BRETT GARSED MAS­TER­CLASS The Race To Won­der­land

Brett Garsed demon­strates se­crets of his legato style by tak­ing a solo over Ja­son’s track The Race To Won­der­land. Jon Bishop is your guide.

Guitar Techniques - - CON­TENTS -

Great friend of GT and mas­ter mu­si­cian Brett plays and ex­plains a sub­lime solo on Ja­son’s, The Race To Won­der­land. It’s legato-a-go-go!

The dif­fi­culty level is stretched high with an up-tempo rocker to nav­i­gate as we start our new, eight-part video se­ries with fu­sion mae­stro Brett Garsed. In this first episode Brett tack­les Ja­son Sid­well’s com­po­si­tion, The Race To Won­der­land.

Brett’s home scale for the verses is E Do­rian (E-F#-G-A-B-C#-D: see scale di­a­gram), with chro­matic notes added for ten­sion and an ‘out­side’ fu­sion sound. Our key sig­na­ture is Em so con­sult the no­ta­tion to see where the al­ter­ations and chro­matic tones are, in­clud­ing the ma­jor 6th Do­rian flavour tone of C#. For ex­tra spice the verse riff has a 7/8 feel played against the drums, which are in 4/4. An eight-bar sec­tion of just drums leaves you free to do what you want over it. Brett ex­plains he uses the B Al­tered scale here (Su­per­locrian) and B Half-Whole scale. B Al­tered scale is the 7th mode of C Melodic

Eb-

Mi­nor (B-C-D- F-G-A: see scale di­a­gram). Brett se­lects the B7 Al­tered sound for this sec­tion as it is the V chord of E mi­nor so pro­vides a sat­is­fy­ing ca­dence when re­turn­ing to it in the fol­low­ing verse.

Brett at­tacks the ‘neo-clas­si­cal’ sec­tion (chord changes in­spired by a JS Bach pre­lude), with a very nice tip of the hat to play­ers like Paul Gil­bert us­ing arpeg­gios to out­line the var­ied chord changes.

Brett mainly uses the legato and hy­brid-pick­ing tech­nique to ar­tic­u­late the lines here. Be sure to check out the video to see his ex­act ar­tic­u­la­tions; us­ing a ‘slow downer’ app can be most use­ful here.

Brett’s solo is both rhyth­mi­cally and har­mon­i­cally ad­vanced and will take some time and ef­fort to digest, but this work will be well worth it. While the no­ta­tion looks pretty in­tim­i­dat­ing, the phrases are al­ways cen­tred around cre­at­ing strong melodic phrases by outlining the un­der­ly­ing chords.

Over­all the com­bi­na­tion of so­phis­ti­cated phras­ing, clever note choices and a mod­ern, over­driven gui­tar tone makes this an in­volv­ing ‘must study’ piece.

The back­ing track and chord chart is in­cluded for you to work with, in ad­di­tion to a full tran­scrip­tion of Brett’s per­for­mance from the video.

Hope­fully there will be new tech­niques, licks or phrases in here for you to perfect. If you find one you like then learn and mem­o­rise it and use it in future, es­pe­cially if the semi­qua­ver, five or six du­plet feel is what you are into. Once you have mas­tered some of the con­cepts in Brett’s solo, try cre­at­ing a solo of your own over the back­ing track. In fact, Brett lays down the gaunt­let and chal­lenges you to record a ver­sion of your own solo so get record­ing and let us all see or hear your ver­sion!

NEXT MONTH Brett so­los with his CS-336 over Ja­son’s emo­tive track The Maple River.

Brett Garsed will as­tound you with an amaz­ing solo

Brett Garsed be­gins his eight­part video se­ries

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