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THE FINEST GUITAR TUITION ON PLANET EARTH 303 JANUARY 2020

Classy Add the sophisticated ‘secret’ notes of the greats and play your best minor solos ever!

STEVE MORSE JAN AKKERMAN

81

Solos, chords, licks & jam tracks!

Two prog legends interviewed!

MÖTLEY CRÜE Play the cool blues-rock licks of ace guitarist Mick Mars

ROBIN TROWER

JOHN ETHERIDGE Jazz-rock soloing made easy with Soft Machine’s super six-string maestro!

Two super solos in the style of this tasty player


PLAY } BLUES

ON THE CD

TRACKS 4-11

BLUES WITH DORIAN

Spice up your blues with Dorian

Jon Bishop wants to spice up your blues with the wonderful world of the Dorian mode. If you feel your playing is stuck in a Pentatonic rut then this feature could provide the refreshing change you’re after. ABILITY RATING Info Key A Dorian Tempo Various CD TRACKS 4-9

Moderate Will improve your… Understanding of intervals Modal knowledge Blues soloing sophistication

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elcome to this exclusive feature aimed at putting a bit of extra class into your blues playing using the spicy sound of Dorian mode. Both rhythm and lead guitar ideas are notated and after working through the examples, your blues guitar trick bag should be fully topped up. But first, let’s review what the Dorian mode is and how it functions musically. If we harmonise the G Major scale in 3rds we get the following sequence of chords: I (Gmaj7) ii (Am7), iii (Bm7), IV (Cmaj7), V (D7), vi (Em7), vii (F#m7b5). As you can see from the above, the second chord is A minor 7 and the scale (mode) that fits with this is A Dorian (A, B, C, D, E, F#, G). Perhaps this all sounds rather complicated, but for our purposes today I’d suggest you think of the Dorian mode as the Natural Minor scale with a major 6th degree (just as you can visualise Mixolydian as the Major

TECHNIQUE FOCUS Five Dorian shapes We have written out scale fingerings for all five positions of the A Dorian mode. The easiest road into experimenting with this sound is to think of these fingerings as the A Minor Pentatonic with two added notes. The two Dorian flavor tones are the major 2nd (B) and the major 6th (F#) so keep an eye out for these in the examples. We will be leaning on these flavor notes heavily to provide the characteristic sound. (See Dorian mode fingerings 1-5 on page 22).

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scale with a minor 7th (b7). The intervallic structure is therefore root, major 2nd, minor 3rd, perfect 4th, perfect 5th, major 6th and minor 7th. To keep things simple all our examples are in the guitar-friendly key of A Minor and we have used an open key signature so you can

DORIAN MODE HAS A SOPHISTICATED SOUND THAT YOU CAN HEAR IN PLAYERS LIKE KENNY BURRELL, ROBBEN FORD AND SANTANA

see where the all-importand major 6th interval is so keep an eye out for those F# notes in the transcriptions. Remember, these notes would be F in the A Natural Minor scale. The Dorian mode has a sophisticated sound and you can hear it in all types of music; indeed, you may recognise it as the sound of minor key jazz and blues when used by players such as Kenny Burrell, Robben Ford and Carlos Santana. Perhaps the best thing about Dorian is that, when it is played over the minor 7 chord, all the notes sound good. This means that, when improvising, any of the notes can be accented or played at length without the risk of sounding bad. It is also a useful strategy to use the Minor Pentatonic scale as home base and then add in the two flavour tones (major 9th and major 6th) when required. Many blues guitarists would think of adding notes into their

standard Pentatonic runs and with this method there is no need to know the theory, just which extra notes sound good to you. We have put together 10 short rhythm and lead examples so you can get used to the Dorian sound. Then there are three full blues backing tracks to experiment with, complete with fully notated solos. The first track is a slow minor blues, the second has a shuffle feel and the third is more of a jazz -blues. Check out our fretboard diagrams to see the fingering shapes for A Dorian mode. If you are new to Dorian, or to modes in general, this approach of adding in the 9th and 6th to the Minor Pentatonic is a great entry and will allow you to experiment and come up with your own ideas with relative ease. Why not try starting and ending some of your licks with these notes and see how different you can make your solos sound than when using the more conventional root, 3rd, 5th and so on. Many thanks to Universal Audio for the loan of the Apollo interface for the recording. Have fun. See you next time.

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All of the pickup and effects selections are notated at the start of each piece for reference. When playing in a style such as the blues it is important to have a stylistically appropriate tone and less is usually more here, so study the notation and use your ears. Use the above settings as a starting point before adding overdrive, reverb or delay.


PLAY { BLUES WITH DORIAN

BOB KING

Carlos Santana uses Dorian in tunes such as Samba Pa Ti

TRACK RECORD There are many great blues recordings that have a Dorian mode flavour. All of the artists mentioned in our examples will be good places to do some listening. But obvious artists to look out for are Carlos Santana and Robben Ford (who both play modally at times), and Jimi Hendrix and David Gilmour who tend to treat the Dorian’s major 6th and 9th notes as ‘colour’ tones to flavour Pentatonic solos.

January 2020

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PLAY } BLUES

ON THE CD

TRACKS 4-11

A DORIAN MODE FINGERINGS

RHYTHM EXAMPLE 1 ROBBEN FORD STYLE SLOW BLUES

CD TRACK 4

This shortTECHNIQUES example exploits the Dorian sound major 6th (F#) Ex I’d recommend theBishop use of fingerpicking here, as it really helps in GUITAR MAGAZINE 3 0 3 by including the Dorian Blues 1 -strongly 5 Rhythm - Jon in the sliding chord move. The notes on the sixth string are lightly palm muted.

getting the correct feel.

Ex 1 Robben Ford Style Slow Blues

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E B G D A E E B G D A E E B G D A E

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Dorian Blues Ex 1 - 5 Rhythm - Jon Bishop

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PLAY } JAZZ-FUSION

ON THE CD

CD-ROM & 12-18

John Etheridge

Interview & masterclass Soft Machine’s John Etheridge talks David Mead through the band’s inner workings and reveals what it’s like to be the six-string driving force for one of the most legendary of British jazz-fusion outfits.

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oft Machine first appeared in the mid-60s as part of the Canterbury scene along with bands such as Caravan, Gong, Egg and Henry Cow. Initially, they were seen as part of the psychedelic movement and contemporaries of Pink Floyd, often appearing at London’s infamous UFO Club and other progressive underground hotspots including The Speakeasy and Middle Earth. They even supported Jimi Hendrix on his North American tour in 1968. The band has seen a few guitarists pass through in its lifetime, including art rockers Daevid Allen and Kevin Ayers, but most notably fusion guitarists supreme, Allan Holdsworth and the man joining us today, John Etheridge, who first joined Soft Machine in the mid-70s. The Softs officially came to an end in 1984, but rose again in 2004 under the name Soft Machine Legacy; but with their latest album, last year’s Hidden Details, they’re back to being known simply as Soft Machine. We’ll be the first to admit that all this sounds as confusing as the average Olde English family tree and so we’ll leave it to Mr Etheridge to clear matters up for you. “We’ve been going since 2004,” he tells us. “So, in a sense it’s the same band that made Live Adventures in 2009 and Burden Of Proof in 2013, which came out as Soft Machine Legacy. People kept saying, ‘Why don’t you drop the ‘Legacy’?’ It was like, ‘Hmm…’ so we finally went, ‘Okay, let’s call it Soft Machine.’ Because it is Soft Machine.” Everyone clear? Speaking of the latest album John continues: “So, technically, it’s the 50th anniversary of the first Soft Machine album, which came out in 1968…”

How do you view the legacy of Soft Machine, 50 years or so down the line? “Soft Machine stood for a lot of different things between 1967 and 1980. Each 30

January 2020

incarnation of Soft Machine was quite different. You’ve got the early psychedelic, then you’ve got the song-y thing, with Kevin Ayers and Robert Wyatt. Then you’ve got the sort of free improv thing. Then it became a kind of jazz-rock-y, fusion-y thing. They were all, in their own way, really, really good, and they didn’t necessarily have a lot to do with each other.”

How do you view your role in the band? “Sometimes when I’m playing some of these tunes, I almost imagine I’m Syd Barrett doing Interstellar Overdrive at UFO. I almost try deliberately to play the guitar as if I don’t

it, they had just listened to it, and were doing it in their own way. “If you listen to the first track on the album, Hidden Details, I get going at the end on my solo. It doesn’t often happen in the studio – it just exploded. I like that solo because it’s all totally live, and it’s not very deep, and it’s probably too many notes, but I really like it because it has got a feeling. It just went, ‘Whoa!’ We’d only played the tune two or three times, and rehearsed it a couple of times, and then we had a take and off we went. My bit comes in in D minor, and it just took off, you know? Funnily enough, we’ve played that so much since and I think my solo on the

EARLY PINK FLOYD AND SOFT MACHINE WAS ALMOST AMATEUR, IN THE BEST WAY. THEY HADN’T STUDIED JAZZ, SO WERE DOING IT THEIR OWN WAY really play the guitar. I think that’s very important. In my own personal playing with Soft Machine, I like to cover the ground from scratching your head and going, ‘What’s that going to sound like?’ kind of vibe, to being in complete command. In other words, I sometimes try and imagine I’m not in command of the instrument, and I don’t really know what I’m doing. Then you get all those kind of early psychedelic sounds, which to me have tremendous value, because they’re coming from people who haven’t worked out the template, as it were.”

So, there’s still a tremendous amount of weight given to improvisation? “When we’re doing these sonic improvisations, I just imagine I haven’t a clue and am trying things out. I am trying things out; it’s not all imagination. The thing about early Pink Floyd and Soft Machine was, it was almost amateur, in the best way. In other words, they wanted to play jazz, but they hadn’t been to school, and they hadn’t studied

record is just as good as any of the solos I’ve done live, which is really encouraging.”

Recording in the 21st century is a whole different ball game when compared with the time that the band started. How does that change the music? “With Pro Tools, you can bugger about if there are any little mistakes. In the old days, that would mean, ‘Oh shit, I dropped a note, right at the end; we’ll have to do another take.’ You can hear this all through recorded music. I remember when my son got interested in jazz and we got these early Charlie Parker recordings. They play the tune the first time all great, and then everybody does a solo, and then right at the end of the last time playing the tune, somebody makes a mistake. You can almost hear them going, ‘Oh God. We’ve got to do the whole thing again.’ So, really, I think modern technology has liberated jazz recording, because you can really go and play live, and if your finger does slip off the fretboard, you don’t have to go, ‘Oh God.’


PLAY } JAZZ-FUSION

ON THE CD

CD-ROM & 12-18

Jazz-Fusion

Soloing masterclass Taking those first steps into playing jazzfusion can be a scary business, so here John Etheridge lays out a plan to make your journey more comfortable.

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your hand through those early days than a player who has clocked up nearly 50 years working in all areas of the genre, from playing alongside jazz legend Stéphane Grappelli to working in the innovative Soft Machine. There’s a wealth of info in the video that accompanies this tutorial, but we’ve singled out some exercises to light your path ahead. Good luck!

azz fusion is a mysterious place to visit, musically speaking. Rules are bent out of shape and it’s easy to believe that just about everything you’ve learned so far is now rendered virtually useless in this new landscape. As with everything, though, a little bit of guidance goes a long way – and who better to hold

John’s 335-inspired signature Fret-King Elise ‘JE’ has an archtop vibe to it

EXAMPLE 1

CD TRACK 12

In this first example John takes the A Dorian mode – a perfect fit for soloing one position, either; your knowledge of the scale must extend over the entire G T an issue 3 07 3 over A minor vamp, and about which you can find out much more on fretboard to the extent that you’re equally sure-footed everywhere on the pages 14-21 – and recommends that you learn it well. Don’t limit yourselfJohn to neck. Only lesson then can you take the next step towards jazz-fusion fluency. Adrian's Etheridge

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E B G D A E E B G D A E

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CD TRACK 13

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LESSON } VIDEO

ON THE CD

CD-ROM & 19-26

Rocco Zifarelli Video Masterclass pt2

ON VIDEO

In the second instalment of this six-part video feature, Rocco Zifarelli demonstrates some smooth Dorian lead work over a fast paced, fusion blues backing track, Harlem 72. Jon Bishop is your guide.

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contain the interval of a 2nd (but with no 3rd) and sound ‘expensive’. These are sus2 chords and we have notated the various fingerings Rocco demonstrates in the video, in our six-example box-out. In addition to the full, seven-note Dorian mode Rocco also strips things back the five-note A Minor Pentatonic scale , sometimes adding the b5 (Eb) for the A Blues scale. He also shows how he combines two positions of A Minor Pentatonic to create one big fingering. This makes wide intervals available and has an ear-grabbing quality. The full solo performance has been tabbed and this is quite a lot to remember. In fact, memorising the whole solo would certainly be quite an undertaking, but hopefully there will be a new technique, lick or phrase in here for you to adopt, adapt, twist and tweak to use in your own playing where appropriate. Then, once you have mastered some of the concepts in Rocco’s solo why not try creating a solo of your own over Jason Sidwell’s bespoke track. And thanks to Rocco for another splendid solo! NEXT MONTH Rocco solos on acoustic guitar over Jason’s rhythmic ballad Days Long Gone 6

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Rocco used his Agostin Custom Z-24 Art Series guitar into a Kemper profiler with compression and spacious reverb, both complementary to the style. Any electric guitar will work well; just dial up a sparkling clean tone and experiment with the guitar’s controls to achieve the desired sounds. And, like Rocco, compression, reverb or long delay can be added to round things off.

TRACK RECORD Since 1997 Rocco has performed regularly and tours internationally with the renowned film music composer Ennio Morricone. He’s appeared on the stages of the most prestigious theatres and arenas in all the greatest locations around the world. Rocco’s own albums include, Lyndon, and the new Music Unites with a virtuosic rendition of The Untouchables movie theme. 40

January 2020

D NARDACCI

penned track, this one entitled Harlem 72. As Rocco explains, the core tonality for the song is the A Dorian mode which contains the same Will improve your Info notes as G Major (G-A-B-C-D-E-F#). The Key: A minor String bending technique song briefly switches to D Minor so Rocco Tempo: 108bpm Fast paced rock and fusion lead follows with D Dorian (D-E-F-G-A-B-C) CD: TRACKS 19-25 Knowledge of Dorian mode which has the same notes as the C Major scale (but starting on D). The only other chord to negotiate is the his month we welcome back Italian brief change to E7#9, and good choice of scale fusion wizard and guitarist for film here is the E Superlocrian (E-F-G-G#-Bb-C-D) composer supreme, Ennio Morricone, the fantastic Rocco Zifarelli. We invited which is the seventh mode of F Melodic Minor (F-G-Ab-Bb-C-D-E). Interestingly, you’ll find Rocco to take on another Jason Sidwell these same chords and scales, but from a more bluesy perspective, in our cover feature (p14). We have written out scale fingerings should you wish to experiment over the backing track. After his solo, Rocco talks us through the tone he is using which is designed to allow him to play both melodically and harmonically. The effects are chorus, delay, reverb and compression. The volume pedal is used to control the dynamics and to swell into notes and chords. The compression provides the same sustain and playing feel as using overdrive, but any chords retain their clarity. Rocco also explains that this tone blends well with a full orchestra for movie work. He also demonstrates Rocco Zifarelli the use of cluster chords to has played with create his melodies and to Ennio Morricone outline the Dorian sound. for over 20 years The chords demonstrated

ABILITY RATING ✪ ✪ ✪ ✪ ✪ Moderate/Advanced


LESSON } VIDEO

ON THE CD

CD-ROM & 19-26

EXAMPLE HARLEM 72

CD-ROM & 19

SECTION A: [Bars 1-17] The track opens with a one-bar drum fill. The A minor above the fret (see tip 1, page 46). For the semi-quaver string skipping ideas in 11 chord sounds most effective with a swell bars 10 through to 14, the idea is to palm mute the notes on the third string. GUITAR TECHNIQUES MAGAZINE 3 0 3from a volume pedal if you have - SOLO Jon Bishop transcript one. The artificial harmonics are created by lightly touching HARLEM the string 1272 frets ThisTRACK will help to- create the desired percussive quality.

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PLAY } CLASSICAL

ON THE CD

TRACKS 27-28

ON VIDEO

Julio Sagreras Violetas - Vals

Bridget Mermikides introduces us to the beautiful music of Argentine guitarist and educator Julio Sagreras with this stunning waltz (vals).

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Moderate ✪ ✪ Will improve your… Combining rest stroke and free stroke Balancing of voices Legato technique

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He started his formal training at age 12 and became a professor by the age of 20, a published composer soon after, and formed his own music academy when he was just 25. Sagreras’s subsequent output and contribution to the guitar is significant, giving multiple concerts, radio broadcasts, writing seven guitar instruction books and hundreds of works for the instrument. Of these I have selected his magical waltz Violetas for this issue’s piece. This simple but effective work is in 3/4 time and starts in the key of E Minor. It uses conventional ‘common-practice’ harmonic devices such as the use of diatonic chords (chords that are derived from the notes in the scale - in this case E minor (E-F#-G-A-B-C-D), such as Am, C and G). And also what’s known as ‘functional’ chords that lead to these diatonic landmarks (for example B7-Em, E7-Am, G7-C, D7-G etc). However, this rather classical approach is given a Latin romanticism at bar 81, Christoph Denoth: when the key of E Minor one of the few to Magically transforms to E have interpreted major. This bittersweet this classic piece device – mixing the bright

n this issue we tackle a work by the Argentine guitarist and educator Julio Sagreras (1879-1942). Sagreras was deeply embedded in guitar culture; both of his parents were professional guitarists and he was taught by them from an early age, even taking part in their concerts by the age of six.

Major key with the dark Minor – is a favourite of many composers associated with Latin America, Spain and the guitar (such as Tarrega, Villa-Lobos and Albeniz), and you can hear the two worlds mix in bar 88. In order to capture the essence of their piece, the 3/4 waltz feel must be kept flowing,

SAGRERAS STARTED FORMAL TRAINING AGED 12, WAS A PROFESSOR BY AGE 20, AND FORMED HIS OWN MUSIC ACADEMY WHEN HE WAS JUST 25 which requires a balancing of thumb and fingers in the plucking hand, and a smooth, relaxed and rhythmically smooth fretting hand particular during the legato passages (for instance in bars 81-86). The performance captions will help you tackle these technical challenges and help you learn this classic work. Have fun! NEXT MONTH La Rose: Opus 46, No 9 by Italian guitarist and composer Mauro Giuliani

TECHNIQUE FOCUS Rest Stroke

The word ‘apoyando’ is the classical guitar term for ‘rest stroke’. Apoyar means ‘support’ in Spanish and is used to describe the finger landing and resting on the adjacent string after plucking. ‘Tirando’, meaning ‘pulling’ is the term used for free stroke where the finger plucks without touching an adjacent string. Apoyando has a warmer, fuller tone and is often used for single-note melodies, scales or to emphasise a note. Tirando is used for arpeggios, block chords and lighter melody playing.

TRACK RECORD This fine piece has not been recorded as much as it should but there is a great version by Christoph Denoth on his Tanguero album (Signum 2018). However, you’ll find a variety of tuition books available at all playing levels, from First Lessons For Guitar, Second Lessons For Guitar, etc (Hal Leonard); to Mel Bay’s Julio S Sagreras Guitar Lessons, Books 1-6, beginner to advanced. 50

May 2019

BENJAMIN EALOVEGA

ABILITY RATING Info Key E Minor Tempo 138 CD TRACKS 27-28


VIOLETAS - VALS { JULIO SAGRERAS PLAYING TIPS

CD TRACK 28

This piece begins in E Minor with three musical components: a melody and the melody and lightly staccato beat 2. This done by returning the fingers (or GUITAR TECHNIQUES MAGAZINE 3 0 3 bass note on beat 1, and accompaniment notes on beats 2 and 3. Follow the- Juliofinger and thumb) back onto the strings immediately after picking them and Violetas Vals Sagreras picking-hand fingering indicated for the first four bars and play a rest stroke thereby muting the notes of beat 2 before picking beat 3. Beat 3 does not need arr. Bridget Mermikides on the melody. On beats 2 and 3 pluck the accompaniment notes softer than to be staccato. This staccato or muting of beat two gives the waltz lift and feel.

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May 2019

51


LESSON } 30-MINUTE LICKBAG

ON THE CD

TRACKS 29-34

30-Minute Lickbag Pat Heath of BIMM Brighton offfers another selection of easy, moderate and advanced licks to learn. Can you crack the lot in half an hour?

EASY LICKS EXAMPLE 1 BUDDY HOLLY

GUITAR TECHNIQUES MAGAZINE 3 0 3

Pat Heath's LICK BAG

Ex 1 Buddy Holly style GUITAR TECHNIQUES MAGAZINE 3 0 3

Pat Heath's LICK BAG

Brought to you by…

CD TRACK 29

Follow this typical example of 1950s popular music by voicing the chord shapes (notated) and arpeggiating with a soft – medium pick. Try the pick strokes as directed unless you favour a different approach. Buddy played with gusto and you should do the same.

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8

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..


LEARNING ZONE

ROBIN TROWER EXAMPLE 1 TROWER STYLE GUITAR GUITAR TECHNIQUES TECHNIQUES 3 30 03 3

CD TRACK 35

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TROWER -- Study 1 pedal if you don’t have one) TROWER Study 1 -- to sing. In bars 10 and 12, there are several unison TROWER Study 1 -bends where--the second bends up a tone to double the first string note TROWER Study 1 string

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January 2020

59


LEARNING ZONE

MOTLEY CRUE EXAMPLE 1 RHYTHM

CD TRACK 40

The rhythm part isn’t tricky to play, but aim to keep the swung feel intact. The accents are firmly on ‘1 2 3 4’, but the ‘and a’ each time needs to also be emphasised.

GUITAR TECHNIQUES 3 0 3

Martin Cooper's BIMM ROCK COLUMN MOTLEY CRUE STYLE

GUITAR TECHNIQUES 3 0 3

Martin Cooper's BIMM ROCK COLUMN MOTLEY CRUE STYLE

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63


9000

LEARNING ZONE

MIXOLYDIAN SOLO DIAGRAM 1 THE NOTES OF EACH MIXOLYDIAN SCALE

PENTATONIC SCALES FROM THE 3RD NOTE OF A MIXOLYDIAN (A-B-C#-D-E-F#-G) C# E F# G B 1 b3 4 b5 b7

C#m7b5(11) pent -

C#m7b5b2 pent –

C# D E G 1 b2 b3 b5

B b7

PENTATONIC SCALES FROM THE 3RD NOTE OF C MIXOLYDIAN (C-D-E-F-G-A-Bb) E 1

Em7b5(11) pent -

G A Bb D b3 4 b5 b7

Em7b5b2 pent –

E 1

F b2

G Bb D b3 b5 b7

PENTATONIC SCALES FROM THE 3RD NOTE OF D MIXOLYDIAN (D-E-F#-G-A-B-C) F# A 1 b3

F#m7b5(11) pent -

B 4

C E b5 b7

F# G A C E 1 b2 b3 b5 b7

F#m7b5b2 pent –

PENTATONIC SCALES FROM THE 3RD NOTE OF F MIXOLYDIAN (F-G-A-Bb-C-D-Eb) A 1

Am7b5(11) pent -

C D b3 4

Eb G b5 b7

A 1

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Bb C Eb G b2 b3 b5 b7

PENTATONIC SCALES FROM THE 3RD NOTE OF G MIXOLYDIAN (G-A-B-C-D-E-F) B D 1 b3

Bm7b5(11) pent -

E 4

F A b5 b7

B 1

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C b2

D b3

F A b5 b7

EXAMPLE MIXOLYDIAN SOLO

CD TRACK 73

[Bars 2-3] Although your melodic source may be a Pentatonic scale, you don’t of fingering things on guitar using this three-octave symmetrical approach always have to use all five notes. The end of bar 2 sees the start of a Gsus#4 before, and the same thing can also be observed in bars 11, 12, and 18 (in which, triadic arpeggio which is shifted up in a three-octave symmetrical pattern sometimes, only two of the three octaves are used). G C# D GUITAR TECHNIQUES 3 string-pairs. 03 Shaun COLUMN over the lower, middle and upper We have studied theBaxter's concept CREATIVE Gsus#4 triad – 1 #4 5

MIXOLYDIAN SOLO

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Profile for Future PLC

Guitar Techniques 303 (Sampler)  

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Guitar Techniques 303 (Sampler)  

You can subscribe to this magazine @ www.myfavouritemagazines.co.uk