aE Ta Deca EEO ENS ero thei! Tone JOHN JORGENSON Lae rue Lec Peer ees BAT CY Kelly Jones style study Uy teres Bet Sea Ace Frehley por mean Piss USELearn from the experts en eet eseslo! aso: utasts Syben—The Shs ee ca Bee eetimenios tthe 90 Jamie Humphries ‘yo om hie th roth Tred arco etre “Transebing Sitcet caps oon Pecarpatcors Beet guar sieqeecs Jonny Searamanga ‘onsen ma 958 t te esFodsas eres ‘he crageomurs ot tetaont Cas Reck Peer Sun cures is poe See reset notes iana ep Lesson: Cie foe PeteCallard Thi month Pete deesinto he sighs arterial anced pase oe Ve aracing wt al Tween Gusrisitre ad rea ST ior Leezon Wore Mus vio: Wats Etch David Mead Gaede ory Berchet Sera yous Beret usal ass Easson: "reory 8.8 Guitarlechniques Welcome... I WONDER HOW many reocors tuned in to the BBC's rocent lay I Again sere, where over several a dillecent celebrity attempted to learn a musical insturmert that they. always wanted to play. The final proaremme featured GT's Bedget Mermiides trying to teach ex-Goodkes star and TV omnithologsst Bi! (Oddie the guitar - specifically Bob Dylan's Knocking On Heavens Door, which hee was to perform at the International Guitar Festiva in Bath, Without going into deta, Bil - who atleast admitted he was the wa student refused to knuckie down to practise the chowds and scales toplay the tune. Hs argument wes that thet the geat ‘intuitive’ layers he acmired never did that. Wel of course they did~ we just werent prvy to their \woodshedtng. Bll disagreed and so wouldn't do the graft - the upshot being that he dtnt progress as quickly 3s Bridge: would have tked Attar making tk ike teachers were really needed in the world of blues country and rock, the programme went on to imply that after a quick chat wit Abert Loe, The Kinks’ Dave Davies and Mark Knopfler - al stfaugt = tha soondust magica burst from Bi’sfngers and he could play. OF course he ‘couldn't, but did make for interesting T ‘What annoyed many viwars to the progr implication that gifted musicians don't nord or major ppentatonc scale unt it sounds clean and well executed - you know, as # BB King "woke up one day ful formed asthe blues genius he's. Wo know he dit - we kno he sat down ard worked his buttoff Istening to his heeses and ralining his playing day by day, marth by month~as Mark, Albert and Dave wil each tll you they cid In fact ve mtervewed al four of the above players and this is exactly the kind of story they told me. Yes, iow TV is @ workd of make-bolieve and we shouich’t om aryrhing hoping to ata fevaing figures. And it doesn't matter a jot whether Bill dle learns to play-—athough I realy hope he does for his ‘ov ploasure. Busts kseme young people are left with the impression that teachers are irrelevant and isnot necessary fo pt i time and effort cede to play wel thet Mark Knoptler would tll you tat for him was one percent inspiraten and 99 percent perspiration - we just ewer gotta see sco the perspiration that ll Do better nex time please BEC - and Bridcet you were great! id's wort cossary iudedd was is I The GT Promise. WE WiLL; Bring you the world's finest citar tution every month, from the most rspatioral of tutors. Our iranscriotions will be a5 accurat 25, humanly possible, our workshors vil improve your skilsand our cover CD wil provide you with hous of playing fun Well make you a better playerPentatonics The ultimate workout... sions pues rock and ze ats make the Lesson: Valor and minor pentatonic eke @ ontHe cD haces ose Floxthose Fingors with ‘ur pentatone: workout! Racer X Technical Difficulties. 26 Jamie Humatvie and the mighty Pau! Gilbert gives you a unique vdeo Cemonstiation a onTHECD T Muse Stockholm Syndrome. B_ Lesson: cultarernesration & ontHeeD GUITARIST BOOK OF acoustic 6 GuitarTeeuiques July 2007welcome al the sond shin GT Talkback lclacing tar Ler and 10 | Intec Albums 90 : Creative Rock 68 {Ts pick of CD and DVD reoeses : Theory Godmother. oe 2 ‘answering you technique prebiew Jaze ext Montt; Eaplre the um Find out what's ins Acoustic: 82 teatn way be Roxiga y Gates Classic Rock Fat ko the lar meal prone Kis Rhythm nam the frtdy tar sive of Joby Mar World This meri Tl looks ot scales 2 n MATTIAS EKLUNDH This ry Snedish rock guitarist techniques, 74 Jul 200? GuitarTeehniques: 7Young man blues by cominc Pecter Les eine Seoetmiy toms outte MetcesttesiyeenSaue shge some be oth mekend for an all-star 2 lohnny Winterstye Rock tor nho.curreny doubles s re Wie Boby a3 rouring Vaocon Clapton's steran hid (Sight Retr MeKeors ant indeed in Venew toute the msi neath of neces, tw heer of Mekecn, who typical combing sparse and eigctic instrumental ovokng part she Bish bluenrock Tarte pling guar aged four funkyBlves iesin Meshle——etmerisonpalCrosvead ——_‘eiage back in he 198. Troha aveady appraree on oflitrme Vauchon wathboth glues completewith ashtting Fruguxtton was done over the ‘Potampmoreshow, jammed the user soloing approach of tyaten tha oy rresstbly wil) intemet sla ichet with Hank Warun, won tie 1998 brotie Stevie Ray ond more tho beat sewers were or Motor Soura Gullrst Ot The Year modern exturescl, sar, Tor ‘Meant, Mek ons seids Wi even Ben i ompetiion and een cd the Moro poweriultoneis courtesy ofan Jonesandbassst Geoff tal, alones boards at Anson Equally, Maeon's aT-onaina 1962 Fender Stat receny prove power : Aust, Texas blues Mecca. enerdopedia of alae: payed twounbahorerkied Support actor be-bluesman Fast forwerd wo 2007 end sugges he’ “pid ns Ferrer Quad Revero wa verious Joe Bonarvesse at London's E fsoebut bum Can Take No down the year TSG HOM WEMGE NEON" they see me t aang and record ho tack He was 0 hoy sh the way i rte out Hat ee ‘were then askid odo 9 buch of TV aed hows wth ee ‘al found mel ata David Lee Rath cone ening en sige ates they'd jt played Pana, pst the gral verso, ‘Thea thee guys cone out wth mandi, eos an stuf. The cence at he. whet??? was oy fun, ost antes ‘sean dayin ry schzoptrenic sre {GT As you can py nso many iter styles, da you find erty ele wal any kos you or oe thing red td only cally to play rhc one partelarniscal Suation? 38:05, because people dont think sees gore ht uth, Fi go do a country session in ave arc sce ends on ‘he zen, and they ay Not seer you around, thegsntty cp” Aad say, Wl. payed ‘Bjngo Reinhart a Hallwwood ‘movi, and pied the Monteat Jace Fett ond the Samos Festal and te becn tourng at yest, The other assumption thattve bean ant oa wth soon erate: nobody aver ‘inde that be ont wen ry ‘vn group (GT: when youick up theater for wereaton atu he house, Wat car al style do you rest afer pay? BE Usuny the Serer st quar ‘Gace got the Django bus 11979, I quese that's what absays pay for my own enone dort ply the elect uta tht rch ‘und the hue fo fur. haste be oud Soret pick up theemandotn ton GT; And what about your recent coliration with Pelee Frampton ‘Be Poter al hat he aree up Jeter to tho Hank Marv and ‘Tre Shades, buths Dad's ecards sere Django, He unt les and cant to play gta For tnsatsum he sac, These are my iene and wart Yodo. guitar bu So. teat Hank wo do a soma soln, and ie worse ta do ‘svete Django syle but ct vow eer to tat, se called me. ered up writing this song for in sd heel, ell went for it He got Fire a Gita Selie-stye gurct and te came ‘ut to my house stowed rim attne Dire chard won: anc record averse of terncody cand aad the way hat hearst hast said to iy crange awever you want” He dda gest He rally ployed gra dogs sound Uke “st the race, heres str guy a plays as sty’ He traded valoc.and added some ri fermen pares that were ft abous The abnar called Fagspin GT Yew ae purchase hn's CDs bys and inseretnna! bck Dy ybteng his mebste at ‘pinyrgeacon cor, Aertel, {oushould be able to got mos of the by clcking over 0 Amazon at ‘veamsron (Ok [FfUaN OVER TO FLAY-TWO JOHN JORGENGON LICKS TABBED @ ON THEGTCS.. SI July 2007 GuitarTeeknigues 15“That Eaxten fucpean thing’ ishighly ppsentin ur fst example. Tes For he secon haf of ms exareple. ohn tocisoson encionte with those ‘api picked raat vodction phraze i eve from the Aarmonic _alimpertant cid tones Jomgenson considers hs So10Ng sive to be minor le, but wawed from ho pespecivecfthefthnote £.This based reund decorated spengios,allowéng fhm to accurtey Qctte ‘reates the orotic sourving E Phrygian Dominant mode EFGHA® CD). the harmony, te actual chord sequence sell, with us singe notes | era) am e109) an om ‘Dur second example showcares some Diango-syle sweep-picing flash. siuttd a serene higher than each vad. The pickig i ait icky to ver theF 7 chor. Jahn supermmposes major tack based on thea. begin with, but once you get used 4 you be sour al ve! ‘whol symmetrical ominhed sale. These biadsascond in mies thrds, uno lime, f'seone dowastroe,fllovred by one consecutive upsweke ‘orsstert vith hal-whole, and are connected withthe seal or fournd across 16 GuitarToehiques uly 2007; aes ST Gimme A High Five! | YOUR ULTIMATE: PENTATONIC WORKOUT acks 6-14 One of the oldest and most widespread scales is still the basis for most Western musical styles today. Think yo know all about the humble pentatonic asks Steve Allsworth? Then read on... Thesetwoscokshavefornied bowen etve nesctear” you payng ioe sad the feukaeamnece” foeae Seeeaieaga pamcmcarienadesd’ beeline ng” lrnslted! Way oton Gicceayer — Peviccsekouiis ecnitestecn” anmrnarcens Sioceiennsy ——asliyror tans” enna prom nan nates Be i, eee See a! Mixing Major And Minor and thon play ‘ourade' the more : familar sounds of the pentatonic. Practising Pentatonics thought to have Monqotay ‘ond minor pentatone scekes, ‘Substitution And and minor pentatonics 6s your 0! laguarese: origins from aver ‘so your starting point iste get Other Scales op priority. Look at the two ty ciameiicnet ote moneetety NN Redericeiek Sooitanm {eau omiome caste fer procikaly every quart bier ther conncigy takes on playing a pertatonke Shapes {the cote shapes dawn Viol eitabodacobectonct Mate, but WNWOUT E10 sealer achord that fist” arounden the coger. While Tvevotes that kes sospeci? Setermire what sexewsgpOM OH once dost ert Fete domg tho, om to ea where Wal these mot cmon chorUaaood foundation. teancendng uw groups thot nas ate (eth es cortain most,‘ Harty betes of tne (sd eh} Wulyo) neath shapeso yore abe cis ha {hid arc minor thed Matmakes might nat daly tink a For targa eet ay re ving ‘the two scales work: together, so example, Am pentatonic over G7 a Soin. This will take time explore isin your phy, ove usA rin) court Dwi prove you vt! tty € (major sory and S DoW, Blues Scale And Beyond fe abo rot Bes to using ing, he blves sale (1 dhe wied and tested mejor and ewtonic sale miner pratatoni pentatonic on the 2356 (60-Ama) ss ba AB CH EF), at and vinegar when dsposal, and athough they've Hun ook att sie hatch! sng often been tuted 20 ‘he bS ‘Hue! note Syourtis step the western terponed ys ‘retbaard dana er though Ove earker examples are technical simple, ge of ayers Se Abert sed BB Kin a atin Asal hay ned ‘ewe nates of pune Inia and enn mural athe Tan ror theoretic stanpoi 0 your fos wil be on phrasing ther pure sped Ofcourse. examples a aight players su EicJohnaon and son Becker reure are fan ot practice: Wing 4 netorinc, eit a slew ated kd ot spe. Balen late to the underying cherd~ Fic an oron n/Fe doing 20d a rot spy ying tHetbooré ences 50, example = single ot eripiex- wth equ Searcy w gan Hae most ram this eaten and fear pipes aay noon Fone | Dstore Cobipa Amiee Sf The trick to playing good major blues is to mix and match major and minor pentatonic scales 99es) ty ONTHECD @ tack 19s with 9 fd beading style thal draw: added Major Gth (borrowed from A major pantatone) sad flavour to mine pentatonic sale Unicon bends together with he thebasc Am pentatonic shape ates from theft shape ofboth A maj chic tc the tale reetsng ltehape ia This saky Sipe boro pantatone and A pe ONTHECD & Track9 ‘Going though the pant : Ik popular Blldog idea a tly monstrous ck that sheuld ideally be broken ‘rong steers. Zak plays these aming aertate peta, ie niin dow no seal pieces — proforabay ver two sirmas - anc used more MeLavghin bt fee! Ia 10 use pulls. The desconcing Colorado oF ss legato to teste == 20 GaitarTehuniques July 2007UES ty =inise bevy of sequenced ideas to maka the of alienate pckirg to regotare, ane # you ‘en sow practice witha mevonome 8 must To fc ——a————| Ny July 2007 GuitarTostmiguss 24L002 Anrsonbrmpmgamey 2 tae stews on! seep suoreiuad sequen paieB neu 9q Ins UeD fo: (ileus qy Jo 3369p pi a4p Un Pq LaAMINEENS sLOIRLEK JOUR) ‘sabueyo ret aan asaut (fm UsAd WEBXONIN g JO 98.09p DUT >IUCIELIEG W9S9sN LL OU Gy ‘aidWiEI® 104 MOA) ALOIE UL dey 30mm oe uD rg Us) ours arent us use e\a Me Ob Bleep ings] Se >NeIH Se, = seeeg pret = Ose # ov funsan seu sy Au Wh e.2UNCU WOH Yay, Ouons ecUMANDE 9:19 tins soroauuce poo6 Sunie6 uo Suneniouo> sym uo-imuiey Ku ay "2Bues a.B uo spp Waum a. pode jean oe savowon af dix ue puns paussp yanoveinoaye cusp] aa MIay un eA asta: use Bassa Peg ares aque Gpunosyai6 e404) S41 Leyes oo a6eap a0 wh on Jew ren de6 aun Guy 20 SLUT Buta]Kumel (ACEH ly olowed by the A Hirajoshi (2B —_pentatoric which leaves out the 2nd and Gt, these Io om toe an eastern mincr Mayour tots ick Unlke the minor andbth, Hrajsh eso fetens the fh to gve an even darker sounc, July 2007 GuleaTeehaigues 23Play: Shred TONTHECD & Tacksi2i3 Pablo’s Shred-Fest! RACER X: TECHNICAL DIFFICULTIES: § This month Jamie Humphries takes a look at an exclusive version of this awesome rock instrumental, recorded and filmed for you by the legendary Paul Gilbert. It’s rather tricky! Ca THREE-NOTES-PER-STRING SCALES $4588 1m There. are a few approaches to learaing scales, but eae. Many of you may brew these ieivicual the man choke forte shredder tas ote three- shapes as aseven nodes oF te malar scale, but fetes per-sting scaes-o" invaluable method for __ferembet a modes decided ky the chad thats linking she fatboatd together nlorg aetextended played underseath ‘uns. can cemenber my eaty essons asa teenager Paul uses many diferent tecriques fo perfor jh Piliborne. We veuld sperd Houts studying these scales, but probably his most ferns aprcach Paul Gibertoxercese Fer hi Trying Gutar 101 an piso stings, enabling na to ascend a column Ths tme reall shape the wat lad 2t the deccend the neck st geal speed Have alock at fretboard when consructng longer uns. weure Paul's pefornance of tie ous - an outiagecus ralgicusly watch ous videos, ond con remeniber __thies note persthingo-thon| Gnce we have this Seeing Mi 8x atthe Marque Club I stood right in appreach down, we con exend the cea to fo front ofFau for the entre on, earing an the Siage notes-per-sting by ncudng the red eatonc note watching his gers thea haw Up with tapping Braet Will improve your: (2c atornate picking [Swing shipping WTiree-notespersttng sales THERE s ene guitars who pretty much defines the sted ‘gene i's Fal Gibert Fal blends tasteful blues-rock pentatonic icks with outrageous “The basc concept behind these scales is that aul ao nas let of fun playing vary fast 32nd Picking sequences string shipped {we tte each ofthe seven rotes of the scale and ncte furs aroun the incr aentatone sale arpeggios, legato lines and leet ezch one es aroct note nthe sx sting but ako Flues the ex notes to fem tee- bisterng tapping runs. He aso From sie root note, we ten continue through ete per-ting sale pattern. For mate info on manages to acne 3 sense of humour vith his playra, be ‘donning outagecis superhero ‘uf uth is bana Racer x, ing Spice Gils and ack the remaring notes of the scale covering large Pauls three-nbtes-persirng piling, scale pattame orton the neck. Thevesus7 individual scale afeexeries, be sre fo cack the re-releabed shapes starting from each note cf any chosen sea, Intenze Rock: Volumes 1 & 2 DVDs, andthe new Insanng we can cover the ete rack with lative DVD, Got Out OF fly Yard (Mascot Recor), Shbbath vers. or ploiratis—auderces speeches. Faulan én Perc fr he G3 tour al version of Scarfe ha we utarithecordes power dil barsraie abo scned a number” wile beadiw tothe ep and tec bat nis So pet haul fstcometo he aresrafe with acitcboled the UR er aseres fotos, eaty bx acter sping sitettonofhepubleduing Tobe With You fiat hiscew voburera,”feiaent fom be guar who ther 8s, atthe tee age ‘Aber eveniatoureed ——flusasceconoffacerardMr Seed Me Scary as Coo aff alerbergspctedby, ‘tthe bergveplaed by Big tunes. lynch Ea) 6 Gutarmenit Mie Varney Pal ancter Varney potge Rice Aswel beingasxccshd fad Beanstsying tthe in Kote Pauhenembsraden| recording att Polina x Holbweod where esa taught sererofsolorecot,een aking renewned actor and con, ‘Meron ahandtulot aars on thera of leaves And anda ko lear sel minora ots ‘with Raver X, legendary bassist much to the surprise and datight instructional videos. For hs mid fof stoums and Bil Shear sopced ua Pate aqua fasareund he wordy “bosistactonal eo, Teng Doe: forming Theberdbiended worming Rae Guta, Foul sweated ciate a Sify cated poprock songs Nore ecerty Pel dese tuning rsnurertl called eee Diitorond beers tot fther hum, and obo ned Setchond Technical beats, Hebabe ‘Ka Sea ith second nest, row HonorryDean shine Min techie Deis te pon andcontoueetspatorm ke abun Sonvbal OF Doo GET THE TONE woe “ ‘wen Bon ig, tenn mo This track, a with most of hi racrding corer, wat performed on ‘one of Pauls rray sigratre bane” ular, complete wath paree. : Of Cubs, Flying Dog, Aligstor Steals and Maro Dek! Pll abo ued are apf and_—_ages of Gua ecu, Farm, andthe pow ncaumertl ‘an NKR Phase 90 forthe messvecuto rill, Ai for cute a iiss, ‘Soma of your remember alr, Get Ovtof vy Yard distorted tone, vith plemty of ids and ots cf. gan. Paul azo user's ‘the exclusive masterclasos he “op pick Techical Oils lite chorus eh ea a ipa power choras recorded at F's studio a few Racer years bac, plus his awesorre 46 The chord changes in the middle solo are my favourite challenge now because I'm finally starting to get them right! 99 Paul Gilbert 26 Guitar Techniques July 2007 apne ‘ate Burp Alas. Sol: KingaA Ce RACER X TECHNIC Tecinical Difabies. Word and Wisc by Brardon Paul GIDE, Scot Tans. © 199910 Mae For UKIEU: Reproduced by permission of IQ Muze ts / Copyrght Conta. For US/Canada: Reprodiced by permission E119 Ui and Wiaer USA. Al ightsRetorad International Copyright Socteed [Bars 1-12] The main sixteenth-note rif is based around C [Bars 13-16] The same changes as our frst riff but played an if Tract and irr The tres aga fous aechaengngt9 Geir her Fo some ean the pens Fhe i Pal Fe] pec pend."thebs ote onacat the pk drecion when gefomatheEifon steep is tne, Tosevespze| have Fou lyre secre fa “erdmaheswetorayour ‘Sach he nl ge. ute hee oan Wate e FY Sr cnetrace theres turd gos Erng.sunpng se oe en a toa ps nea = beaccurate ao = = ss) a i Ra i gg RYmymimyes misvmy i i inne 96 090190 ro 28 GuitarTeehniques July 2007bec aed ca} ONTHECD & fracks1213 [Bars 37-54] Horo a more stsight ahead rif idea spiredoy 3 {Bars 17-20] Hore pedal tone riffing, baced around the D ard D “imnisted Ith chords. Practice she Ddimsinrg skipping sextet ‘Queen song »can you spot 1). the figure transposing thru ln bar 17 i's @ tough steht This section concludes with a huge the diferent chord changes and macing use of the open sia. Ful ase induces some coo) minor pertatonic phraes, ond look -extuplet run that ance again uses the thvee-notesperstving scale apprcach. Practice sculy ard am for perfect hancsynchrorisation. out for the 2/4 har at bar S¢, with the concluding power enor. Teco Perea parieaasaT mR Nu July 2007 Gulia Techniques 29Par AR Ca | RACER X [EC [Bars 55-58] A dessic PG lick more lhe an Rated lek, we ‘hinkl Paul a includes come taped notes and siges. | ole sugges st getting te notes urder your ingers and going for | =don' intellectuals it [Bars 59-66] Here's ight slower if based around diatone power chords; i's 2 thr dieth-crng figure performed wth both Siktgerth nots and saxtuplet hythms, so take care with tat picking hand and keep it telasec. The povier chords gradual climb Up the neck adcing to the intensity of the jnageteeere erp _ccet coomeftepet erect ao Gute Daur @Q@@wiei 1 0 soewe0——| Jaws 3, = Sasdddd Sda03| 3999 SR in oR 30 GaitarTechniques July 2007 avaRSC ONTHECD & Tracks1213 | [Bars 67-74] This 9 repeot ofthe previous cif, but Paul ako [ara 75-82] The main solo kicks off with searing bends and ‘peludos same wrenching sting bends anc tapped harmeries. Fay ‘pentatonic shraes, Thave lead ino some very fat thies-notes per tention ta Fauls vide and agaressve wbrato style Sting tapping eas. The best aporoac or this so trae each ‘group of notes to aspect beat and try to get as much oft urder ‘our Fingers poet. Remember Pal ijt ong frit £0 don't be too harden yours stccng to every single note he playa H g } i ie r i i cone on ei N July 2007 GultarTecunigues 31[Bars 85-88) For ts VM/Satrian-lke open-strng tapped [Bars 89.91] How ave some of Paul's fet gato and picking erpeogi idea, Faul uses the open fourth sting over the DS igure. besed around mote three-notes erst ideas. Once power chord as the roct of his arpegaio, He aso incudes the again ty i larget each section tothe appropiate beat, and femainng notes othe srpaggia ae rettingstanc hammers snd go for picng-hang taps and stds. ny sot ; na on a a ag ENDS GaN TTS 32 GultaTechnlques July 2007,ery Be o ONTHECD { fracks12-13 | {Bars 94-98) More of Fau'sincreily fast picking and legato. Ths ‘he bay atienion tothe poston shits, Paul cancludas ths section sith avery fest and repetitne figue that descends acs the top Shree stnng: aie wu 4819-760 seo te ete N July 2007 GuiterTeehaiques 33AC RACER X TE! {Bare 99-196] Thi probably tho eatect soction ofthe cola, 2s Paul cutlnes tha accompanying chord progression wath a Sextuplet arpeagie flow, He condudes the soo witha bluesy run and more wide vibrato, before heading beck to the main a ewe ey F010 Fa 1010-10101 F ONO 110 BO eto ao isi aT Fe eg eg gg ye tee ps. 7} aa eB Se 8— arte) ir Kia) C19) — erie} — ‘34 GaltarTeenniques July 2007Play: Shred ONTHECD ] Tacks 1213 ‘Bars 126-1321 Check cut Paul's krowledg2 ot the fingerboard “ed razor shop technique th this mother of al three-notes: per Seng rus) The tan start at the Ind iretef the suth string. -eonclices atthe 24t fret af Ie ist sting using a mute of ‘ack and legato, Watch the CD-ROM demansttion ofthis to Set how to get up to speed, copa a o pipet tee. rt perttcorett Peeeeeereeeee . 7 i oe == | gir one, on oe, mn inmananane aaa ey ; 5 — = N July 2007 GitarTeehniques 35)[ONTHECD % Tracks17-19 A Swedish Adventure MUSE: STOCKHOLM SYNDROME progressions are all part of the norm for Matt Bellamy says i Crushing riffs, twisted guitar lines and classically inspired Jamie Humphries as he tabs ane of Muse’ finest tracks. Co 88 ISIS GUITAR ORCHESTRATION 1m Atnovch Mate Bellamy often uses sing sections the fest hal ofthe verse Matt plays the octaves tnd heyboates, hea layers guitar per's to ge union, but pits them nto ahassary melody Willimprove your: Soenlar ting the guar ae Revere when te G minor chord inteduced. Ths Gitar orchestration cea part af asting ensemble O'ter hic appreach ‘technique esemoes tha IMPs arpegies end guile straightforward, Dut with afew carefully and ao outles som |) Peron 1 aarged autor ports working alongside he feck trachin sty sree yet ‘ he Hushishauring falsetto roca render epic an alto hearth ype af quar orchestation ror Sea es results Stackholm Syncrome (sno exception ic suchartssa the mighty Radchead end the ate is technique, and athough tre man ris besed) grea ol Buckley, Next time youte exetienting MUSCIS ONE OF THE mest ‘xing and innovate rock bands ‘ovemerge fom tha UK in recent ies, Mach ofthe sc duet the musial gens of guitarietfrant man Matthew fra Belamy, Matt blend: nee’ pes around 3 aoid drep-0 toned sate the verse guia pa eff, wifactard pregesaen. snhaunnay este yet Museum, Now Born Pig in Baby, firstes and you have sornthing Timels Running Out Hysteria end alight out ofthe orainany dropped tuned rifiswith parvd —emonstiate Ris guitar prowess thiemonth's Stockholm Syndrome, This months tracks taken wish some arena iventive ‘As wells Makts unorthodox from the 2003 aloum Absclution sols even including taps! Matt usa approzches, rd ies upheevy doop-tuned j aco an amazing pianist=check adopts the same a riffs with dase nsplied chord fut Butters Ard Hunieanes, ta his equgerent favoueng his progressions, not ta mention the Since 1999 the Devon thee custom-made Manson quits, rather tasty ampaggio solo section. piece hove produced auch Many of Check out hon hat: aranges the ‘ground breaking bums as fuze ov ‘octaves patiemsin the verses asi Shewb2, Origin Of Symmetiy, even MIDI contol rips tochange he was arranging orchestral pa and the epic Aoscluton, vith the parameters of effets and tool chord charges. Tis tack ‘each abou nelueing such MIDI tiggered sounds. Micthis up great mreckion 19 ane modem asics as Muse with miro, ase and sluninam ofthe UK's mast iventve and grouncbceating acts. | hope you GET THE TONE enjoy it GT sa Not uses custom Manson qutars ited with vious etfs MBI controler; Dezel amps ith Line 6 elfacts and a Rocktron Loo pedaboerd, Forts track Matt usa a computer program tat wi ry Nuse ‘morph two sounds together the rwo sounds were a synth through @ um worth ‘het pedal end «guia. The ee reso was the unusal syntheses fect und by Ding ore ic Mansone tod Crgnof wth afin aight nto the desk, 0 cet the tone am fr atriy symmetry and thick run avforthe verse F708 Abwohaan, That most cer, havea fuze eect ry kicking tin fo the chor sections. Forte scle Blackhole 8 Revel sacton you culcehar sean ervelope titer, or spy manipulate a eh flo huge ‘wah pedal to ceste tre sweenra eect Songs. My top pick wcule tae is C- used my Music Man Avs Ftd with P90s, the bridge beng 2 hot sr Be Abst Yor le tive’ DNaraio DLX plus raplacamont, ttaugh my Comiocd Harlequin. Fr the ‘uaz and envelope effects ltsec ative nites Guta lg Duan. ‘Themighty Deven three-piece 4 Mistrust of the government and what’s going on around the world, panic and powerless all contributed to Absolution 99 Matt Bellamy 126 GaitarTechniques July 2007ENAMEL ‘Stecehelm Syndicme Words and Muse by James Howard, amr Welly, © 2003 Tete Muse Ld. For UK/EU:Reproduces by permission oF Musi Sales [td for USCanacs Reprcad 3) peimssiovet Alfed Publishing Co nc. Al Rights Resetve inernalonal Copytight Secured, [General] fefore stating this rack you wilhave to dp the pith of {ars 1-8) The mai ifs based around the D Puygian your sith sting down by 9 tone toD. This track is pretty intense-e the Dortinant ale (DED F# GA 8b C), the fi rodeo! G picking hand, as most of the parts are based around sixteenth notes. The Harmeric mnot The nf perforned onthe dropped sich Solo aS asikieent-rote feel and uses aseres of arpeggis that rake ‘eng, ad pedals off ofthe open O wth fat eietserth Use ofthe open fourth string. Be sure to tock th tack msm chunks ote rym Take care with bar 4 where Matt uses natural te start wth and take your tme to ensure you get the atttude soot on, haimerics nea the male ofthe 2d fet ofthe sth sen. J=198 we 21D O IOI A OPE OE OAT - BOO HO I-80 [Ea] oe er mie 38 Guita‘Techniques july 2007ar) tet ar Tab/Vaca| BooK/CD, AGpp, £14.95, ak AVBBTOOD}. Tab ck 0 las Mu songs” Stach Syme New Eo. Play Guitar With: Muse ( transition [are 5-12] The vain ef contiuce «rate sire [Bars 13-44] [he verse progression s based around a vn gular partin unison | sou practise this section say as it wl eke a lot of ‘that moles the underlying chords with octaves againt the bass. Once again this Sarita {ses 2 driving siceenth- note thythr. The secord half of the vaso sees the two ‘lata parts spt ana play im harmery, Notice Now Matt erchestates the quiet Barts ih the bess tolimply chords, Hs croices of chords ere abo pretty unusual fore rock tack, with ots of casscal movement in the bass. July 2007 GaitarTochaiques 39 NAt [General] strumming octaves wth djotion can be ao f yout ‘ot careful Mae sure yousivum only the tings you need and use Alaris of your fngats te mute ron-tetted stings. (252) om apse ens) me [aor] ome nm om act 40 GitarTectigues uly 2007art @ Tracks1719 | [Rare 45-64] The chorus progression s based around power ‘chores performed onthe bottom three stings (the dropped sath Sting provides a thres-note omer chor af root, third and octane} att ao Ooorts the guitar sound have with a fuzz eect for exta infenity. The guitar drops for nest the chorus, leaving space (or ‘he keyboard pac and erpeggios, on SEEECEC EEE EER ERE eee July 2007 GaarTecnigues 41ie) Abt A [Bers 65-66) The chorus concludes wth more rabid sbreenth-nore ‘power cherds that shift postion gully, We tren se the into if ‘with ancther harmon figure. This secton is flowed by verse that al the length of the previous, pus anor chorus section, i) &. «PT Thin fae 55S nEEe=EPeeePePeeeee He poe ee ee Tecooa fs as as os be 8 {42 GuitarTetniquos uy 2007EAR tie Wacks 17-19 {Bare 1074 9] i’ the invo ff again, ous a varation of that {Bars 119-126] The arpeagiated solo section follows the chores icons wah an unusual iter effect by now you shoud be play fics the second half ofthe verse prosession, with Matt outining ‘hs perfect in tim and nth the correct fel net sclate and ‘he changes with a sanes cf arpeggios tat use the oven fourth and proce ton sown fa 10 minutes ‘ith siengs. Ths section performed with sirctaternte picking, 2-8 O OOOO O29 a) ay ee ee N July 2007 GuitaeTeetmiques 43racksi7.3g | A pay 9s ors g a] no. IT'S BIG. AND IF YOU THINK YOU KNOW THE “TAYLOR® SOUND, YOU'RE IN FOR A BIG SURPRISE.Vy 4 ‘3! THE L NaN TEST ener re a shame as they can often 105 themselves of very useful routes ree eer een aa pee eee erate Pee ea Mca Dimer amener ae ual eet aes ean en asa erne en ta 4 piece) but instead to give their technique a boost of eee eee the notes on the fretboard and gerting the pice sitokes corect, After membing this, the metronome was used to see what they could achieve wthout Pete aneo eeee Peo geese ea San tcl en epee erect ee Petes mene Nes here ere eNe te Cierra eet eum c er eta ts ae Oem Meese Tce next few weeks while cthers wil reel ina “techrique: Peet erie te MC eeoans eee eats ea Sean) ee eke esc pen Toone es seo ors Se ea oe ee te ii erecta lod Preape en es caal Seed ING ZONE ' at Oy Micra BLUE! Tee Pee cae tert 46 50 eerie nes ON THE CD @ Tecks Ti) Pere a oe ee Me ene 5 a See ue ecn erie OU eek Biers Be en eee ie eC eee) eon.) Be eee eu Ce ke Mises Beem rhe at) Sarae One Ie Pe eee ss emgage na) Meer arenSSSA sy — TONTHE CD = aouCHTTO YON Guitar Tracks 20-22 Charlie Christian Between 1939 and 1941 Charlie Christian redefined the possibilities of the guitar as a musical instrument while working with The Benny Pe Will improve your: {Use of sueng chont tones santyihicpheasn sense of meleuic cay WERE SUGHTLY STRAYING off tho true blues path again this ‘month. But Charle Cristian werk sa dossyaliad to Dues arcs not to9 advanced technically, sos perfect you wart to breek ana trom those stardad ks, Actually we have alot 10 thank this Charle Christian fellow for To begin with, he was the frst prominanty recorded jar guitarist; socondy, he was one af the arly be-bop poeers, and finaly, witht nsinfiuence you right now ‘be holding copy of BT (Baro Techniques in your hands! One can en imagine what Chistian would have achieved had he not est his battle tn pulmonary tubereucss at the tragically young age of 25. In such an incedbly short space of time, he Texas born virtuoeo set the muse werld ight, espiting future generates of quitarits ta amplty ther ‘boxes’ and explere the evolutionary posites that this new instiumens had offer Christan ves the first to challenge the horns positon of Jazz leaé-ire dominance, soo on an equal footing and proving a mere than equal march with hisreodc irvonton, thythmie 46 GvitarTechniques July 2007, aretvaugh, rtabhy sno both EsI&0 and E5230 niodels cesina #150 and 250 eh moteang stron. the never the herer ata freferatly wit e wound ‘hed Forte GT recording rn playing Fender Teecsser, | invensiy and a beautitulclaty tolisphresing and inte may he developed his musical eas CCharle never wasted a nate not Mork, Parker or Gilespi, who was responsi for Instigating the mewemert that wert on to become bebop Ne ewes, hipgest anc most technicaly dernandeig form of conternporery music yet Thereare two com 12+ba solos for yeu this rents From a general muscanshia perspactve, you can leam alot from studying Charl’ sty Pretly much every gurarist ‘operating within the jaze dior dsplayssome evidence of fluence from Civstiay’s groundbreaking wor, whether rectly or ndrectly “The fact rmederately paced and tis sound and technique crystal clear and artculate, mean i's easy t0 rally hear Chat’ ideas in acton, $6 fo1 anyone new 70 jazz, Christan i the ideal caraicate to begin to develop your transcibng sk. Theis without adoubt ene of the mest efficent laying was} Goodman Orchestra. John Wheatcroft gets all historical test known Moke sure yours see Salo Fight nd enn Bugle nd youre fora tert. Those menirgto bok bit eepar should gethold of The Genus Ot he Becric tar ory 2002, 8 fou-C> wah wender ine’ rete asuly cocumented ane presented auc, ard effective methaesforsmay | nderstancing an ‘orm of music. Just ask Mike Stem er Scott Henderson, itcertanly worked for them. 6 Charlie Christian's single note improvisations invented the future of the electric guitar | Joe Satriani{Bars 1-41 We lick cfu soowihagarioes ‘wrong’ note, aginst ou creas the fect of C09 Very lve Tor GODT Ad), Chibe makes big deal cl the rote A the mag: 7th The Tare 9-42] Yat more chore tones ate Featured hezly hove. ahh you is nothing tbe too alr about aplayert of th rag far more could ete angular phrase inet 10 25 dete from Bo whole tone scale Shout chord tones tan scales. Ts move an be sen esa form of chromate (R234 85 7) Make sure you beep the dythmbopping thoughout fecoraton, eporoacing the stable 00! rote fom 2 zemtore bab, [ars 13-16] No, swocp pceng warn swented in Sweden the 19805 {Bare 5-8] fark oss os ofenfavouredthe vse ofthe Sth teraz Her anecarple f Chris cna that tacrique a good 40 years before Geroratve nate Thete two pivacesswich between BD minor and major —_Yegave. WeTe again youasng chad tones, ys case the humble Bb ‘pack nth theadded rh, Wher viewed fom ED, Boms eb CDFG AL) jor ued (BLD). i-20 97 July 2007 GuitafTeehniquos 47ONTHECD © Tiac yeu find se good notes tone apert oma passing tore fund i beeen The deicoofsoetaning the sare note cn a diferrt sting, Inphjng the hormone ection of io F765 en bac. Inbar 19, cane hearin the paying ye e inking at thse, ts woud iy be Holdsvarth T-Bone Welker and Chuck advance cropoia tin the appropri = yo (EE Coc basi Specialists nm | SIOHrIDG. EG eiletingg acoustic guitars 310 Worple Road Raynes Park | LONDON sw20; gai bra mem \, YAMAHA Conglonad [OTS Tel: 020 8739 0081 Email: [email protected]Ex J ONTHEED & Tacks 23.24 Taking a break from his busy schedule of rock and rollall night Jonny Searamanga meets the guy who says, Keep It Simple, Stupid! wore excting, KIS" gens was to Stuff everything that nas exting anoutrocnellinta one package ‘Ace, forhs pat, squserd al the casscrock tol voabuary into Iissolos. teks have ecroos (oF Chuck Bry, Bk Clapionand Sire Pape, But Ace pyed them vith mote barr coming out of Prourrnamsc && ey Wa rove your hispickups, ‘Ace often percrms his vibrato intime veh the song Rather than ust wagging tho strng random, ho bond up and downin a tice rhythm, tyacaly th ar Th res. | This realy iorth practising, even Ifyou don't make ta reqar part | of your paying. twilave you better corto ver your ending bau the drect power af the peDtatonicis touch to beat, With Fsband’s motto of Keep Simpl, Ssupig, Ace Fehl reightyour fre youl interacted, ho can also ‘yu how to ight your guitar Almost ro band cn rial KISS fendunngintluerce on Amercan Fock. in the Bus they were the ‘cuckinfuence on virtually every hai bandin 1A. ote 90s, bares Fike Rage Agerst The Machi Pantera anc Pear picked up ‘the KISS torch, Recery,Fll Ou By aed My Charrica Romance have even dedared thor undying eve er SS When FSS were stating ‘Ace Cooper was causing an argh fusin amerea ‘Rumours abounded that he was thereincarravon ofa 17m cemtaty with, and thathehad kileda—‘CcopelsThecharacie'sin KB asbeing rockstas, they ware | mathoush chicken onstege in Detot. KISS ‘helo heDenon,thecet | Superheroes, withthe same appeal Ue tous were the men t2 Anat: Ace Frehley trademarks chicken king Hore, Aca bene 3 sing and then he note whiechoking the ing, To get hie aking eect, Catch the sting 2 you pct wh ‘he thurs on your ickng hanes leu ememoer he aim sto mute thesug, rol wae pinched hare) Choke the noes every down stoke and et the note fing on the upstoke to get Ace's sand. OT sxtout to take the shock rock znd tie Allen ~ceawd awhole | es Batman or Spdenman, re sea thestiseven fier onrthetop, | woiddergie te mule RSS sat te ve dsed es srt gimmick Duty | stun sles unt hey lead sd have had ¢ much he cassie lve, Athough A their ceactos, with a bard mideup.t our Ale | were srouded mystery GET THETONE miYos krona cmt, Ace Bile | match the band els ncn Marl tracks ike Rock And Rol A Aight s5t9 Gison ebide F and detest Rock city, IsSirtally Paks. ys dot hse high outbut inches, ealy nhac theca verte the staiur eck arthem. | Desroyer essen, and ptt. A ual tum tuip urs youcen thea he neighbous 2c Fey’ guitar layne avenge 6 ne ck ofthe banc's Anan ee may nothave been revolutionary, | Grmaed era but hisstutteng stacat ines The first take always has spontaneity. I never figure out solos any more. | basically have a wing it kind of approach ’’ Ace Frehley ‘50 GuitarTeehniques lu'y 2007 ‘or beter ForRHYTHM {[Gencral] One ofthe most important elements of rock nol 5 buersrodel narony. Ths means thatthe ows ofthe sale ae tech harmeocized nth a major crowd. Her, the base of the chard [regression is based around D minor but a ofthe chore ae major. Ty Farmoneang your own ifs tasty Ht ves 3 great sound thet can be eRe ONTHECD @ upkfing and aggresive atthe sane [Generel 2 This racks drvng fee comes in part froma vry pushy ‘gar Ths ens 3 leance to play auto be, but a: timassting ahead ot the heat can realy move asong forwarc. On the ether herd, siting back ‘an make things sound xgge, 50 experiment th diferent feos. Jy 2007 GultarTecniques 541(Bar 331 This ckisrockrtolcehe a. you don" know t aeacy then its probably tme tleamitt [ars 37-38] Chicienpicing lolowed by ir-tme vbrata see man tex), pectin hep tre ONTHECD § Tiacks 23-24 ONTHECD @ [Bars €5-A6] seers iely tat Ace toe ther ‘che tors Hon ‘They'e 2 sell pestatonc tk to have up your sleeve. At ths Pan you shoublaso tigger the frewerks to shoot outol yout headstock, creer ties te te cr ab a Laas eset 4 ee (cratiey Release tar FP RP RO PAP AP RP RB | REAP AP NEIGH ISHS) — CONTI He)GS) CG) HENAN) WBHiOrG pie eget ty_AP RPP AP AP _APRPSD ww 13(ishisrstis}49his9K15—— 2 at (3 ee aw wie at ‘52 GatarTeehniques July 2007 1 Ponies — 1-16 eto p10ly nun && Wat improve Picking of arpeaatos 1 Semi-cuaver sturnming THE 19605 WAS an excérg tire fer queae musi Heaty voce bhanes toured the wow, solos ‘were tn pop songs and gtr were sources af new scrcs due to creatveetfects Amongst alte ‘ees abiand from Manatee would ete a sourd and style that off This bord ‘and ther quit payer, nay Marr ha tive of exterded utzesolas, pane chord and ote essing chy took rere interesting chord ypes are Prooresons a recorded tern In arg, ican arrangements, Like all good axcompa ves syrpatet alaoysa servant to ltematve he Sit dept, Remember Mare ve the nly guitar player and there were no heybcares in The smans 0 he end | had lou thesound Theres oF course sore melodic arpeggios ‘nin | dobnny Meret a standard chord 2h findvancue that shape that sound of all the var anepen Dchord- athe fourth finger athe st sting for ss or remove Ue secons ger smmed elect guitar, ‘mpeggies and tral a melody ine lr two. This months track featres several Maresethyitm cevices extended chord types suchas te rajpr9(1 357 9) offer cou’ ard GET THETONE thestuto chy vanetyo guitars Sion 335 je adettecs jew sud and an ¥rbetween pickup tettng fr that Bind jong '54 GaitaTeehniques July 2007 This Chiming Man One of pop’s most influential musicians layers banks of = jangling guitars, adding intoxicating melodies along the afl way Jon Bishop says meet Johnny Marr of The Smiths... | eae, so fee fee to emerimen No one has any respect for someone who can play a million notes a minute but can’t put together a decent tune JONTHECD © Trads25-26 sini tomo the pick up and dove Ikea percilum and this wil help the par 10 groove bater anc be rntina, Aceoer, practice dealy wath a metrorome paying stnct Hon t the ican rection "When iss mesiered ring the ua to perloriance ero fend the sound youcieatshouls sound ihythicaly sold wih even dynamics. OT PRO TIP to gan the open fst sng for st 2 Naious other chords tenering YoU put rau fnges, Remeber thenaines ofthe cords ate not «es irportant a the sounds they ‘When plying appeacios am not prove ay tay the vareus nte seme ft fhe techrique are vey desirable. The Johnny MarrONTHECD ®@ [Bare 1-3] These rajr 9 voicings areal thesame cape: Finger the fist [Bars S12 Ths the verse cing partis lite vicky due tothe ) . the guitar! {Bars 13-21] The chorus part uses two notes of the chord in question Sichensave Gear Letainae ihe July 2007 GuitaTechniques $5.~TONTHECD | Tacks25-26 | {Bars 29-20] Hore ate wo typicaly Warrstye chords to tales out Falco and add. We can learn anal rom Johnny in terms of ‘nianging complex part to pce up srpiesanes. Hepp angling! Am? EMA Am? Amvsust Am? EWA An Amt Ano wi cent Ane ra vast | Eu aed bAalopanteacdah taeda Cee nee es eevee ct DecONTHECD © Tracks 27-32 To Bulgaria With Love In the first of a much-requested new series Tolis Zavaliaris J presents a fantastic challenge as he introduces scales and rhythms from Balkan and Eastern countries to the electric guitar. inthis mode. ‘Another charters the se oft tl, sides ond bends Thezecan be mmicked ezly vith ‘ether afnger til Set bend ora swharnmy tar pullup Ak thera Pury ine b885 ‘Maderate to Advanced Willimprove your: srelossofaccorts which beng ‘Understanding of oc tenscn and teat into rusk The time inaures exes way 0921 the eal ght ‘aay groups fusca vocabulary ‘sto aways thn about dancng, Framole2 has tee Kcks that each éesronstate these techniques arc souncs, again based nA Phegien Demian Topping lend tsa wel to these odd me signatures 3 50 rruch of taping about hythnic repetition. Exampe 3s. ‘appt WELCOME TO Abiand new series where we wil beinwestgatng the musical heritages ofthe Bakar aed Easter European courtes, | srall rhythmic groupe, typicaly | sturens incude arnt, anciappiing thomto theverido! | groups of tno ale “quck”) ard | gra baqpoa), caval rm-Sioun modern rock gut Tivos low") woformedatine | hte) menace dueuk(asartot — | fin 7IR mth HT wa nave The muskal nertage ct grates ako known asuneven | wooewind) sbenote gure that pauses ove these lands every rich and hae | beats or asymmetric measures the #8 cde, Ihie cud be red been @ profound influence cr, ‘wo of the mast populer Melodic Treatments | ow: asieriar 44 crowve many guitarists such as George | dances recalled Paidshka which | Witnrhythm being the stonges! | gvea coo ythmicdslacerent Harrison, frenk Zappa, ell Beck | N58 and Recher tse, in 7/8. | element Bugaren music, te | elect. Toul up more ideas, ty and Steve Va not to mententhe | Bybreaking eeytrirg downirte | harmenyissmple, using mainly | working tapped croups of hee many destcal and comtemporary twos ard threes, ccuntig and rads (maior, mot, diminished). | and two together comnposers who have serilly fang thehythmisisrsoch exer | The’scalc pote’ very similar Folly, xarple 4 6 solo been infuenced Thesecommon dance thythrs.are | sothatef Westar muse, witnthe | inS/Busing many ofthe ideas Los star thisical journey earyto count and fel 3¢ ang as Ascosed far. Femomber that by ooking athe racitenal music | you do asthe Bulgxians and cou semen the sound cares tom Df Eugarla, renowned forts use them asthe grouping, 58s best the phrasna, whit snot easly otcorpecharmonies andhighiy counted 12-125 of as")2312 notated, sc siento the CD many regular ryt, ‘depending on how the croup are times 0 copy he way that he lines « bout See examples and 2. re played to get he rghit effect Rhythm Of Life Wost ofthe tunes based on hope tis hes got you Most Bulgaria's fokimuicis | these darce taps re performed thinking inacferens way ne Inked todonce, ndibecause of at very fast tempes. Each dance adding new ideas to your paying. isthe muscalfomsunpor's _—hasa specie narneshythm and Next month well be heading off to thedance and not thecther vay | sale assocated whit depanding | TheminersedleandthePhygian | my home county, Geeco! GT soedchtaitetwelmde | enwtattednorasiecete | Doriattaieamteree threeiorese notwemse | hredectoe hey ore con | popu andes nose owe ol | (ELST Tefttiecane Minette aabeoyedan otureval | maniycocatateen hese maickeacs en adsngtogeter | pee andere ypca flgaun |" Kteveerentin Baran | ines sw hese as, terse v9 orertes Shc the rvanoasingtores ora eis mM | tele No argle IVa plairatie | Fopen GPa Wed Phair Dorsnantcale(ABo CA | find) Pave Saise DEF‘) bute the cescendng | rusts Reals movant ea ts typec! ric natn, GET THE TONE IAS th Pete's Jar corn, ay sound ll dopey these exams, from anaes a3 hase) mata tors. To gain arson and Nea ot ‘wun shortcomings ar eect ther et sggesta ecm oan str ‘ogvesustan butt too much Fang rose, ad Be bree pk oF Fr guitar fr macinm Cay, Folletos yours major 7th, commen passing notes |. Most of Bulgaria’s music is linked to dance, but in the West we tend to dance to mucic, not write music to fit the dance ~ '58 GaltarTecuniques july 2007ee Nn Tisis the Phygisn Dominant made inthe ky of played up arcl downplayed nore’ ard onthe descent the bSth and the 7thare acted In ineneckin wwoccraves. On iheascent al the natesofthescae ae Bulgarian musc th a cornon way of sping up Le scund of scale iso ok bel be E These tree irks use tis. bends, passing notes and some whammy Puls to Gea Buloarian sound. All vee are in 7/8; count it" F2-12-123" d= 200 ~ Ne eweouta Breer ae Lp ee iss 109 —1 =<. ear =F i . Cnn ‘Tiss riffbasedon thea Natu miner scale in 7;Btmesgrature spend ome time on geting the groupings right. Youll need to use your sing two-hana tapping technique athe vay. Ne qui repattve so frst inger forthe fast end up anc brid sown at he second ret s - het Sur July 2007 GaitarTeeniques 59ONTHECD | Tacks27 32 ifyourve never played asco 1157, you wil defer ery this Me solo tempo, racse each bar slowy at fs, paying partcularattentcn tothe i bosed MB Phrygian Domnant(® COMEFAG A)and atqutea fast dynamics, sides and vials that give ts unique fel a = yA A # eens ee {60 Guita/Teehniques july 2007,| 2 eaten 207 LESSON: BRITROCK ONTHECD © Tracks 33-35 Stereophonic Workshop! we sense of song constuction BiNelocic part witrg dynamic WELCOMETO PART Ewo of ur seiesth Jores the guitar styles important Sivock bande, aritreck ake Btpop) nae 23 md.'905UK phenomenon stood ae arial ath praaling rock styles of "BOs arceary 19905 These were mainly American Geunge(Nivera, Pos ae err, the rmspacte home-grown Shoe-Gazing persusion (Cocteau Twins, ice, Slowive et ard of course the hai rack of Fison, Mote Crue, Bripap offered a tiresnng aerate to these sles with a telance on carey hooks, bouncy rhythms anc an energetic ‘ibe that as unmstakaoy and unastarredly ash. Nt Btpopsrmscalinluen from hewaish qutar mu the 60s ad 70s (The Bates, “The Who, The Kinks, T Rex, Daid Bowie, The J Preto) and toca culture ofthe 0, “Tas month ve look atthe GET THE TONE Fhe nara sone of te gar werk fe utarone was ployee rer Tn Reb, ee guitar sive oF the hugely succoschl ‘Weln bane, Streaphones Stereontenics wer txmed in 1392 wah orignal memes Kely Jones (guar, eed vocals, Keys end main song, Riera Jones Best New Band, releaze bums four of wi in the uk singles. Teirbestkrivn race Is pemaps me nating 2001 reached #1 Guia nwo as my PRS Sn keh a Les Pau) throuma acess ‘hella, dso daubieorted fr maxim 3091 ‘eleva coverof Hancags Are Glatrags, used asthe theme tune to tent BEC sates The Otic ‘One can detect a wae ange of luences nthe muscot phos: late-Beatles uta fterzy in wack ike Madarre Welsh band Sterephonics have remained an important influence over British rack since the mid-gos. Bridget Mermikides looks at the guitar styles of Kelly Janes. Cceated by good melodies and the (sof ertlichment,caspansine ) aeinversions Jones plays an enable colection of acoustic and electric juts. ros and pedals trat re sed exensivey in studio ard lie work, Honevet, Keli ist bbyBoss, im The stebene tack thsmonth( isinsited ‘AHandbas) enpioys srr typca guitar ideas cP Key's: embeihrrents of pening chords, roving bass full sound. There ae two parts toleam (one partis in standaid tuning while the eters in drop ©) op in ick A Part That's Hew anc Have ANce Day; Buffy-stye ‘reine pun teal Boy The Photograph ard strains cf coonery ‘rar balaesn lust Looking ard Sep On My Old Sie Nines, uit par, though prorinent aso er of song-orenated arrange ‘nd ae there to support ones | svong wing and grea veal Hasrenially, Stereophonics! music ey steric. masring thet ‘aoum ast Enaugn facet To Coca ou, anh acto Namer Gne nthe Uk etbur The Barner Ang The Tie Guitar parts, although prominent, avoid heroics in favour of song-orientated arrangements