John Petrucci - Wild Stringdom

, Table of Contents CD Trlll:k • Foreword Chapter 1: Practice Makes Perfect 4 5 Time Management Managing Your Practice Materials Chapter i!: Wanning Up 6 8 10 11 2-10 Right- and Left-Hand Synchronization Developing Diatonic Sequences Developing Endurance Chapter 3: Expanding Your Technique 13 16 18 18 20 21 23 25 29 29 31 33 34 36 38 40 11-25 Intervallic Slides String Skipping Diatonic Arpeggios Sweep Arpeggios Using Open Strings Chapter 4: Expanding Your Vocabuiary 26-50 Creating the Dorian Sound Using Arpeggios Creating the Dorian Sound Using Pentatonic Scales Creating the Dorian Sound Using Intervals Navigating Lines Outside the Key Center The Lydian-Dominant Scale The Chromatic Scale Using Chromatic Passing Tones Chapter 5: Expanding Your Creativity Creating Original Licks Spicing Up Stock Blues Licks Breathing New Life Into Pentatonic Licks 43 43 51-61 45 47 51 59 59 65 Chapter 6: Putting It All Together Chapter 7: Expanding Your Chord Knowledge Triads Suspended Chords Add-Nine Chords Extended Major Chord Voicings Movable Chords With Open Strings Performance Tips 62-63 64-74 66 68 70 72 Chapter B: Studying Non-6uitar Music Building Left-Hand Strength Using Violin-Inspired Chromatic-Scale Workouts Using Different Meters to Accommodate Your Technique Chopin's Piano Concerto in A minor, Opus No.2 The A Section The B Section The C Section 73 75-84 75 78 80 84 84 85 As the old saying goes: "Use it or Ioseit!" Good luck! . Sometimes just allowing yourself to noodle without any structure will enable you to stumble upon great new ideas. the musical side. the ability to execute scales. string-skipping. such as right. synchronization of both hands. the musical side (which entails theory. difficult licks. and patterns. it's important to integrate any new concepts and ideas into your playing as quickly as possible because knowledge and technique by itself won't help you unless you can comfortably use it in day-to-day musical situations. you have to master the three major aspects of guitar playing: the technical side. which is a compilation of my series of columns in Guitar World magazine. and I hope they'll help you too. The creative side entails expressing yourself as an artist by composing music and/or lyrics. arpeggios. It's often accessed in a totally opposite manner than the other two sides-through free association. harmony. and memorizing (and playing) complete songs.Foreword In order for you. They've helped me immensely. try to use it in as many different shapes and forms as you can think of in order to absorb it. Once you've developed some technical facility on the guitar. sweep picking. As soon as you learn a new musical idea. chord structure. composition. Above all. and the creative side. culminating in creating your own distinct voice on the instrument. as a guitarist.and left-hand technique. and to develop my technique and personal playing style. The technical side comprises the actual physical components you need to have under your belt in order to get around your instrument. ear training. but it's what makes you a good musician as opposed to a good guitarist. You can be assured that I've personally used all the concepts and examples found in this book to help make my practicing more productive and efficient. I've striven to cover all three aspects in this book. and being able to hear chord progressions and licks) comes into playa lot more. This aspect is a lifelong study. to become a well-rounded musician. sight-reading. you'll see very gratifying results-you'll retain a lot more information and bolster your technique. It's all about the most overlooked aspect of guitar playing: practicing. if you're interested in being a successful studio musician. In both cases. then this chapter is for you. two hours). The same goes for guitar playing-before starting a practice regimen. That's not to say that you're guaranteed to get good without putting in a lot of time-that just won't happen. concentrated manner and make efficient use of your time. you make a breakthrough and reach the next plateau-only to have to start the painful process all over again. You must have a direction and a purpose! For example. (I still remember how I sometimes used to shed up to ten hours a day!) But if you apply yourself to the work and use your time efficiently. repetitive work that initially doesn't seem to lead anywhere. you structure your workout accordingly. you have to outline your goals. And the key to mastering any discipline is consistency. you have to embark on a systematic. and so on. The bottom line is that you have to be mentally tough and really see yourself achieving your objectives to go through all the physical discomfort and mental tedium. Before starting any workout program. metal. or am I more interested in creating new sounds on the gUitar? Or do I just want to write the best three-chord pop song I tan?" (And believe me." and both require repetitive. you have to be aware that the study of music is a lifelong process-it's a discipline. depending on your goals. you'll want to know at least a little bit of harmony and theory and do a lot of writing and free-associating. consistent practice regimen over a fairly long period of time in order to see any progress. Do you want to bulk up and gain weight. Before you start a practicing regimen. I often refer to the similarity between music and sports. every day. If you are one of those players who plays for hours on end yet doesn't see the desired results. "What are my interests? Do I want to push the envelope of technique and play anything I can hear. you will progress a lot faster than if you were to use the same time noodling without any specific goal or direction. Getting the most out of your practicing regimen depends on not only the quantity. It's much better to play the guitar for half an hour a day. writing a song. if you have only a finite amount of practice time a day (say. There's a lot of mindless. country. After all. but also the quality of time you put in. than not practice for a week and then jam for five hours one day. when you least expect it (or are ready to throw in the towel). And that requires doing some serious soul-searching before deciding who you are (and want to become) as a player. It only makes sense: both are activities that require constant practice to stay in "playing shape. When it comes to the discipline of practicing. it's important to get your reading chops together and to have a well-rounded knowledge of most styles.5 Chapter 1 Practice Makes Perfect Of all the things that can frustrate a guitarist. dedicated work to develop the skills necessary to advance to the next level. If you're interested in making a mark as a composer or songwriter. or honing your chops? Or all three? So ask yourself. perhaps the worst is the nagging feeling that he's not reaching a certain level of proficiency as quickly as he should. Therefore. . there isn't a better parallel to the guitar than working out with weights. blues. it would make sense for you to focus your practicing on sight-reading and learning the essential stylistic components of rock. If you practice in a focused.) Once you have an idea of where you want to go. it's imperative that you define your goals. you must structure your practice regimen accordingly to achieve those goals. what do you spend them on-learning a piece of music. there's an art to that too. But then. or do you want to tone and trim? Is there a specific muscle group you need to develop? Then. quickly get bored. Of course. and lament your lack of progress. there will be times when you hit the wall. but at 160 beats per minute! Congratu lations-you've just burst through the wall and reached a new plateau! Both lifting weights and playing the guitar require you to pay close attention to form. When I was ) ounger. Believe me. arpeggios. Then one day. Then one day. all I wanted was to get proficient on the guitar. Just realize if you do want to progress as a player. using an efficient motion can add tremendous speed and accuracy to your start out playing it slowly and cleanly at first. proper form is critical-it can make the difference between progressing to the next weight level or ending up with a serious injury. for no good reaso n. Mine sure did. It all comes down to form! to add more pounds to his total. you might start out by listening to and transcribing solos by great improvisers such as Steve Morse. it's probably the reason you picked up the guitar in the first place). You may have difficulty playing a sixteenth-note passage at 144 beats per minute. Conversely. don't put too much pressure on yourself. you can lift 175 pounds with little effort! The same curious process occurs when you're stuck on the guitar. All I can tell you is don't get discouraged when it occurs. and so on. And no matter how many weeks you practice. :\~ you grow as a person and a musician. chances are you'll PUl in the required work. you playa passage slowly and mistake-free. When working on any new material. you might be bench-pressing 150 pounds for weeks. and melodic sequences-anything and everything to hone your chops to the point where you can play anything you hear. As you embark on your practice regimen. but Finally. so I spent all of my time practicing technical things. I became more focused on learning music-I worked on sight-reading. And just as using proper form can enable a weightlifter picking technique and economy of left. It'll feel like you're stuck-you know. and every once in a while you should allow yourself time to just noodle around (after all. The guitar is a fun instrument to play. I feel that time management is one of the major keys to developing a successful practice schedule. Al DiMeola. no matter how hard or often you try.and right-hand overall technique. It's actually quite simple: If you structure what you have to practice ahead of time. the more you get out. Work through it! You'll often encounter this phenomenon of hitting the wall when you lift weights. . after all is said and done. you can't lift the bar anymore. When it much faster than playing it at a quicker tempo. if you pick up your guitar without having a clue as to what to play. correct form will enable you to avoid repetitive-stress hand injuries such as carpal tunnel syndrome and tendonitis. And once I got my technique together and grew as a musician. you try to lift 160 pounds and you breeze right by it! In fact. and Allan HOldsworth. you pick up the gu itar and. out of the blue. It's simple: The more you put in. you learn sloppily. On the guitar. you just can't seem to master it. play the same passage not just at 144. your goals will probably change. theory. That's one of the cool things about playing the guitar-you never know where your musical path will eventually take you. you'Il probably just rehash a few licks you already know. you just can't seem to break that 144 barrier. So keep practicing! Time Management Without reservation. you have to put in the time-you can't do it half-heartedly. it's not just something that happens to you----every musician (and athlete) has encountered this at one point or another.6 And if being a great improviser/soloist is your life's ambition. the frustrating sense that no matter how long you've practiced something. when I went to Berklee. Then. When lifting weights. you'd also have to practice scales. For example. writing and arranging songs became more of a priority. and yet whenever you try to step up a small increment (even ten pounds). And once you master that small bit of information. third position (5 min. "I need to learn some scales and arpeggios and get my chops up.7 I learned how to make the most of my practice time early on. being faced with the prospect of learning all the modes in all the positions can seem to be an insurmountable task.) Am?. We all know that practicing can get kind of boring.) G Mixolydian. it gives you positive reinforcement to go on to the next topic. It's very similar to working out~you know it's good for you and you're getting a lot out of it.) Arpeggios (20 min. For example. but it should give you enough of an idea of how detailed your daily practice plan should be. And 15 minutes goes by in a flash! And of course. if I had allotted only two hours for practice. and so on.) Am?. twelfth position (5 min. But if you say to yourself. Then.) G minor pentatonic.) . It covers only a couple of subjects you should be practicing. third position (5 min. Instead of being faced with the prospect of sitting in the same seat and staring at a music stand for two hours.) G Dorian. And c'mon. Here's what I did: First. second position (5 min. third position (5 min." all of a sudden the task becomes a lot more manageable.) Scales (20 min. "For the next 15 minutes.) min.) min. you only have to concentrate for 15 minutes at a time. Instead of saying. I would parcel out specific blocks of time for each subject I wanted to cover. not what you do know. you could divide that 15-minute parcel into three five-minute sections. such as learning the A Dorian scale in the seventh position.) Wild Stringdom.) Am?. Is there a picking pattern giving you problems? Target it and work it out! The best piece of advice I can give you is this: Always practice what you don't know. seventh position (5 min.) Am?." figure out exactly what scales and arpeggios you need to learn. For example. fifth position (5 min. I figured out how much time I had for my session. if that's too long for you.and left-hand synchronization (20 min. March 1998 Guitar World Figure Figure Figure Figure 1 (5 2 (5 3 (5 4 (5 min. I would divide that time into eight 15-minute chunks and practice scales for 15 minutes and then move on to arpeggios for 15 minutes. a sample schedule depicting the first hour of a practice session. let's take a look at Figure 1. but sometimes it's hard to motivate yourself to get started. Giving yourself small time parcels to learn specific topics makes the broader subjects more manageable and less intimidating.) G major. all I'm going to learn is the A Dorian scale in the fifth position and nothing else. five minutes is nothing-s-it will take you almost that long to read this section! So how do you start a regimen for yourself? It's simple: List your goals and be specific. With all of that in mind. third position (5 min. That's why practicing in I5-minute increments can be psychologically freeing.) min. Figure 1: SAMPLE PRACTICE SCHEDULE Right. and one containing chops-building exercises. When 1 was younger. and jazz subcategories for starters. That's not surprising. transcription books. or where to start. I also made a folder that contained intervallic studies. lyrics-any original work that defines you as a guitarist and an artist. I break down my musical component section into the following subcategories: sight-reading (which includes single-string reading studies from Berklee College of Music and classical pieces): chords and chord theory (whit h cant ain s ch ord boo ks. I still use it to this day! I heartily recommend that you create one for yourself.vlanaging Your Practice Materials : ". By the way. The creative section will contain folders where you can catalog your songs. and then I assigned a folder to each one. and they actually worked well as technical exercises. a book. art icl es th at depict chord bo xes. Or culled from magazines. by all means. magazines. I had a folder on right-hand tapping. such as speed studies and chromatic lines. Here's what I did: I created three different sections in my filing cabinet. chord progressions. I strongly suggest that YOll also create a Styles folder. an d so on). it's often difficult to know where to begin. If you want to master a lot of different musical styles. transcribed. and instructional videos) available. Then. I had to figure alit how to organize my materials in such a way that I would be able to cover all three facets of guitar playing during a practice session. I also created a separate folder that contained only licks. sa they practice the same things over and over.me lad y tran sc ri pt io us). melodies. you not only have tons of material to choose from. you're not limited to just those subcategory choices. an d cho rd. but since 1 don't really use this technique often anymore. one for each of the aforementioned components of guitar playing. . Then I had a folder on left-hand studies. So I did the only thing I could think of: I set up a filing system. you may have noticed I didn't make a folder for right-hand exercises-that's because the exercises ill all the folders automat ically encompass the right hand. Everything went into that cabinet. I made a list of all the technical subcatcguries I could think of. The effort required to master those licks helped my technique immensely. First. In doing so. And you know what? It helped me so much. In this folder.:'clit a lot of time developing my chops when I was younger. bluegrass. it no longer requires a folder. considering the almost inexhaustible supply of study materials (such as CDs. as well as any other styles you're illtere sted in (death metal. For example. But if you want to master your tapping technique. Create ones that interest you. I used to transcribe licks from Steve Morse and Al DiMeola. With such a wealth of information out there. let's take a look at how I filed the technical section. create a folder. or course. and The cool thing about this filing system is that when you go to practice. where I included things such as legato licks a la Allan Holdsworth and trilling exercises. a transcription. my own written exercises-it didn't matter. but you can customize your practice sessions. This is especially helpful to guitarists who are in a practice rut and don't know what to work on. a magazine column. whenever I came across a piece of music I wanted to learn. The music could be from any source-a guitar lesson. Subsequently. I bought a bunch of folders and labeled each one with a particular subcategory. such as string-skipping licks. I found that one of the hardest :~:Jngs \vas dealing with what to practice. I divided each section into subcategories. I'd assign it to a subcategory and pop it into its respective folder. country. an d gen eral music theory. The same thing goes for whammy bar tricks or any other techniques. especially if you have only a limited amount of time. I created one folder f01' scales (which also included scale patterns and sequences) and another one for arpeggios. you could include blues. whether written. For example. and you've decided you're going to dedicate every Monday. Wednesday. let's say you have two hours a day to practice. if you filed your materials correctly.9 For example. Just go into the appropriate folder. and Friday to working on scales and arpeggios. you'll have a bunch of different things to work on that concentrate on the same technique. That way. you'll never get bored and you'Il always be working on something new and interesting. With this filing system. and. you'll never have to play the same exercises every day. So get those folders and start compiling your own customized guitar library! . . -. - ~ "1- B7susIE . !iI- G7sus/E FpsuslE IJ!:f=!: • ~ ~ - -. anything you learn beyond that point will just be added onto a shaky foundation. <> .. I start the exercise in the higher register of the neck because the frets are closer together. ''7 . If my hands are cold or stiff. ... .. "....... . I'll play some single-note exercises designed to synchronize the left and right hands. <I ... " .... Believe it or not. intricate. After all. -. If you don't. . 'W I I ~~~ ~ .. I shift the 7sus shape to positions where the voicing sounds good to my ears. ~ t-. I.. ". arpeggiating it at each position I stop. • ~ D V . '''' 'V . very few methods teach you the correct way to practice-how to achieve optimum resu1ts in the shortest amount of time.... . ~ . as shown in Figure 2. IV .. . Rather. which creates a cool modal sound. or fast passages can be very stressful on the tendons and ligaments in your hands. And though everyone knows you need to practice to become a better player.. 1- 18 12 19 18 e "1- 7- I0 5 "1- 5 5 10 4 6 4 1- 9 '1 10 2 4 2 5 2 4 ~J . ..1' - • r- ......I - • . Example 1 depicts the whole exercise. be it music... 4 6 4 - 11... ' . which makes the stretches more manageable at first. This enables the left hand to gently and gradually stretch out. . ...... . Figure 2: B7sus/E 12134 B7sus/E . The last thing you want to do is hurt your handsjust ask some of the guitarists whose careers have been cut short by tendonitis. •• .. .. Then I simply move that shape down the neck. II" . 19 ~ I• - .. . . tJ ""I'" - I~ fJ ~ ~! . The same thing applies to playing the guitar. Lft . art..ao '" v 5 E7sus/E f\....... . '" '" I~ .. Let every note ring out as clearly as possible-no buzzes allowed! Notice that] don't move the chords down chromatically. As you move down the neck.. Would a sprinter run a I DO-yard dash before stretching? Would a football player subject his body to the grueling sport week after week without being totally limber and loose before every game? No way! The risk of injury-pulling or tearing a muscle (or worse )-is too great.... I ') ~ - I Ii I I -.. ft V ......... you have to have the fundamentals wired. .. ""IV .on ~ A7susIE t-t-. D7susIE I I ".. ..I 9 I. . w. the frets are spaced farther and farther apart.. Exomple 1: Here's one stretching exercise I use to warm up before every gig: I start out by playing the B7susIE chord shape in the fourteenth position..... . or athletics... • • =l· 11 8 .J . Once my hands are a bit more 1imber... .. .... playing long.. .1' •• 11 5 -. in any discipline... I feel it's absolutely essential to warm up before playing a gig or a session..... I find that playing chords-c-particularly those that require some stretching-really loosens them up.. -. Cl7susIE . . ... .ll I ._ fP I~ ~~ ~ t-t-t-.... making the chords harder to finger. .. = -. I . . 8 5 7- . I also Jet the open low E string ring under each chord.10 Chapter 2 Warming Up There is a lot of information available on how to strengthen your chops but very little on how to warm up properly.'''' ...oI_ . .. .iromatic exercises found in my instruction books.. exotic voicings).and Left-Hand Synchronization 11'.. ".. ~ .. and don't force the stretches! Your goal is to . : r. You'Il have to arch your first and second fingers in order to execute the chords cleanly. I liked how playing a11the permutations helped me to . .1ttain a higher level of proficiency by practicing them consistently... .. TW ..1.. You can ki11two birds with one stone with these . . .. • <I .evclop my speed and agility on the guitar.... Concentrate on playing each chord slowly and cleanly. - . ~...... I ended up gravitating toward the countless _. they help me maintain my technical edge.. '... not hurt it. .peed and accuracy. to ...... For some strange ._- ..... .... .... ~ 'v .ll. _ .. Right._ J. <I ~ ... r• 19 11 9 Em(9)JE ~J • - ~ 19 H e 9 1'1 Dm(9)JE r-- 'II • ill ..... ...II Exomple 2: To make my warm-ups sound more interesting and musical.. I also loved the way Steve Morse used chromatic ncs in his fast single-line playing. my chromatic ...:\'Ic evolved out of a combination of those two influences. " '" -'v . ._ ~ ~ - .... . On top of that. . \ lusrering the chromatic scale can really help you develop your technique because it enables you to cover all 1c possible left-hand fingering combinations and develop excellent coordination between your hands as well... which is very similar to Example] but with one twist: In addition to the low E pedal. ~ . " . so I wanted to get a handle on his approach too... if you're not happy with your technique.. . . • --j 6 .._ _. One I particularly like is the B m(9) voicing found in Figure 3... D . I add the open high E note to each voicing as well (doing this creates some lush._ l- I- jTW _..... • 11 "I !e 9 11 13 10 e 19 9 e 10 9 7- I0 5 ~ 9 6 9 ~ 5 II Remember: Warming up is not about chops! Don't blaze your way through these exercises-you'l1 defeat the nurpose. .. ... . . .... . ....:axon (probably because I was a mathematica11y inclined kid). V ... ....: T .J "I . •I ~ . " .... :'111 a big fan of the chromatic sca]e-I actually got into it when I first started playing guitar. "I U .. no secret that I like to play a Jot of technique-oriented exercises: since they're primarily designed to build .. -'<I" r "II -1"'" -1 ill ~ ~ 11- Jb. 'v I J i rv Hm9JE - I iJ -r - f#- ~ . .. v ....irnber up your left hand.vpes of exercises: you can use them primarily to warm up or.. ... r. ... Eventually.. Figure 3: Arn(9)JE ~ ""'" u ~ II #) ......... .TIl often use different chord shapes.. .. I use this minor(add9) shape in the warm-up depicted in Example 2.. --....... .. .. like the one depicted in Example 3. ~7 ~~ --. .::.. pitking: ~ 71"!'fi: = downstroke v = epslroke ~ ~ 1'1 tr • T' f) .. .. -. .J . -.2 Though 1 mostly write my own exercises now. .. ~ -. continue pattern Exomple 5: Once you master Example picking mobility 4. ~...~ ....-. one of the things 1 still love to do is figure out all of their possible permutations. The pattern in Example 3 also happens to be a rather tricky one because it's in ~ meter and includes notes On the adjacent E and A strings. .. -" . "7( fJ tJ "!. start moving it around. Exomple 4: Now comes the fun part: Once you have Example 3 wired in one position. -...... ...: . . ~ r.. I always end up Exomple 3: Let's look at a typical chromatic exercise I warm up with. :.. • . try playing Example S.co .. .: T ::1[ l:J . -0 L. which will function as the foundation for all the possible permutations.. This exercise across all six strings. r. And eventually. .:I . ~ ...~....: ~. . . ~ -. - ~ #~ ~W~~~ -. .. .... • "" . applying them in one form or another to real-life musical situations.... which entails keeping your left hand in the same position focuses on developing your while moving the pattern over to the next adjacent string pair. .... -c...:I . . ~..:I continue pattern ~ T "' . --.. . •• ~ ~ • ..C ~ --.. fI .. . .. picking: _"T - - ~~ ~ ~ ~ .... .. ~ -. Doing that keeps me from playing the same things over and over (and getting bored) since each permutation focuses on a different aspect of my technique. as Example 4 illustrates.~ . Make sure you USe alternate (down-up) picking to execute this and all the subsequent exercises. . .. ~ ~'" ~ ••-.h.1. ... V etc. The first thing you can do is keep the pattern on the same two strings but move it up chromatically.. The first thing I do is come up with a pattern. ..h. . though the basic pattern . ~.. .Q.iifficult to play.!round-play it backwards! In other words. . but I'll let you figure those out on your 0 w n. ~ ~ . .. . ._ "" . ..... ~ ....... 01 - .. try increasing the of these exercises with a metronome.. 4 5 1- 4 5 6 15 6 1- 8 5 6 8 5 6 7- i 7: By now.:'Iokat how learning diatonic sequences can also trigger new melodic ideas-ones you normally wouldn't have --iought of playing..-...... start on the high E string and work your way down the neck. ... h ..... play::lg the chromatic line descending instead of ascending.. -i· Exomple 4 5 6 s 4 6 9 4 5 14 5 6 :... . oJ ... . Developing Diatonic Sequences ~<ow that we 've focused on synchronizing your right and left hands.. .. .. .....~ • V V ----. You should start off playing this exercise slowly... .. Once you get a feel for all the position shifts.-...ill the strings. A ~ --........ Jl.... l"f "T' I ......iepicts this idea (which some music theoreticians call a retrogradation). 5... but also chromatically up making sure your hands are synchronized.... etc.. .... ~" .. ~ . 'IT ~ ...... ~ . .. ... -\s you can see. ~~ . And you should be practicing all 1\ ~ ~- ~ ~ 11 -~ ~~ ~~ ~~ ... while keeping the same melodic contour. .-...I~ Exomple 6: is the same. I'd like to get a little more musical and .. ..-.' <e your imagination and have fun! 8 \Ja 1\ warm-ups and work out all of their possible variations. .. ~ ~ . so try flipping the basic pattern ..h..-. " • . c '''' . .. tempo. .. Example 6 is the hardest . the ensuing exercises get progressively more and more of the bunch. and 6 to Ex ample 7....... Example 7 . .'U . . ~ " . you can now apply all the \ ariations found in Examples 4..I • ..... c .- .... Of course. It forces you to move this ten-note idea not only across the fretboard.... .... II II r...... The next step is for you to write your own chromatic l. picking: .. . -11 I -~v ~ . n .. you're probably getting bored playing the same idea all over the neck. .. . .. 5 1- 9 5 9 1- 1- 19 1- 9 10 1- 10 9 9 jv 9 19 12 9 10 12 19 19 12 9 19 9 12 - a ... I" I" ~ I" >I" • I" - 'LI 'LI r......~ 9 ~ -t ~ I" ~ . • 10 ----- ----... [ usually start from the bottom up...... ..h._ . If you can't hear them jump out during the execution of the pattern.- 1'" "1'" II '11 '11 II ! ... ~ I" I" "...---·_·-H!·· -·1... . - I" • I" . 19 . .:JI v . . .. D.... make sure you articulate the notes on the G string.. I immediately try to make it more musical (and interesting) by permuting it... . This wilt not only bolster your technique. I'll string together a lot of melodic ideas... 'v >"1'" "1'" ----- l'" simile "I'" r-s--. First.. . . you're either playing too sloppily (slow down) or you're not accenting them enough. -. G) found in Example 8.. ... I shed it to the point where I'm comfortable that I can instantly insert it into any solo I'm playing...• .... but also your knowledge of the neck...:JI . . .. By the way. .. 'v L ... or motifs.. . 9 ~ B .. Exomple 9: Once [ learn a pattern.... as shown in Example 9.. (Am) " . the first thing I would do with Example 8 is create a diatonic sequence on the same two strings moving up and down the neck... F... . As you're learning Example 8.-. I pick it using a downstroke.. f'I " -~ ~ r"\ . .. C.. . .0 ----::T - ~-. . though. For example. ... I come up with a melodic pattern that I use as a foundation.. ·4 . ~-..... 'v _. ~ ~ -il- r' • •• ... Notice the quirky right-hand picking pattern. ..... .. .. flowing statement. I often use sequences (melodic patterns) as transitional ideas in my solos=-vehicles to move from one melodic theme to another.....r: .. _ ... .. --. and when I do. Exomple 8: When I create sequences. • -I'" '" 'v >I" ~ .. such as the one based on the A Aeolian scale (A.. make sure you practice this pattern (and all the others in this lesson) in different octaves and on different string groups. . Even though the first note is on the upbeat... I rarely play repeating licks. ... Most of the time.... .-g- . I" .. . <I 12 12 9 . . Picking it this way feels more comfortable to me and makes it easier to synchronize my right and left hands. Then.. picking: ~ "'r' V ~ V -Oil ~ V ~ ~ D - A I -. B.. . .. v ....... I use them specifically to build tension. 9 12 .. .. E. •• I" ~ = downstroke (Am) ~ I" 'v = upstroke >I" • V .. to create a long. 77f"fl -A I -9---- .. This adds some nice movement to the line while maintaining a uniform contour... I" -y •• . "..14 When I solo..•.. 'T .. I'"' tl --. - etc I'"' ~ " -:ll I . as depicted in Example IO. .~ 'v . - !'- . .- ...... ..... .... 'J 'v .. simile .. ))~C'er .zl I D - .xomple 10: -nother way to make the basic pattern in Example 8 more intriguing is to open it up by adding string-skipping . ~ . . .. The easiest way to execute this . '<:Jf .. . " . .. "'. .-.. Again.... ~ ft .. .... the diatonic sequence...-r a greater challenge.... " ~ . .. .12 15 12 14 15 12 19 15 '19 12 liS 15 12 15 19 12 \1e 19 1e 12 19 1e 13 12 18 II ....I I II II lxnmple 12: \ow that you've fully dissected and permuted Example 8. . . IV . .. ..~ • ~ l'" ..... ....:T ..- .... --. ~ .. Dm 1\ r_ I. . ... " :> • ~ • ~ r' - '11 · .: . Look how easily it fits into the line found in Example 12--{)ne that would work well over an ren D minor groove.o .. ft q " 'v D . • 1#0 .. ~ ft .. rrF 15 12 14 e ! fr ~ ~ ~ ~i F J J J j IJ J J J j I 1 5 j J J J 15 12 --..'" .1. . make sure the high notes ring out cleanly...-... . .... · · :'~omple 11: :-. (Am) Il r" --... " . ij J II 14'. -v .4 I D - .. t.... . . . . . ... .. . .. .... .....'-LJ I' - .... ..I .... . 1']] let you figure out the rest on your own. u . .. . play the diatonic sequence in Example 9 using the string-skipping approach in = varnple 10...... to keep your hand in position and simply stretch your index finger back One fret to play the G note.. ...- ... ... 'J ... .". Notice there's also a little bit of a left-hand stretch.. it's time to put it to work in a couple of practical __plicarions. ~ ..........._ .... I've written out the first two measures in Example II. I (Am) :... ~ -.... ... Ie q.." .. .._ - rv rv . :> l'" :> ~ .. . ... ..- r .. . A . .I . ~ IV . .y ~ :> I'" :>I'" • . . ~'pecial1y on the B string. .._ '" "..5 ..... LJ- -- r- !'- . u v . .... . ~ -.... . we became better-conditioned athletes. and you'll start seeing an increase in your speed (it's a lot easier to master a short. you can also drastically increase your speed and endurance. as shown in Examp1e 13. a lick that would " I~ - I c: E 5 f IIr' r f ITr r r' F f ~f r t r r' r If r % r j 4J JJ~II Developing Endurance Back in my soccer-playing days. one of the things we constantly worked on was maintaining the kind of endurance that would enable us to have the same energy and intensity at the end of the game as at the beginning. you can easily fit it into more pentatonic-based work nicely in a bluesy tune in E minor. Of course. I'm sure you'll be able to come up with a version of the "Spanish lap" tailored to fit your specific needs. we alternated sprinting the width of the field with jogging the length." Here's how you do it: Playa pattern using nothing but sixteenth notes (it's critical that you play to a metronome set at a comfortable speed). Notice that I'm alternating along stream of steady sixteenth notes (analogous to jogging) with a brief flurry of sixteenth-note triplets (sprinting). The way our coach helped us to develop that endurance was to make us run "Spanish laps"instead of keeping one steady pace. With this example as a guide. As a result. Doing laps in this manner built up our stamina and gave us that extra burst of speed needed during critical moments of a game. Em lines. fast lick and build on that). then increase the metronome setting and start over. intersperse it with sixteenth-note triplets. . I call it "'Spanish lap' practicing. clearly illustrates this approach. I believe that by applying the same principle to guitar playing. and at a specific point. Continue until you can play it cleanly. don't overdo it-just play the pattern long enough to feel that you got a good workout.)6 Example 13: By the way. as depicted in Example 14. I'm also using strict alternate (up-and-down) picking throughout the whole passage. The benefits are twofold: your right hand will gain strength (due to the repetitive picking of the sixteenth notes). Example 14: JlVoices" My rhythm part in "Voices" on our [Dream Theater's] album Awake (3:26 into the song). INC All Rigbts on behalf of ocr A MUSIC. 57 75 4 . When I was starting out. He .~re just too technically intimidating. but I couldn't play them. r since. INC. JOHN PETRUCCI and MICHAEL PORTNOY Play 3 times . (ASCAP) (ASCAP) ·. Administered All Rights Reserved by WB MUSIC CO RP.. (ASCAP) and YTSEJAMS.17 IIVoices" (@ 3:26) Am By JAMES LABRIE.'. II ~ II a 0 3 ee 3 3 ee 1 6 5 4 5 4 3 2 II II e 1994 OCfA MUSIC.:f living room learning Morse's Jines. They .. Then a high school music teacher introduced me to a metronome. I was able to p1ay all the Dixie Dregs' stuff I _:-uldn't come close to p1aying after trying for months! I've been a believer in the power of the metronome ~-. INC and YTSE JAMS.---1: ~ Am # Fjm j 5522552222 22 2255225522 ~-~:II 2 4 3 j J m ~ j 0 J ~ J J t J :11J J 4 j J J J £ g J j 3 j 3 J j 3~ j j II 9 ~--~1 .\·hile we're on the subject of increasing speed. I would try to 1earn Steve Morse's Jines.echnique is to have a rock-solid sense of time. And I still remember. Try it yourse1f-you'11 see what I mean. I'd 1earn them +uch faster. INC. Within a half-hour. I firmly believe that the only way you'Il develop a killer . -. And the secret to developing that is to always practice with a -~~tronome.-ld if I practiced difficult licks at a slow speed at first and then gradual1y increased the tempo. 51 45 PI ay 3' times ~9 II $1: J 3 J J J J J 3 ill ill J j j j 3 Play 3 times J J :11J J J J J J J J 3 3 j J J J j J J ~ ~ ~ e 3 3 3 3 3 ae 339 eae 50070 ae 3 3 ee 578 578 a 75 B7 5 II Q II: 9 g g g 9 ~~~ ~~~~~ __~ g :11 5007 - Em Play 3 times @ -3 F5 etc.. JOHN MYUNG. to this day. taking a metronome to my grandmother's house and sitting in -. e . tlb II: J ~ ~1a---------t-1r. KEVIN MOORE. . .. .it f'- . let's dig in. . ... .:' . I start on the root (E) on the B string.' ~ ' .. f'- . ..~ ~ .:: )...... .. and so on. ~).. "}. ....-.I"" .(' -u- I .. ..C"}..1 ' ..... So... . .. play the fifth (B) on the E string..18 Chapter 3 Expanding Your Technique In this chapter...•• . 1 Example 16: After mastering this basic technique. .. Notice that I'm still playing diatonic fifths.j :i j... well.. .... I'd like to show you some new and different ways of approaching rock gUitar-things I worked out to break away from cliched playing.1 .-:.. . chromatics. It gives them a legato feel and makes them sound modern. Intervallic Slides Everyone has at one time or another practiced intervals... or idiosyncratic picking styles can be a player's trademark... ... Example 15: We'll be working in the key of G. but the way they're played... ro . • • ..... .----.- II- • ~ • - - -- ~ I "" ... ' . . .. ... pick the D on the B string. . l. ~ ~ C'"'\ . or sixth degree of G)..... ... . v . Then I pick the fifth (A) on the E string. -! j .... .. bends. It sounds more complicated than it actually is: once you get this move down.. " .. but this time l'rn sliding down in thirds and then up in seconds..~~~-~-~-~-~~~-~-. -. ~.... hammer-ens and pull-offs.. intervals. you can really fly with it.... fingering: 1-1 -' ~ 1---1 ._ ... 8va ". Em ...- ~ I"" ". . . . . .---.u l:. :') ")... II » Em 8va ---- ~~._ . ..:' ':").. . exercises. .... and then slide down without picking to the next diatonic note (in this case D). "'5...h. but it's often difficult to apply them to real-life musical situations....._--.:"}.... I A J .... . - ... . . you can start experimenting with it...._ ...C "')._ ' ..-. In the beginning..-----~~~~~~~-~··~~-~~~~~~-~~-~~---~~ ~..h.. so I came up with something that combines intervals with slides. ~~~~ .. :1 1 <. .__.~ .. chords.. I was looking for a way to make them sound musical. This pattern continues diatonically down the neck.. 1 3 1 <.----~---~~~-.C "} .. D I. harmonics... and slide down to the next diatonic note (C).... --.. . . ....:: . . '. - . . ..v .:: .. What truly makes a guitar player sound original is the inflections he uses-not really the notes per se.. Example 16 is a more musical application of the basic concept depicted in Example 15.. arpeggios. .~~-~~--~--~~-....('~ . .. ::"} 1 -..... go back to the root. . unorthodox fingerings....... .. fingering: :1 1 -. . ... all musicians are given the same tools to work with-scales. This passage is based on fifths in the E Aeolian mode (the relative minor. Those old exercises based on intervals sound like.. Any combination of slides.. 1 :1 .. . So let's take a look at some of these techniques.. 1 1 3 1 <. The variations you can create are limitless.. "'} .. A I D .~ .. .. fingering: 1 4 I <.. g l.. ... .. You'lI need to stretch your fingers a little to play this one... ... I 4 1 <... _.. . II~ .. 1 4 1-"'1 4 1-"'1 4 1-"'1 4 :xomples 19 end 20: can use intervall ic sliding very effectively in spicing up a melody or motif... .. .. .. <01 <01 .._ I . ....._ 6 '''II I ft l..orth the effort...... . . I. l. I I 41 <..ii C :') 1 :') 1 fillgering: 4 1 /' 1 4 I <..".... but it's harder to p1ay since string-skipping is involved.._ ~ lII- (#. ... G fI J. making the . I 4 I -'...I <. ~ ~ . I ... giving the 'e<. r- I I .... fingering: 4 1 <.! I: II 4 1 <..._. ... A .- .......:"). 1 :xomple 18: -~~rl"S a lick that features diatonic octaves in the key of G.....' . ~ . '''' . . but I'm .h. ::...~" "}. but it's .:::_.. Em ~ tid I~ - 1 f f Fe f Fr Bva -------------------------------------------------------------------------------------- r Fe [ jd j JJ I J LJ J LJ J 1J J ill"-.... -:-:1!~ one sounds particularly sweet to me. . ...h... I 4 <. t:) .. .. Note that I use only my first and fourth fingers to p1ay this......(""). A IV ...... g ~ .:-:...... . .....:..... l j • I t:) '--' 'v -. .. ... . A .iving them as sixteenth notes.... w .... 1 .. w ........ s: ~ _ - - -ri- - . ."). a unique contour. Example 17 uses the same concept. . Listen to the metamorphosis when it's played using sliding .. ....(' .~ .. .0. .~ .. ~'" IV V -. :. .. ...\ .._ 1 6 . .... ... I 4 1 <.. ... . but you'll be -laying diatonic sixths in the key of G..--.. Example 19 is a simple elody in E minor that might be found in a tune... It sounds amazing! III ~-xumples 15-19 all feature an interesting rhythmic twist in that the notes fall in groups of three. p1ayed over an Em chord (E Aeolian).I ~ • . r- ._.. Played as sextuplets (Example 20)... ._ • .h. 6 t:J -I I • ._.. fingering: I . .. :::-1I 4 --_ -~ Ii I... 'v ..... • ~ ..ucru easier to hear... ~-:}'" .+ Bva ---------------------------------------------------------------------------------------------. ... --.taves and sextuplets (Example 20).. they fall on the strong part of the beat.. :~ample 19: 1'\ ..-") '.. j* ~ Ii 4 I <. .I 4 I.19 lxnmple 17: ~-he next step is to apply this technique to other intervals.Bva J. This causes the intervals to fall on the syncopated parts of the beat.h. p II . ... '::"").....- A .::..~f'-~.. .---.. 1iti '\ Em . I 4 1 <.0. 14 1 /' 1 . I I ..II- Em Example 20: . ....0. 1 4 1 <. ........ _ .20 String-Ski pp ing A lot of people use string-skipping more as an effect than a means of expression. I . realize that the note order of the run can be permuted." ~·------~5~7~-----r7~10~----~1~O~1~2~-----... Example 21: I have found that playing a short string-skipping idea slowly while gradually increasing the metronome setting really helps improve speed and accuracy.Il .I fI- l- fI:._ IV 10 4 II ~ ~ I . JJ 7. .. The~"'11generally stay in one position and do a skipping pattern that sounds very slick and then move on to another lick. . 4_=__=__=__=__=_~1~4~-111_6~_=__=__=__=__=_-_-_-_-~_--_-_-_-_-_-_---f1--Jl. I play the E minor pentatonic scale on the G and the high E strings in one position. I can think of no better place to start than with the simplest of scales...r e: ._ IV ..- . ~ . fingering: 1 4 :1 1 4 :1 4 4 Examples 22 and 23: Once you get Example 21 up to speed. Em fillf- ~ .-.... fingenng: 1...... n Q II D 4 4 3 u II Lh. 1 .. I then shift the string-skipping pattern to the next position.9_-_-_-_-_-_-_-Q9_:__~_142_-_-_-_-_-_-:!:1_2~_:_1 .. . .. fingering: 1 2 1 4 2 1 .u '" ~ etc...h.. Using a two-note-per-string pattern.1r2~1~5r-----~15~1T7~17r-~15~----~ J A=_--=--=--=--9-2_-_--IJ_4~-=--=--=-_=_--_--i_4:_=_"1-7_-_-_-_~_7~~q._ t- fl... 1 ~ ... Example 22: Em Example 23: fillI'" tJ " 1\ OJ . 3 ...._ fI'" etc fill- '"_j .f! fI · II "T" II D . 1 n .. You get the effect of two lines going on at once-a large. Ii .. " . fingering: The most overlooked application of string-skipping is playing ideas up and down the fingerboard. and so on.. "[7 . _ '" :1 - .. 'v .. . IV - 'Example 24: I ...Il - ~ .~ =--::-~ -.-. 1 . Check out Example 22 and then Example 23..n IV 1 . 1 . · · Lh. so let's start with a simple E minor pentatonic idea played on the G and high E strings (Example 21). .. .. yet very melodic. fI- f- fill- fI- ._ . but you may want to experiment with hammer-ons. Check out Example 24...h. skipping over the B string. sound. " ~! e tJE= I Em r[f ? b C[ r G b f ref 4 it I r r [ reF r f ErA ~ _) +~ 8va . . n In 'v . IV -. I use strict alternate picking with all of these studies. Em " ~ 1\ OJ Ii# J.. which is a little harder to play but sounds really cool because the note pattern is displaced.. the pentatonic. an approach that can make even a simple pentatonic idea sound fresh.. making sure to keep the interval relationship within the scale the same. I want to show you the incredible melodic possibilities this technique offers. .. IV .. Ex peri me nt with different patterns. ' . 1 I~ '''' .1[1 you'll be zipping across the fingerboard! Em \...t • J '-I • .xemple 26: :.. and a :. 2 1 4 1 . ..... Measure 2 is __.unple 26 is a tour de force-s-or "How can I apply these ideas to my day-to-day playing?"-lick......>cdOil the open G major diatonic patterns. using the E minor pentatonic scale... 1 ~ • 1215 H! 1'1 1215 12 f1 HH4 121=1 • I I I - • 1211 I •L 1014 • • • ro"" - . . . (For more on diatonic arpeggios. notice how I employ quick position shifts that enable me to span the whole . ..._----~~4.. I -v ".. If you .. __ you'll open some new doors.I " 1/1 . and play on the E and B strings... fingering: 1 i 19 14 1214 HH5 1214 14 16 1 11 H! 12 14 1411 11 12 115 Ii 14 12 14 13 14 1 3 14 2 3 1 4 1 3 1 41 2 14 12 Diatonic Arpeggios __ this section. 3 1 ~ .--. ..... we're going to look at ways you can play diatonic arpeggios to produce some cool melodic -=. ~ n· _ . . see . rhe left-hand fingering provided beneath the tablature-for the easiest way to finger this lick........ . I .he next section.. If you play this example over a static G or Em chord. ~ . l. n ... ....mzcrboard? This run sounds very much like diatonic seventh arpeggios in the key of G. respectively (Example 27). .. :-:'f . D.. ..p I I...h...I . I .. fingering: 1 -. . " ...-----~~~----------~~..~ ".. ... moving up : n scale steps on the G string but in diatonic thirds on the high E string.1 tip: For a great sound. .h. ... but more open..21 Example 25: This technique can be applied to other scales as well. try combining these runs with diatonic arpeggios.0. .. fingeri ngs. " .iim.:>I1S..---------~~~~~~~~----~~~~~-~~... you'll get the following chords: G.---~~~~~~-~~~-~-----~~~~. Pay close attention . but be patient and . you'll get a feeling ..... we'll use the key of G (or its relative minor.. Am..... Examine the left-hand fingerings ~rovided beneath the tablature. . 1 4 . .. 3 . Em..__::ld triad on each note of the G major scale. C..p4... ~ ~ • II- ~t:- II- .... .... I combine stretching with string-skipping. and rhythms. Here's . 4 4 1314121413141 ~14 ._ ~. ' lro '07 '" ... v 1 .It 1/1 1 l.. lJrmonic movement within the key center.... but they also can sound very lyrical when you slow -::m down-you get the best of both worlds.. I'm using the G major scale... " 1 3 . . _-measure 1. E minor).. In Example 25.". ... ..~ " _\..._. This one's really hard to work up to speed. -LO'l_ .~~~~. ..x.. 1 .. ~ ~ ".. . D ... .. -_j :'(omple 27: this study.~------~ I _"": . ....It 8va ~~-~~~-.. I .) G orEm 8va--------~-~---~~~~~~~~~~--~~~~--------~~~~---~~~~~~~~~~------~-----------~-----~~~~~~. Diatonic arpeggios sound great when played fast.. Bm. .... ·i. By adding a diatonic note that is a half-step or whole-step below the root to all the triads............ I 10 '1 10 '1 u . iJ.~~~. fingering:4 Example 30: ...1-... I - oJ! p 'JI oJI ... ........-- J ~ ~ 18 1- • 8 12 • • I'" "11" - ~ • . you'll get all the seventh arpeggios in the key of G (Example 28)......... 0. Gor Em Em7 .-._..< ~ I'- r :..3 7 • ............ ..... ..... E...... ~ .~ ...~~ ~.. it seems to make the most sense to me.. .................4 " " .. take this principle a step further...J ~ ... rB-' I....finge~n~4 1 4 1 1 4 1 4 1 4 I 4 I 2 I 4 I .......4 - IV ..h......~ ~ ~ . 8 10 10 8 12 12 14 13 12 15 14 17 11- 15 19 19 11- 20 20 -----......~ ..... ... 12 15 12 _ 15 .(l- ... but you can use hammer-ons and pull-offs as well. " ............__ - ~ ~ - • -f'-- e :i ....... ~~~.....Jp.... 4 1 2 I 1 1 --..... 8 V(I . ... .. • 3 • 3 3 3 ...r=T" I T _7 T .~---~ 19 22 I I.. You might also want to look at the fingering GorEm Gmaj7 I use.- Am7 Bm7 Cmaj7 D7 Em7 F~m7(b5) Gmaj7 .. I use alternate picking to play them..- ..h. Am7 Bm7 Cmaj7 - :or -- _....................~ ~ ~ .... 12 8 12 8 . . ... 2 ..... Example 28: Let \.'0 -~....... '7 GorEm Gmaj7 iJ.. "-? ~ 1..... -' r 10 rr f : • 3 If 15 r 3 r 4 F (-i .. It"- " '" ... A '" ..- :E f r ..- -_ .' rv D 4 4 4 2 [. f~ ..~~~ ~~ ~~ ~~. This gives you a fuller palette of sounds from which to draw...... lingering: 2 4 2 4 2 4 2 4 2 2 4 ~ 4 1 - ....... " 'v 2 I 14 10 14 10 ... ... -q 8. Am7 • f- ~ ~ #- ..~~~ ~~~ ~~~ ~~~ ~~ .h.. rr ~ l~ 10 8 10 10 12 10 14 12 19 12 15 119 15 121 14 11- 15 11- 15 19 11 19 n 20 19 20 19 22 I h _ tingering: 1 2 4 I 2 I 4 I 2 1 4 1 214 4 I 2 I 411 I 4 I 2 I 4 Examples 29 and 30: You can also permute the notes of the arpeggios (Example 29) or the rhythms as in Example 30 (a personal favorite of mine).rv -v - J ....• .~ .~ ... Example 29: .-.... I I .._ • I'" ~ • ~ Gmaj7 .........-... . 3 -- ----..._" --- --_.. ...Gor Em 81'<1 ..... 2 .. ___:...- . 23 Example 31: Example 31 uses the same principle combined with sequencing, which is playing patterns off certain (but not all) scale tones. In this Example, notice that I play every other arpeggio in the G diatonic major scale, starting on Ern? in the third position. The 1ine ends on a blues lick, which kind of ties it all together. This run jams Over a static Ern chord! Em7 II ,110 Gmaj7 ill Bm7 8vu--------------------------------------------------------------_._-, D7 Em7 ... • • ... ~ • fL ill f- ............ .- • • 3 3 ------ .... '-"4Wo'-"4Wo4M4M ..... _, .... ....n... .... "':" tJ ... I _... A g ... .. 4 .... '" ,- ... ... -, .... IV ..'v - , ,.. 214 ..... .... ,.. ,... ,. I ... .. _ ,... .. --...- .. T - ................... .. .. .. ,_.. .... ,... ...-,... j" ..;-"} ' .. .o ... ,... 3 ..' ... .. 1 -- l.h, fingering: 1 2 1 2 4 2 4 2 4 1 4 3 1 Sweep Arpeggios 1 always get frustrated when I hear someone talking about sweep arpeggios. Though there are plenty of licks and examples out there, no one has ever really broken down the mechanics of the technique. As a result. guitarists have had to figure them out by trial and error. This became all the more evident when I was teaching. My students repeatedly made the same mistake: they'd hold a barre chord while articulating each note. To play sweep arpeggios correctly, you have to mute each note with the left hand immediately after picking it. The best way to learn sweep picking is first to isolate the right- and left-handed techniques, master them separately, and then coordinate them. Let's begin with the right hand. Basically, you have to let the pick "fall" from string to string as if you were strumming a chord. Don't try to separate the pick strokes! This technique feels weird at first, but picture your right hand as a Slinky going down from step to step-just let it fall. When executing an upstroke sweep, drag the pick upward Over the strings. Keep your hand loose and relaxed. as if it were being lifted by a string tied around your wrist. Now let's look at the left hand. In order to use the sweeping technique, you can play only one note per string. As I noted earlier, you need to mute each string with the left hand immediately after picking it to keep the notes from bleeding into each other and sounding like an ordinary strummed chord. lxomple 32: Example 32 is an atonal-sounding sweep picking exercise designed to coordinate your left-hand muting and right-hand sweeping techniques. Practice it slowly at first, concentrating on keeping the notes separate and Jistinct. Then try playing it faster. '\ b~ "r ~ --------1 ... 1 V" ~ ...b''-I h_ ,J A II. • I 100_"1 tJ picking: I '1T V --------1 T -~.----------I • v ••• V • ~ • ~.qll. continue pattern n~ TTl II ... A ~ ... .. .. '" • .. .. ~ --------1 ... .. ' ~ .. • ... .. ... .. -.. ... V --------1 .. ... D - .. _ ... .. ... .. - .. ., .. ... ... .., .. V --------1 --------1 ... '" ... - .- v ., .. . V .... --------1 ,. ... ... oJ -. .. 24 Example 33: Muting the strings with the left hand can be difficult whenever two or more consecutive notes are on the same fret, as when sweeping a familiar barre chord shape. The key to muting the strings properly and keeping the notes separate when barring is using what's known as the rolling technique. Rolling involves fully extending your barring finger so that it becomes slightly arched. This is absolutely essential in order to make the technique work. If your fingers don't seem to want to bend backwards, you can work on increasing your flexibility by fully extending all of your knuckles and pressing your opposite fingertips together gently. When performing this limbering exercise, be careful not to press too hard because you could overextend your joints and injure them. Let's look at an example of the rolling technique, using a major triad shape on the D, G, and B strings (see Example 33). In order to make the rolling technique work, you'll need to fret the D string note with the tip of your finger, using the fleshy underside of the finger to fret the G and B string notes. To execute the first roll. pick the D string. Then, as you go to pick the G string, arch the first knuckle of your barring finger and roll the finger in the direction of the sweep so that the tip of the finger mutes the D string. As you pick the B string, continue rolling the finger to mute the G string. If this is done correctly, the notes will sound separate and distinct. When performing the descending (upstroke) sweeps, rol1 your barring finger in the opposite direction. Keep repeating the C and D triads in Example 33 until you can sweep them quickly and cleanly. The rolling muvement should be like that of a rocking chair. Practice rolling with all of your fingers of your left hand. I!I~~ r f ( r I Ir D ! picking: ~- - - - - - - _l 5 5 v - ~ - - ~ ~ ~_l c c D c D c D rr 5 f[r 3 v-----~~_l E 5 5 5 7 7 7 5 ! •• J 3 r V [ 3 ~~~--~~_< ! • II ~--~~~~-_l Ii Example 34: 7 5 7 7 5 5 7 7 7 5 5 7 7 7 Ii Once you master Example 33, try Example 34. which will help you gain left-hand facility across the fingerboard while sweep picking. Make SUreyou follow the right-hand picking pattern indicated above the tablature. It's tricky but well worth the effort. c II .iIo D 3 3 c D c ,'"' tJ q, • V -------_l .... ~ .. 3 -------~ D e ... c ~ I- -3 H. .. D ~ ~ ~ I-- ll- ~ I- t*" J ... 4 picking: ~ ~~- ~- ~~~ --~-~~~ 3 - I D .... .. ~ p • .. .. ~ ,.. ... r- 01 .. .... . V~~--~~--! .., • .... 3 ~ . ... .. .. .. V ~---~~~-! Jo ... ~.---~~~-I ----.:;J IV - .. Jo_ T~ .' ... ... '" ... V a ~~-~~~~_I ... ... Jo I • Example 35: As you coordinate the right-hand sweeping with the left-hand rolling and muting, you'll start to develop the speed and definition that makes sweep picking such an exciting technique. Example 35 is a jazzy sounding lick that combines sweep picking, alternate picking, rolling, and quick position shifting. The lick is just chromatically descending minor seventh arpeggios, but listen to how cool E~m7 and D~m7 sound over A7 altered and G7 altered, respectively. This lick sounds great when played with the sweep technique. Work on coordinating both hands. Proceed slowly at first and concentrate on maintaining a steady flow of sixteenth notes. Though it'll feel awkward at first, you'll be truly amazed at how you sound when it clicks. 25 Em7 (Em7) A7alt (E~m7 ) Dm7 (Dm7) G7alt (D~m7 ) Cmaj7 (C) 8 l$i f I,~ r r r,J'G f bE brf [ r f&f ~[ bE J I [ k ~ ----~-~ [ [;; J - __ J v ..... [_f--j~I----_l0 __ 7~~:8~~~9~_~_8~~:7:~~6~~~9~>~"'~8~~5~~:6:~_7~~~"",,~6~~:S~~_4 7~~-LI__ 3~:_5~~~S~~~5~~~7~=~-_=~---=--_=~-_ Lsing Open Strings --\lot of guitarists forget about using open strings, especially after they have attained a certain level of -roficiency, They tend to get locked into playing fretted notes up and down the neck, possibly because they .bsociate open-string playing with beginning guitar, first-position Mel Bay exercises, "baby chords," and all -f that stuff. That's a shame because using open strings in a judicious manner can add three important things to your .iverall technique: the ability to instantly insert a wide interval into your lines with ease; an efficient way to .hange positions or jump strings when playing intricate patterns; and, when they're used as part of a scale or -:hord, a unique-sounding legato technique that has been a staple of country and bluegrass playing for years. ln the rock idiom, you can hear open-string licks in Eddie Van Halen's and Angus Young's playing-as well as :n my solos. Ex(]mple 36: Let's take a look at some ways to make open strings sound cool. Example Continue the pattern while slow ly increasing . an sound. 36 is a basic open-string pull-off :ick, Pick the first note A on the D string, pull off to the open D, hammer on the G, and pull off to the D again. the tempo, and soon you'll hear how impressive this technique '" -~ ,. D --"--""I] If II -f) ---. . ~ ,r. • • ~ -:- ·rI A ..: . D .... I ' ..-- '" ... .. po '" ... AI " '" <; V <.I lxcmple 37: The next step is to apply the open-string concept to adjacent strings. Example 37, an ostinato groove in G is the same-simply pick the minor using the G and D strings, is a good place to start. The left-hand .ivoid any unnecessary over-ring. to start flailing away once you have the foundation of this technique down, but let technique first note of the next string and let your left hand do the rest. Make sure you mute the strings not played to \low, 1 know it's tempting .ne stress the importance -ound like slop. of making sure each note is played cleanly and in time. Otherwise, your licks will 26 Example 37: 1\ I r. I• Gm ~ ,. - ./'... I I ... ~ - .. ... v ·LI LI ·11 LI ... T ...-: .4 · ./ ·~ D ... -~ .. .. .. .. .. .. .. .. .. .. .:" .. po -t' ... ... ~ v v .. .. ........... . Example 38: I've combined the two approaches discussed so far in Example 38, a 12-bar blues progression. As you can see (and hear), there are no limits to how you can apply open-string lines-all it takes is a little bit of experimentation. D I '" ~ .J • ~ .. p • • • .. '" • .. u • .. til • ... • • • .. - • ; ... T .4 D - ... - v .. • ., v .. ... .. .. .. ~ - ... ... ... . .. ... .. .. ~ ... ... ... .. ... ... ... . .. .. -v .. OT -v .. ... • .. .. ... .. .. ... ... .. .. .. .. v ---", .. I .5 1\ .II G _____ I I I I t I J --I D I ! j i I ~I I I ~ • 9 4 • ~ .. e • • .. ... .. 4 i '1~~e 4 e 5 e 11 G 8 5 8 4 ~5--9 11~ ~D 5 9 5 11 A e 5 0 ;: S=:::o i r~#1 J~J 9 A IrID J J J IUJJ J 0 04 1J J J J j ill J J II 7 It 17~ o:;;"'e 117; 5 0 ~ 0:;;'0 Ir;\ 0 4 0=-;'0 11 :5 04 O?i-ze i .. Be creative.-. ~ <I '}. you'll be fine. Don't Iet the wacky ta and 1~ time signatures scare you off either.27 Ex(]mple 39: Once you've nailed down the basic technique.. you'll need to master Example 39 in order to play the following open-string extravaganza. the G is the fifth and the D is the ninth. You see.. If you look closely. ~ c - ~'}. and eventually you'll come up with some fresh sounding open-string ideas. Now play the first four measures together... r . You don't want to rush-your goal is to let every note ring out cleanly.. every open string will work beautifully (E = fifth.. Proceed in this manner until you can seamlessly connect all eight two-bar patterns up the fingerboard. .. Though a bit more difficult than the previous examples. the G becomes the root and the D becomes the fifth.. n " . you can see it's all based on one ascending pattern using the open G and B strings throughout. next time you're jamming over D7. Not only should this study bolster your open-string technique. Think of open strings as "extra" chord tones that are conveniently at your disposal whenever the situation arises. I might add) "Open String Etude... "'r 11. .(' 07 -j .) :. 'v . is the root... each two-bar pattern stands on its own as a killer lick. let me assure you it's not. you can play this piece. the G is the third and the D is the major seventh. and B = ninth). D = eleventh. in which thirds in A Dorian are interspersed with an open G string.. It sounds great! Whenever I use open strings in a solo. Though the etude is in the key of G minor.. if you can play Example 37 and 39 from the previous section.. Though this study may seem very intimidating at first. I .. if you're in the key of A. The best way to master this etude is to learn it in two-bar fragments... of course. Of course. Let's analyze how they relate to each chord in this piece.... Play the first two measures (07) slowly and evenly. v p . There are no new techniques introduced here.. For example. "'). but it should also add to your vocabulary of ideas. Once you get that under your fingers. . Notice how smoothly the first pattern connects with the second one. . . and over Cm(9). y . u .. ~ ). The study is written in this way to accommodate the melodic pattern. Am7 1\ j .. I make sure the notes fit harmonically with whatever key I'm in-that they function as chord tones. Notice how the open string serves as a springboard for shifting positions. In D7. t!"'}. experiment. the G functions as the eleventh.u. play the pattern in the next two bars (Gm). Over E~(#II). and the D.y ~-: ~ . G = lowered seventh. you'll have covered the entire fingerboard usi ng open -string licks. try playing measures 11-12 as a repeating lick. 07(#9) or D7(~9)." and by the time you're finished piayi ng it..1 " Ex(]mple 40: "Open-String Etude" Here's a piece I wrote called (appropriately.: _1 r- • I ~ I 3 I I 3 I . A = root.. but it really is just a steady stream of sixteenth notes. the V chord. " :11 'J 3 3 4"'... For example. you'll have to adapt it to the time sign ature you're in. II • J• I I 1'" --'" I 3 . y ~ '''' . it starts on D7. try playing Example 39. As long as you accent the first note of each measure. ~ ~ }. When we switch to G minor. but all that means is addi ng or subtracting a few sixteenth notes. _"_. «<."... ------r----------"'-. --TB ...._.......=~'"'-... i 15 I 16 1S=~7 o~e 15 0 ...... '10 0 12 0 ..---_ . v. • • • •• .:::::==t=..::. -. . ! i 70 8 7 e 8 7~ 0 7 ~8~ ~"- ~-----------------r__------------r__----.-......:m Qj~nlm -_-~ ...... r----=f=------........-.u f:". u u u n....... ...n .-...=---._ ...-. ~:. --.. u ..t--. I D7 15 fI I ..:::....:::. __ _....~::::::..../ ._ 1 ... ~ u .~:.:.------~.-.....__~ 1.. i .. u !----I...-..... .------_. • 0 14 • • • \.. throughout -~~--.1 ..uo -T-... r«~2.----------...-----.D7 CIQ! ~killa~Ml.-----..-....-.-_- 1S=~ 0 14 o~e ........:'"'. --..... 1""1- 'A· . 14 0 ... '... v_... 14 0 Gm .. . _ "" U Of u _'"'""' '" v Gm PM..---. ~ .-..:::=:::~~. .... • n v . '----"'~------------~~~~u-------· ~i_ I.. ..- --~12 0 I ___l_ __ S· .. i 16 14 0 ..1.. l'I III' --- nl r' 14 0 .~'-..:-:......~ --___l_-------------___[__--- ..-....~:. . ..:::..... .......... .. """ u ..------+----:..Mnlt~ '~ 1----- ~Mh®tD...-. ~ ~_o..... ._ & U ~_ U?.. I..-. 50703050 7'" -. v . t) nJ ._ <... ... 17 I I . A --6--{}--... L .... I"'" • l.S...........=...: "...J__._.. .IV Iu 0-..::. --.==t=~.....In ..--··=~-~'"'~~'"'~".......... U ..::=+~ . olio V 'v.-_ 030 . .-.....J '~ .......: • r-. and ninth (B) of Am. and thirteenth (F~)..29 Chapter 4 Expanding Your Vocabulary Creating the Dorian Sound Using Arpeggios Here's a typical scenario: You're jamming with friends or sitting in with a hand and someone calls out a ~roove in A minor. let's work on coming up with .1 :x(]mple 41: -. "hipper" than the natural minor scale because of the major sixth (F# as opposed to F natural . you can see that it contains all the notes of the Am chord (A.. But that's only half the battle... F#. It sounds brighter and. C. G major.' can hear the harmonic "twist" the B note adds to the chord. fresh direction to your lines. Now play Example 43. It could be a vamp or a riff over a static Am chord or maybe a common progression -uch as Am7-D9. That means you would pl. . too) "':'ct"crthe sound of the Dorian mode when played over a static minor chord. by the ~-~\nature of their intervallic makeup. -rnething fresh-sounding over the Am7 groove. B. ~:"~idesthe fact that the arpeggios target the specific tones that produce the Dorian sound. Some of us would play scale patterns or sequences using the A natural-minor scale (A. You can see that it contains the third (C). ninth (B). These tension notes give the Dorian scale ih " . "1f ~7 9 - I D U .. or degree) over Am7. :tple 42: II Am (Cmaj7 arpeggio) " !J @. ". But simply playing the . E. --. lot of you already know that A Dorian is the second mode of the G major scale. r-Gr. You see. " * i * ~3 5 • 5 5 6(13) 7 * @.. a three-octave Cmaj7 arpeggio. you close the door on the most important thing: creating __ distinct sound.:G major scale starting and ending on A (the second note. add a very modern. E) as well as the .onsequently..iway. What do you play? vlost of us would instantly gravitate towards our trusty A minor pentatonic "box" pattern and start riffing . Most contemporary players (and a lot of older ones. If you look at the A Dorian . R 2(9) 4 4(11) 7 P 8 R 5 [A 7 II *Dorian target tension tones. 0.ie (see Example 41). ::Jmples 42 and 43: _~-:':look at a Cmaj7 arpeggio (see Example 42). flatted cnrh (G). eleventh (D).l . C.r. fifth (E). C.. <ince my job is to help you break away from those cliches you normally play.1'\ . over an Am vamp . G). by relying -rnctly on certain fingering patterns and positions.l t. E. B. .vered seventh (G).-~can find all the cool tension notes in the diatonic arpeggios built on A Dorian's parent scale. ~3 5 .: 'nan scale isn't near! y as hip as bringing out the essence of the Dorian sound. F. they also. D.que flavor. - IV " . G I -11' perhaps the A Dorian mode (A. ......._ 4 2 . ~ . It requires a bit of a stretch... .. ._ ~ ~ '- ~ - - 0 ._ w n ~ . 11 'I"'" • .. you really won't know how you lived so long without it.. '" ...._) • .. ..l - 'T" 4) '" I ..-... ..h.......- . I've included a couple of A Dorian licks combining the Cmaj7 and Gmaj7 arpeggios (see Examples 46 and 47).... U .: .. ~~ • • s>: I It. .. .h. Example 46: ~ )..~~ ~ .... ... .. '''' . . ..... ......'" 'v 4 .. You'll also have learned a new soloing approach.. ---H ... .... V ~.. . but the intervals in it sound real cool. I . fingering: 2 4 2 44 4 Examples 44 and 45: The Gmaj7 arpeggio (see Example 44) contains all the tension notes in A Dorian: G.If • ......) . ._ •• . .. Example 45 is a three-octave Gmaj7 arpeggio using one of my favorite patterns..0. ... ... ~ w n V .''' . . Once you learn these licks.. '" Am7 .. 1 .. . ... '" .. l.. .. Example 45: ... .... ... ~~~~~~~~ I th. . 4 ..If .ri" ~ ...... ..(Cmaj7)-. ... I 11 I. .. I . 4 ..... I 11 g /'.. I n--.--------(Gmaj7) ----." ... '" . B."r. D..::... .. This is a very hip substitution... Example 44: Am7 (Gmaj7 arpeggio) I • ~7 • 9 • 11 • 13 II ... ... . and F#.. .... • ~~~~~~~~~~~~~ ..r> .. oil . ..~~~~~~~~~~~~ . . once you get it under your fingers.. II • . I .......~ ~ ~ . 3 .. .. . ~"" • . . ~ Am7 ~ r-. fingering: - • .~~ IV V .. D l.ll u .." . 1 ......IT - ~ r-~ r-~ ~ . I• " ---k 4 4 4 Examples 46 and 47: Once you get to the point where you can readily hear these substitutions..... "". .~ ~ ~ .30 Example 43: Am7 /'......... I ... .. fingering: 3 234 2 2 :1 4 .. . . you'll be able to call up any Dorian sound at will.._) 11 .. . use them as a springboard to come up with your own.... 8 ya ~ ~ ~ ~ ~ ~ ~ ~ . To get you started....~ ~ . Listen to how great it sounds over Am.. .. . . Example 49: B minor pentatonic over Am7 '" ---ij . r-l---. 4 5 6/13 R .. though. D - ... J . --.... I . B minor pentatonic contains the ninth... . . .. D: see Example 48) and the B minor pentatonic scale (B........ .. ..... p ... hut it sounds kind of lame)... . Just about everyone knows you can play the A minor pentatonic "box" pattern over Am..J ~7 R -' . 'v . 'v . E. WI Example 50: The key to making these scales sound right is not to play them randomly over the progression (you can try it. the ninth (B).. -v .(Gmaj7)---..IV .. .. ... fingering: 1 4 1 4 3 4 3 Creating the Dorian Sound Using Pentatonic Scales Now that you've been experimenting with ways of applying Cmaj7 and Gmaj7 arpeggios to A minor grooves to create the "Dorian sound.. r.. B... B. G.. . . ~ .. ~ v_ ~ . 1 -v ... .. . 4 I D . Notice.... Am7 . >II ft .. they also contain those wonderful A Dorian tension notes: E minor pentatonic contams the tlatted seventh (G).... 3 4/11 . C. -. Let's look at a few examples. . . E.. . You probably already know that this scale includes all of the notes of the A minor pentatonic scale. . Iff'. Example 48: 1\ E minor pentatonic over Am7 Am7 ~ -. A._ . .. D....." it's time to get even farther out.h. and the thirteenth (F~).... l.. that this scale also contains all the notes of the E minor pentatonic scale (E.31 Example 47: 1\ Am7 r-. ~ ~ s>. . ./ Ii Ii .. G). ' . A: see Example 49).. r . • -' JIr» ~ . : . but to integrate lines and motifs from them together with the straight A minor pentatonic ideas. eleventh...--- ----I ....._ 5 ..... ~ (I- ~ ~.... p..".. 9 • 4/11 r l.: D 4 I . :. IV - .. WI . But why limit yourself to the obvious? What if you could find other minor pentatonic scales to play over Am? Then you could play funs and patterns that you already know but use them with brand new harmonic implications! Examples 48 and 49: Let's look at the A Dorian mode again (A. ..... OT 1 J~~~~~~~~~~~~~~~ . D.. . 3 r-- ~ -__... . FI.. . )~~~~~~~~~~~~~~ TJ ___. . . . The beauty of using these pentatonic scales over an Am groove is that although they are quite consonant. .. and the eleventh (D).. F#." l ...(Cmaj7)-----.. -------(B minor pentatonic) -------.{:.- • _. - . .:.7~--r-r t ..L '"'- -. 114 .. D .. fingering: 3 12 1 2 3/3 1 1 3 13 Example 53: A neat bonus to all of this is that the E minor pentatonic and B minor pentatonic scales also contain the notes of the Em7 and Bm7 arpeggios.-' A I . ..{ i" >01 ....... Arn7 j r. play the minor pentatonic second........h. ~ .. ... '" . . .. ..(" "').... ... ~ Ii J or ) _........ ...------------- shifts to E minor pentatonic before resolving (E minor pentatonic) ----------.. It has a kind of Jeff Beck quality to it..(B minor pentatonicj r=t ~ ~ I W . I ......> y l..~ ' I '- -~ . .. Bm7. ---.. 11.w... where a motif is stated in A minor pentatonic answered by one in B minor pentatonic..:::._. 12 t •" 2 .. 3 r---- f ... . and E minor pentatonic acta ve hi gher.. __I_L_ r- . So.. . __.. . ..Lf.. Try playing this line an (E minor pentatonic l r+-q I I~I.. . ." ..... and Am7 arpeggios to create an exciting.. .--.... 8 va ...... B minor. ~ 'w . l.. ~ - . _}) -___... L"l .. iii ..n v ~ .Example 50 begins with an A minor pentatonic lick and smoothly back to Am. As you can see...._ ..... --.. (Brn7) (Am7) (Ern7) 114 • ili':..... "l ....... .".. ..--.. 1- 3 3... Example 52: In Example 52. " . • 4 1 --"'- ... .~ .. )f. ... ._ r- -.. '"~ ...._.. . .-J r - . -~. 1 £~ . . rolling line../) ~ >01 ~---. . which uses Em7.... And be sure to keep experimenting! Am7 scales on the root. • . . .. the possibilities are virtually li mi tle ss... ...... . ..n 'v " .....: ').. " .. D .. ..._ ~ '" . ~_.. . ...... .r _ III.. ) Example 51: Example 51 is a call-and-response type of line. and immediately A rn7 .v ._ . .... .. ~ J J=r r r rm ..._. . ... here's a quick recap: Over a static minor chord or progression.--.... ~~~~ !'. . . .. ......• .. .. -3 .~ I tJ ../ . . ~ ~ .(':.. 6 - . " I ./1'7 J • J ..... 2.. --.... ...... • (B minor pentatonic) 3 ~. .. and fifth degrees of the Dorian mode. . fL ../ >01 ~ J._ • .. .. Check out Example 53... . . .. 3 __...~ r... ~ ... • jf..... (J. J ~..-.. - ~.._ .. -..... I've combined the A minor.. .. ---t1 I £:...... ..--.B ... ft . scales.. . .... . ..... ..ft ..........3 L- ttJ ... ... respectively. ..~.. - . . Am7 1\ .......• .... • .w.... •n "..... . . ~ . . .. That means you have two more arpeggio substitutions to choose from when soloing over Am. • f- ~ ~ T_ I A D 1\ ...... . ._ • ~ !'- t!. .... . r r [ r r rt . ~ .. (Ern7) #....lit ~ . B J ... I always try to approach sixths in a manner that will not make them sound obvious.f'-~ ~ I -_ft .. j ... ... r_ '\: t... For example. .!'. '' ... ....\ ... yet unpredictable. Merely mastering these concepts requires months of practice and experimentation. ... - .. You can hear examples of licks using sixths in a lot of R&B music. . ... r embellish them using slides. I.... . Am7 ." ~ "" .. _/ I Example 56: I love playing sixths. ~ "" . A to D is afourth...'v . A to C is a third.~ !'. I .. . I. . being able to spontaneously integrate them with your previously existing lines. . .- .... and so on. Example 55 is one way of playing a line using nothing but diatonic thirds.. .. .. . . ..4 ... as in Example 54..If . . which is diatonic thirds in A Dorian... - ....... ... Am7 . the opening riff to "Soul Man" is all sixths....""---t . in A Dorian.. In Example 56.. oJ .. Am7 . .. and don't descend step-wise down the scale (I jump down a fourth during beat 1 of the second measure). A to B is called a second.~~~ ... Because their sound is so easily recognizable..- ... They're very musical.. .___ 1 AIII!...4 . A ~ I D - OJ . y .- ..- .. . .. f'- ~ _-. that is. For example... This produces a nice contour-melodic.. D r ---. ..Ilo £ f. 1 1 ] ... .. That's when you develop your own voice 1 This time around.... ..33 Creating the Dorian Sound Using Intervals Up to now.. . . and the wide distance between the notes keeps them from sounding scalar. . ....: D .. Then the real journey begins: making them your own. we've looked at various arpeggios and pentatonic scales that can be extracted from the A Dorian scale to produce a fresh sound when soloing over Am.. .. I ". .... change their direction.. • .. Example 54: An effective way of learning intervals is to play them in a sequence up a scale. ~~~~ /' . ~.. .. ..~ f- ~ _".~~~"'" t ~ . .... we'll be looking at intervals-the distance between any two notes in a scale. . I . ~ .. "" "" Example 55: The next step is to make the intervals sound like music. Notice how I change the direction of each interval.. .. .l If ~ fL~ ./? . - . . ...... ~ ~ V . I like to use double-stops when I'm soloing as well as when I'm playing rhythm.."'" ~ .. Well. :}" . _....... s .p4... when you've come across a chord or two that didn't quite "belong" in the song's key center. ... _.. • -• .pi4.. . " _...L . . Play Example 57 and listen to how the thirds add interest to the fairly stock blues licks. ...:=-:"} .r.... It's an integral part of styles as diverse as Chuck Berry's and Albert Lee's.4 I 'T" . If you can assimilate at least some of the approaches we've gone over in the past few paragraphs... .... .. ... you'Il be well on your way to creating an individual voice for yourself.-. .... diatonic sixths in A Dorian) with a heavy blues-rock lick to produce a catchy..... I'm sure.~ s>....... "~ _.........0..FI- ...... " .~. Suddenly... .... powerful rhythm guitar part.. v 11 .:_ _... ..___. in the course of playing a tune or jamming over a progression.c.. . :~ '~ y" ..." - --------~~ ~ .. . They add grease._ v n ". .. _r_ c . ""'''''''''''- ..." ... '} ' . . I. that's a pretty full menu to choose from...-. . or attitude. ....Example 57: Another great way of applying intervals is to play them as double-stops (two notes at once).01 ....... . fear no more... :..... for I'm here to give you a few tips that may help you overcome this intimidating situation...' 1£ ~ f'\ . . . It happens to all of us.. •• . 4....t - ~ _.. And there's always room for that. /- .. ." . . '" ~-~.. ~ . ... ....... ... .... .." .... . " .. ... ~~~~ Example 58: Example 58 combines double-stops (in this case..: . . . Keep practicing! Am7 1lj I{ ~ .. ." . .. .. " -""- .J • I 1"'. You can see how well sixths can be adapted to the hard rock genre. ... • . Nothing spices up a single-line solo better than some well-placed double-stops.. . ..--.. IV . WeB.. .- [ • .Q ..... . Am7 8va II ~ II .. They provide a natural breath in the phrasing as well.. hunting and pecking.....-.........v .. . to a solo and break up a stream of notes that may start sounding monotonous..n ~ _ ~ ~ .~ A~' ..~ • • -.. -"-"'" .... it sounds terrible! What ends up happening is that you either layout altogether for the duration of the mystery chord or you try to muddle your way through it.: __I"":. ~ .. " ~ ." . -~ ..... _----~-----~ .. . . ... •• . .. This is a classic example of call and response: where a main theme is repeated with different ideas answering it... r I -3 ' • . .. ... the scale you've been soloing with no longer fits-in fact.._ ." I . . --~ Navigating Lines Outside the Key Center There have been moments.. ~~ ~:. Musicians have been doing this for years.-..1"" \ ) 'T _A g I ~....--..._ 'T ....... ." ---. . .I""Io_ I D .e: . praying that at least some of the notes win work. . ..._ 112 ~ ~ '''r' ~I"I I . _... _. 4 '\: II iI ._. A .- ..&_ ~ I~ 1II.... . Nothing gives away inexperienced improvisers faster --lall the sudden break in their solo's momentum caused by trying to playa scale that works or to force a line --Iat they previously worked out... that is... Since Example 59 is in the key of E major. 1 . Before you attempt to solo over any progression. since there's a e chord in the otherwise diatonic progression in the ~c). C C Lydian scale I"t! ::: ::: ~ . you'l1 have to play the e Lydian scale (Example 61) over that-and only that-chord. ~ornpare Examples 62 and 63. play the Lydian scale built on the root of the chord over it.: II II t'~.. A " . That's because I set up the change by smoothly resolving from -lc chord tone to another (from the third of A [el] to the root of e).. you should look it over. and B are found in both E Ionian and Lydian). '" . It's amazing what a simple half-step can when you know how to use it. . there's a tried-and-true rule you can pretty much follow: Whenever there's a single non-diatonic major chord in a progression... Using these initial guidelines will give your ideas greater melodic contimuty .. ... You can also USea tone that's common to both scales (E.. The key is to connect your lines smoothly so you sound as if you're playing . :: - ~ ~ :. In other words. . et this concept under your fingers. as in Example 59.. . Is the progression completely diatonic. the largest interval you play is a whole-step or half-step in either -ecuon. or are there chords out of the key center? Are there any chords that may be unfamiliar to you? It's important to isolate potential trouble spots and work on them in advance. - -- ._ I{ . Even though I used e Lydian over the e _-. -9- -e- 11 c - I :::. B A . Example 59: If you're playing Over a series of diatonic chord changes. I u ~ I -e::: ~ ~ ~ u ." t.. Example 62 is an example of something an immature soloist might do.:::.. not over them... try this exercise: Tape a diatonic progression that has one non-diatonic g --Jjor chord (use Example 60 as a starting point). I 11 c . no lessl) has nothing to do with --12 bluesy feel of the rest of the solo.mel.. . '..J -411 • 11 " p I x '! ~ . ::: .. like the e chord in Example 60. " ~ ~ lxomples 62 and 63: 3c forewarned-simply playing the scale is not enough... In this case.' of E. Well. Now Check out Example 63. that's where you'Il have to do some pre-planning.. the line feels like one continuous idea... E " ~ ij _. the solution is pretty obviousyou can easily use one scale throughout the entire progression and it'll sound fine... A.Icrifice the whole flow of the solo by trying to nail the "correct" scale over a "trouble spot" in the +ogrcssion.--. Notice how running the e Lydian scale (and starting on the root. :: ':" . Examples 60 and 61: Example 60: E B A ~ Example 61: I ""I'" I! u :n: i .. . 4 g v .... - " '! '! " :::. :- " ::: p But suppose the progression borrows a major chord that's not in the key. C~rn 0 '-' ""I'" n: U n u .35 Let's start at the beginning.Tough the changes.. Then try to craft your lines so that when you're switching to -~ chord that's not in the key center... F~. you can use the E Ionian (major) or E major pentatonic scale to solo over the entire groove. ~ ~ ~ . . For those of you who are theory-minded.:c " --...... lUI ./ .. 13..I . to look at it another way.- -... . A pc Er [ [ H f 664 r r f tr Ph 4 t1r [ rr L L L P F = [ C ~ 57 5 7 8 5 7 8 7 5 E [ 5 rj IF 5 - . ~7(~5)........ - 1 .-... .:! . --.- - OT ~ '. .....'-7 J r>..... _~ ~ ... _.. . .. ~ if --1 i.. it would be the Lydian-dominant scale... A L'> u Murch [- -. .. ... _!_ 11 D - ~ ......: }..) .4 : ""h u . a Mixolydian scale with a raised fourth)... ... r-. _/ - ."l'" -- B .....U. \ .. 87 8 5 7 7 5 I 5 ~~"" .. Example 63: E ............ ... 74 54 I 7 ~'6 I ii The Lydian-Dominant Scale In the previous section.. U ".. 9(~11).....__ . Example 64: The Lydian-dominant (also known as the Lydian flat-seventh) scale is simply a Lydian scale with a lowered seventh (or. . ?~ . u " l~ l i i r~ 6 6 4 554 7 6 75 4 7 5479 8 75 _.....: D " -~ ) \/ ... OT rr-...... it can also be thought of as the fourth mode of the melodic minor scale... --.. .. --/. -u- . 1 J .. Looking at Example 64..:I ------y B ~ ..... .~ f'_j fI 101 ~ In --~ ... What would be the scale of choice then? Well.. 9.. )n-~-"'~ ------ • . I " ~ .. I \ . . ' ----... .... l3(~ II)]./ . . we talked about using the Lydian scale to solo over a non-diatonic major chord in a progression. 55475 7 6 7 5 479 8 7 7 J __. ... I .... ...._16 Example 62: fI 1... But suppose you're working on a tune that uses one or more non-diatonic dominant-seven chords 7.:: u j \ / r-. "l'" ---......~ ." ...... --....... --v " . I .1 E ~ . u • . you'll notice that the C Lydian-dominant scale is identical to the G melodic minor scale starting on the fourth degree (C).. Keep in mind that you can play this pattern. f'- ~f'-~ • .. . .... Granted...... . experiment.....)f'- ~ . . ..... . .. -- Examples 67 and 68: .r1"" ~ --.. experiment..... . - . ~ u II!" .. experiment! Write as many lines as ..... .. 11 p. ... ..-. .iu can using the Lydiandominant scale... D .. try coming up with Jines using only the notes in the pattern. and a11the new licks you've created with it.. . A good way to learn this scale's sound is to create a pattern that emphasizes the Lydian-dominant tonality and compose lines with it.. ..(G me I0 dirc minor ) ~ I h " ~ ill • 11 .. . Examples 67 and 68 are two examples to help get you started. . • 1ft- ~ ~ .... .... r ... - .- .. D ... It captures the essence of the Lydian-dominant sound.. C7 I ~ !E F . p .-----... --.. .... '" v ~ .. --.. . . ...S in Example 66.0.:T -.. ... and lowered seventh (B~).. ... u ..... .......... namely the third (E). A D Example 66: Once you have this basic shape under your fingers. .. . I . J.. ~ oJ I ~ . . ... ... . the more you experiment with it the more you'll come to appreciate its richness and depth.. A--::--'. .. C7 '" ~ ~ • ....... some of them will be lame.. . . .. . .. I 11 D - .. A ~ ...37 C Lydian-dominant scale . raised fourth (F~). on two adjacent strings a11over the neck. . . One particular favorite pattern of mine is the six-note idea depicted in Example 65. :xomple 67: I ... but you'Il be surprised by all ·1~ cool ideas you're bound to come up with.. . . A I I • ~ • ... ~ . p - ..... A Example 65: Though this scale may be a little difficult to hear right off the bat... .mce you have the Lydian-dominant sound down.. v .. A v ... J t II . I . . )......... . it can fit over any chord. JI" tJ V • ../ 1... ...... '''' ~ .. ................ '''' . ... Since the chromatic scale is built on consecutive half-step intervals (and therefore contains all 12 tones used in Western music)..... play the Lydian-dominant scale built on the root of the chord over it.......--~8~7~8--~7--9--7--?-9--~8----~1H9~8~~7--9---7---8--7---10---9---9--e-------?-<9---7---7~-9----------~11 The Chromatic Scale Before Dream Theater took off..... . Ern r F II i. ' .. .. J~ .. and so on....... used judiciously...._ ..... it has no true tonal center..[ ......... r 1 <7 ....... L ... ... ...4 IV . and one of how to apply the chromatic scale to practical playing situations. I .....j... fifths.... Try not to use any intervals greater than a whole-step in either direction at first.... ........ ... ....... Remember to connect your ideas smoothly when you're switching to a chord outside of the key center... That should be your goal. So I""'" ... experiment with wider intervals such as thirds..j ~ ~ ~ .:...... . .... ....... ......... I JI" JI" I ........ ... :.. Above all. This means that.............. t!: . Notice how the C9 chord is seamlessly connected to Em and how it effortlessly resolves to Bm......... >7 . keep this in mind: If you can make a non-diatonic chord sound as if it's in the key. I used to teach a lot. - ........ ...".. • C ... ..... .......~ A " . I'd like to show you how to use the chromatic scale... "'"-......- rv - ........111 '" D Example 69: Now the big question: Where would you use this scale in a tune? The rule is simple: Whenever there's a nondiatonic dominant chord in a progression.j.. . ...... melodic device to add color to your playing.. chromatic warm-up exercises without providing any explanation actually is..~ ~ ~ ..j-- ~ ... I ...... their other teachers would give them of how important and versatile this scale not just as a tool to build chops but as a Example 70: Example 70 shows the chromatic scale in the 1st position.. 'v . fourths. you will have arrived as a soloist.......... .... .""" ..... the things my students often asked me was You see.....lh ...... Brn 1\ ...-....4 I . Example 68: C7 8 va 1\ ...... • ... As you become more familiar with the scale's sound and visual fretboard patterns..38 ............. beginning on F................... . ..... - ........... _ _. .. ._ ___ t......... ..... Check out Example 69 to see what I mean...... 5 ~ 4 .. . you can accent the first note of each string or.. applying it will be a lot easier..... ft oJ! ... ... as I do. It doesn't contain all the notes of a chromatic scale (not every half-step is included)... ..h. C . u U 'II I'" T1 'T" I .: lL ~ .. Once you master the technique.. ....... ...... 3 2 4 3 2 I t 2 3 4 1 2 3 4 1 2 3 4---4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 1 ::>- 7 ~ I r ~b r J . ...... start on FI on the low E -tring and play four chromatic notes up._-td . _ -~~ . using alternate picking.4 g I.. . 3 4 v A . 34 12 34 I 234 1234 1234 1234 1234 1 23 .. .D. ..._ . lump over to the A string and start allover again... 4 ft . .. -4l1. ... . - " . Since the notes fall in groups of four....J . 1 2 3 ..39 Chromatic scale f'I -. . I. .. 3 2 1 3 1-----1 L >- ~ J 4 2 5 3 ~ 6 4 Example 72: Once you get Example 71 down.. . 3 2 5 ... .. .. .... .~.. • I<. (Haven't you been wanting to go beyond those pentatonic boxes for a while now?) Here's the deal: First.... .. 9 Ii! 5 .. .. That's the pattern..h.j J J J bJ j J I J ~j J J J >- bJ j 3 2 J JQ 2 1 5 4 4 3 Js!g 3 2 2> etc. fingering: 1 . _ oJ! .. _A v .~V ~ V etc... try tackling Example 72... 3 2 4 3 2 1 5 . ...... - • l' #~ .~. 3 3 Ii! 5 4 4 3 3 2 2 1 5 4 4 3 3 2 Ii! 5 4 4 3 2 2 1 5 4 ... I do this because it helps me solidify the time.. . By the time you finish the pattern on the high E string. ..... tt.. . keeping your hand in 4th position.. .. 12 34 . -- I'>_' ~~~ ~#~ -. 3 Ii! 5 .. .. .... but it has enough chromatic elements to get you started..u. . . fingering: 1 2 ... . .. ~.... 1 2 3 .. . .......... CP \W .. . you have to get the chromatic scale itself under your fingers.. shift up a half-step (one fret) with your pinkie (you're now in the 3rd pos ition) and play four chromatic notes down.... _.. Example 71 is a good chops-building exercise. .... You should learn it up and down the neck and become comfortable with the fingerings. .. This exercise is great because is gets you thinking laterally along the neck-an invaluable approach to breaking away from position playing. then shift up a half-step (to the 4th posi tion) with your index :"Inger and play four chromatic notes up again. . 1 2 . 34 ... . It... Start at a slow tempo (60 beats per minute) and gradually increase the speed.. Practice this exercise with a metronome. ~.... .. I .. .. 12 ... 2 3 v .. . . .U. ~.' in ... .... . .~. . 3 2 5 .. .. • ... Here are a couple of chromatic exercises that will build up your technique and get you moving all over the fingerboard.. of each measure.. A_ - " . . as a result.... . . Then. . .~# .. . . my speed and precision improve. . you'll [-7e IRe )4!J> pos)!)o». 1 234 12341234 Example 71: Before you can apply chromatic ideas to scales and arpeggios... . 4 f!~~~/~~~~~~~ .p ... . . po f""i:\ ~ " <J . -... II ~~~ fL~~¥ ~~~ ~ 8vU . T .. " ...15 12 11 18 II l. .oIfr-- b.. '-"1"1 .... b... .. First play the scale straight (without the circled notes). h"'- l.... v 'WI v ..---. ... OJ ~ ~ . r . • ~ • ~~ 1* f'.. I I 'v I I I 1 2 3 4/ 4 3 2 1/ 1 2 3 4 2 3 4/ 4 3 2 1/ 1 2 3 4 . _ fI_ • .. .---.~ #f~ ~ -. Both figures sound good over Ftrn. . I( .. ... p '.. . . . fingering: 4 3 2 1 <. .....po . . Experiment. "" .......... 11'- ~ "I" I .. . descending to the 2nd position. l...-.. Example 74: Check out Example new life.. ..... 2 34 . ~ r..... .... . .'V "7 .ft fft\ ~ "" .....--. "~ .. If you follow the left-hand fi ngeri ngs indicated beneath the tablature.. l! ·It· . ....... .. --. '" P F . . fingering: 1 2 3 4 _..:>- • D 11 .. 'v .~/~~ ~ - . . ~ _ -r.. b... ... liT <7 rv ..~ ..J~ 52 ~~ #2 s ~ ~ . I... C:!!)~..... . F#m ~ & ~ "l......40 F#m 0 _fl_ ~ '" \I fJ . . 2 ~ b. g ~ ~ ~ -~ f: : ?etc r I:~ it e . .._ r-.--.. ' . I........ 1/1 I...... 1/ 1 2 3 4 ....~ 4"..h.... ...4 ~ D ... ... fingering: 1 2 3 4 1 2 3 4 234 1 2 3 4 1 2 3 4 234 ."" 'v 1.---. .'I:" ... 1 .. I' i 23 3 2 1/1 1 2 34/4 3 2 1 2 34/4 3 2 34 Example 73: Example 73 is just Example 72 played in reverse.... I . 1 2 3 4' 4 3 2 4 3 2 1'1 2 3 4'4 3 2 Using Chromatic Passing Tones In this section.~. An approach I often use with three-note-per-string scales is to add a chromatic passing tone between two of the scale steps on each string..' " 2 1/ I . \.. ....... ~.~..2 34 .h. 4/4 .-4 .... ' .: :: i2 11 : is 17 16 15 14"<13 14 15 16 '<15 14 13 12 14 12 1£'0 f1 1£ 12 14 >._ oIfr-- ......... . ~ A Mixolydian with chromatic passing tones I~ '" -. r ~r~'rE ~r# r~'~r '5 LI M ~f I I.... 1 ft <J V .... - II....... ru . v .... but the cool thing about it is that it gives the chromatic ideas a tonal focus.. .---. 'v .h. You're no longer playing random chromatic lines that sound like exercises.. ....... .. !'.. .4 D bU1 v ....:\ \V .. and then add the chromatic notes.... they can work over any chord. 03 .. .. which is an A Mixolydian scale with the chromatic passing tones circled... 'v .. .. v . 74.--......---. ..- 32 ~ . .~.:-" . ...-.. we'll look at ways of applying chromatic ideas to scales and arpeggios to add spice and color to your soloing. It's actually a pretty simple concept.... "" v " rz-.\ ~ .• . ~• .. I . you shouldn't have a problem.-t.. . .. Notice how the scale takes on a .. This produces a four-note-per-string pattern that feels very comfortable to play....... ~ .. 9·/11'· . I 8va _. . .." .. I ....v- _. but the pattern isn't a strict four-note-per-string one.. fingering: ! @ 234 11 12 71 9 2 @ 3 H 4 8 9 234 @ H I 1 2 3 4 II 234 Example 77: I've used variations of this concept on several Dream Theater tunes. l. ~u ..b~ .I~ I "l- .. You can use this approach with any scale or mode that can be played three notes per string.h.. fingering: . .. . 2 .... .... ..... . . . .~_L.. 3 n ...... P l.~..... 1#'"-.h. . Use alternate (up-and-down) picking... fingering: 1 2 3 4 1 2 3 4 12 3 4 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 14 3 2 1 3 Example 76: Example 76 adds chromatic passing tones (again circled) to an E Lydian scale.. ... M.. u 1 . .. 1 242 . I 4 '" ." It's based on the F~ Mixolydian scale with added chromatic notes.. . . .h.j I- t.... g "" ~ Q 2 . F~ ~~ • . .41 Example 75: Here's a run in A7 using this concept... ..l TI .. '" I J... '" ~ V . • .. <I " ._ .. I played a run similar to Example 77 in ··Metropolis. IV ... I 4 1 2 3 2 1 4 3 2 t 4 2 4 4 14 3 2 .. and pay attention to the left-hand fingering. ..4 I .. 1 ~ • ~ '. .... E Lydian with chromatic passing tones I i J #J (J) 13 #e r j I I ~ P!J Ie 8 r 9 r @ 11 9 i I 9 @ H Hi! It I l.... . IV .h. ..#~ 3 ~ 1*" tJ . ..v ..... fingering: 1 2 3 4 1 . .. ........... A7 " ~ !: ~~ ~ f-- ~ ~_.. .. J '. 2 ... Q ..4 . ..-.. ... the fifth (B) ascends chromatically to the flatted seventh (D). .. .-..... Notice the different flavor it takes on when the fifth (E) is approached chromatically from the third (C#)-see Example 79..4 .... »_.. -D 4 . Now we get a run that could be heard on a George Benson or Wes Montgomery solo. --. ... Em7 II I I _ tJ ....-noI 'rr l .... • ~ f. Example 78: A major arpeggio Example 79: ~ f-- A major arpeggio with chromatic passing tones I: . J . Suddenly. Use it as a guide to help you figure out your own patterns. . rv .. . . ..f' ~. .: ..... - -~ .. In Example 81...... 3 Example 81: You can approach any note in an arpeggio chromatically.--.. ~ fl- • --. I .. a two-octave Em7 arpeggio....1 ~ r T ::. .... ..h...... .. . Example 78 is a simple A major arpeggio...h..42 Examples 78 and 79: This approach also sounds great when applied to arpeggios._ 3 I . -D II . . JV' .. D I.IV =r v 2 .. ...h. . . •• 3 ... it sounds fuller and jazzier... ... ~f..... - .fingering: 1 2 1 2 3 4 1 2 2 Example 80: We' II take it a step further and create a lick around this idea (see Example 80). .~ft v ... .... D ... J l. .. fingering: 4 2 1 »> 1 3 . .... This section merely scratches the surface of what you can do with chromatic passing tones. - v . ... A Q l.~: ! ~ 1IJ" s... <If . ... 3 1213214 . - ... and licks..fingering: 1 2 4 1 2 1 l. ideas. 2 'v .. . . '" 18 15 . I . __ i _. ... 'ft . I'm going to show you how to do it. like a cool lick forced into a solo....... . ..._j V ~ V ~ ~ .. you'll never be dependent on anyone else's style again.. we can apply other scales and string combinations to it to create new licks.. Gm 8va-------------------------------------------------------------------------------------------. The end result usually sounds contrived.. .. you would probably play it as a fast repeating lick. Let's start with Example 82. ...t V = upstroke 3 3 I L• Gm U. ._ ~ . Example 82: You can derive literally hundreds of licks from One idea. . or pattern. . . N ow that's fine..-1 . maybe use it in the climax of a solo. ..... . '" . .'v .... . . - .... Exam~e 83: Now that we have a blueprint. q. And people can hear that. ~ ... ..." So it is with music.._ . . r ~ ... ~ .~ · · " .. . p .. but in that one lick you'll find many...... ._ 3 ~ . picking: ~ 1'1 \.. · ~ ~ III. -. . '" n .. let's move the pattern to the first and second strings. You see.. You'd get a lick sounding like Example 83. ~ ~ V ~ V ~ ~ . I . ~.. if 3 3 3 3 3 I r. You'd see that it's derived from the G blues scale (G.. v A ..- ft._ r: - I• '11 '11 II ~ 3 3 3 .. ... ~ ..U~ ... There's an obvious formula. like . '" . to this lick! r.. F) and that four notes are played on One string followed by two notes on an adjacent string.43 Chapter 5 Expanding Your Creativity Creating Original Licks There's an old saying: "Give someone a fish and you'll feed him for a day.._ • ..I = downstroke 3 h. But what if you were to break this lick down to its basic technical elements? You'd look at the rhythm figure-it's a sextuplet.~ ~ . D~.. " .... does it? Ah. ~ 3 . well.. An easy way to double your repertoire of ideas is simply to play everything up an octave (12 frets higher). '" A ._ q.. . but the inherent problem in just learning licks is figuring out how to apply them to your own solos.. Still using the G blues scale.....ft '" . ..... ..._ 3 · • 3 ..---. V ~ ~ V ~ V ~ V ~ V I V ~ . ~ V -"I" I 4 D ... Btues (~3-~3) \. ----~. But once you know how to create your own licks.r ' 1ft 18 15 .... You'd notice that strict alternate picking is used.._ 3 . many guitarists spend a lot of time learning other gui tarist's licks..h. .. If you were to learn just the lick on its own... . V ~ ~ ..4 . but teach him how to fish and you'll feed him for a lifetime. ... 18 15 .. Doesn't look like much. B~... C. This is not an exaggeration. ft ._ q. . -. D. many more-if you know where to look." _ D ... .I If " If !If .. 1*.... . .... .. • _II ~ ....... .. ..... - Example 85: Now change the B flat in Example scale (G...--...... A....... " r .... 'T" d c I " .. ~ "_.. .... 81'0 .. c .. .... . .... Mixolydian 84 to B natural..-" 4 ..... 3 .. 3 :11 : j II 19 26 19 15 is 19 15 2: 18 15 19 20 19 15 18 15 19 20 19 15 ----t8- 15 !I 86 and 87. .. B.. ...-... --------_ . ...... ..... ......... and you get Example 85.. '" .... [ .. .........B.....1 I I"'" .....spsrsp~~'F'F .. .. ~ ....44 Example 84: Change the B in Example Pentatonic Gm 83 to C and you get a pure G minor pentatonic lick (Example 84). . • ~ "I . ... . .---...._.. the G Dorian scale is blended lick..... .. = .. B~. '" . In Example rapid-fire with the G blues I'.n 'V • 4'" I D 4 .. .. .6.... Example 86: 1\ ~ If \: ":I: ":I: •• • Dorian 8 V11- .' ~ 3 ~ ..'" '" ". D. ... _... " ..... '" .. ~ ' . ... ' ...•............. ..--... ... D. lines. E. _ ..... . . .. I.. . • 1\ ~ II ill • "...... As you Examples 86 and 87: The G Dorian scale (G. ..... ". '" Example 87: Dorian 8va .. _-- - • • .. .---. ... Let's look at a few. a lick based on the G Mixolydian G7 8l'11 ... [ [ Example 88: Now the fun begins.... . ..• - ~---~-~--............... F) applied to the same pattern gives us Examples can see.. . You can combine virtuoso sounding scale to create a cool sounding Gm or G7 ":I: •• the various licks derived from that single pattern to produce 88.--.. 3 interesting. '".......... " i £2 ill rEi [sF r LEE 3 [ 19 15 E 3 F LEE -' [ E 3 F Lt r r ~-----.. ~~~~~~~~ . C..._--'" !lLl .... . v .....-.... ........ 3 3 3 3 ... ..... ..... F)... .. ........ ...... ..-.. '" ...... _-[ .... ..I I '_I 3 ......... . " . .... ._ "..... .--..-. .. .. ... " .....--_ . " n ~ ............. _----_"- ' . ._ f _T_ I tIt ~ ..... ~ . . the possibilities seem endless. u - I • • .........0:- ' ..I .... "" .. E........----........ C... .. 3 ~ .. n ....~ .. rI' "~ ill f) " •. 3 ~ • ~~[ r @ ~ m I . v --------_ .. V '" .. '''' ... .. A... D ...... '" .- • 3 L I.... ..... .. ... . 4""1' .. .. .. I . 3 rr u @~m 3 ~ ' 3 rr 'U @~m f 3 ...... ......._--.... ....45 Example 89: Example 89 is the G minor pentatonic scale played using this pattern.ft 'v .... ... ill. .... I ...---. . _..---. tasty blues sound.--.. 4" ....---.. . G7 •• ..... and modal ideas.... . ~~ ~ ....-----..-----. .. ~.o- 3 o.----. I think typical blues licks can truly come alive when you add the elements we've talked about in other lessons. .-.. r m sure by now you have an idea of how cool this concept is. arpeggios.-.- ..--.. .-..o ..- .. and so on).----..--..---.. .4 I D . J '''' 'h .. ' ..-.------.. .---. .--...--- ~ lit qill- ~ill- • L ._ ~fR........v -v n 'v v - ._ q. - ..- 4 .. ~~~~~~ L~ . This is just the tip of the iceberg..-. . but I was amazed when I heard players like Larry Carlton and Robben Ford combine minor pentatonic ideas with jazz phrases to produce a unique....-..-.. Since we don't normally play this type of music.. ...-......... •v .-." .-.--. There wasn't any paper around.~ ...--.. ..---...~.....-.--.~ '"-"•v _ ..... .-. ....--.... I actually wrote this piece on the plane on the way back home from my honeymoon.... ..--. .. Notice how different it sounds from the typical pentatonic "box..-.....-. ......--.. . . 'ft -. _..--......---..-... "" ".. '-I: sva .. .. • .~ - II .. ...----._ 3 • 'I"" } tJ 3 .. so I scribbled the arrangement down on one of those airsickness bags. . - '''' n ..----. .--..._ • 3 _4_r_ . I .-.--~~~ _ ili....-----..---...---....... . ..... giving it a different. .-... . ... though.. ..-.-.-.--. extended harmonies (ninths. • '*' • •• ''''' 'v • tJ 3 3 ." Gm or G7 ~ 1. I thought it would be a cool area to explore-kind of my homage to seventies blues-rock guitar heroes. 'v -1 3 ~ ~ . 1'0 (8"a l --... n '01 ......---.. "" I .---. .. . - ... ....-. hence the title "Barf Bag. such as chromatic passing tones.--... \' I ~ )~~~~" . ... .. .. .--..-. 3 .--.n . I'm using a lot of blues ideas in my current featured solo guitar spot with Dream Theater..--...---. . ..'" . this pattern is applied over the first two bars of a blues progression. " . ~.....--.-..... .- 3 .... ./ Spicing Up Stock Blues Licks I have always been intrigued by the ability of certain guitarists to incorporate different musical styles into the basic blues form. .... . .... I never really listened to the more traditional bluesmen.. II.. 'v _1 3 . . . ..-... .." Here are three lines from "Barf Bag" that combine concepts discussed earlier in this book.-. '''' .... thirteenths..-..--.--.- Example 90: In Example 90.It f*ill·/0 f*. ''''' '01 -.... .. ...'" '" .----. • 3 3 ...-... . ..o~ ..-.. . .....~ ... ' .. more modern slant.. r" ~ 3 f'- f3 ill- • 3 .--. ... 'v ..---. ..-. . ....._ f*-.-.-._ ~.. .. 2 .--. . 4ft .....-.---..... .---.-.... ...-.---..--.ill- C9 •• 3 'v - .. .---. ..---.--. . Just imagine how many patterns you can create and the countless licks those patterns will generate-it's mind boggling! G7 1'1 Jt S va -.--... n •n 11 D - .. i ..~-.. . ....v " 3 ..--..---. ' .4 D ._ ~iII......_ ..""'..._ ..---. -" ... ~ ill- • I"" .. . .. ...--. ' .-.. '''' 3 3 3 .. ".--.. v J . instead of one lick.-.J u . •v ( c .:").. Ii " I.4 .... . 3.J .. ' ..... -9 . "I~ .... 4 1 .. :: J . fingering: 13 3 3 12 3 Example 93: into every chord tone in the e triad (E. Let's look at Example 92. . . 3 ' ..~ 3 1/4 r"i"\ _. ... . • .. ) c .. ..b. This way.... ~ / .... I. - .... .. You can see that I bend \ftJ 8va------------------------------------------' ) I \I #I " [J I r=-"1 h.. ~ IV . . ..." C7(~9)~ fl. .... .. -• ........ I .. c~g~} ~ 1J h. 1/2 ' \ 'VI .. - . ~ . -r-. you have a concept that can produce an infinite number of ideas... v .. 3 ""'' ' . . ... . --.h.. to the statement.....' .. notice how they make this line "swing.... Also check out how using the ninth (D) in beat 4 really adds melodic interest to the line as well.._ . .... I could have approached this line in a fairly straightforward fashion.."'" . 1/" ... . ..n _......Ii" I ""'' ' . .. They add grease._... I.i v ...- 1{2 .. r- . ~ .._. ~ ... I ~ • ~-~~ -1 1(2 1)2 . . v . .. . One way to begin is to focus on how you play--on what inflections you use.. r ... E...... I ..r . C7(~9) In Example 93... • ....... • ~_!t I o~ ~ . or attitude.l 1/2 "I" . though it's unorthodox. .. . 'v ....... C. J . F. ..... B~) with an added lowered third (Eb) and lowered fifth (G~).. .. . both your picking and fretting attack.. . you can also bend into any chord tone.....v . . ' .Example 91 contains bebop elements that work remarkably well in a blues-rock context. Remember: If you can bend into the root... . .. G.. '":I: @.. r .. you can make any ordinary blues lick sound extraordinary...n .. . ._. You should experiment by adding a little extra to your own blues licks as well..4 ./ 1 42 1 32 3 31 3 1 .v c 'v . Pay special attention to the fingering. • • . 2 ~ L 1 I ~ .. . ..4 I . ._.../ ' . fingering: 3 2 3 11 3. .. r-.......-9 . v Lft ...... G.. .._.. I combine sequencing with bending to produce a cool descending lick.. but instead I played it using half-step bends..... I . v L ./ 3 I1 1 ... II ...."....... ~~ . consequently making it stand out........h.. ........ . Work On mastering nuances such as bending and sliding into and out of a note.: 'v J ) . .../" 1 I 3 . "1"1"\ Example 91: I £ ~ ~ ~~ . 1 I:. h...... 2 I ". . D.. v .. I '":I: ) .......... A.. '.. .... • 'v ..... ) . .. ) .. ft ...... and really try to convey a feeling with every note. one of the most important things to work on when playing the blues (or any style for that matter) is developing authority-that intangible element that separates the great players from the good ones.ft 'v ~ .... <:» ............ You can find chromatic passing tones in both measures... . . ............ With an open mind and open ears. . it's what helps me pull the attitude out of this lick. ! . .../ / ..h....... :::: .. It's built On the e Mixolydian scale (C..". • ....... Don't be afraid to take a different slant with traditional ideas.. 133 .x ::::/ aJ) v ~4 ... I.... fingering: 3 43 1 4 3 1 3 1 2 1 4 3 1 3 3 233 23:3 3 Example 92: To me.... and E again) while keeping the rhythmic pattern constant. .... ~ . . J ---- _.. u - . • • >- --. • 6 .. -.\J ~ 1.. I adapted this move from a more common descending sequence that guitarists like Warren DiMartini or George Lynch favor (Example 95)-1 simply flipped it around! Listen to how just one extra note. I'll show you how to apply these concepts to real-life musical situations using licks from a couple of Dream Theater songs." enters at 7:59 into the tune. ...... adds a clever. ... 1/2 --:.. - .. • 6 3 -::: ~ ---- 1'[ . ~ . 1 ---- 17 -...1 >- J J 7 5 5 5 5 7 . .. It's a great study in contour because cascading thirds resolve to a machine gun sequence that accents the first note of each downbeat and upbeat...."'-.. I D _ J.. . "... r I . . Make sure you follow the tablature-the pull-offs are crucial to making this lick sound right. I use an ascending melodic sequence. Example 94: Example 94.. bluesy tw ist to the whole line. I' II . .~ u - --v . VI - v - . p _oil ~ s=>. I 1>r-. ... ~ - . . -... ~ s=>...t.. u .. . Am >- .. ... oJ ~ f Ft 7 r 7 J >- 1 J .... -----v ... . oJ .. ..47 Breathing New Life Into Pentatonic Licks By adding tones such as the ninth or lowered fifth and by manipulating melodic and rhythmic contour.. an excerpt of the solo in "Voices.. ___ ~ ~ D 1 -I -v . . u . In this section. you Can separate yourself from playing cliches often associated with pentatonic "box" patterns. ! 1 I 2 Example 95: Notice that in the second measure of Example 94. ...... . --r7f"'iO --. the flatted fifth (Ee)..: \7--z::a~ U' 1'1 ~ --.1! J-~~ Am ...... . I start by bending up to the lowered third (C) from the ninth (B) and descend down the A minor pentatonic scale using a pattern of fourths..--------'--'..._ ..1 Eo qq- . . ... ~ :".. also based on the A minor pentatonic scale. ---.... -----v . ..T ~ .~ --z::a-. v .. .......... 1'] _.- v I" I J _~ ..-I P...• .- hold bend .... . ""lI _/ .... partial A.. . bend . .L !~~~i... I . ~ . 112 f ... \ .. ........ ..".. ft J ___. I ~ ~ /-------. '" '"'T ft ...~-...... '.H....... ... ..t -.... . I . . .. .... ."-'~ -r--- . J .I 'r'\ I ~ - ~ - e r--f- ... (ASCAP) All Rights Reserved ._ . ... ""'~~ ..·_ • . . ... ~........~ .".. Dm7/F 9t.. ~--~ r--- J ....._~ ~#~ ".. ~- ~ ..~ :.. I In .. ... IJ • ... J................. ..... incorporating them into a complete melodic statement.....---."'" 1 . e- f- ~(~ r--- e- f- - - - ..:..• ~~". If! '" -~ . .. ~ -.....::~ ~ "._} ~ ~ ~ ~..""""~~"' . ____/ ~ . 1_\' (:...~ Dm7/F ) ~ 110 Dm6/F Dm7/F ............ ~-------\ 2 grad.... . ) ...-...4 . KEVIN MOORE.. ) ~ 1. 1ft _.. ) >-- - - ~ e- r--r--- 'T"\ u .... INC.. p ~('").' "'T I. ..... ..." '''/f!_\ \ .. ~. _.. ......ao ..\ \ ........ By JAMES LABRIE...... ........ \ \ ~/ f.... .. - /#f-"'-'~0~" r--f- - r--f- ~~ e- r--f- r--f- =~~~ ." ........... """"'"" • ..lNC Administered by WB MUSIC CORP. ..."'" ... At _.' ~ "'.. INC...... Check out Dream Theater's "Awake" CD to hear this solo.-.. . A(9) ........ - r --... .. '" .. . (ASCAP) AU Rights on behalf of O'-"TA MUSIC... and YTSE JAMS..~ \ .... !~~ • u.... .... I've transcribed the whole solo to "Voices" in Example 96 so that you can see how I played these ideas in context......\ ...."-~... \ I'" .. ...---. .... po all.. r --......r> \- . ~ - ~ T1 . ft ~~~ I ft ~- 1l...... \... loP ._) . II TI .-. ... . I i ~ . . *~ A9 JOHNPETRUCClandMICHAELPORTNOY~ • ~_'""' ..-..... 112 ~ ~ !J :! :> • ~ / ....... A9 ~------~ r--e- ~ l- I-- ~ ee- ~!!. ~: "rr~ ... .. . 112 J 3 3 I . . ~ 'n\ \~J.. 3 ...... ..__.-.... \' . " . ...... OJ I I~\ \01' 3 F~m7 ~ ... ___/ •u ~~""'~ . A 1·1f2 I hold bend ---~-------.. t: ---~~".".. ~ ~~ ~--~ r--: k • - *Chords played by keybd..• U' ..... .---. I r/ ..''- .. 11 --.... .~ "'r_ -----------j .. / / ............ ..M.. .ft .\/.. ft\ \ ....-. .• .J\"'J ••• v ........._. ~ ~ ~ ~ \ ~. .---~..:.. 1\ . <Ill .~ ...._ . . . / -.. :...------..... 1_\ .~ hold bend .--. .. ..... . (ASCAP) and YTSE JAMS..48 Example 96: "Voices" solo ..""' ~....---.... ~""~~ . ) 1... . v·...- .-"\ --"'oL " 'j .. \ - a~ ~ !II.. ~~ ._..-.I ~ ·E ./ . ioL D .../ ~~"""'~ . ..... \ ....... 3 F~~ 7 ~ ~ ____ . on 1994 O'-"TA ~USIC. )f........ (NC....--.. ."""' -__..-.. \ ......-_.... I ' ''''.... .._) _! f- eeTI . .......... ' ~---- <::IF ~ ~)#~ ~ ~. r--...------I.. ... JOHN MYUNG.. I..... ~. ...) .... . -._ _ _ A 3 3 3 3 3 1A717 1715 17171517 H 15 1315121313131512131315121313151.49 ...... ~-:........ 5 (5) 7 5 8 8 7 ...417141.......---.. I ....-. 112 --------5 rr 8 5 r 3 3 3 rr 5 JJJ 5 7 3 Est...-...--....rad......- _ Dm7IF (8va) ...-......._ II ...._..--------_--------------------_-------_- ------------ ~ ~__ ~1 F#m 7 (8va) --------------~ .-.--\.741515 15171718 16 _) 22 1-112 .f) I I Ii I r-I.__ .... bend g 5 I I _/"' =r=: hold bend 3 .....--- __ --- ---.....:..-.._....-. 1 Dm7IF A2 s.--............-...-..-..----- --- .-......._---- ~ _ II (8va) A9 ...-- __ ...--.......... ... Keep experimenting! Ex""" 97: --.._ ......... ..-<.. I T • 114 -""'-~ r-: I'" - I'" j 1 ..(}.. ... and the nature of the legato technique lends itself to taking shortcuts that result in sloppiness... :. IV' --n. lowered fifth (F). with a little bit of creativity. -. _ q -- ..fL ___ ~ ~~~*-.. . :::- ... 1'/ • II fL .. \'.... and sixth (Gt) are added to the B minor pentatonic scale. Bear in mind the correct execution of this line is not a matter of speed..... ~ ~ ~ " »-... -_ 6 ) • ........... I " (5 - .... . 1j4 _ .1- .. and in time.. Most guitarists would have played specifically legato.. but a matter of definition. I played the run in the second and third measures using alternate (down-up-down-up) picking.._..~~ .. This enabled me to accent certain notes. ... -~ . 6 J I --------. even a short lick such as this one win stand out in a solo..... • . !. ......1'1.JI' ..... where the ninth (C. --. -'11: Bm :&. J._ ---. Ii !a ...:=r rv~· ..: . )!ok'. .. "" . ~ '01 g ..50 There's another interesting lick 4:37 into "Lie" (Example 97).. --".~--~-..ov~ ... .... but I don't think it sounds as good-the downbeats aren't defined as well.. !.. evenly. .. It certainly is a lot easier to play the run this way. and you'll sound as if you're playing with conviction and authority.. "'". . . ~ . -::T . ....... '<I n/ . If you play it cleanly.. ~'1111'" .rT --nIOT? ~ rv-T -... which in tum made the rhythm more precise..--.). you can breathe new life into even the most ordinary pentatonic ideas.... _ .... J .._--... As you can see. ... using hammer-ons and pull-offs.. .. I"': . . o . I had to do a lot of searching and experimenting. .&... D~. I al ways like to put some blues-rock ideas in a solo to add grease to it... . c ... The passage ends with a descending run in B Ionian (major). Cramming a lot of notes into a beat can generate a lot of excitement in a passage. IV - - .. It begins at 4:57 and is played over a B major chord. I try to add rhythmic interest to this passage by phrasing the sixteenth notes in groups of three. . '"'"' h_ I!.0:- •• '" . Remember: The hardest thing to achieve in music is finding your own voice.""". We covered them earlier in the book.. Notice that I've used bits and pieces of six concepts in an eight-bar section of a solo: B fI " "" ~ ~ ~JJ. but check out how."_.. . rather... . . . Et. displacing the time. Ct..o . this technique can really shape the contour and propel the direction of a solo. Iemphasize applying any new information you've learned to practical musical situations as quickly as possible.51 Chapter 6 Putting It All Together At this point in the book. I've transcribed a couple of my recorded solos from Dream Theater in which many of the ideas we've explored can be found.... ~ ..rIll . though... When I'm recording or playing a solo. IV • . This run is followed by a B major sweep arpeggio.. .. an eighth note on the first half of the beat followed by a thirty-second-note quintuplet crammed into the second half of the beat. ~ H U ~ t. so I followed up the slides with a heavy-duty blues lick.... you can see and hear how everything we've been talking about can be used on a gig or session. we've covered quite a few concepts and techniques with the intent of opening up the guitar's limitless possibilities and to help you break away from cliched playing. .. I I .. I purposely do not dwell on any technique for too long. I try to combine the various elements to generate a fluid. when played in context. that by now these concepts have become an ingrained part of my musical vocabulary.~ ~ e fl... - lit - . technique.._ '"-0 . phrasing. Since most players phrase sweep arpeggios in eighth-note triplets or sixteenths.. This keeps the B major scale from sounding ordinary and repetitive. Every good solo is a combination of note selection. But to get to that point. dynamics. This way. and interesting statement..... It's the feel that's important.... r- rr- ".. Bear in mind.~ ".. .. IV Bva-----------··-------------------·--·--------LL • . lntervallic slides are featured in measures 5 and 6.... r- T"\ "T 4 I ~ ~ ._ . It feels good there.."... and energy. Fl. ... . which produces a three-against-four feel. . •v .. . To that end. Example 98: Our first example is a short section of my solo from the Dream Theater tune "Under a Glass Moon" (see Example 98). I thought I'd play it using a rhythm I feel sounds more interesting. concise.. I don't say to myself.... GI.o . .: . . . .. . I start out with a brief intervallic/stringskipping idea (arpeggiating a simple B5 chord) followed by a quick scalar run using the B Lydian mode (B. this time using chromatic passing tones.o".o . not necessarily the rhythmic subdivisions... A#). . "Okay. I'm going to play diatonic arpeggios followed by a chromatic run"-the lines that come out are what I hear at that moment. Above all. ........ I...... if) w/trem.. '..H... .. -'" . '. A (neck pick-up) 4"f1+t L )y~ ill . . 4 D 'v .. ......: ~ ..) 14 j 17 1411 11 1417 14 ..:v .. 4r---+1&6--'l. J\ ~ ......~ 3 (1.-...0... ..... "II •- = ~ ... . .... / I' i'.. .........----....... "'.. ..! .. ') )- ~ 19 _.~ ./ .~f-II.. ../'" ....:) 17 14 I I 14 16 14 17 16 15 14 16 14 1615 14 13 Example 99: RUnder a Glass Moon" solo Now that you've learned these eight bars...-.. .-.7~-----___1 14 -T---19 -----'lH6i-------~---------+--------------'l . ______ 'v.. _/ .._ r-r-'''' E _ I"" (bridge pick-up) ~ \I 'I'T"\ ......) to ....r-- e'~ C/ p p ~!:~ A......_ I ... 18 ~4 13 15 16 l #~#.. .~'P'P'P~~'- . (ASCA?) All RighlS en behall of OCTA MUSIC.../ I =f~ I B If rft f (t f err [ @ f rR r I 19 j (19)~ " I I 17 14 _.. INC...I' TT ~ r-- ~~~... .~ (~I~~)~ (bridge pick-up) F#m EIF# I (~) .. .-..... JOHN MYUNG.. bar ---------I ...- I 1 .. ~ . "II . ~:.H. . !: r~ - ~~ __p........... I!> ~ =...'. •• r. .. try playing Example 99.. ~ . INC Administered by WB MIJSIC CORI' (ASCAP) All Right.r:. .".... .... ....... A.-.. JOHN PETRUCCI and MICHAEL PORTNOY II ~ ~ -------)~:-...-...-----.... Words and Music by JAMES LABRIE.o ...--. C .. and YTSE JAMS.. I ~'f--i-' +-... ......... I ........... harm.. ..-..-~ A.. • 3 _/ .. .. _ . ..... _ ..." And remember: The goal is to integrate techniques to the point where they become stylistic toolspart of your voice. .._j "'"" .... v ~ ...... .. ~ -112 • --.. 5 F#rn (Bvaj -..----... 1 1 I . ' I .. ..---. .....» ~I~.-. .. ~ 16 16 14 16 18 13 14 16 13 14 16 1. I r _r ~ ~ - .rIr. ...- f-\...... .. . -3-1f2 ---- © 1992OCTA MUSIC.. p .......--. r- r-. Reserved ..~-'. ..-~ I .....r.~ A... ......~-...... ..... ..'~j. the complete solo to "Under a Glass Moon. I"'C. KEVIN MOORE..." ..-~ .t <..... . . ..-. p ..-. h.~ . L> .. (ASiCAP) and YTSE JAMS. n ' w_i!~~"!~ ~!l:~_ ...H.... ..---. INC..H.. .~ v ~ 16 ~ ...H.. A.3 -----......--. .... . 6< . Check out Dream Theater's "Images and Words" CD to hear this solo. "'- ... .14 1~. _ 19 I \~ 14/17 -~1~ (Bva.-.._ rw .. 14 16 17 _ ._:..t-y--'.. [OcO~_ mI - +--' -----i OJ ~i~. j~ 14r1~~7+.· ~ -xB crtCFAtCrf~I'''FW[ '_ [' u1fm(ctWrreti 166 EF .--.----------- ..-.I ~ F#In _________________ _ ..=1=4±1= 17 '7=1=6='4 =1=6=1=5=1= = 416=1=4~1~6 1S~1~4~1~3 ~ 1_6-413s---tI_o--------i2!---4_(4_~....7=14=1=7=14=~=1=4=1~==1=4==.-..-• 3 lit loco E 3 I V ~==="7=14=1=7=14=.-1... _. __ .~_j -B -----_. -y--. ._ ... __ . __ C 131516 131416 131416 EIF# I Bva -...-----. . _.._ .. __ _ . 1416 181614! 19 19 (19) ~ > 19 ____ . ~ I I 16P lCt7!_ 11:'6..-...._-- . __ _.~ .Bmaj7(#l1) Bva....... _-----j ..::.. . true to form.. I am a proponent of alternate (down-up-down-up) picking." Think of "Lie" as a song wedged in the middle of "The Mirror. it sounded tighter that way. Try to accent the first note of each beat-it'll give the line extra definition. I chose to play it using alternate picking-to me.J f1_U!!f!. Though this pattern starts on the root (CI) and fifth (Gn in this example. A.. start slowly and work your way up to speed. F. ." which appears 6:12 into "Lie. Though it would have been easier to execute this lick using hammerons and pull-offs..e. Though it isn't labeled as such on the CD. Notice that the contour of the second bar mirrors that of the first bar.54 C#m ~~=---------------------------------------~-----------------------------------~ " i i ttl . G. I used on this section. First and foremost. GI. E Phrygian (E.J ) '. bar 1 1 -~ flutter w/vib.~ 1 .. There's a cool open-string lick in bar 4. a section of the solo in "The Mirror." as shown in Example 100.r_ w/vib. E. which. Remember to play with a metronome.. A. The first two bars feature a melodic sequence that is 16 notes long. Notice that this part of the solo is played in two distinct tonal centers: Cl Phrygian and E Phrygian. you can start it on any note of the scale and run it all the way up and down the scale. D) is identical to C major for the same reason. bar Is 16 ) 18 1~6 18161'i' 18 Example 100: HLie" Let's check out our second example. D. this example is a great picking exercise. C. PI. B) as A major. since both modes are relative (i. You can think of Cl Phrygian (CI. comprised of the same notes).""-'." sort of a song-within-a-song. this part of "Lie" is actually the reprise to "The Mirror.. _ I -3----. B. . ._ .... ..... "Bm " ~ ~ ~ . --. . . _............... for example.. . INC [ASCAP) and YTSE JAMS... R *Keyboard accompaniment. bar 'v.. . JOHN MYUNG.(I.... bar before striking note. (I b f) "'I'" I _4 R - . rr -_ .. .-- • . ._.... INC (ASCAP) All Rights on behalf of aCTA MUSIC. . . . ........ ..." . . ........_ _...... ~ ~ .. ........ all you have to play to sound very hip are the diatonic arpeggios in C major since these modes are relative..... • • . ." ........ .. .. .. By JAMES LABRIE. ...... WIf"\ iJ _n_ .. 4ft IV .._ . Again...._ •_ IV ' .. q ... ..112 <> . Administered by WB MUSIC COR~ (ASCAP) All Ri"h s Reserved **Depress vib... check out the "Awake" CD to hear this one.... I ....... ....... . ...... ~ ~. Check out the long chromatic run in bars 7 and 8.... ... I .. v .. if you're in D Dorian or G Mixolydian... . ... ..I **......" as transcribed in Example 101. .... • ... ... ~ ~ - 3 1\ Jt It . you also know I love to incorporate chromatic ideas into my solos.... ........ For a greater challenge. . I> . .._ ........ INC.. ...... . .. . .. .... ... c. .. • ~ • l"" .. ... KEVIN MOORE... ... ....'f'-~f'-~...."" . e 1994 aCTA MUSIC.. ... So.. 4ft .. " -> w/trem.. . ..... ... g v . • r . .. ~ l"" ___ ~... ~ l.112 ". I . .. Phrygian ~ ~ h ~~ f:-~r.... .. ....... • ... . . .. and YfSE JAMS. _. w/wah ~ A I .. try learning the complete solo to "Lie. ~ ~ I'. . .. By now... ._ . .... _ .... I IV . ........ . ~ .55 There's a neat concept to be learned in bars 5 and 6.. ~ J""': _.. INC... ..~ ... . .... Notice that I played diatonic arpeggios in C major over an E Phrygian tonality..... and especially note how the four-note descending figure (sequenced up chromatically) in bar 8 adds tension and suspense to this example. . you can always play all the diatonic arpeggios of the parent key. ~ " . ... .... Example 101: MUt" ..... I 4.... . -"'- . ~-"'- .... JOHN PETRUCCI and MICHAEL PORTNOY Fl/el . . I . .... . That's because regardless of the mode. .rvo:J' '1T -v -v-. 112 '" F>: "'_'"""".. _- ~ 101 .. -~ ........... ... ~ ...I....:1__"'.+---Tr~--~ -J--11 10 11 19 11 1~9 11 10 . . . .. _--' "'_'""""...... .__ _ ----.. ---_ . .. ....': __ ...T _1_t_r_-_.. ..---...------------~-----------------------=-----------------~-~-~-~-------------------------------1---------=-------------->l~~~~~~~~~::~~~~~~~~~~ A -" ". n ........ '''' \ • .">.. T.......... .._ t .. r=:>..- - -v-v---.. ... ... . .-------~-----------------------------------____j -B---------------------------------------------------------------~ ...._--_-_-~_~_-_--_-_. ..( . ... ......&_--Tr....0:... . \ II Double time feel Cl5 T-- --8-. . ..!. -. vI . . • .. ~__ 12_9 12 __9 11 __9~H_~-1_2~9-Tr. -w ... ..-.. 'v ''''' ''''' ..--A-----------------------------4+------------'J-+-------------1-'t----l ....L. -\ ..- -.. ) ......- \ IVY'''' ___j A-S-"--" T ... . . ..£~ . ..... .. '. ----~1~2~9~--~142~13~142~·~9---41~2~1H3~12~~9------------------------------.56 Dm "-/ -I Bm Ddim 7 - l... ..e.. . -------.-- .... . ... I ~ .. 1 1 1 ... .0:....+~~--_..__ 1_2_9 1_2? -_-_~_9 __ __)__ 9_1_2_9_ 1_2_=------_} 9_1_2_::::::>_} _ __ 9_1_2 __ __ 9__ 1_2 9 __ 12 _~ ~--~------------------------------------------------------~ ..' "..: __ .~.. '01 HOI I ''''' lI" . """]IiiI[ \>1..- ___J_ -------' .._ ... ''''' .. ..... .....0'''' -.. .. \IUl - ... -----""::-. ---~ .._.--.Il-------------------------------------------.---j ._____. --. . *Tap w/pickhand while bending w/frethand at 7th fret...-=..... -----7 I .j V-------i v ~-------' VV ~ ------.E5 57 .-------------------------------------------·./c-----~ jill .____------'I6_----.I_&__l9_-------------____..&-16··1H8'1___1_166----------11 ._ 13 14 16 14 16 13 16 .. (16) 14 14 14 13 16 ..--. - -·1 ~~-------------------------------------~~-----------------------------~~ 'l 16 (16) 16 ~ r---~ -.. ee ~1-----------'I6_____..HI:). ... .-..H: -. ¥ . .. --. .u.... .... . * All other instruments play I t· ... ~ '-. ..-.... = \... 'v IV '" 'v <7 .~.~ '"' R.. r OT ..... qi #i .. ""II' 'I '0' -I .... 12 15 11 18 11 18 • 18 • 12 12 B 16 8 12 B 18 9 12 9 II ~ 3 15""'. -.- .. ..~ . -~ . 1 1 3 3 3 3 -'I 3 .-. A.-... .tJ 'T 3 'I 1 '~ qi. ..C~5 12 13 12 15..-.v - -- . • I ....t ft -...u . I it. .-... ~. V ._. . ~ 3 3 ---....-r 2811 ... ..- ..........'17 13 ~ 15 13 11 19 .... ..... By superimposing different bass notes over the same triad. F#. .. -. you begin to hear the G triad (G. . you tend to hear the E as the root... Let's look at the rhythm part (Example 102).J - .". E B/E G/E (Emaj9 Em? DIE E9sus A FIE EIl(#5b9) C/E Em(#5) GIE Em? E~/E Em (maj?H) Ds u s/E D Em}}) 6. the B triad (B. D) as Em7 and the 0 triad (0. and. ... Likewise. You see. II~ B G D A ~ 1I ~ 6... FI) in the first bar no longer sounds like a B chord. . As a result._ . Example 102: To get a clearer idea of what I'm talking about. it all depends on how you apply triads. 6 _. v ft v 'U V v w -.. the only chords I played there were major triads... triads create endless substitution possibilities. try using triads to imply the chord sounds instead of using those clunky stock barre chord fingerings.-. instead. . D#=seventh and F#=ninth)... B. root. root) because then the part would have sounded like a classical etude or exercise. v - i "" "'. By rearranging the notes. But I specifically didn't play the notes of the arpeggios in order (e. I D - - 11 - - 111 11 -. 11 " 10 14 19 12 ~ Ii i j____-- 5 9 16 9 9 1- 9 8 11 8 8 12 9 1 8 U! 9 18 9 12 11 14 11 '4 ...... But there's a specific reason why they sound so sophisticated: there's an underlying E pedal tone going throughout.. "1 _ll~. . You get the idea. -- .... Well. ....59 Chapter 7 Expanding Your Chord Knowledge Triads Many guitarists think that employing simple triads is a fairly elementary approach to playing-they make the assumption that you need to play densely voiced chords to sound hip. A) as E9sus."" ~ .J .. 6 ._. ! Example 103: Now let's look at my single-line solo over these changes (Example 103). fifth. For example. iii - - - _. Next time you're presented with a set of changes. and totally rock and roll! E .-I ~. or doing so with different triads over the same bass note. As you're probably beginning to see.. .1 i ....... throughout the solo... I'm here to tell you that just isn't the case.J il -~. . #~ ".. consequently. ... third. 01.. vv~ - .. " . I was able to make the part sound unique.. ~ _.. listen to the section that starts approximately 5:25 into "Innocence Faded" on Dream Theater's Awake. • TI. you can create a variety of complex harmonies.g."11 I "ill 11 _ v . . Notice that. I played nothing but the arpeggios of each triad.. . Believe it or not. v -- - - . all the notes in the triads start sounding relative to the key of E. it starts functioning as an Emaj9 (in the key of E: B=fifth. . p ii : - - 111 . LI I -" '" t: ---II.. l1.. .. " . .. and 48..-. . P....... :...... ..... I. !.':_ . Of ... . v ~ w " .. ..>- . legato slides in measures 19 and 40. . ::: AH... l. . "I .... V . ~ L L Eft ~ ....t J~. (F) C5 CI5 I "1- I 9- 1.: " ..... . . P. Examples 104 and 105 depict two useful string-skipping arpeggio patterns you can work on. .. . JOHN PETRUCCI and MICHAEL PORTNOY E Gtr. and string-skipping in measures 27.. ~ ~ :>- ...: v v- P... P........>-- N.60 - F C ~& -.... " .. --- ..M_ ..... .: . !:!: ..M..... Dsus D etc.. .. . these fingerings produce a nice legato effect~they make the passage sound fluid. © 1994 OCTA MUSIC. '" N..P.... -. . This solo can be found on the "Awake" CD.. .C(E5) PI . .1..... ... hold ...-1 hold -. :......... KEVIN MOORE. 36... .. . " 1\ r '" .... pitches: E#... i\ . .-~ bC.. • 4 D - _If.0. V .... . Notice that many of the concepts I've discussed up to now are present in this solo. ::: hold -1 "'.. PM...>- I.: . I've transcribed the complete outro section of "Innocence Faded" for you to work on in Example 106.... . ... :. I"'" ~ '" '-"- tJ q - - .-1 ~.l1... " ~ PM. . By JAMES LABRIE... 9~ ~~ >' - q ~ :>- ~i #! '" "T 11 ]I ..:TJE. . .. ".. .. " .W .>- - b .- ::: ..>- ::::: ..- -+ -+ 111 - 1II -I . '" :: .. v .. . . (Gsus) I I • U . ._:.. A g • Example 106: Illnnocence Faded" Oulro - Oil ~ . .>- P... -.---I --..>- ..... ij E5 .~ Iq 'III PM.. ... . --.. including my rhythm part as well as my solo... . I~C and.M. . 1\ ~ .>- '" · •• · "I- '.. To my ears. • ~ -h~m.... .. ~ -F [ S-- ~m_ • ~e• 6..... ......... A . ...A~fS..... including open-string licks in measures 18-19 and 39. .-1 111 == 111 1II - . H.. !. e e G 8va . .M.- -...... .--I p O---O---i} 0 .. ... v .. . ~ " v_ f _..-. ... i\ 'v. .._ 111 ~ D ....- . -+ i I ':II G/E DIE I AlE . A... I~ 1II 1II P.. . ~ -..rn.. .. ...... E =.. . '" ~ ~ ..>- v ... ~ x E~/E ..H.. :: ..._. . Administered bv "VB MUSIC CORP.. . ..--------1 ~ ~ ~ ~. you'll notice I used string-skipping to perform the E. "9 . ~ . . • jq-J - : J F [--r • ! [ •b fr .>- ......: ...... . . ... INC.. 43-45. .. :::: .. INC (ASCAP) All Rights on behalf of OCTA MlJS1C.. . ... 111 - . ! rfr r II 6+~15~1-2~~~~~-----~-------~~3~1~7~1_5-1_9~:_15~lH5~1_5~le~1_5~1~6~17~1_5~2&O~15~2mo~15~1_7~1_5~19~1~5~11 13 12 15 15 14 17 14 15 14 17 Examples 104 and 105: As you play Example 103.... (ASC AP) and YTSE JAMS... :: ~ r ~! ~! or I -s--'-' ShU .. .. " v A v A Dsus ~ ~ D 4 fI U ij if ~~ ..... INC......... p .... ... 01 .\ . ...M.. c .C... . iiiii_ ! ..1 " '-"- B/E . ::::: ..>- 111 - - - .M.... ..>- -111 111 1II ..M. '" . ~ :: .. pM. . A. .. and C arpeggios. 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Notice that I'm pIayi ng a repeating rhythmic motif (a sixteenth-note triplet and two tied eighth notes) that descends in pitch. I never sit down and say.. such as perfect fourths. In IV IV :\. or whatever. I particularly love the sound of dominant-seven suspended (7sus) chords..: . II II *_ ." I play what I hear and feel at that moment. D~. .. '". if you overanalyze what you play beforehand..c.. you can probably see that there are certain scalar patterns I like to use.I ... In a real-life playing situation.. . That's because instead of playing random lines using the A~ Mixolydian scale (A~. the overtones associated with major and minor thirds create "beats"-pulsating oscillations that sound out of tune with themselves).! 'J "I- r. landing on the third (C) gives you a real sense of closure. When I record my solos. l" D .. you have a lot of harmonic freedom when soloing over them. such as the second or fourth for the third... - " . . You should take the same approach=-just go for it and play what sounds good to you.... F._ .. and lowered seventh.. III . Gb). £1. . .. And that's the key to soloing-mastering the concept of tension and release.. fifth.... they don't have a specific major or minor tonality. but I prefer to use the Mixolydian scale (I hear the 7sus sound as essentially dominant-seventh in nature). ~ . . you can see they're built using consonant intervals..IL! E_ t. flatted seventh. I lean towards voicings that substitute an unresolved tone. If you look at the 7sus shapes depicted in Figure 4. As a result...1 "! .... since the A~7sus chord feels so unresolved. Since they don't contain the third (the fourth replaces it). . B~.. t . too. "I'm going to playa Mixolydian pattern resolving on the third.... I _ _ . The fi rst tw 0 measu res of this line are pretty interesti ng. I've targeted the root..~. In this case... When I solo. fifths. That's important in my band because I have to blend my rhythm parts with those of my keyboard player and make sure my voicings fit with what hes playing.... .I!l It .-.. ~~ ~~ >- I ~ ~ ~! l- ~ ~ >- ~! #! '" "'I' - -.(BFa) _ 1\ !. ]I • ~ : "T -. ninth.. Each phrase also resolves to a chord tone. - ~ - .. Afterwards. .. seven frets down the neck.. and octaves (thirds tend to sound terrible with distortion because.. :>- :>- - E5 :>- ~ ~ >>- I " . but I like to use them in modal applications. .. V ... C..... I always like to emphasize certain tones from the scale that sound good over a particular chord.. Example 107: Because of the way they're constructed.. . third. 7sus chords sound great when played with distortion..I Ii \: J/f 101 U ij J/f " JI"o.. 1ID 14 I :::: <oT ~ '" . One such pattern appears in the fifth and sixth measures of Example 107. you can figure out why it sounds right.: J \ 1 J i I .. the outro solo in "6:00" (starting 5: 19 into the tune) is totally based on the A~ Mixolydian scale (Example 107).'" . they are very open and ambiguous sounding and don't clash with other instruments... your lines will end up sounding cold and stiff... NotiCe that I repeat the identical six -note pattern in the seventh and eighth measures. Since 7sus chords are ambiguous sounding.._ "T 4 I . when you do analyze it. Bear in mind that all of this analysis is for learning purposes only..r..-r ... when combined with distortion.. V - . But take heart-you don't have to rely on "jazz chords" to expand your chordal knowledge._ ~--. ---&-~ 9 s'7.1 . I .~~~~ C f ~. ..Figure 4: A~7sus 14fT I 234 A~7sus 14fT 2 341 A~7sus IMT /- A~7sus Illfr 13344 2 341 A~7sus _II ~-~- " [)" I ..__ 15 13 14 16 14 13 15 13 14 16 14 13 J. The reason for this is twofold.. you can drastically change their mood and make stock progressions sound more interesting.. By taking basic chords and adding various "color tones" to them. Let's look at root-fifth power chords first. most extended voicings sound very muddy when played with distortion. it has an ambiguous sound. such as the ninth.-.. 3 t.Nine Chords When it comes to chords. with an occasional seventh thrown in. they usually play power chords (root-fifth voicings) or triads... ..:~ ~ ~ - 8 I 3----' ~{rC f ~ f f f ~- 11 13 14 11 13 14 ~~%\f F f Fer 2 P t f e! .. t. most rock guitarists take a basic approach. ~~.. -~ 7 C f-r-r f r f ( r r err r r r f L f r Err F f r r r r ~ II :: ~------------7---9--7---6--8---6--7---9--7--6---e--6--7--9---7--6~I-e--6--7---9--7--6--8---6--7--9--7---6--e--6--e--~il : Add ._i _-- f f e f Ie r 2 P E F € r f f f f f f f f I I I 14 16 14 13 14 16 14 13 14 16 14 13 . it's neither major nor minor. 8 Is'--.. When you playa power chord. original.r. Because it doesn't contain a third..14 13 -16 ~."f--------'l1f&-4.. Adding a ninth to the chord makes it sound richer and fuller without changing its ambiguous quality.- 3 ....~ «>... -3 I ~ ij ... and dramatic. and often end up making you sound as if you're trying to play jazz. ~ .134211 Am(9) ISfr 124111 x_ ISfr 0(9) 12431 Om(9) "ISfr 13421 ... . I '! . . " ::: . .. . t-l .67 Examples 108 and 109: Figure S illustrates a chord shape I use a lot. they work very well over either tonality. ~ . you'Il see that it's simply two fifth intervals stacked one on top of the other. Fsus2 r-- Esus2 Gsus2 I I ~ .. " ~... it still retains a very heavy quality. you'll create the lush sounding major(9) and minor(9) voicings found in Figure 7. . ~. . e- . ~ ~.. " ..... Example 108: fl un.. ~ :1 " . Figures 5: Asus2 1 124 Figure 6: Osus2 5 & I 124 5IT. Because fifths are consonant intervals. huh? But notice how dramatic it sounds when add(9) voicings replace the stock major and minor triads... producing Asus2. If you add simple major and minor triads found on the top three strings to the sus2 shapes depicted in Figures Sand 6. . this particular voicing sounds great when played with distortion. 11 L· ?. .... But listen to how cool it sounds when I substitute sus2 voicings for each power chord (see Example 109). ... I 11 - -. ... providing yourself with another cool way to color chord progressions.. . .... ~ lo . . Example 108 is a common progression you've probably heard many times before. as shown in Example 111. A5 F5 ~ E5 G5 ~ . If you look at the shape. r . -.. . .. Since these voicings are neither major nor minor. 11 . Figure 6 depicts the same shape applied to a 0 chord with the root on the A string.. il Example 109: I<. "T' A I C . ~ r. Sounds pretty ordinary... Asus2 ..... Examples 110 and 111: Now let's expand on this concept.. A perfect example of this chordal approach can be heard in the main riff to "Message in a Bottle" by the Police.. . .. -6' :I "II :I "II :Z:. ... Figure 7: ISfr A(9) . ~ ~ '! '! - ~.. .. v .J 1 11 - • I . ::: ::: ::: . " ::: ~ " ::: ... " . It's also a great introduction to chord harmony for rockers because although it's more colorful sounding than a stock power chord..... ..... Play the progression in Example 110. You'll notice that I add a ninth to a stock AS root-fifth shape.4 c n........... • . ~ . • . ....----r~ +'. A 17 I ... Play Example 112 and you'Il hear what I mean. ---.. .... also invoke a very strong.. simply practice them higher up the neck until your fretting fingers get used to the wide stretches. • ::' :! ':: !:!' . .. ::: ': " ... resolved major sound. check out how Examples 113 and 114 breathe new life to stock G-C and Em-C progressions. ... .I II j: 1 ::: "T !: :::: ~ U . .... s: _c... .. . II II II I . --- .- - • -------+ "r -Example 112: . Both are built on the sus2 shape we learned in the previous section and include other color tones in addition to the added ninth.ll hold throughout . x ': !: . I . D ~ -.... '" v .. One note of warning: These shapes may be hard to finger at first. . -.. ::: .... For example.." ii Extended Major Chord Voicings J want to show you two other chord forms I regularly use instead of simple major triads. ::: r- ~ ~ ~ po ::' ::: :. ... I G(9) • U.. . . .. " U - . ... D - .. The ninth and the natural seventh. ': :: .... it's well worth the effort.. nothing works as well as using the minor(9) voicing-J think it's one of the saddest sounding chords in music... . .---........68 Example 110: 1\ --r-..ll 1\ I :: ::' ... Though this is one of the hardest voicings to execute cleanly on the guitar.. . . .. ~ Example 111: " Am(9) t F(9) Em(9) 1-. Examples 113 and 114: To my ears..::::: "6 ~ -6 i "l ... ::: ~ ~ -_:~ !: '! .. .... ... one of the most beautiful sounding voicings on the guitar is the maj9 chord depicted in Figure 8... making sure to leave enough room for the high E string to rinz 'OUL .. .... T . x :::: ~ ~ c:: A z .J ..... ... . . .. As your flexibility improves. ~ .. OJ . .. OJ . 6W Dm(9) 1\ Gm(9) C(9) .. - ----oT - ... .. .. Am ~ ~ F -. The natural seventh on the B string ringing against the root on the E string (creating an interval of a minor second) adds a unique chime-like quality to this voicing.... ~ ~ ~ Em G I i "l ~ I': I': ... .. - ~ -. • .. .... along with the third.: D .. n ... try fingering these same voicings down in the lower positions...... .'"' il • • I J 9 "'I I -I "'I • ~ • . ii " If you're trying to set a melancholy mood in a tune... Play the tricky barre with your pinkie bent at the first joint. . r' .. hold throughout ..po ._ I I n ~ e- -.... If so. The maj9 chord is commonly used as a substitute for the I or IV chord in a diatonic major progression or for the ~VJ chord in a minor progression.. . - "'I 11 11 ~ T "'I I ...... - _. : I . ...4 .... ... . . ... ...... .. ..~ hold ... I " 7 /I g- ..:' · · Example 114: (Em) Em(9) (C) Cmaj9 • ~ ij! II: r 1 rr f r r r If hold .: x n .. Big deal.......:"" ~ · · • . .. .' v .... hold ---------------------~ hold .:: :: :: !. == ::! ....... And believe it or not... ..... ~ ••• ::! . .-J1~1:-7-----9----1-1---8-----7--------8 __ 1_1 ~1~1~---1-2---1-2----12----8----1_2 __ Examples 115 and 116: Figure 9 features another favorite chord of mine._ I 1II - • • ..-.... :!' .... All of a sudden...... .. In this particular voicing... .... Look at the simple D05 progression in Example 115... ::: --v ::! .... Its usage is very specific-since the raised eleventh defines the Lydian sound..1:: ::: ... The power of this voicing is evident when you compare Example 115 to Example 116. . . ......... :.. .... ...... .. [[f r IT fr 1_2 12 ~ ~~--~. the (9111).. ~ ... Now play Example 116. · · G5 .... .... In context... ~ :::: .. . ~ ..... . n -~ _._ ... right? It's just another nice groove that you and five million other guitarists can play.. . IV .. "II ill -. :::: :..... that same boring progression sounds very fresh....III--..: II 0 · ::: · . ~ (G/B) Cmaj9 :r--'1 (C) Am(9) (Am) • f'- ~~ / .-. ~ . ...· • --.... ~ .---. .:: .. .. . ::: ._ ... "C'O ..... Since this chord doesn't contain the third... . ...__.' ::: . _.. Figure 9: C(9#1 I) Example 115: 1 124311 I 8fr D "~ tJ ii •· · • · · • • .. 101 (G) ~ I • I • ..... it's technically neither major nor minor.. . . ~ ~ ::: . . . the notes in these chords are totally diatonic-you've never left the key of D..... ... :. x 11 ..... x v ~ · · - ... . it functions as a major Chord. ..... .. and mysterious....... • .---=---" . ~ ~ ::: x ::: . .. .. .. . haunting. . . .. .... . ~ ...- .... x v ...o. ... however. _- ----------------------~ ~- - · · . the (9111) chord can be used only as a substitute for the IV chord in a diatonic major progression._ =-. the raised eleventh replaces the third.. .. creating a Lydian sound..... -"" ..69 Figure 8: Example 113: Gmaj9 . .. .~ ..__... . . adding nothing but the open E and B strings to a major barre chord will drastically change its makeup and expand its harmonic function. . ~ " I . . which depicts voicings created by combining everyday power chords with open Band E strings. Initially.70 Example 116: Dsus2 G(9#11) Example 117: You can also use the (9#11) chord in a minor key over the ~VI chord. and most certainly don't sound like "jazz chords. The C#m7 is also one of my Iavorites-e-l use it quite a bit in my own music. . not intimidating..j LJc •• • -- J • ~ _~. hold 1 j • ~ • 1"" • •• • ----------------------'-----------------" .... . friends... they also make great stretching exercises.. so you may want to start practicing higher up the neck. Yes. • . p.. make sure that all the notes ring out clearly.B. . Tension is created in the B(4) chord via the inclusion of both the third (0#) and the fourth (Ej-e-it sounds half major and half suspended. almost angry..) \-ow let's check out Figure II. as a bonus.. be careful. They're practical. n ... . Ii '"' j. ... ... you can create voicings that sound sophisticated but are really easy (and fun) to play.. not having to barre the chord makes it a cinch to finger.... Start slowly and don't overdo il-YOU don't want to hurt tendons. voicing-it has a real ELP (Emerson. C < ~ hold -----------------------------------------1 ...v Movable Chords With Open Strings Using open strings is a great way to add texture and atmosphere to any chord progression. u '" • ._'L ~- _. ." Want to know a remarkably simple way to sound hip? Just lift your index finger off of the Band E strings when playing a major barre chord. play them with your ring finger and pinkie (refer to the chord grids). But if you're not used to playing wide-spaced voicings... . Plus.. And the F#7(4) is right out of (Rush guitarist) Alex Lifesori's bag of tricks. they're pretty difficult to play in the lower positions. Since these shapes all contain the third. the resulting voicings will be some form of a major or dominant chord. a great progressive band of the seventies) vibe -\(ry powerful. I'll playa bunch of (9) chords until my fingers stretch out. Because these voicings span quite a few frets. Listen to the 1::7. . Example 118: Look at Figure 10 to see some great sounding open-string chord voicings.... And of course... .. (Alex is one of the true masters of open-string chording. Rather than barring the notes on the 0 and G strings. The Cmaj7 voicing is real cool in that it doesn't sound "nightclubby"-it's one way to playa major seventh voicing without sounding as if you helong in the Acapulco Lounge on the Love Boat.. . u . Check out Example 117 to see how a humdrum Em-C progression is magically transformed into a memorable theme. moving them down as they become easier to play. . " .. allowing them to ring out (I'm assuming that most of you know how to play barre chords). Lake and Palmer.u-. • - ! .. ... By adding open strings to even the simplest chords. (Em) Em(9) (C) C (9# 11) -1 --j ... This will ensure that the open Band E strings ring out clearly. As a warm-up. . :....C 134 134 134 1:14 14 Sf) i I Bsus J . Here._ .... gigs.. _ ....- I .. :':' rlJ. ---_ _ . hold . you must know how strongly I believe in applying new concepts to practical musical situations (sessions.I --_..mSfr... ._- - . u ::_ . '" _ " -4 . _". 134 glOfr.. The sheer nature of these voicing».. On the original "'A Change of Seasons.Though these chords are ~~:.. ~ '---" . -_.1.. melodic movement.m7fr uc... when you're playing chords in a band. .... . .- -- L .::- '! .~. F#(12 ~ 1342 II l342 00 m3fl'... the title track (which is It's a good example My band. but I feel Em(9) is more dramatic. . " -._. ~ --l-- hold .. E5 00 Fmaj7(~IIZ) x no F#7sus oo ... =. on the record I played a simple Em chord in bar 9... in a real-life It makes a great chord study. enable your rhythm parts to sound bigger-more voicings 118. .-. and you'll hear exactly what I So far.. Example sounding voicings has a section in the middle that contains situation." it with an open-string I repeated the Asus2 chord in bar 6 that I played in bar 2.. When I originally recorded this section of "A Change of Seasons... .11 . most of the Example 119: A Change of Seasons" By now. G6 (. Coincidentally.. Figure 10: 1m 321 E Fmaj7l~ll) ~- ...- __ J O ! @I 10.." I used simpler voicings in a few places. Now that we've covered a few different approaches on how to spice lip your chord playing. J !eAD r' 5 -tji ':3:-'~ . D(?) x gSfr. D($) 1342 _. . JJ qd hold 8 f. producing anthemic a sense of and melodic..) 1342 1342 1342 m8fr1342 IllOh .. such as strumming (the traditional role of the rhythm guitarist). from Figures with their ringing.-----~ '" I - f' . I made them a bit more interesting... B(4) Cmaj7 (l:. . 119 is a study based on this passage..- _____.n do one 01 two things: support the foundation by rhythmic accompaniment. .- Ei- 2 n H 0 -- .. I can't stress enough how exciting they sound. check out my REH instructional video.. .... .. For the purpose of this study. but here I decided to use Em(9) instead... Asus2 F#l1 G6 -. .__. you LJ. ~~--+- . too... . .... !: u . . ur . Oren-string allow you to do the latter. See.. '-' . Play Example mean.. n ----< . For example. an etude that combines 10 and 11..: " .. ....... . hold --------------- __ . chords instantly or create motifs with chords... released an EP called A Change of Seasons.. ' 1-- -.. .. ES . let's put them into action.. I~ . g9fr. gSfr.I IF 8 r I 5 Bsus ~fi ~= I . 134 C#m7 x oc 134 g4fr.. ij)iJ J J I g If·~j~ @ ~ .. . I substituted Amaj9 voicing. hold ..... D(~) x .. - .. sustaining quality. I .~ ...-~ +-~-- 0 4 g- hold 0 .... - Cmaj7 _. 11 hold ~ r-..~ J :# .. ' ... . G6 o o A(9) 00 ... and so forth).. . however. Both work well. "T' 4 C I .. . Figure 11: Asus2 xO 00 23 mm ~ 134 Bsus ::>0 Cmaj7 x g3fr. . chord types we've covered of how to use sophisticated 22 minutes long and goes through various movements) in this chapter... 00 x g7fr._-- 2---' . Dream Theater... we've on Iy scratc hed the surface of this exciting c oncepL If you want to learn more ab out how to use open-string voicings in different progressions and orchestrations. .. ... b~ ... ... .01 I"" -n ~ t. • Make sure you mute the A string when arpeggiating the Ftml l chords in bars 3 and 7. try adding a bit of chorus and reverb to your guitar sound..... By JAMES LABRIE.:T - ~ ~ ::: - ·v~TTv . let it ring into the open G... v F#mll ~ I-.. (ASCAP) All Rights Reserved . . . - .. &. v T ~ g . • . . Amaj9 .. = . • All it takes to switch from C#m7 to Amaj9 in bars 5-6 is simply lifting your index finger.. . . KEVIN MOORE. v ... v -..../. . and YTSE JAMS....4 0 .. The same goes for executing the single-note run in measure l2---<ion't lift your finger after sliding into the F#.1 . (ASCAP) and YTSE JAMS. and different bass notes to stock voicings. INC... INC. Em9 . at first. Above all. 1 •• . p ~ . I hope this crash course in chords has opened your mind (and ears) to the different harmonic possibilities that even a simple progression can present.. Em(9) ~ I ::: . -- ~- .. . _ -.. . It ~ ~ tJ .. -..:::! ~ . v . .. V .... and increase it to 100-110 as you get • Last but not least.. B(l1) ·V . Instead. 1""').. . I I 9 5 1- 1- 5 5 II • ~ 1995 OCTA MUSIC. This will enable the notes to ring into each other and produce a harp-like shimmering effect. 1'[ ~ .. open strings..' I i... .. . . ..v #> • _j l. I"" _._.'" -.[7 ~ ..... 8 Dsus2 !.. You don't have to rely on the conventional fingerings found in chord books. (ASCAPl All Rights on behalf of OCT A MUSIC. Administered by WB MUSIC CORP. ~ ~ ~ C#m7 5 It ~~ ~ ~ .. .• Csus2 ....II..I >"........ s 0 ... This will bring out the lush quality of the chords.. INC.. &.. ...72 Performance Tips • The key to mastering this study is to finger each chord before arpeggiating it. . . • I . JtI ... . •• .: 17 It .-1""\. ~ • ~ V "If ."" ......// Bm7(#5) Dsus2 .. I -. r .. Then compare these two voicings-it's amazing how a single bass note can radically change the harmonic function of a chord. - .. ... x . . ~. - • v •• ft I 11 ~ ...... 11 • -. . JOHN MYUNG.II> IIf ~ - . . ::: ~ 9 ~ -... _---w v '" 13 Cmaj9(1112) r"'i_ .. 5 .... • Practice this study with a metronome set at quarter-note=80 more comfortable with the piece. . V • - <II " 1II • - --n .. JOHN PETRUCCI and MICHAEL PORTNOY Asus2 F#mll 1-I1 --. :. ....__.J 11 11 l... I~ i e • 10 o 2 i 8 10 12 H .. let your ear be the final judge. Bm(9) - ... . ..4 g I • throughout hold . .... _ • f"-I"\ f".1""\. . ... . -. ----w ...~ . ....•• ~ !: .. g A ..... #> V . ... U . I It 1II -...... • - • ~ ... Don't be afraid to experiment with chords-try adding color tones.. -"":'>.. . INC.... ... ... this is one of the things I specifically focus on in my clinics. .. .. . as a result. .. It's a chromatic sixteenth-note virtuoso workout (very similar in attitude to "Flight of the Bumblebee") that translates incredibly well to the guitar. !. . . . .. ro v '" ~ .. n It .....73 Chapter 8 Studying Non-Guitar Music One of the best ways to broaden your scope as a guitarist (or musician... but it wil I also give you plenty of ideas for cool... " . " .. . .I h.. It will not only hone your chops to razor-sharp perfection.. ~ ~ r' v .. " . . .. u v '" .6.. . You might say it's (no pun intended) instrumental in developing your individuality. . .. . . " .... U II • ~.2...... 6. And. In fact. ..and left-hand coordination and playing the chromatic scale across the whole fingerboard) that will help facilitate your learning it. you'll be able to infuse a breath of fresh air into your lines and separate yourself from the majority of guitarists who rely on purely guitaristic devices and fingerings. '" .... because you won't be able to play Chopin's Etude No. L t .. 5 5 . Because of this.. .... 876 5 9 B 7 II .. but also your knowledge of the guitar. . So with that in mind...._ . we'll first cover all the tools you'll need to tackle this challenging yet ultimately rewarding piece.J ~~~ .. you'll broaden not only your knowledge of music. To that end. .. ~ . which are crucial to learn. You'll actually be forced to approach the guitar from a whole new direction.. Chopin's Etude No. for that matter) is to listen how other (non-guitarist) musicians write or improvise. They're also all chromatic sequences. For example...I ._ .. end up regurgitating the same guitar-bred licks everyone else plays. as a result...... you'll need to master certain techniques (such as right. By adapting music to the guitar that was originally improvised on or written for another instrument. So let's get to it! .... I D . All instruments have fingerings and phrasings inherent to them. Drawing influences from other instruments is an important yet oft-neglected process that will help you gain a whole new perspective on the guitar. ... .. 1feel that one of the best ways to get into the vibe of another instrument is to transcribe solos and learn pieces specifically written for it.. unconventional lines and licks. 3 7 6 5 . lines that are easy to play on the saxophone or piano might be a lot harder to play on the guitar.. One point of note: All the exercises we'll be working on leading up to the etude were also written for instruments other than the guitar... I thought we'd work towards learning a great classical piano piece.. _ >J • 'r' "9/ . .t . Example 120: Before you attempt to play this etude. .. ....2 unless you know the chromatic scale (Example 120) inside out. 3 II I .I T1 4.. Opus 10...~ h.. many guitarists won't try to play these types of lines and. " .. . .. . .. ...... . ::> . ascending chromatically to the 12th position.'v ...-' . '" 3 3 ... . ..l ::>_v ~ -'1- . ~ " .._.~...... ~........ as in Example 122.. -+- - -+.... By now you know to start slowly and increase the metronome tempo only when you feel comfortable.. D I II . ..._ . 3 ... you can hear the accent of the pick and gauge how cleanly you're playing at the same time..~.... •• . ..74 Example 121: Example 121 is a chromatic exercise derived from a violin study. I .' . _ . -1.#~. Play these exercises on all the other strings as well.... I ... .. II 'v... #~ -t- ~...." . •_ I .. '1--+.. .. ' ::> ._ .. ..... Play each sextuplet four times using alternate picking._.~.......I~ 2 ._ .'~...! _.._ .... '. ::>' ::> .t '~. ........ .... -.. .......... •• ..- !- ~ ::> ......... I 3 3 -t h-t 3 3 3 3 3 tJ ::> ::> ::> ::> ::> ::> ......- _:+'..t~#4 .'H~ 9·' "~~#. .. 'v.. .. ::> -...' .. d 3 Once you' re at the 12th position. .. ...._ ....-j-4'l-j-..... rw --n7 .... #~...... II -.... H·. --+-1Ll--+~-I~ 11 1 2: S 4 S 2 1 2: a 4 92 " 29 4 S2 " 29 ~ 9J 29 ~54 9 29 454 9 29 454 9 29 454 9 1 ~~g~'g~~g@JJJ~J~iJJJ~Jii'J'JJ~JiijaJ1JiJJJJ~JibJJ#Jid l~f:-~4!::=~3=:~-o4~=5:~=S-6=~~S=~4-:"'=~9--:~=4:~S=~~6=~~5=~-o4:~=a~---'-:-4:~S=:~6=:~S=:-4:~=3:~=4:~S=:~-6~=:S~=4::1=-44=~-5:~=6:~7=~-6:~=S:~=4:~5=: I Example 122: !5 61 8 1 6 5 6 1 8 7 6 5 6 1 8 7 6 5 6 1 8 7 J21914151419121914151419121914151419121914151. . . 3 .. A cool way to practice this study is to use a low amp volume so you can hear both the electric and the acoustic sounds of the guitar...v ~ .._ I . . .....~. • --. .-+ -f-~ 11 >.- ..ll . .. descend chromatically to the 1st position..~t!:!#...: c .....--+... In ....... --l ['L ~....... " .. . -....... ..... 'r... .... 3 3 .. .I"R~9J..... .. 3 3 ~ ::> --~.... -\- - -I--iLl--+.. . "v. ... .. . ::> ::>' ~--..... I' .. . .... #t ... .... . . "" ... 3 . . LJ ~ Ii 3 I~ :!#4i R~9·' ... ......I. I" .._ .. . I .. . r-.... . . _ .. starting the sequence with your pinkie. .... '_..........Ih..... ~ +-1.... .. I_ .. .. ' .... ~ ::> 3 3 3 • ::> 3 -th-t -- ~ ~ -.... ..... ... That way..fI'>. . I recommend accenting the first and fourth notes of each sextuplet-this will help to get your alternate picking sounding crisp and in time. ll D ~ ... and then he showed me a bunch of variations.. Play each pattern four times. 3 3 I' Jij~ij@ij~ij~~~~@~#iijQ d 432 3q3 d 3ft3 2 Md 43 2 3q3 II 4]. though we didn't speak. I had to gesture for him to show me what he was doing.... . And that's where these exercises will really help..'" ~ Eo • - >- ~~ ~ ~ ~ -4 = ~ >- ~ - ~ ~ ::> ~ :t - = ~ .. Then. .. we nonetheless communicated very easily. if you really want to be challenged.... 3 ~ .. 3 ..... 3 . . . Rod was touring with a full orchestra. ... . Example 125 works the stretch between your ring finger and pinkie. ... which introduces a multiple stretch....75 Building Left-Hand Strength Using Violin . On the guitar. n . .lnspired Chromatic . Dream Theater played some outdoor festivals in Europe that also featured Elton John and Rod Stewart on the bill. '" . &. A violin's neck is much smaller than a guitar's. t= ::+ ~ - ~ 11 --+ . ~ " . I heard a violinist playing these wild exercises-he was wailing! I thought it would be really cool to adapt those licks to the guitar. Example J 23: fI r. move it chromatically up the neck to the 12th position and then descend. Examples 123-126: To play Example 123. and backstage there were little booths set up where the musicians in the orchestra could warm up.. ft . ..... He gladly did. you need to work on stretching between the first and second fingers.2 ]q] Continue sequence up to: 2 Continue sequence up to: 3 3 3 . "' . play Example 126. . . ... ~ " '" " J .•.. Since the violinist didn't speak any English.. It was great. too. n . As I was walking around.. as in Example 124.. n ~ I . ... ..Scale Workouts In the summer of 1995. so it's much easier to play wide intervals on one violin string... ... .I • - ~ ~ :t - . The warm-ups my violinist friend showed me are difficult to play on guitar but incredibly beneficial when mastered. " . you really have to stretch to play them.. ' .: D .. . ~.- ::::.:::.. .:::.........'" . ...:::. . .... .._ • ::> ::> I _.} " " 3 3 3 3 3 J ~ .:::..- ::::.. . .o . '''' " " .o . " ... J 2.. lQqj J 2 j 14qj J 231Qq3 itjlJdJWJlJdJWgbdJWJlJd~11 . . ... . ..... .. .. ." ..Q_ L .on . .l 3 J 3 3 3 ~~ ::> ::> Continue sequence up to: ::> .. .._ " ....... . . .- li151a1211121aI51a1211121315131211121315131211121~t 3 212 353 212 353 212 353 2 12 311 Example 125: ! 2 4 5 6 5 4 2 4 5 6 5 4 2 4 5 6 5 4 2 4 5 6 5 . . . I I i '1 tficiMq. " ...... .... n ... .. ._ .. .'" ... ::> ::> ::> _::> ..... ~.76 Example 124: r: --'" t... ..E41516151412141516151412141516151412141516151J Example 126: ~ 4# J g J g 4 J J g J g m J~i J~~J~2 J JGJ J ~J J 1 J J 2 J J 2J J ~J J 1 J J 2 J J II 2 2 Continue sequence up to: ~ 3 3 .- .. I Continue sequence down to: Continue sequence down to: ::::.- ::::. and left-hand synchronization skills. By playing studies such as these. which combines all the stretching patterns in one position into a mega-exercise that moves up chromatically. the obvious benefits are that you're using all four left-hand fingers and developing right. Of course. But there's another important reason: Guitar playing benefits from a certain amount of daily maintenance. you can come up with many cool melodic ideas. you may be asking yourself why you would need to practice exercises that are clearly technical in nature. Musically. Well.and left-hand fingers and developing right. It's kind of like exercising-it's a lot more beneficial for you to exercise every day instead of doing nothing and then one day working out for five hours. play this exercise on the remarrung strings. That was when playing musical pieces or exercises that incorporate a lot of things into one comprehensive study became both beneficial and time-saving. try playing Example 127. There was a time when I used to practice all the left-hand chromatic permutations daily. my schedule got more compressed to the point where on certain days I hardly had any time to practice at all. they're ideal for warming up right before I go on stage. When you're done with the low E string. Now.77 Example 127: Once you master these exercises individually. And. But as I got older and started getting more responsibilities. as a bonus. I!~j~~~j~b~JJ4b~JJ4ijl ~J#ib~JWJJ~JJ@ij~JJ@ijl 4 2 I~ JJJJ2~§~ ~~~~~~§fwi~ij~~~#i'a~d~~~' i~e~ 9¥ i~~~' 9~ ~ i 23 4 64 323 464 323 464 I ! 323 464 312 45 6 54 245 6 5 4 2 4 5 6 5 4 2 /5 6 5 41 . This one's a real workout and will really warm up your hands. too. that was when I was 16 years old and without a care in the world. what can you do with these exercises? Plenty! Just check out what Chopin did with chromatic passages! And if you apply the sequences we learned here to any scale. I'm able to maintain my technique. .--:._ ...._ 7r !7 -. J J j J J ....:::.... .-. As you probably already know. .::::.... r . j J j J j ...... ~ .:::.. ... This can present a bit of an efficiency problem when crossing strings to playa three-note-per-string pattern because the first note on every other string lands on an upstroke.:::.....::::..... Example 128: CP ~ Continue sequence up to: Example 129: 1\ -... .. I use alternate (down-up-down-up) picking exclusively... ' ._ r . Don't be intimidated by the odd meter: the one important thing to remember is that even though the rhythm is syncopated. _ ...r-. To avoid this awkward movement and make my patterns flow a bit better.:::.--::> - .ft . . . I came up with this sequence because it's easier for me to play across the strings. . ...:::.. . j J j J j ... .- J ] J JiJiJ J ] J JiJijJ j: ::::.. Practice them by playing on each string up and down the neck chromatically to the l Zth position and back. . I try to craft them so that each time I cross strings...- ". "Why play anything in 5/8?" Well. ... .>>::::..r ::> ·· ·· rl ::> ..:::..78 Continue sequence up to: 3 3 3 :@ Jd JiM J ] J JiJiJ 8 J 3 3 3 3 ::::.- 333 ::::. . Examples 128-129: Let's get the 5/8 feel under our fingers first. Now you might ask.. 3 3 3 3 3 3 3 3 ::::. .r ----. "T Continue sequence down LO: -C' " .....:::. .. Examples 128 and 129 are a good place to start. the picking remains steady and strictly alternate (down-up-down-up). I ". . . the first note falls on a downstroke...:::..ft .. .. '" .. ·· ..- ::::..:::. j J :..~--........1) ~ ~~ >- I~ ~ ~ ·rl rl ~ ~ '...::::..>_-=- Using Different Meters to Accommodate Your Technique I thought I'd throw you a little curve and give you a few odd-meter exercises in 5/8.. .. ._) .~ ~~ v-'--' .- .-. .. -r ::> ::> ... •• I..- M J .- > >- ::::...-k .:::... .... • u .. # ~~ • *. I change pickups just because I like the way the neck pickup sounds in the upper register. I l[ t ~i... try applying the 5/8 sequence to a diagonal four-note-per-string chromatic scale.79 Example 130: Once you feel a little bit more comfortable with 5/8 meter. • I> U ~ oJ ". ~ . clean. . Continue sequence using the chromatic scale D - - v ~ -• U .. I keep repeating this until I either reach my target metronome tempo or until I feel sufficiently warmed up...~. ~ -.... ~ ::>" ::> . Though Chopin's Etude No. But if the pattern was simply three sixteenth-note triplets (or 9/l6) meter. I added one note to that 9/16 pattern (making it a figure in 5/8 meter) while still accenting the notes to keep a bit of the triplet feel. and with a lot of authority. a great exercise to work on your string-crossing technique.. One way I make Example 129 more exciting is by playing it up the neck with the guitar set to the bridge pickup while using a metronome. and work my way back down.I - . crossing strings would be awkward..--- ..~~~ -J .. - -. . '" 01 ~ .. Make sure to practice these patterns with a metronome-this will certainly get you playing fast. I raise the metronome setting a few clicks and change to the neck pickup. When I reach the l Zth position. To make it easier to pick.~ . v . . . /' 4 "-... it's full of "diagonal" chromatic moves such as those found in Example 130....~4 3 2 3 4 5 I .. Notice that I added accents to the pattern as if it were written in triplets. .~.::> I Continue sequence down to 4 3 2 4 9 2 3 4 5 4 3 6 1* J Q - --Continue pattern up to 12th position Example 131: To make this exercise even more interesting. . . -• 01 .. 1'\ --~ d \J ~ "' -... .~.. play Example 129...2...--~-- ~ ... Opus 10 doesn't have any measure in 5/8 time. .... ... ..... <I IV •I I .. These chord symbols reflect the basic underlying harmony originally provided by the left-hand part on the piano. Of course.. IV . ~j... will give you serious insight into how to use chromatic passages in a composition or improvisation and have them make sense.... .... ..oI..... .. I've included chord symbols above the staff to give you an idea of the melody's harmonic context. they can become more original sounding while still retaining harmonic logic.. ..... .. .... especially pieces from the Romantic period such as this.. . ......... ...2.... you should be able to feel the 5/8 pulse pretty easily by now.. more important...~.....0.~ ~ q~ . ... ..... but that's a different... I ... And by intelligently applying chromatic notes to your lines. so this one shouldn't be too difficult. V II lAo ... . ... p 2nd time ~ Q_ I......._~H. it rocks pretty hard. ".... . For example. . ... ... I ..... 3 . you can just play random chromatic lines all over the place. .. • IV <I . fingering: -.0 . .. . This etude is an excellent study in the use of chromatic tones in a melody. ... here's Chopin's Piano Concerto in A minor. more atonal type of music. .... but. • • • ft. But if you've been diligently practicing the chromatic exercises from the previous few sections.. If you haven't been practicing these chromatic exercises... such as using them as passing tones to connect chord tones that fall on the strong beats. .... . ... play Example 131.. I . .o ..... You'll start to see how you don't have to be tied to a particular scale or fingering pattern-you']] feel more comfortable playing notes that are out of the key center.. Opus No.... You might be wondering-how the hell can you use this chromatic stuff in a rock song? All you have to do is listen to some Dream Theater tunes for the answer... It-.. 'v 'v 4 1 2 1 2 3 4 1 2 3 4 1 2 344 3 2 1 432 1 2 1 4 2 . you should be ready to tackle it. IV ... ...80 Example 132: Lest you think 5/8 is too impractical a time signature... . .' ... • . you should be able to pick up a few chromatic ideas to apply to your own solos... . After playing this piece for a while... . "Caught in a Web" has an extended chromatic passage.. V . 2 ~ ~ 3 ~ .. .. .... . ... . .. 2.. ... . and as you can see......... ~ " ..o .... ... Studying classical music.. . .. The chromatic scale offers great material for writing cool riffs. I've arranged it for guitar. ~~ ~t~~~~~~ f!: qt .. 4 . ...... •• .. If you've worked on the other chromatic exercises in this lesson..... Example 133: Chopin's Piano Concerto in A minor........ 1 .. it gives you options for smoothly weaving in and out of a key center.. a riff that doesn't sound "oddmeterish" at all-in fact. ~Am Dm JI Am a IL tJ .- ....... 'v ..o ...... •• .. ... .... . IV . you better start cracking 'cause you're sure gonna need to know 'em inside out to finally tackle Chopin! E 7(#9) 1. l st time ~ I 4 M g .h...... ... . I •• . Opus No. _!_ .....2 As promised...... it's not for the meek. .. E F7(bS) E ...... .... .. ___ .. .. .. 'v 341 2 3 4 1 2 1 234 1 234 43214321432 432 Bb/D Am ! r 2- I I I r I-E f "" [ r 95 F F #~ ~ 4 E7 . 2 . .. _ ......1 18 11 12 13 18 11 12 13 9 18 11 12 13 12 11 10 14 13 12 11 14 13 16 14 12 13 14 15 234 234 2 :I 4 2 3 44:1 2 432 2 4 2 IL 7 '\: Em f\ • ~. ..... ..... ._t! ~___ _ B7 E DmJE I~\ ." ... .. .81 E7 • fI... .... ¥ _4" •v ...... " . I( JfA. " ------ --------------~-- Am ---... .. . .. Am ~ I....... .... co· .2F ! . ....--~-~~ ql'. .._ '". . 6 ........... ~.. .. .. ...... ........... . . _. 234 ... 4 'n v .. .. 1 I .... .. . " '" .. 'v .. . .. .. . .... . .. . .. . ~_ b.v . . .. .... .... ... . '" . ... _ .... • ~ iii: ..... .......... .. ..... . 'v . . .. ft 'v . 3 . "'-L'_ . ...' '" . ~ ~ 4. ... ... . .. .. 2 414 4 2 4 2 .... . • • ~ - I . .. n . .. • 6. ... .. . .. .. A .. II C ( ~ .. .. . .{ II • • ..... ...-. . 'v .... . L.. ~.... .. "" . . . . .... 343 . 'v ..... 2 4 . .... ....... _. .. .. .. 4 • ..... . -.. ¥ ...... ".. D . ... Esus fA....L E " . '" ..... .: Am E Am ~ r P r I ~I~ F ~ ~~ F ~r f . L . A_ .. F -~~~.. .. . .. . 4 I ... ....... .. 2 432 3 2 4 3 2 242 2 2 2 2 :1 Am 5 Dm Am Znd time 11 12 13 14 234 i 1. .n ' ..'" #... ~._ ... .....'.ff- 8va -------- E7 __ fl_ • -" .3 .............. -....... . ~-i~ ...... 3 "- .. .... . 24.. .._ ._ j(~ I ~ ~~. .. 4 ._ .... . .. . 2 '" 4 2 3 4 432 3 2 24141342412 2 9 fI....J... ". ...... ......3 ·A . .. .... . ... ..." r r ..... . ... .... .. ..... . . _ .. .'" 4 ... ft ....... .. . .. '.._ ......... - tJ . ............ J.. .._ .n .. n U .. 414 . . . ... ...... . . ..._ . ~ f... . . II g ... ....".... . b. .. .. .. _ 3 . ...... ~~ ! I II T I II ~ C .. '''' .. - .or I ...r . .... ...'" ....0.a hJ J 432 1 1 234 4 3 ] MJ J 1 j. . 'v Om ~ D7 ........ ...-' ~ '" ._ 2 'v .. D '''' .'" ~ '" I .. I ... .. ...4 D ~ I ... . r '... • .. ..: ....- . ............ .r .. .... .~. . Iv .... f ~- F Bm7(~5) If! r ~Er #C ~nE hE E7 rlE r I] f If J r ~r Pc 9[ UrhE 1 15 14 13 16 15 14 13 17 E~ A 7~5) D7 F bE Pr 2 I n 2 i 18 17 16 15 18 17 16 15 19 18 17 16 15 14 19 14 1 & 4 3 2 1 3 2 1 2 4 3 2 1 16 15 14 13 12 11 12 3 2 1 3 4 3 2 I 4 3 2 1 4 3 2 I 4 Gm e ~f~rr ~frtF PE E~dF r r f E I e F ~rr T Pr Ir r EUr r kIf E~7 D F/A F D~7 C E~/G r1 15 14 13 12 15 14 13 12 11 12 13 14 11 12 13 12 11 18 13 12 11 10 9 18 11 12 9 18 11 10 432 1 432 1 1 E~ I~ 1 23 E~r 51 Clche ----------------------------------.82 I ! ~~ ~ ~ ~ p ~~ !~I~ r c ~ F c ! r . I .... ..._ 1 . "'P ....... .. f~C e[ 1 234 1 232 431 1 432 1 I 234 1 2 3 2 D E~7(~5) D J ....J . '''' .- . ~ . I ... '... rI . .. .. . i J 1 2 4 2 1 1*' riC r 2 J 341 234 1 241 2 3 3 2 3 4 E7 C Uk r t r Ur r f r ~r! q~)C.. t'"'11- t'" __ . .... .. ...... .. --j I i 2 1 234 1 2 334 1 321 234 1 234 1 2 4 3 2 1 15 .. . 'II til- ~!'..3 §J I. .ft -.... 1 234 - 1ft ''''' .-----------------------------------. IV .. '" . 234 . . p ... . .. • . . . IV I . 4". ..J a.. III rl"l"\ If D7 . '''' 1 ....~. po ........I .. '''' ...~ ..r hE r 12 13 14 15 12 13 16 15 14 13 Am E7 dE r ~rcUr r fIE r ne f i 14 15 16 17 14 15 16 Am A7 15 14 13 14 15 16 3212341234124321 I 17 16 15 14 15 16 17 18 4321123412341234 HI ~_~ Elf ..'" I ......_ rr .... J ... .1 1 I I ~ . I..... ....... I . ". _ ..... . IV ...------------------'11-33r--1i12~11t__41&8 ---------+--------------------------------1 9 10 11 12 13 12 11 16 9 18 11 12 13 12 11 19 13 12 11 10 432 t 4 321 432 2 1 443 2 1 . . .... -I I T I ... 2 1 . .. ' ..til- • 6..a 2 3 E~7(1)5) J J J ] gJ I -f-- -s-- 13 11 18 9 12 11 18 9 ~-. '" 4"'_ . j •. ..- • ..... '" ~ ~~ I ~ ~ ~ • F i~ !~I~ F j ~ f ~ .... ...•• ........--------1....J J ~JM4J II FIE Dm/E BdimlE E7 E ArnIE FIE DmlE BdimlE E 1234432112344321 r 9 E F -T -.......#r C IInf f #f [ 10 11 12 13 10 11 12 13 9 Dm Am t § e f f T e be r #r Ir 14 13 12 11 19 9 12 10 432 1 4 3 2 I 2 1 4 2 I Ii ~_- 18 11 12 13 12 11 10 12 13 14 15 1 11 12 13 14 1 234 1 234 1 2 3 4 8 va ..:r7----'1Hi6~15........l J.....__---_ -L 1_9_1_B_1_7_16~ 432 1 4 3 2 1 4 4 I 234 1 2 1 234 1 234 3 2 1 432 I ..83 D F7(bS) E F7(bS) E ArnIE j ttErfE£fr€rrl 12 13 15 12 13 15 12 13 14 12 12 14 124124123113 rH 9 10 11 12 15 14 13 12 11 12 13 1.........-5~1~6-------------------if-------------+18&---11.81--- . ere f E § e~ ftc ~r #r F r Am 10 11 12 13 9 10 11 12 13 12 11 18 14 13 12 11 10 9 12 10 2 3 4 1 2 3 4 1 2 344 3 2 1 432 1 2 1 4 2 r I i ...12 A 15 ......-- 1012 10 810 8 13 12131012 HI 12 1812818 8 13 1012· 10 10 910· 1415 14 1314 I I 79 10 7 9 107 9 118 8 1112 ~Am 30 .....3 4 1 234 E r 'r F #r ........• ... S 19 11 12 13 12 13 14 15 1 2 3 4 1 Am E F7(bS) E I i 13 12 11 16 9 5 10 9 13 12 11 10 9 10 12 10 9 18 9 10 9 10 9 18 9 9 13 12 11 18 14 13 4 3 212132432112421212121211432132 Am r r 'S r'E 2 ...... -- 4 1 34134134134113 4134124124122123 1341341341341234 Dm F 11 12 13 14 1 2 3 4 -r r Mr E #§ Erin.. 15 14 13 12111 1 rttr Sf f t f A e f enc Fr c I pre FE e FEr bE cr r I Ef rF bE a.) E7 F Am :--A----41-1.......... Notice the clever way Chopin briefly modulates to the key of G minor-he approaches 07 (the V chord of G minor) chromatically from below before resolving to the actual Gm chord. when the chord changes from Am to Om. notice how he targets a chord tone on the first sixteenth note of each beat.. Chopin targets the third of that chord (G'). He starts off by modulating to the key of C.17 13 14 15 16 17. the relative major of A minor. the fun begins.fir- fI ~ . the left-hand fingerings have to be arranged to make shifting positions as easy as possible."--'- 12 16 '12 --1-5 12 14 18 14 16 19 9 14 9 I I 12 19 9 19 11 12 8 9 18 11 12 H3 10 H 12 15 i 432 Am I~J'_ 14 15 1. The B Section Chopin's mastery of harmony is quite evident in the B section of his Piano Concerto in A minor.. • Chopin was a master of melody. He then repeats this move a whole-step up.: ~ I fl. Over the E7 chord in the third measure. This is what I referred to earlier as the logic of writing chromatic Jines.. it was originally written so the left hand would play chords and the right hand would play the melody. harmony. you might want to record yourself strumming the chord changes (or have a friend play them) while you play the melody. r. which is the third of Om. such as targeting the lowered fifth of the F7(~5) (B) and the lowered seventh of B7 (A). the tablature is different on the repeat (use the tablature on the bottom the second time through). As such.) After that. Careful1y follow the left-hand fingerings provided beneath the tablature-these are the ones I use. Let's look at the first measure: Although it's written using an ascending chromatic scale starting on A. 16 432 17\ II ~--T---------------------+--------------I-II -1&-. (This type of modulation became popular during the Baroque period.. though the music may be the same (as in measures 1-2 and 5-6). chromatically approaching E7 (the V of A unor) before resolving to Am. That's why. Opus No.---------15 14 H~ . the melody lands on F. and voice leading-the art of smoothly moving from chord to chord. Though the melody of this piece is mostly chromatic. • • r- u. . • My arrangement is just for the melody line. ~ E7 ~ ~~ fL ~ tJ I :--! -8 40 ----r----. you can see other prominent examples of this harmonic device. To truly appreciate the richness and depth of Chopin's melodic and harmonic style. but since this is a piano piece.2.14 15 14 19 1 I 17 432 16 15 14 13 4 12 3 11 2 19 1 9 1 II The A Section Here are a few performance tips when playing the A section: • Notice that there are quite a few position changes.18 19 26 117 16 15 14 : 18 17 1.R4 3R B~/D I Dm • Am ~ I E7 Am DmlF -. If you follow along.15 18 17 16 15 432 1 ~ C 19 18 17 16 432 234 1 2 3 4 1ir t--~ 432 42 Faug/A 234 1 2 3 4 432 Dm/A A 432 r 1'5 13 12 J i.. notice how. . notice Chopin's precise targeting of the chord tones on the downbeats. • In measu res 14-17 (and for the first time in this piece)."\11 . Start slowly at first. 0. move your entire left hand to the next position instead of stretching into it with your pinkie or index finger. In stead. Listen to other musical styles and learn from them. and make sure you refer to the tablature for the proper fingerings. There's only one other tricky spot in this section. In measure 9. He then continues with B. Notice how. Keep in mind that you can borrow melodic ideas from this piece and incorporate them into your own solos. G). An identical contour is applied to the embellishment of the 0 note in measure 3 and the E note in measure 5. particularly on the same string. in A minor. Experiment using other lines from this piece. F.3.2. he finishes this passage with a series of descending seconds using primarily the A Aeolian scale (A. You can see great examples of appoggiaturas in measures 1. Beethoven. pic k up a copy of Chopin: Complete Preludes and Etudes for Solo Piano. you'll come across a fairly difficult passage that requires some serious left-hand stretching.. over the C chord in measure 1. Start slowly-one measure at a time-and work your way The C Section In the C section of his Piano Concerto section. E. Chopin rel ies on the tritone substitution principle (in which a do mi nant -se venth type of chord can be interchanged with another dominant chord a diminished fifth above or below). Notice how El:>(b5) is used as a substitute for B7 (the V of E). Again. C. in measures 7 and 8 and 10-13. • Remember: Practice this piece with a metronome. and E7 chords using thirds and fourths as they occur in the A harmonic minor scale. C. Use only your index finger and pinkie to play the intervals: it will make executing the wide stretches easier. Here. B. Record yourself playing the chord changes at a slow tempo (or have a friend play them) and go for it! There's nothing like tackling a challenging piece of music to make you a better player. And now some performance notes: • In this section. up to speed. and Brahms. Am. Chopin introduces the appoggiatura-a melodic device in which a chord tone is approached from either a half-step above or below. published by Dover Books. this time resolving a half-step up to C. For example. I'll sp-p. Chopin begins the melody with D~ (the lowered second) before resolving a half-step down to the target note. This piece is played at an extremely fast tempo. Again. To properl y execute these speedy shifts. and 5. Other classical composers whose works sound great arranged for guitar include the Three B's: Bach. The trick is to move your entire left hand in one quick motion to the next position instead of stretching into it with your pinkie or index finger. Chopin leaves the chromatic scale for just a brief moment to outline the Om. This type of move (very common in jazz) only underscores 7 how harmonically ahead of his time Chopin was. It will I Y all I iked working h •• ln r . try playing the concerto in its entirety.In measures 12-13. Notice that the first note of each interval is approached chromatically from below. <- on this piece and want to check out more of Chop in's mus ie. Chopin forgoes the chromatic scale.. Executing them properly is not as hard as it looks. Once you have this section down. oi on the rOMP . take it slowly and don't force anything-you don't want to hurt yourself! I use the unorthodox left-hand fingering in measure 9 because it enables me to maintain a smooth alternate picking pattern. Opus No. • Pay carefu I attention to the left-hand position shifts in measures 12-13. rlPvf'lnnment <-IS ::J: mnsicinn i rneaxi rahl . the second measure can be used as a great connecting line from one A minor pentatonic or blues lick to another. Refer to the tablature for the proper fingerings. Chopin restates the first six bars of the A Notice that there are a number of quick position shifts. always approach music with an open mind. And remember: Always.jmd the last thing you want to do is break your right-hand rhythm worrying if the next note lands on an upstroke or downstroke. ...III -& 6=T 0 ..A .A. play it.. _.r.I" ~_-1 K: . 1 T rI D A • A " PREBEND (Ghost Bend): Bend to the specified note. causing original note to sound alone. ~ v . ~" A "C"Chnnl _.. then release to the original note. then immediately drop it down to the fretted note.. . A whole step equals two frets.. } A D '" ~-. . -. " . I !I -. WHOLE STEP: Play the note and bend string one whole step. TWO STEPS: Play the note and bend string two whole steps. 3rd f.* SLIGHT BEND (Microtone): Play the note and bend string slightly to the equivalent of half a tret...S. _. ill 1990 Beam Me Up Music c/o CPP/Belwin. STATIONARY NOTES.\"m~@. Only the first note is attacked . DOUBLE NOTE BEND: Play both notes and immediately bend both strings simultaneously. then release to the original note... relieve pressure from additional note(s). l--~--". loI .. D 1 _'" ~:. v v " . Notes and chords are indicated by the placement of fret numbers on a given strinqls). Miami.. Play notes and bend lower pitch... then hold until release begins (i ndicated at the paint where line becomes solid).. before the string is picked. BENDING NOTES HALF STEP: Play the note and bend string one half step. ~~t~lcd Pi g . FlOrida 33014 International Copyright Secured Made in U. ~.-c.. Bend the string..... . • T ~/ ..III WHOLE STEP AND A HALF: Play the note and bend string a whole step and a half.A A ./J""""""i t THAN ONE STRING: Play the note and bend string while playing an additional note (or notes) on another string(s). • 4 T n .I" -~ r.GUITAR TAB GLOSSARY TABLATURE EXPLANATION READING TABLATURE: Tablature illustrates the six strings of the guitar.- I 121tl Fm CChnrd A -----~ BENDS INVOLVING MORE ". *A half step is the smallest interval in Western music.. " BEND AND RELEASE: Play the note and gradually bend to the next pitch.-.n"J. . it is equal to one fret.Ii . _. . S..lnc...._. \ 0- .-~ '" UNISON BEND: Play both notes and immediately bend the lower note to the same pitch as the higher note. All Rights Reserved ··By Kenn Chipkin and Aaron Slang . PREBEND AND RELEASE.. . Upon release. REVERSE BEND: Play the already" bent string. BENDS IN'lOL'llNG. MUTED STRINGS: mid. LEFT HAND HAMMER: Hammer on the first note played on each string with the left hand. picks). PULL OFF: Play higher note._". The note name is indicated above the rhythm slash with a fret number and a string indication. Slg_s. then "hammer on" to higher note with another finger. .. (Only first note is attacked). . high smnqs). tap onto note indicated.. BEND AND TAP TECHNIQUE: Play note and bend to specified interval..---X--O~-X ~*_l___"""~________ -'r --a ..J~ TAP SLIDE: same as fretboard +_:-::::_____________ tapping.. =f . -T-j TREMOLO PICKING: The note or notes are picked as fast as possible.a.-=.. The chord voicinqs are found on the first page of the transcription underneath the song title. --. T. high Sl!!.... f--&------f'--+ ----I- r .. -. but the tapped note is slid randomly up the fretboard.-=1-=1 . Only the first note is attacked. ARTICULATIONS HAMMER ON: Play lower note..-" ~ INDICATING SINGLE . then PUll off to the following note held by the fret hand..RHYTHM SLASHES (_j + ____ STRUM INDICA· ~ "-.. ~-.- ..9 n --~------I 9 '> 7 -- Play note and slide to the totlowinq note... then "pull off" to lower note with another finger_ OnlY the first note is attacked.. SHORT GLISSANDO: Play note for its full value and slide in specified direction at the last possible moment 0 __ ® 5f. open 3fr open ee 3fr 1fr eee J:-j..:.i=l c ~~-tr-=m FRET· BOARD TAPPING: "Tap" onto the note indicated by + with a finger of the pick hand.. mid. A low sIll"._. While holding bend.~ SLIDE: ~~ _ "" LEGATO ~~T~~ ~~g---------------- i-""-> ... TIONS: Strum with indicated rhythm. .. -_. then pu lied off to the following note.\ G F ECA NOTES USING RHYTHM 1 SLASHES: Very often single notes are incorporated into a rhythm part. PALM MUTE: The note or notes are muted by the palm of the pick hand by lightly touching the string(s) near the bridge... percussive X )( sound is made by laying the fret hand across all six strings While pick hand strikes specified area (low. ---- x----~ PICK SLIDE: Slide the edge of the pick in specified direction across the length of the string(s). 7 LONG GLISSANDO: Play note and slide in specified direction for the full . value of the note.c" . are heard simultaneously.. A. .. A. C ! . " .-_- harm. .. ... . (ill'a) '''_ ." I A_H. . If parenthesis are found around the fretted note. and the grace note.. . c ARTIFICIAL "PINCH" HAR· MONIC: A note is fretted as indicated by the tab. harm.. then the pick hand produces the hermonie by squeezing tha pick firmly while using the tip of the index finger in the pick attack. (Bva) . " <:'> <:'> TREMOLO BAR SPECIFIED INTERVAL: The pitch of a note or chord is lowered to a specified interval and then mayor may not . UN· SPECIFIED INTERVAL: The pitch of a nota or a chord is lowered to an unspecified interval. '" ~ ~ . A_H_ DOWN STROKES AND UPSTROKES: Notes or chords are to be played with either a downstroke r. or hann. No parenthesis means both the fretted nota and A.H..a.. 2 ACCENT: Notes or chords are to be played with added emphasis. The activity of the tremolo bar is graphically represented by peaks and valleys.H. VIBRATO: The pitch of a note is varied by a rapid shaking of the fret hand finger.H.T 7m : A -~~ e- " TRILL: Hammer on and pull off consec utively and as fast as possible between the original note HARMONICS hann. -_'~_. .. wrist. and forearm. it does not sound.... 1 NATURAL HARMONIC: A finger of the fret hand lightly touches the note or notes indicated in the tab and is played by the pick hand.then the pick hand produces i--M----the harmonic by using a finger to lightly touch the same string at the second tab number (in parenthesis) and is then picked by another finger. (/5ma! A_H_ (Ill'a) A. ARTIFICIAL HARMONIC: The first tab number is fretted.H. ~~~~___ '' STACCATO (Detached Notes): Notes or chords are to be played roughly half their actual value and with separation.) or upstroke ( v ) of the pick. return to the original pitch..