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    34 vistas72 páginas

    Guitarra Techic 2017 01 PDF

    Cargado por

    Tim Diaz

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    © All Rights Reserved
    Descargue como PDF o lea en línea desde Scribd
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    lessons, workshops & transcriptions i) Learn to play like the experts! bia! Se FL _S ot ae nr 3 Soundscapes ee Uses PE ecg Se ta) TST Ce Walkways is wd live be of Td car Cte & DO Lue and style of the maestro cay TE ye Nata ce a ait ic ed Sy Martin Taylor's arrangement Sy Reg ats) / eiemre lucy 16 king crimson Fripp’ amazing Moto Perpetuo’ 31 whitesnake Gana Even the 36 gary moore The cassie Parisienne Walkways'~ est bon 48 chet atkins Paya waltz inthe style of the master for acoustic guitar 59 film 98 Martin Taylor's widescreen arrangement 78 3 colours red ake a atthe ouitar style get started Starts this month ~ all you need to know to pu you on the road to quite stardom 82 64 10 top tapping licks Using all eight fingers on the fretboare 70 mixolydian mode soloing Major fusion alert! 74 soloing over mi Hey, everyone net ta know this! 27 win robert fripp cds Enter the gates of paradise ee Sint Gite. yu ved w theyre as regular as bleecin’ clackwor, pall 6 cd contents 8 news letters tab explained reviews readers’ ads january 1999: your gt navigation guide ersonaly, I've always liked to think that cates forall Ievels of ability, but maybe articles aimed at the beginner were a bit thin fon the ground. So, we've come up with the special ‘carly leamer series which starts this issue. Each month, we'll look at the first stes in different areas of playing. And we're going to make sure it remains a beginners’ article, and doesn't lose people ater the third instalment! IF you're new to guitar, take hear. I's hard work co begin with, but we've al deen there and wish you the very best of luck Welcome, oo, if you're new to sft ~ whatever your level of playing ability, you're bound to find something here to challenge and inspire you, See you next month i Nees C ca David Mead, Editor ‘lent even py read all about it Pearl Jam are set to release ther second live album. Live On Two Legs was recorded on the band’s recent US tour and Features the tracks ‘Corduroy, "Given To Fiy’, Hail Hall’ ‘Daughter, ‘Untitled’, MSC’, ‘Go, "Red Mosquito”, It's worth a media mogul’s ransom! Bese SO He Cass Nene aD TE Shedloads of essential information isa live cover of Nell Young’ ‘kin’ Up: from the madcap guitar universe ( tgeenanene ca on. ‘who replaced Jack Irons on the tour, Irons had himself replaced David Abbruzzese in 1994, Whether Matt isa permanent fixture with the band is still unknown, Live On Tivo Legs is ou now and is available through Epic. rable hi 1990. cs Ever wendred how om get thei arty Sou? Wet, Feast poten Sins My Sctuter and Ban the cures low Tre te aur The Bortend ithe oo prizes galore Compl the ban severing In the November issue of wt, we offered you the chance bo rege ae Sitananlop”” | to ina signature Riche Sambora Strat, The lucky CaS, sre tongs at reader fs Gordon Hardie from Fair Oak, Hampshire renee the togetiersnd | Well be in contact, Gordon. Five runner-up prizes of peer mnisunders Tereinat™” | Hl’ new sol album, Undated Sou! oo Fel Meails from Stretford, Alison Wilson from Ellon, John Kempton from Uxbridge, Nick Gaywood from Ruislip and S Gladman from Worthing. Up for grabs in the same issue were fve copies of Bon Jo's Crossroads album In tab, The winners are Stuart Baldwin from Macclesfield, CD Thompson from Surrey, RD Rutter from Somers Graeme 5; es Meee gs CN eer quilty of threatening surprised that the Sambora CDs wen eee cident escalated to by oy ees ecrett) oss ee ee es eee ee crear eT Ce iene cera ert! ee a eet are Brown asked for a Dumties and that offence had been suspended sentence Peter ee Bainbridge from York ener arr cers Peeters Se stewardess would see straight aw 8| guitartechniaues | january 1999 ed Trace Elliot's clinic tour fended with a bitora bash at Club Riga In Southend. Apart from an excellent performance by the Trace band - Simon Hanson on. drums, David Jacob on bass and Fraser Thornyerof- Smith on gultar ~ the evening was taken into overdrive by the very lovely Phil Hlborne Band, In addition, our own master bluesman Geoff Whitehorn sat in with Phil for some vipsaw guitar action which left the assembled throng panting for more. St would like to thank Trace for their invitation down to a windswept and rainy Southend for a night of lunfathomably good music ~ we came, we drank, we went home hhappy. Cheers, guys! trace elliot era Metallica's double album of covers, Garage Inc, comprises 27 ‘tacks In total and was released on [November 16 through Mercury. CDI inchides: “e's Electric (first recorded by Diamond Head), ‘Sabba Cadabra’ (Back Sabbath], ‘Astronomy’ (Blue Gyster Cal), Whisky In The Jar (Thin Lizzy), “Tuesday's Gone’ (Cynyrd Skynyra) D2 includes: ‘Helpless’ (Diamond Head) ‘Crash Course In Brain Surgery’ (Budgie, ‘Stone Cold Crazy’ (Queen), and oo late, Too Late (Motorhead) The non-wooden ones are also taking advantage of the new DVD | (egal versatile die format with | ati, BHM Eee sheep ict oa go Jer entice cuetnar te ee allies mee the Loe/Retod tor Conang Sis avaiable through PolyGram, bt youl pate nie erage {to use it. The DVD format is priced at £19.99. The conventional video costs a mere £15.99, guitar stand Ifyou suffer from belancing problems, we recommend you see a doctor However, if its your guitar that ‘you can’t balance, ‘then we suggest you try a Guitar Grp. e's much smaller than 2 sjuitar stand, and its Teconfiguration will fit on your amp or cab. For further details, check out the Rippin Company website at wovverippin.com Anarhie pop aul lus any humour gular arin ity guitar eget new martin guitar Mein guitare hae ut pee hele ey fis afl Lind tht he Fotis ies ea cee ey ae ey eee anes etek The dase lok ofthe eee ea ae aay fenertd sprite and esas eceaecee aera ary eee fener a Foo Mla fa here Alinied number fhe new bed of Mat shar a avaible lathe kan we going fora ey easiale Le sap one up auch For finer det, cones Dreadnought on 01903 siz buzzcocks special Iryou're a fan of BBC TV's Never Mind The Buzzcocks, then look out for this specally-recorded edition of the pop/rock panel game. Never Rewind The Buzzcocks was, specially produced for video and consequently cuts straight to the quick, allowing guests Jonathan Ross, Sarah Cracknell (St Etienne, Matthew Priest (Dodgy) and Noddy Holder greater, em, “reedom of expression’ than would normally be possible. Host Mark Lamarr and team captains Sean Hughes and Phil Jupitus have their 2any humour to the fore, with air-guitar antics and old-rocker identity parades. If you like pop, and a laugh, watch this, [Never Rewind The Buzzcocks is available now through BBC Worldwide (BBCV 6542) for £14.99. January 1999 | guitar techniewes | 9 Send ‘em in! Write to guitar teehmiques and let us know what you'd dike to see in the mag and what you think of it — or give us your thoughts on the guitar world in general. The star letter each month will win Ibanez goodies — so get scribbling! | ‘on the pull fi es Aigeeceria iene Teer se | he cam bash ut a fe tans im fetrtecmimes | trying to ge oer what appear 0 be SOwowmonh st | dhe next nde, echniqus (ad Bat Somenet” | no reals there wer quite so sch oath eer tn by A aH tran). T start with, jist how do Saeseae we ik secre tea Ena vg | youudo plo and ammer-on? 1 ‘nd then those lovely eal fares Sen ficcinen nea whl burch of woes and The Beatles’ ‘Here Comes The ‘ident es dy Jane). So op 3 See oes fiturenetek hhave an idea about kammer-ons but pull-ofs baMMle me. Any advice you an provide would be greatly aaa Zeppelin, and have already teamed | appreciate. Here Comes The Sun’ (with capo) Jon Wilkinson ‘young gun from the tab. My mother said 1 Kent have done so well with the CD that Dear she has hougt me one year's ‘kay. Eyes down for afte At ight years old, ean you ell subscription to for this ‘echnical blurb. To perform a re if qualify t0 be year's Christmas present. youngest subscriber to ‘Guitar George’ Britcher My father bought me a WE Susser Fender for Christmas last Oo year Although Iwas You're certainty in already piaying flamenco ' amongst our youngest and classical, he thought readers, George! 'm glad ‘much and have had so much fun with @t. As a little extra incentive, hhave a few Ibanez goodies on us | absolutely love it and practise an hour every day, He has just bought ie the Dectober 96 issue of St, with Led Zeppelin, ois ewig th ry Hs sa ein the ts ats (0d ea afte all cae ee —> | 10| guitar techniques | january 1999 ‘rodietion of the Gibson Les Paul ‘uitar in 1952. The guitar won favour with numerous players — including Erie Clapton, Jimmy Page and Slash. It remains one of the ‘mest popular and enduring designs to this day. let's talk about sex Ie at bough my fst sc ofthe sg sn I thought 1 wet et yon know how seat | thnks However Ido have one complain. Why do you ses readers excise a8 men? Comments sich 3 roably the ammer-on try this: pu your fst only band your gifend wort Finger onthe Fh et, ted steng tind Tseng and woul you {ihe nate Cluck the tring then sean to pend some quality tine "hammer your third finger ont the vith Heather Loeer? Thought 0 7h fret, same sting. Dont pluck marsinaise and patonse women ene the rng again. What you sould readers have many ends, bath Seto ve heat wo note from one tle and female who ene pick stoke. Repeat util both notes regan, and he mas was Bre the same vole recommeded 0 me by a female Nextt plea. Keep your end who is also Tearing hand in the same pestion as forthe sitar, Cold we se more etures hammer exer, placing yur thi on female guitars nthe Taare? finger onthe 7th fet (0) and your | tstatenyawes |” As far musi, can Tecommend first finger behind it on the Sth. string winder covlé | some Acrosmith? The guitar on omic artnet Pluck the string|and immedeatchy tov exchange mine. | “Nobody's Fault’ and ‘Home Tonight pancreas remove your thi Finger with avery | FS" | ian! Sees Sight sideways movement The result | Rrtonyfagn | len 2 should be, once agin two notes | ane Lonion from a single pick stoke. As before, practise ts everyday unt bath | avrewcmcty | certainly nat wtp to notes are equal in volume and then | YO || “marginalise’ or ‘patronise our The arte fomery own a Lester Poles cradles Wis ee Sa pestis a reiceeratecde Cem e(loacecasearnse ruc 2S eer er both hammers and pulls) at different | fayyou bound te | editorial style has always been light- | Meee | eae ie ee ig points onthe neck using aiterent | tetaranigin | heated an ptey 2s aconbastto. Geet) Bigs Sti Seale oor) aussie | teen neous oF pry aa! Dl sve Miss tai tccnalnusealormaon yu new Beginners’ Series soon, ant overt sexism, try reading + Aerosmith’ iyrcs! ‘man or machine! oh : This is gong ro sound relly nave, absolute tunacy bap ee ony ita ed cal emote as Ta 47 year od who plonts away papa a Aorboth? Tep hearing the name | Were tostewr | on bis tranty old Sta, not looking mentioned in various contexts and | sonyteen ot | any further than music played hy have become seriously confused. wedstike te | The Shadows, and would love dearly Peter Wenscorth spend some’qulity | to learn one of ther early pieces, Wiltshire time’ withthe tle | “Mountains OF The Moon Pleas, Se eee Tokers iin Fret ru! |please, tr and help this old maa, 1 Pala rs fsbo wl have ead your mg fom issue one. f rd 1916, and taught himself to play mest Bailey Eo aircaeepcfoains Jazz and country musie on guitar South Yorks Egil bes tbe bos eet: He became a big name in the USA during the 305 and 40s, eventually | don't know of any transcriptions of teaming up with his wife Mary Ford “Mountains Of The Moon’ ~ SST and enjoying hits like ‘How High The CT O00 731 0284 Moon’ and ‘Mocking Bird il Fon See For Mites (SEECD 438) pets ca redirect Apioneer in the recording studio, ne features the track. We will be Eatin algo built the first sti body guitar, featuring 2 special Hank Manin | A nicknamed "The Log: He took his interview and transcription in an | (eau erect basic design ideas to the Gibson upcoming isue, which promis to | aa ec sitar company who began bbe something really special. ot fms lito anal eam out CS Nice Of ste Gn act of music ro 0 2 it Interview by David Mead King Crimson’s founder member talks exclusively about his ‘Soundscapes’ project. Is this the ultimate ambient experience? Or just “the best way to make a lot of noise with one guitar?” baere's a distinct possibility that more people know Robert Fripp for his sustained guitar intro on David Bowie's Heroes’ single than for any of his other diverse projects During a 30 year carer, he's played with the various incamations of his own band, King Crimson, plus side projecs like The League Of Gentlemen and The League OF Crafty Guitarists, 2s well as making guest appearances with Talking Heads, Peter Gabrie, Blondie, Brian Eno and Daryl Hall, amongst others. And then there's his own Guitar Craft workshops. You coull probably interview Fripp three or four times without covering the same ground twice ‘Over the past few months, there has been a great deal of activity from Fripp’ record label, Discipline Global Mobile. Archive Crimson. like The Night Warch (a live concert recorded in 1973 at the ‘Amsterdam Concertgebouw andthe source of this month's Crimson transcription) has found its way into record shops, as has Absent Lovers, alive reconling of the ensemble's early 80s incarnation. Videos of the Crims in action also abound. And fragmented line-ups ‘of Crimson have released recordings in the guise of Projekts One to Four ~ improvising rock ensembles with Fripp’s guitar as Iynch pin, Clearly, in the court of King Crimson, activity once more abounds But there is one side of Fripp’ playing that has never been Fully ‘explored. Back in the 70s, he would occasionally give imprompty performances In small, iregular venues. With @ guitar, « battery of effects and two Revox tape recorders, he conjured mesmerising, symphonic textures whic he gave the nickname Frippertronies With the advent of new digital effects technology and advances in ultar synthesis, Frpperionies has evolved into its current form, dubbed ‘Soundscapes: This was the area we decided to explore when St paid a visit to Rober’s Wiltshire HO. We were interested in the philosophy behind these stunning textural improvisations; the ‘wy?’ and the how?" of the situation, For a star, you'e far more likely to see Fripp creating Soundscapes in Cathedrals than you are the concer hall “I find the concert tradition not appropriate for the music T want play at the moment. The idea that therein the audience you sit # and look up; there's a separation. Soundscapes is looking for 8 iif AN ACT OF MUSIC “you DONT NEED EXPLAN- ATIONS IF YOU'RE _ USING YOUR rare ROBERT FRIPP DR connection, even 2 communion between the audience and the music. Isa lot easier if people don't have to buy tickets. IF the act (of music is the musi, the act of music in a ‘commercial context is undermined and compromised to an alarming degree. So, playing in Salisbury Cathedral, where people come in and are invited to make a donation ~ the Cathedral needs six million pounds for its spire ~ you have an interesting situation. Money does change hhands, but it’s om the basis ofa voluntary contribution and an appeal to conscience, But i's not a commercial context, and there's no concert tradition in Salisbury Cathedral, though concerts are given there, Freed up in ths way, in the performance of music, everything can change.” ‘But what, then, isthe philosophy of Soundscapes? Way does Fripp do what Ire does the way he does? “The general answer I give, often to ceamest and well-educated interviewers looking very serious with their books of Nietzsche behind them on the bookshelf, i that i's the best way [know to make a lot cof noise with one guitar. If we go back to when Frippertronics began with Brian Eno ~ T think it was September 1972.1 went round to Brian Eno's home carrying my guitar and pedal board, which was interesting, because it was a social visit. He asked if I would like ‘to plug in and there were two Revoxes set up. He didn't explain what happened, but he dida’t have co ~ musicians hit a note, listen to what's going on and - January 1989 | guitar technlawes | 13, SAN i) then respond accordingly. You don't need explanations if you're using your car, Back in 1967, I had acquited Burns fuzz unit, The sound of the guitar then was, for me, prety limited. Marshall stacks and Les Pauls were only just beginning to appear and so you could begin to Bet, at the end oF 1968, fully savage guitar sounds that were meaty But the guitar was stl so limited. What | immediately heard in the droning and beeping, coming from Eno's Revoxes was comparable to string quartet in terms of prolongation through time, which a ‘guitar didn’t normally have. So there was this wonderful 18 minutes of sustained texture and, on the second pass, the opportunity to slo lover it. In 40 minutes there was side one of No Pussyfiating - done. genius or 57 "We did a short tour of Spain, France and England in May 1975, In the first venue in France we were booed off: When the booing reached « volume equal (0 that of the PA, we looked at each other, nodided and left the stage. Good idcas ate often really good ideas 20 to 25 years ater. At the time, iF t's very news, it tends to create a radical division between the audience — half say “yes, the other half no. Stravinsky's Rite Of Spring isan obvious example. (When Stravinsky's ballet, The Rite Of Spring, was fist performed in the Theatre des Champs-Fivsées on the 25th May 1913, it caused a riot. Today the piece is considered a classic - al The first performance of Fripp and Eno in Madrid, we had nc idea what would happen. We walked on, we played, we walked off Five minutes before we went on, we sid to each other, ‘What shall \we play?" AL the end, when the looping was continuing andl we lef we went up into the balcony of the theatre to listen to It gradually die away over a 20 or 30 minute period. Five minutes after we left the stage the lights came up, but the muste kept going, We sat there in the audience Zooking at their response ~ some stayed and listened, hile some left, But we were told afterwards that there were to 16| guitar techniques | january 1999 ison reunions) Wetton rior, Fripp, Cross Spaniards siting next to each other and fone turned to his fend and sai, “This is sfenlust and the other said, "This is shit! exit eno ‘Moving forward to 1977, 1 asked Eno to explain the two Revox set-up to me, wich he did, and I sad, “You've done yourself out of a job, now" Well, Eno was busy enough without that, So [began to work with it on my own in New York, Today, you can do sampling, but then it was a question of recording each chord in, splicing it and putting it on the reel I you needed chord clranges, you had to recon! each chord on analogue tape ~ 30 seconds or a minute or whatever ~ and cut itn. I did all of this and used it 2s backgrounds for Daryl Hall We used some loops for Peter Gabel on Exposure in Holland, and then, in 78,1 went on the road with i for four months ‘Then, in 1983, the Music System tour ~ about ten days in North America, And then gn act of music nothing until new technology arrived at the end of 91." “This brings us round to the “why?” As a guitarist, you can think symplonically in realtime, rather than sitting down and working ‘out the part, It is improvised, and even if you have a sense of where it might go, is so complex. The mental process of thinking, This i repeating every 60 seconds and this one is repeating every 12 seconds and this other one is repeating every 18 seconés..” There actually comes a point whete I cant follow the detail. You keep a broad. view of what's going on, but when that becomes too complex, you simply respond. repeat offender So you might go in there thinking you know what's going to happen, but the point comes where you can't hold onto it rationally = you have to let go and get in Twas listening to Soundscapes for a couple of projects the other night and I thougit, How do I approach this?” It ean be very frustrating if you approach it with the questions ‘What are we listening for? Ate we listening for a tune, a chord, shythm? Is it ambient?” The approaci | adopted was that this s sculpture, It was more lke listening to a sonic sculpture dan the performance of rmusie, It wasn't quite ambient, i¢ wasn't quite new music oF free ‘music or improvised musi, it was something else. As a listener to it, have to give up my expectations and my demands of how normally listen to musi. And something can kappen, and sometimes it doesn't *So it continues to he a wonderful and remarkable challenge as a player because it's always fresh and its always rediscovery Listening to it now, as we have been over a petiod af seven years, you can hear how it’s changing and developing. But its not a Tational process, Because there isa development and there is a form Beta Al Sounsanes compris fu T2250 two Eerie = 3 500 and 3 000 = to Gots twoauitrstesses = Balin GR an «G30 ao hv VR, The guard, howe tl ey nh split Flan Viral Qatar ety “lis aed minus ae, Sepedia on ‘he yutakta. "eth ree Thee ae Somethings tats wonder fr ard Somethings that pbsiyits no. There re ‘ngs des sper wel, 2860 ‘oc things yucan puttin our suas any ff any round te wor. You 50 pec uta equipmertaness ou ‘re gang 1 pits ane amour of Invest iete develop Fare “The i earans two Cane aes, but 3 god aly power ample renga ona dein, seething lune on ges smal fer montoinn Seany sind tat greets ay resume gant fot of Rouse tuto des ot Ua nate rer The au TCD puis got Stele dal etching stem wth ie ‘uactanorc at whch teas down ttn stereo pis But zevarmance, i tesune indo tea teem We tee one iets den rt dee ove hed ou Ding ser it acs ers must ert as au he Oust quaaphanc enna ‘oming oc an OND in Novae 98 ans ter fr Sardeaps ater han ompronse the quraorc ino tre, scaly be ane ein "Tose ereandes Susie uta madi Ted Lats hea eter eho at lees Tet — wh aM pe-up wien ges the GR and G0, 018. Theres 3 Desh wramy geal that resin thin he TC we have sod dy on ch ‘ofthe. Wt fen do wear echo he eens ate tan ves Astana ty inne, gmeybe havea 12 gre nT tond ely that ou dep an real nen Ten comes ut and peng on wheter yu use the S00 ing Compress. , htus ar water the rain ons an the St st that eames From the Cenc Sa that's re wah T he here ig ass fr eteaig and there is a process and Its not rattan there's something else going on. And I'm not sure I can tell you what i is. It’s true to te moment in which it was created, but you can't quite make demands on i. ‘aural sculpture “its always changing and inventing itself, as if it has a life apart from the person playing it But it places a quite considerable demand on the audience. It assumes a ‘measure of goodwill and commitment from the audience to make it possible. So i's Detter, from the standpoint of a working ‘musician, that your audience don't pay any ‘money to see this, so that they don't feel sgypped if they don't get thee jollies or if they don't get cher expectations met or if they don't see flying fingers, I's beter, too, ifs not performed in a place associated ‘withthe performance of music, So your expectations are, once again, side-stepped. it's like a painting.” Fripp concludes cenlgmatically. “You look at paintings which technically can't move but sometimes they do, Soundscapes seem fo exist and move through time, whereas a piece of sculpture sits or stands there, But if you get Involved in a certain way, the painting or the sculpture moves." at Ho hum, another dy. ‘nother Soundscape, pedal power et the tage Is st formore Soundseping Mtn ve the nase of art Fight the path for Flys gular sna encrprates 3 ble range of day uit and| ‘other eects > January 1999 | guitar techniques | 15 ‘renee pae on "Mato Pepto! fom race’ 2.invatieion 5. Mato Fepetun pled by ote Fipp. 4S version bona track The Outer Ones Guthrie Goven takes» sep bac om Robert Frip'| hart Ts months ies res re if hard toi isenfo ‘ane petyunamiar Sonfigurstons na egies an cua sting-eessng ‘eciuc wth ep Hho 2 ea et er your memo meet your et tutor: Having played sitar for 23 oF his 26 years Gute was | Guitost ngatne' Guitarist OF | The Year 1983 and as featured ‘MOTO PERPETUO’ FROM ‘FRACTURE’ | Guitar Foyer Ms slo materia Get ready for an epic work-out this month. What follows is a eee 98-bar string of constant cross-picked 16th notes which moves compton, Gut On Ie Ee Ul, He has taught a he Chelmsford He canbe contacted rearing son, lesions et at PO Box 1001, Basen, Eisex S19 16R, ite him at st through four different time signatures. bert Fripp is one of rack auitar’s more disciplined creative wiles, This scientific approach with an artistic goal has certainly made Robert a very distinctive player notable nat only for his work with King Crimson but also for his collaborations with Andy Summers, his sessions with David'Bowie, Brian Eno, Peter Gabriel and Talking Heads, his experiments with Fripperironics’ a tape-loop-based technology ‘which he used to build up textures) and his success as a teacher. If yu listen to the 1986 album The League Of Crafty Guitarists, you'l hear 4 group of players who learned a whole new approach to the guitar under Fripp’s guidance, starting with a non-standard tuning and taking an unusually philosophical route to mastery ofthe Instrument. This month’ seletion comes from the Starless And Bible Black ot Night Watch albums, and the excerpt we're looking at starts at 2:49 into the track ‘Fracture. Robert gave us permission to use the relevant chunk of the Driginal track on the SCD lesson, in addition to sening inthe original seore forthe piece (wich I've modified slightly ~ notably in bar 82 ~ and Fingered as authentically as possible), So I'd like to thank him for saving me @ lot of work! Derformance notes Apart from the jagged-sounding rakes in bar 82, ds plece fs solid 16th notes all the way! You won't want fo launch straight Into tis sort of thing at 126 bpm (dhe speed ofthe original), so the CD lesson features a half-speed rendition hich (hopefully) will encourage readers to start off at a sensible tempo. First, you should check that the position of your picking hand allows clean and efficent string-crossing, because you'll be doing an abnormal amount of it I's also important fo develop a fingering that feels comfortable and allows a smooth transition beeween each section - otherwise things will go pear-shaped when you increase the metronome setting! Suggested LJH positions are given above the staves in Roman numerals. You'l noice that ve marked some of the notes with accents, in ‘some sections (eg the one starting at bar 18) these notes constitute a sort of melody, withthe ‘n= between’ notes acting as harmonic fille- material In other sections (such as the star) they are marked more because they're good notes to target ‘when trying to attain 2 consistent rhythmic fel (Ifyou play huge chunks of 16th notes without singling a few out as target notes, you may well set lost, or find that your timing has drifted) Perhaps the single most frightening aspect of Moto Perpetuo’ isthe sheer quantity of the notes! However, on closer inspection it's revealed that there is some repetition in the strcture, and certan bars or patterns of bars recur up and down the fretboard. Compare bar 1 with bars 5, 15,46, 50, #3, 87 and 97 ~ the same motif in seven different places. The other thing which you might find disturbing is the fluctuating time signature. IPit helps, you might like to count the 5/4 section beginning at bar 18 as follows: (ONE ard two AND hres AND four AND ve AND to get a feel for the ‘contour’ of each bar, The section beginning at bar 55 looks even halter, bt you can look at the hythm as a 4-bar repeating pattern, consisting of 6/4, 5/4, 4/4, ‘and 6/8 for one bar each. In these odd-time sections, youl probably find it easier to hold down the ‘fille notes with your third and fourth Fingers, letting your other to handle the melody notes. For Instance, in bar 18, you would probably fret both the G in beat 4 and the Gé in hhent 5 with the second finger. Special thanks go to the ever-challenging Robert Fripp and everyone at Discipline Global ‘Mobile for thei help and co-operation in putting, this transcription together. robert and guthrie’s ggted gear For the WiC Robe esos alone so sea sector of the fia actu earn te aur Stores And Be lok aa Te Nigh Week, which was performed an 3 ‘ak Gn Les Mul threugh elu pedal an into 3 La Seis aro, Yu so Fea he ee pled ara wih 2 alge lia ours uy ard er is we uses Pils nk PRS Csi un trouah the Clean FY cane oF vol gan bass. mid tet pres Pa aa LP sis oten the ce, we he ed estan NPA to 983 Spas of eet Fripp facts Teas ante ern eyo the 1974 sur ‘Stress nd Be Bock te mae tee The gh teh tying Cis. so ne ut rhe Cor The Cinco King 92) a spine Cea fexurog dio ae ert to Dp otal ale root cra 7 80453 Stuy Vie SP ER a jaary 198 | sutartocnniues ” ‘moto pepetue A “Peetu Mobi of musi with a Ng tempo and * consistent note pater (often fonstant 16th nets an thi vhs sec. Cope Ike Pagani and Chopin often sed ths format a ts sod platform fo itso laying, along with a sese of betement the musi weet AMEes king crimson ‘moto perpetuo! january 1999 king crimson “moto perpetuo’ 20/ guitar techniques |janvary 1999 king crimson “moto perpetuo’ | king crimson ‘moto perpetuo’ | king crimson ‘moto perpetuo’ Pei ee. fe te Evetniel Ciameugie © geet eee ieee es eet ite SSS c fe tote a toe ee Gates Of Paradise (D Phi bore squeezes into his Shes roses in reparation forthe wn norectaortoiving Ol meet your st tutor: The Fst rtr to pen regular Blues, rock, r&b and metal have all proven to be key elements of ertkae the Whitesnake approach. Here we look at some of the band’s cee Cae Most memorable moments jargon buster loversion Tis 2 A chord with Eommpoent nate other ‘than root the bss. nthe ‘eof tras (thre mete horde) the chor tid ein invert, nd if the chord fifth in he bases known a IMRENEWOER terms BL issn J=61 ow (Adoriany ¢| GT $ keys moted: (am) ols (am The guitar prin hissy baled ae based ery heatiy onthe se of chord! iversons As you pay trough thi ane alt et he mats ing Inte cach tther as mh spol. Ak,» clea tne with estan of dir (not nt dsorted sound that has een turned daw via the guitars vole contra ould te appropri here Preah. roupoet ner po C whitesnake various tracks snake facts Da you tow ht me dase wise ack foal or TOU Levins erisnly writen Davie Covert Bie Natit ata Mey Mayas epoed was x Des tegen tira ose? ntneend nowere, Whiesrale eded up sere the ng Heracles They steely 3 trate worn th ss oF i rerun phil's ated gear For the RED ceri luses my Pk Siena are Arist RS gitar ine # Mtl MP1 wh va us Bed te ming board Freer 2 POMED ve oops was ued an a Leccon MPA TrelMP-t stings othe examples wee a folons for sneak Ses rake vol gain bese mid tab pres bishit O”D iC eT The EDseine erained he some fr he ering ‘ack apt fom Bt No Love wh ae te gin on 5, ard adr lig, where he unas on 8.88 sinayon the HEED wersion cubed at the mah ‘uta grt reutout in order etter aud In the bane of doings you coud amas puta wey Stottély on ae Seo astro se-up an achieve rove or ke esa ets FssGm7 as 32.| guitar techniques | january 1999 co— as F5G5 Ne. This funky a dvingthythm parts vr typical ofthe “aon! eck yeh prs that Moody and Maren were renowned fr Aecuate ting esr for tn effective performance ofthis pee. Alo, ake care with the quk poston ts that ae requ nore to make the changes fom the Gupte the Co ted bak again. ‘som arms aay gs a ‘exp | january 1999 | guitar techniques | 33 whitesnake various tracks a ae sye ee PO__PO MU=I_HPORO PO MU. | ths epee track Fentrcs wat crayon of Jn Spb known if I Ki of with ome simple chor tab make sue you play hese ‘ng on te mone iming-wise Be sure an ut them of tthe ih ime too by qu tuning your gta’ value contol gown. The main if elf enters at bar ends based throughout on the F bles sak FAD 80 Sa Eo 1a 4 wee ‘Aim to pay this seven as posible, and tke eae not tush any of the Rammer an pals n tems of sou or thi andl ofthe emaining examples, you shoul aim Fors very dtrted ‘scooped tone ~ one wth bags of gun» ltof bottom ane top end and rot feo much middle. © NGithroushout) Sr = NE Rrouahau 6 ony, {sims descending line ingreé on the A Sting aginst open ow E sting pda tore the ede ofthe dy here. To make this ound ie the agin veson Yul eed to apply a very wide vibrato toa of the held nee. Ty tii’ it with you pik In order toring ot few inched harmnis hee and there , : =e wy Es ioe ¢ , 2 a ses : =n = se = el + a Test en) = ong = SSS Videsy' a! ge las a |** crco : 8 — Mu sw s mu au i : z | = = 8 zt te —o=0 : . we Dea As cmon as DA cio cin In common with ‘Stil OF The Nght ths plee ao stars of with some accented chord deat Notice durin ths how thee ar actualy thee sur pats = this layering of mult-rscke pat is very commen sipect of this tye of music The main rif a you can se sats Gr 5 and cont of dats played apes 50 open tring petal tre, During this, den frget that you are plying in 12 ime ~ ths lee nea fo eving' for I to ound ood! Hs —tks— 5) DS Alc} Os (E5) bs Arch 5 (Es) 05 ES (cass stings) e ——— — =F cbs) cs Ne. "obs; cs. cts) cs As Ne. Here we have type Job Sykes if that snl sereams ‘Metall ly this wth al the agretson it deseresmkng sre that lof the atemate picked base ‘ots ar mite inthe aproprate manne, ad al shoud be ne. Next math, wel be lokng at for The ies se you ther Tis mons examples were taken From the Following slums execs 1-2 Whitesnake, ve In The eat OF The iy ences 3 Whiten, 1907, WS HES. Used semi 0 MP i Ge Mel our oe wen by Cotes © aH tea ae Leb Ms lo ig i. Cra nats oh ye Mc an ncn Oe a teed etna tit See ac a ite y Dn eles nas hae alee Deseatone he ek january 1999 | guttar techniques | 35 Co ‘Geoff Whitehorn gules you tHeaugh the Gry Moore ‘tase: Paremne Wales acing rating info ens side of moderate TWispece nasa sin enn but ath he bends Tees nly realy st section bt hats Fa served ae baal pentone amare This quintessential guitar ballad made number eight in April 1979. meet your st tutor: A busy session ad touring tision Geof at been the Star of many a London Muse Stow wth hs scorching HS recording an touring carer has inl work with The Wh, Roger Waters, Pres Harom, Vanessa Mie and Fel Rodger, On hs dys off, Gaff Is often tobe found shaping for toe with Pi Hiborne espite its undisputed fame as 2 fine example of exciting, bluesy guitar playing, I suppose you could actually argue that Parislenne Walkways" Ist cxacly a blues in the most traditional sense. Its lyrical content doesn't attend the ‘baby done left me’ school, is chord ® arrangement is a fair distance from the usual trend, and yet it sll comes across with all the feel of some of the great blues classics. The version welve constructed is based on how Gar performs the track live, wiich has more guitar in and the overall effect is one ofa blues deluxe presentation, Its got a proper ending instead of a fae, too ~ bet you can hardly wait! When you think about it, Gary Moore has one through some distinct changes in his career in terms of musie style, appearance, sear and everything. It has to be said that he's got itjust about right at every tur, 100, Ifyou don't know what I'm taking about, try listening to one of his recordings with Colosseum I, followed by something from a solo album lke ‘Out In The Fields’ and Here it receives the full-on ¢g¢ treatment! then finish things off with anything from his blues period ~ Still Got The Blues, or the fine version of ‘Jumping At Shadows from the Blues Alive allar. Talk about a well-rounded player it makes you sick! With ‘Parisienne Walkways collaborating with the great Phil Lynott from Thin Lizzy. Gary was also a member of Lizzy, of course ‘and produced some memorable recordings there, too. I wonder iPhe’s going for some kind of record? Anyway, there are fewr guitar parts which tum guitarists on more than the into to this track. It's a great litle party piece and a good reason to polish up your bending technique too. In order to get the tone right, you'll ned a guitar with @ toneful humbucker in the bridge and an amp capable of some creamy sustain, Gary used to use 50 watt Marshalls, often topped off with an Tanee Tube Screamer distortion pedal (or latterly a Marshall Guv'nor pedal) with a Les Paul, but Te also seen him play this track with Soldano amps. Basically, we're talking anything witha bit ‘of muscle in the amplification stakes. One of the most interesting features ofthe ‘wack Is how Gary maintains the sustain on that fe find Gary bent E note when the intra erops up again mid tune, So did he use any, shall we say, “artificial” devices? Well, once again the answer les with the man’s phenomenal talent (doh! - ed). I's certainly a trick he ean pull off live, often making that one nate ring for what seems like minutes. We derided to ask the man himself, So how do you do i, then Gary? Gary Moore: "I used to find the spot on stage during the soundeteck where my amp would feed back at that pitch. I's just a matter of being in the Fight place at the eight time. I'd mark the spot Somehow and then, when we reached that point Jn the song, make Sure I was in position and go geoff's gtcd gear “sed my beau Sid Pook es Palle othe recog ‘ough th Moral INP Fr the Ka on barry se JMP- sain st an 12 en he OD #1 sting ‘nth the gon 1 but an 2 eng Fer he rythm ar for it" Simple as that, eh? Spoken like a true blues-rock megasta, Gaz This transcription is based on the way Gary plays the tune live, with extra guitar on the outro and middle sections. There should be no difficulty Jn terms of finding the right notes. The tempo is fainiy moderate and there's only one fast part tnd that’s basically pentatonic in structure. Your main areas of concem are tone and bending control. Remember the golden rule: take it slowly and in short sections at first. Only by perfecting, Something at a slow tempo will you stand a chance of speeding it up successfully later on Good luck! gt gary's slittering career es een in Thin Lazy sero ats sl carer (acluing 2st wit Igner Gear mendes ak ace or ‘Giger Baer BE) Formos examples of mei heal ‘an fexy uta aia, sen tani fom Gas ues Fd on abums ite SiGe he Beer Mer Haves AM Sensi bles shards ae on ‘neta, tour an ith ots ofthese fen he ches would b€G F and 6) A fd signs ae fay od = | january 1999 | guitar techniques | 37 38 guitar techniques | january 1999 = oz a (= (Aco BU Lo BU temp | january 1999 | guitar teennmiaues | 39 gary moore “parisienne walkways’ Bu Lo ov. 3 40] guitar techniques | jancry 1999 HPO POH H FO PO > | january 1999 | guttartectmaues | 41 gary moore ‘parisienne walkways’ | © wean sound eleane Walia wien by: Moaelynot. © Mexvond Msc Ld Usd by pemison of Mand Mus Landon NV a sata THE BIG DISCOUNT WAREHOUSE This Month's Special Offers 02771 | ae Wa Fender jane eta ile ecient extent foment 4 Pa ees. See ee SAN Cltona Sea - one oo BSS a ae EIN etl Catto ~ Dace oa | ee Bs Bonnie Raitt Strat = eer sunburst a Delure Super Strat - natural a5 ‘Toff Beck Strat — ae can) Fal Roe So eat oo) RR Q YAMAHA ‘Ventures Tauzmasier - black kraneparent £924 2 Pe-iseue Stal ~ shoreline gold eat ae ee ae a Red ee i de eae ee thous Sal Snbust fy Shere - rata eat Siete aeaicoe a Sones ee tee et Eras koa TY tities Be Sele a ‘piphone ts me ee By Us Pal asc idsee ~ atu BA Se mm es a ee & Bien ee ao @ DORA a ibiza meet your sxt tutor; Inspired by a combination of Chet Atkins and The Waterfront in Belfast, this waltz will help while away those winter evenings! fer playing at The Waterfront in Belfast last spring | found myself inspired to write this month's music Pleasant memories ofthat tranquil Sunday afternoon lingered on to the extent that I could reminisce upon them while composing this iting piece, which is deliberately reminiscent of the great Chet Atkins Although I didn't adopt Chet's style of thumbpice snd finger appecact, I certainly don't discourage Jt I perform this piece using a different kind of hhybed pleking: plectrum and fingers. performance notes: The composition displays a few classical tendencies, We begin with the interval ofa sixth which is such a beautiful and quite wide sounding iad ~ you'll find it in several guises throughout the plece. Thirds tend to be useful too, and also feature in the tune. Bar 3 is a legato passage featuring thirds, Practise this carefully, hecause the way I play it might not be what you're used. to = check out the suggested fingerings and positions, The harmonious sounding lick at bar 5 requires careful fingering too. Bar 7 involves a pre-bend in the style of Ray Flacke or Jerry Donahue, so you'll need fairly light gauge strings cor plenty of finger strength! Bar 9 isa form of arpeggio. Play just the notes ofthe chord but in the leapfrogging manner shown, ‘The artifical harmonies at bar 17 are typeal of Mr Atkins, who calls them “alse” harmonics Incidentally, Chet himself was inspired by Lenny Breau, who adopted the classical method of achieving artificial harmonics (plucking with the litde finger, I believel, while Brent Mason learned the technique from Gregg Galbraith, Use the performance method which seems most natural to you, Personally speaking, | place my plectrum ‘between thumb and middle finger while using my E7GH rene Index fingertip to place the node, thus creating the artificial harmonic. In this example the lower note only is not ‘made to sound as per its fretted location, but sounding an octave higher due to the harmonic You touch an octave, or 12 frets further along, that string, while simultancously plucking it, Interestingly, the fingered minor sixth interval will become inverted and consequently sound asa ‘major third. Intervals when inverted assume the ‘opposite quality {major vs minor or augmented vs

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