Guitar Techniques - - CONTENTS - Neville Marten, Ed­i­tor neville.marten@fu­turenet.com

Nev in­tro­duces the new is­sue.

OUR TWO MAIN fea­tures this month take us slightly out of the norm. One is a fairly niche tech­nique-cum-the­ory piece, while the other looks at the gui­tarists who con­trib­uted to a rather high-brow band.

We’ve spo­ken be­fore - Ja­son cer­tainly has in GT and I did in my Gui­tarist Blues Head­lines col­umn - about re­strict­ing one­self, ei­ther to an area of the neck, a sin­gle scale or even a lone string. It forces you to think in a very fo­cused way, with­out be­ing dis­tracted by all the pos­si­bil­i­ties avail­able on the en­tire neck, or with the whole of mu­sic at your dis­posal. To wit: three-note chords and arpeg­gios.

John Wheatcroft cre­ated this les­son and while on the one hand it’s re­stric­tive, on the other it will take you to places you’ve prob­a­bly never thought about go­ing. It will cer­tainly ex­pand your cre­ativ­ity and get you think­ing in ways that have never oc­curred be­fore. So do make sure you read it!

Steely Dan, while they did have an early hit or two, could never be de­scribed as a band of the main­stream; they were just too darned clever and mu­si­cal for that. And once their lead­ers Don­ald Fa­gen and Wal­ter Becker had quit tour­ing, be­came the next big ‘stu­dio’ band af­ter The Bea­tles. And just as the Bri­tish group had drafted in French horn and cor­net play­ers, or used Ge­orge Martin’s pi­ano skills, so The Dan looked to the great ses­sioneers of the day - in­clud­ing a fabulous ros­ter of gui­tarists who were of­ten called to com­pete with one an­other for a par­tic­u­lar solo. As a re­sult the cre­ativ­ity lev­els soared and some of the best mu­sic ever, was made. Jon Bishop runs through the in­ter­est­ing chords and licks found in this great band’s mu­sic, and de­tails the melodic and har­monic ap­proach of these amaz­ing play­ers. So dig in, en­joy the rest of the is­sue, and I’ll see you next time.

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