Guitar Techniques ( PDFDrive.com )

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APRIL 201 APRIL 20177

Join this top UK blues-rocker for

a brilliant minor blues lesson

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D E

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YNSLEY LI

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Ma

ster

class

Pt3

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A S

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IC

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Featuring:

George Harrison (Acoustic)

Judas Priest (Har

d Rock)

Oscar Moore (Jazz)

With the greatest players

ELGAR

Play his rousing epic

Land of Hope And Glory

New chords for every type of blues

Great workouts and progressions

Plus studio quality jam tracks

Learn the licks of this

jazz-b

lues m

aster

Larry

Car

lton

Y

our

T

op

St

yl

e

St

u

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ie

s

Licks, chords

and solos!

1

1 More than

More than

60

60 BLUES

BLUES

CHORDS

Y

OU’LL EVER N

EED!

A

LL THE

This month’s Rock column brings you

a

delay-tastic

U2 style track to try

T

h

e

ED

GE

P

P L

L A

A

Y

Y L

L I

IK

K

E

PLAY

FUSION

10 super jazz-rock

examples to add

sophistication and

style to your solos

MAKING YOU A BETTER PLAYER SINCE 1994

PLAY

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Apr

April il 20120177 33

ISSU

ISSUE 26

E 267

7 }

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_APRIL

_{PRIL 201}

₂₀₁₇₇

Neville Marten,

Neville Marten, Editor

Editor

[email protected] [email protected]

WE

WEL

LC

CO

OME

ME

MAN

MANY YEAR

Y YEARS AGO I was humiliat

S AGO I was humiliated by a

ed by a

guitarist fr

guitarist friend - with no malice at all, I

iend - with no malice at all, I

hasten to add. He and his brother were in a

we

well-

ll-kno

known

wn pr

prog

og ban

band

d and

and ha

had

d mo

moved

ved to

to

the town where I lived. We’d got to know

each other and one day he suggested the

two of us have a jam. While his brother was

the lead guitarist, this chap was ‘strictly

rhythm’ - although he did occasionally like

to ‘make it cry or sing’ (groan!).

Given that we didn’t know what the

other really did, we inev

other really did, we inevitably end

itably ended up

ed up

playing blues and rock stuff. He let me solo

rst and I wailed away on my red 335,

giving it every

giving it everything I’d g

thing I’d got. He, on the

ot. He, on the

other hand was all over hi

other hand was all over his blonde

s blonde

Tele’s neck, playing partial chords,

half-chord-half-half-chord-half-riff ideas, link

riff ideas, link

lines, bass runs - t

lines, bass runs - the lot.

he lot.

Whe

When

n it

it cam

came

e tim

time

e to

to

swap roles my basic barre

chords were, by contrast,

leaden and unmusical.

Whe

Where

re he

he ha

had

d ma

made

de my

my

licks come to life, my

dreadful rhythm was killing

his tasteful, funky chops.

Wha

What

t a

a les

lesson

son I

I lea

learne

rned!

d!

That historic preamble was (

That historic preamble was (you’

you’ve

ve

guessed it) to set up this

guessed it) to set up this issue’

issue’s main story,

s main story,

whi

which

ch is

is all

all ab

abou

out

t pl

playin

aying

g com

compl

plem

emen

entary

tary,,

interesting, musically relevant, exciting

and rewarding blues rhythm guitar.

Jon Bishop has again come up with the

goods and, whether you’re into blues or not,

his feature is an i

his feature is an indispensabl

ndispensable source of

e source of

ideas that will benet any guitarist.

Checking through

Checking through Jon

Jon’s exampl

’s examples -

es - he

he

leaves no stone un

leaves no stone unturned - wi

turned - will set you up

ll set you up

as a ne blues rhythm

as a ne blues rhythm playe

player and ensure

r and ensure

yo

you

u ne

never

ver nd

nd yo

yourse

urself

lf with

with the

the sam

same

e red

red

face that I was left with all those years ago.

In tandem with Jon’s

feature you shoul

feature you should also visit

d also visit

Iain Scott’s Chord Camp. It’s

about CAGED system chords

- exactly what my friend was

using that day and about which I

had absolutely no idea (wince!).

Do enjoy the issue, and I’ll see

yo

you

u aga

again

in nex

t mo

month

nth..

R

E

A

D

Y

T

O

S

U

B

S

C

R

I

B

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?

w

w w

w ..m

m y

y f

f a

a

v

v o

ou

ur

r iit

t ee

m

ma

a g

g a

a zziin

nees

s ..c

c o

o..u

uk

k

Just some o

Just some of your regular

f your regular

GT technique experts...

JON BISHOP JON BISHOP

Jon is one of those great all-rounders Jon is one of those great all-rounders who can turn his hand to almost any who can turn his hand to almost any style. No ‘Jack of all trades and master of style. No ‘Jack of all trades and master of none’, he nails every one with ease! none’, he nails every one with ease!

IAIN SCOTT IAIN SCOTT

For over 25 years Iain has taught in the For over 25 years Iain has taught in the UK’s top schools and academies, as well UK’s top schools and academies, as well as a stint at GIT in LA. He can also boast as a stint at GIT in LA. He can also boast playing with the legend Brian Wilson! playing with the legend Brian Wilson!

STUART RYAN STUART RYAN

Head of Guitar at BIMM Bristol, Stu is an Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs acoustic guitar virtuoso who performs throughout the UK. His latest book/CD throughout the UK. His latest book/CD The

The TrTraditadition ion is is avaavailailable ble nownow..

PHIL HILBORNE PHIL HILBORNE

The

The UK’UK’s s origoriginainal l magmagaziazine ne guiguitar tar tuttutoror,, Phil’s something of a legend. A great Phil’s something of a legend. A great player, he’s currently touring Europe player, he’s currently touring Europe with the Champions Of Ro

with the Champions Of Rock show.ck show.

CHARLIE GRIFFITHS CHARLIE GRIFFITHS

Guitar Institute tutor Charlie ﬁrst came Guitar Institute tutor Charlie ﬁrst came to fame in Total Guitar’s Challenge to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists. top rock, metal and fusion guitarists.

SHAUN BAXTER SHAUN BAXTER

One of the UK’s most respected music One of the UK’s most respected music educators, Shaun has taught many who educators, Shaun has taught many who are now top tutors themselves. His Jazz are now top tutors themselves. His Jazz Metal album is considered a milestone. Metal album is considered a milestone.

JUSTIN SANDERCOE JUSTIN SANDERCOE

One of the most successful guitar One of the most successful guitar teachers ever, justinguitar.c

teachers ever, justinguitar.com is a om is a minemine of information, and

of information, and his YouThis YouTube channelube channel boasts almost 500,000 subscribers! boasts almost 500,000 subscribers!

PAT HEATH PAT HEATH

BIMM Brighton lecturer, ESP product BIMM Brighton lecturer, ESP product demonstrator and all-round busy demonstrator and all-round busy musician, Pat brings you six cool licks musician, Pat brings you six cool licks each month in 30-Minute Lickbag. each month in 30-Minute Lickbag.

BRIDGET MERMIKIDES BRIDGET MERMIKIDES

Guildhall and Royal Academy trained, Guildhall and Royal Academy trained, Bridget is a Royal College of Music, Bridget is a Royal College of Music, examiner, a respected classical player examiner, a respected classical player and award-winning blues guitarist. and award-winning blues guitarist.

LES DAVIDSON LES DAVIDSON

Les has worked wi

Les has worked with Mick Taylor, Rumer,th Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Jon Anderson, Pete Townshend, Tina Tu

Turnerner r & & mormore. e. He He alsalso o runruns s a a recrecordordinging studio and teaches at BIMM London. studio and teaches at BIMM London.

RICHARD BARRETT RICHARD BARRETT

One of the best players around, Richard One of the best players around, Richard is adept at most st

is adept at most styles but truly excels inyles but truly excels in the bluesier side of rock. He currently the bluesier side of rock. He currently plays with Spandau’s Tony Hadley. plays with Spandau’s Tony Hadley.

JOHN WHEATCROFT JOHN WHEATCROFT

A phenomenal guitarist, John is a A phenomenal guitarist, John is a master at all styles but a legend in Gypsy master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is Jazz. His new album Ensemble Futur is out now on iTunes and Amazon. out now on iTunes and Amazon.

AYNSLEY LIS AYNSLEY LISTER TER

Aynsley is one of the UK’s ﬁnest Aynsley is one of the UK’s ﬁnest blues-rock guitarists, recording artists and rock guitarists, recording artists and performers. His new album Eyes Wide performers. His new album Eyes Wide Open is a killer; we welcome him to GT! Open is a killer; we welcome him to GT!

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UR AM

AZING

DIGITAL EDITION

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Tap the links

Finding your way around the Finding your way around the magazine is easy. Tapping the feature magazine is easy. Tapping the feature titles on the cover or the contents titles on the cover or the contents page, takes you straight to the page, takes you straight to the relevant articles. Any web and email relevant articles. Any web and email links in the text are tappable too! links in the text are tappable too!

Anima

Animated

ted ta

tab

b &

& au

audio

dio

Songs and lessons have the audio Songs and lessons have the audio

built in with a moving cursor built in with a moving cursor showing you exactly where you are showing you exactly where you are in the music. Simply tap the ‘play’ in the music. Simply tap the ‘play’ button then you can fast-forward or button then you can fast-forward or

scroll back at will. scroll back at will.

Play the videos

Certain articles have accompanying Certain articles have accompanying videos full of useful insight and videos full of useful insight and additional information. Once again, additional information. Once again, tap the play buttons to enjoy video tap the play buttons to enjoy video

masterclasses on your iPad or masterclasses on your iPad or

smartphone. smartphone.

Guitar Techniques’ iPad* edition is now even better!

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DISC AUDIO_{Sometimes the GT CD features some articles’ backing tracks as mp3 ﬁles due}_{Sometimes the GT CD features some articles’ backing tracks as mp3 ﬁles due}

to space. These will be found in a folder on the CD-ROM section of the disc, accessible only to space. These will be found in a folder on the CD-ROM section of the disc, accessible only via a computer and not

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Apr April il 20120177 55

• C O N T E N T S

• C O N T E N T S • A P R I

• A P R I L 2 0 1

L 2 0 17 •

7 •

AY

AYNSLNSLEY EY LISLISTER TER Vid

Video eo MasMasterterclaclass Pss PT3T3 4444 Aynsley Lister ﬁnishes his highly popular video Aynsley Lister ﬁnishes his highly popular video masterclass series with a superb Freddie King, masterclass series with a superb Freddie King, BB King or

BB King or Peter Green style slow 8-bar blues.Peter Green style slow 8-bar blues.

JAZZ-ROCK & FUSION JAZZ-ROCK & FUSION

Cracking the code

3030 Jazz-rock ideas can take your playing into highly Jazz-rock ideas can take your playing into highly sophisticated realms. This article, originally from sophisticated realms. This article, originally from GT176, is your ultimate lesson in fusion. GT176, is your ultimate lesson in fusion.

SPECIAL FEATURE

ALL

ALL THE

THE BLU

BLUES C

ES CHOR

HORDS..

DS....

...you’ll ever need!

1414 Though

Thought there t there were owere only threnly three, huhe, huh? W? Well thinell thinkk again: there are loads of brilliant chords to again: there are loads of brilliant chords to use in blues, so read this lesson if you want to use in blues, so read this lesson if you want to become the coolest blues rhythm guy around! become the coolest blues rhythm guy around!

COVER FEATURE

EDWARD ELGAR EDWARD ELGAR

Land Of Hope And Glory

5050 Bridget Mermikides arranges and

Bridget Mermikides arranges and transcribestranscribes this British

this British composer’composer’s most famous work, s most famous work, asas used to close the Last

used to close the Last Night Of The Proms.Night Of The Proms.

CLASSICAL TAB CLASSICAL TAB C C O O V V E E R R H H A A R R R R I I S S O O N N : : G G E E O O F F F F A A H H O O W W A A R R D D / / A A L L A A M M Y Y REGULAR FEATURES REGULAR FEATURES LESSONS

LESSONS INTRODUCTION INTRODUCTION 5555 Jason Sidwell introduces another Jason Sidwell introduces another action-packed Guitar Techniques lessons section packed Guitar Techniques lessons section 30

30

_--

MINUTE LICKBAG MINUTE LICKBAG 5656 Pat Heath has six more licks for you to play at Pat Heath has six more licks for you to play at easy, intermediate and advanced levels. easy, intermediate and advanced levels.

BLUES 58

Les Davidson gets to grips with

Les Davidson gets to grips with the touch, tonethe touch, tone and taste of the awesome Larry Carlton! and taste of the awesome Larry Carlton!

ROCK 62

Martin Cooper has his Gibson Explorer and Martin Cooper has his Gibson Explorer and delay pedal ready, to bring you U2’ The Edge. delay pedal ready, to bring you U2’ The Edge. HARD

HARD ROCK ROCK 6666 Charlie Griﬃths introduce

Charlie Griﬃths introduces the s the twin-guitartwin-guitar assault of NWOBHM legends, Judas Priest. assault of NWOBHM legends, Judas Priest.

JAZZ 72

John Wheatcroft believes that Nat ‘King’ Cole’s John Wheatcroft believes that Nat ‘King’ Cole’s guitarist Oscar Moore was one of the very best. guitarist Oscar Moore was one of the very best. ACO

ACOUSTUSTIC IC 7878 Stuart Ryan is intrigued by the chords and Stuart Ryan is intrigued by the chords and changes in George Harrison’s post-Beatles changes in George Harrison’s post-Beatles work - his ‘All Things Must Pass’ era... work - his ‘All Things Must Pass’ era... CREATIVE ROCK

CREATIVE ROCK 8282 Shaun Baxter begins a new

Shaun Baxter begins a new mini-series thatmini-series that explores four-note Mixolydian arpeggios. explores four-note Mixolydian arpeggios. CHORD

CHORD CAMP CAMP 8888 Iain Scott covers the much-discussed CAGED Iain Scott covers the much-discussed CAGED system (Major chords) in this month’s lesson. system (Major chords) in this month’s lesson. IN

IN THE THE WOODSHED WOODSHED 9292 Charlie Griﬃths goes down the the shed to Charlie Griﬃths goes down the the shed to discover how to hybrid pick with the inclusion discover how to hybrid pick with the inclusion of the oft-neglected fourth

of the oft-neglected fourth ﬁnger.ﬁnger.

F

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LEAR

NING

ZONE

A bluesy E13 chord

played on a Gibson played on a Gibson ES-335 ’63 Reissue ES-335 ’63 Reissue WEL WELCOMCOME E 33 Nev tells a sad tale of unwitting

Nev tells a sad tale of unwitting humiliation andhumiliation and belittlement at the hands of a guitarist friend. belittlement at the hands of a guitarist friend.

TALKBACK 6

We value your opinions, positive or otherwise. We value your opinions, positive or otherwise.

INTRO 8

Food For Thought, Session Shenanigans, 60 Food For Thought, Session Shenanigans, 60 Seconds, Jam Tracks, Phil’s OML and more. Seconds, Jam Tracks, Phil’s OML and more. SUBSCRIPTIONS 28 SUBSCRIPTIONS 28 Save time and money – get GT delivered! Save time and money – get GT delivered! BACK

BACK ISSUES ISSUES 5454 Missed a copy of GT in the last six months? Missed a copy of GT in the last six months? ALB

ALBUMS UMS 9494 Our reviews always cover an interesting spread Our reviews always cover an interesting spread of recent guitar-led releases...

of recent guitar-led releases... FRETBOARD

FRETBOARD & & USER USER GUIDE GUIDE 9595

_/

66 Our musical terms and signs guide now Our musical terms and signs guide now includes an anotated fretboard diagram. includes an anotated fretboard diagram. NEX

NEXT MT MONTONTH H 9898 Guitarists Of Steely Dan; Three-String Chords Guitarists Of Steely Dan; Three-String Chords & Arpeggios; Will McNicol video lesson; Rick & Arpeggios; Will McNicol video lesson; Rick Parﬁtt tri

Parﬁtt tribute (Rock), Totobute (Rock), Toto, SRV and more!, SRV and more!

TURN TO TURN TO PAGE 28 NOW PAGE 28 NOW FOR OUR LATEST FOR OUR LATEST SUBSCRIPTION SUBSCRIPTION OFFERS OFFERS Aynsley Lister: Aynsley Lister: Part 3 of his Part 3 of his blues-rock blues-rock soloing series soloing series

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Talk

Talk Back

Back

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_{Guitar Techniques, Future Publishing, Ivo P}

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‘MIXED’ MESSAGES? ‘MIXED’ MESSAGES?

In your February 2017 issue Matt In your February 2017 issue Matt Chambers asks, apropos the Chambers asks, apropos the Mixolydian mode in A, which has Mixolydian mode in A, which has F# and C# but G natural ( F# and C# but G natural (b b 7th),7th),

“Wouldn’t it make more sense to “Wouldn’t it make more sense to have the key signature of D Major, have the key signature of D Major, as A Mixolydian is the fth scale as A Mixolydian is the fth scale degree of D Major?” Jason Sidwell degree of D Major?” Jason Sidwell replies, “…Guitar Techniques… replies, “…Guitar Techniques… decided to universally conform to decided to universally conform to traditional music conventions traditional music conventions (founded in classical music) in that (founded in classical music) in that all key signatures would be Major all key signatures would be Major or (Natural) Minor keys.”

or (Natural) Minor keys.” Whereas tha

Whereas that decisit decision adon adoptedopted by Gui

by Guitar Techniqtar Techniques is ues is a pera perfectlyfectly reasonable strategy and entirely reasonable strategy and entirely defensible, it is by no means defensible, it is by no means universal in classical music. At least universal in classical music. At least two pieces in my

two pieces in my current repertoirecurrent repertoire use key signatures that reect the use key signatures that reect the modal nature of the music. modal nature of the music.

A ‘classi

A ‘classical’ (Scal’ (Spanish panish NationalistNationalist School) piece in my repertoire is School) piece in my repertoire is Madroños by Frederico Moreno Madroños by Frederico Moreno Torroba. This has a tonal centre Torroba. This has a tonal centre that is clearly E. The key signature that is clearly E. The key signature having no sharps or ats is of C having no sharps or ats is of C Major. This indicates to me that I Major. This indicates to me that I should expect Phrygian (amenco should expect Phrygian (amenco like) sounds. Of course, things are like) sounds. Of course, things are rarely quite that simple. Madroños rarely quite that simple. Madroños can be thought of as

can be thought of as in the Phrygianin the Phrygian Dominant mode (fth mode of, in Dominant mode (fth mode of, in this case, A Harmonic Minor, and this case, A Harmonic Minor, and even more amenco) given that it even more amenco) given that it opens and closes with an E opens and closes with an E MajorMajor chord. This might suggest a key chord. This might suggest a key signature of G#, but that would be signature of G#, but that would be too easily confused with F# and is too easily confused with F# and is best avo

best avoided, aided, as with s with tunes usitunes usingng the Harmonic Minor. Madroños, in the Harmonic Minor. Madroños, in fact, shifts through a variety of keys fact, shifts through a variety of keys and modes, thus making lots of and modes, thus making lots of accidentals necessary. Flamenco accidentals necessary. Flamenco often does likewise.

often does likewise. I have also learned an I have also learned an arrangement of The Blarney arrangement of The Blarney Pilgrim by Clive Carroll. Its Pilgrim by Clive Carroll. Its tonal centre is D

tonal centre is D (transposed(transposed by capo

by capo) but ) but although although it usit useses F#, all the Cs are natural. Clive F#, all the Cs are natural. Clive uses the G

uses the G Major key signatureMajor key signature of a single sharp, F#.

of a single sharp, F#. This indicates that we This indicates that we can expect to hear can expect to hear Mixolydian sounds. Mixolydian sounds. Duck Baker in his Duck Baker in his

arrangement does the same. arrangement does the same.

Two caveats: Blues is often a Two caveats: Blues is often a delicious mix of Major,

delicious mix of Major, Mixolydian,Mixolydian, Minor and Pentatonic sounds. It is Minor and Pentatonic sounds. It is arguably best to use the magazine’s arguably best to use the magazine’s convention with Blues, accidentals convention with Blues, accidentals indicating ‘blue notes’ to the ear. indicating ‘blue notes’ to the ear. Secondly, it is best to stick to the Secondly, it is best to stick to the regular 15 key signatures, one regular 15 key signatures, one natural and seven each of sharp and natural and seven each of sharp and at, building forwards or

at, building forwards or backwards

backwards around around the cycle the cycle of 5ths.of 5ths. As pr

As previously eviously mentioned, mentioned, a keya key signature of a random sharp (eg signature of a random sharp (eg G#) or at could be confusing. G#) or at could be confusing.

To conclude, although there is To conclude, although there is nothing wrong with GT’s policy on nothing wrong with GT’s policy on this issue, it is not

this issue, it is not a universallya universally adopted convention in music. So, if adopted convention in music. So, if Mr Chambers prefers to use key Mr Chambers prefers to use key signatures that reect the modality signatures that reect the modality of a piece, he is in good company. of a piece, he is in good company. Bria

Brian n ArthArthur, ur, NorthNorthumbeumberland rland Good point, Brian. Music, while being a Good point, Brian. Music, while being a very precise art on the one hand, can be very precise art on the one hand, can be multiplicit

multiplicitous and confusing on ous and confusing on thethe other. After years of refining how GT does other. After years of refining how GT does things, we have arrived at a set of things, we have arrived at a set of standards that seem to work well across standards that seem to work well across all the various styles we cover – as all the various styles we cover – as youyou

poin

point t out, out, fromfrom blues to classical. blues to classical. One size won’t One size won’t always fit perfectly always fit perfectly 100% of the time, but 100% of the time, but in a

in a single publication it’ssingle publication it’s necessary (and probably necessary (and probably

best) to come up with a stance on all best) to come up with a stance on all these potentially conflicting issues and these potentially conflicting issues and stick to it. We realise that certain stick to it. We realise that certain scenarios might be well served by other scenarios might be well served by other approaches, but overall (and

approaches, but overall (and notwithstandi

notwithstanding the ng the vagaries of music),vagaries of music), we are happy with things the way they we are happy with things the way they are. We would, of course, never dictate are. We would, of course, never dictate how others do things, and

how others do things, and understandunderstand that we are likely to encounter different that we are likely to encounter different approaches here and there.

approaches here and there.

GUITARISTS’ AILMENTS GUITARISTS’ AILMENTS

I have subscribed to GT I have subscribed to GT for fourfor four about years and every issue has about years and every issue has sparkling gems to improve my sparkling gems to improve my skills, thinking and approach, even skills, thinking and approach, even after 30 years of plunking

after 30 years of plunking the confounded plank. the confounded plank. Unfortunately in the Unfortunately in the same period, several same period, several medical issues have medical issues have confronted both my confronted both my hands: eg ‘trigger nger’, hands: eg ‘trigger nger’, carpal tunnel syndrome, carpal tunnel syndrome, Dupuytren’s contracture, Dupuytren’s contracture,

and mild arthritis. I’m also aware and mild arthritis. I’m also aware that a lot of older players are that a lot of older players are partially deaf, have a hunched partially deaf, have a hunched posture and back problems related posture and back problems related to the way they’ve played for 40 to the way they’ve played for 40 odd years.

odd years.

So I wondered if a series So I wondered if a series ofof articles on guitar related articles on guitar related bio-mechanics - how to avoid, or mechanics - how to avoid, or recognise early symptoms and recognise early symptoms and manage common medical problems manage common medical problems that dedicated twangers might that dedicated twangers might encounter - would help younger encounter - would help younger players to consider methods to players to consider methods to minimise risks of typical long-term minimise risks of typical long-term guitarists’ impending medical guitarists’ impending medical

complications? There have been complications? There have been odd references to ngers, tendons, odd references to ngers, tendons, arms and brains (memorisation arms and brains (memorisation techniques) so the truth is out there techniques) so the truth is out there and within GT’s grasp!

and within GT’s grasp! Russ

Russ GranGrant t

You may well be right that the moment is You may well be right that the moment is ripe for such an article or

ripe for such an article or series in GT,series in GT, Russ. As you say, we’ve tinkered around Russ. As you say, we’ve tinkered around the edges a few times but never got to the edges a few times but never got to the nitty-gritty. Actually, I have had the nitty-gritty. Actually, I have had Depuytren’s contracture for several Depuytren’s contracture for several yea

years, rs, but but as as yet yet my my hand hand (the (the fretfrettingting one!) has not turned into the closed claw one!) has not turned into the closed claw that typifies the advanced stages of this that typifies the advanced stages of this nasty ailment. Luckily, I’m told the hand nasty ailment. Luckily, I’m told the hand can stay normal for years or even never can stay normal for years or even never contract, so fingers crossed (if that’s not a contract, so fingers crossed (if that’s not a horribly mixed figure of speech). horribly mixed figure of speech). Having discussed the idea with Jason we Having discussed the idea with Jason we feel that a genuine doctor would need to feel that a genuine doctor would need to contribute, and possibly oversee the contribute, and possibly oversee the whole thing. We also feel that, since our whole thing. We also feel that, since our writers are all busy players, teachers, writers are all busy players, teachers, recording artists in their own right or out recording artists in their own right or out on the road backing others, it would be on the road backing others, it would be great to get their practical insight too. great to get their practical insight too. We’re on the case, so watch this space! We’re on the case, so watch this space!

NO

NOT T ALL ALL ABOABOUT UT SOSOLOLOING!ING!

I buy GT when there’s something on I buy GT when there’s something on the cover that oats my boat. I the cover that oats my boat. I chuck it into my

chuck it into my shopping basket inshopping basket in the supermarket and my the supermarket and my wife d

wife doesn’t noesn’t notice tiotice till it’sll it’s too late. But I have noticed too late. But I have noticed how much you

how much you concentrate on lead concentrate on lead playing, as opposed to playing, as opposed to chords and rhythm. I’d chords and rhythm. I’d buy it

buy it more omore often if ften if therethere were more

were more great great chordchord features – I remember 50

features – I remember 50 GorgeousGorgeous Chords, from some years back, but Chords, from some years back, but not much recently.The mag is great, not much recently.The mag is great, but p

but perhaps erhaps a bit a bit lop-sided?lop-sided? Mark

Mark BelwBelwayay

Well, Mark, I must disagree. Apart from Well, Mark, I must disagree. Apart from the mammoth cover feature in this very the mammoth cover feature in this very issue, Chord Camp is a brilliant resource issue, Chord Camp is a brilliant resource for rhythm; the Rock column always has for rhythm; the Rock column always has a rhythm part; and

a rhythm part; and Acoustic usuallyAcoustic usually focuses on chords, be they

focuses on chords, be they strummed orstrummed or pick

picked. ed. Plus Plus we we reguregularllarly oy offer ffer hugehuge rhythm guitar features in every kind of rhythm guitar features in every kind of style. Perhaps you should visit the style. Perhaps you should visit the supermarket more often. Enjoy the issue! supermarket more often. Enjoy the issue! Jason Sidwell: GT’s

Jason Sidwell: GT’s music editor and a music editor and a fine guitarist in a fine guitarist in a host of styles host of styles F F R R A A N N K K C C . . M M Ü Ü L L L L E E R R Depuytren’s, where Depuytren’s, where

fingers can contract

into a claw - it’s not

good for guitarists!

(7)

(8)

Intro

miss a note’ thing and you have miss a note’ thing and you have a Ca C Major chord (C-E-G). Keep the same Major chord (C-E-G). Keep the same shape but move it all up one note so shape but move it all up one note so thumb is on the D and you have a D thumb is on the D and you have a D Minor chord (D-F-A). This follows Minor chord (D-F-A). This follows the diatonic chord sequence for the the diatonic chord sequence for the key of C which is: C Major, D Minor, key of C which is: C Major, D Minor, E Minor, F Major, G Major, A minor, E Minor, F Major, G Major, A minor, B Diminished and then back to C. B Diminished and then back to C.

We n

We number umber these these chords chords usingusing Roman numerals for convenience. Roman numerals for convenience. The rhythm I recommend you The rhythm I recommend you start with is playing a root note of start with is playing a root note of the chord (just the one note) in the the chord (just the one note) in the left hand somewhere to the left of left hand somewhere to the left of where you

where you plan to plan to play tplay the chord,he chord, and then the triad with the and then the triad with the rightright hand, do that all twice and you have hand, do that all twice and you have

the bass on beats 1 and 3 and the the bass on beats 1 and 3 and the chord on 2 and 4. How much chord on 2 and 4. How much quicker was that to learn than the quicker was that to learn than the same thing on guitar?

same thing on guitar? A chord

A chord pattern pattern that wthat works fororks for gazillions of songs is the good ol’ gazillions of songs is the good ol’ I-V-VI-IV (1-5-6-4) so doing each of I-V-VI-IV (1-5-6-4) so doing each of those for a bar and you

those for a bar and you got yourselfgot yourself the ability to play hundreds of the ability to play hundreds of

songs at parties and show off your songs at parties and show off your new awesome piano skills. Some new awesome piano skills. Some (simplied) songs you might like to (simplied) songs you might like to sing over this would be:

sing over this would be: I’m YoursI’m Yours (Jason Mraz), Let It Be (The (Jason Mraz), Let It Be (The Beatles), When I Come Around Beatles), When I Come Around (Green Day), Wherever You Will Go (Green Day), Wherever You Will Go (The Calling).

(The Calling).

If you fancy trying something a If you fancy trying something a

bit mor

bit more old-schoe old-school, try ol, try using tusing thehe I-VI-II-V (1-6-2-5) chord sequence I-VI-II-V (1-6-2-5) chord sequence which is

which is the founthe foundation dation of manof manyy more songs like: I Got Rhythm more songs like: I Got Rhythm (George Gershwin) or The

(George Gershwin) or The RainbowRainbow Connection (Muppets).

Connection (Muppets).

The so-called ’50s progression The so-called ’50s progression - I-VI-IV-V (1-6-4-5) - is used in - I-VI-IV-V (1-6-4-5) - is used in Stand By Me (Ben E King), All I Stand By Me (Ben E King), All I Have To Do Is Dream (Everly Have To Do Is Dream (Everly Brothers) and tons of others. These Brothers) and tons of others. These are simplied somewhat and I had are simplied somewhat and I had to leave bits out, but the idea is to to leave bits out, but the idea is to get you started and give you some get you started and give you some food for thought. Next month we’ll food for thought. Next month we’ll see how you can use these ideas to see how you can use these ideas to help your guitar playing, and get a help your guitar playing, and get a little more creative. For now, tinkle little more creative. For now, tinkle those ivories and have some fun! those ivories and have some fun!

FOOD FOR

thought

P

lay piano in 15 minutes! Ilay piano in 15 minutes! I love those misleading ads love those misleading ads one sees all over the one sees all over the

internet. But for strummers internet. But for strummers out there with even a

out there with even a rudimentaryrudimentary music theory knowledge, it is a very music theory knowledge, it is a very easy step to transfer basic concepts easy step to transfer basic concepts to the piano - and with

to the piano - and with manymany benets

benets. If . If you cayou can gen get yourt yourself self inin front of a piano or keyboard this front of a piano or keyboard this micro course will get you up and micro course will get you up and running, and playing a load of running, and playing a load of songs in just a few

songs in just a few minutes.minutes. The white notes on the

The white notes on the piano arepiano are

C-D-E-F-G-A-C-D-E-F-G-A-B-C and the B-C and the blackblack notes are the sharps and ats. notes are the sharps and ats. Remember that E-F and B-C are Remember that E-F and B-C are just a

just a semitone semitone apart apart so they so they areare the ones that are without a the ones that are without a sharpsharp between t

between them. You’ll hem. You’ll notice notice thatthat the sharps are grouped in twos and the sharps are grouped in twos and threes – well, B and C are located to threes – well, B and C are located to the left of the groups of two. If we the left of the groups of two. If we only use the white notes we are only use the white notes we are playing in the key of C Major, which playing in the key of C Major, which is all we’ll be

is all we’ll be working in today.working in today. One of the cool

One of the cool things aboutthings about theory applied to piano is that it’s a theory applied to piano is that it’s a lot more obvious than on guitar. lot more obvious than on guitar. Basic triad chords for example are Basic triad chords for example are R, 3rd and 5th, and this on piano is R, 3rd and 5th, and this on piano is simply, play a note (Root), miss a simply, play a note (Root), miss a note (2), play a note (3rd), miss a note (2), play a note (3rd), miss a note (4), play a note (5th)

note (4), play a note (5th) - it’s right- it’s right there in front of you! There are there in front of you! There are many ngering options but to start many ngering options but to start use your right hand, thumb on the use your right hand, thumb on the root, middle nger on the 3rd and root, middle nger on the 3rd and pinky on the 5th. This will help you pinky on the 5th. This will help you to ‘miss’ the notes that

to ‘miss’ the notes that would havewould have been und

been under your er your index index and and ringring ngers (note that I’m avoiding ngers (note that I’m avoiding nger numbers here because nger numbers here because they’re different from

they’re different from guitar!).guitar!). So start that triad shape with So start that triad shape with your

your thumb thumb on on the the note note C, C, do do thethe ‘play a note, miss a note,

‘play a note, miss a note, play a noteplay a note

Every month,

Justin Sandercoe

_{of justi}

_{of justinguita}

_nguitarr.co

_{.com lends}

_{m lends}

GT his in

GT his insight as

sight as one of the wo

one of the world’

rld’s most successful g

s most successful guitar

uitar teachers.

teachers.

Thi

This mon

s month: Play piano in 15 minutes!

th: Play piano in 15 minutes!

T T I I N N A A K K

Get more info and links to Get more info and links to relatedrelated lessons on all Justin’s GT articles at lessons on all Justin’s GT articles at www.justinguitar.com/gtmag www.justinguitar.com/gtmag Here’s a piano-style keyboard with all

Here’s a piano-style keyboard with all the keys notated with their specific the keys notated with their specific notes. So much simpler than guitar! notes. So much simpler than guitar!

NEXT MONTH WE’LL USE THESE IDEAS

TO HELP YO

TO HELP YOUR GUITAR PLAY

UR GUITAR PLAYING, AND

ING, AND

GET A LITTLE MO

GET A LITTLE MORE CREATI

RE CREATIVE

VE

A B C D E A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B CF G A B C A A## B Bb b C C## D Db b D D## E Eb b F F## G Gb b G G## A Ab b A A## B Bb b C C## D Db b D D## E Eb b F F## G Gb b G G## A Ab b A A## B Bb b C C## D Db b D D## E Eb b F F## G Gb b G G## A Ab b A A## B Bb b C C## D Db b D D## E Eb b F F## G Gb b G G## A Ab b A A## B Bb b C C## D Db b D D## E Eb b F F## G Gb b G G## A Ab b A A## B Bb b C C## D Db b D D## E Eb b F F## G Gb b G G## A Ab b A A## B Bb b C C## D Db b D D## E Eb b F F## G Gb b G G## A Ab b A A## B Bb b Justin shows Justin shows how easy it is how easy it is to get started to get started playing piano playing piano

(9)

April 20

April 201717 99

Intro

W

ell do I remember myell do I remember my rst professional rst professional engagement, a seminal engagement, a seminal moment in my Showbiz moment in my Showbiz history. For those of you under the history. For those of you under the misapprehension that I might be misapprehension that I might be referencing my very rst studio date referencing my very rst studio date (Cheltenham & Gloucester Building (Cheltenham & Gloucester Building Society commercial, Advision Society commercial, Advision Studios, to be obsessively and Studios, to be obsessively and compulsively accurate), you would compulsively accurate), you would be

be in in regrettregrettable able error. error. Nor Nor am am II remembering my Free Jazz (in both remembering my Free Jazz (in both senses) debut, The White Hart senses) debut, The White Hart Public House, Holborn (or Covent Public House, Holborn (or Covent Garden Borders, for any of you Garden Borders, for any of you estate agents in tonight). Or even my estate agents in tonight). Or even my grand entrance into the movie grand entrance into the movie industry, a charmingly inexpensive industry, a charmingly inexpensive celluloid caper, light of plot, lighter celluloid caper, light of plot, lighter of dialogue and lightest of costume of dialogue and lightest of costume for the two and occasionally three for the two and occasionally three nubile protagonists involved. nubile protagonists involved.

No. The focus of this rose-tinted No. The focus of this rose-tinted reminiscence is The Thatched Barn, reminiscence is The Thatched Barn, Boreham Wood, Hertfordshire. It’s a Boreham Wood, Hertfordshire. It’s a Holiday Inn now, and not in a good Holiday Inn now, and not in a good way.

way. The The corporcorporate ate event event in in questiquestionon was

was the the Alfa Alfa Romeo Romeo UK UK AnnuaAnnuall Dinner And Dance. And

Dinner And Dance. And specically,specically, the three ights of stairs up which an the three ights of stairs up which an unsuspecting electric guitarist was unsuspecting electric guitarist was forced to schlep a Fender Pro Reverb forced to schlep a Fender Pro Reverb complete with vibrato, valves and complete with vibrato, valves and two 12-inch speakers. Elevators are two 12-inch speakers. Elevators are for wimps, apparently. However, for wimps, apparently. However, never let it be said that I am not a never let it be said that I am not a quick learner. By 2am and gig end, quick learner. By 2am and gig end, midway through a delightful reverse midway through a delightful reverse staircase manoeuvre, I had already staircase manoeuvre, I had already mentally prepared the ‘Equipment mentally prepared the ‘Equipment For Sale’ small ad for insertion in the For Sale’ small ad for insertion in the following week’s Melody Maker. The following week’s Melody Maker. The successor to Fullerton’s nest turned successor to Fullerton’s nest turned out to be a Peavey Pacer, 40 watts of out to be a Peavey Pacer, 40 watts of tough transistorised tone, two thirds tough transistorised tone, two thirds of the size, 50 per cent of the speaker of the size, 50 per cent of the speaker count and half the weight. This had count and half the weight. This had to be the way forward, as I

to be the way forward, as I reectedreected on the plight of those less blessed on the plight of those less blessed with

with optiooptions. ns. KeyboaKeyboard rd playerplayerss lugging Hammond organs or Fender lugging Hammond organs or Fender Rhodes Suitcase pianos plus

Rhodes Suitcase pianos plus wheeled

wheeled Twin Twin Reverbs Reverbs contaicontainingning their own body weight of JBLs. their own body weight of JBLs. Absurd

Absurdly ly over over equippequipped ed drummerdrummerss with

with double double bass bass rigs rigs and and ambitiambitionsons

to be the next Carl Palmer. And as to be the next Carl Palmer. And as for those six-foot ‘column’ speakers for those six-foot ‘column’ speakers - little wonder that the term ‘Sound - little wonder that the term ‘Sound Reinforcement’ had come into Reinforcement’ had come into common usage. The entire US common usage. The entire US Cavalry First Division would have Cavalry First Division would have been

been welcomed welcomed at at set-up set-up time.time. My rapidly absorbed lesson that My rapidly absorbed lesson that ‘less is less’ engaged me in a bi-polar ‘less is less’ engaged me in a bi-polar struggle between Top Tone or Torn struggle between Top Tone or Torn Triceps. For years I trod a crazy path Triceps. For years I trod a crazy path of nancial self destruction, zig of nancial self destruction, zig zagging between Peterson P100s zagging between Peterson P100s (tiny but tasty) and ight cased Mesa (tiny but tasty) and ight cased Mesa Boogie Nomads (The Truss Busters), Boogie Nomads (The Truss Busters), Roland Cubes and Dennis Cornell Roland Cubes and Dennis Cornell custom jobs, Fender Deluxes and custom jobs, Fender Deluxes and Champs. At one point I bought a red Champs. At one point I bought a red Toyota MR2, one of its main Toyota MR2, one of its main attractions being the cubby -hole attractions being the cubby -hole sized boot that could accommodate sized boot that could accommodate my teeny Paul Rivera designed my teeny Paul Rivera designed Super Champ and little else. Super Champ and little else.

And

And thus thus it it came came to to pass pass that that oneone ne day, the warring factions of ne day, the warring factions of unsatised ears and broken body unsatised ears and broken body nally declared an uneasy ceasere nally declared an uneasy ceasere after a visit to Bill Puplett, guitar after a visit to Bill Puplett, guitar technician to the gentry. On this technician to the gentry. On this occasion, he invited me to conrm occasion, he invited me to conrm that his latest guitar set-up was to that his latest guitar set-up was to

my satisfaction by inserting a jack my satisfaction by inserting a jack plug into well... nothing. With the plug into well... nothing. With the aid of recently corrected spectacles aid of recently corrected spectacles and an electron microscope I could and an electron microscope I could just

just discern discern the the outlinoutline oe of f somethinsomethingg similar in appearance to a transistor similar in appearance to a transistor radio sitting innocuously on his radio sitting innocuously on his work

work bench. bench. And And a a wee wee one one at at that.that. “What the Fender is that?” I “What the Fender is that?” I exclaimed euphemistically, as exclaimed euphemistically, as melliuous tone lled Bill’s melliuous tone lled Bill’s worksho

workshop. p. “Ah. “Ah. Well. Well. I tI take ake it it you you areare unfamiliar with The Lunchbox by ZT unfamiliar with The Lunchbox by ZT

Electronics? 130 Watts. 4.5-inch Electronics? 130 Watts. 4.5-inch speaker. Weighs the about same as speaker. Weighs the about same as your

your wallet wallet after after you’ve you’ve paid paid me.me. And,

And, as as you you can can see, see, not not muchmuch bigger

bigger. A. Although lthough I I own own no no shares shares inin said company, I do suggest that you said company, I do suggest that you acquire one. In the unlikely event acquire one. In the unlikely event that you consider it a tad bulky, they that you consider it a tad bulky, they also do The Lunchbox Junior. Just also do The Lunchbox Junior. Just 30 Watts and so small it requires 30 Watts and so small it requires electronic tagging to locate.” electronic tagging to locate.”

It remains only for me to tell you It remains only for me to tell you that I have been using said techno that I have been using said techno

wonder

wonder at at every every opporopportunity tunity sincesince the nice people at DHL popped the nice people at DHL popped along with my very own example. along with my very own example. Frankly, I wouldn’t be too fussed if it Frankly, I wouldn’t be too fussed if it sounded merely adequate. But it sounded merely adequate. But it doesn’t. It has played the The Royal doesn’t. It has played the The Royal Albert

Albert Hall, Hall, courtescourtesy oy of a f a line line outout through the headphone jack socket. through the headphone jack socket. Ditto the O2 Arena and The Royal Ditto the O2 Arena and The Royal Festival Hall. Words and phrases Festival Hall. Words and phrases like “Epic” and “Make sure you bring like “Epic” and “Make sure you bring that thing next time” have been that thing next time” have been bandie

bandied ad about bout by by sound sound engineeengineers.rs.

It nestles in its cute bag and sits It nestles in its cute bag and sits on my shoulder. I even bought the on my shoulder. I even bought the extension cab. Same size, same bag. extension cab. Same size, same bag. Fun to employ as a monitor and to Fun to employ as a monitor and to amaze stage crew. You could do amaze stage crew. You could do worse

worse things things in in 2017 2017 than than to to checkcheck one out. It was about 375 quid last one out. It was about 375 quid last time I looked. Just sayin’.

time I looked. Just sayin’. And

And a a happy happy down-down-sized sized newnew year

year to to you you all.all. For more

For more on Mitch on Mitch and his and his musicmusic go to:

go to: www.mitchdalton.co.uwww.mitchdalton.co.ukk

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fulﬁlment, as related to us by

ﬁlment, as related to us by

Mitch Dalton

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the 02 Arena and

Royal Albert Hall

(10)

THE GU

THE GUITAR’S VIBRATO arm is one of the ITAR’S VIBRATO arm is one of the most expressivmost expressive devices we have.e devices we have. Used with skill and

Used with skill and taste it can add a taste it can add a lot to your playing. This lick illustrateslot to your playing. This lick illustrates a ‘fake slide’

a ‘fake slide’ phrase where the intent is to fool the phrase where the intent is to fool the listener in to believinglistener in to believing you are using a

you are using a real slide, but it involves a great deal real slide, but it involves a great deal of control. It beginsof control. It begins with a ‘Dust My Broom’ style phrase, depressing and releasing the bar to with a ‘Dust My Broom’ style phrase, depressing and releasing the bar to

‘swoop’ into the B notes from the

‘swoop’ into the B notes from theb b 5 (5 (BBb b ) a semitone below. For) a semitone below. For

the quarter-tone swoop down to the G

the quarter-tone swoop down to the G note, pre-bend upwards with thenote, pre-bend upwards with the arm before picking, then release it back to the G note - it’s easy to pull the arm before picking, then release it back to the G note - it’s easy to pull the bar up too far, so take care. For the second phrase we ‘swoop’ into the notes bar up too far, so take care. For the second phrase we ‘swoop’ into the notes and add vibrato as indicated. How much you manipulate the

and add vibrato as indicated. How much you manipulate the bar for thebar for the same amount of ‘swoop’ or vibrato, varies - the higher strings require more same amount of ‘swoop’ or vibrato, varies - the higher strings require more movement than the lower ones. Good control is the key to success here. movement than the lower ones. Good control is the key to success here.

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99

Intro

Inst

Instru

rumentals have supplied some of musi

mentals have supplied some of music’

c’s most evocative a

s most evocative and exci

nd exciting moments.

ting moments.

W

We asked some top guitar

e asked some top guitarists for their ta

ists for their take on this iconic mov

ke on this iconic movement. This month:

ement. This month:

Madonna’s long-term guitarist,

Monte Pittman

GT: What is it about guitar GT: What is it about guitar

instrumentals that appeals to you? instrumentals that appeals to you? MP: Steve Vai and Joe

MP: Steve Vai and Joe Satriani wereSatriani were blowing

blowing up whup when I en I frst frst started. started. So So II think as a guitar player it was think as a guitar player it was something that came naturally. As a something that came naturally. As a teenager, I would make

teenager, I would make

instrumental tapes for my friends. instrumental tapes for my friends. GT: What can an

GT: What can an instrumentalinstrumental provide a listener that a

provide a listener that a vocal can’t?vocal can’t? MP: Well, lyrics can give a song a MP: Well, lyrics can give a song a defnite meaning, but an

defnite meaning, but an instrumental can carry the song instrumental can carry the song with j

with just the ust the melody.melody.

GT: Are there any musical factors or GT: Are there any musical factors or styles

styles you aim to embrace or avyou aim to embrace or avoidoid with instrumentals?

with instrumentals? MP: I’m up for whatever. I MP: I’m up for whatever. I don’tdon’t think like that. I

think like that. I will hopefullywill hopefully touch on just about every type of touch on just about every type of music at some point in my career. music at some point in my career. GT: Is a typical song structure - verse, GT: Is a typical song structure - verse, chorus, middle 8, verse, chorus etc, chorus, middle 8, verse, chorus etc, always relevant for an instrumental? always relevant for an instrumental? MP: Usually that’s what works best. MP: Usually that’s what works best. You can

You can substitute substitute one pone part fart foror another and still consider it the another and still consider it the pre-chorus. Maybe you have pre-chorus. Maybe you have pre-chorus ‘a’ and pre-chorus ‘b’. I pre-chorus ‘a’ and pre-chorus ‘b’. I kind of look at every song like that. I kind of look at every song like that. I have to learn a lot of songs for have to learn a lot of songs for Ultimate Jam Night at The Whisky Ultimate Jam Night at The Whisky A Go

A Go Go anGo and I d I also palso play in lay in the LAthe LA KISS House Band. Looking at KISS House Band. Looking at where the

where the structures structures lie helps lie helps meme remember them quickly.

remember them quickly.

INSTRUMENTAL

inquisit

inquisition!

ion!

GT: How useful is studying a GT: How useful is studying a vocalist’s approach for guitar vocalist’s approach for guitar melodies?

melodies?

MP: It’s good to try different things. MP: It’s good to try different things. Sometimes you just play and Sometimes you just play and something comes to you. something comes to you.

Sometimes you play the rhythm and Sometimes you play the rhythm and a melody pops up in

a melody pops up in your head.your head. GT: How do you start writing one; is GT: How do you start writing one; is there a typical approach?

there a typical approach?

MP: Just from playing my guitar. I MP: Just from playing my guitar. I always record myself so if I come up always record myself so if I come up with so

with something Imething I’ll know ’ll know what I what I did.did. There are several times I’ve played There are several times I’ve played

something and come up with a something and come up with a riff,riff, then I didn’t remember what I then I didn’t remember what I diddid and the song was lost.

and the song was lost.

GT: What do you aim for when your GT: What do you aim for when your performance is centre stage for the performance is centre stage for the duration of the

duration of the instrumental?instrumental? MP: Just putting on the best MP: Just putting on the best performance I can.

performance I can.

GT: Many vocal songs feature a GT: Many vocal songs feature a guitar solo that starts low a

guitar solo that starts low and slownd slow then finishes high and fast. Is this then finishes high and fast. Is this structure a useful reflection for structure a useful reflection for instrumental writing?

instrumental writing? MP: I don’t know. MP: I don’t know.

GT: What type of guitar tone do you GT: What type of guitar tone do you prefer for instrumentals?

prefer for instrumentals? MP: Whatever sounds good. MP: Whatever sounds good. GT: Do you have favourite keys or GT: Do you have favourite keys or tempos?

tempos? MP: No MP: No

GT: Do you find Minor or

GT: Do you find Minor or Major keysMajor keys easier to write in?

easier to write in?

MP: Manor and Minor are both the MP: Manor and Minor are both the same. A Minor and C Major are the same. A Minor and C Major are the same keys. I don’t look at them as same keys. I don’t look at them as being d

being different.ifferent.

GT: Do you have favourite modes? GT: Do you have favourite modes? MP: I like m

MP: I like m anipulatinanipulating one forg one for another.

another.

GT: What about modulations into GT: What about modulations into new keys?

new keys? MP: Sometimes MP: Sometimes

GT: Do you view the backing band GT: Do you view the backing band differently than on a

differently than on a vocal song?vocal song? GT: No

GT: No

GT: What are your views on GT: What are your views on harmonising melodies? harmonising melodies? MP: Whatever sounds good. MP: Whatever sounds good. GT: What three guitar instrumentals GT: What three guitar instrumentals would you consider iconic, or have would you consider iconic, or have inspired you?

inspired you?

MP: They would be: For The Love MP: They would be: For The Love Of God (Steve Vai), Europa (Carlos Of God (Steve Vai), Europa (Carlos Santana), and Far Beyond The Sun Santana), and Far Beyond The Sun (Yngwie Malmsteen).

(Yngwie Malmsteen). Monte’s

Monte’s new alnew album, Invbum, Invertederted Grasp of Balance is out now on Grasp of Balance is out now on Metal B

Metal Blade Rlade Records. ecords. For more For more onon Monte,

Monte, go to go to montepittman.commontepittman.com Monte Pittman: Monte Pittman: aims to touch aims to touch on every style on every style of music of music