BRETT GARSED so­los over... The Maple River

Brett ven­tures into Larry Carl­ton ter­ri­tory with a taste­ful, soul-filled blues solo over Ja­son’s track The Maple River. Jon Bishop is your guide.

Guitar Techniques - - CONTENTS -

Brett con­tin­ues this solo­ing master­class se­ries by ex­plain­ing his fab­u­lous im­pro­vised in­ter­pre­ta­tion of an­other Ja­son Sid­well tune.

This month pro­vides a chance to re­lax and kick back some­what, with one of Brett’s most ac­ces­si­ble so­los to date. The medium, 110bpm tempo of Ja­son’s back­ing track al­lows for a sparser than usual ap­proach, with sim­ple yet ef­fec­tive and ‘hooky’ melodies be­ing in­tro­duced.

As Brett ex­plains in the video, the bari­tone gui­tar Ja­son used to record the back­ing track al­lows for lush sound­ing B 6/9 and Esus2 chords to be pro­duced.

Nearly all of the chords in the verse sec­tion are di­a­tonic to the key of B, so B Ma­jor scale (B-C#-D#-E-F#-G#-A#) is the safe and sen­si­ble kick­ing off point. For a blue­sier or soulier edge, B Ma­jor scale can be sim­pli­fied to B Ma­jor Pen­ta­tonic (B-C#-D#-F#-G#). There is just one bar that will need spe­cial at­ten­tion; bar 30 fea­tures chords from out­side our B ma­jor key (G ma­jor 7 and D ma­jor 7). Brett skil­fully nav­i­gates th­ese by play­ing D Ma­jor scale (D-E-F#-G-A-B-C#). This im­plies a lovely G Ly­dian sound over the G ma­jor 7, which is the per­fect choice for a non-di­a­tonic ma­jor 7 chord.

The mid­dle sec­tion moves to the key of A ma­jor and fea­tures the I, IV and V chords (A, Dadd9 and Eadd9). The scale of choice for this sec­tion is, not sur­pris­ingly, A Ma­jor (A-B-C#-D-E-F#-G#).

To help you to cre­ate your own solo we have writ­ten out fin­ger­ings for our B Ma­jor, D Ma­jor and A Ma­jor scales in one po­si­tion so they can be eas­ily linked with­out hav­ing to jump all over the neck.

As you’d ex­pect from Brett, in ad­di­tion to th­ese scales he in­cludes chord tones and arpeg­gios too. Se­lect­ing notes that be­long to the chord over which you are solo­ing is a sure­fire way to melod­i­cally out­line the har­mony. To spice things up, chro­matic notes link phrases and add colour.

We have opted for the B Ma­jor key sig­na­ture so you can clearly see when notes from out­side B Ma­jor scale are be­ing used.

The gui­tarist that Brett draws on for in­spi­ra­tion here is Larry Carl­ton. Larry has a so­phis­ti­cated and laid-back ap­proach and this is re­flected in Brett’s phras­ing.

Once you have mas­tered some

of the con­cepts in Brett’s solo, why not try cre­at­ing one of your own over the very same back­ing track.

Brett signs off with great ad­vice: “Don’t over­think it. Lis­ten to those beau­ti­ful chords and just try to play some soul­ful melodies”. As ever with Brett, there’s also a chal­lenge to let us hear a ver­sion of your own solo, so get record­ing and post up your ver­sion. Good luck, have fun and I’ll see you next time.

NEXT MONTH Brett takes an­other great solo, this time over an­other of Ja­son’s tracks, Big Up!

Brett Garsed will as­tound you with an amaz­ing solo

Brett Garsed pulls out his most soul­ful licks this is­sue

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