Innholdsfortegnelse for April 2022 i Guitar Techniques

SIMON BARNARD Simon is a graduate of ACM and The Guitar Institute, holding a Masters degree in music. He teaches, examines and plays everything from rock to jazz. RICHARD BARRETT One of the most gifted guitarists around Richard has been playing with Tony Hadley for over 20 years. He’s great in all styles but excels at blues and rock. JON BISHOP Jon is one of those great all-rounders who can turn his hand to almost any style. He’s also rock legend Shakin’ Stevens’ touring and recording guitarist. MARTIN COOPER A tutor at BIMM Brighton, Martin’s Rock columns show an incredible breadth of technique and style. His 2006 album State Of The Union is out on iTunes. CHARLIE GRIFFITHS Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge…

Last year I bought an OP-1, really cool little portable synth, sampler and recorder. I like mixing electronic sounds with acoustic guitar so for me it was a way of working on creative music projects, when playing guitar wasn’t practical… such as on planes and travelling. I love it, it's great fun. But it’s got limitations. It has just four tracks to record on and there’s no quantising, so editing things you play is difficult even when it is possible, and doing multiple takes on something can be fiddly. Which leads us to the point of this article. When you only get one go, you gotta be on it. The red light goes on - you have to deliver. You need to be prepared for it… and there’s more than…

1 E Phrygian Jam We start with a fun two-chord vamp (Em-Fmaj7) made for practising E Phrygian mode (E-F-G-A-B-C-D). It’s a blues shuffle, so I recommend treating it as blues territory, so we're using E Minor Pentatonic (E-G-AB-D) and E Minor Blues scale (E-G-A-A#-B-D) as well. 2 Slow Jazz-Blues (F) Here’s a fun, slow swinging F jazz-blues. You can mix F Major Pentatonic (F-G-A-C-D) and F Minor Pentatonic (F-Ab-Bb-C-Eb) to great effect, but also try hitting up some of the arpeggios and strong chord tones on this standard jazz-blues progression. PAUL NATKIN / GETTY IMAGES 3 Dusty Groove Blues (Em) This jam is basically a blues progression, but with a different groove and feel. Aside from E Minor Pentatonic (E-G-A-B-D), go hit up E Dorian mode (E-F#-G-A-BC#-D) and E Minor…

As creative musicians, we’re always on the hunt for fresh and unique sounds. One way to introduce new musical ideas and reinvigorate our playing is to look at incorporating less familiar sounds. As most pop, rock, blues and even jazz utilises a well-worn set of scales and chords, a great way to do this is by studying scales that popular western music rarely employs. We can cover new ground either by exploring a completely new concept, revisiting an old musical friend to search for new ideas, or by slightly modifying something we already know well. Our brief today is to help us expand our playing by focusing in on 10 different scale sounds, with a range of five, seven and eight-note options coming from all over the world. These will…

Brought to you by… Enter Christone ‘Kingfish’ Ingram. Already a modern blues icon at just 22 years old. Kingfish displays a level of musical maturity far beyond his years, playing with tons of dynamics and delicious tone to boot. It’s clear that Kingfish is well studied in all the great blues players of previous generations, with a vocabulary that is rich in fundamental blues language. But like all of the best blues players, Kingfish has a wonderful ear for melody and rhythmical phrasing. He successfully makes this blues language all his own, with a particular knack for combining Major and Minor Pentatonic phrasing in a way that sounds lyrical, vocal and natural. Kingfish, hailing from Clarksdale, Mississippi, has already headlined two US tours off the back of his Grammy nominated,…

Brought to you by… Tom Misch’s guitar style fuses elements of jazz, funk, neo-soul and R&B. His sense of timing and groove is a big part of his sound. He plays ‘in the pocket’, often sitting just behind the beat with a subtle swing and a relaxed groove. Tom’s rhythm work is embellished with jazzy chords, which make his sound bang up to date. He often uses fingerstyle to play syncopated rhythm passages but will switch to a pick for a more forceful attack. Misch’s lead playing is undeniably smooth. His note choice is always well considered, opting for chord tones outside of the usual 1st, 3rd, 5th and 7th degrees, such as the 9th to add colour and a much jazzier sound. He uses Pentatonics to great effect when…

I DO HOPE you are getting to grips with the new GT format. While we knew that the CD was living on borrowed time, since it had become an outmoded way of listening to music for many people, we weren’t intending to lose it just yet. But when manufacturing costs shot up hugely, almost overnight, we were forced to do it somewhat sooner than expected. A few people have struggled with the move to online, but these have really been few and far between, and I hope we’ve managed to help out those with problems. We are also doing our best to make the online experience better as we go, and suggestions are already being acted upon. In reality it’s a far better learning experience than mag and separate CD,…

Clytemnestra - “What nails thee, raising this ado for us?”(Aeschylus, possibly mis-heard). I can say with exaggeration that I’ve suffered for my music. And now it’s your turn. Because this month we turn to a critical question, one that wielders of ’59 Les Pauls cranked to 11 through Marshall JTMs rarely ask. But should. And that enquiry, my aurally challenged friends, is: “Hey Mitch, how do I produce a mellifluous tone from the Korean Spanish guitar languishing unloved in my boudoir?” The great virtuoso Andre Segovia, godfather of modern classical guitar, is frequently quoted as saying - “If you don’t possess good nails, then give up.” Mind you, his namesake Tony, who runs the hardware store in my village, begs to differ. No matter. I must admit that my nylon-strung…

FOR MOST OF US, the starting point for more complex chords is the jump from basic Major and Minor to 7th chords. This issue’s concept applies to Major and Minor 7ths, but we’re going to concentrate on Dominant 7ths (D7, G7, etc). They’re common in jazz, funk and, of course, the standard 12-bar blues progression. Start off by using the three full-size chord shapes to play the basic blues progression in D. They’re fine for a big bold sound, but they’re not very funky - there are just too many notes ringing together. So here’s what we do… A DOMINANT 7TH chord has four notes: the root, Major 3rd, 5th, Minor 7th, therefore D7 is D-F#-A-C). The 5th is usually optional and the bass can play the root. That leaves…

This issue we’re proud to feature a South African blues-rock singer and guitarist whose style has won favour with critics and fans alike. He’s also opened for Bruce Springsteen in South Africa and has been Joe Satriani’s special guest on the legendary guitarist’s tours. To highlight Dan’s tasty and dynamic soloing style, Jason Sidwell has written him a Minor blues groove track entitled Step Up! The tempo is 112bpm with a straight eighth-note feel and a 4/4 time signature. The track pivots through several keys and Dan uses the corresponding Minor Pentatonic scales as his soloing foundation. There are three Pentatonic scales that will prove very useful for this track (A Minor, C Minor, F# Minor) and we have provided ‘shape one’ diagrams to start you off (see boxout). The…

Joe Pass is undoubtedly one of the most influential guitarists of all-time. While famous for his long and fruitful collaborations with jazz legends such as Oscar Peterson and Ella Fitzgerald, Pass literally wrote the template for solo jazz guitar, and it’s safe to say that almost every player in this style since has taken a little, or a lot, from Joe’s ground-breaking and frankly genius style. When playing with a rhythm section, Joe’s pick-based playing was staggeringly fluent and articulate, and his fingerstyle mastery allowed him a piano-like freedom to play a sophisticated blend of lines, double-stops, partial and full chords. However, Joe truly found his voice when playing solo, or in exposed scenarios such as his legendary duet recordings with Ella. Joe was also interested in and actively involved…

Brought to you by… EXAMPLE 1 EASY LICKS MARK BOWEN (IDLES) This rhythm guitar figure is based around Major barre chords rooted from the first three notes of the A Minor scale (A-B-C). This creates a jarring juxtaposition between the tonality of the Minor scale and the harmonic quality of the Major chords. Use down and up strums throughout and a heavy pick attack. Additionally, set your guitar to bridge pickup, use the clean channel of your amp and add a fuzz pedal if you have one. This will help you to achieve a thick, energetic wall of sound. EXAMPLE 2 EASY LICKS ERNIE ISLEY This progression is based around a Dm7 and a Bb chord. Take note of the hammer-ons, as they add rhythmic interest and introduce further harmonic movement.…

Brought to you by… The Band began their career in 1967, but had previously been known as The Hawks, backing Canadian rocker Ronnie Hawkins and then famously Bob Dylan, as he made the move to more electric based music in the mid1960s. They formed in Toronto as early as the mid 1950s and comprised Robbie Robertson on guitar, Levon Helm on drums, bass player and vocalist Rick Danko, and keyboard players Richard Manuel and Garth Hudson. They drew influence from styles such as folk, rock, jazz, country and R&B and went on to influence the likes of Pink Floyd’s Roger Waters and The Beatles’ George Harrison. After playing with Dylan, The Band released their debut album in 1968, which included three songs co-written with Dylan and a track on the…

Brought to you by… The enduring popularity of gypsy jazz means that there is as much interest in learning this style of music as there has ever been. Like rock or blues, gypsy jazz has its own specific vocabulary, and in this series I’ve put together a collection of essential phrases to help you learn the language, and sound authentic. Some are very accessible, while others are more challenging, for when you’re ready to stretch yourself a bit more. Later, we’ll be learning some II-V-I licks, but in the first three articles we’ll be playing over static chords. This month, I’ll use Dm7 to show you my approach, and some of my ideas. When I create licks, I generally think in terms of chord tones and movements. I may play…

Brought to you by… Mixolydian mode is a great scale to use over an unaltered Dominant 7th chord. Unaltered means a chord without altered extensions, such as flat or sharp 9ths, sharp 11ths, and sharp 5ths. Have you ever noticed how, when trying to shoehorn the Blues scale in over a Dominant 7 chord (in something other than a blues) that it clashes with the chord? Mixolydian may well offer the solution. G Mixolydian is the 5th mode of C Major. You may ask ‘why do I not just play C Major over the G7 chord?’. The answer lies in the use (or rather avoidance) of the 4th degree over a Dominant 7th. The 4th is an ‘avoid’ note on a Dominant 7th; you can pass through that note but…

FEATURE #2 VIDEO PAUL GILBERT That’s Too Much Like Work! The rock virtuoso has written and recorded a piece especially for GT. Paul plays and explains it on video. CLASSICAL TAB JS BACH Courante Declan Zapala transposes a fabulous cello piece by one of the greatest classical composers of all time. FEATURE #3 MINOR-MAJOR MOVES Where blues meets jazz John Wheatcroft describes how Eric Clapton and others mix Major and Minor 3rds and Flat or Natural 7ths. NEW SERIES! REMI HARRIS Gypsy jazz for all Remi continues his great new series showing you some of his favourite licks in this captivating guitar style. Learn some of the styles from a great music decade… PLAY ‘80S GUITAR! Although punk had come and gone, its attitude remained, spilling over into bands like…

Try GT’s digital edition on PC, Mac, Laptop, Desktop or Tablet! Tap the links Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight two the relevant articles. Any web and email links in the text are tappable too Animated tab & audio All the mag’s main lessons have the audio built in with a moving cursor that shows you exactly where you are in the music. Simply tap the ‘play’ button and you’re off - you can fast-forward or scroll back at will. Play the videos Certain articles have accompanying videos full of useful insight and additional information. Once again, tap the play buttons to enjoy video masterclasses on your iPad (recommended) or smartphone.…

LARRY DIMARZIO GT: What is it about guitar instrumentals that appeal to you? SV: I don’t have to sing. Actually, I like singing but my voice is very limited and I never felt compelled to make it the main part of my show. The thing that I like about instrumental music is that it usually focuses on the quality of the melody to get its legs from. I enjoy vocal music just as much but I guess fate had other plans for me. Plus, I’m a big fan of the sound of a guitar. To me, and many others, it’s the most expressive instrument in the world. You can bend it, beat it, kiss it, fondle it, and touch it in infinite ways, and it responds differently every time. Every…

THE ALBUM GT: What a surprise! How did this new album of covers, Turning To Crime, come about? We talked about doing an original album, but it was too uncertain because of COVID restrictions to travel internationally at the time. Bob Ezrin suggested doing this as a fun project that would be totally unexpected. GT: Did you record all your guitars at your studio, or at home? Yes, the basis of the record is that we were all sequestered when the idea came about. The legal lockdown didn’t last forever, but effective planning for international movement was not reliable, so we all did our parts at home, or nearby. I’m very comfortable working at home, since I keep odd hours and don’t have an engineer come in, I can walk…

GT: What is it about guitar instrumentals that appeal sto you? The guitar is normally an accompaniment instrument, apart from the solos. But it can fill the role of the singer and rhythm section combined, and it can get incredibly close to the emotions the human voice expresses. Perfect instrument for the job. TOBIAS COETZEE GT: What can an instrumental provide a listener that a vocal song can’t? It can provide the listener a far more dynamic experience. The human voice will for the most part have limitations in range and tone. The guitar can cover vocal-like qualities plus a bunch more in the range and tonal department. GT: What are the tendencies with instrumentals that you aim to embrace or avoid, such as rhythms, harmony, playing approach or tones?…

The German musical prodigy Michael Praetorius is one of the most prolific composers to have emerged from the Renaissance period, having published more than a thousand compositions and arrangements throughout his life. A church and court musician, as well as musical theorist, Praetorius was a contemporary of Heinrich Schütz and Claudio Monteverdi and is considered one of the central figures of 17th century Lutheran church music, providing much of the basic church repertory for the generations that came after him. Born in 1571 in Creuzberg-Werra, Germany, Praetorius was the son of a Lutheran minister and, as the story goes with most of history’s musical prodigies, Praetorius’ career in music began in his youth. After having his musical talents nurtured from an early age at the famous Latin School in the…

Missed one of our recent fabulous issues? Get one now while stocks last. MARCH GT331 FLY ROUND THE FRETS! Jamie Humphries brings you a superb lesson looking at how rock legato techniques have changed over the decades. It’s a great feature! Plus Jimi meets Jazz over the 7#9 chord; Lita Ford, Robben Ford, Tony MacAlpine & more! DECEMBER GT328 JOHN MAYER John Mayer Blues! He’s a fine player in many styles, but he’s a natural bluesman. We offer 10 examples and three full solos, Mayer style. Plus: Rory Gallagher, Molly Tuttle, Jennifer Batten, Allen Hinds with Jon Herington & much more! FEBRUARY GT330 10 CHICAGO BLUES GIANTS Learn the authentic Chicago blues licks of the mighty Buddy Guy, Otis Rush, Elmore James, Mike Bloomfield, Hubert Sumlin & more. Also in…

Brought to you by… As with so many of the guitar legends we are covering in this series, as well as holding down a solo career, Richie has enjoyed stints with Mr Big and Poison, as well as critically acclaimed fusion collaborations with Greg Howe in the 90s; Tilt, released in 1995, is considered a hidden gem of instrumental guitar music. Richie clearly likes to keep busy as he is also a member of hard rock trio Winery Dogs with Mike Portnoy and Billy Sheehan. The Kotzen style stems from hard rock and blues attitude, fuelled by fast organic legato, and quick-fire Pentatonics with fusion-esque intervallic choices which add a unique colour to the Kotzen canvas. In this lesson we will explore some of the elements for which Richie Kotzen…

One of the world’s finest and most acclaimed fingerstyle guitarists, Pierre Bensusan is an acknowledged master who plays in DADGAD tuning extensively. Indeed, he has invested so much time here that he has adopted it as an ‘alternative standard tuning’. With his French-Algerian heritage Bensusan has an interesting range of influences, from North African and jazz to Celtic and, in his early days, bluegrass. He has arranged a wide number of traditional Celtic pieces for DADGAD guitar and some of his own compositions such as The Last Pint have become Celtic standards themselves. This month’s piece is a jig in 6/8 time, a very common metre in Celtic music – each bar is split into two beats which are broken down into triplets so your count is ‘1 + a…

ALBUM OF THE MONTH DAN PATLANSKY SHELTER OF BONES Virgin 10/10 As you will have already seen with Dan’s guest video performance this issue (see page 28), he’s a stunning guitarist with an impressive blend of burning blues-rock chops and theory savvy. With Shelter Of Bones, he demonstrates how vibrant and arresting he is as a songwriter too. Recorded over a pandemic-influenced, three-year period and produced by himself, the wait has been worth it. Soul Paradise is a crunching blend of modern and old with its riff and power drums. Dan’s a dynamic singer here too with a husky SRV-meets-Chris Cornell delivery. Snake Oil City features SRV or Albert-esque screaming bends and licks with a phat Texas shuffle groove. The crunchy neck pickup aided psychedelic stomper of Selfish Lover will appeal…