BRETT GARSED Video Mas­ter­class

Aussie gui­tar leg­end Brett Garsed un­leashes the Melodic Mi­nor scale on the penul­ti­mate track of this fan­tas­tic se­ries. Jon Bishop is your guide.

Guitar Techniques - - CONTENTS -

In in­stal­ment #5 of his mas­ter­class se­ries Brett un­leashes the Melodic Mi­nor scale in a piece called The In­ves­ti­ga­tion Of Johnny F.

This is­sue we get bluesy with the Melodic (R-2-b3-4-5-6-7) Mi­nor scale as we ap­proach the end of our six-part video mas­ter­class se­ries with le­gato leg­end Brett Garsed. In part five we are go­ing to look at another track writ­ten by Jason Sid­well, en­ti­tled The In­ves­ti­ga­tion Of Johnny F.

E Melodic Mi­nor is the scale of choice (E-F#-G-A-B-C#-D#) and the key sig­na­ture is E mi­nor. If you study some of Brett’s open­ing phrases it is easy to see that the Melodic Mi­nor is sim­ply the Nat­u­ral Mi­nor scale with a raised 6th (C#) and 7th (D#). The back­ing track has a swung qua­ver (eighth-note) feel and Brett ac­cen­tu­ates this by us­ing some qua­ver triplet and crotchet (quar­ter-note) triplet rhythms through­out. Brett also uses his sig­na­ture semi­qua­ver (16th-note) syn­co­pa­tion and sex­tu­plet le­gato lines.

Com­pared to pre­vi­ous so­los in this mas­ter­class se­ries the phras­ing is more re­laxed and melodic, with ex­tra con­sid­er­a­tion to out­lin­ing the chord har­mony un­derneath. That said, the rhythms and beat place­ments are still in­cred­i­bly so­phis­ti­cated and some­what chal­leng­ing.

If you are look­ing to con­struct your own solo we have in­cluded some fin­ger­ings for the E Melodic Mi­nor scale and E Nat­u­ral Mi­nor scale so you can prac­tise mov­ing be­tween the two. Brett also ex­plains that he uses the taste­ful con­cept of play­ing a B Ma­jor triad arpeg­gio (B-D#-F#) to out­line the E Melodic Mi­nor sound. The B Ma­jor triad arpeg­gio groups to­gether the 5th, ma­jor 7th and Ma­jor 9th in­ter­vals of the E Melodic Mi­nor scale and this nails the Em/Maj9 tonal­ity in a musical and colour­ful way.

Brett uses a lot of arpeg­gios on this one, since the chords are chang­ing al­most ev­ery bar. It is a good rou­tine to run the arpeg­gios and es­tab­lish a fret­board roadmap be­fore set­ting sail on an im­pro­vised solo. The com­bi­na­tion of so­phis­ti­cated phras­ing, clever note choices and a mod­ern sound­ing, over­driven tone makes this one yet another must-study piece – even if you can only man­age a few licks at a time.

The back­ing track and chord chart are in­cluded for you to prac­tise over in ad­di­tion to a full tran­scrip­tion of Brett’s per­for­mance from the video and sam­ple scale fin­ger­ings.

Once you have mas­tered some of the con­cepts in Brett’s take, why not try cre­at­ing a solo of your own over the same back­ing track. Check out the chart for the chord changes – learn the chords be­fore you try the solo – and use your musical ear to recog­nise what’s go­ing on har­mon­i­cally. See you next time.

IT’s GOOD TO RUN THE ARPEG­GIOS TO ES­TAB­LISH A FRET­BOARD ROADMAP BE­FORE SET­TING SAIL ON AN IM­PRO­VISED SOLO

NEXT MONTH Brett plays a slide solo over the fi­nal piece in this mas­ter­class se­ries, Chill Dig­gery

Brett Garsed in his penul­ti­mate les­son for GT

Brett so­los with stun­ning mu­si­cal­ity and pre­ci­sion

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.