Lessons In­tro­duc­tion

Fu­ture Pub­lish­ing, Ivo Pe­ters Road, Bath, BA2 3QS.

Guitar Techniques - - CONTENTS -

Ja­son Sid­well gives you the low­down on this month’s ac­tion-packed Lessons sec­tion.

As in­quis­i­tive gui­tarists, we’re all on the hunt for new licks, chords or tech­niques to dress up our play­ing. Even if we only source a cou­ple of new ideas, it’s such a worth­while pur­suit. This is cer­tainly the case with my­self; I wield my mu­si­cal mag­ni­fy­ing glass each is­sue, check­ing for cor­rect au­dio, tab, no­ta­tion, ter­mi­nol­ogy, and scan­ning for any­thing stim­u­lat­ing to add to my own play­ing. Here are a few of the nuggets that tick­led me this is­sue.

Blues (p47), Ex­am­ple 1, bars 1-2: a very sim­ple up-down phrase but the in­clu­sion of the D note (C mi­nor’s 2nd/9th in­ter­val) adds a melodic twist that en­hances the C mi­nor Pen­ta­tonic line (var­ied later in bars 15-16). Ex­am­ple 2, bars 10-11 and bars 14-15; the up-down-up-down phrase beau­ti­fully out­lines the V-IV (G7-F7) changes, act­ing as a fine ref­er­ence for ex­tended chord tone play­ing.

Allen Hinds’ Up And Over solo (p57): a stag­ger­ing wealth of licks but bar 35 has a great as­cend­ing E Do­rian line. It re­quires a lit­tle stretch­ing but it flows beau­ti­fully.

Cre­ative Rock (p61 on­wards): one can never have enough Mixoly­dian plus Blues scale licks so th­ese are very ‘own­able’. Ex­am­ple 2 (bars 5-6) is lovely. Enough in­ter­val­lic jump­ing around to please dis­cern­ing blues jazzers while the in­side (with a dash of bluesy chro­mati­cism) A7 sound will please pretty much ev­ery­one.

Chord Camp, Ex­am­ple 2 (p66): a won­der­ful tapestry of pop fu­sion-tinged 13th chords with al­most ev­ery chord voic­ing be­ing a macro mas­ter­class of so­phis­ti­ca­tion.

Hard Rock, Ex­am­ple 6 (p74): two-hand tap­ping can some­times sound a lit­tle ‘meh’ but this Vai-like blaze of notes has a lib­eral dash of in­trigue about it. Grouped in sets of eight notes, the ex­e­cu­tion re­quires two pick­ing hand taps and two fret­ting hand ‘ham­mer-ons from nowhere’ glued to­gether with pull-offs. It’s a fun one! Cre­ative Acous­tic, Ex 5 (p83): chords plus har­mon­ics are al­ways lovely and this ex­am­ple creates a unique Em sound. So, that’s a few of mine for you to check over. What mu­si­cal nuggets will stim­u­late your own cre­ativ­ity?

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