ioe Mote pops back ial Stan reso an Weimer 2 fol va Fetuere tack 15 Bec tek 2 ey tent ee inher pate see pete aa tno-hanare Zapang Vane ato mates parr sees, when thsion Se wel sensor paves Vene auocee: aides Dives mabcak an tronic meet the gt masterclass team: The woy the St masters ‘oh this Pia Ji snduct oct tbl oT Backing tack they want to lay tong togeter~ often at tucerouay sort notice. When ‘he tson ove J hat ‘the unervahleo oF noting crerything that na ployee in the studi, vig mode notes Fanaa yen Wat guitar master Vinnie Moore. cleome to the second past of by wt very own Pui Tibor The tek ented Min Ear bas a uc el plus 2 6 Sores whch ise ey reorngs g_performance notes Exercise 1 features the solo ff with Vinnie playing a couple of blues licks, plus a lick § nat follows tne mytnm guttar using notes from the E blues 6 ke with the D¥ note added as a chromatic passing tone: This month we look at an exclusive solo recorded for est by US 8) Dae eel TA e the main solo, With Vinnie Bars 5-10 intra This sccion concludes with a repeating blues scale line that resolves with a Jeff Beck-inspired bending phrase, plus some E major pentatonic ideas Evdirt Of A SEpimORIEY WAM. 9 Bars 11-12 conclude the verse with some descending di that use notes from E Dorian: EWG ANB oRDT E enniih3 nd nenaBars 13-14 lnvoduce the chorus, with Vinnie ‘demonstrating his awesome speed and accurately ‘executed sweep-plcked and string skipped diminished arpesgios. These patierns are que casy to learn as they use the same shape, shifting ‘up and down the neck in minor thre intervals When sweep picking, make sure that all the notes are separated when sweeping across the strings and take care with the open B string ~ avoid any unwanted noise include some tasty lines and ascending tills Gat use notes from B Spanish Phrygian and fifth mode of the F harmonic minor Look out for the fest right hand taps and slides in bar 18. Bars 21-24 introduce the final chorus, Tis section kicks off with some ascending diatonic ‘major thirds plus a jazz-flavourcd lick similar to the one found in Exercise 2 of last month's lesson. Bars 25-27 include more fast sweep-picked arpeggios. This time, Vinnie uses diatonic seventa extensions. Bars 28-33 conclude the piece with moze pentatonic licks, plus some countries E ‘major pentaronic-style phrases and some E Dorian lines. is citron Pree vinnie’s est¢D gear Fr the mt esr, Vee wed is le at Museen Situ Sec tNough ne fa! Confort ‘ens RS ess tale spar ssa. Exercise 2 features Phil's rhythm part for ‘Mind's Ear’ and kicks of¥ with some Funky ‘sixtcemth-note octaves in bars 1-3. Bar 4 is the E Diues sea line, played! an octave lower than Vine. Bars 5-12 illastrate the verse if, wich features a funky syncopated rif that uses E minor pentatonic and the E blues scale. Bars 13-20 include the neo-classical chorus and use the ‘chords of BS, C5 and AS, plus a Dé octave that leads back to the main verse riff The ri? concludes with another verse progression that leads tothe fal E5 chord That's it for this month. Pd like to @hank all he ‘guys at Strings and Things plus Greg Timmons and Ernie Ball forall cher help. Hands together for Phil for puting the track together so quickly, too, And, finally thanks to Vinnie for giving ic his all after a long flight and for making me laugh all weekend at the Birmingham show. Cheers, mate! gt dpe Ne tte Jargon buster dato thirds Ths the cllesive seam given tthe major and mar hide found in hey. anything tha rele 9 Sea such a meds Fehr, fe seid be tore or wthia the ke. 1 EHEUOER tars A ‘and sigs ae Fly Spat on 86 — pu uu gr By Bu —18 7 47 15-tie}- 15-46) ree ee BD aD ear OT eet | erate eet (exp |rmareh 2001 | sutertecnntcnmes 5STvinnie moore masterciass — part two H 8 PO HPOH POH neon H pon @s segron (pots snore Os. | __ A ectican tient Yo 17 1an8 10-67-11} ee