==================================
T
A
B
&
### 44
{
..
ö ö
e
#
ön ö ö ö ö ööö
ö ö ö
e
#
ö ö
Open A Tuning: EAEAC E
E
C
A
E
A
E
#
0
0
2
3
0
0
0
3 3
0
0
5
3
2
3
0
ö ö
e
#
ön ö ö ö ö ö ö ö
ö ö ö
e
#
ö ö
0
0
2
3
0
0
0
3 3
0
0
3
2
3
0
3
ö ö
e
#
ön ö ö ö ö ööö
ö ö ö
e
#
ö ö
0
0
2
3
0
0
0
3 3
0
0
5
3
2
3
0
#
n
n
n
w/ slide
“The only way you can get good—unless you’re a genius—is to copy.” — R i t c h i e Bl a c k m o re, Ju l y / Au g . ’ 7 3 G P
1 2 4
GUITAR PLAYER OCTOBER 1999
B Y J E F F M c E R L A I N
==================================
T
A
B
&
###
E
C
A
E
A
E
#
ö
e
#
ön ö ön ö ö
ö
e
ön ö ön À À ö
3
3
3
À À
ä
{
..
0
2
3
5
3
0
3
0
2
3
0
3
X
X
2
X
X
{
..
ö
ööön ööö ööö ööö
ön öb
öb
e
öb ö öö
ö
ööö ööö {
..
(
)
4x
0
3
3
2
3
3
2
3
3
2
3
3
2
3
6
6
5 5
(6) 5
6
6
5
6
6
5
6
6
B R
2
w/out slide
1
3
1
2
2
3
1
1
3
2
Chris Whitley’s
Twisted Blues
“DAYS OF OBLIGATION”
is a hidden track on songwriter
and slide guitarist Chris Whitley’s
critically acclaimed CD,
Din of
Ecstasy. [To learn more about
Chris Whitley and his approach
to slide, see our May ’95, July ’97,
and July ’98 issues.] According to
Whitley, the quirky blues is a
cross between Bukka White and
Thelonious Monk. “I wrote this
tune very quickly,” he says, “I
wanted something crude, but not
too familiar. I would never have
come up with this kind of a riff if
I didn’t have vocals in mind.
Without vocals, most of my stuff
would bore me.”
Whitley feels his strength lies
in simplicity, though “Days of
Obligation” is hardly simple. I’ve
written out the song’s basic riff
as Whitley showed it to me. If
you listen to the track, you’ll
hear how he weaves variations
on this theme.
F
Fiin
ne
e p
po
oiin
nttss.. The tune has a
percussive, funky sixteenth-note
feel. In the tradition of many old
Delta bluesmen, such as Bukka
White and Son House, the tune
stays mostly on the I7 chord.
Whitley plays the song in open-
A tuning (E, A, E, A, C#, E). Except
for open strings and the low
G and
F# at the end of bar 4, he plays all
the notes in the first four bars with
a slide, which he sports on his 4th
finger. It
t a k e s
practice
to get the
“It’s important
to bring some-
thing of your own
to the party.”
—Jeff McErlain
==================================
T
A
B
&
ö ö ö ö
û
=
3
44 öj öö# öö öö
3
ö ö ö ö
ö ö ö ö
e
#
öö ö ö#ö öö öbö
3
öbö öö ööb öö
e
#
öö ö ö
ö
e
#
öön öJ ä
ö
#
e
öbö öö öö öö# öö öö öbön öö öö
3
3
3
öö
öböö
ööbb
b
ööö
öö
úúú
úú
G7
F7
C7
C7
A 9 G9
b
2
1
1
3
3
3
3
2
2
1
1
3
3 3
2
3
3
3
1
1
2
3
3
3
1
2
5
3
3
4
5
5
6
6
7
7
5
5
5
5
3
3
4
3
3
3
2
1
1
4
4
5
5
3
3
3
3
1
1
2
10
10
10
8
8
9
10
10
11
11
12
11
12
11
12
10
11
10
11
10
11
9
10
9
10
9
10
8
9
11
11
11
11
10
10
10
10
10
9
n
n
1
2
2
1
2
1
2
1
n
nn
3
song’s many hammer-ons and pull-offs
right. Use a light touch—your frets won’t like
it if you drop your slide onto the strings too
hard.
C
Ch
ha
an
ng
ge
e iitt u
up
p.. Whitley draws on Delta
blues from the ’20s and ’30s, but he’s not con-
tent to simply imitate the past greats. The
important lesson here is that with effort, you
can put a new twist on an old tradition.
Whether you’re into blues, jazz, country, R&B,
funk—whatever—it’s important to bring
something of your own to the party. g
A faculty member at National Guitar
Workshop and transcriber for Hal Leonard,
Jeff McErlain has toured Europe and record-
ed three disks with Liquid Hips.
ANYONE SEEKING A
solid foundation in
blues—its progressions,
chord voicings, rhythm pat-
terns, and basic soloing—
will welcome David Ham-
burger’s
Beginning Blues
Guitar [$20.90, from Alfred
Publishing]. This clearly
written book-and-CD pack-
age covers essential funda-
mentals—notes on the neck,
key signatures, intervals, ba-
sic chord construction, and
diatonic harmony—along
with details on major, minor,
and pentatonic scales.
The book comes packed
with musical exercises de-
signed to teach such blues-
approved techniques as ham-
mers, pulls, slides, string
bending, and vibrato. Virtual-
ly every example is some-
thing you can play onstage—
there’s no endless drilling on
pure technique. For example,
when learning how to finger
pull-offs, you’re also learning
classic phrases used by every-
one from T-Bone Walker to
Jimmy Page.
Beginning Blues Guitar
also features some nifty in-
tros and turnarounds, one of
which is shown here. “To cre-
ate an intro,” writes Ham-
burger, “you might take a
particular chord-based riff
and move it through all three
chords of the turnaround,
ending on a descending
turnaround lick.”
This example illustrates
the intro building process by
moving an R&B double-stop
figure through the V7, IV7,
and I7 chords of a
C blues,
and capping the phrase with
a handy turnaround. You can
play this intro with a flatpick
or a hybrid pick-and-fingers
grip. If you opt for the latter,
try using a pick on the fourth
string, and your middle and
ring fingers on the third and
second strings, respectively.
(For a twangy sound, snap
the double-stops by pulling
straight up on the strings
and quickly releasing them.)
As a bonus, Hamburger
offers practicing tips, in-
cluding how to organize
your time, how to use a
metronome or drum ma-
chine, and how to grow from
your mistakes. The compan-
ion CD contains 56 audio
excerpts—plenty to get you
moving around the fret-
board. For those wanting vi-
sual action, Alfred offers a
90-minute
Beginning Blues
Guitar video for $14.95.
—ANDY ELLIS g
B
O
O
K
B
R
O
W
S
I
N
G
B E G I N N I N G B L U E S G U I T A R
www.guitarplayer.com OCTOBER 1999 GUITAR PLAYER
1 2 5
© 1994 Alfred Publishing Co., Inc. Used by permission. All rights reserved.
B A C K T R A C K
IN THE PAST MONTHS,
several readers have expressed an
interest in modes: What are they?
How are they constructed? How
do you to use them? We’ll address
the first two questions in this les-
son, and explore applications in
upcoming Back Track install-
ments.
O
Ov
ve
errv
viie
ew
w.. A special kind of
scale, modes play an important
role in melodic improvisation.
Smart soloists learn to associate
modes with common chord types.
Then when they see a certain
chord, these players automatically
have a set of notes from which to
extract a melody. In this scenario,
the melody and rhythm may be
improvised, but the sonic building
blocks have been pre-selected.
There are two ways to look at
modes. Both views use the major
scale as a reference point, and each
view has its advantages.
T
Th
he
e ““ssc
ca
alle
e iin
nv
ve
errssiio
on
n”” v
viie
ew
w..
You can think of a mode as an
in-
version of a major scale. Instead of
starting on the first tone of, say,
C
major, and ascending one octave
through the scale, you start on an-
other tone and ascend an octave.
Check it out:
• Ascending an octave from the
2nd tone of the major scale yields
the Dorian mode.
• Ascending from the 3 yields
Phrygian.
• Ascending from the 4 yields
Lydian.
• Ascending from the 5 yields
Mixolydian.
• Ascending from the 6 yields
Aeolian.
• Ascending from the 7 yields
Locrian.
Even the major scale can be
viewed as a mode—it’s called Ion-
ian. E
Ex
x.. 1
1 shows the seven modes
of the
C major scale: C Ionian, D
Dorian,
E Phrygian, F Lydian, G
Mixolydian,
A Aeolian, and B
Locrian.
T
Th
he
e 7
7--sstte
ep
p p
prro
og
grra
am
m. Every
mode has a particular sound. For
instance, Dorian has a jazzy minor
vibe, Lydian has a spiky major
sound, and Phrygian exudes a fla-
menco flavor. Here’s why: Each
mode has a unique sequence of
whole- and half-steps. You can see
this in E
Ex
x.. 2
2—the steps are iden-
tified as either W (whole) or H
(half ). Compare the sequences,
and then play the modes to hear
how each sequence has its own
sonic character.
When viewing a mode as an in-
version of a major scale, remember
that both the mode and its parent
scale share the same key signature.
To internalize this concept, pick up
1 2 6
GUITAR PLAYER OCTOBER 1999
“Music can’t be accurately described with words.” — Jo h n S c o f i e l d , Ju n e ’ 8 7 G P
==================================
T
A
B
& ö ö ö ö
ö ö ö ö
G Mixolydian
ö ö ö ö ö ö
ö ö
ö ö ö ö ö ö
ö ö
A Aeolian
B Phrygian
W W H W W H W
W H W W H W W
H W W H W W W
10
10
10
8
9
9
7
7
10
10
8
9
9
7
7
10
10
10
8
9
9
7
10
7
==================================
T
A
B
& ö ö ö ö ö ö ö
ö
ö ö ö ö ö ö
ö ö ö ö ö ö ö ö ö ö ö ö ö ö ö ö ö
ö
C Ionian
D Dorian
E Phrygian
F Lydian
W W H W W W H
W H W W W H W
H W W W H W W
W W W H W W H
8
8
7
10
10
10
7
9
8
7
10
10
10
7
9
7
8
7 10
10
7
9
7
9
8
10
10
7
9
7
9
10
Modes in a Nutshell
B Y A N D Y E L L I S
Ex. 1 Modes of
C
Major: The “Scale Inversion” View
B Locrian
B
C
D
E
F
G
A
B
A Aeolian
A
B
C
D
E
F
G
A
G Mixolydian
G
A
B
C
D
E
F
G
F Lydian
F
G
A
B
C
D
E
F
E Phrygian
E
F
G
A
B
C
D
E
D Dorian
D
E
F
G
A
B
C
D
C Ionian
C
D
E
F
G
A
B
C
Ex. 2
your guitar and rework a pet
major-scale fingering into its
seven corresponding modes.
T
Th
he
e ““ffo
orrm
mu
ulla
a”” v
viie
ew
w.. The
other way to comprehend
modes is wonderfully direct:
Apply a specific formula to a se-
lected major scale, and you’ll
transform it into a mode. Using
this method, the original major
scale and resulting mode are
parallel—they share the same
root or starting note.
For example, lower the 3rd
and 7th tones of any major
scale, it becomes Dorian. Okay,
let’s dive in:
•
C major comprises C, D, E,
F, G, A, B, and C.
• Lower the 3 and 7 (turning
E to Eb and B to Bb), and
presto—
C Dorian: C, D, Eb, F,
G, A, Bb, and C.
E
Ex
x.. 3
3 shows the formulas for
the seven modes of the major
scale. Take
one major scale—
say,
G—and apply these formu-
las to it. Linger with each mode
(
G Dorian, G Phrygian, G Lydi-
an,
G Mixolydian, G Aeolian,
and
G Locrian) to experience its
singular flavor.
C
Co
on
nn
ne
ec
cttiin
ng
g tth
he
e d
do
ottss.. You’ll
need patience to decode
modes, but they’re invaluable
for composing and improvis-
ing, so it’s worth the sweat.
Some suggestions:
• Eventually, you’ll want to
understand modes from both
scale inversion and formula
perspectives, but at first, just fo-
cus on whichever one makes
the most sense to you.
• Listen and play, play and
listen. Your fingers and ears
have a way of unraveling even
the gnarliest music theory.
• Meanwhile, prepare your-
self for one of those
a-ha! mo-
ments. For instance, while ap-
plying the Dorian formula (b3,
b7) to a D major scale (D, E, F#,
G, A, B, C#, D), you’ll play D Do-
rian (
D, E, F, G, A, B, C, D) and
suddenly flash on how these
notes are the
same as if you
started a
C major scale on D
(the 2nd tone). It all connects,
just give it time. g
All of us—no matter how
long we’ve played or how skilled
we are—have gaps in our knowl-
edge. Back Track is an ongoing
Sessions series designed to fill
these holes and inspire musical
breakthroughs. Got a topic you’d
like us to address? Send your
question to Back Track, c/o
Gui-
tar Player, 411 Borel Ave. #100,
San Mateo, CA 94402, or e-mail
it to guitplyr@mfi.com.
Send us your candidate for Lick of the Month
(preferably notated
and on cassette), along with
a brief explanation of why it’s cool and how to
play it. If we select your offering, you’ll get a funky
custom T-shirt that’s available
only to Lick of the
Month club members. Mail your entry to Lick
of the Month,
Guitar Player, 411 Borel Ave. #100,
San Mateo, CA 94402. Include your name, ad-
dress, and phone number. Materials won’t be re-
turned, and please don’t call the office to check
the status of your submission. You’ll get your shirt
if your lick is chosen.
==================================
T
A
B
&
bb 44
öj ö ö ö
ö ä ö öj ö ö ö ö ä öJb ä öJ ö ö ö ö öb öb ö ö ö ö ä öj Î
Swing feel
B maj7
E maj7
Dm7
D m7
b
b
b
Cm7
F7
ö ö ö ö
û
=
3
5
5
6
8
7 5
5
6
5
8
7 6 5
7
8
5
4
4
6
7
3
5
6
3 2
>
>
öb
öb
1
1
2
4
3
1
1
1
2
4
3
2
1
1
3
4
1
1
3
4
4
1
3
1
C H R O M A T I C T O U C H D O W N
L i c k
o f
t h e
M o n t h
THIS MONTH’S LICKMEISTER IS
Lou Tourtellot of Wakefield, Massachusetts.
He writes, “A workmate of mine at Parker
Guitars gets a kick out of this lick. In the
key of
Bb, it starts with a Imaj7-IVmaj7
change and then drops chromatically
(IIIm7-bIIIm7) into a IIm7-V7 turnaround.”
For starters, play this lick with alternate
picking. Then, try sweep picking the arpeg-
gios in bars 3 and 4. “Whenever you pick
up the guitar to play,” concludes Tourtellot,
“pretend you have an audience.” g
www.guitarplayer.com OCTOBER 1999 GUITAR PLAYER
1 2 7
“My parts come from improvisation and accident.” —The Edge, June ’85 GP
Ionian
1
2
3
4
5
6
7
Dorian
1
2
b3
4
5
6
b7
Phrygian
1
b2
b3
4
5
b6
b7
Lydian
1
2
3
#4
5
6
7
Mixolydian
1
2
3
4
5
6
b7
Aeolian
1
2
b3
4
5
b6
b7
Locrian
1
b2
b3
4
b5
b6
b7
Ex. 3 Modes: the “Formula” View
© 1999 by Adrian Legg. International copyright secured. Used by permission. All rights reserved.
1 2 8
GUITAR PLAYER OCTOBER 1999 www.guitarplayer.com
THIS FINGERPICKING
figure is the intro to “Cradle
Songs”—an instrumental from
my recent record,
Fingers &
Thumbs. I recorded the tune
capoed at the 5th fret, because I
like the way open strings ring in
the middle register.
I used a piezo bridge pickup,
which I mention because you
might have intonation difficulties
playing this capoed passage
through a magnetic pickup. If the
low open notes vibrate too close to
the pickup, its magnetic pull could
interfere with string vibration.
P
Pe
errffo
orrm
ma
an
nc
ce
e ttiip
pss.. Play this
passage freely—there’s no partic-
ular tempo for the intro—but
make sure the arpeggios flow up
to the highest note and ripple
smoothly back down.
If you’re playing a non-cutaway
acoustic, your fretting hand will
make contact with the neck joint
when reaching for the high notes.
Just stretch over the guitar’s treble
shoulder a little, and you’ll be able
to grab that
A at the 17th fret.
Anchoring your picking-hand
heel anywhere near the bridge
will inhibit sustain. Instead, let
your arm provide stability from
where it rests on the edge of the
guitar body. (Anchoring with the
pinky doesn’t work for me at all—
it introduces too much rigidity
into my picking hand.)
F
Fiin
ng
ge
erriin
ng
g d
de
etta
aiillss.. For a harp-
like effect, sustain all notes as
long as possible. Here are some
fingering details:
• Hold the low
C (bar 1, beat
one) until you have to move your
2nd finger to play the high
C in
bar 2.
• Also hold that second
G (bar
1, beat three) with your 4th finger
until you have to change posi-
tions in bar 2.
• Let the last note in bar 1 sus-
tain through bar 2. This open
C
should ring under the high
C, and,
in fact, still be ringing when you
pick the
A octaves in bar 3.
• Sustain bar 2’s high
C against
the next two notes (
E and G).
• In bar 4, alternate your 2nd
and 1st fretting fingers as you work
your way across the strings at the
twelfth position. As you descend,
be careful not to disturb the open
string that follows each fretted
note. Pluck the fretted notes with
your thumb and the open strings
with your index finger. g
British fingerstyle wizard Adri-
an Legg offers many useful tips on
his Homespun instructional
video,
How to Cheat at Guitar. His
latest record,
Fingers & Thumbs, is
on Red House Records. For tour-
ing and contact info (as well as
complete transcriptions of Legg’s
wonderful National Public Radio
commentaries), visit www.roe.ac.
uk/mjpwww/legghead.htm.
==================================
T
A
B
&
44
ö ö ö ö ö ö ö
ö 58 ö
ö ö ö
ö
44
e
ú
ú ö ö
54
ö ö ö ö ö ö ö ö
ö ö
44
öb ö
ö ö ö
öU
ö
n
(
)
ö ö
ö ö ö
U
Very freely
capo @ 5th fret
let notes ring
* capo V
2
1
4
1
p
p
i
p
p i
i
m
p
i
i
p
2
1
4
4
m
3
1
m
m
2
2
1
1
2
p p
p
p p
i i
i
i
i
p
p
p
i
m
a
p
p
p
i
m
a
1
1
3
3
1
2
8
5
5
7
10
5
5
7
5
5
13
12
15
5
17
15
12
12
12
5
5
12
12
5
5
13
5
6
5
5
7
6
5
7
5
5
5
6
7
* All 5th fret notes played as open strings.
Cradle Songs
B Y A D R I A N L E G G
B E N S O N PH OTO : V E RY L OA K L A N D
www.guitarplayer.com OCTOBER 1999 GUITAR PLAYER
1 2 9
INSPIRED BY
Wes Montgomery and Djan-
go Reinhardt, George Ben-
son has long embraced oc-
taves for his soloing
and
comping. “Octaves do for
the guitar what a mute does
for a trumpet,” he told
GP.
“When you play a high note
on the guitar, it can be very
obnoxious. With octaves,
the low note has a tendency
to round off that high, shrill
note. When you add the oc-
tave, it softens the sound by
becoming a compromise be-
tween the two notes, be-
cause you don’t really hear
either one, but rather
something in between.
“When I want to add
body to a one-dimensional,
thin sound, I’ll use octaves or
certain formulas that use oc-
taves. One formula has a
sixth in addition to the oc-
tave. For example, I might
play a
G-E-G. The sixth can
move in and out according to
the chord progression.
“Another formula puts a
fifth or fourth within the oc-
tave. To stay within the con-
text of the melodic scale, I
might have to reposition the
inside note—for instance,
changing a fourth to the
fifth—so that I don’t clash
with the harmony.
“Instead of playing the
root and octave simultane-
ously, attack them at differ-
ent times. That’s when the
fun starts—when you play
octaves rhythmically.” g
George
Benson on
Harmonized
Octaves
F
L
A
S
H
B
A
C
K
:
A
U
G
U
S
T
’
7
6
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