Brett is shred­ding a tasty fu­sion legato solo over Ja­son’s up­beat, rock style-back­ing track Grind. Jon Bishop is your guide.

Guitar Techniques - - CONTENTS -

Brett Garsed con­cludes with an­other mon­ster solo, this time over Ja­son’s track Grind. Huge thanks to Brett for this most amaz­ing se­ries!

Dif­fi­culty level is stretched to the max this month as Brett gives us a broad­side of his favourite licks and tricks, in the fi­nal video of this in­cred­i­ble se­ries with the Aussie prog-rock legato ge­nius.

The back­ing track starts with a riff that out­lines E mi­nor 11 tonal­ity so Brett’s home scale choice for the verse sec­tions is E Do­rian mode (E-F#-G-A-B-C#-D). To this scale var­i­ous chro­matic notes are added which brings ten­sion and an out­side, fu­sion type sound. For the tran­scrip­tion we’ve used the key sig­na­ture of E mi­nor so you can see where all the al­ter­ations and chro­matic tones are, in­clud­ing the ma­jor Do­rian flavour tone of C# (6th). Brett also adds the rather moody sound­ing ma­jor 7th (D#): this note is also the 7th de­gree of E Melodic Mi­nor scale (E-F#-GA-B-C#-D#). Fu­sion gui­tarists of­ten move be­tween Do­rian and Melodic Mi­nor as they both work well over the m7 tonal­ity.

As Brett ex­plains, the groove is busy so is a chal­lenge to lock into. He tack­les it in the early stages by play­ing long notes and fairly sim­ple mo­tifs. This adds space and al­lows the track and groove to do much of the work.

The cho­rus fea­tures some chord changes from out­side the key so make a note of which tar­get tones Brett uses to nav­i­gate this sec­tion. Many of the chords are from D Ma­jor, so our E Do­rian mode fin­ger­ing will still work; how­ever, Brett’s ap­proach is to play be­tween the chord stabs and to re­act to the changes as a re­sponse. This ‘call and re­sponse’ style phras­ing is very mu­si­cal and a bona fide im­pro­vi­sa­tional tech­nique used most no­tably in blues and jazz styles.

Brett mainly uses the legato and hy­brid-pick­ing tech­nique for which he is famed, to ar­tic­u­late the lines here. Be sure to check out the video to see his ex­act ar­tic­u­la­tions - us­ing a ‘slow downer’ fea­ture might be most use­ful for this one.

As ever, 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, even if you only ex­tract a few soli­tary ideas for now.

Over­all the com­bi­na­tion of so­phis­ti­cated phras­ing, clever note choices and a mod­ern sound­ing, over­driven tone makes this fi­nal video an­other must-study piece. The back­ing track and chord chart are in­cluded for ref­er­ence, in ad­di­tion to a full tran­scrip­tion of Brett’s per­for­mance from the video. Once you have mas­tered some of the con­cepts in Brett’s solo, why not try cre­at­ing one of your own over the same back­ing track?

In the mean­time we’d like to of­fer huge thanks to Brett for his gen­eros­ity in record­ing these su­perb pieces. Hope­fully he’ll be back!

Brett brings us his fi­nal amaz­ing video les­son

Brett Garsed brings us his fi­nal piece in an in­cred­i­ble se­ries

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