Allen Hinds: Legato Part 4

For this fourth and fi­nal in­stal­ment of fiery legato chops, Allen Hinds shows great ways of de­vel­op­ing more ad­vanced runs, us­ing sweep­ing, chro­matic colours and more. Ja­cob Quist­gaard tran­scribes.

Guitar Techniques - - Lesson: Video -

Be­ing able to add nat­u­ral sound­ing chro­matic flavours to your runs is an awe­some side-ben­e­fit of mas­ter­ing smooth and fast legato on your gui­tar. Allen very much has this abil­ity and uses this ‘added chro­matic colour’ to great bluesy ef­fect in his play­ing.

As Allen has pointed out on sev­eral oc­ca­sions dur­ing this se­ries, it’s ex­tremely im­por­tant that you take the ideas fur­ther in your own time, grab­bing the op­por­tu­nity to re­ally ex­per­i­ment. This will surely aid the de­vel­op­ment of your own style, achieved by trans­fer­ring the ideas across the var­i­ous po­si­tions of the fret­board and into other scales and modes. Sim­ply by work­ing out how to trans­fer a lick to the al­tered scale, Ly­dian mode or, say, to make it work across your pen­ta­tonic scale shapes, you are bound to come up with some to­tally new and in­spir­ing move­ments that will fuel your play­ing in a re­ally pos­i­tive way.

It is worth bear­ing in mind though, that any pat­tern learnt in any of the seven modes of the ma­jor scale (Io­nian, Do­rian, Phry­gian, Ly­dian, Mixoly­dian, Ae­o­lian and Locrian mode) can usu­ally be re-used ‘as is’ in any of the other modes. Here’s how Allen de­scribes this ap­proach: “I am not ad­vo­cat­ing lazi­ness! I just found that it was more im­por­tant to un­der­stand the re­la­tion­ship of mo­dal scales than know­ing ev­ery mode start­ing from any­where on the fret­board, there­fore achiev­ing a com­mon re­sult with a min­i­mum of thought. A short­cut of sorts.” ”You can get a lot of mileage out of one lick if you are cre­ative. You need to know your scales and have a ba­sic un­der­stand­ing of di­a­tonic con­cepts. The more vo­cab­u­lary you have, the more de­scrip­tive you can be of the emo­tions you want to ex­press. But we are all hu­man, and it’s in our na­ture to find short cuts in or­der to achieve goals as ef­fi­ciently as pos­si­ble.”

“I be­lieve it’s not im­per­a­tive to know ev­ery mode every­where on the fret­board, but as long as you un­der­stand the di­a­tonic re­la­tion­ships be­tween scales you will be okay. Ini­tially, I learned how to play the Do­rian mode. Like mil­lions of oth­ers, I lis­tened to Hen­drix, Clap­ton, Duane All­man, and the likes. That was the scale I could dis­cern and hear the eas­i­est in the be­gin­ning, with pen­ta­ton­ics and a few blues notes thrown in next. Then I learned the Mixoly­dian mode - again with some blues notes added – and then the ma­jor scale. I didn’t know Locrian, Phry­gian or Ly­dian mode for years to come. How­ever, once I un­der­stood how di­a­tonic modes where cre­ated, I could see one lick in a Do­rian con­text, but also see the same lick as a Mixoly­dian lick, only start­ing on a dif­fer­ent scale step. So a Do­rian mode lick be­gin­ning on the 5th, would be­come a Mixoly­dian lick start­ing on the 9th and so forth.”

We will look at three sep­a­rate legato ideas, each of which will con­sist of its ini­tial pre­sen­ta­tion, fol­lowed by a sec­tion where Allen im­pro­vises, de­liv­er­ing and de­vel­op­ing the lick in the con­text of a back­ing track. Take your time to get cre­ative and in­vest in the fur­ther de­vel­op­ment of these legato licks.

We’d like to say a spe­cial Thank You to Allen Hinds for this fan­tas­tic se­ries!

If you can har­ness a bit of a legato tech­nique, I be­lieve you will ex­pand your dy­namic range and im­prove your mu­si­cal­ity. Allen Hinds

Allen Hinds: a mas­ter of all things legato

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