Cre­ative Rock

ShaunBax­ter con­cludeshisserieson­neo-clas­si­cal rock­by­lookingath­owrhythm­parts­fitwith­inthe genre’sheavyand­often­busyarrange­ments.

Guitar Techniques - - • Contents • November 2014 • -

Shaun Baxter on how to cre­ate your own neo­clas­si­cal rock rhythm gui­tar parts.

The­neo-clas­si­cal­rhythm­style­was pi­o­neered­byDeep­Pur­ple’sRitchie Black­more.Rhythm­part­splayedby athick­o­rdis­tort­ed­sound­need­tobe sparse,so­many­partscon­sist­purely of­s­in­glenote­sand­dou­ble-stops (di­ads).Thiswillal­lowthep­art­to­cut through­bet­ter(es­pe­cial­ly­when play­ing­with­key­boards),and­sound less­mud­dyan­dover­pow­er­ing. Iti­sal­so­com­montodou­blethe­bass gui­tara­noc­tave­above­vi­a­palm­muted geta­good­palm-mute,play­with­the pick­ing­han­drest­ingkarat­e­chop­style over­the­bridge.The­p­res­sure­canbe ad­just­ed­forop­ti­mum­mu­si­cal­ef­fect, de­pendin­gonwhateach­sec­tion re­quires(hard­mute,soft­mu­teetc). Also,ex­per­i­men­twith­the­p­re­cise place­mentofthep­ick­ing­hand. Bringin­gi­ta­mil­lime­tre­for­ward fromthe­bridgewil­l­increasethe bass,but­brin­git­too­far­for­war­dand thenoteswill­start­tosound­sharp,as theside­ofthe­hand­be­gin­stoac­tasa move­able­brid­ge­or­capo.And changeth­ean­gle­ofthep­ick:twistit sothattheedge­point­ing­to­ward­s­the nutis­low­eredandtheedge­point­ing to­ward­s­the­bridgeis­raised.Thisway,you willbe­strikingeach­string­with­theed­ge­ofthe pick,ratherthanthe­flat­face,givingeach­note amuch­morethree-di­men­sion­al­rasp.The sound­will­be­fur­ther­im­proved­i­fy­oupick usingabounc­ing­mo­tion,sotheed­ge­ofthe pick­is­draw­nacross­thestring­when­leav­ing it(likeav­i­o­lin­bow).This­ac­tion­should­stem fromthewrist,while­keep­ingth­elow­er­part oft­hearmin­con­tactwith­the­gui­tar,likea snake’shead­bob­bin­gu­pand­down­wereyou top­init­s­neck­tothe­floor­with­y­our­boot. Even­thoughy­oumayuseecon­o­myp­ickingin yourlead­play­ing,inthein­terestof­rigid timin­gand­cul­ti­vating­amorer­obotic aes­thet­i­can­d­mind-set,youshoul­dadopta more­me­chan­i­calap­proach­toy­our­rhythm work.This­meansstric­tal­ter­natepickingor even­con­sec­u­tive­down-strokes(de­pend­ing on­thetem­poofeach­par­tic­u­lar­piece). Ify­oulookatthis­month’sstudy,you’llsee thattwoof­thethree­piece­sarewrit­tenin 12/8.This­times­ig­na­tureis­usedasasim­pler way­ofwrit­ing­mu­sic­that­woul­dother­wise in­volve­dozen­sand­dozen­soft­riplets rhythms:ba­si­cally,byshowingeach­beat­asa dot­tedquar­ter-note(which­con­sist­softhree eighth-notes),it­savesus­fro­ma­l­wayshav­ing towritea‘3’aboveeachthree-note­group.

Be­cause­thethree­notesineach­beat­sound like(and­could­be­writ­te­nas)eighth-note tripletsin4/4,youshould­bear­in­mindthata quar­ter-notein12/8last­s­the­same­timeas twoeighth-notetripletsin4/4;con­se­quently, when­suc­ces­sive­quar­ter-note­sare­playedin 12/8,the­mu­si­cal­ef­fec­tis­the­sameas quar­ter-notetriplet­splayedin4/4.You­can hearthisinthe­four­thendin­gof­sec­tionA2in the­firstofthi­sis­sue’sex­am­ples.

Whenyou’ve­g­onethrough­myex­er­cises, trycre­at­ing­some­freshidea­so­fy­ourown.

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