That Was The Year...

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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.

are tak­ing no­tice of luthier John Mon­teleone’s ex­quis­ite guitars. Par­tic­u­larly stun­ning are the Ra­dio Flyer, a con­tem­po­rary sin­gle-cut acous­tic arch­top and the Ra­dio City that of­fers a more tra­di­tional flavour. The names ac­knowl­edge the im­por­tance of the ra­dio for all forms of Amer­i­can mu­sic and both por­tray stun­ning at­ten­tion to de­tail. The Flyer has ‘dol­phin’ sound holes on the top and in­cor­po­rates Mon­teleone’s side sound holes too. par­lia­ment; Scot­tish sci­en­tists suc­cess­fully clone an adult sheep and call her Dolly; the green­house ef­fect is blamed for the in­crease in ground ice break­ing off in Alaska; and El Nino forms in the oceans caus­ing un­sta­ble weather con­di­tions in­clud­ing in­creases in hur­ri­canes and drought. a ban on in­ter­na­tional land mines then later in the year sadly dies in a car crash in Paris. Ex­trem­ists open fire on tourists in Egypt’s Val­ley of The Kings and kill 70; Hong Kong re­turns to Chi­nese rule; Mars Pathfinder lands on the sur­face of Mars; and re­pair work is suc­cess­fully car­ried out on the Hub­ble Space Tele­scope. in Nashville, cur­rently val­ued at $261 bil­lion dol­lars; Mi­crosoft is now the world’s most valu­able com­pany; Steve Jobs re­turns to Ap­ple Com­put­ers as the man in charge; BBC News 24 and Chan­nel 5 are launched; the first Harry Potter book by JK Rowl­ing is pub­lished; the in­fla­tion rate stands at 3.1% and in­ter­est rates are at 7.25%. (P/Cen­turian) Se­ries of guitars. The unattrac­tively named CT2K is the en­try-level model and fea­tures an off­set sin­gle cut­away ma­hogany body, ma­hogany neck and 22-fret rose­wood fret­board with pearl dot in­lays. It’s loaded with a pair of ex­posed coil hum­buck­ers and comes in Black, Tif­fany Blue or Sap­phire Blue fin­ishes. Al­ter­na­tively, the CT290K of­fers P-90 style pick­ups and a body fin­ish of Translu­cent Red or Blue. Michael Hutchence, Jimmy Wither­spoon, Jeff Buck­ley, John Den­ver, Glen Bux­ton (Alice Cooper band), Tony Wil­liams, Billy Mackenzie (As­so­ci­ates), Luther Al­li­son and La Vern Baker. are new on the streets and caus­ing quite a stir in the USA with Fen­deresque off-set body and six-in-a-line tuners but with a fresh­ness about the over­all pre­sen­ta­tion. The B-Cat has a hum­bucker and a sin­gle-coil pickup, the Avenger has three Strat styled sin­gle-coils and the Spy has three Lip­stick case units. There’s a chromed fore­arm rest on the top of the body and the scratch­plate fea­tures a stepped pro­file ini­tially from jack socket sec­tion to bridge. All of­fer ex­cep­tional sound qual­i­ties. Let’s start with this old-school funk jam in G. At 71 bpm it’s quite slow and ideal for warm­ing up as well as prac­tis­ing your 16th-note funk strum­ming pat­terns. There are two sec­tions; one based on a G chord (G7, G9, G13, etc) and one based on a C chord (C7, C9, C13, etc). For sin­gle-notes lines and solo­ing, try G mi­nor Pen­ta­tonic

Bb- (G- C-D-F), G Mixoly­dian (G-A-B-C-D-E-F) and G Do­rian

Bb- (G-A- C-D-E-F). You can play along to this slow blues shuf­fle jam in G us­ing easy open chords (G-C-D) or prac­tise your solo­ing us­ing the G mi­nor

Bb- Pen­ta­tonic scale (G- C-D-F). It’s also a great idea – and a clas­sic blues trick – to mix in some G ma­jor Pen­ta­tonic (G-A-B-D-E) too. Here are the rel­e­vant I-IV-V (7th) arpeg­gios: G7 – G-B-D-F; C7 –

Bb C-E-G- and D7 – D-F#-A-C. For this G mi­nor jazz-blues I’d rec­om­mend us­ing G mi­nor

Bb- Pen­ta­tonic (G- C-D-F) and G

Bb- Eb- mi­nor scale (G-A- C-D- F) to

Eb7- start. For the turn­around ( D7)

Eb I’d use Ly­dian dom­i­nant Eb- Bb- Db) ( F-G-A- C- and G

Bb- Har­monic mi­nor (G-A- C-DEb-

F#). You can also get a lit­tle more fancy on the D7 and use D

Eb- Gb-Ab-Bb- Al­tered scale (D- F- C), treat­ing it as a D7#9 chord. This one is ideal for jazz har­mony begin­ners. For solo­ing, I sug­gest us­ing A mi­nor Pen­ta­tonic (A-C-D-E-G) and A Nat­u­ral mi­nor scale (A-B-C-D-E-F-G). With a sim­i­lar turn­around to Track 3, I would use F Ly­dian dom­i­nant

Eb) (F-G-A-B-C-D- for the F7 chords in the turn­around and ei­ther A Har­monic mi­nor (A-B-C-D-E-F-G#) or E Al­tered

Ab-Bb- scale (E-F-G- C-D) for the E7 chord. The 7th arpeg­gios will help too: Am7 (A-C-E-G), Dm7 (D-F-A-C), F7 (F-A-C-E E7 (E-G#-B-D). Even though we list the scale op­tions for these back­ing tracks, re­mem­ber mu­sic is about melody and not just scale bash­ing!

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