allen hinds MAS­TER­CLASS Up And Over

For the fifth in­stal­ment in our Allen Hinds se­ries of mas­ter­classes, Jon Bishop tran­scribes Allen’s im­pro­vised Les Paul solo over a mod­ern sound­ing, rock-style back­ing track en­ti­tled Up And Over.

Guitar Techniques - - CONTENTS -

Allen is your guide to solo­ing over a rock back­ing track with guid­ance on how to in­fuse your play­ing with emo­tion.

Some­times the emo­tion is more im­por­tant than the ex­e­cu­tion Allen Hinds

The dif­fi­culty goes up yet an­other notch this month with a tricky, in­stru­men­tal rock-style back­ing track to nav­i­gate as we con­tinue our six-part video mas­ter­class se­ries with LA ses­sion gui­tarist Allen Hinds. Each month, he so­los over a back­ing track by Ja­son Sid­well, which is tran­scribed and an­a­lysed from a tech­nique and mu­sic the­ory point of view. This then fa­cil­i­tates the learn­ing of ap­proaches to broaden your vo­cab­u­lary and mu­si­cian­ship. The back­ing track and chord chart are, of course, in­cluded for you to work from in ad­di­tion to a full tran­scrip­tion of Allen’s per­for­mance from the video.

In part five we look at Ja­son Sid­well’s rock­o­ri­en­tated track en­ti­tled Up And Over. Allen’s glo­ri­ous Gib­son Les Paul Gold­top is the per­fect choice for achiev­ing a thick dis­tor­tion and cho­rus tone. The back­ing track con­tains a tricky riff in the in­tro and outro that’s worth mem­o­ris­ing. There are also some rhyth­mic hits that are worth play­ing in uni­son with the track. Af­ter a cou­ple of slow prac­tises, th­ese el­e­ments will feel more nat­u­ral. Af­ter the in­tro­duc­tion, the re­peat­ing chords of Amadd9, Cmaj7, Dm7 im­ply A Nat­u­ral mi­nor sound (A-B-C-D-E-F-G). For this sec­tion

EbAllen mostly uses the A Blues scale (A-C-D- E-G). His ap­proach is to fit in as many licks as pos­si­ble, with more im­por­tance put on the feel­ing as op­posed to the ex­e­cu­tion.

For the first bar of the cho­rus (Fmaj7 to Em7) you can stay in the key of A nat­u­ral

Eb­maj7 mi­nor and for the se­cond bar ( to Dm7) you can move down a tone to G nat­u­ral

Bb- Eb- Db­maj7 mi­nor (G-A- C-D- F). For the

Bb­maj7 Db Bb and chords the Ly­dian and Ly­dian can be used re­spec­tively. Allen re­minds us that it is al­ways good prac­tise to dis­sect a track and work out what’s go­ing on, but the key thing is to use your ear and make it feel good.

The middle sec­tion moves to E mi­nor and Allen plays some Clap­ton-style phrases based around E mi­nor Pen­ta­tonic (E-G-A-B-D). Allen

ex­plains that for the 7/4 sec­tion (riff in 7/4, drums in 4/4) the main rhyth­mic sub­di­vi­sion of choice is 16th

notes; again re­solv­ing th­ese phrases us­ing the ear is the key. Allen plays over the bar line in this odd-time sec­tion and ex­plains that you can get away with not stress­ing the start of ev­ery 7/4 bar. Over­all, Allen’s main ref­er­ences here are Ed­die Van Halen and Jeff Beck (some cool things could come from us­ing the wang bar also, but clearly the Les Paul doesn’t fa­cil­i­tate this).

Hope­fully, there will be a new tech­nique, lick or phrase here for you to per­fect. When you find one, use it in the fu­ture, es­pe­cially if the semi-quaver or sex­tu­plet feel is what’s re­quired. Once you have mas­tered some of the con­cepts, try them out in your own solo over the back­ing track, but first, go over the chord chart and, as Allen re­minds us, use your mu­si­cal ear.

Thanks to Dave Clay­ton for film­ing Allen Hinds.

NEXT MONTH Allen gets out his 59 Strat for a blues-rock style num­ber called Bada Bling

Allen Hinds: hugely able, and al­ways sounds great!

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