ALLEN HINDS so­los over... Broad­way Blues

Allen is back! Check out key as­pects of his slinky legato style as he takes a solo over Ja­son’s cool track Broad­way Blues. With John Bishop.

Guitar Techniques - - CONTENTS -

It’s great to have this fab­u­lous LA blues-fusion gui­tarist back for an­other video mas­ter­class se­ries. Check out his first slip­pery solo!

We once again chal­lenged LA ses­sion ace Allen Hinds to im­pro­vise a two-minute solo over six of Ja­son’s be­spoke GT tracks. Each of th­ese tracks pre­sents a unique set of chal­lenges and we were de­lighted that Allen once again stepped up. In this is­sue we are go­ing to look at the first track en­ti­tled Broad­way Blues, a 6/8 groove with some jazzy chord changes.

Allen starts by us­ing a Jeff Beck style ap­proach with the whammy bar on his Lake Placid Blue Xotic gui­tar and also in­cludes some bluesy fusion-based ideas. The groove used for this month’s track has a 6/8 feel, and to high­light this Allen plays his semi­qua­ver (16th-note) lines with a swing­ing gait.

As Allen ex­plains on the video the track is pre­dom­i­nantly in G and uses G Mixoly­dian (G-A-B-C-D-E-F) vo­cab­u­lary as a ‘home base’. In or­der to mu­si­cally nav­i­gate the chord changes, how­ever, other scales and arpeg­gios need to be utilised, as all the chords are not from the same key (non di­a­tonic). For in­stance for the bridge sec­tion (bars 11-14 and 35-38)

Bb Bb- Allen moves to the Ly­dian mode ( C-D-E

Bb

F-G-A) which fits the chords per­fectly. He also ex­plains that for the main sec­tion it is eas­ier to use G Mi­nor Pen­ta­tonic-based blues licks pro­vided they are used taste­fully.

Ab7b5

Bar 54 fea­tures the chord which is a tri­tone sub­sti­tu­tion for D7. Here Allen opts

Eb for the D Al­tered scale, mode 7 of Melodic

Eb- Gb-Ab-Bb-

Mi­nor (D- F- C)

The no­ta­tion may look quite in­tim­i­dat­ing and this is due in part to the 6/8 time sig­na­ture. It is also fas­ci­nat­ing to study how much ar­tic­u­la­tion is added to make the phrases come alive. Among the con­cepts and ar­tic­u­la­tions used are legato, arpeg­gios, chro­matic notes, string bend­ing, fin­ger slides, har­mon­ics, whammy bar and fin­ger vi­brato, which are all used to taste and added lib­er­ally.

An­other of the key as­pects of this solo is the use of space and pac­ing. Ev­ery­thing is placed in a con­sid­ered fash­ion and the em­pha­sis is on the melody and out­lin­ing the chord changes. To help with this try vo­cal­is­ing phrases as it’s a great way to break out of well-used ‘gui­tar cen­tric’ ideas, and make sure the em­pha­sis is on cre­at­ing melodies and not sim­ply trot­ting out the same old licks.

The no­ta­tion con­tains all of the

the no­tati on con­tain all the ar­tic ulati ons and phra sing from the vide o per for­mance

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Allen Hinds re­turns to GT with an­other su­per video se­ries

Allen Hinds re­turns for an­other amaz­ing video se­ries

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