PLAY blues • rock • jazz • acoustic • lead • rhythm • AND MORE! 257 JUNE 2016
The world’s best guitar lessons! INSTA NT INSPIRATION FROM…
fabulous chords! Learn new shapes and moves Get great new music ammo Compose a classic TODAY
ESSENTIA L SKILLS
finger FUN th Train your pinky for better playing!
play chicago blues
mike bloomfield Ace the blues master’s style We show you how INSIDE!
Best Style Masterclasses TRACK TABBED
STEELY DAN Don’t Take Me Alive
Learn this stunning track plus brilliant Larry Carlton solo!
Learn great licks from the greatest players! Featuring: Blue Öyster Cult Wes Montgomery, Poison Ben Harper AND MORE!
READY TO SUBSCRIBE?
ISSUE 257 } JUNE 2016 Just some of your regular GT technique experts... richard barrett One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with Spandau’s Tony Hadley.
Shaun Baxter One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.
jon bishop Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!
les davidson Les has worked with Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Turner & more. He also runs a recording studio and teaches at BIMM London.
charlie griffiths Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.
phil hilborne The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.
pat heath BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.
bridget mermikides Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
Welcome I’m not one for hoarding dozens of guitars. In fact I’ve whittled mine down to the classics: Strat, ES-335, Les Paul (with P90s), Tele, Gretsch 6120, and Gibson jumbo and Martin dreadnought acoustics. I also don’t like my house looking like a rehearsal space so I keep just one electric, and one acoustic out. And I rotate them. Friends and I often talk – as I’m sure you do – about new gear and inspiration. Usually it’s to justify a new purchase, but I’m certain there’s truth in it. I rotate my instruments for the same reason. I tend to keep one electric on a stand for about a month, then swap it for something different – the Martin is my allrounder acoustic so that’s a constant. As we speak, my Tele is about to go back in its box and, inspired by Guitarist’s recent rock and roll coverage and seeing Darrel Higham playing great licks on his 6120, I think the orange Gretsch is due for another airing. Maybe I can nail a few tasty Brian Setzer licks.
But the range of styles we cover in GT also inspires me. I’ve particularly enjoyed Shaun Baxter’s Mixolydian blues articles over the last few months. In fact, they’re the first lessons of Shaun’s that I can actually play – ha-ha! And who wouldn’t gain inspiration from this month’s cover feature – Milton’s excellent Slash Chords article? He comes at it from so many different angles that, not only will you learn some cool new shapes, you’ll also gain a better handle on why they sound the way they do, and how they function in a musical context. Oh, and before you ask, it’s nothing to do with Guns N’ Roses, okay? As we go to press we’ve heard the sad news of Prince’s passing. A giant talent, it would be wrong of us not to pay our musical respects. So look out for a special feature next month. See you then...
Neville Marten, Editor firstname.lastname@example.org
Don’t miss our amazing digital edition Guitar Techniques’ digital edition is now even better!
milton mermikides One of the country’s most respected music professors Milton’s list of credits is embarrassingly long. Go to miltonline. com to learn all about him.
Stuart Ryan Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD The Tradition is available now.
justin sandercoe One of the most successful guitar teachers ever, justinguitar.com is a mine of information, and his YouTube channel boasts almost 500,000 subscribers!
iain scott For over 25 years Iain has taught in the UK’s top schools and academies, as well as a stint at GIT in LA. He can also boast playing with the legend Brian Wilson!
john wheatcroft A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.
Tap the links
Animated tab & audio
Play the videos
Finding your way around the magazine is easy. Tapping the feature titles on the cover or the contents page, takes you straight to the relevant articles. Any web and email links in the text are tappable too!
Songs and lessons have the audio built in with a moving cursor showing you exactly where you are in the music. Simply tap the ‘play’ button then you can fast-forward or scroll back at will.
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 or smartphone.
PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). You can also find us on www.zinio.com (Please note: Zinio editions do not have interactive tab or audio).
CONTENTS TURN TO PAGE 26 NOW FOR THE LATEST SUBSCRIPTION OFFERS
• C ON T E N T S • J U N E 2 016 •
LEARNING ZONE Lessons Introduction
Jason Sidwell considers the benefits of learning ‘adult chords’. BIMM’s Pat Heath has six more great licks at easy, intermediate and advanced levels
IN THE WOODSHED
Les Davidson praises the wonderful style of Chicago blues exponent, Mike Bloomfield. Martin Cooper checks out the incendiary style of rockers Blue Öyster Cult and their triple assault of rock axes! Big hair and big talent! Charlie Griffiths considers the influence of glam rockin’ behemoths, Poison.
John Wheatcroft limbers up his thumb and explores the playing style of Wes Montgomery. Stuart Ryan looks at the bluesy-folk side of modern troubadour, Ben Harper.
Build your vocabulary with Shaun Baxter as he explores using chord tones over the blues. Iain Scott goes off piste this month bringing in 4ths to create quartal harmony.
Thanks to David Mead for the loan of his Epiphone Emperor as our cover star guitar
Your comments and communications... Justin Sandercoe’s new column! Session Shenanigans, Jam Tracks and more.
Save time and money – get GT delivered!
transcriptIon #1 28
Larry Carlton’s 70s recording with Steely Dan ensured his name is carved in stone as one of the best in the canon of great session musicians.
BRETT GARSED Video Masterclass
TIM LERCH Video Masterclass
The first in a three-part series of masterclasses with the Australian guitarist. This month he solos over moody groove, Dark Highway.
Another new video series to enjoy as Tim Lerch reveals the secrets behind nailing a good jazz blues
Brett Garsed: a lesson in playing slide
Missed a copy of GT in the last six months? See how you can get it here!
Roger Newell reviews this month’s releases: King Crimson, Santana and Ace Frehley.
transcription #2 FERNANDO SOR Study In E Minor
Nev considers his credentials as ‘guitar hoarder’.
Milton Mermikides takes simple chords and progressions and turns them into something altogether more sophisticated. Learn how to master slash chords with his 10 approaches.
STEELY DAN Don’t Take Me Alive
COVER FEATURE SLASH CHORDS 10 Approaches
Charlie Griffiths aims to perfect your practise! This month, using your fourth finger.
Get more from GT by understanding our easy-to-follow musical terms and signs.
Combining technical prowess with exquisite harmony, Bridget Mermikides presents a challenge for both fretting and picking hand.
Playing above the 12th fret; Derek And The Dominos’ Key To The Highway; Mudarra’s Fantasia X; Brett Garsed masterclass and more.
TalkBack Post Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email email@example.com using the header ‘Talkback’. We have covered tension and release a lot over the years, but not – I don’t believe – in an article written especially to address it. It’s a pretty heavy subject and would take a lot of thought in order to get it right. You don’t say what style of music you play, but perhaps it’s something your (almost!) namesake, Mr Baxter, can look at sometime in his Creative Rock series. No Michael Lee Firkins in GT since 1995
what the firk? I’ve been a long time buyer and fan of Guitar Techniques. I have learned countless great songs tabbed impeccably by the guys at GT. I was curious if GT have ever tabbed any Michael Lee Firkins songs off his first self-titled album? If so where do I find them and, if not, it would be beyond awesome if GT could tab Laughing Stacks, 24 Grand Avenue, Rain In The Tunnel or The Sargasso Sea? Dean Bloomfield
I’ve just looked through our back issues list (incomplete though it may be) and discovered to my amazement that we did Runaway Train back in 1995. So we’re hardly awash with Michael’s tabs. He was one of those guys – possibly a bit like Blues Saraceno – who had bags of flash but a lovely little bluesy twist to their playing. As we only tab one song per issue these days I can’t promise a track right away, but it’s on the table for discussion.
DIMINISHED RESPONSIBILITY I have a fascination with using tension and dissonance in my improvising, and I feel scales such as the Whole tone and Diminished seem to get criminally overlooked in modern playing. Could you guys put a together a few lessons on ‘super’ tension and release? Shawn Dimery, Leeds, UK 06
A LITTLE TOO FRANK First things first, I just want to congratulate you and your cohorts on an excellent magazine. I look forward each month to the new issue. When I went to my local newsstand to pick up this month’s copy, I was very excited to see Frank Zappa’s name on the cover since I’ve been an avid Zappa fan since the early 70s. I just want to point out
Acoustic Blues. I’ve always wanted to find some original sounding blues tunes that I can play solo on my small-bodied Simon & Patrick (bought specifically for such an eventuality). Although three of the four pieces are currently stretching my abilities somewhat, I’m pretty much sorted on the first, and have already impressed the wife and daughter with my (repeated) renditions thereof. I might even have a crack at it down at the local open mic night – if I can summon the courage. I’m concurrently working through two of the others and managing to master bits here and there; hopefully in a few months I’ll have at least one of
a suggestion for your backing tracks: it would help beginners to have the BPM included the year of his death was actually 1993, not 1995 as was written in the article. If only we could have had him around for a couple more years. Thanks for the article though – now to see if I can nail a Zappa lick... Dan Singleton, Lubbock,Texas
Oops! Well, I suppose I could say that we were trying to extend his legacy for as long as possible. Or just own up to the fact that we typo’d. Apologies to all, especially to Frank. There are a lot of HUGE Zappa fans on the team here, so how that one slipped through the net I don’t know. Perhaps a weasel should come and rip my flesh by way of retribution! I hope the mistake didn’t spoil your enjoyment of the lesson though, Dan.
ACOUSTIC BLUES I just wanted to say how much I enjoyed – and am still enjoying – your excellent cover article from issue 256: Four Levels Of
them nailed. I can’t play slide at all so that one might have to wait! I just wanted to say thanks to Jon Bishop for such a stimulating piece of work. Jonathan Dodds
We loved the feature too, Jonathan. Jon Bishop managed to really get into the heart of acoustic blues and come up with some pieces that were both authentic and at the same time stimulating to play. Do let us know how you progress with the others – and please do go along and play it at the open mic; there’s nothing more satisfying I think than performing something wholesome in front of an appreciative crowd.
realised just how educational it is and subscribed. It isn’t cheap, especially on this side of the world (US), but so very worth it. I have to admit, however, that I don’t use it to its fullest advantage. Like so many I suspect, I am torn between too many resources and need to concentrate. With that in mind I am going back and working through all the previous issues and studying the lessons appropriate to my skill level. Then, as I progress, I will repeat at the next skill level. One small suggestion that I would have regards your excellent backing tracks: as a beginner, it would be very helpful if you included the tempo (bpm) along with the key. This would save me, and I assume other beginners, the time of checking out the backing track only to find out it is a speed beyond my current skill level. Ron Petersen
We added the key and tempo to the ‘info’ part of all our lessons as a suggestion from a reader, so there is some sense to what you suggest, Ron. Having said that, isn’t it a good idea to challenge yourself with something that’s currently a little out of reach, in order that you rise to the occasion? Jacob Quistgaard does these (indeed excellent!) backing tracks so I’ve asked Quist to add it to the info and scale suggestions that he provides. Quist: currently out on tour with Bryan Ferry
KEY QUESTION As a chubby, old guy trying to learn guitar in retirement I consider myself very fortunate that I found Guitar Techniques early in my studies. Purely by accident I found your magazine at a local Barnes & Noble and then purchased it every month until I
John McGeogh xxxxxxxxxxx xxxxxxxxxxxx
Intro Food For Thought
Every month, Justin Sandercoe of justinguitar.com lends GT his insight as one of the world’s most successful guitar teachers. For his first column Justin introduces the ‘holistic practice routine’.
hile there is certainly no ‘one size fits all’ practice routine, there are some basic principles that can help you develop the best one for you, which is what this article is all about. Over the years I have come across many different approaches but I have always favoured the ‘whole body’ approach to practice. Using the analogy of our own body, you wouldn’t want to go to the gym and work on just your weakest arm (or your favourite arm) and get it looking super buff, without looking at the rest of your body at the same time, would you? I see the fundamental areas of practice falling into six areas; ear training, knowledge, technique, repertoire, improvisation and time – depending on your goals, the type of music you want to make and your strengths and weaknesses, you will want to manipulate the amount of time you spend on each (or potentially drop areas if they are not relevant to you). Let’s have a look at each area and explore things you might like to add in each one. Ear training is often neglected by guitar players, but personally I think it’s one of the most important and rewarding areas to study. I include all exercises that help develop the relationship between your ‘inner ear’ and your hand, which increases your ability to express yourself. You might start with tangible exercises like interval ear training or relative pitch studies, or move into more practical methods like transcribing and playing melody by ear. Knowledge includes theory but also the application of it. Things you should know that will help you in the real world; keys, scales, arpeggios, modes, licks, chord shapes… there are a LOT of things you can put in this spot, so you need to choose wisely! Technique is the physical mechanics you use to play. It’s very common for guitar players to spend far too long here and develop
Welcome to Justin’s new GT column incredible chops but have nothing to say, no understanding of what they’re saying and no songs to say it in! It’s important but it’s just part of your development and without the other elements it’s likely you will not feel satisfied. Repertoire is really what it all boils down to. What do you want to play? The other practice areas will help you play the songs you put here. Without songs to play you can’t really perform, express yourself or even entertain friends at a party. You’ve gotta have songs. So pick ones you really like, work on
them and allow these songs to influence how you choose the other areas in your practice routine. Improvisation is important for those that want to do it. If you’re a songwriter and not interested in lead guitar it may not be as relevant, but if you want to play jazz or blues solos then this needs to be a priority as this is where you will put it all together with your band or a backing track. Time. The longer I play, the more I think that time is where the whole thing is at. All the greats have amazing time feel, solid time and ‘in
It’s common for guitarists to develop incredible chops but have nothing to say
the pocket’ grooves. Good time makes people tap their feet, nod their head, get involved with the music. Beginners can work on making their strumming patterns feel good. Intermediate players can work on making their riffs, scales and licks feel good. Advanced players might be making sure that they get their septuplet subdivisions right on. When your time is good it gets people’s attention, and I think it should get yours! Check out www.justinguitar.com/ gtmag for some example routines and links to exercises you might like to try out for each section!
eripatetic: ‘Travelling from place to place, in particular for working; or based in various places for relatively short periods.’ 1. Synonyms – nomadic, itinerant, wandering, travelling, unsettled, vagabond and vagrant (to name just a few). 2. Also: ‘An Aristotelian philosopher.’ 3. A self-employed guitarist. (One of these definitions is fictitious but, in a weird twist of fate, startlingly accurate – you choose.) There are times when the numbing routine of so-called regular employment seems an appealing prospect, even if it’s illusory. Bank clerk, anyone? Where do I sign? And rarely have I felt more ‘unsettled’ and ‘wandering’ than this last week. In a perfect world, I would have devoted my time and effort exclusively to writing, copying and woodshedding the material for Mitch Dalton & The Studio Kings in the days leading up to our gig at The Pizza Express Jazz Club, Soho. But no-ho. That would be way too straightforward. Our modest entertainment is scheduled for a Wednesday night. And, as sure as Cumberbatch follows Benedict, 10 days before the great event, I am invited to participate in an evening of music and drama (some of it with actors) entitled Shakespeare On Film at London’s deeply fashionable Royal Festival Hall. The Radio 3 broadcast is on the Monday, two days before. However, I am also required to present myself at St Luke’s Church, Clerkenwell on the preceding Thursday and BBC Maida Vale Studio One on Saturday. So far, so peripatetic. Meanwhile, English National Ballet discover that they need a deputy to cover one three-hour session during a week of rehearsals for a new work. It’s on the Thursday morning after our Dean Street gig. “You’re only in one piece and we’ll send the music in advance. With luck you’ll be on last and won’t be required until midday. Plenty of time to recover from your gig the night before. Charge us your usual fee…” Needless to say, I acquiesce and dive headlong into the trap. Had they erected a 30-foot high neon sign at Piccadilly Circus with the word TRAP flashing at five
The studio guitarist’s guide to happiness and personal fulfilment. Part 15 – P is for Peripatetic second intervals it couldn’t have been more obvious. But a fool and his sanity are soon parted, as we shall see. Back in Bardland, I discover that I am participating in but two pieces. One of them is Nino Rota’s overture to The Taming Of The Shrew, which has an evocative section for solo Spanish guitar. I employ the battered old Takemine classical with the AER amplifier I use for just such occasions. The music is straightforward enough, making
I awaken on Tuesday morning to the realisation that I have but one remaining day to get it together for the Mitch & The Studio Kings show. I practise and panic all day, not necessarily in that order. And in so doing, I forget that I have not yet taken a peek at that English National Ballet music. Hmm. Interesting. The…. “only one piece…” turns out to be around 25 minutes long, is in 13 movements and impossible to read at sight. And, while digesting this
no one says any nice things about my playing. i leave. no one appears to notice. or care allowances for the usual tension of waiting around and then playing in front of The BBC Concert Orchestra on cue. But I know how to produce an authentic lightly amplified sound from the gear, which helps no end. Consequently, a number of kind people say nice things about my playing. Some of them are musicians. And, of course, I refrain from telling them that, in the grand scheme of life, it’s relatively easy. The profession of showbiz has taught me to accept praise when it’s forthcoming...
entirely predictable information, I am informed that we will begin the rehearsal at 10.30am. I do what any conscientious professional musician would do at this point. I give up. Fast forward to the early hours of Thursday morning. I say hello to the duvet at around 2am, one joyous gig to the good and one missing iPhone to the infuriatingly bad. There are but a limited number of possibilities now available to me and, after careless consideration, I select option one – leave home at
6am. I drive to Henry Wood Hall feeling refreshed and radiant after a full three-hour nap. The cleaner lets me in with a quizzical expression but decides wisely to say nowt. I find my chair, a feat in itself. I then spend two-and-a-half hours in fuzzy-headed practising in an empty rehearsal space until the orchestral early birds begin to drift in. The rehearsal commences. I force myself into a state of concentration that would befit a chess Grand Master. It goes very well. No one shouts at me. Or sends me home in disgrace. We are done within an hour. I am both pleased and relieved. The sacrifice was clearly worth it. Maybe I can finally play a bit after all these years? I am thanked politely. No kind people say any nice things about my playing. They move on. They have other ballets to routine. I leave. No one appears to notice. Or care. “Aristotle, Aristotle – wherefore art thou, Aristotle?” If you see what I mean. Mitch Dalton & The Studio Kings are at The Pheasantry, Kings Road, Chelsea on May 21st. For more info go to: www. mitchdalton.co.uk June 2016
Intro Ivor for BIMM alumnus James Bay? The nominations keep on coming for BIMM Brighton alumnus James Bay. His hit song Hold Back The River is in the running for the PRS for Music Most Performed Work at the 61st Ivor Novello Awards. The ceremony will take place on 19th May 2016 at the Grosvenor House, Park Lane, London. The Ivors celebrate, honour and reward excellence in British and Irish songwriting and composing. They are presented by BASCA (British Academy of Songwriters, Composers, and Authors) and they are judged by the UK songwriting and composing community. Hold Back The River was co-written by James Bay and Iain Archer. Iain visited BIMM Brighton last year for a Q&A with
BIMM Brighton alumnus James Bay is doing okay!
PHIL HILBORNE’S ONE-MINUTE LICK
students. Already an Ivor Novello award-winning songwriter and musician, Iain has shared his songwriting skills with the likes of Jake Bugg, Nina Nesbitt, Example and Gabrielle Aplin. He is also part of Tired Pony – a band put together by Snow Patrol’s Gary Lightbody, which includes REM’s Peter Buck and Scott McCaughey; musician and producer Jacknife Lee, and Belle and Sebastian’s Richard Coburn. Ivor Novello Awards host, Paul Gambaccini says: “With the Ivors, it’s just writers judging writers; it’s my favourite of all the awards because it has the most integrity….” James is up against Jess Glynne for Hold My Hand and Years & Years with their song, King.
Aeolian Pentatonic tapping lick
Here’s a crazy tapping phrase that, if used sparingly, can be very effective. The lick takes advantage of the ‘straight line’ elements from three different Pentatonic scales – Em, Am and Bm. You are simply tapping all the notes that you would normally play in a shape 1 Bm Pentatonic, then hammering-on from shape 1 Em to the same position in Am. This gives you a sus4 arpeggio (1-4-5) on each string. Because all these scales can be seen as deriving from G Major against an Em, the end result is an Aeolian sound (try it against other chords derived from G Major). I have phrased the notes in a 9-8 polyrhythm, which means that for each two beats you play nine 16th notes instead of the usual eight – aka ‘nested GUITAR TECHNIQUES MAGAZINE 2 5 7 tuplets’. The easiest wayMINUTE to visualise tapping in quarter-note triplets and then ONE LICKthis is - that by you Phil are Hilborne hammering on inAEOLIAN groups ofPENTATONIC three. This is far easier than TAPPING LICKit sounds on paper! You can hear similar ideas from Buckethead, Van Halen and Allan Holdsworth. After playing through it, spend time developing phrases using other scales and arpeggios – diminished ideas sound great played like this.
L L L L L L L L L L L L
©»™ºº Fast Rock Em œœœœ œœœœœœœ œ œ œ œ œ # 2 Bar Drum Intro œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 44 œ 9 9 9 9 ƒ
E B G D A E
19 12 17
19 12 17
19 12 17
19 12 17
19 12 17
19 12 17
19 12 17
19 12 17
19 12 17
19 12 17
Lœ œ œ Lœ œ œ Lœ œ Lœ œ œ Lœ œ L Lœ œ œ œœœœ œ Lœ œ œ Lœ œ Lœ œ œ Lœ œ œ œ Lœ œ œ 1
L L L L L L LL LLL L Am/E
L L L L L L L L L L L L 9
E B G D A E
19 17 12
19 17 12
19 17 12
19 17 12
19 17 12
19 17 12
19 17 12
19 17 12
19 17 12
19 17 12
19 17 12
19 17 12
19 12 17
19 12 17
Intro INSTRUMENTAL INQUISITION!
european pressphoto agency / Alamy
Instrumentals have supplied some of music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: session wizard and Supertramp guitarist, Carl Verheyen GT: What is it about guitar instrumentals that appeals to you? CV: I’ve been a fan of the sound of our instrument since I was a kid. Growing up in Los Angeles, we had surfing shows on TV every day after school, and that twangy, clean surf guitar music was super cool. This was pre-Beatles, so a rocking guitar wakes up a certain part of my brain and makes me smile. GT: What can an instrumental provide that a vocal song can’t? CV: Wordless recordings are a more perfect soundtrack to your season or period in your life. Songs without words help to enhance the feeling you have. GT: Any tendencies that you embrace or avoid in your own instrumentals? CV: The key to a good instrumental is a singable or at least memorable melody. So many ‘guitar records’ are simply vehicles for the writer or player to shred, and those don’t bear repeated listening for me. I buy them to check them out and then file them away. GT: Do you like to retain the typical song structure: verse, chorus, verse? CV: No. There are many other song forms that can work. Even symphonic movements with reoccurring themes are relevant. It doesn’t have to follow a pop format. GT: How useful is studying a vocalist’s approach for guitarists? CV: A vocalist like Adele or Betty Carter, a horn player like Cannonball Adderley, a keyboard player like Chick Corea or drummers like Dave Garibaldi or Chad Wackerman can inspire both melodic and rhythmic ideas. GT: How do you start writing one; is there a typical approach? CV: After a few hours of practising ‘freestyle’, riffs and melodies begin to come to me. I write the ideas down in a lick book or musical diary so I can always come back later and play that exact inspiration. Mostly they’re just lines to use for tonal various centres while improvising, but every once in a while they’re
Carl Verheyen: one of the most ‘complete’ guitarists that we know of good enough to become melodies for future songs. GT: With an instrumental your performance is centre stage for the duration. Does that throw up any special issues? CV: I try to phrase as if my guitar were a lead vocal. I use many different tones so it doesn’t fatigue my listeners. Recording the ballad Spirit Of Julia, from the Mustang Run CD was one of the
hardest sessions I’ve ever done. Coaxing pain, confidence, sadness and joy out of my ES-335 was a real workout. I analysed the melody phrase by phrase and put as much emotion into each note as possible. GT: Many vocal songs feature a guitar solo that starts low and slow then finishes high and fast. Is this structure useful for instrumentals? CV: Not always. Sometimes a song
for me, the key to a good instrumental is a singable, or at least a memorable melody
is just a barnburner from start to finish. My back catalogue has Garage Sale, In The Stream and Riding The Bean. These songs fit into the ‘take no prisoners’ category. GT: What type of guitar tone do you prefer for instrumentals? CV: All tones available! GT: Do you have favourite song keys or tempos? CV: No, I’m equally comfortable in all 12 keys. GT: Do you find minor or major keys easier to write in? CV: They both have a specific purpose and a vibe so I use both major and minor equally. GT: Do you have favourite modes? CV: I’m not too fond of the Locrian mode, but the other six are fair game. Harmonic and Melodic minor scales are also useful, especially when used over the appropriate dominant chords. I use C Harmonic minor over a G7#5 chord and occasionally an A Melodic minor over a D7 chord when I need that #11. GT: What about modulations into new keys? CV: Always a welcome musical device for bumping the track up a notch or two. GT: Do you view the backing band in a different way than you would on a vocal song? CV: No. In both cases the melody needs to be supported. GT: What are your views on harmonising melodies? CV: I like 3rds and 6ths and when necessary 4ths and 5ths. Used sparingly it adds some nice ‘sonic girth’ to a piece. GT: What three guitar instrumentals have inspired you? CV: Jessica, by the Allman Brothers Band, Where Were You, by Jeff Beck, Albert’s Shuffle by Mike Bloomfield – and countless more! Please visit www.carlverheyen. com for further info about Carl, to check out what he’s up to at the moment – tours, albums etc – and to purchase CDs, DVDs etc June 2016
That Was The Year...
ey Sinat ra, Preosle and Monr
➊ G Blues Stomper
Spanish SP model guitar, an electric archtop with f-holes cut into the upper body bouts. The bound neck and body are actually made by Harmony but the guitar boasts an all Rickenbacker horseshoe pickup situated by the wooden bridge. Controls are fitted for volume and tone manipulation. With a strong sound and good tone, it’s a popular product; also highly sort after are their laptop steel guitars like the Rickenbacker Model B.
AN 11-YEAR-OLD ELVIS PRESLEY
➋ C Lydian Mode Groove Jam
gets his first guitar on his birthday. He actually wanted a rifle but it was too expensive for his parents but he took lessons from his uncle and learned to play. Frank Sinatra releases his first studio album, called The Voice Of Frank Sinatra. Released on Columbia Records as a set of four 78 rpm records (so just eight songs) it stays at the top of the newly established Billboard chart for seven weeks.
THE END OF WORLD WAR II is
celebrated by a victory parade in London but those returning from the fighting are greeted by major job shortages, lack of housing and little in the way of food and materials. So much for a better life! The House of Commons nationalises the mining industry and the Bank of England soon follows suit. The first meeting of the United Nations is held in London to discuss procedural rules and to adopt a resolution to deal with the issues of atomic energy and nuclear weapons. The League of Nations is dissolved and the United Nations International Children’s Fund (UNICEF) is established.
SWEDISH CAR MANUFACTURERS VOLVO
produce the PV60, their first model to be produced post war. The Italian Piaggio company files a patent for their Vespa scooter design finished in pastel shades. It makes its public debut at the 1946 Milan Fair but is slow to catch on until the introduction of payment by instalments made it something everyone could own.
MATON STRINGED INSTRUMENTS AND
repairs begin manufacturing their own guitars from their backyard workshop in Melbourne, Australia. Owner Billy May was keen to equal the quality of the American guitars that were being imported and the product name was a derivative of ‘May’ and ‘Tone’. With fine attention to every detail of the manufacturing process early models like the Coolibah Flat Top FT6 and the Professional Super Hill-Billy Flatop HG100 soon capture the respect of local guitarists and beyond. (Elvis Presley used an HG100 Hill-Billy in the Jailhouse Rock movie in 1957).
AMERICAN ACTRESS, MODEL
Use these tips to navigate our bonus backing tracks on the disc Here we have a fairly uptempo foot-stomping 12-bar blues in G. Pull out your G minor Pentatonic (G-Bb-C-D-F) or Blues scale (add a Db) – or alternatively, try G Mixolydian (G-A-B-C-D-E-F) on the I chord (G7), G Dorian (G-A-Bb-C-D-E-F) on the IV chord (C7) and finally the G Major scale (G-A-B-C-D-E-F#) on the V (D7).
RICKENBACKER RELEASES its
Jam Tracks Tips
and singer, Norma Jeane Mortenson performs her first screen test and is signed to Twentieth Century Fox Studios. She changes her hair colour from brown to blonde and becomes Marilyn Monroe. Juan Domingo Peron is elected president in Argentina, his mistress is Evita.
4. Bb Jazz Blues
Try out your best Vai, Satriani and Zappa licks on this static groove. The progression (C and D/C) is based on C Lydian mode (C-D-E-F#-G-A-B), so could open up new territory for licks, sounds and fingerings!
➌ Bluesy Vamp (C) For this I-IV vamp in C you can get really bluesy and use C minor Pentatonic (C-Eb-F-G-Bb) or Blues scale (C-Eb-F-F#-G-Bb). Or you can switch between C Mixolydian (C-D-E-F-G-A-Bb) for the I chord (C) and C Dorian mode (C-D-EbF-G-A-Bb) for the IV chord (F7). This change results in the B neatly becoming a Bb, etc.
hot for teacher
Although you can attack this jazz blues progression in Bb from a basic blues perspective using Bb major Pentatonic (Bb-C-D-F-G) and Bb minor Pentatonic (Bb-Db-Eb-F Ab), you could also try arpeggiating your way around the chords to bring out more colour. This is especially handy in bar 6 (E diminished arpeggio (E-G-BbDb) and bar 8 (G7 arpeggio (G-B-D-F) of the progression. Jam tracks by Jacob Quistgaard. For free scale maps and hundreds more tracks, visit www.quistorama. com. You can also subscribe to www.youtube.com/QuistTV to get all the latest tracks and licks. Or find Quist and his jam tracks on Twitter, Instagram and Facebook.
WHO? Nick Mackey – Clitheroe Guitar Studio TOWN: Clitheroe, Lancashire STYLES TAUGHT: All styles of guitar, bass, ukulele and mandolin SPECIALITY: Acoustic and electric guitar Qualification: RGT Examiner LEVELS: Structured but informal stylebased tuition from beginner to advanced – RGT grades if desired READING: Any level CHARGES: £25 per 1hr lesson, £14 per half hour SPECIAL: Fully-equipped music room/ studio; can record lessons, vast library of resources TEL: 01200 422933 (07952 550712) EMAIL: firstname.lastname@example.org