freddie 2
shuffle kinG Style
to( 9ab) 7 to5pluck
5
5

Freddie King is a bblues ofb Freddies
~~~ guitar
14

b b band 4 guitarists, mostnotably Mr Clapton. Freddie used would be sharper


B 5 5 5

b b rock because 7 of the pick, a lotwhile


G guitar master and his ( 9 )was hugely influential
style 7 7 the strings
5 7almost exclusively.
7 But the tone
whole host& 4
D 7
A of blues of his tonal
7 bite was courtesy of
E

Bridge
a metal thumb pick to augment his tone and used the thumb and first finger
6 snappy first finger plucking as used here. 3

'
w/fingers and middle pickup PB PB
with light overdrive 14 14
1/4 BD BD

'
Example 5 - Freddie King Style
b (16 ) (14 ) (16 ) (14 ) 12
shuffle
E 167
14 G 12 14

2 b
B
j 14 11 14

b b
G 1/4

& b b b b b 44 i
D
A
E
14 '
1 i i i i i i i

'
3

() D b7 /' '
A b7 1/4
Bridge and middle pickup

'
b BD
w/fingers PB PB 1/4


with light overdrive 14
~~~ j
(16 ) (14) (16 ) (14 ) 12
14 1/4 BD
bbb b b
1/4

J 14
3

b 14 16 12

14
E

& b 14 11
B
G
D

' ''
A 3

b '
E

'
1 i i i i i i i i
~~~
1/4 1/4

'
1/4

'
BU
b
1/4

()
'
b
1/4
D127 A 7 1/4

9
E 9 9 12 9

~~~
B 14 14 12 9 9 12
j
1/4

b
8 1/4 11 ( 13 )
b b
G 11

J
3

& b b bb
D
A
E
3 p i i i

' . '
3
G b7 D b7
' '
j b
~~~
b ~~/'
b 1/4 /A 7

14

9 b 9 b 12 9
/ 14
j BU j / 14

b
14

& b bbbb 9

E 12
B 14 14 12 9 9 12
G 11 8 (13 ) 11
D
A 3 3 3 3 3

'
E
3 p i i i
BU
~~ BU 9 1/4

b '
.
BU
G b7 12j (14 ) D b7 A b7
11 9
b 11~~ j (13 ) j(13 ) 11 b 9
E 12 9
B b 9 9 9 12 9 9 1/4
G

b
11 11

11 9

& b bbbb 11
D 11
A
E
6 p i i i m
3 3 3 3 3

E
B
BU
12 (14 ) 12 9
9 9
~~ BU
9
9
12 9
BU
9
'
1/4

G 11 9 11 ( 13 ) 11 (13 ) 11 9 11 9
D 11 11
A 11
E
6 p i i i m

18 GuitarTechniques April 2015


Play lead with your fingers!

ExAMPlE 6 WeS MontGoMery TRACK 5


Wes hadGUITAR
a unique approach to MAGAZINE
TECHNIQUES playing the guitar
2 4 1 and the results he achieved octaves. Brush the strings with the flesh off your thumb, and use fretting hand
Jon hand
were simply mind blowing. Wes used the thumb of his picking Bishop's
almostLEAD WITH
mutingFINGERS
to keep the octaves clean. Play the eighth notes with down strums,
exclusively to pluck the notes. This example showcases hisExx 6 - 10 use of
trademark and the fast passages with a combination of down and up strums.
Example 6 - Wes Montgomery

j
Am

j b
j

LEAD WITH FINGERS
Latin
GUITAR TECHNIQUES MAGAZINE 2 4 1

4 6 - 10
Count in Jon Bishop's
b
& 4 6 - Wes Montgomery
Example
Exx
Latin j F Strum with thumb
Am j b
j

tone control on 4
8 10 8
Neck pickup with

4 10 8 12 10
Count in
b
E
B &4 10 11
10 8
G 9 5 9 7 8 7 5 7 5

F
D 7 7 5
A Neck pickup7 with Strum with thumb
E
1 tone control on 4
p p p p
E 8 10 12 11 10 8 10 8


B 10 10 8
G

7
9
7
5
#
j7 9

j 8
#
7j 5
5 7
7 5

D

p
A

& p p p # #
E

J
1

J j j j
#

15
#

& 10 10 10 #11 12 15
11 12
#11
J
12
J7
E
B 10
G 8 9 12 8 9 12 8 9
D 7 7 7
A
E
4
E 11 12 15 11 12 15 11 12
B 10 10 10 10
7 7
j
G 8 9 12 8 9 12 8 9


D 7 7

b
A

&
E
4

J J b

12 12 X 10
j
&
10 X 8 8 X bb
J 7 7 5 7 5
E
13 12
J 5 5 X 10
B
G 9 9 X 14 7 X 12 9 8
D 10 9 7
A 12 10 7 6 5 3 5 3
E
7
E 12 12 X 10 10 X 8 8 X
B 13 12 10
Example 7 - Joe Pass
G 9 9 X 14 7 7 X 12 5 5 X 9 8 7 5 7 5
ExAMPlE 7 Joe paSS
D 10 9 7 TRACK 5
A
2
12 C maj7
j
B maj7 C maj710
be
A m9 7
D7sus4 6 G56 3 5 3

should befairly obvious




Passwas
E an incredibleSwing
guitarist, both with and without the pick. This example changed and substituted Dm7in many ways and Pass was a master of this. It

4 #
7

# #
uses a I-VIm-IIm-V progression in the key of C (C-Am-Dm-G). These chords can which fingers to use when you give this one a go.
& 47 - Joe Pass
Example

G
Swing 2 With fingers CF
Drum break
j
maj7 B maj7 C maj7 A m9 D7sus4 6
3 3
Neck pickup with Dm7

4 #
5 # # 4 5
tone control on 4
7
E
&4
45 34 45 5
5
85 6 3 5 3 5

B
G 5 5
Drum break
With fingers F
D 5 7 7
A 3 Neck2pickup 3with 5
E
tone control on 4 3
1 a a i
E m 7 5 m p 3 3
B 5i 4 5 5 8i 6 3 5 3 5
G p
4 3 4 5 p
5 5
5 Eb 9 E b 13
b . .
D 5 4 5 5 7 6 76 6
Cmaj7
b a D m7
..
G
ab
B9 C9

# #n
A 3 2 3

m b
E 3
mi # J i
1 i

& j #
p
p p b
Eb E b 13
.. b b . .
6 6 6

b
3 3

Cmaj7 D m7 G 9 B9 C9

# J 11 # #n 8 8 b
E
B & j 10 9 8 7 8 12 10
10 13 12 11 # 77 8 8 b1312 13
G
3 9 10
3 10 6 7 7 12
D 10 11 12 10 6 7 7 11 11
A 3
E 11 11
3 a
E 10 9 8 7 12 10 m
11 7 8 8
B 8 10 13 12 i
11 7 8 8 13 13
G 9 10 p
10 6 7 7 12 12
D 10 11 12 10 6 7 7 11 11
A 3
E 11 11
3 a
m
i
p
April 2015 GuitarTechniques 19
play: fingerstyle ON THE CD TraCk 4-7

ExAMPlE 7 Joe paSS ...CONTINUED


2 xxxxxxxxxx TRACK 5

D b 13
. . b j
D7 Cm C Am7 Dm 7 G6

#
2 xxxxxxxxxx n b b n

& bb b
b G6
. . n b
# j
D7 D 13 Cm C Am7 Dm 7

b b n 3
E
& 13 b1011 8
8 5 b 65 3 5
13 11
b 55
3 5
B
G 11 11 10 9
D 10 10 9 9
A 6 5
E 10 10 9 9 8 6 5 5 3
6
i m p p i
E p 8 m 3
B 13 13 11 11 a
5 6 3 5 3 5
811 11 Style 10 10 8 9 5 5
G
Example - Brian May

~~~ 5 3 ~~~
D 10 10 9 9 5
ExAMPlE 8 Brian May

A 6 5 TRACK 5
E 10 Cmaj9
# 4 ww
10 9 9 Pluck8 over Fretboard E m 6 5j
j .
p withi the flesh of the first finger over thejfretboard.
j
Brian has used this
ww J
Brian May6 is famed for his use of a silversixpence for a pick
with first
i but he also used
finger m p string

& 4 w May Style


p
the first finger of the picking hand for a mellower lead tone. Try brushing the m

techniquea on many tracks including the outro solo of Bohemian Rhapsody.
w
Example 8 - Brian ww
EF ~~~
j PB8 j RP~~~
3 3

RP
j PB j .
Cmaj9 Bridge pickup
Pluck overw/overdrive
Fretboard m

# 10
(12J ) (12 )~~~ 10 8 7 8 ( 10) (10~~~
& 44 www3 ww
& delay
with first finger

w42 ww
E
B ) 8 7 8 8
G

F
D
3 3
A 3 Bridge pickup w/overdrive

~~~ ~~~
E & delay PB PB
1 RP 8 RP
10
i i i i i
E
B 3 (12 ) (12 ) 10 8 7 8 8 ( 10) 8 (10 ) 8 7

~~~ #
G 4

~~~~ j j
D D 2 Em
A
# . 3
j i
J

J . i
E

&
1 i i i

~~~ #
3 3 3


3
j j
~~~~
D Em

# . BU
j
10J 7 10 7 7
~~~~ ~~~ 7 9
PB

E
& . J
10 RP

B 7 7 (12 ) (12 )
G
D
9 39 ( 11 ) 3 9 9 7
3 9
3
A

~~~~ ~~~
E PB
5 10 RP
BU
E 7 9

. j ~~~
B 7 7 10 7 10 7 7 (12 ) (12 )

. #
( 11 ) D
j 9 9 7

G 9 9

~~~
9
#
D
A
# j

J
E

&
5

. j ~~~ . #
3 D 3
j
# # PB
~~~
~~~ j BD
BU BU ~~~ 7 9
9
BD
BUJ
E
B & 9 (10 ) 9 7 10 ( 12 ) (10 ) ( 9) 7
10 7
G
3 3 9 ( 11 ) ( 9) 7
D 9 7
A PB 9 7 5
E

E
8 BU
9 (10 ) 9 7
BU
10 ( 12 )
~~~ 7 9
9

(10 )
BD
( 9) 7
~~~ BU BD

B 10 7
G 9 ( 11 ) ( 9) 7
D 9 7
A 9 7 5
E
8

ExAMPlE
3 9 ritchie kotzen TRACK 5
Richie Kotzen is a great hybrid picker and used to combine the fingers and a fingerstyle approach for most occasions. This example is augmented with
plectrum to great effect. Nowadays Ritchie seems to have gone for the full wah-wah and is fairly easy to play, but it cashes in on the tone of the fingers.
Example 9 - Ritchie Kotzen

~~~ E5 jF5
#
. D5 j D5

n .


### 6

& 8
With fingers Bridge pickup w/overdrive
3
~~~
& Wah Wah
BU
E 9 12 9 14 12 17 14
B 12 ( 14 ) 12 10 9 10 12 9 10
G 11 9 9 11 9 11
D 11 11 9 10 9 7
A 9
E
1

3 ~~~ j
() ~~~
E5 D5 E5
20 GuitarTechniques April 2015
j
### ~~~ n j # ~~~
.
~~~ E5 jF5
#
. D5 j D5

n .


### 6

& 8
With fingers
Bridge pickup w/overdrive Play3 lead with your fingers!
~~~
& Wah Wah
BU
E 9 12 9 14 12 17 14
B 12 ( 14 ) 12 10 9 10 12 9 10
ExAMPlE 9 ritchie kotzen ...CONTINUED
G
D
11 9
11
9 11 9
11 9 10 9 7
11 TRACK 5
A 9
E
1

3 ~~~ D5 j
() ~~~
E5 E5


j
### ~~~ n j # ~~~
& .
3 Hold

E 16
~~~ ~~~ ~~~ BU BD BU bend
12
RP
BD
14 16 12
~~~
B 17 (
12 14 ) ( ) (
12 14 ) ( 14 (12 ) 10
) 12
G 16 14 13 14 12 13
D 14 14 14
A 14 12 11 14 12 11
E
4

# #
F #5

j
'
1/4

j
6

& #
j j j


BU BU
'
1/4

BU BU BU
E 2 2 5 2 2
B 2 2 5 (7 ) 2 2 2 5 2 2
G 4 ( 6) 4 (6) 4 (6 ) 4 2 4 ( 6) 2
D 2 4 2
A 4 2 0
E
7

ExAMPlE 10 GeorGe BenSon TRACK 5


George Benson is another player who is incredible both with and without some typical lead lines. The lead lines combine the F# minor, C# minor and B
4 xxxxxxxxxx
the pick. This example showcases some classic, Benson style chords and then minor Pentatonic scales.

Example 10 - George Benson Style

b
#4
Latin E m9


b b n n
& 4 . J
J J n J J J
Strum with thumb F Neck pickup with
tone control on 4
E 14 17 19 18 17 14 12
B 12 15 17 16 15 12
G 12 14 16 15 14 12
D 12 14 16 15 14 12
A
E
1 p p p p p p

# #
# ....
Bm 7 Em7

#
& . J
With fingers

E 10 9 12 9 12 9 9
B 10 10 10 7 10 10 10 12 9 12
G 12 12 9 9 7 7 11 11
D 12 12 9 9
A
E
3

# # # n
B m7


& J b j

E
B 9 9 10 7 10 7 7 8 7
G 9 9 7 7 7 9 10 9 7 9 7
D 11 9 8 7
A 10 9
E
6 m i m i p m i p p

April 2015 GuitarTechniques 21


play: fingerstyle ON THE CD TraCk 4-7

ExAMPlE 11 final JaM TRACK 6


[General] For the final jam we have chosen a 12-bar blues in A as a familiar the start of the backing track. The key signature is 12/8, which means there
canvas to try out some of our fingerstyle lead ideas. The tone and dexterity of are 12 quavers and these are grouped in four lots of three (3+3+3+3). This key
the fingers
GUITARis great for electricMAGAZINE
TECHNIQUES blues playing
2 4- 1you might become addicted! signature often makes the notation look more complex than it is, so have a
LEAD
[Bars 1 -14] There is a long two-bar count in to give you time WITH
to get FINGERS
ready for good listen to the demonstration solo before diving in.
JAM

~~ ~~~
A7
j j
# # # 12 . .
j
J
.
& 8
With fingers Neck and middle pickup
E
with light overdrive
BU BD BU ~~ 10 12
BU ~~~
B 10 12 12 ( 14 ) (12 ) (14 ) 12 (14 ) 10
G 9 11
D
A
E
1


j ~~~ ~~~
. n
D7 A7
j j
### n j
& J

E
BU ~~~ BU BD BU ~~~ 17
BU
B 13 (15 ) 13 10 10 10 12 (14 ) (12 ) (14 ) 12 ( 13 ) 12 10
G 11 9 11 11
D
A
E
4

~~~~ . ' '


/ 14

n n . .
/ 14
j j j j

D7
j
# # . n n
J J J
& # J J

E
~~~~ BU BU BU BU BU
10 12
1/4
' '
1/4

B 10 10 12 (14 ) 13 (15 ) 13 (15 ) 13 ( 15 ) 13 ( 15 ) 13 13 10 10 13


G 11
D
A
E
6

j '
1/4

~~
' '
n
A7
1/4 1/4

### n
j
n # n
j
&

BU '
1/4
~~ ' '
1/4 1/4
BU
E 17 8 8 5
B 13 ( 15 ) 13 10 10 7 10 10 7 5 5
G 11 9 7 5 5 6 7 (9)
D 7 7 5
A
E
8

n . b n j j n '
~~ n j j /'
j
n
E7
j j j
### n 14 / 14

& J
3

E
B
BU
8 ( 10 ) 8
~~
5
8 5
BU

5
5
8 5
BU BD
'
1/4
5 7 5 7 5 7 6 5
8 5
8 5
8 5
BU

5
5
8 5
BU
'
1/4

G 7 ( 9) 7 ( 9) ( 7 ) 5 7 (9 ) 7 ( 9) 7 5
D
A
E
10

22 GuitarTechniques April 2015


Play lead with your fingers!

ExAMPlE 11 final JaM ...CONTINUED TRACK 6


The first chorus uses a mixture of BB King and Eric Clapton style phrases, all [Bars 15 to end] In the second chorus the intensity builds, so really dig in with
played with the fingers. We havent notated the exact fingers to use for the the fingers. Getting under the strings makes them pop a little and this sounds
picking, as this solo was improvised and the main focus was on choosing the particularly effective on the low strings. As ever, branch off and create your
2 xxxxxxxxxx
melody. So experiment and take note of the sound the various fingers make. own solo once you have digested some of these licks and phrases.

D7 j .~~
A7
.
j D7
n '
1/4

# #
n
j
& # .

E
BU
8 (10 ) 8 5 5 8 5 5
~~ BU
5
BU
8 (10 ) 8
'
1/4

5
B 5 5 5 5
G 7 ( 9)
D
A
E
12

n
A7 E7
j A7 j j j j
n ~~ n j
### .

~~~
& n . . J J .

E 5 8 5
~~ BU BD ~~~ BU
10 (12 )
BU BU
10 ( 12 ) 10 (12 ) 10
BU BU
8 10 (12 ) 10 (12 )
B 8 5
G 7 ( 9) (7) 5
D
A 7
E
14

j ~~~ n
~~~ . . . .
j
j j A7 n
D7
n
j . .
# # J
& #

BU BU
~~~ BU BU ~~ BU
E 10 (12 ) 8 ( 10 ) 8 10 ( 12 ) 10 10 ( 12 ) 12 (15 )
B 10 13
G
D
A
E
16

n .
D7
~~
j j ~~ n
j
~~
###
J
& .

BU BU BD ~~ BU BD ~~ ~~
E 12 10 10 12 17 17
B 13 10 10 12 (13 ) 12 (13 ) (12 ) 10 12 (13 ) ( 12 ) 10 10 10
G 11 11
D
A
E
18

# #
j

n
j

n n .
j j '
/
A7
'
/ n
j 14 14

n .
j j
& #

E
B
BU

5
5
5
BU
8 (10 ) 8 5
8 5
BU

5
5
8 5
BU
'
1/4
'
1/4
BU
8 (10 )
G 7 (9 ) 7 ( 9) 7 (9 ) 7 5 5 5 5 7 5 7 5 7 5
D 7 7
A
E
20

April 2015 GuitarTechniques 23


play: fingerstyle ON THE CD TraCk 4-7

3
ExAMPlE 11 final JaM ...CONTINUED TRACK 6

~~ '
1/4
1/4

# # # n n j n ~~. b n n j
E7
j j j j

& n . n
n .
'
3 3
3

~~
1/4

~~
3
BU BU
E 8 5 5 5 7 5 7 5 7 5 7 6 5 8 5 5
B 8 5 5 8 5 8 5 5 8 5
G 7 ( 9) 5 7 (9 ) 7 5
D 7 5
A 7 5 3
E
22


D7
j j j j j j j
### n
& J J J

BU BU BU BU BU BU BU BD
E
B 13 (15 ) 13 ( 15 ) 13 ( 15 ) 13 (15 ) 13 (15 ) 13 ( 15 ) 13 (15 ) (13 ) 10
G 11
D
A
E
24

~~
A7
n
' 1/4
D7 ~~
j n j n
A7 E7

### J j n j ~~~ n
& J .
3

E
~~ '
1/4

10 12
BU BD
15
~~
12
BU BD ~~~
B 10 13 12 ( 13 ) (12 ) 10 15 13 15 (17 ) (15 ) 13
G 14 12 9 7 9 5 7 5 5 7 9 12
D
A 7
E
25

A7

### n b n j n
&

n .
3

BU BD BU BD
E
B
G 7 ( 8 ) (7 ) 5 7 (8 ) ( 7) 5 5
D 7 7 5
A 7 5 3
E
27

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24 GuitarTechniques April 2015


Play: ROCK ON THE CD TRACKs 8-11

The Who / Mr Big


Baba ORiley This cracking track, originally from The Whos lost rock opera Lifehouse and
also featuring on the bands epic album Whos Next, was then brilliantly
covered by Mr Big. Steve Allsworth performs the ultimate mash-up.

ABILITY RATING minimalist classical composer) that helped such as wont Get Fooled again, Bargain,
form the title Baba ORiley (often called Behind Blue eyes and Going Mobile, but also
Moderate Teenage wasteland), which became the sees him and his fellow bandmates, singer
opening track to the album Whos Next (1971). Roger Daltrey, bassist John entwistle and
Info WIll IMprove your Indian influences can be heard in homage to drummer Keith Moon deliver some of their
Key: F Stylistic range Baba in the songs outro violin solo (an idea of finest recorded performances.
Tempo: 116bpm Classic rock feel Keith Moon, apparently), which is played live Baba ORiley itself was derived from a
CD: TRACKS 8-11 Compositional flair as a harmonica solo by Roger Daltrey. nine-minute demo which the band helped to
The modal synth intro was inspired by rearrange. it was to be sung at the beginning
BaBa ORiley was originally planned as Terry Rileys minimalist composition style, of lifehouse by Ray, the scottish farmer, as he
part of a follow-up to Tommy, the 1969 rock and is one of the tracks most iconic features. gathers his wife and two children to embark
opera about a deaf, dumb and blind boy who The hypnotic marimba repeat pattern from on their exodus to london. The guitar work
develops an almost supernatural ability to the lowrey Berkshire Deluxe analogue synth on the original is minimal, so your task is to
play pinball, and eventually rises as a post sound is hugely modern-sounding. get the right tone and keep to Petes guitar
world war ii messiah. Pete Townshend part as closely as possible.
originally came up with the concept for Baba ORiley was named Mr Bigs cover of Baba ORiley offers a
Tommy after listening to the teachings of after two people who rockier, more guitar and bass-heavy
indian spiritual master Meher Baba. it was
this name, combined with another of
influenced Townshend: arrangement that can be useful if you dont
have the luxury of a keyboard player. ive
Townshends influences Terry Riley (a Indian spiritual master based this transcription on the version from
Meher Baba, and classical their Back To Budokan tour in 2009. The
TeChnique FoCus minimalist Terry Riley.
guitars are tuned down to eb, although their
Modal interchange also ahead of its time was Townshends
early versions were in e so ive kept it at
concert pitch for the GT version. apart from
The slightly folky/Indian influence towards the ultimately failed rock opera lighthouse. The the open-string tapping lick, its easy enough
back end of this song is largely due to the Eb chord.
convoluted storyline was part of its downfall, to transpose up a semitone if you want to play
This simple but effective idea creates a completely
different sound/colour and even hints at the Eb but the project was also plagued by along with the who original.
notes used for the F Mixolydian scale used in the technological issues. Townshend wanted the
violin solo. Its borrowed from the parallel tonality band to be accompanied by sequencer-driven
of F minor. If we look at the chords side by side, synths that would follow along with the music, Get the tone
youll be able to see the subtle differences: but unfortunately this technology didnt exist
I IIm IIIm IV V VIm VIIdim
for another 20 years. in the end the band
F major: F Gm Am Bb C Dm Edim played along to pre-recorded backing tracks 6 6 7 7 2
F minor: Fm Gdim Ab Bbm Cm Db Eb on Baba ORiley and wont Get Fooled again.
GAin BASS Middle TReBle ReveRB
Im IIdim bIII IVm Vm bVI bVII Regarding whos Next: although Pete
Petes tone is raw amp crunch, so shouldnt
The use of the bVII chord is really common (as is the Townshend was responsible for penning The
be difficult to dial in - he was using a
IVm) but any of the minor key chords could be used whos greatest hits such as My Generation,
as a substitute. This is only the tip of the iceberg, Gretsch 6120 and Fender Bandmaster amp
im a Boy, Pictures Of lily and i Can see For
however; if you really want to explore this further, at this time (cranked wide open!). Aim for
MICHAEL PUTLAND / RETNA / PHOTOSHOT

Miles, plus full-scale rock operas such as


parallel modes can also be used (instead of the crunchy drive rather than saturated
Tommy and Quadrophenia, his finest work is distortion, and use your guitars bridge
parallel minor), throwing up even more weird and
wonderful chords that can be borrowed. arguably best represented on this album. its pickup (humbucker if possible).
full to the brim with some of his greatest songs

TRACK RECORD Most of The Whos albums are excellent, particularly Whos Next (1971) from which Baba ORiley comes. Live At
Leeds (1970) is regarded by some as the best live rock album of all time and features the band at the peak of its powers. A good
compilation is always worth having, and a great one to check out is Whos Better Whos Best: Very Best Of The Who (1988).

26 GuitarTechniques April 2015


The Who BaBa oRiley

Pete Townshend
with one of his
numbered Les
Paul Deluxes

April 2015 GuitarTechniques 27


Play: ROCK ON THE CD TRACKs 8-11

PLAYInG tIPS CD TRACK 8

[Bars 1-8] The original versions synth intro lasts for a whopping 41 bars, chords based around a straightforward I-V-IV progression. The major 3rd
so Ive scaled it back here - you can extend it as you see fit. The feel of the in the C and Bb chords is more of a happy accident due to the barred third
shorter intro is 4/4, although its represented better as 2/4 in light of the finger, so youll notice some variation throughout. Watch out for your timing
original that has many cut bars of only two beats. (and form) on the C chords at the end of this section (the insistent synth on
[Bars 9-40] This is a really simple piano arrangement (should your fingers the backing track should help keep you in time).
get itchy to play). Ive left the piano on the backing as per the original [Bars 55-62] Pete sings this plaintive interlude section. Dont worry if you
version, but this will help with the slow and organic intro. get lost with the slightly confusing synth line, as theres a nice long drum fill
[BarsGUITAR TECHNIQUES
41-54] After MAGAZINE
Roger Daltreys 2 4 comes
verse, Pete 1 in with Steve Allworth's to bring you back in again for the next verse.
these powerful
BABA O'REILLY

8
THEME

.
b
..
b
..
b
4 .. ..
INTRO F C B F C B F C B

2 ww .. . ww .. . ww ..
Play 4 times Play 3 times

&b4 4 . ww . ww . ww
Synth
(orig. for 41 bars)
0:12

8
E
B . 10 . 10 . 1010 .
G
D
A
. 10
10
8
9
10
10
7
8
8
. 10
10
8
9
10
10
7
8
8
. 108 9
10
10
7
8
8
.
E 8 6 8 6 8 6
9, 11, 13, 15 17 19, 21, 23

b b b b
..
VERSE F C B F5 C B F5 C B F5 C5 B 5

ww ww ww j
& b .. .. .. j
Play 8 times

w w w ww
w .. w w w
0:45 (Bass enters)
1:18

E
B . 10 . 5 3 5 5 3
G
D
A
. 10
10
8
9
10
10
7
8
8
. 3
5
5
3
3
3
1 3
5
5
3
5
5
3
5
5
3
3
3
1 3
5
3
5
5
3
3
3
1
E 8 6 1 1 1
25, 27, 29, 31, 41
33, 35, 37, 39

F5 C B 5 b F5 C5 B 5 b C C/G

j j ww ww
&b j ww j ww w w ww ww
w w w w ww ww

E
B 5 5 5
G 5 3 5 3 5 5 5
D 5 5 3 X 5 3 5 5 5
A 3 3 3 1 3 X 3 1 3 3 3
E 1 1 3
47
INTERLUDE VERSE 1, 2, 3 4
N.C.
7 F5 C5 B 5 b B 5 b
j 3 F5 C

B b
.. .. .. ww
&b
..
ww ww
w .
1:47

7
2:04

E
B . . 5 3
G
D
A
. 3
5
5
3
3
3
1
. 3
3
1 3 3 3 3
5
3
5
5
3
3
3
1
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28 GuitarTechniques
SOLO April 2015
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1:47

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Baba
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1971
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Fabulous Music Ltd. Reproduced by kind permission of
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The Who BaBa oRiley
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Fabulous Music Ltd. All Rights Reserved. International Copyright Secured.
E 1 1 1 1 1
55 63, 65, 67. 69 70

F5 C B b F5 C B b F5 C5 b
B 5

b tIPS
PLAYInG ww ww ww CD TRACK 8
& w major chords
w
AsSince
[Bars 63-78] withtheprevious
verse,w there are some extra
barre to its of the major
w 3rdin the key of F,
is F MajorandF major
Pentatonic.w Just be aware
of thethird string. It is tempting to revert to
rhythms
watch out for. these are basic power chords and major chords, at the 14th fret
worth putting your energy into striking the chord cleanly and hard, without the trusty F minor shape, since it falls under the fingers rather easily, but it
squeezing the strings sharp. This unfortunate by-product is easy to do if you just wont sound very good.
E have an aggressive picking hand, since the fretting hand often follows suit [Bars 87-90] Pete alters the rhythmic feel of the three chords slightly
5
B (Townshends tuning was always 3
impeccable, even when using notoriously 5 5towards 3the outro section. Although 8th notes would suggest alternate
G 5 C and 3Bb chords in particular. 5 5 5strumming, 5
3 he probably played them using downstrokes 3 for a more effective
D flappy-necked SGs). Watch
5 5
the 3 5 5 5 3 5 5 3
A [Bars 79-86]
3 The only logical
3 3 scale choice
1 for soloing over3three diatonic 3 3 3string mute.
1 Notice the V chord 3 at the end3of each
3 two-bar
1 cycle.
E 1 1 1
73
F C B b F C B b

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. . . j
.
SOLO
b

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2:37
3
BU BU BU BU BU BU
E 13 13 13 15 13 15 (17 ) 13 13
B 13 13 15 15 15 15 13 15 13 15 13
G
2 xxxxxxxxxx 15 ( 17 ) 15 (17 ) 15 ( 17 ) 15 ( 17 ) 15 (17 ) 15 (17 )
D
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79
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F5 C5 B 5 C5 F5 C5 B 5 F5 C5
j j

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3

BD BU BU BU BU
E
B
G (17 ) (15 ) 15 ( 17 ) 15 ( 17 ) 15 (17 ) 15 (17 ) 15 14 15 15 14 5
D 15 15 15 3 X 3 X 3 5
A 15 13 3 X 3 X 3 3
E 1 X 1 X 1
83


OUTRO
b b b
j j j j j j j j
B 5 C5 F5 C5 B 5 C5 B 5

j j j j
&
b

3:02

E
B
G 3 X 3 X 3 5 5 3 X 3 X 3 5 5 5 3 3
D 3 X 3 X 3 5 3 X 3 X 3 5 3 X 3 X 3 5 5 5 3 3
A 1 X 1 X 1 3 3 X 3 X 3 3 1 X 1 X 1 3 3 3 1 1
E 1 X 1 X 1
88

OUTRO MELODY
b


C5 B 5 F5

& b
3:07

E 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
B
G
D
A
E
93
b b
E5 C5 B 5

b
&b

E 11 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13
B 13
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b ' / April 2015


A
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b F5/C 14

j GuitarTechniques
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29


b b b
E 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
E
B 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15 12 13 15
B
G
G
D
D
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Play: ROCK
A
E
E 93
93 ON THE CD TRACKs 8-11
E 5 bb C5 B 5 bb
bb
E 5 C5 B 5

b
&b
&
PLAYInG tIPS CD TRACK 8

[Bars 91-92] The change of tempo is notoriously tricky here, with even (dare I Eb needs to be targeted here rather than the E natural from F Major, which is
say it) the original lurching ever so slightly. Ive squared off the rhythm a little used for the other three chords. As with the previous section, use the synth
to make
E it easier, but
11 you
13 need
15 to 11
listen13
really
15carefully
11 13 to
15the12
pulsing
13 12 synth
13 12 13 12line
13 to
12help
13 12you
13 keep
12 13time,
12 especially
12 13 12on13
the
12longer
13 12 streams
13 12 13of
1216th notes.
13 15 12 13 13
E
B 11 13 15 11 13 15 11 13 15 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 12 13 15 12 13 13
line to
B
G
ground you in the new tempo. The final two bars can be 13
particularly challenging with regard to timing, as
[BarsG
D 93-104] Petes lovely melody borrows from the parallel key of F minor the rhythms are syncopated across the beat. So take your time with this,
D

F5/C ' //
A Eb chord that creates a really nice twist for the ears. This means the
for the clapping the rhythm first as necessary.
EA
E 96
96
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F5/C 1

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A 8
8 8
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133 8 8 134 8
134 8 8 8
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33 j j j 44
j j j
30 GuitarTechniques April 2015
&
& . . 44 4

. .
E
E
E
B
B

. .
B
G
G
G
D 3
3 3
3 3
3 10 10
10 10 10
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D
D 3 3 3 3
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3 3 3 3 3 3 3 3 3 3 3 3 3 3 8 8 10 10 10 10
10
8 88 8 8
8 8
8 88 8
A
A
A
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3
1 3
3
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3 3
3 3
3
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3
1 3
3
1 3
3
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3
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3
1 3
3
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3
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3
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8 8 8 8
8 8 8 8 8
8
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E 123, 125 1
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8 8
8 8 8
8 8
The Who BaBa oRiley
123, 125
123, 125 127
127
127
Play
Play 3 times
Play 3
3 times
.
times
.
& b tIPS
.. .. CDTRACK
8

PLAYInG
[Bars 105-end] This song is perhaps best known for its frenetic ending. Ive with the ending cued by Pete, so theres no real method to the madness.
charted it as per the original, which means the bass movement from 5th to Just keep your eyes glued to the structure as charted here and watch out

. .
E root effectively turns around during the accelerando three-four bar. This for the rapid accelerando towards the end. Ive put the violin solo on the
E
E
B
B is probably unintentional since the structure is largely improvised. In some backing, but you could easily play a guitar solo over this section using a
.
B

.
G
G 10 10
10 10
10style root to 5th, 10 10 10
10 10
10
D live versions the bass 10
G falls on
10the side of typical
10 10
country similar F Mixolydian
10 approach. 10 10
D
D 10 10 10 10 10 10
10 10 10 1010 101010 10
10
10 10 10 10
10 10 10 10 10 10 10 10 10 10 10 10
A
A 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8 8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 8
8 88
A
E 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
E 8
8 8
8 8
8 8
8 8 133 8
8 8 8
8 8
8 8 8 8 8
1348 8 8 8
E
130 131, 132,
130 131,
131, 132,
132, 133 134


130 133 134

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j j
b . .. j j j j jj j 343 jj j jj 444
& b ..
& . j j 4 4

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accel
accel
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A 8 8 10
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8 8 8 10
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8 8 8 10
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8 8 10
8 8 10
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8 8 10
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A 8
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8 8
8 8 8
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E 135, 136 8 8 8 8 137 8 8 8 8 8 8 8


135, 136
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8 10 10 10 10
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E 140 8
8 8
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A
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A 10
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10 10 10 10
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10 10 10 10 10
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E
E 8
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8 88
8 8
8 8
8
E 145
145 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
145

And now a chance to play Mr Bigs arrangement....


MR BIG VeRSIon CD TRACK 10

[pAuL GiLBeRTs GuiTAR] At 122bpm, the double-picking, combined with 100bpm to start with, as this will promote clean execution and avoid any
palm-muting can be challenging, particularly in maintaining fluency and cutting of corners. Paul tends to improvise with simple melodic ideas in and
stamina. Its best to perfect your co-ordination of the main figure at around around the E Major scale, so its worth checking out what he does live.
GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Allworth's
BABA O'RILEY - Paul Gilbert's Mr Big Version


#### 4 . .. ..
Play 12 times


& 4 .
PM PM

E
B . . .
G
D
A
. 7 7
9 9
9 9
9 9
7 7
9 9
9 9
9 9 . . 7 7
9 9
9 9
9 9
7 7
9 9
9 9
9 9
E
1 - 12
etc 13, 15, 17


#### . April 2015 GuitarTechniques
1 2


31

& . .
.
# #
BABA O'RILEY - Paul Gilbert's Mr Big Version
# # 4 . Play
12 times . .
& 4 .
Steve Allworth's . .
O'RILEY -PlayPaul12 times Gilbert's Mr Big Version
GUITAR TECHNIQUES MAGAZINE 241

#### 4 .
BABA

Steve Allworth's .. .. PM ON THE CD 8-11


Play: ROCK
& TECHNIQUES
GUITAR
#### 4 .
4 . PM
MAGAZINE 2 4 1
TRACKs

Steve Allworth's .. .. PM
BABA O'RILEY - Paul
Play Gilbert's
12 times Mr Big Version

& TECHNIQUES 4 . PM O'RILEY9 -Play 9 Paul Gilbert's


E
GUITAR
B MAGAZINE 2 4 1

# # 4 .. 7 ...CONTINUED
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G 9 9 BABA 9 9 9 9
D
MR BIG
9 9
9 9

9 9
912 times
. .
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. 7 7 9 9 9 9 7 7 9 9 9 9
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29, 30, 31
.
# # # # PM7 7 9 9 9 9 7 7 9 9 ~~~ ..PM7 7 9 9 9 9 7 7 9 9 Play 94 times 9 . . 9.
D
G 9 9 9 9 9 9 9

89times


. 9 9 9 9 .. .. 9 9 9 9 ..
A
D
E

&
E
A 12 7 7 7 7

9 9 9 9 ~~~
B 27 29, 30, 31

9 . . 9.
E

# # # # 7 7 7 7 ~~~ .. 7 7 9 9 9 9 7 7 9 9 Play 94 times


G 32 9 9 9 33 - 36 37 - 44


D 9 9 9 9 9 9 9 9 Play 89times

. PM 9 9 9 9 . . 9 9 9 9 ..
. .

A
E 7 7 7 7
E
B
G
D
& 32 PM
9 9 9 9 9 9 9 9 ~~~ 9
. 7 7 9 9 9 9 7 7 9 9 9 9 . . 7 7 9 9 9 9 7 7 9 9 9 9.
33 - 36 37 - 44


.PM . . .
A
E
7 7 7 7
E
B 33 - 36 37 - 44

9 9 . . 9 9.
32 PM
9 9 ~~~ .
G 9 9 9 9 9 9 9 9 9 9 9
D 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
7 7 7 7
.77 99 77 99 . . 77 99 77 99 .
A
E
E
B

. 7 7 9 9 9 9 7 7 9 9 9 9 . . 7 7 9 9 9 9 7 7 9 9 9 9.
32 33 - 36 37 - 44
G 9 9 9
D 9 9 9 9 9 9
A 7 7 7 7
E
32 33 - 36 37 - 44

32 GuitarTechniques April 2015


play: COUNTRy ON THE CD TraCk 12-40

Ultimate Country Workout


With country musics popularity seeping into every corner of the
music-loving world, Steve Laney reckons its time GT readers received
a thorough preparation for that potentially imminent country gig.

article is to hone your country skills. You may overwhelm from a learning perspective. so,
ABILITY RATING
have been asked to dep in a country outfit; or a instead I have targeted material that can be
easy/Advanced demanding bride and groom have requested heard regularly on country records - this will
your band learn some Nashville flavoured definitely help to get you up and running.
Info WIll Improve your numbers for their big day. Whatever the If you're new to country, you're likely to be
Key: Various Hybrid picking scenario, familiarising yourself with the pleasantly surprised by how much of a
Tempo: Various Soloing over chord changes information in this article will afford you a platform is granted for the musician to flex his
CD: TRACKS 12-40 Country lick vocabulary significant head start and, perhaps more or her musical muscles. In an age where
importantly, add some cool, country- celebrity has sometimes become more
I thInk It's fair to say that country music flavoured ideas to your technique repertoire important than ability, it's refreshing to find a
has received a bad rap in the Uk over the - pulling out a flashy country run in a rock or musical community that still shows respect
years. the very word 'country', for many, has blues situation can be a real eyebrow raiser! and admiration for the individuality and
tended to conjure up images of line dancing Over the following pages I will be talent of the musician. I hope the following
classes being held in run-down village halls introducing you to some of the scales, examples will enthuse you to delve even more
and social clubs. however, across the Atlantic deeply into the wonderful world of country
country is no laughing matter, but in fact the Country music is some music, and check out some of the simply
most popular musical genre, boasting a radio amazing players that populate the genre.
audience of 70,000,000 every day. In recent of the best-written music in
years we've seen country music grow in the world. So yeah, one day i Get the tone
popularity on this side of the pond, too. We're
now hearing more country on mainstream would keep my mind open to
radio; artists such as Lady Antebellum and doing a country record. 6 5 5 6 4
taylor swift spring to mind, not to mention
home-grown country stars such as the shires, Ed Sheeran Gain BaSS MiddLe TReBLe ReveRB
and Ward thomas. arpeggios, chords and techniques that feature A clean tone is very much the done thing in
With this in mind, the purpose of this frequently in this style of playing. country music and, more often than not, youll
It's important that you do lots of listening find the majority of country guitarists use a
TeChnique FoCus when learning a new genre. Doing so will single-coil equipped guitar. This is then often
played through a quality valve combo. A lack
Hybrid Picking ensure that its nuances become engrained on
your subconscious, and inevitably find their
of gain can lead to a lack of sustain and this is
Hybrid picking (pick and fingers) is the particularly noticeable when soloing.
way to your fingers. Or, to put it another way, Therefore many players will use a compressor
technique most commonly associated with if you are what you eat, then you are also what to give their notes added longevity; this can
country playing, although it can have some you listen to. With tools like spotify and also serve to temper the higher frequencies
benefits and interesting results when used in Youtube it's never been easier to source the often associated with single-coils. In recent
other genres such as rock - for example string years players have increasingly been driving
music of your persuasion - and they even
their amps as well, so a distorted sound is
skipping. When hybrid picking, your thumb make suggestions for other, related artists. becoming more acceptable (you can always
and first finger are committed to holding the this article is divided into three sections: turn down to clean things up). When playing
plectrum: this leaves you with three remaining a rhythm boot camp, a lead boot camp and acoustic, many players tend to favour a big
fingers with which to pick: these are your finally a full piece that combines the rhythm dreadnought, but considering acoustics are
second, third and fourth. These are named and the lead. I could wax lyrical about the often micd or DId, this is not such a pressing
concern. Instead, I would suggest that your
second (m), third (a) and fourth (c). Look out for theory, the many techniques and the truly
acoustic is actually playable above the 4th fret
my recommended hybrid picking directions fabulous players that make up the world of as, with country music, you never know when
throughout this article. country guitar, but that would go beyond the you might get the nod to take a solo.
limitations of this article and could potentially

Further reading albert Lees hiding contains his party piece Country Boy - a must learn for any aspiring country guitarist. Vince gills
albums always contain fantastic playing; check out his and Paul Franklins Bakersfield for traditional sounding country. Johnny hilands
self-titled album contains some exciting country-rock crossover and showcases the increasingly used overdriven country tone.

34 GuitarTechniques April 2015


ultimate country workout
MArTin Philbey / GeTTy iMAGeS

Albert Lee: still


playing fabulous
country guitar

April 2015 GuitarTechniques 35


play: COUNTRy ON THE CD TraCk 12-40

PART 1 ExAMPLES RhYthM BootCAMP TRACKs 12-14


GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Laney
eXAmpLe 1: DiAToniC
GUITAR ChoRDs
TECHNIQUES Here we
MAGAZINE 2 4see
1 the diatonic
PREPchords
Steve FORfrom
Laney pattern
A COUNTRY GIGof major-minor-minor-major-major-minor-diminished is the same
the key of G major. The first four bars are three-note chords
PREPwhereas
FOR Athe for allGIG
COUNTRY major keys. Memorising this pattern will enable you to and analyse
last four
Exbars
1 are their four-note, extended harmony equivalents. This and better understand chord progressions and song construction.
F #dim
GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve LaneyB m
Steve Laney
GUITAR
Ex 1 TECHNIQUES MAGAZINE 2 4 1G Am C D Em G


PREP FOR A COUNTRY GIG
F #dim
# PREP FOR A COUNTRY GIG

& # 44
G Am Bm C D Em G
GUITAR TECHNIQUES MAGAZINE 2 4 1 Steve Laney
G
C D
G

C
Ex 1 #
D
Ex 1 PREP FOR A COUNTRY GIG
&
4 G
Am

Bm
Em
F #dim
G
##


Am Bm Em F dim
Ex 1
44 G C D
G
& 44
Acoustic Gtr
#
& #
Gtr Am Bm Em F dim
Acoustic
33 01 2 01 2 00 33
E
4 30 02 3243 0 32 0 30
& 4 242
B
E
G
B
D

Acoustic Gtr
Acoustic Gtr 3002 1220 44 12 30 0202 3002
G
A
D
E
E
A
E 1 Acoustic Gtr 3
0
3
3
2
2
0
0
2
4
2
2
0
3
2
0
3
0
2
0
2
2
200200 34 2
3 3
0
3
3
2
B
E 3
3 1 3 1 3 0 2 3
3
B
G 1 0 1
2 3
4 1
0 3
2 0 2 0
G
D 0
0 2
2 4
4 0
2 2
0 0
2 2
4 0
0
D
E
A 0
3
2 2
0 4
2 2
0
3 0
2 2
0
2 4
3 0
3
2
0 F # m7 b 5
A
B
E 2
3 0
1 2
3 3
1 3 2
0 3
2 2
3
E
G 1 G maj 7 Am7 0 B m7
3 2 Cmaj 7 4 D70 E m7
2 2 Gmaj 7 3
0
# b
#
1


D 0 2 4 2 0 2 4 0


A G maj 7 Am7 2 B m7 0 Cmaj 7 2 D73 E m7 2 F m7 5 3 Gmaj 7 2
E
& #G maj 7
3
7
0
b 5 2
7 3

7
1
F ## m7
& G maj 7 Am7
B m7
Cmaj
7 D7

E m7
b5 Gmaj

##G maj 7
Am7 B m7 Cmaj D7 E m7 F m7 Gmaj

7 b 5
F # m7 7
&
& # 2
Am7
0
B m7
2
Cmaj
0
D7
2 E m7
0
Gmaj
2
32 30 1 020
E

& 0200 10 000 12 32 212 0


342
B
E
G

0203 120 2 10 0220 0203


20
B
D
G
A
D
E
E
A
E 6 2
2 0
2
4
2
2
0
3
2
0
3
0
2
0
2
2 2
0203 22 2
2
B
E 0
3 1 3 0 1 0 1
2 0
3
B
G6 0
0 1
0 3
2 0
0 1
2 3
0 1
2 0
0
eXAmpLeG
D 2: i, iV,0
0V pRoGRession0
2 WiTh LeADinG2
4 BAss noTes0
2 2
0
in the sequence. 0
2
Instead of using a 2
2
pick for this, you0
0 may prefer to use
Ex
D
E
A 2 0
2 2
0 4
2 2
0
3 0
2 2
0
2 2 0
2
Many country
A
B tunes
0 are written on
2 1 the I, IV, V chords
0 3G of a major key
2 0 - so,
3 your1 thumb to play203the single notes1and then brush
0 the higher notes
2

E 3 2 3
Ex6 2 3
0 of G. Here were
0 2root and 5th of0 each 0C 2 3
with20your first finger. 0 Carter Scratch in
E
G


G, C and D in the key singling out This technique is known as the
#
6


D 0 2 4G 2 2C 2 0
4
chord. AIn addition,2 were then walking
0 up the bass2 notes to the next
3 chord
..
country guitar circles.

2

2

&#4 3


0 2 3

E
Ex6 2
.. GG


Ex 2

&
4 C

##


C
Ex 2
444 .. G
&
Acoustic Gtr

& #
4 . 3
Gtr C

33 33 33 33 33 01 01 01 01 01 01
Acoustic

..
& 44 33 0 0 0 0 0 0
E

3030 3030 0 0300 3030 3030 3030


B

. 12 12 12 12 12 12
Gtr
3 3
E
G Acoustic
B
D
G
A
Acoustic Gtr

. 3 0 0 0
3 0 0 0 2 0 0
3 0 0 0 0 2 0
.. 3
D
E 0 0 0 0 0 0 0 2 2 2
0 2 2 2
33330 3
33330 3
33330 3 0 0 0 0 0
E
Acoustic Gtr
A
E
B
1 3
3 3
3 3 3
3
0 2 3
etc 0
1 0
1 0
1 01 3 0
1 0
1 2 0

..
E
B
G 3
0 3
0 3
0 1
0 1
0 3 1
0 10 1
0 1
0
1
G
D 0003 0
0 0003
0 0
0 0003 0

0 0 2 etc 0
2 0
2 0
2 02 0
2 0
2
D
E
A
A
B . 33 3
0
3
3
0
3
0
3
3 3 3
0
3
3 0 2
3
3
2
0
1
2
0
1 3
2
0 20
1 G1
3
3
2
0
1
2
0
1
2
2
0
0

. 3
E G
E
G 1

00 0
0 DD 00 0
0 3 00 0 0 0 3 0 0
ww
0 0

#
D 1
0
0 0 2 etc 2 2 2 G2 2 2
3
G etc


3
.. w
3 2 0
A

&# etc 3
Gw
E

DD ..
1

&
G




ww

G G
## G
.. Gw
w
& 2 . ww
&#
D

33 33 33 33 33 33 2 2 2 2 2 ww33
E
32 32 32 32 32 32 .. ww30
& 3030 3030 3030 3030 3030 3030
B
E
G
0 2 3 0 302 302 0 302 302 0 30 30 . www3002
3 3
B
D
G
A 0 0 0 0 0 0 2 2
0 2 .
..
D
E
E 0
3 0
3 0 0
3 0
3 0
3 0
3 0 0
2 0
2 0
2 0
2 0 0
2 0
2 0
3
3
A
E 4 3 3 3 3 3 3 2 3 2 2 0 2 2 2 2 3 2
B 3 3 3 3 3 3 3 3 3 3 3 3 3
..
E
B
G4 3 3
0 3
0 3
0 3
0 3 3
0 3
0 3
2 3
2 3
2 3
2 3
2 3
2 0 2 3
0
G 0
0 0
0 0 0
0 0
0 0
0 0
0 0 2
0 2
0 2
0 2
0 0 2
0 2
0 0
0
.C
D
D
E
Ex 3
A 0
3 0
3 0 0
3 0
3 0
3 0
3 2 3 0 0
2 0
2 0 0
2 0
2 0 0
2 0
2 0
3
2
2 3 0 2

A
B
E 3 3 3 3 3 3 3 3 3 3 3 3 3 3 0 2 3
3 0 0 0 0 3 0 0 2 2 G7 2 2 2 2 0 2
.C 3
0
E
Ex44 3
G G
D
# 4 0 0 0
2 3 0 0 0 0
G
0 0 0
0G7
0
n 0 0
0 0
0 2 0

common
practice
A 2
E
Ex &
Ex4 33:
eXAmpLe #4
3 DominAnT
3 3
7Th ChoRD pLACemenT Its
n
positions. Doing so helps create a joyous, playful sound. Refer to example 3

in country&
4 G
Ex 3 #

nn
for dominant 7th chords to be used G
in diatonically incorrect 1 G7
to see what the chords should be.
C

G7 C

& # 444
& # 4 3 3 3 3 n 10 1 1 1

01 01 01 01
G G7 C
E
4
330 330 330 330 0100 0100 0100 0 0 0 0
& 4 100
B
12 12 12 12
3 003 003 0 003 003
0 3
E
G

3 3
B
D 3
0 3
0 0 3
0 3
0
G
A 0 0 0 0 0 0 0 0
D
E
E 0
1 0
1 0 0
1 0
1 2
0 2
0 2
0 2
0
A 1 3
E
B
E
B
G 1
3 3330 3330 3330 3330 etc
3
1
0
0
0
1
0
0
0
1
0
0
0
1
0
0
0
0
1
1
0
0
1
1
0 3
0
1
1
0
0
1
1
0
G
D
D
E
A
0003 0003 00 0003 0003 etc 0
0
0
1
0
0
0
1
0
0
0
0
0
1
0
0
0
1 3
0
2
2
0
0
2
2
0
0
2
2
0
0
2
2
0
A
B
E 3 3 3 3 3 3 0 0 0 0 3 1 1 3 1 1
E
G
D
1
1 3 00 00 0 00 00 3
etc
etc
0
0
0
0 0
0
0
0
0
0
2
0
2
3 0
2
0
2
A 3
E 3 3 3
1
etc

36 GuitarTechniques April 2015


ultimate country workout
2
PART 1 ExAMPLES RhYthM BootCAMP TRACKs 15-17
2
A7 D7 G

# # D7 n ww
2 & ww
# # n
A7 G
ww
2 &

D7 w
www
# A7 # 02 02 02 02 D7 n 21 21 21 21
21 21
A7 G
E ww33
& 02 02 02 02 0 2 2 2 2 0 2 2 ww00
B
G

# 0 # 02 02 0 02 02
G

ww3323
02 02 02 02 0 n 12 12 12 12 12 12 0 2
D
E 2 2 2 2 2 2
& w
A 0
B

0 www002
E
G 5
D
A
Ex 4
eXAmpLe 4: CApo AnD
0
0 BAss0 noTe
0
0 descending
E
E
5 0 ALTeReD
0 0 ChoRDs 2Capos
b use 2 are used 2 bass 2 note chords 2 helps 2 create 2 3 and ascending bass lines within
3

002 002
often in country, so be sure to
2 carry one2at all 2 times. B The 1 of1altered 1 a1progression (voice 1F/A
leading) and introduce harmonic interest.
2 1
# 3
B

b 40 20 20 0 020 020 .. B b 212 212 0 212 212 212 212DF/A/F # 0 2 33023


G 0 0 (G ) 2 2 2 2 2 (2D /F ) 0
Ex 4
D 2 2 0 0 0
E

b
A

& 4 2 2 ( )
B


E
G 5
D

b
2 2 0( G )

0

0

b 44 .. B b
A 0 0 2

Ex 4
&
E 0 0 2 3
5 Gtr

Acoustic F/A
G) 3rd fret ( D /F # )
Ex 4 ( Capo
0 2 3 2
E
b b 4
. . b

..
B F/A
#
& 4 0 0 0 0
B Acoustic Gtr 3 3 3

D /F

2 0 2 3 2 3
G ( Capo
G ) 3rd fret ( ) 2 2
b4 ... 3
D

&b 4
E

p 3rd0i fretm a
B 3 3
. Capo
E
G 1 Acoustic Gtr 0 0 0 2 2
D
A
m a m
p i a m i a m

. Capo 3 2
E
E 0 2 2
Acoustic Gtr
pE badd9 pb/D i E bmaj7 ib
B
1 1 3 3 2 3 3
3rdi fretm a m a Cm m7 a m a m
. (1C add90 )
G m7 B F/A B
( G /C b ) ( Cmaj7 ) D/G b )
G 0 0 0 2 2

. 3E badd9 0 3 0 3 2Cm0 7 B2b/D 2 E bmaj7


D ( E m7 ) ( Am7 ) ( G


E 0 2 2
b
A
2b
.
B 3 3
b .
. ( Am7 w
E

& ( E m7 ) ) ( G2 /C ) (Cmaj7 ) ( D/G


G G m7 F/A B
b b
) Gww
1
D p 0 i m a m a m p i a m i a m

( C add9 )

b
A

3
m .a 2 m a mF/A
& b (GE m7 p1Ebadd9i m a . Cm 7 (Bpb/Db i E bmaj7 Bw
E

m7
1

w
ib a m

b
w
)

( C add9 )
E badd9 0 0
( Am7 ) G
B b/D
/C ) ( Cmaj7 ) ( D/G
) G

b E bmaj7 Bb
1 2
3 . ( Am7 2 b ) Gw0
& b ( E m7 ) 2 0 3 0 0 ( Cadd90 ) 3 10 ) ( G30/C b ) (Cmaj7 00 ) ( D/G
E G m7 Cm 7 F/A
0 . 0 ww0
B
G

b 0 2
. 2
0
03
2
2
3 .
D

b 0 0
w
E

& 2i m0 a m0 p 0i m a a m 0i . 02a 02
A 3 0 2
3 3 1
00
3
20 ww003
B
E
G 4 0
D
A 0
p m 2i
3 m
0
etc
2 3 m2i m

i .
E i 3i
E
4 0 0 p p p
B p i m 3 a m i m p i m 3 a a m 3 1a etc 3 0
G


0 0 0 0 0
. 2 m 0 0 0 m 2 m 0

. 100pi B7 302
Ex 5D 2 2 0 2 0i 0i
E 0 0
#
A 3 03
# # #p 4 2i m a
B 3 E 3 A 3 pE p
a m i .
E
G 0 0 0 0 0 0 0 2 2 0 3

A
a mrhythm guitarist
m0i B7is strumming. 2 Use aforceful
4

&5: LeFT0hAnD 4 pianist.


Were 3 now
i mif youre mE down
3 i stroke on 4thLuther
Ex 5D m 2i m p i m a 2a etc
0 2 0 0

This example will prove string so that catch thethird string2i too.This
eXAmpLe A sTRiDe piAno EimiTATion imitating 3 m the
the left hand of #a stride
# a well min JohnnyCashs band. m m
E

# #onBridge
44a gig anddont want to just
useful you technique served
up what the Perkins
4

i i i
p i m a m i m p i a p etc p p
Ex & double
the lead guitarist

p E p
5
A
& middle pickup

# # # #Bridge
E p B7
Ex 5
E

& #
B 44 & middle pickup E 1 1 1 1 A 2 2 2 2 B7 2 2 2 2 E 1 1 1 1
G

## # 4 2 2 2 2 2 2 0 2 2 0 2 2 2 1 1 2 1 1 2 2 2 2 2 2
0 0
D
E

& Bridge
A
B

4 & middle pickup 12 12 12 12 etc 22 22 22 22

2
2 12 12 0 12 12

1
E 0 0 0

2 2
G 1 2 2 2 2
D
A
E
E 0
2
0
2 0 0 0 0 2
1
2 2 2
1 1

0 0
Ex 6
B
1 Bridge & middle pickup 1 E 61 1 1 etc 2 2 2 2 A213 2j 2 2
G
j2 2 2 0 2 2 0 2 2 2 1 1 2 1 1 1
2 2 2 2 . 2
1 1 1

#### 4 2
2
2
.
2
D

1
n0 22# 0 22 0 22 0 22 2 A2113 2n 21j 2 21 2 21 n #0 12 2 12 0 12 2 .12
E
Ex 6A

& 4
B

j
E 0 1 E6 1 0 1
2 etc
G 1

#### 4 0 0 so. much in2ncountry.


2
2
2
2 #0 0
D

0 as its used Thisisn actually


A 2 2

& 4 n # technique
E 0
pickup as it allows you
Ex 6 6: CounTRy/RoCKABiLLy
j
eXAmpLe 1
Bridge & middle Were notching
upthe difficulty
etc a very rewarding
0 2 0 . A13 5 7 n # 5 7 5 .
# # # # 4 Bridge & middle pickup E 6 0j 2
level with the hybrid picking here, but its vital you E 6 master this technique toAself-accompany
13 and truly play solo. Think Chet Atkins!
Ex 6
j
E

& # 4 02j 2 2 n 0 # 1 0 2 2 0 .2 n 55 7 5 5 6 5 5 7 5 .5
B

## # 4
G

2a n m0 # 10 c 2a c n 5 7 5 n 5 # 65 5 7 5
D

pickup 0 c
E

& 4 Bridge & middle


A


B
E 5

G 1

0 0c 2 a m 0 0c a 2 0c 5 5 7 5
D 2 2 2 2 etc
A 7
E
E
1 Bridge & middle pickup 5 5
B 2 2 etc 7 7
G
D
2 2 0 1 2 2 5 5
5 6
5 5
E
A 0 2 0 2 0 5 7 5 7 5
B
0 2 2 7 7
10 5 65
E
G 1 0 5
D 2c a 2 m c 2 a c 2 etc 5 5 5 5
A 2 2 7 7
E 0 0 5 5
1
c a m
c a c etc

April 2015 GuitarTechniques 37


play: COUNTRy ON THE CD TraCk 12-40

PART31 ExAMPLES RhYthM BootCAMP TRACKs 17-19

B13 j E 6/ 9
ww
3
#### n # . ww

3
& w
j ww9
j
B13 E 6/ 9

# #
B13

.. E 6/
ww
3

& # ## # ## 7 nn ## ww
7
3
& j
8 ww99
E 7 E12
7j
B13 6/
.
B 9 9 12

## # ## # 7 n # 7 9 . 7 www
G B13 7 E11
6/
D 11
A
& # # 7
9
n # 7 7 77 11
ww0
&
E 7

E 4 12
88 ww to wrap my thumb over the top of the
E
B 7 9 7 9 12
12
B
G 9 7 9 12
11
G 7 7 7 7 11
string.9 For bars 277 and 4, I prefer 11
D
Ex 77: seLF-ACCompAnyinG
eXAmpLe D
A 7 BAss
9 Lines Go 7 out Honky Tonkin7 11
11
7 j
7 j times 12 j
A
on Nashvilles Lower Broadway
E 7 9
and its likely G 7 hear some
youll C/G 7rhythm G7 neck to 9 fret
C/Gthe notes Play 4onDthe 9 11 0sixth string, although D7 you can always barre if
# .. 99 b7 77n 88 7 7 99b n 7 7 .. 12121111 . . .
E 4 7 0

& 44
E
guitar akin to this.
4 Palm mute 7 accompanying bass notes on the
the 7
sixth you prefer.
B
77
E

n C/G 9 C/G 7Play 4 D9 11# D7


G
B
Ex 7
D
G

G
Ex 7
j j
9

A 7 G7 7 7
D

. 0 jj . .. ..
G7

## 4 b n 7 j b n j times
E
A 7 9 7 C/G 7 G7 9 C/G Play 4 D 9 11 0 D7
4
E 7 & middle pickup
.
Bridge times
4 b n .. ## .

4

&
& 44
.. nb n
Ex 7
E

. G7 3 C/G n 55j G7 33 4 C/G 55j Play .4 D9 3 5 D7 3 5 3
## 4
Ex 7

. G7 33 4 C/G 4j
B

j 5 j .
.. 3 nb n 3 3 b n 3 .. 5 # j 5 .. 5 .. 5 ..
G
Bridge & middle pickup G7 C/G times4 D 9
Play D7
D Bridge & middle pickup 3 5 times
4 4 4

& 4
A

.. nb m3a n m5a etc b 3 n 5 .. # 3a m 3a m 3a



& 4
E
1

. 3333 44 555 5 3333 44 555 5 ..


E
E
B
34 55 4 3 4 55 3 4
.
B

. 3 . G7 55 4 5 4 55 4 5 4
G
G
D Bridge & middle pickup
D
A Bridge & middle pickup 3 5 3 5
A

j
E C7 3 3 3

# . .
3 3 3 3
E
E
1
m3aa m5aa etc 3aa 5 mm 3aa mm 5 3aa
b .. . m33 44 . m55 5 33 44 . 55 5 .. b n n w34
1
B
E etc 3 5 j 3 5 3
G
B
& . 3 3 5 3 3 5 . G7 55 4 5 4 55 44 5 5 44 w
5

5 4
D
G

jj waa 5 mm aa mm 5 aa
A
D
E
A C7 3 3
##
1 C7 G7
E
3 maa 3 maa etc 3 3
bb .. m .. m .. j
bb j nn w
1

& w
etc
& C7 1 1 n
n ww
3 1
E

j w43
B G7

## 3
G 3
j
C7 3 G7
3 b .. .. 3 .. j
b j n w
D 2 2 2 2

& b nnw
A 3
E
& etc 1 b

n w
3

33 2 1 2 ww443
7

1
E
E a
B 1 1 m
B
G 1 3 3
G
D
D
Ex 8
A 3
2
2 2 3
2
2
3
2
3 3


A
E 3 3 Dm 3 3 Cadd9 3

1
E 3 3 3

7

4
E 7 etc a

b
etc a

B
E 1 1 m
G
B
& 43 1 3
2
1
2
3 1

3
m
4


D
G 2 3 2 2 3 2 3 3
4
Ex 8
A 3

D
Ex 8 2 2 3


E
A 3 3 Dm 3 3 Cadd9 3

addressed work well onan acoustic. a the diatonic


eXAmpLe 8: minoR7 AnD sus ChoRDs The Djoyful
m nature of country This example Cadd9 some minor
explores and sus chord usage. The sus chords
4 chords
E 3 3 3

etc a
b 4
Acoustic Gtr
keys. in Exercise
7

in its lyrics.&So bits4surprising tofind very few country orsus4


music is often, ironically,etc in stark contrast to the sombre issues particularly m Try converting
Ex 8& 4

3
tunes in minor 3 3
1 to their sus2
m
3
counterparts.

Dm 3
E 0 1 0 1 0 0
3 Cadd9 3 3
B
Ex 8
2 2

2 2 2

2 0 0

0 0 0 0

0 0
G

4
Dm Cadd9

Acoustic Gtr
b
D 0 0

&
& b 44 3 00 11 3 3 00 11 3 3 00 3 3 00 3
A Acoustic Gtr 3 3
E
22 3 22 2 3 2 3 2
1

00 3 00 00 3 00 00 3 00 00 3 00
E
E
B
B
G 2 3
G
D Acoustic Gtr 0 2 0 2 2 2
D 0 0
B bsus2
A
Acoustic Gtr