Guitar Technique
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- Pages: 13
Play better with...
Your Ultimate Practice Plan
Play: All Styles
ON THE CD
Tracks 4-12
Your Ultimate Practice Plan... A lot of players gravitate towards the things they can already do, wasting time running around in circles whilst the things they can’t do get further and further away. John Wheatcroft puts you back on track… ABILITY RATING
From 1 to 5
Will improve your: Technical ability Theory knowledge Musical discipline THE POPULAR VIEW is that to become a better player you should devote practice time to mastering things you can’t do at present. Whilst this is fine in priciple, in reality it‘s not much help when
attempting to organise yourself. You may be the most willing and eager guitar scholar, but more often you’ll not be sure of the best place to start, potentially trying to do too much too soon and therefore forced to make a hasty retreat back to familiar musical pastures. The best approach is to see your learning and musical development as a progressive pathway, with each new piece of information a logical, conceptual and technical develoment of the things you already know. This allows you to grow at a steady rate and means that each time you attempt to learn something ‘new’ you don’t have to start from scratch, as a huge
amount of the groundwork has already been put securely into place. Much better, I’m sure you’ll agree. One massive schoolboy error is to practise by the clock, thinking that simply the amount of hours you put in defines how good you are going to be. The reality is that it’s more down to the level of intensity - far better to do 30 minutes a day of focused work that‘s designed to strenghten weak spots and turn the heat up progressively, than to have the guitar in your hands for five hours while watching TV or looking out of the window. This type of activity is only really useful for drilling motor skills, where you
Are you sitting comfortably?
Music’s like dinner – you do it a bite at a time 16 GuitarTechniques April 2008
can disengage the brain and keep going for longer periods. If you’re working on a cognitive skill such as memorising a new chord sequence or analysing fingering choices, you need focus and total concentration. Intense concentration requires a lot of energy. If you’re able to focus fully for more than 20 minutes without falter, then you’re doing exceptionally well!
BREAKING IT DOWN It is a practical and physical impossibility to work on every single element of your playing every time you sit down to play (unless you are a complete beginner). To make any real progress you need to look at the individual component parts in isolation and in detail. Always plan what you’re going to do before you even pick up the guitar and be realistic about what you can achieve in the timeframe provided. Between 15-20 minutes on any one topic before taking a break is ideal. I generally pick four contrasting things every day. Choose a timeframe that is realistic and sustainable in the long-term, so that when you put the guitar down you feel a sense of achievement, not disappointment. Shorter and more intense sessions are more effective than the conservatoire type methodology of practising for eight hours a day non-stop. That’s just going to give you RSI. Create a log, mapping out short, mid and long-term goals and review monthly. This way, if there’s anything missing (I’ll put money on it being sight-reading!), you should be able to spot it and put your
Phil Hilborne
Play: All Styles much information as is humanly possible; it’s about how you’re going to use the skills creatively as a musician. I’ll often tell students that if we both had to make a list of things we couldn’t do on the guitar, then mine would definitely be longer, just because my experience means I’m more aware of the infinite possibilities music has to offer. It’s a constant work in progress, so surrender to this marvellous piece of information and enjoy the journey…
FURTHER STUDY
■ If you fancy a bit of light bedtime reading then try the following excellent and inspirational books: Effortless Mastery by Kenny Werner (Alfred 1996), The Inner Game Of Music by Barry Green (Doubleday 1986), and finally Musical Excellence, a collection of essays outlining strategies and techniques to enhance performance edited by Aaron Williamson (Oxford Press 2004).
missed in your musical education up to this point. You need to isolate whatever that might be and find ways of reinforcing that element of your playing and establish what the problem is, then find some exercises to strengthen that area. This might mean learning some other musical examples in order to build that area up. You may have to go back a few stages. It can be a humbling experience, but you almost always have to go back before you can go on to the next stage. The part of the brain that is associated with long-term memory
APPROACHING A NEW PIECE
practice pathway back on track. Obviously this time does not include getting the guitar out of the case, finding a lead, plugging in the amp and setting up the music stand, or turning the CD player on. Also, one hour playing with other people is worth ten in the practice room. It helps if the people you’re playing with are just that little bit better/more experienced than you too. This also helps you to focus and structure your studies in the best way possible, as you’ll quickly figure out what works and what doesn’t. Don’t put this off until you’re ‘good’. This is how you’ll actually get to be good! I’ll leave you to ponder on this thought. It isn’t about amassing as
When learning a new piece, often you need to break it down into small chunks. There’s always a reason why you can’t play something and it’s usually not because you’re incapable; it’s because previous steps have been missed. If you want to achieve a specific goal there are a number of stages before you can get there. If I want to play like Steve Vai, that’s too much of a jump in one go – you need to go through many other steps (often very smalll ones) to get to his level. So when you’re trying to play a Steve Vai piece and you can’t play a specific lick, maybe it’s because something else has been
works best when information is re-entered periodically in small amounts, so once again the method of ‘little and often’ is best. Anyone who’s crammed for an exam to find that two weeks later they can’t remember a single thing knows this is true!
WHEATCROFT’S WAY My philosophy regarding practice breaks down into three main areas. The first deals with tackling new material, usually something I’ll have to perform at some stage in the near future. The second deals with general musicianship; ear training, transcribing, reading, harmony, theory and so on. In terms of pure instrumental development, it’s all about attaining/maintaining control of expression, clarity of tone, fluency, dynamic articulation, flexibility, stamina, consistency, aesthetic beauty etc. I tend more to think about musicality these days, rectifying technical problems as and when they occur. But this is only possible now because of the work put into just technique earlier on. Most work that is purely technical tends to be in the form of ‘fire-fighting’ - putting out any potentially disastrous ‘flare-ups’ as and when they occur. GT
And when your session is over, relax!
A word on how this lesson works. The first five studies all take one specific technique or concept, selected in order to provide a balanced range of skills. We then work through five variations or developments
- the last of which is always a musical example. Studies 6 to 8 can be viewed as practical methods to drill specific disciplines in the minimum of time - with the maximum results. Ready? Then let’s go!
EXAMPLE 1 PICKING
ON THE CD
Two of the main technical challenges when picking all notes are what to do when crossing strings, and also when playing multiple notes on a single string. Our study here starts with the most basic combination of GUITAR TECHNIQUES MAGAZINE 150 John Wheatcroft these elements and expands into something much more complex, but
Track 5
in smooth progressive steps. Economy picking is the obvious choice here, but remember to always accent the notes that land on the beat, even when that happens to be an upstroke.
- Practise Examples
SECTION 1 : PICKING
©»¡ºº > > > > œ & 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
Fig 1.1: Initial cell
E B G D A E
10
Fig 1.2: Developed Scale Fragment
7
10
7
7
10
10
7
9
≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤
Fig 1.3a: String crossing cell
œ œ & œ œ œ œ œ œ
E B G D A E
10
7
(Alt) (Eco)
7
9
10
7
7
9
10
≥≥ ≥≤ ≥≤ ≤≤ etc≥ ≤ ≥ ≤
7
9
10
9
7
9
etc etc
. . . .
10
(Alt) (Eco)
7
10
9
10
7
9
7
10
≥≤ ≥≤ ≤ ≥ ≤ ≥ ≤ ≤
9
7
10
7
9
7
≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥
etc
. .
œœ œœœœœœœœ œœ œ œ œ œ œ œœœ œ œœœœœ œ œ œ œ œ œ
Fig 1.3b: String crossing pentatonic line with double-stop rolls
7 10
≥ ≤ etc 8
10
7
7 10
10
7
7 9
10
7
8 10
9
8
8 10
10 8
8
10
Fig 1.4a: Combined arpeggio/scale with economy picking
C
10
D m7
œ
E m7
œ œ
Fmaj7
9 7
8
9
10 7
7
10
10
April 2008 GuitarTechniques 17
œ œ œ œ
Ê
œ
Play: All Styles E B E B G D G A D A E E
7 7
7 7
9 9
10 10
7 7
7 7
9 9
10 10
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
≥≤
(Alt) ≥ ≥ ≥ ≤ ≥ ...CONTINUED ≤ ≥≤ ≤ 1≥≤PICKING ≤≤ etc (Eco) EXAMPLE (Eco) ≥ ≥ ≤ etc (Alt)
Fig 1.4a: Combined arpeggio/scale with economy picking Fig 1.4a: Combined arpeggio/scale with economy picking
C C
D m7 D m7
œ œ œ œ & & œ œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œ E B E B G D G A D A E E
7 7
10 10
7 7
10 10
8 8
7 7
8 8
7 7
10 10
9 9
7 7
10 10
8 8
≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥
8 (Eco) 8 (Eco)
G7 G7
œœ œœ & œ & œ E B E B G D G A D A E E
9 9
8 10 8 8 8 10 10 8 8 10 8 7 8 10 8 10 9 7 8 9 9 7 9 10 7 7 10 10 7 10 10 10
8 10 7 9 7 8 10 9 7 10 9 7 7 9 10 7 7 10 7 7 10 10 7 10 8 7 10 10 7 10 8 etc 10 etc
10 10
E m7 E m7
œœ œœ œ œ œ œ œ œ œœ œ œœ œœ œ œ œœ œœ œœ œœ œ
8 7 10 9 7 9 8 10 9 7 10 9 7 10 9 7 10 9 7 10 9 7 10 9 10 9 7 10 10 10 9 10
Fmaj7 Fmaj7
7 7
10 10
7 7
9 9
10 10
9 9
10 10
7 7
10 10
9 9
10 8 7 10 10 8 10 7 8 9 7 10 10 7 8 9
b
≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥
7 10 8 7 10 8 9 8 8 9
j # œj #œ
œœ # œ # œ œœ œœ œ œ œ œ œ œ œ ## œ œ œ œœ ‰‰ ŒŒ 3 3
9 9 10 10 10 9 9 10 9 12 11 9 12 12 12 12 11 12
11 12 11 12
EXAMPLE 2 PHRASING WITH CHORD TONES
ON THE CD
Track 6
associated with learning lots of scales. All of our examples relate to the five CAGED dominant 7th chords, and culminate in a tasty blues turnaround idea that spells the chords out perfectly, logically and with great ease.
SECTION 2 : PHRASING WITH CHORD TONES
Fig 2.1: Moveable chord forms (Dominant 7th)
©»¡ºº 4 &4
E B G D A E
b ˙˙˙ ˙
˙˙ b ˙˙˙ ˙
C7
8 8 9 8 10 8 Moveable 'E' form
b ˙˙ ˙˙
12 11 12 10
'D' form
Fig 2.2: Moveable chord forms with asociated phrase (1 key)
ww w & b ww w
C7
E B G D A E
8 8 9 8 10 8 Moveable 'E' form
18 GuitarTechniques April 2008
j bœ
10
œ œ œœ j œ œ bœ nœ
8
9
8
8
b˙ ˙˙ ˙
˙ b ˙˙˙ ˙
13 15 14 15
3 5 3 5 3
6 5 5 5
'C' form
'A' form
'G' form
œ bœ j bœ nœ œ œ ‰ Œ J 3
b www w
C7
12 11 12 10
11
j œ
Ó
œ œ bœ nœ œ œ bœ 3
BU
13 (15 ) 13
3 11 12
13
12
ww
j bœ nœ
œ œ b œj n œ
b www w
C7
Œ
11
13 15 14 15
Moveable 'D' form
C7
7 7
7 7 8 8 10 8 9 7 9 10 8 10 10 7 7 9 10 9 10 7 9 10 10 7 9 10 7 9 10 10 9 10
10 8 7 10 10 8 10 9 7 10 9 7 10 9 7 10 9 10
Our second study is more conceptual in nature, allowing you to develop the essential skill of chord-tone and melodic figure association. This skill allows players such as Eric Clapton to clearly outline harmonic changes whilst soloing, without the clutter 2 xxxxxxxxxx
7 7
etc etc
œœ œ œ œ # œ œ œ œœ œœ œ œ œ œ œœ œœ œœ œ bb œœ # œ œœ œ œ œ n œ œœ œœ œ œ œœ œœ ## œœ œœ œ œ œ œ œ # œ œ œ & œ œ œ #œ œ œ œ nœ & œœ 7 9 7 10 9 7 10 9 7 9
8 8
C maj7 C maj7
D m7 D m7
8 7 10 9 8 7 10 9 10 8 10 8 10 10
10 10
B m7 5 B m7 œœ œ œ b5 œ œ œ œœ œ œœ œœ œ œ œ œœ œœ œ œ œœ œœ œœ œ œœ
œœ œœ œœ œœ œœ œœ œœ ˙˙
7 7 10 7 10 7
7 7
Fig 1.4b: Descending pattern Fig 1.4b: Descending pattern
C C
≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤
9 7 10 9 8 7 10 8
9 9
≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤
Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor) Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor)
E B E B G D G A D A E E
Track 5
œ œ œ œ œ œ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ
B m7 b 5 B m7 b 5
A m7 A m7
ON THE CD
Moveable 'C' form
œ œ bœ J
bCww7
j œ bœ
œ œ œ bœ nœ ˙
E B G D E A B E G
J j œ ‰ Jœ b œj n œ 3 œ b œ Œ œ ‰ œ b œ n œ 38 8 11 Œ J 93
w7 Cw b & www w & b ww88 w98
8
10
8 10 8 8 9 8 Moveable 'E' form 8 10 8 8 9 8 Moveable 'E' form 10 8 j bœ Moveable 'E' form
8
8
ww b ww w 12
œ œ3 b œ n œ 3 œ Œ b wCwww7 œ b œ œ BU 3 3 (15 ) 13 11 12 Œ All13ww Styles Play: 13 11
j œ
C7
13
11 12 10 12 11 12 10 Moveable 'D' form 12 11 12 10 Moveable 'D' form
11
BU
3
13 (15 ) 13
BU 8 9 EXAMPLE 2 PHRASING WITH CHORD TONES ...CONT. 10 8 13 (15 ) 13 11 D E A B E G D A E
E B G D E A B E G
10
9
8
œ œ œœ j œ œ bœ nœ j & bœ œ œ œ œ j J œ Œ 3 œ b œ n œ3 & b œj œ œ œ œ j J œ Œ 3 œ b œ n œ3 BU & J 13 Œ 13 15 (17 ) BU
15 12 3
15 (17 )
15 12
15 13
8
11
w bCwww7 w bCwww7 w b www35 w35
143
BU
16 (17 )
3 3 5 3 BU D Moveable 'A' form 5 15 13 14 E 3 A 3 B 13 13 5 E G ( ) 3 15 17 15 12 Fig 2.3: Moveable chord transposed to I IV V in each area D Moveable 'A' form 5 15 13 14 A C7 F7 G7 C 7 F73 G 7 E
13
œœ Cœ7 & b œœœ Cœ7 & b œœœ œ & b œœ88 œ98
13
BU
16 (17 )
BU
16 (17 )
b œ n œœ'A' form bCœœœ7 Moveable œœ Gœ7 F7 œ œ œ b bCœœ7 F7œœ nGœœœ7 Œ œ b œœœ b œœœ n œœœ Œ œ 11œ 10œœ Œ 12 11 10 12
œ bF7œœœ n œGœœ7 Œ œ œ bF7œœœ n œGœœ7 Œ œ œ b œœœ8 n œœœ Œ œ8 10œ8 10
Fig 2.3: Moveable chord transposed to I IV V in each area Fig 2.3: Moveable chord transposed to I IV V in each area
E B G D E A B E G
12 10 10 10 9 10 10 12 8 8 12 11 10 10 8 10 10 8 10 8 11 10 12 8 9 8 10 12 10 10 D 8 10 9 10 10 12 E 8 8 12 11 10 A 10 8 10 10 B 8 10 8 11 10 12 E 8 G 9 8 10 12 10 10 Fig 2.4: Moveable chords through I IV V with associated phrase (1 area) D 8 10 9 10 10 12 A 10 8 10 10 E C7 C87 F7 G 7
E B G D E A B E G
15 17
10 8 8 10 8 10 8 8 10 8 10 8
8 8 10 8 8 9 8 8 10 8 8 9 8 10 8
D E A B E G D A E
9 10 8 10 9 10 8 10 9 10
‰ J
8
10
8 9 3
8 8
8 9 10 'E' form 8 Moveable 8 8 9 10 'E' form Moveable 8
Œ
11
9
BU
17 3
BU
17
16 (17 )
15 17
16 (17 )
œœ bF7œœœ œ bF7œœœ œ b13œœœ œ F7
13 14 13 13 15 13 13 14 13 13 15 13 13 14 13 15 F713
17
BU
9
11
17
15
17
15
17
œ nGœœ7 œ nGœœ7 Œ œ n œœ Œ œ Œ 13 12 G7
C7
œ bCœœœ7 œ bCœœœ7 œ b œœœ35 œ35
12 12 13 12 12 12 13 12 12 12
9
3
8 10
3 3 5 3 5 3 3 5 3 5 3
& E B G D A E
BU 11
(12 )
10
3 10
(10 ) 10
10 10
œ œ œ J
j bœ
12
‰
3
14 13
10
12
j C7 œ œ
BU
œ bœ nœ 13
Moveable 'D' form
5
8 6
4
5
8 6
4
5
bCœœ7 F7œ œ bœ bCœœ7 F7œœœ œ bœ b œœ œœœ œœ6 b œœ œ68 5 5 C7
F7
5 6 5 5 5 6 5 5 5
7 8 6 8 7 8 6 8 7 8
G7
10 8
8
10 7 Moveable 'C' form10 8 8 10 7 10 (12 ) Moveable 'C' form10 8
8
3
8 8 8
nGœœ7 œ nGœœ7 Œ œ n œœ Œ œœ7 Œ 6 G7
7 5 7 6 7 5 7 6 7 5
œ œœœ j œ Œ bœ nœ œ œ 3œ œ j J œ b œ n œ3 Œ œ œ 3œ œ j J œ b œ n œ3 Œ 8 J8 ( ) 7 10 12 BU 3
j œ œ G7 j œ œ G7 j œBUœ
93 9
8 8
9
/' œ œ bœ bœ nœ œ œ œ œ 14
3 BU 10 (11 )
11
4
10
12
3
3
13
11
9
13
10
10
1/4
13
11
'
Moveable 'G' form
3 13 (15 )
3 3 4 3 3 5 3 3 4 3 5 3
8 6
Moveable 'C' form
j F7 œ bœ
œ bœ œ
BU (6 ) 5 5
œ n œœœ Œ œ nGœœœ7 Œ œ n œœœ33 Œ œ4 œ335
(12 ) 10BU
BU
11 (12 )
3 5 4 5 3 5 4 5 3
Track 6
˙ œMoveable œ œ b œ'C'n œform œ œ œ bœ nœ ˙ 3 3 œ3 œ œ b œ n œ ˙ 3
BU 3 (6 ) 5 5
Moveable 'G' form F7 G 7
Moveable 'A' form
3
12
b œœœ bF7œœœ b œœœ5 œ45
15 14 15 13 15 14 'C' form Moveable 15 13 15 14 'C' form Moveable 15
(6 ) 5
5
5 5 6 5 5 Moveable 'G' form 5 6 5 5 Moveable 'G' form 5 F7 G 7
8
Moveable 'A' form
& E B G D A E
3
j œ bœ j œ bœ j œ BUb œ
10
Fig 2.5: Blues V VI I ending lick
œ œ b œj n œ
12
8
BU
3 xxxxxx
G7
11
10
Moveable 'A' form
Moveable 'E' form
j bœ nœ
13
9 (10 ) BU 10
(10 ) BU Moveable 'A' form 8 10 9 9 (10 )
11
15
œ œ b œj n œ œ bœ œ œ b œj n œ œ œ J ‰ Œ bœ 3 œ œ b œj n œ 3 œ J ‰ Œ BU 3œ 3 œ b Jœ ‰ Œ 8 10 (10 ) (10 )
j j œ œ bœ bœ nœ b œ n œ C‰7 œ Moveable chords through I IV V with associated œ b œ (1 Œarea) b œj nF7œ J b œj n œ œ3 phrase C‰7 œ Œ j F7 J b œj n œ œ3 œ b œ bœ nœ BU œ
œœ œœ œœ œ bœ & bCœœœ7 F7œœœ n Gœœœ7 Œ œ bœ œ & bCœœœ7 F7œœœ n Gœœœ7 Œ œ bœ œ & b œœœ88 10œœ8 n œœ8 Œ 10 8 9
16
3
13 15 14 15 13 15 14 15 13 15 14 15
Fig 2.4: Moveable chords through I IV V with associated phrase (1 area) Fig 2.4:
3
b œCœœ7 œ b œCœœ7 œ b œœœ œ
11
œ œ bœ bCw7 w J œ œ b œ ‰ Œ bCww7 w 3 J œ œ b œ ‰ Œ bCww7 BU 3 J ‰ Œ ww6 w5 (17 )
15 17
C7
13
12 ON THE CD
12
j œ b œj n œ bœ nœ œ Moveable 'D' form j œ b œj n œ bœ nœ œ j 3 œ j bœ nœ œ bœ nœ
C7
3 12
11 12
œ 3
11
12
13
œ b œ b œj œ b œ 3
12
11
11 10
8
j œ nœ
8
9
nœ
œ 8
C9
bœ
b b œœœ œ
œ b œœœ
11
9 8 9 8
8 7 8 7
3
8
D b9
˙˙ ˙˙
Ê
Moveable 'E' form
April 2008 GuitarTechniques 19
Play: All Styles EXAMPLE 3 HYBRID PICKING
ON THE CD
It’s country madness next with a five-point plan to develop your hybrid picking technique. By now you’ll have figured out how things work; take a basic technique and expand gradually as your accuracy, stamina and consistency responds to the workload. I’ve squeezed a couple of
Track 7
nifty rock-style arpeggios in here too. It’s possible to get these up to frightening speed with not too much effort, so give them a go. From a country perspective, hybrid-picking and scales containing open strings go hand in hand, so I’ve integrated elements of both as we progress.
4 xxxxxxxxxx
SECTION 3 : HYBRID PICKING
©»¡ºº C œ œ œ œ œ œ œ & 44 œ
E B G D A E
9
10
≥
9
10
≥
m
10
≥
m
9
10
m
≥
Fig 3.1c: Fwd/Rvs (2 fingers)
Fig 3.1b: Basic cell (2 fingers)
Fig 3.1a: Basic cell (1 finger)
œ œ œ œ œœ œœœ œœœ œœœ œ
œ œ œ œ œ œ œ œ œ œ œ œ 3
9
8
9
10
≥
m
3
10
m
a
≥
3
3
8
9 m
≥
a
8
9
10
9
10
m
≥
a
m
8
8
9
10
≥m
a
9
10
8
9
≥m
a m
9
8
9
10
≥m
a m
9
10
8
9
≥m
a m
9
a m
Fig 3.2: Basic I IV V sequence plus hammer on
C
G
Fadd9
C
œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ E B G D A E
0
0 2
1 2
2
0
1
≥ m≥ a ≥m a
0 2
0
1 2
2
0
1 2 3
0
1
0
3
3
1 2 3
0
1 3
3
1
0
0
4 5
3 5
5
0
3
& œœœœœœœœ˙ 3
0
7
3
0 7
5
0
3
0
0 2
1 2
2
0
1 0 2
0
1 2
0
3
0
7
0
3
0
3
7
7
5
0
3
6
3 0
≥ 7
m
0 8 m
0 7 8
0 7
0 5
7
≥m ≥ a≥
a
6 8
≥
5
m
Fig 3.4b: Rock 7th triad with hybrid picking
Fig 3.4a: Rock triad with hybrid picking
C
6
6
6
6
A Aeolian
≥m≥ma ≥ma≥a≥ma ≥m
≥m≥ma≥a≥ C
5
œœ œœœœ œ œ œ œœ œœœœ
œ œœœœ œ œ œ œœœ œœœœ
G Mixolydian
C major scale
0
3 5
etc
Fig 3.3: Scales with hybrid picking and open strings
E B G D A E
0
4 5
6
6
6
6
& .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. E B G D A E
. .
3
2 5
≥m
5 a
5 2
≥
3
2 5
5
5 2
3
2 5
5
5 2
3
2 5
5
5 2
etc
. . . .
3
2 5
≥m
5 a
5 2
≥
4
5 2
m
≥
3
2 5
5
5 2
4
5 2
3
etc
Fig 3.5: Country hybrid picked line with open strings
œ œ œ œ œ œ œ n œ b œ & œ œ œ œ œ œ C
E B G D A E
3
≥
0 m
7
≥
3 m
20 GuitarTechniques April 2008
0 a
7
≥
3 m
0
a
5
≥
3
m
0
a
6
≥
3
m
10
≥
‰
œ œ œ œ œ œ
j œ
˙˙
BU
7 0 m
2 5
m
0 10
7
≥
a
≥
7 (9)
7 10 m
≥
10
a m
5
5 2
. .
Play: All Styles EXAMPLE 4 SLURS AND HAMMER-ONS
ON THE CD
Hammer-ons and tapping are the order of the day for study number 5 5 xxxxxx xxxxxx 4. Initially it’s fretting-hand only, picking the first note on each new 5 xxxxxx 5 xxxxxx string. Before long though we’re incorporating two picking-hand SLURS/TAPPING taps.SECTION Try using44 ::your ‘m’ and ‘a’ fingers so you keep the pick between SECTION SLURS/TAPPING SECTION 4 : SLURS/TAPPING Fig 4.1a: Basic legato cell SECTION 4 : SLURS/TAPPING Fig 4.1a: Basic legato cell Fig 4.1a: Basic legato cell C /Am /Am Fig 4.1a: Basic legato cell C C /Am C /Am
444 œœ œœœ œœ & œ œ œ & & & 44 œ œ5 5 5 5
E E B E B G B E G D G B D A D G A E A D E E A E
Fig Fig Fig Fig
E E B E B G B E G D G B D A D G A E A D E E A E
Fig Fig Fig Fig
œœœ œ
œœœ œœ œœœ œœ œ œœ œ œœ 5 5 5 5
4.2: 4.2: 4.2: 4.2:
Basic cell with string skips Basic cell with string skips Basic cell with string skips
C /Am Basic C /Am cell 5with string skips C /Am 5 5 C /Am
5 & & œ & œ œ œ & œœœ œœ œœ œ
œ œœœ œœœ œ
œœœ œ
9 9 9 12 10 8 12 8 8 12 8 10 12 9 8 12 8 10 12 8 12 8 10 12
LLL
4.3: Basic 4.3: Basic 4.3: Basic /Am 4.3: C CBasic /Am
cell cell cell cell
with with with with
second second second second
œœœ œ œœ œ & œ œœœ œœ œœœ & & & 6 6 C /Am C /Am
LL 14 14 14 14 m m m m
6 6
9 9 9 9
12 12 12 12
9 9 9 9
œœœ œ
5 5
5 œœœ œœœ œœœ œ œœ œ5 œ œ œ œœœ œœ œœœ 5 5 5 5
10 10 10 10
12 12 12 12
9 9 9 9
and and and and
third third third third
12 12 8 12 12 8 12 12 8 12 8 12
œœœ œœ œœœ œœ œ œœ œ œœ 5 5 5 5
LLL
12 12 12 12
LLLœœœœ &
LL 15 15 15 15
8 8 8 8
12 12 12 12
8 8 8 8
15 15 15 15 a a a a
14 14 14 14 m m m m
12 12 12 12
LLLœœœœ LLLœœœœ LLLœœœœ œœœ œ
10 10 10 10
15 15 15 15
taps taps taps taps
14 14 14 14 m m m m
œœœ œ
LL
10 10 10 10
LL LL LL
12 12 12 12
10 10 10 10
& œœ & œ & & œœ œœœœ œœœ œœœœ œœœœ
& & &
LL LL LL 15 15 15 15
17 17 17 17
15 15 15 15
LLL LLL LLL
12 12 12 12
œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ 6 6 6 6
12 12 12 12
8 8 8 8
8 8 8 8
10 10 10 10
12 12 12 12
xxxxxxxxxx
Lœ œ œ Lœ œ œ Lœ
LL LL LL 15 15 15 15
17 17 17 17
15 15 15 15
12 12 12 12
9 9 9 9
10 10 10 10
10 10 10 10
L
C maj7
& œ œ œ
L
10 3 7
6
L L L 6
œœœ œ œ
8 3 7
9 4 5
L
D m7
9 4 5
œœœ œœœ œ œ œ
10 10 10 10
8 8 8 8
10 10 10 10
12 12 12 12
8 8 8 8
10 10 10 10
10 10 10 10
Lœ œ œ Lœ œ œ Lœ œ œ 6
6
10 5 8
10 5 7
moved moved moved moved
across across across across
string string string string
12 12 12 12
LLLœœœœ
LL 14 14 14 14 m m m m
LL 17 17 17 17
œœœ œ
œœœ œœœ œœœ œ œ œ 5 5 5 5
9 9 9 9
5 5 5 5
5 5
8 8 8 10 12 8 10 12 10 12 10 12
9 9 9 9
10 10 10 10
œœœ œœœ œœœ œœ œœœ œœ œ œ œ œœ œ œœ
12 12 12 12
8 8 8 8
5 5 5 5
œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ 6 6 6 6
9 9 9 9
12 12 12 12
9 9 9 9
œœœ œ
œœœ œ
6 6 6 6
LLL
LLLœœœœ LLLœœœœ LLLœœœœ œœœœ
LL LL LL 15 15 15 15 a a a a
14 14 14 14 m m m m
14 14 14 14 m m m m
14 14 14 14
LL LL LL 17 17 17 17
19 19 19 19
17 17 17 17
12 12 12 12
12 12 12 12
10 5 7
LL 17 17 17 17
14 14 14 14
10 10 10 10
10 10 10 10
14 14 14 14
12 12 12 12
LL LL LL 17 17 17 17
19 19 19 19
17 17 17 17
14 14 14 14
12 12 12 12
œœœ œœœ œ œ 12 12 12 12
10 10 10 10
œœœ œ
œœœ œ
œœœ œœœ œ œ
10 10 10 10
9 9 9 9
10 10 10 10
14 14 14 14
LLL LLL LLL
6 6 6 6
10 10 10 10
9 9 9 9
8 8 12 8 8 12 12 12 9 12 9 10 12 8 12 8 12 9 12 9 10 12 8 12 8 12 9 12 9 10 12 9 12 9 10 12
LLL LLLœœœœ LLLœœœœ œœœ œ
12 12 12 12
12 12 12 12
5 5 5 5
œ œœœ œœœ œœœ œœœ œ œ œ 10 10 10 10
14 14 14 14
10 10 10 10
12 12 12 12
10 10 10 10
9 9 9 9
œ œœœ œœœœ œœœ œœœœ œ
œœœ œ
5 5 5 5
10 10 10 10
5 5 5
12 12 9 12 9 10 12 12 9 12 9 10 12 12 9 12 9 10 12 9 12 9 10 12
œœœ œ
œœœ œœœ œ œ
œœœ œœœ œœœœ œœœ œ œ œ5
œœœ œ
œœœ œœ œœœ œœœ œ œ œœ œ œ œœ œœ œœœ œœ œœœ œœœ œœœœ œœœœ œœœ œœœ œ œ œ œœ œ œœ œ œ
12 12 12 12
œœœ œ
œœœ œœœ œœœ œ œ œ
12 12 12 12
10 10 10 10
14 14 14 14
12 12 12 12
œœœ œœ œœœ œœœ œ œœ œ œ 12 12 12 12
10 10 10 10
12 12 12 12
14 14 14 14
L Lœ œ œ Lœ n œ nLœ œ œ L œ . L œ bœ bœ b Lœ œ Lœ œ œ œ bœ L L L L L LL D b7
L L L L L 12 5 8
œœœ œ
LLLœœœœ œœœ
œœœ œ
cell cell cell cell
9 12 9 12 9 12 9 12 10 12 9 10 12 9 9 12 9 12 9 10 12 9 12 9 12 9 10 12
9 9 9 9
12 12 12 12
Basic Basic Basic Basic
5 5 5 5
5 5 5
œœœ œœ œœœ œœœ œ œœ œ œ
4.1b: 4.1b: 4.1b: 4.1b:
œ œ œ œœœ œœœ œœœ œœœ œœœ œœœœ œœœ œœœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ 5 5
œœœ œœ œœ œœœ œ œœ œœ œ œœœ œ 5
Fig 4.5: Harmonised sequence with string skip tapping
E B G D A E
Fig Fig Fig Fig
œœœ œ
œœœ œ
9 9 10 12 9 10 9 12 12 9 12 12 9 10 12 12 9 12 9 10 12 12 12 12
œœœ œœœ œœœ œœœœ œ œ œ
6 6 6 6
C /Am C /Am
8 8 8 8
œ œœœ œœœ œœœ œœ
LLL LLL LLLœœœœ œœœœ
finger finger finger finger
Fig 4.4: String skips in octaves Fig 4.4: String skips in octaves Fig 4.4: String skips in octaves /Am Fig 4.4: C CString /Am skips in octaves
E E B E B G B E G D G B D A D G A E A D E E A6 E
5 5 5 5
œœœ œ
thumb and first finger. We’re simplifying the tapping element for our final musical example but increasing the complexity both harmonically and in freboard movement. The crucial factor here is damping unused strings. Use the palm of your fretting hand to mute all idle bass strings.
9 12 10 12 9 10 12 9 9 12 12 9 10 12 9 10 12 9 9 12 12 9 10 12 9 10 12 9 9 12 12 9 10 12 9 10 12 9 9 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12
E E B E B G B E G D G B D A D G A E A D E E A E
E E B E B G B E G D G B D A D G A E A D E E A E
œœœ œœ œœœ œœ œ œœ œ œœ
œœœ œ
Track 8
11
b œ bœbœ
6
C maj7
6
9
10
4 8
4
6
4
7
10 4 6
L
j nœ
6
6
8 3 7
9 4
BU
10 12
5
10 3 7
April 2008 GuitarTechniques 21
Ê
Play: All Styles EXAMPLE 5 THUMBPICK
ON THE CD
Just for the record, I’m absolutely hopeless with a thumb-pick, but I resisted the temptation to just cheat and hybrid-pick and worked through these examples progressively for 15 minutes. By the end I was able to record the tracks on the GT CD, so this method obviously works. Our musical examples follow the now familiar pattern: start GUITAR TECHNIQUES MAGAZINE 150
Track 9
simple, isolate any movement or idea, expand upon this in stages, and end with a musical application. This time we finish with a 12-bar study with combined root-5th bass and melody on the treble strings. This example might seem unusual, but consider that players as different as Freddie King, Johnny Marr and Brent Mason all use a thumbpick.
John Wheatcroft - Practise Example 5
SECTION 5 : THUMBPICK/FINGERSTYLE Fig 5.1a: Basic Pattern
©»¡ºº Swing # # & # # 44
E B G D A E
Fig 5.1b: Elementary melody
. . w œ œ . . œ œ œ œ œ œ E
Palm mute bass throughout
2
. . . .
2
0
0
2
2
0
E
∑
0
2
0
Fig 5.2a: Syncopated melody
. . . .
2
0
0
Fig 5.2b: Melody in half-notes (minims)
0
0
2
2
0
. .
0
0
2
2
0
2
0
0
0
. . 2 . .
0
0
0 2
0
0
2
2
0
2
0
E
n˙ # # ˙ œ œ & # # .. Œ œ ‰ œ œœ .. .. œ œ œ œ œ œ
. .
0
0
2
2
. . . .
0
2
0
0
3
0
0
Fig 5.3a-5.3c: Syncopated melody transposed over I IV V
0
. . . .
0
0 2
0
0
. . 2 . .
0
2 2
0
0
2
# # ˙. & # # 44 Œ œ œ œ Palm mute bass œ throughout
0
2
2
0
E
#### nœ œ œ œœ & œ œ œ œ 2
0
2
0
22 GuitarTechniques April 2008
2
2
0
0
0 2
2
0
2
0
0
2
1
2
0
2
1
0
0
. . . .
0
2
2
0
0 2
2
0
0
2
2
0 1
2
1
2
. .
0
2
j n œ œ. ˙ œ œ œ œ
0
0
0
2
0
0
2
3 2
0
E
nœ œ œ œ œœœ Œ œ ‰œœœ Ó œ œ œ œ œ œ œ œ ˙ 3
2
2 0 1
0 2 2
0
0
1
0 2
2
0
0
2
0
. .
2
2
0
Œ œ ‰ œ œ œ Œ ˙. œ œ œ œ œ œ œ œ
0
3
3
A
2
0
j n œ œ œ œ œ. Œ ‰œœ Œ œ œ œ œ œ œ œ œ
0
2
0
2
0
. . . .
0
B
2
0
0
nœ œ œ œœ œ œ œ œ
2
0
˙
0
3
0
2
0
3
0
0
Fig 5.4d: Bass-line variation
E
2
0
œ . œj ˙ œ œ œ œ
E
˙
2
0
. . 2 . .
.. .. n œ œ œ œ œ .. .. . ∑ œ œ œ œ œ œ œ . œ œ œ œ œ
2
Fig 5.5: 'Travis-style' complete 12-bar study over I IV V sequence
E B G D A E
2
E
E
E B G D A E
. .
0
2
Fig 5.4a-5.4c: Expanded melody examples
E B G D A E
..
w œ œ œ œ
E A B j j j j # # # # . œj ˙ . . ‰ œ œ ‰ œ ˙œ . œ .. .. ˙ œ ˙ œ ˙ œ ˙ œ .. .. œ . œœ ˙ œ .. .. œ . œœ ˙ œ .. .. œ . œ ˙ .. & œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ
E
E B G D A E
. . w œ œ . . œ œ œ œ œ œ
E
∑
Fig 5.1c: Expanded melody
0
0
˙˙ ˙˙ ˙
E 6/ 9
˙
12 12 11 11 11 0
2
Play: All Styles EXAMPLE 6 THE IMPROVISATION ACID TEST
ON THE CD
Track 10
This example will test how well you have absorbed a musical device, you lose the rhythm, mess up or come back in the wrong place or key concept or technique. We know the story: you’ve put the hours in then more work is needed. If all goes well then put your new skills to and are feeling rather smug; you go out to gig or jam with friends and the test by creating as many variations as you can, mixing techniques, none of the stuff you’ve worked on comes out! Well, help is at hand. fretboard positions etc. Next time you play for real you should have The trick is to make your practice and performance line up. Your task a far better command of vocabulary you know that you can actually is simply to play on your own, establish a groove, feel, key and style, get to it on demand. On the GTCD I played all the examples and just GUITAR TECHNIQUES MAGAZINE (Section 6 - 8) - John Wheatcroft decide upon how long the soloing gap is going to be andPractice go for it. If improvised a couple of things to show you how things may turn out. SECTION 6 : IMPROVISATION 'ACID-TEST'
©»¡ºº Shuffle G7 4 . &4 . œ (œ ) ( )
Fig 6.1: Blues-style vamp
E B G D A E
. .
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
Possibly miss on repeats
(5) (3)
Œ
..
Ó
Insert fill here (Mixolydian/Blues)
. .
Fig 6.2: Maiden-style rock vamp
©»¡ºº Straight
& .. E B G D A E
. .
A5
œ œœ 0
0 0
œœ 9 7
œœ œ œ
G 5/A
œœ 0 0
©»¡§º Swing D m11 œœ. ‰ & .. œœœ
9 7
F5
œ œœ
7 7
0
0 0
G5
œœ
‰ œœ œœ J
5 3
7 5
Œ
∑
..
∑
Insert fill here (Aeolian/Minor Pentatonic)
. .
Fig 6.3: Swing-style minor vamp
E B G D A E
. .
œœ œœ œ J
E m11
5 6 5 5 5
œœ. œœ œ
D m11
Ó
7 8 7 7 7
©»•º Straight C œœ. œœ. œœ‰ & .. ‰
œœ. œœ œ J
œœ ‰ œœ Œ . œ J E m11
5 6 5 5 5
D m11
7 8 7 7 7
∑
..
∑
Insert fill here (Dorian/Melodic minor)
. .
5 6 5 5 5
Fig 6.4: Reggae -style major vamp
E B G D A E
. .
8 8 8 8 9 9
œœ. œ
œœ. œ‰
8 8 8 8 9 9
œœ. œ
œœ. œ‰
œœ. œ
8 8 8 8 9 9
œœ. F œ ‰
8 8 8 8 9 9
©»•• Straight
œœ. œ
œœ. œ
8 8 10 10 10 10
œœ. œœ. G ‰ œœ‰
œœ. œ
8 8 10 10 10 10
œœ. œ‰
7 7 8 8 7 7
œœ. œœ. œœ
C
F
∑
Insert fill here (Major scale/Triad arpeggios)
7 7 8 8 7 7
∑
G
.. . .
Fig 6.5: Funk -style single note riff
C7
& .. œ b œ œ b œ œ n œ b œ œ E B G D A E
. .
10
8
10
6
7
6
8
‰.
˚j bœ œ œ œ œ 10
8
8
10
8
œ
œ
‰
Œ
Ó
..
Insert fill here (Mixolydian/Blues/Extended dom chords)
10 8
. .
April 2008 GuitarTechniques 23
Ê
Play: All Styles EXAMPLE 7 FRETBOARD FLUENCY
ON THE CD
We all know our pentatonic scales, right? Well, just how well do you know them? This little beauty will put your knowledge to the test, leaving no stone unturned. The trick is in defining the octave points - the crucial landmarks of any scale, arpeggio or chord. Once you’ve worked through these examples repeat the procedure with any
Track 11
scale/mode/chord/pentatonic that you know. Work in this area will be highly rewarded, I promise. If you’re ever stuck for something to work on, this exercise has endless permutations - just think of any scale or mode etc that you feel is a little weaker than you’d like, and give it the ‘Fretboard Fluency’ treatment. The rewards will be immense!
2 Practice (Section 6 - 8)
SECTION 7 : FRETBOARD
©»¡ºº A m 4 &4 œ
Fig 7.1a: Basic octave definitions
E B G D A E
œ
œ
œ
2
Fig7.1b: Rvs cell
Fig7.1c: Fwd cell
A m7/11
A m7/11
œ œ œ œ œ œ œ
7
5
5
3
5
Fig 7.2a-e: Octave definitions/Associated chord/Pentatonic cell
œ œœ œœ œ & œ œ œ A m7
E B G D A E
5
7
5
Moveable 'Em' form
œ
& œ E B G D A E
10
12
5
8
7
5
7
5
7
13 12 10 12
9
œ
œœ œœ œ
17
17 17 17 17
14
17 Moveable 'Gm' form
5
5 Moveable 'Gm' form
24 GuitarTechniques April 2008
7
12
7 5
œ œ œ œ œ œ œ
8 8 9 7
10
7
10
7
8
9
10 7
10
12
œ
˙˙ ˙˙ ˙
œ œ œ œ œ œ œ
14
12 13 12 14 12
12
œ
12
12
15
12
12
14
14 12
17
5
2
5
5
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
17
15
14
17
7
5
7
5
8
Moveable 'Em' form
5
14
17
14
17
15
17
15
17 14
17
œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ 3
5
5
7
Moveable 'Am' form
œ
2
œ ˙˙˙ œ ˙
7
Fig 7.3: Continuous scale exercise
E B G D A E
8
5
8
Moveable 'Dm' form
œ œ œ œ œ œ œ 10
5
5
˙˙ ˙˙
12
5
7
Moveable 'Cm' form
& œ E B G D A E
5
5
2
5
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
5 5 5 5 7 5
2
5
œ œ œ œ œ œ œ
8
8
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10
8
9
7
10
Moveable 'Dm' form
7
10
10
12
10 12
9
Moveable 'Cm' form
12
10 13
12
Play: All Styles 3 Practice (Section 6 - 8) 7 FRETBOARD EXAMPLE FLUENCY ...CONTINUED 3 Practice (Section 6 - 8)
œ œ œ œ & 3 Practice (Section 6 - 8) œ œ œ & œ œ œ œœ & 14 12 œ œ 14œ 12 œ & 3 Practice (Section 6 - 8)
œ œ œ œ œ œ œ 12œ 15
œ œ œ œ œ œ œ 15œ 15
E B G D A E E B G 14 12 'Am' form Moveable E D 14 12 B A 15 12 15 G 14 12 E 15 D 14 12 Fig 7.4a: 8ve defs in 5 keys/forms (1 Area: Ascending 4ths) A Moveable 'Am' form 15 12 15 E E 15 B E A G 14 12 Moveable 'Am' form D 14 12 Fig 7.4a: 8ve defs in 5 keys/forms (115 Area: 12 Ascending 4ths) A 15 E 15
œ
& œ & Eœ & Eœ & œ7
œ
œ
œ œ
œ œ œ
Moveable 'Gm' form 12 14 12 15 12 14 Moveable 12 15 'Gm' form D Moveable 'Gm' form 12 14 12 15
12
14
12
14
œ œ
œ œ
œ D œ
Fig 7.4a: 8ve defs in 5 keys/forms (1 Area: Ascending 4ths)
E 5 B 5 A G D 7 A 5 E 5 E 5 B 5 G E 5 D 7 B 5 A 7 5 G E 5 Fig 7.4b: Complete shapes in 5 keys/forms D 7(1 Area: Ascending 4ths) A 7 5 E 5 E E m7/11 A m7/11 5 B 5 G 3 Fig 7.4b: Complete 3 shapes in 5 keys/forms 7(1 Area: Ascending 4ths) D A 7 5 E E m7/11 A m7/11 5 Fig 7.4b: Complete shapes in 5 keys/forms (1 Area: Ascending 4ths)
œ
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&
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Fig 7.4b: Complete shapes in 5 keys/forms (1 Area: Ascending 4ths) E B G D A E E B G E D B A G E D A E E B G D A E
5
7
5
7
œ 7 7
5 7 5'Cm' 7 form G Moveable m7/11 5 7
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4
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7
5 8 5 8 5 Moveable 5 'Am'8form 5 8 3 Moveable 'Am' form 5 5 8 5 8 3 Moveable 'Am' form
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7
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8
3 5
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b œ8 œ œ 7 œ b œ 5 bœ œ 8 œ5 œ b œ œ œ3 œ b œ3 œ Cb m7/11 3 œ b œ œ 3 b œexercise up semitone for nextb5œkeys...etc) œ 3 b œ(Transpose œ œ œentire œ b œ œ œ b œ 3 6 8 bœ C m7/11 3 6 8 œ œentire 3 œ 5 up 8semitone for nextb5œkeys...etc) exercise b œ œ3 b œ(Transpose 3 5 8 œ b œ3 œ6 forœ8next 56keys...etc) 6 8 8 b œ (Transpose entire exercise up semitone œ 6 8 œ 5 8 bœ œ bœ 3 6 8 3 5 8 6
A m7 6
5
8
5
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5
6
8
7 7
7 5 7 5
5
5
6
7
8
6 8 6 8 5 up 8semitone for next 5 keys...etc) (Transpose entire exercise 5 8 6 8 6 8 C m7 6 8 5 8 5 8 6 8 C m7
8
œ œ A œm76 œ œ œ ≈6 œ œ8œ œ ≈ œ œ œ ≈ œœ œ Aœ m7 œœ œœœ≈œœœœ≈œœœ ≈ œœœ≈œœœ ≈œœ œœ≈ œ 8 A œm7 œ 5 œœœ 5 5 7 5 7 5 œ 7 7 5 œ œ 8 5 œ œ œ ≈ œ œ œ œ ≈ œ œ7 œ5 7 5 ≈ œœ 5 7 5 7 5 5 7 7 5 7 5 5
8 (Transpose entire exercise up semitone for next 5 keys...etc)
5
D m7/11 8
Fig 7.5: Fusion lines through non-diatonic modal progression Am7-Cm7 E B G D A E E B G E D B A G E D A E E B G D A E
5
8
8
5
Ó œ entire exercise up œ (Transpose œ Ó 5 keys...etc) semitone for next œ 8 Ó (Transpose entire exercise up œ 5 semitone for next 5 keys...etc) entire exercise up œ (Transpose 8 Ó 5 keys...etc) semitone for next
œ
5
œ
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C
8
7 5 7 Moveable 'Em' form C m7/11 8 5 8 5 7 5 Moveable 3 'Em' form 7 5 3 7 C m7/11
E B G D A E E B G 7 5 E 3 8 6 D 3 8 B 8 6 A 8 5 G 7 5 modal progression Am7-Cm78 Fig 7.5: Fusion lines through non-diatonic E D 8 5 A 8 5 E 8 6 A m7 C m7 E 8 B 8 6 G 7 5 modal progression Am7-Cm7 Fig 7.5: Fusion lines through non-diatonic D 8 5 A 8 5 A m7 lines through non-diatonic modal C m7 progression Am7-Cm78 Fig 7.5: Fusion E
19
8
5
8 5 7 Moveable 3 'Em' form 8 5 3 8 5 7 5
œ3 œ œ Moveableœ3 'Em'b form œ 3 œ œ œ 3 œ3 œ œ œ b œ œ3 b œ 5 8 5 œ œ œ 8 6 œ bœ 5
w
19
œ
5
7
w w
8
œ
7
12
Track 11
w
œ œ
œ œ G
7
œ
œ
G
œ
12
13
G
œ œ
D
12
13
œ
E defs in 5 keys/forms A D Fig 7.4a: Moveable 8ve (1 Area: Ascending 4ths) Moveable 'Am' form 'Gm' form A
13
12 G 14
œ
œ
œ œ œ œ œ œ 13 œ 12œ
œ œ œ œ œ œ 12 œ 14œ
œ œ œ œ œ œ œ œœ œ œ œ 12 14 12 œ 15œ œ œ
ON THE CD
7 5 7 5
5 5
7 5 7 5
7 5 7 5 7 5
bœ œ œ œ œ œ œ œ œ b œ œ œ C m7 œœ b œ œ œ œ œ œ œ œ œ bœ œ œ œ6 b œ C m7 œ œ œ œ œ 5 œ œ bœ 5 œ 8 5 œ 8 6 8 8 bœ œ œ 8 8 œ 6 œ œ œ 5 œ œ bœ 8
8
8
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6
8
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6
5 5 5
8
8
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8 5 8 5 8 5
5 5
6 6
April 2008 GuitarTechniques 25
Ê
Play: All Styles EXAMPLE 8 SCALE DRILL
ON THE CD
I thought I’d save the easy one until last! Fancy running through all of the most used scales, pentatonics, 7th arpeggios, triads and intervallic permutations in one minute and eight seconds? Well roll up and give this beast a go. Obviously, it’s in one key and is limited to just one octave, so you could invent an alternative uber-scale drill that moves
Track 12
through all keys and exploits a greater range of fretboard motion. But for now this should hit the spot. Notice how each structure morphs into the next by changing just one note, and remember that the best way to learn something you don’t know is to relate it to and develop something you already do know. Continued next page.
4 Practice (Section 6 - 8) SECTION 8 : SCALE DRILL
Fig 8: Play as one continual study
©»¡ºº C maj7 C7 4 bœ œ œ œ œ œ œœœœœœœœ & 4 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œœœ œœœœœœ œ œ œ œœœœœ
E B G D A E
C Lydian (#4) 2
3 5
5 4 2
5 3 2
œ bœ œ œ œ œ œ œ
œ œ bœ œ œ
C Dorian (b3 b7)
3 5
2
3 5
6
3 5 3 2
&
5 3 2
5 3
bœ œ œ bœ œ œ
œœœœœœ
C Harmonic minor (b3 b6)
3 5
3 5
6
6
4 5 4
6 5 3
œœœœœœ
œ œ bœ œ œ bœ œ œ œ
C Melodic minor (b3)
6 5 3
3 5
6
5 3 2
3 5
2 3 5
2
3 5 3 2
5 3 2
5 3
6
6
3 5
2 4 5 4 2
5 3
C m7
œ œ œ œ œ œ œ bœ œ œ bœ bœ œ œ œ œ œ œ œ bœ C Aeolian (b3 b6 b7)
6 5 3 2
C Phrygian (b2 b3 b6 b7)
6 5 3 2
3
bœ œ œ œ œ œ bœ œ b œ n œ œ b œ œœ œ
C Blues scale (R b3 4 b5 5 b7)
3
6
3
4
5
3 5 3 5 3
5
4 3
6 3
10
C maj7
&
3 5
6
3 5 3
6
6 5 3
6 5 3
6
œ œ œ œ œ œ œ bœ bœ œ œ bœ bœ œ œ œ œ œ œ œ bœ œ bœ bœ œ bœ bœ bœ œ œ œ œ œ œ œ bœ 4
6
3 5
6
C Locrian (b2 b3 4 b5 b6 b7)
3 5 3
6 5 3
6 4 3
6
7
&
3 5
C m7 b 5
C m7
C m7/C7
3
4
C m7
6
3
4
3 5 3
6
6 4 3
6 4 3
6
C
œ bœ œ œ œ œ b œ œœœœœœœœ œ œ œ œ b œ œ œ œ œ œœœœ œ bœ œ bœ œ C minor pentatonic (R b3 4 5 b7)
3
6
6
3 5
3 5
4
3 5 3
C major pentatonic (R 2 3 5 6)
5 3
6 3
C m7 b 5
C7
C m7
(1 3 5 b7)
(1 b3 5 b7)
6
6
3 5
2 5
2 5
3
2 5 2
5 2
5 3
5
5
C dim
œœœœ bœ œ œ œ bœ œ œ œ œœœœ ∫œ œ œ œ œœœœœ œ œ œ b œ b œ œ œ œ œ œ b œ œ œ œ b œ œ œ œ œ œ œ œ œ
(1 3 5 7) E B G D A E
2 4 5 4 2
C m(maj7)
4
C m(maj7)
E B G D A E
2 3 5
3 5
1
&
E B G D A E
2 4 5 4 2
4 5
C m7
E B G D A E
C Mixolydian (b7)
C Ionian
3
2 5
4 5 4
5 2
13
26 GuitarTechniques April 2008
3
2 5
3 5 3
5 2
3
6
5
(1 b3 b5 b7)
3 5 3
5
6 3 6
4
(1 b3 b5 bb7)
3 5 3
4
6
3
6
4
2 5 2
4
6 3 6
4
2 5 2
4
6
Play: All Styles EXAMPLE 8 SCALE DRILL ...CONTINUED Two good examples are the relationship between the Dorian mode and the melodic minor, and the parallel relationship between the Aeolian mode and harmonic minor. There are no prizes for how fast
&
C aug
2
3
5
5
5
5
2
3
1
2
3
5
1
2
œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
(1 b3 5)
3
3
(1 b3 b5)
5
5
6
5
5
6
3
3
5
4
6
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4
6
3
16
& œœœœœœœœœœœœœœœ 3rds
18
7
8
10
7
8 7 10 8
10
9 7 10 9
7
10
œ œ œ œ œ œ œ œ œ œ œœ œ & œ œ 6ths
E B G D A E
5
C dim
œ bœ
(1 3 #5)
œœœœœœœœœœ œ œ œ œ œ
C
E B G D A E
Cm
œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
(1 3 5) E B G D A E
Track 12
you finish this, just how well you understand it, so take things one bar at a time if necessary. Right then, I’m off to do some practice myself - on the trumpet (think I’m joking?). Have fun!
5 Practice (Section 6 - 8)
C
ON THE CD
10 10
8 9
7
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9 10
7 8
7
10
C
Dm
10
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7
7 10
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8
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7
7 10
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10 10
Em
7 7
9 8
10 10
F
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
8 7
5ths
8
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8ves
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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
7ths
9 8
9
9
œ œ œ œ œœœœœœ œ œ œ œ œ
9 10
21
4ths
œœœœœœœœœœ œ œ œ œ œ
10
7
10
G
9
10 7
8 10
Am
10 8
9 7
7 10
B dim
8
C
œ œ œ œ œ œ œ œ œ œ œ œ œœ
Triads
E B G D A E
7 24
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April 2008 GuitarTechniques 27
Your Ultimate Practice Plan
Play: All Styles
ON THE CD
Tracks 4-12
Your Ultimate Practice Plan... A lot of players gravitate towards the things they can already do, wasting time running around in circles whilst the things they can’t do get further and further away. John Wheatcroft puts you back on track… ABILITY RATING
From 1 to 5
Will improve your: Technical ability Theory knowledge Musical discipline THE POPULAR VIEW is that to become a better player you should devote practice time to mastering things you can’t do at present. Whilst this is fine in priciple, in reality it‘s not much help when
attempting to organise yourself. You may be the most willing and eager guitar scholar, but more often you’ll not be sure of the best place to start, potentially trying to do too much too soon and therefore forced to make a hasty retreat back to familiar musical pastures. The best approach is to see your learning and musical development as a progressive pathway, with each new piece of information a logical, conceptual and technical develoment of the things you already know. This allows you to grow at a steady rate and means that each time you attempt to learn something ‘new’ you don’t have to start from scratch, as a huge
amount of the groundwork has already been put securely into place. Much better, I’m sure you’ll agree. One massive schoolboy error is to practise by the clock, thinking that simply the amount of hours you put in defines how good you are going to be. The reality is that it’s more down to the level of intensity - far better to do 30 minutes a day of focused work that‘s designed to strenghten weak spots and turn the heat up progressively, than to have the guitar in your hands for five hours while watching TV or looking out of the window. This type of activity is only really useful for drilling motor skills, where you
Are you sitting comfortably?
Music’s like dinner – you do it a bite at a time 16 GuitarTechniques April 2008
can disengage the brain and keep going for longer periods. If you’re working on a cognitive skill such as memorising a new chord sequence or analysing fingering choices, you need focus and total concentration. Intense concentration requires a lot of energy. If you’re able to focus fully for more than 20 minutes without falter, then you’re doing exceptionally well!
BREAKING IT DOWN It is a practical and physical impossibility to work on every single element of your playing every time you sit down to play (unless you are a complete beginner). To make any real progress you need to look at the individual component parts in isolation and in detail. Always plan what you’re going to do before you even pick up the guitar and be realistic about what you can achieve in the timeframe provided. Between 15-20 minutes on any one topic before taking a break is ideal. I generally pick four contrasting things every day. Choose a timeframe that is realistic and sustainable in the long-term, so that when you put the guitar down you feel a sense of achievement, not disappointment. Shorter and more intense sessions are more effective than the conservatoire type methodology of practising for eight hours a day non-stop. That’s just going to give you RSI. Create a log, mapping out short, mid and long-term goals and review monthly. This way, if there’s anything missing (I’ll put money on it being sight-reading!), you should be able to spot it and put your
Phil Hilborne
Play: All Styles much information as is humanly possible; it’s about how you’re going to use the skills creatively as a musician. I’ll often tell students that if we both had to make a list of things we couldn’t do on the guitar, then mine would definitely be longer, just because my experience means I’m more aware of the infinite possibilities music has to offer. It’s a constant work in progress, so surrender to this marvellous piece of information and enjoy the journey…
FURTHER STUDY
■ If you fancy a bit of light bedtime reading then try the following excellent and inspirational books: Effortless Mastery by Kenny Werner (Alfred 1996), The Inner Game Of Music by Barry Green (Doubleday 1986), and finally Musical Excellence, a collection of essays outlining strategies and techniques to enhance performance edited by Aaron Williamson (Oxford Press 2004).
missed in your musical education up to this point. You need to isolate whatever that might be and find ways of reinforcing that element of your playing and establish what the problem is, then find some exercises to strengthen that area. This might mean learning some other musical examples in order to build that area up. You may have to go back a few stages. It can be a humbling experience, but you almost always have to go back before you can go on to the next stage. The part of the brain that is associated with long-term memory
APPROACHING A NEW PIECE
practice pathway back on track. Obviously this time does not include getting the guitar out of the case, finding a lead, plugging in the amp and setting up the music stand, or turning the CD player on. Also, one hour playing with other people is worth ten in the practice room. It helps if the people you’re playing with are just that little bit better/more experienced than you too. This also helps you to focus and structure your studies in the best way possible, as you’ll quickly figure out what works and what doesn’t. Don’t put this off until you’re ‘good’. This is how you’ll actually get to be good! I’ll leave you to ponder on this thought. It isn’t about amassing as
When learning a new piece, often you need to break it down into small chunks. There’s always a reason why you can’t play something and it’s usually not because you’re incapable; it’s because previous steps have been missed. If you want to achieve a specific goal there are a number of stages before you can get there. If I want to play like Steve Vai, that’s too much of a jump in one go – you need to go through many other steps (often very smalll ones) to get to his level. So when you’re trying to play a Steve Vai piece and you can’t play a specific lick, maybe it’s because something else has been
works best when information is re-entered periodically in small amounts, so once again the method of ‘little and often’ is best. Anyone who’s crammed for an exam to find that two weeks later they can’t remember a single thing knows this is true!
WHEATCROFT’S WAY My philosophy regarding practice breaks down into three main areas. The first deals with tackling new material, usually something I’ll have to perform at some stage in the near future. The second deals with general musicianship; ear training, transcribing, reading, harmony, theory and so on. In terms of pure instrumental development, it’s all about attaining/maintaining control of expression, clarity of tone, fluency, dynamic articulation, flexibility, stamina, consistency, aesthetic beauty etc. I tend more to think about musicality these days, rectifying technical problems as and when they occur. But this is only possible now because of the work put into just technique earlier on. Most work that is purely technical tends to be in the form of ‘fire-fighting’ - putting out any potentially disastrous ‘flare-ups’ as and when they occur. GT
And when your session is over, relax!
A word on how this lesson works. The first five studies all take one specific technique or concept, selected in order to provide a balanced range of skills. We then work through five variations or developments
- the last of which is always a musical example. Studies 6 to 8 can be viewed as practical methods to drill specific disciplines in the minimum of time - with the maximum results. Ready? Then let’s go!
EXAMPLE 1 PICKING
ON THE CD
Two of the main technical challenges when picking all notes are what to do when crossing strings, and also when playing multiple notes on a single string. Our study here starts with the most basic combination of GUITAR TECHNIQUES MAGAZINE 150 John Wheatcroft these elements and expands into something much more complex, but
Track 5
in smooth progressive steps. Economy picking is the obvious choice here, but remember to always accent the notes that land on the beat, even when that happens to be an upstroke.
- Practise Examples
SECTION 1 : PICKING
©»¡ºº > > > > œ & 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
Fig 1.1: Initial cell
E B G D A E
10
Fig 1.2: Developed Scale Fragment
7
10
7
7
10
10
7
9
≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤ ≥≤
Fig 1.3a: String crossing cell
œ œ & œ œ œ œ œ œ
E B G D A E
10
7
(Alt) (Eco)
7
9
10
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7
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10
≥≥ ≥≤ ≥≤ ≤≤ etc≥ ≤ ≥ ≤
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9
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etc etc
. . . .
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(Alt) (Eco)
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≥≤ ≥≤ ≤ ≥ ≤ ≥ ≤ ≤
9
7
10
7
9
7
≥ ≤ ≥ ≤ ≤ ≥ ≤ ≥
etc
. .
œœ œœœœœœœœ œœ œ œ œ œ œ œœœ œ œœœœœ œ œ œ œ œ œ
Fig 1.3b: String crossing pentatonic line with double-stop rolls
7 10
≥ ≤ etc 8
10
7
7 10
10
7
7 9
10
7
8 10
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8 10
10 8
8
10
Fig 1.4a: Combined arpeggio/scale with economy picking
C
10
D m7
œ
E m7
œ œ
Fmaj7
9 7
8
9
10 7
7
10
10
April 2008 GuitarTechniques 17
œ œ œ œ
Ê
œ
Play: All Styles E B E B G D G A D A E E
7 7
7 7
9 9
10 10
7 7
7 7
9 9
10 10
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤
≥≤
(Alt) ≥ ≥ ≥ ≤ ≥ ...CONTINUED ≤ ≥≤ ≤ 1≥≤PICKING ≤≤ etc (Eco) EXAMPLE (Eco) ≥ ≥ ≤ etc (Alt)
Fig 1.4a: Combined arpeggio/scale with economy picking Fig 1.4a: Combined arpeggio/scale with economy picking
C C
D m7 D m7
œ œ œ œ & & œ œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œ E B E B G D G A D A E E
7 7
10 10
7 7
10 10
8 8
7 7
8 8
7 7
10 10
9 9
7 7
10 10
8 8
≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥
8 (Eco) 8 (Eco)
G7 G7
œœ œœ & œ & œ E B E B G D G A D A E E
9 9
8 10 8 8 8 10 10 8 8 10 8 7 8 10 8 10 9 7 8 9 9 7 9 10 7 7 10 10 7 10 10 10
8 10 7 9 7 8 10 9 7 10 9 7 7 9 10 7 7 10 7 7 10 10 7 10 8 7 10 10 7 10 8 etc 10 etc
10 10
E m7 E m7
œœ œœ œ œ œ œ œ œ œœ œ œœ œœ œ œ œœ œœ œœ œœ œ
8 7 10 9 7 9 8 10 9 7 10 9 7 10 9 7 10 9 7 10 9 7 10 9 10 9 7 10 10 10 9 10
Fmaj7 Fmaj7
7 7
10 10
7 7
9 9
10 10
9 9
10 10
7 7
10 10
9 9
10 8 7 10 10 8 10 7 8 9 7 10 10 7 8 9
b
≥≥ ≤≤ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥
7 10 8 7 10 8 9 8 8 9
j # œj #œ
œœ # œ # œ œœ œœ œ œ œ œ œ œ œ ## œ œ œ œœ ‰‰ ŒŒ 3 3
9 9 10 10 10 9 9 10 9 12 11 9 12 12 12 12 11 12
11 12 11 12
EXAMPLE 2 PHRASING WITH CHORD TONES
ON THE CD
Track 6
associated with learning lots of scales. All of our examples relate to the five CAGED dominant 7th chords, and culminate in a tasty blues turnaround idea that spells the chords out perfectly, logically and with great ease.
SECTION 2 : PHRASING WITH CHORD TONES
Fig 2.1: Moveable chord forms (Dominant 7th)
©»¡ºº 4 &4
E B G D A E
b ˙˙˙ ˙
˙˙ b ˙˙˙ ˙
C7
8 8 9 8 10 8 Moveable 'E' form
b ˙˙ ˙˙
12 11 12 10
'D' form
Fig 2.2: Moveable chord forms with asociated phrase (1 key)
ww w & b ww w
C7
E B G D A E
8 8 9 8 10 8 Moveable 'E' form
18 GuitarTechniques April 2008
j bœ
10
œ œ œœ j œ œ bœ nœ
8
9
8
8
b˙ ˙˙ ˙
˙ b ˙˙˙ ˙
13 15 14 15
3 5 3 5 3
6 5 5 5
'C' form
'A' form
'G' form
œ bœ j bœ nœ œ œ ‰ Œ J 3
b www w
C7
12 11 12 10
11
j œ
Ó
œ œ bœ nœ œ œ bœ 3
BU
13 (15 ) 13
3 11 12
13
12
ww
j bœ nœ
œ œ b œj n œ
b www w
C7
Œ
11
13 15 14 15
Moveable 'D' form
C7
7 7
7 7 8 8 10 8 9 7 9 10 8 10 10 7 7 9 10 9 10 7 9 10 10 7 9 10 7 9 10 10 9 10
10 8 7 10 10 8 10 9 7 10 9 7 10 9 7 10 9 10
Our second study is more conceptual in nature, allowing you to develop the essential skill of chord-tone and melodic figure association. This skill allows players such as Eric Clapton to clearly outline harmonic changes whilst soloing, without the clutter 2 xxxxxxxxxx
7 7
etc etc
œœ œ œ œ # œ œ œ œœ œœ œ œ œ œ œœ œœ œœ œ bb œœ # œ œœ œ œ œ n œ œœ œœ œ œ œœ œœ ## œœ œœ œ œ œ œ œ # œ œ œ & œ œ œ #œ œ œ œ nœ & œœ 7 9 7 10 9 7 10 9 7 9
8 8
C maj7 C maj7
D m7 D m7
8 7 10 9 8 7 10 9 10 8 10 8 10 10
10 10
B m7 5 B m7 œœ œ œ b5 œ œ œ œœ œ œœ œœ œ œ œ œœ œœ œ œ œœ œœ œœ œ œœ
œœ œœ œœ œœ œœ œœ œœ ˙˙
7 7 10 7 10 7
7 7
Fig 1.4b: Descending pattern Fig 1.4b: Descending pattern
C C
≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤ ≤≤
9 7 10 9 8 7 10 8
9 9
≤≤ ≥≥ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≥≥ ≤≤ ≥≥ ≤≤ ≤≤ ≥≥ ≤≤
Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor) Fig 1.5: Be-bop jazz phrase (Dorian/Melodic minor)
E B E B G D G A D A E E
Track 5
œ œ œ œ œ œ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ
B m7 b 5 B m7 b 5
A m7 A m7
ON THE CD
Moveable 'C' form
œ œ bœ J
bCww7
j œ bœ
œ œ œ bœ nœ ˙
E B G D E A B E G
J j œ ‰ Jœ b œj n œ 3 œ b œ Œ œ ‰ œ b œ n œ 38 8 11 Œ J 93
w7 Cw b & www w & b ww88 w98
8
10
8 10 8 8 9 8 Moveable 'E' form 8 10 8 8 9 8 Moveable 'E' form 10 8 j bœ Moveable 'E' form
8
8
ww b ww w 12
œ œ3 b œ n œ 3 œ Œ b wCwww7 œ b œ œ BU 3 3 (15 ) 13 11 12 Œ All13ww Styles Play: 13 11
j œ
C7
13
11 12 10 12 11 12 10 Moveable 'D' form 12 11 12 10 Moveable 'D' form
11
BU
3
13 (15 ) 13
BU 8 9 EXAMPLE 2 PHRASING WITH CHORD TONES ...CONT. 10 8 13 (15 ) 13 11 D E A B E G D A E
E B G D E A B E G
10
9
8
œ œ œœ j œ œ bœ nœ j & bœ œ œ œ œ j J œ Œ 3 œ b œ n œ3 & b œj œ œ œ œ j J œ Œ 3 œ b œ n œ3 BU & J 13 Œ 13 15 (17 ) BU
15 12 3
15 (17 )
15 12
15 13
8
11
w bCwww7 w bCwww7 w b www35 w35
143
BU
16 (17 )
3 3 5 3 BU D Moveable 'A' form 5 15 13 14 E 3 A 3 B 13 13 5 E G ( ) 3 15 17 15 12 Fig 2.3: Moveable chord transposed to I IV V in each area D Moveable 'A' form 5 15 13 14 A C7 F7 G7 C 7 F73 G 7 E
13
œœ Cœ7 & b œœœ Cœ7 & b œœœ œ & b œœ88 œ98
13
BU
16 (17 )
BU
16 (17 )
b œ n œœ'A' form bCœœœ7 Moveable œœ Gœ7 F7 œ œ œ b bCœœ7 F7œœ nGœœœ7 Œ œ b œœœ b œœœ n œœœ Œ œ 11œ 10œœ Œ 12 11 10 12
œ bF7œœœ n œGœœ7 Œ œ œ bF7œœœ n œGœœ7 Œ œ œ b œœœ8 n œœœ Œ œ8 10œ8 10
Fig 2.3: Moveable chord transposed to I IV V in each area Fig 2.3: Moveable chord transposed to I IV V in each area
E B G D E A B E G
12 10 10 10 9 10 10 12 8 8 12 11 10 10 8 10 10 8 10 8 11 10 12 8 9 8 10 12 10 10 D 8 10 9 10 10 12 E 8 8 12 11 10 A 10 8 10 10 B 8 10 8 11 10 12 E 8 G 9 8 10 12 10 10 Fig 2.4: Moveable chords through I IV V with associated phrase (1 area) D 8 10 9 10 10 12 A 10 8 10 10 E C7 C87 F7 G 7
E B G D E A B E G
15 17
10 8 8 10 8 10 8 8 10 8 10 8
8 8 10 8 8 9 8 8 10 8 8 9 8 10 8
D E A B E G D A E
9 10 8 10 9 10 8 10 9 10
‰ J
8
10
8 9 3
8 8
8 9 10 'E' form 8 Moveable 8 8 9 10 'E' form Moveable 8
Œ
11
9
BU
17 3
BU
17
16 (17 )
15 17
16 (17 )
œœ bF7œœœ œ bF7œœœ œ b13œœœ œ F7
13 14 13 13 15 13 13 14 13 13 15 13 13 14 13 15 F713
17
BU
9
11
17
15
17
15
17
œ nGœœ7 œ nGœœ7 Œ œ n œœ Œ œ Œ 13 12 G7
C7
œ bCœœœ7 œ bCœœœ7 œ b œœœ35 œ35
12 12 13 12 12 12 13 12 12 12
9
3
8 10
3 3 5 3 5 3 3 5 3 5 3
& E B G D A E
BU 11
(12 )
10
3 10
(10 ) 10
10 10
œ œ œ J
j bœ
12
‰
3
14 13
10
12
j C7 œ œ
BU
œ bœ nœ 13
Moveable 'D' form
5
8 6
4
5
8 6
4
5
bCœœ7 F7œ œ bœ bCœœ7 F7œœœ œ bœ b œœ œœœ œœ6 b œœ œ68 5 5 C7
F7
5 6 5 5 5 6 5 5 5
7 8 6 8 7 8 6 8 7 8
G7
10 8
8
10 7 Moveable 'C' form10 8 8 10 7 10 (12 ) Moveable 'C' form10 8
8
3
8 8 8
nGœœ7 œ nGœœ7 Œ œ n œœ Œ œœ7 Œ 6 G7
7 5 7 6 7 5 7 6 7 5
œ œœœ j œ Œ bœ nœ œ œ 3œ œ j J œ b œ n œ3 Œ œ œ 3œ œ j J œ b œ n œ3 Œ 8 J8 ( ) 7 10 12 BU 3
j œ œ G7 j œ œ G7 j œBUœ
93 9
8 8
9
/' œ œ bœ bœ nœ œ œ œ œ 14
3 BU 10 (11 )
11
4
10
12
3
3
13
11
9
13
10
10
1/4
13
11
'
Moveable 'G' form
3 13 (15 )
3 3 4 3 3 5 3 3 4 3 5 3
8 6
Moveable 'C' form
j F7 œ bœ
œ bœ œ
BU (6 ) 5 5
œ n œœœ Œ œ nGœœœ7 Œ œ n œœœ33 Œ œ4 œ335
(12 ) 10BU
BU
11 (12 )
3 5 4 5 3 5 4 5 3
Track 6
˙ œMoveable œ œ b œ'C'n œform œ œ œ bœ nœ ˙ 3 3 œ3 œ œ b œ n œ ˙ 3
BU 3 (6 ) 5 5
Moveable 'G' form F7 G 7
Moveable 'A' form
3
12
b œœœ bF7œœœ b œœœ5 œ45
15 14 15 13 15 14 'C' form Moveable 15 13 15 14 'C' form Moveable 15
(6 ) 5
5
5 5 6 5 5 Moveable 'G' form 5 6 5 5 Moveable 'G' form 5 F7 G 7
8
Moveable 'A' form
& E B G D A E
3
j œ bœ j œ bœ j œ BUb œ
10
Fig 2.5: Blues V VI I ending lick
œ œ b œj n œ
12
8
BU
3 xxxxxx
G7
11
10
Moveable 'A' form
Moveable 'E' form
j bœ nœ
13
9 (10 ) BU 10
(10 ) BU Moveable 'A' form 8 10 9 9 (10 )
11
15
œ œ b œj n œ œ bœ œ œ b œj n œ œ œ J ‰ Œ bœ 3 œ œ b œj n œ 3 œ J ‰ Œ BU 3œ 3 œ b Jœ ‰ Œ 8 10 (10 ) (10 )
j j œ œ bœ bœ nœ b œ n œ C‰7 œ Moveable chords through I IV V with associated œ b œ (1 Œarea) b œj nF7œ J b œj n œ œ3 phrase C‰7 œ Œ j F7 J b œj n œ œ3 œ b œ bœ nœ BU œ
œœ œœ œœ œ bœ & bCœœœ7 F7œœœ n Gœœœ7 Œ œ bœ œ & bCœœœ7 F7œœœ n Gœœœ7 Œ œ bœ œ & b œœœ88 10œœ8 n œœ8 Œ 10 8 9
16
3
13 15 14 15 13 15 14 15 13 15 14 15
Fig 2.4: Moveable chords through I IV V with associated phrase (1 area) Fig 2.4:
3
b œCœœ7 œ b œCœœ7 œ b œœœ œ
11
œ œ bœ bCw7 w J œ œ b œ ‰ Œ bCww7 w 3 J œ œ b œ ‰ Œ bCww7 BU 3 J ‰ Œ ww6 w5 (17 )
15 17
C7
13
12 ON THE CD
12
j œ b œj n œ bœ nœ œ Moveable 'D' form j œ b œj n œ bœ nœ œ j 3 œ j bœ nœ œ bœ nœ
C7
3 12
11 12
œ 3
11
12
13
œ b œ b œj œ b œ 3
12
11
11 10
8
j œ nœ
8
9
nœ
œ 8
C9
bœ
b b œœœ œ
œ b œœœ
11
9 8 9 8
8 7 8 7
3
8
D b9
˙˙ ˙˙
Ê
Moveable 'E' form
April 2008 GuitarTechniques 19
Play: All Styles EXAMPLE 3 HYBRID PICKING
ON THE CD
It’s country madness next with a five-point plan to develop your hybrid picking technique. By now you’ll have figured out how things work; take a basic technique and expand gradually as your accuracy, stamina and consistency responds to the workload. I’ve squeezed a couple of
Track 7
nifty rock-style arpeggios in here too. It’s possible to get these up to frightening speed with not too much effort, so give them a go. From a country perspective, hybrid-picking and scales containing open strings go hand in hand, so I’ve integrated elements of both as we progress.
4 xxxxxxxxxx
SECTION 3 : HYBRID PICKING
©»¡ºº C œ œ œ œ œ œ œ & 44 œ
E B G D A E
9
10
≥
9
10
≥
m
10
≥
m
9
10
m
≥
Fig 3.1c: Fwd/Rvs (2 fingers)
Fig 3.1b: Basic cell (2 fingers)
Fig 3.1a: Basic cell (1 finger)
œ œ œ œ œœ œœœ œœœ œœœ œ
œ œ œ œ œ œ œ œ œ œ œ œ 3
9
8
9
10
≥
m
3
10
m
a
≥
3
3
8
9 m
≥
a
8
9
10
9
10
m
≥
a
m
8
8
9
10
≥m
a
9
10
8
9
≥m
a m
9
8
9
10
≥m
a m
9
10
8
9
≥m
a m
9
a m
Fig 3.2: Basic I IV V sequence plus hammer on
C
G
Fadd9
C
œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ E B G D A E
0
0 2
1 2
2
0
1
≥ m≥ a ≥m a
0 2
0
1 2
2
0
1 2 3
0
1
0
3
3
1 2 3
0
1 3
3
1
0
0
4 5
3 5
5
0
3
& œœœœœœœœ˙ 3
0
7
3
0 7
5
0
3
0
0 2
1 2
2
0
1 0 2
0
1 2
0
3
0
7
0
3
0
3
7
7
5
0
3
6
3 0
≥ 7
m
0 8 m
0 7 8
0 7
0 5
7
≥m ≥ a≥
a
6 8
≥
5
m
Fig 3.4b: Rock 7th triad with hybrid picking
Fig 3.4a: Rock triad with hybrid picking
C
6
6
6
6
A Aeolian
≥m≥ma ≥ma≥a≥ma ≥m
≥m≥ma≥a≥ C
5
œœ œœœœ œ œ œ œœ œœœœ
œ œœœœ œ œ œ œœœ œœœœ
G Mixolydian
C major scale
0
3 5
etc
Fig 3.3: Scales with hybrid picking and open strings
E B G D A E
0
4 5
6
6
6
6
& .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. E B G D A E
. .
3
2 5
≥m
5 a
5 2
≥
3
2 5
5
5 2
3
2 5
5
5 2
3
2 5
5
5 2
etc
. . . .
3
2 5
≥m
5 a
5 2
≥
4
5 2
m
≥
3
2 5
5
5 2
4
5 2
3
etc
Fig 3.5: Country hybrid picked line with open strings
œ œ œ œ œ œ œ n œ b œ & œ œ œ œ œ œ C
E B G D A E
3
≥
0 m
7
≥
3 m
20 GuitarTechniques April 2008
0 a
7
≥
3 m
0
a
5
≥
3
m
0
a
6
≥
3
m
10
≥
‰
œ œ œ œ œ œ
j œ
˙˙
BU
7 0 m
2 5
m
0 10
7
≥
a
≥
7 (9)
7 10 m
≥
10
a m
5
5 2
. .
Play: All Styles EXAMPLE 4 SLURS AND HAMMER-ONS
ON THE CD
Hammer-ons and tapping are the order of the day for study number 5 5 xxxxxx xxxxxx 4. Initially it’s fretting-hand only, picking the first note on each new 5 xxxxxx 5 xxxxxx string. Before long though we’re incorporating two picking-hand SLURS/TAPPING taps.SECTION Try using44 ::your ‘m’ and ‘a’ fingers so you keep the pick between SECTION SLURS/TAPPING SECTION 4 : SLURS/TAPPING Fig 4.1a: Basic legato cell SECTION 4 : SLURS/TAPPING Fig 4.1a: Basic legato cell Fig 4.1a: Basic legato cell C /Am /Am Fig 4.1a: Basic legato cell C C /Am C /Am
444 œœ œœœ œœ & œ œ œ & & & 44 œ œ5 5 5 5
E E B E B G B E G D G B D A D G A E A D E E A E
Fig Fig Fig Fig
E E B E B G B E G D G B D A D G A E A D E E A E
Fig Fig Fig Fig
œœœ œ
œœœ œœ œœœ œœ œ œœ œ œœ 5 5 5 5
4.2: 4.2: 4.2: 4.2:
Basic cell with string skips Basic cell with string skips Basic cell with string skips
C /Am Basic C /Am cell 5with string skips C /Am 5 5 C /Am
5 & & œ & œ œ œ & œœœ œœ œœ œ
œ œœœ œœœ œ
œœœ œ
9 9 9 12 10 8 12 8 8 12 8 10 12 9 8 12 8 10 12 8 12 8 10 12
LLL
4.3: Basic 4.3: Basic 4.3: Basic /Am 4.3: C CBasic /Am
cell cell cell cell
with with with with
second second second second
œœœ œ œœ œ & œ œœœ œœ œœœ & & & 6 6 C /Am C /Am
LL 14 14 14 14 m m m m
6 6
9 9 9 9
12 12 12 12
9 9 9 9
œœœ œ
5 5
5 œœœ œœœ œœœ œ œœ œ5 œ œ œ œœœ œœ œœœ 5 5 5 5
10 10 10 10
12 12 12 12
9 9 9 9
and and and and
third third third third
12 12 8 12 12 8 12 12 8 12 8 12
œœœ œœ œœœ œœ œ œœ œ œœ 5 5 5 5
LLL
12 12 12 12
LLLœœœœ &
LL 15 15 15 15
8 8 8 8
12 12 12 12
8 8 8 8
15 15 15 15 a a a a
14 14 14 14 m m m m
12 12 12 12
LLLœœœœ LLLœœœœ LLLœœœœ œœœ œ
10 10 10 10
15 15 15 15
taps taps taps taps
14 14 14 14 m m m m
œœœ œ
LL
10 10 10 10
LL LL LL
12 12 12 12
10 10 10 10
& œœ & œ & & œœ œœœœ œœœ œœœœ œœœœ
& & &
LL LL LL 15 15 15 15
17 17 17 17
15 15 15 15
LLL LLL LLL
12 12 12 12
œ œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ 6 6 6 6
12 12 12 12
8 8 8 8
8 8 8 8
10 10 10 10
12 12 12 12
xxxxxxxxxx
Lœ œ œ Lœ œ œ Lœ
LL LL LL 15 15 15 15
17 17 17 17
15 15 15 15
12 12 12 12
9 9 9 9
10 10 10 10
10 10 10 10
L
C maj7
& œ œ œ
L
10 3 7
6
L L L 6
œœœ œ œ
8 3 7
9 4 5
L
D m7
9 4 5
œœœ œœœ œ œ œ
10 10 10 10
8 8 8 8
10 10 10 10
12 12 12 12
8 8 8 8
10 10 10 10
10 10 10 10
Lœ œ œ Lœ œ œ Lœ œ œ 6
6
10 5 8
10 5 7
moved moved moved moved
across across across across
string string string string
12 12 12 12
LLLœœœœ
LL 14 14 14 14 m m m m
LL 17 17 17 17
œœœ œ
œœœ œœœ œœœ œ œ œ 5 5 5 5
9 9 9 9
5 5 5 5
5 5
8 8 8 10 12 8 10 12 10 12 10 12
9 9 9 9
10 10 10 10
œœœ œœœ œœœ œœ œœœ œœ œ œ œ œœ œ œœ
12 12 12 12
8 8 8 8
5 5 5 5
œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ 6 6 6 6
9 9 9 9
12 12 12 12
9 9 9 9
œœœ œ
œœœ œ
6 6 6 6
LLL
LLLœœœœ LLLœœœœ LLLœœœœ œœœœ
LL LL LL 15 15 15 15 a a a a
14 14 14 14 m m m m
14 14 14 14 m m m m
14 14 14 14
LL LL LL 17 17 17 17
19 19 19 19
17 17 17 17
12 12 12 12
12 12 12 12
10 5 7
LL 17 17 17 17
14 14 14 14
10 10 10 10
10 10 10 10
14 14 14 14
12 12 12 12
LL LL LL 17 17 17 17
19 19 19 19
17 17 17 17
14 14 14 14
12 12 12 12
œœœ œœœ œ œ 12 12 12 12
10 10 10 10
œœœ œ
œœœ œ
œœœ œœœ œ œ
10 10 10 10
9 9 9 9
10 10 10 10
14 14 14 14
LLL LLL LLL
6 6 6 6
10 10 10 10
9 9 9 9
8 8 12 8 8 12 12 12 9 12 9 10 12 8 12 8 12 9 12 9 10 12 8 12 8 12 9 12 9 10 12 9 12 9 10 12
LLL LLLœœœœ LLLœœœœ œœœ œ
12 12 12 12
12 12 12 12
5 5 5 5
œ œœœ œœœ œœœ œœœ œ œ œ 10 10 10 10
14 14 14 14
10 10 10 10
12 12 12 12
10 10 10 10
9 9 9 9
œ œœœ œœœœ œœœ œœœœ œ
œœœ œ
5 5 5 5
10 10 10 10
5 5 5
12 12 9 12 9 10 12 12 9 12 9 10 12 12 9 12 9 10 12 9 12 9 10 12
œœœ œ
œœœ œœœ œ œ
œœœ œœœ œœœœ œœœ œ œ œ5
œœœ œ
œœœ œœ œœœ œœœ œ œ œœ œ œ œœ œœ œœœ œœ œœœ œœœ œœœœ œœœœ œœœ œœœ œ œ œ œœ œ œœ œ œ
12 12 12 12
œœœ œ
œœœ œœœ œœœ œ œ œ
12 12 12 12
10 10 10 10
14 14 14 14
12 12 12 12
œœœ œœ œœœ œœœ œ œœ œ œ 12 12 12 12
10 10 10 10
12 12 12 12
14 14 14 14
L Lœ œ œ Lœ n œ nLœ œ œ L œ . L œ bœ bœ b Lœ œ Lœ œ œ œ bœ L L L L L LL D b7
L L L L L 12 5 8
œœœ œ
LLLœœœœ œœœ
œœœ œ
cell cell cell cell
9 12 9 12 9 12 9 12 10 12 9 10 12 9 9 12 9 12 9 10 12 9 12 9 12 9 10 12
9 9 9 9
12 12 12 12
Basic Basic Basic Basic
5 5 5 5
5 5 5
œœœ œœ œœœ œœœ œ œœ œ œ
4.1b: 4.1b: 4.1b: 4.1b:
œ œ œ œœœ œœœ œœœ œœœ œœœ œœœœ œœœ œœœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ 5 5
œœœ œœ œœ œœœ œ œœ œœ œ œœœ œ 5
Fig 4.5: Harmonised sequence with string skip tapping
E B G D A E
Fig Fig Fig Fig
œœœ œ
œœœ œ
9 9 10 12 9 10 9 12 12 9 12 12 9 10 12 12 9 12 9 10 12 12 12 12
œœœ œœœ œœœ œœœœ œ œ œ
6 6 6 6
C /Am C /Am
8 8 8 8
œ œœœ œœœ œœœ œœ
LLL LLL LLLœœœœ œœœœ
finger finger finger finger
Fig 4.4: String skips in octaves Fig 4.4: String skips in octaves Fig 4.4: String skips in octaves /Am Fig 4.4: C CString /Am skips in octaves
E E B E B G B E G D G B D A D G A E A D E E A6 E
5 5 5 5
œœœ œ
thumb and first finger. We’re simplifying the tapping element for our final musical example but increasing the complexity both harmonically and in freboard movement. The crucial factor here is damping unused strings. Use the palm of your fretting hand to mute all idle bass strings.
9 12 10 12 9 10 12 9 9 12 12 9 10 12 9 10 12 9 9 12 12 9 10 12 9 10 12 9 9 12 12 9 10 12 9 10 12 9 9 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12 9 12 9 10 12
E E B E B G B E G D G B D A D G A E A D E E A E
E E B E B G B E G D G B D A D G A E A D E E A E
œœœ œœ œœœ œœ œ œœ œ œœ
œœœ œ
Track 8
11
b œ bœbœ
6
C maj7
6
9
10
4 8
4
6
4
7
10 4 6
L
j nœ
6
6
8 3 7
9 4
BU
10 12
5
10 3 7
April 2008 GuitarTechniques 21
Ê
Play: All Styles EXAMPLE 5 THUMBPICK
ON THE CD
Just for the record, I’m absolutely hopeless with a thumb-pick, but I resisted the temptation to just cheat and hybrid-pick and worked through these examples progressively for 15 minutes. By the end I was able to record the tracks on the GT CD, so this method obviously works. Our musical examples follow the now familiar pattern: start GUITAR TECHNIQUES MAGAZINE 150
Track 9
simple, isolate any movement or idea, expand upon this in stages, and end with a musical application. This time we finish with a 12-bar study with combined root-5th bass and melody on the treble strings. This example might seem unusual, but consider that players as different as Freddie King, Johnny Marr and Brent Mason all use a thumbpick.
John Wheatcroft - Practise Example 5
SECTION 5 : THUMBPICK/FINGERSTYLE Fig 5.1a: Basic Pattern
©»¡ºº Swing # # & # # 44
E B G D A E
Fig 5.1b: Elementary melody
. . w œ œ . . œ œ œ œ œ œ E
Palm mute bass throughout
2
. . . .
2
0
0
2
2
0
E
∑
0
2
0
Fig 5.2a: Syncopated melody
. . . .
2
0
0
Fig 5.2b: Melody in half-notes (minims)
0
0
2
2
0
. .
0
0
2
2
0
2
0
0
0
. . 2 . .
0
0
0 2
0
0
2
2
0
2
0
E
n˙ # # ˙ œ œ & # # .. Œ œ ‰ œ œœ .. .. œ œ œ œ œ œ
. .
0
0
2
2
. . . .
0
2
0
0
3
0
0
Fig 5.3a-5.3c: Syncopated melody transposed over I IV V
0
. . . .
0
0 2
0
0
. . 2 . .
0
2 2
0
0
2
# # ˙. & # # 44 Œ œ œ œ Palm mute bass œ throughout
0
2
2
0
E
#### nœ œ œ œœ & œ œ œ œ 2
0
2
0
22 GuitarTechniques April 2008
2
2
0
0
0 2
2
0
2
0
0
2
1
2
0
2
1
0
0
. . . .
0
2
2
0
0 2
2
0
0
2
2
0 1
2
1
2
. .
0
2
j n œ œ. ˙ œ œ œ œ
0
0
0
2
0
0
2
3 2
0
E
nœ œ œ œ œœœ Œ œ ‰œœœ Ó œ œ œ œ œ œ œ œ ˙ 3
2
2 0 1
0 2 2
0
0
1
0 2
2
0
0
2
0
. .
2
2
0
Œ œ ‰ œ œ œ Œ ˙. œ œ œ œ œ œ œ œ
0
3
3
A
2
0
j n œ œ œ œ œ. Œ ‰œœ Œ œ œ œ œ œ œ œ œ
0
2
0
2
0
. . . .
0
B
2
0
0
nœ œ œ œœ œ œ œ œ
2
0
˙
0
3
0
2
0
3
0
0
Fig 5.4d: Bass-line variation
E
2
0
œ . œj ˙ œ œ œ œ
E
˙
2
0
. . 2 . .
.. .. n œ œ œ œ œ .. .. . ∑ œ œ œ œ œ œ œ . œ œ œ œ œ
2
Fig 5.5: 'Travis-style' complete 12-bar study over I IV V sequence
E B G D A E
2
E
E
E B G D A E
. .
0
2
Fig 5.4a-5.4c: Expanded melody examples
E B G D A E
..
w œ œ œ œ
E A B j j j j # # # # . œj ˙ . . ‰ œ œ ‰ œ ˙œ . œ .. .. ˙ œ ˙ œ ˙ œ ˙ œ .. .. œ . œœ ˙ œ .. .. œ . œœ ˙ œ .. .. œ . œ ˙ .. & œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ
E
E B G D A E
. . w œ œ . . œ œ œ œ œ œ
E
∑
Fig 5.1c: Expanded melody
0
0
˙˙ ˙˙ ˙
E 6/ 9
˙
12 12 11 11 11 0
2
Play: All Styles EXAMPLE 6 THE IMPROVISATION ACID TEST
ON THE CD
Track 10
This example will test how well you have absorbed a musical device, you lose the rhythm, mess up or come back in the wrong place or key concept or technique. We know the story: you’ve put the hours in then more work is needed. If all goes well then put your new skills to and are feeling rather smug; you go out to gig or jam with friends and the test by creating as many variations as you can, mixing techniques, none of the stuff you’ve worked on comes out! Well, help is at hand. fretboard positions etc. Next time you play for real you should have The trick is to make your practice and performance line up. Your task a far better command of vocabulary you know that you can actually is simply to play on your own, establish a groove, feel, key and style, get to it on demand. On the GTCD I played all the examples and just GUITAR TECHNIQUES MAGAZINE (Section 6 - 8) - John Wheatcroft decide upon how long the soloing gap is going to be andPractice go for it. If improvised a couple of things to show you how things may turn out. SECTION 6 : IMPROVISATION 'ACID-TEST'
©»¡ºº Shuffle G7 4 . &4 . œ (œ ) ( )
Fig 6.1: Blues-style vamp
E B G D A E
. .
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
Possibly miss on repeats
(5) (3)
Œ
..
Ó
Insert fill here (Mixolydian/Blues)
. .
Fig 6.2: Maiden-style rock vamp
©»¡ºº Straight
& .. E B G D A E
. .
A5
œ œœ 0
0 0
œœ 9 7
œœ œ œ
G 5/A
œœ 0 0
©»¡§º Swing D m11 œœ. ‰ & .. œœœ
9 7
F5
œ œœ
7 7
0
0 0
G5
œœ
‰ œœ œœ J
5 3
7 5
Œ
∑
..
∑
Insert fill here (Aeolian/Minor Pentatonic)
. .
Fig 6.3: Swing-style minor vamp
E B G D A E
. .
œœ œœ œ J
E m11
5 6 5 5 5
œœ. œœ œ
D m11
Ó
7 8 7 7 7
©»•º Straight C œœ. œœ. œœ‰ & .. ‰
œœ. œœ œ J
œœ ‰ œœ Œ . œ J E m11
5 6 5 5 5
D m11
7 8 7 7 7
∑
..
∑
Insert fill here (Dorian/Melodic minor)
. .
5 6 5 5 5
Fig 6.4: Reggae -style major vamp
E B G D A E
. .
8 8 8 8 9 9
œœ. œ
œœ. œ‰
8 8 8 8 9 9
œœ. œ
œœ. œ‰
œœ. œ
8 8 8 8 9 9
œœ. F œ ‰
8 8 8 8 9 9
©»•• Straight
œœ. œ
œœ. œ
8 8 10 10 10 10
œœ. œœ. G ‰ œœ‰
œœ. œ
8 8 10 10 10 10
œœ. œ‰
7 7 8 8 7 7
œœ. œœ. œœ
C
F
∑
Insert fill here (Major scale/Triad arpeggios)
7 7 8 8 7 7
∑
G
.. . .
Fig 6.5: Funk -style single note riff
C7
& .. œ b œ œ b œ œ n œ b œ œ E B G D A E
. .
10
8
10
6
7
6
8
‰.
˚j bœ œ œ œ œ 10
8
8
10
8
œ
œ
‰
Œ
Ó
..
Insert fill here (Mixolydian/Blues/Extended dom chords)
10 8
. .
April 2008 GuitarTechniques 23
Ê
Play: All Styles EXAMPLE 7 FRETBOARD FLUENCY
ON THE CD
We all know our pentatonic scales, right? Well, just how well do you know them? This little beauty will put your knowledge to the test, leaving no stone unturned. The trick is in defining the octave points - the crucial landmarks of any scale, arpeggio or chord. Once you’ve worked through these examples repeat the procedure with any
Track 11
scale/mode/chord/pentatonic that you know. Work in this area will be highly rewarded, I promise. If you’re ever stuck for something to work on, this exercise has endless permutations - just think of any scale or mode etc that you feel is a little weaker than you’d like, and give it the ‘Fretboard Fluency’ treatment. The rewards will be immense!
2 Practice (Section 6 - 8)
SECTION 7 : FRETBOARD
©»¡ºº A m 4 &4 œ
Fig 7.1a: Basic octave definitions
E B G D A E
œ
œ
œ
2
Fig7.1b: Rvs cell
Fig7.1c: Fwd cell
A m7/11
A m7/11
œ œ œ œ œ œ œ
7
5
5
3
5
Fig 7.2a-e: Octave definitions/Associated chord/Pentatonic cell
œ œœ œœ œ & œ œ œ A m7
E B G D A E
5
7
5
Moveable 'Em' form
œ
& œ E B G D A E
10
12
5
8
7
5
7
5
7
13 12 10 12
9
œ
œœ œœ œ
17
17 17 17 17
14
17 Moveable 'Gm' form
5
5 Moveable 'Gm' form
24 GuitarTechniques April 2008
7
12
7 5
œ œ œ œ œ œ œ
8 8 9 7
10
7
10
7
8
9
10 7
10
12
œ
˙˙ ˙˙ ˙
œ œ œ œ œ œ œ
14
12 13 12 14 12
12
œ
12
12
15
12
12
14
14 12
17
5
2
5
5
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
17
15
14
17
7
5
7
5
8
Moveable 'Em' form
5
14
17
14
17
15
17
15
17 14
17
œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ 3
5
5
7
Moveable 'Am' form
œ
2
œ ˙˙˙ œ ˙
7
Fig 7.3: Continuous scale exercise
E B G D A E
8
5
8
Moveable 'Dm' form
œ œ œ œ œ œ œ 10
5
5
˙˙ ˙˙
12
5
7
Moveable 'Cm' form
& œ E B G D A E
5
5
2
5
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
5 5 5 5 7 5
2
5
œ œ œ œ œ œ œ
8
8
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10
8
9
7
10
Moveable 'Dm' form
7
10
10
12
10 12
9
Moveable 'Cm' form
12
10 13
12
Play: All Styles 3 Practice (Section 6 - 8) 7 FRETBOARD EXAMPLE FLUENCY ...CONTINUED 3 Practice (Section 6 - 8)
œ œ œ œ & 3 Practice (Section 6 - 8) œ œ œ & œ œ œ œœ & 14 12 œ œ 14œ 12 œ & 3 Practice (Section 6 - 8)
œ œ œ œ œ œ œ 12œ 15
œ œ œ œ œ œ œ 15œ 15
E B G D A E E B G 14 12 'Am' form Moveable E D 14 12 B A 15 12 15 G 14 12 E 15 D 14 12 Fig 7.4a: 8ve defs in 5 keys/forms (1 Area: Ascending 4ths) A Moveable 'Am' form 15 12 15 E E 15 B E A G 14 12 Moveable 'Am' form D 14 12 Fig 7.4a: 8ve defs in 5 keys/forms (115 Area: 12 Ascending 4ths) A 15 E 15
œ
& œ & Eœ & Eœ & œ7
œ
œ
œ œ
œ œ œ
Moveable 'Gm' form 12 14 12 15 12 14 Moveable 12 15 'Gm' form D Moveable 'Gm' form 12 14 12 15
12
14
12
14
œ œ
œ œ
œ D œ
Fig 7.4a: 8ve defs in 5 keys/forms (1 Area: Ascending 4ths)
E 5 B 5 A G D 7 A 5 E 5 E 5 B 5 G E 5 D 7 B 5 A 7 5 G E 5 Fig 7.4b: Complete shapes in 5 keys/forms D 7(1 Area: Ascending 4ths) A 7 5 E 5 E E m7/11 A m7/11 5 B 5 G 3 Fig 7.4b: Complete 3 shapes in 5 keys/forms 7(1 Area: Ascending 4ths) D A 7 5 E E m7/11 A m7/11 5 Fig 7.4b: Complete shapes in 5 keys/forms (1 Area: Ascending 4ths)
œ
œ
œ
&
œ œ œ3 œ œ 3 E m7/11 & 3 œ œ œ3 œ œ œ œ &E m7/11 œ œ3 œ5 7 53 & 5 7 œ œ œ Moveable œ œ 'Cm' form5
œ œ œ
œ
œ œ œ œ œ3 œ œ œ3 œ5 4 7 œ œ3 œ
œ œ œ3 œ œ œ 3 7 5 œ3 œ
œ œ œ
œ œ œ œ A m7/113 œ œ 3 8 5 A m7/11 œ œ3
Fig 7.4b: Complete shapes in 5 keys/forms (1 Area: Ascending 4ths) E B G D A E E B G E D B A G E D A E E B G D A E
5
7
5
7
œ 7 7
5 7 5'Cm' 7 form G Moveable m7/11 5 7
œ b œ 'Cm'œ form5 7 Moveable œ 5 7 5 7 &G m7/11 œ b œ œ form G Moveable m7/11 3 'Cm' œ & œ bœ œ œ 3 8 6 &G m7/11 œ b œ3 œ8 6 œ & 8 6 8 6
4
7
4
7
3
5 5 5
œ 8
5
8
3 5
8
5
8
œ œ bœ œ3 œ b œ œ3 œ b œ 7 5 œ3 œ b œ8 4
7
7 7
3
7
8
5
œ œ œ œ œ œ3 œ œ œ 3 8 5 7 œ œ œ3 7
œ ~~ œ . ~~ œ œ œ œ œ œ & ~~ œ œ œ~~ œ œ œ Aœ m7. ~~ œ œ œ ~~ œ œ œ~~ & œ .~~ œœ 8 5 & A m7 5 5 8 8 5 ~~ œ œ 7 ~~ œ œ œ~~ œ .~~ œ & 5 ~~ 5 8 8~~ 5 8 5 œ7 8 5
b œ~~b œ C b œm7~~b œ ~~ bC œm7~~ bœ 8 ~~ b œ~~b œ8 8~~
œ œ œ
~~ œ ‰ ~~ œ ~~‰ œ ~~‰ ~~ œ ~~‰ ~~
6
19 C 19
3
œ œ5œ œ 3 œ œ œ3 œ œ œ œ 3 œ 5 7 5 œ œ œ 7 œ 5 7
5
7
C
œ œ
C
œ8 D m7/11 8
3
œ œ3 œ œ œ3 œ œ œ3 œ 5 œ œ8 œ5 8
5
8
5
5 5
~~
5 5
8
8
8
~~ 5
8 5 8 5
7 7
8 8
8
~~ 8 8
œ8 8 8 8
~~
5
8 8
5
7 5 7 5
3
œ œ œ œ œ œ 6 8 œ œ
œ œ œ œ 3 3 œ3 œ œ œœ œ œ œ5 73 3 3 5 7 œ œ œ œ 3
œ œ œ3 œ 3 œ œ œ œ D m7/11 œ œ œ3 œ5 8 5 8 œ Moveable œ œ œ'Am' form5
7
5 8 5 8 5 Moveable 5 'Am'8form 5 8 3 Moveable 'Am' form 5 5 8 5 8 3 Moveable 'Am' form
7
5
7
5
7
3
6
8
6
8
œ œ œ3 œ œ œ 3 8 5 œ3 œ 5
8
3 5
8
b œ8 œ œ 7 œ b œ 5 bœ œ 8 œ5 œ b œ œ œ3 œ b œ3 œ Cb m7/11 3 œ b œ œ 3 b œexercise up semitone for nextb5œkeys...etc) œ 3 b œ(Transpose œ œ œentire œ b œ œ œ b œ 3 6 8 bœ C m7/11 3 6 8 œ œentire 3 œ 5 up 8semitone for nextb5œkeys...etc) exercise b œ œ3 b œ(Transpose 3 5 8 œ b œ3 œ6 forœ8next 56keys...etc) 6 8 8 b œ (Transpose entire exercise up semitone œ 6 8 œ 5 8 bœ œ bœ 3 6 8 3 5 8 6
A m7 6
5
8
5
D m7/11
5
6
8
7 7
7 5 7 5
5
5
6
7
8
6 8 6 8 5 up 8semitone for next 5 keys...etc) (Transpose entire exercise 5 8 6 8 6 8 C m7 6 8 5 8 5 8 6 8 C m7
8
œ œ A œm76 œ œ œ ≈6 œ œ8œ œ ≈ œ œ œ ≈ œœ œ Aœ m7 œœ œœœ≈œœœœ≈œœœ ≈ œœœ≈œœœ ≈œœ œœ≈ œ 8 A œm7 œ 5 œœœ 5 5 7 5 7 5 œ 7 7 5 œ œ 8 5 œ œ œ ≈ œ œ œ œ ≈ œ œ7 œ5 7 5 ≈ œœ 5 7 5 7 5 5 7 7 5 7 5 5
8 (Transpose entire exercise up semitone for next 5 keys...etc)
5
D m7/11 8
Fig 7.5: Fusion lines through non-diatonic modal progression Am7-Cm7 E B G D A E E B G E D B A G E D A E E B G D A E
5
8
8
5
Ó œ entire exercise up œ (Transpose œ Ó 5 keys...etc) semitone for next œ 8 Ó (Transpose entire exercise up œ 5 semitone for next 5 keys...etc) entire exercise up œ (Transpose 8 Ó 5 keys...etc) semitone for next
œ
5
œ
œ
C
8
7 5 7 Moveable 'Em' form C m7/11 8 5 8 5 7 5 Moveable 3 'Em' form 7 5 3 7 C m7/11
E B G D A E E B G 7 5 E 3 8 6 D 3 8 B 8 6 A 8 5 G 7 5 modal progression Am7-Cm78 Fig 7.5: Fusion lines through non-diatonic E D 8 5 A 8 5 E 8 6 A m7 C m7 E 8 B 8 6 G 7 5 modal progression Am7-Cm7 Fig 7.5: Fusion lines through non-diatonic D 8 5 A 8 5 A m7 lines through non-diatonic modal C m7 progression Am7-Cm78 Fig 7.5: Fusion E
19
8
5
8 5 7 Moveable 3 'Em' form 8 5 3 8 5 7 5
œ3 œ œ Moveableœ3 'Em'b form œ 3 œ œ œ 3 œ3 œ œ œ b œ œ3 b œ 5 8 5 œ œ œ 8 6 œ bœ 5
w
19
œ
5
7
w w
8
œ
7
12
Track 11
w
œ œ
œ œ G
7
œ
œ
G
œ
12
13
G
œ œ
D
12
13
œ
E defs in 5 keys/forms A D Fig 7.4a: Moveable 8ve (1 Area: Ascending 4ths) Moveable 'Am' form 'Gm' form A
13
12 G 14
œ
œ
œ œ œ œ œ œ 13 œ 12œ
œ œ œ œ œ œ 12 œ 14œ
œ œ œ œ œ œ œ œœ œ œ œ 12 14 12 œ 15œ œ œ
ON THE CD
7 5 7 5
5 5
7 5 7 5
7 5 7 5 7 5
bœ œ œ œ œ œ œ œ œ b œ œ œ C m7 œœ b œ œ œ œ œ œ œ œ œ bœ œ œ œ6 b œ C m7 œ œ œ œ œ 5 œ œ bœ 5 œ 8 5 œ 8 6 8 8 bœ œ œ 8 8 œ 6 œ œ œ 5 œ œ bœ 8
8
8
8
8
8
8
6
8
6
8
6
5 5 5
8
8
8
8
8
8
8 5 8 5 8 5
5 5
6 6
April 2008 GuitarTechniques 25
Ê
Play: All Styles EXAMPLE 8 SCALE DRILL
ON THE CD
I thought I’d save the easy one until last! Fancy running through all of the most used scales, pentatonics, 7th arpeggios, triads and intervallic permutations in one minute and eight seconds? Well roll up and give this beast a go. Obviously, it’s in one key and is limited to just one octave, so you could invent an alternative uber-scale drill that moves
Track 12
through all keys and exploits a greater range of fretboard motion. But for now this should hit the spot. Notice how each structure morphs into the next by changing just one note, and remember that the best way to learn something you don’t know is to relate it to and develop something you already do know. Continued next page.
4 Practice (Section 6 - 8) SECTION 8 : SCALE DRILL
Fig 8: Play as one continual study
©»¡ºº C maj7 C7 4 bœ œ œ œ œ œ œœœœœœœœ & 4 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œœœ œœœœœœ œ œ œ œœœœœ
E B G D A E
C Lydian (#4) 2
3 5
5 4 2
5 3 2
œ bœ œ œ œ œ œ œ
œ œ bœ œ œ
C Dorian (b3 b7)
3 5
2
3 5
6
3 5 3 2
&
5 3 2
5 3
bœ œ œ bœ œ œ
œœœœœœ
C Harmonic minor (b3 b6)
3 5
3 5
6
6
4 5 4
6 5 3
œœœœœœ
œ œ bœ œ œ bœ œ œ œ
C Melodic minor (b3)
6 5 3
3 5
6
5 3 2
3 5
2 3 5
2
3 5 3 2
5 3 2
5 3
6
6
3 5
2 4 5 4 2
5 3
C m7
œ œ œ œ œ œ œ bœ œ œ bœ bœ œ œ œ œ œ œ œ bœ C Aeolian (b3 b6 b7)
6 5 3 2
C Phrygian (b2 b3 b6 b7)
6 5 3 2
3
bœ œ œ œ œ œ bœ œ b œ n œ œ b œ œœ œ
C Blues scale (R b3 4 b5 5 b7)
3
6
3
4
5
3 5 3 5 3
5
4 3
6 3
10
C maj7
&
3 5
6
3 5 3
6
6 5 3
6 5 3
6
œ œ œ œ œ œ œ bœ bœ œ œ bœ bœ œ œ œ œ œ œ œ bœ œ bœ bœ œ bœ bœ bœ œ œ œ œ œ œ œ bœ 4
6
3 5
6
C Locrian (b2 b3 4 b5 b6 b7)
3 5 3
6 5 3
6 4 3
6
7
&
3 5
C m7 b 5
C m7
C m7/C7
3
4
C m7
6
3
4
3 5 3
6
6 4 3
6 4 3
6
C
œ bœ œ œ œ œ b œ œœœœœœœœ œ œ œ œ b œ œ œ œ œ œœœœ œ bœ œ bœ œ C minor pentatonic (R b3 4 5 b7)
3
6
6
3 5
3 5
4
3 5 3
C major pentatonic (R 2 3 5 6)
5 3
6 3
C m7 b 5
C7
C m7
(1 3 5 b7)
(1 b3 5 b7)
6
6
3 5
2 5
2 5
3
2 5 2
5 2
5 3
5
5
C dim
œœœœ bœ œ œ œ bœ œ œ œ œœœœ ∫œ œ œ œ œœœœœ œ œ œ b œ b œ œ œ œ œ œ b œ œ œ œ b œ œ œ œ œ œ œ œ œ
(1 3 5 7) E B G D A E
2 4 5 4 2
C m(maj7)
4
C m(maj7)
E B G D A E
2 3 5
3 5
1
&
E B G D A E
2 4 5 4 2
4 5
C m7
E B G D A E
C Mixolydian (b7)
C Ionian
3
2 5
4 5 4
5 2
13
26 GuitarTechniques April 2008
3
2 5
3 5 3
5 2
3
6
5
(1 b3 b5 b7)
3 5 3
5
6 3 6
4
(1 b3 b5 bb7)
3 5 3
4
6
3
6
4
2 5 2
4
6 3 6
4
2 5 2
4
6
Play: All Styles EXAMPLE 8 SCALE DRILL ...CONTINUED Two good examples are the relationship between the Dorian mode and the melodic minor, and the parallel relationship between the Aeolian mode and harmonic minor. There are no prizes for how fast
&
C aug
2
3
5
5
5
5
2
3
1
2
3
5
1
2
œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
(1 b3 5)
3
3
(1 b3 b5)
5
5
6
5
5
6
3
3
5
4
6
5
4
6
3
16
& œœœœœœœœœœœœœœœ 3rds
18
7
8
10
7
8 7 10 8
10
9 7 10 9
7
10
œ œ œ œ œ œ œ œ œ œ œœ œ & œ œ 6ths
E B G D A E
5
C dim
œ bœ
(1 3 #5)
œœœœœœœœœœ œ œ œ œ œ
C
E B G D A E
Cm
œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
(1 3 5) E B G D A E
Track 12
you finish this, just how well you understand it, so take things one bar at a time if necessary. Right then, I’m off to do some practice myself - on the trumpet (think I’m joking?). Have fun!
5 Practice (Section 6 - 8)
C
ON THE CD
10 10
8 9
7
10
9 10
7 8
7
10
C
Dm
10
10
7
7 10
10
8
9
7
7 10
10
8
8
10 10
Em
7 7
9 8
10 10
F
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
8 7
5ths
8
7
7
10
9
8
7
10
10
9
7
9
10
10
8ves
8
10 9
10
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
7ths
9 8
9
9
œ œ œ œ œœœœœœ œ œ œ œ œ
9 10
21
4ths
œœœœœœœœœœ œ œ œ œ œ
10
7
10
G
9
10 7
8 10
Am
10 8
9 7
7 10
B dim
8
C
œ œ œ œ œ œ œ œ œ œ œ œ œœ
Triads
E B G D A E
7 24
8
7
10
8
10
8
7
10
7
10
9
7
8
7
10
9
10
9
7
10
7
10
9
7
9
7
10
9 10
April 2008 GuitarTechniques 27
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