MARTY FRIEDMAN Video Masterclass
We have a real coup this month, as top shred guitarist Marty Friedman plays just for GT.
We welcome the rock virtuoso back to share the secrets of his lead style by taking a solo over Majestical, a new track by Jason Sidwell. Marty plays a superbly melodic solo and then discusses key aspects of it. Jon Bishop is your guide.
We are delighted to welcome metal virtuoso Marty Friedman back on board (his video performance for Komorebi was in GT301). While Marty is well known for his time in the 90s with Megadeth and Cacophony, alongside Jason Becker, he has had a long solo career since living in Japan. This has resulted in 13 solo albums (his latest is Tokyo Jukebox 3) and numerous unique projects.
This month’s track augments Marty’s ability to play with a metal guitar tone over evolving and emotive chord changes. Within this context, Marty demonstrates his unique articulations and vibrant note choices.
Majestical begins with an intro section in C and Marty uses the powerchords of C5 and D5. This intro provides big drama and sets up the transition into the verse. This is in the key of G Minor and uses chords taken from the G
Bb- Natural Minor scale (Gm-Adim- Cm-DmEb-
F) To strengthen the resolution from Dm to Gm the Dm chord (V chord) is changed to D Major or D7. Marty adds tension to this chord
Eb by playing the Diminished arpeggio which
D7b9. implies a cumulative sound of
The chorus section modulates to the key of G Major which is very uplifting, but it’s made more melancholic by having the IV chord not
C but instead Cm6. The G-Cm6 is a unique, emotion filled chord change and is typical of artists as broad as The Beatles and the late film composer, John Barry. As Cm6 is not from the key of G Major it requires chord tone
Ebtreatment that comes from C Dorian (C-D-
Bb),
F-G-A- which can be considered coming from G Natural Minor. Marty’s use of a memorial motif paired with Cm6 chord tones makes for a very appealing sound.
Bb The middle section moves to the key of Major. There are again a few chords from outside of the key to negotiate. Most notably Eb the Am and Dm. The unexpected Db/ Eb9sus4)
( is used to set up a V-I cadence into Ab
Major for chorus 2; a semitone up key modulation (a popular device in pop, soul and indeed Japanese music). Here Marty goes back to playing his chorus motif, albeit a semitone higher. By repeating the theme the listener is given a sense of structure.
As Marty explains, one of the key things that can be learnt from here is the pacing of the solo. How it starts, which motifs are placed where, and how to end it. Marty shares with us the concept of including familiar things and putting them in unfamiliar places; such as a classic blues lick given new life when placed in a different harmonic setting, to make it sound a little less orthodox.
Marty also demonstrates how to pre-bend notes and add finger vibrato. This allows for a finger vibrato that goes both sharp and flat ( see Technique Focus). The sheer amount of ornamentation in his performance includes string bending, finger slides, finger vibrato and legato which brings much vitality and uniqueness to his playing.
The backing track and chord charts are included for you to play over, as well as the video to watch for the detail. We have notated 12 of Marty’s demonstration examples for you to study, as well as the full solo. While you will learn plenty of new licks and ideas here, the biggest aspect worth emphasising is the process of thinking for yourself and being encouraged to be as unique as you can be rather than just simply duplicating everything from the page.
See you next time with a stunning solo from tapping legend Reb Beach; rock guitarist for Winger and present day Whitesnake!
“Normal chords are what happens in the real world. Fancy ‘expensive’ chords happen at the NAMM show!” MARTY FRIEDMAN