That Was The Year...

Guitar Techniques - - INTRO - Jam tracks by Quist. For free scale maps and hun­dreds more tracks, visit www.quis­ You can also sub­scribe to QuistTV to get all the lat­est tracks and licks. Or find Quist and his jam tracks on Twit­ter, In­sta­gram and Face­book.

pro­duced by the Har­mony Com­pany ap­pears in the Sears & Roebuck cat­a­logue, boast­ing a low play­ing ac­tion. Fea­tur­ing a hard­wood off­set solid body, bolt-on bound neck with rose­wood board and block in­lays, it’s one of the top mod­els on of­fer. It has a vi­brato tail­piece, ad­justable bridge and three DeAr­mond pick­ups with in­di­vid­ual tone con­trols. There’s a vol­ume con­trol and three switches that al­low seven dif­fer­ent pickup com­bi­na­tions. is pub­lished by the Bri­tish Rail­ways Board sug­gest­ing which lines should re­ceive in­vest­ment; Asda opens its first su­per­mar­ket in­Castle­ford in York­shire; fash­ion de­signer Mary Quant in­tro­duces the mini skirt in her shop on the King’s Road in­Chelsea and the Post Of­fice Tower is opened in Lon­don. launches Pro­ject Nep­tune to ac­quire a sub­stan­tial part of the coast­line of Eng­land, Wales and North­ern Ire­land com­menc­ing with the pur­chase of White­ford Bur­rows in the Gower Penin­sula. The Pen­nine Way is of­fi­cially opened; a me­te­orite shower falls on Bar­well in­Le­ices­ter­shire; new ‘Wor­boys Com­mit­tee’ stan­dard­ised road signs are erected; and the 70 mph speed limit is in­tro­duced. ar­rive in Viet­nam; as­tro­naut Ed­ward White be­comes the first Amer­i­can to walk in space; the par­a­bolic steel Gate­way Arch is com­pleted in St Louis; rac­ing driver Jim Clark wins the In­di­anapo­lis 500 and the For­mula One world driv­ing cham­pi­onship; The Bea­tles fin­ish their last live UK tour with two per­for­mances at theCapi­tol in Cardiff. Hofner pro­duces the Am­bas­sador. This thin­line bound arch­top fea­tures twin Floren­tine cut­aways and a fully in­set neck with a cam­bered rose­wood fin­ger­board and triple white dot in­lays. It sports a pair of pow­er­ful Nova-Sonic pick­ups, two vol­umes and a tone con­trol plus a selec­tor switch on the lower cut­away. It’s a stylish and strik­ing de­sign with a harp-style trapeze tail­piece and a pair of bound f-holes. make a state visit to the Fed­eral Ger­man Re­pub­lic; The Queen’s Award to In­dus­try for ex­port and tech­no­log­i­cal ad­vance­ments is cre­ated; Na­tional Health pre­scrip­tion charges end; a new school-leav­ing qual­i­fi­ca­tion is in­tro­duced in Eng­land, Wales and North­ern Ire­land called theCer­tifi­cate Of Sec­ondary Education (CSE). gui­tar with a crest­ing wave shaped maple body and through-body maple neck. It has a 21-fret rose­wood fret­board with white dot in­lays, large white scratch­plate that cov­ers most of the body sur­face, chromed fixed bridge, chrome bar pickup with vol­ume and tone con­trols plus a two-po­si­tion switch. This cool-look­ing, min­i­mal­ist gui­tar is avail­able in

Fire­glo and Jet­glo fin­ishes. Here we have a ba­sic 12-bar blues pro­gres­sion in the key of C. Clearly C mi­nor Pen­ta­tonic will work great

Eb- Bb), (C- F-G- but you can, of course, also treat each chord as a dom­i­nant 7th and use Mixoly­dian mode (C, F and G Mixoly­dian re­spec­tively for the I, IV and V chord of the blues pro­gres­sion). Al­ter­na­tively, try mix­ing in key chord tones from the arpeg­gios: C7

Bb), Eb) (C-E-G- F7 (F-A-C- and G7 (G-B-D-F). This will add in­stant so­phis­ti­ca­tion to your lines. The pro­gres­sion here is Am-D9F­maj7-E7. You can use a va­ri­ety of modes, but A mi­nor Pen­ta­tonic scale is still great (A-C-D-E-G). Do­rian mode (A-B-C-D-E-F#-G) works per­fectly over the Am and D9 chords, whereas you’d want to switch to A Ae­o­lian – ie the nat­u­ral mi­nor scale – for the Fmaj7 (A-B-C-D-E-F-G). A Har­monic mi­nor is a great way of ne­go­ti­at­ing the E7 chord (A-B-C-D-E-F-G#). Here’s a Latin-sound­ing track that is per­fect for div­ing into the third of the Ma­jor scale modes: Phry­gian. (C# Phry­gian con­sists of C#-D-E-F#-G#-A-B). C# mi­nor Pen­ta­tonic (C#-E-F#-G#-B) and C# Blues scale (C#-E-F#-G-G#-B) are also great op­tions. Try play­ing around with spell­ing out a C# mi­nor arpeg­gio (C#-E-G#) and a D ma­jor arpeg­gio (D-F#-A) for max­i­mum Phry­gian ef­fect. This chal­leng­ing 7/8 groove track shifts be­tween E Mi­nor and G Mi­nor. The E mi­nor pro­gres­sion is Em7 to A7, so E Do­rian mode (E-F#-G-A-B-C#-D) is a top scale op­tion, as well as E mi­nor Pen­ta­tonic (E-G-A-B-D). The G mi­nor pro­gres­sion is also of a Do­rian na­ture, with the chords

Bb Gm7 -C9. G Do­rian (G-A- C-D-E-F) and G Mi­nor Pen­ta­tonic

Bb- (G- C-D-F) be­ing win­ners here. This su­perb mag and DVD-ROM, packed with the best elec­tric gui­tar lessons from GT’s vast cat­a­logue, is still on sale. Bril­liant lessons in all ar­eas of tech­nique sit along­side ac­cu­rate stud­ies of the world’s finest ever six-stringers. From your mag­a­zine seller or at­ – now!

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