==================================================== LESSON 1 ==================================================== * 185402 * Kurt_Morrelo * Guitar Methods of Slash * DESCRIPTION: All about the Guitar methods of Slash, The FamedGNR guitarist. Guitar Methods of SLASH Okay, here it is. I know some of you have been asking for this so I am writing it. Now, Slash, as you all know, Is guitarist (most famously for) Guns N’ Roses and Velvet Revolver. He also played in Slash’s Snakepit and a few other bands. So, I’ll break it into a few sections. The main two are The Early Slash and The Later Slash. Here’s a full layout. INDEX: 1.) The Early Stages 1.a) Early Chords 1.b.) Early Acoustics 1.c.) Early Solos 2.) The Late Stages 2.a) Late Chords 2.b) Late Acoustics 2.c) Late Solos 3.) Others 3.a) Time signaratures 3.b)Intros 3.c) Ending 1.) THE EARLY STAGES Okay, these are the stages where Slash was inn Guns N’ Roses, (From now on referred to as GNR.) and did a few things differently than he did now-a-days. 1.a) THE EARLY CHORDS Here are some of the earlier chords Slash used. He used all of the power chords, and used some standard chords, like AC/DC did during songs. He also used chords like D and C for breakdowns. LIST: -------------------------------------------- ----------------------------------------3--- ------------------------0---------------2--- -------3----------------2---------------0--- -------3----------------3---------------1--- -------1----------------2---------------0--- Power Chord D Chord C Chord EXAMPLE: Welcome to the Jungle, Verse E|-------------------------|-------------------------- B|-------------------------|-------------------------- G|--2------2--2--0---------|--2-x-x-----2-2--0-------- D|--2------2--2--0---------|--2-x-x-----2-2--0-------- A|--0------0--0----------0-|--0-x-x-----0-0---------0- E|----3b-----------3--2----|--------3b--------3--2---- Pm . . . . E|--------------------------|-------------------------- B|--------------------------|-------------------------- G|--9--9--7-x-9--9----------|--2-x-x-----2-2--0-------- D|--9--9--7-x-9--9--7--6--4-|--2-x-x-----2-2--0-------- A|--7--7--5-x-7--7--5--4--2-|--0-x-x-----0-0---------0- E|--------------------------|--------3b--------3--2---- EXAMPLE: Welcome to the Jungle, Breakdown |------------3----(3)\---------------------------------------------------- |--7---------3----(3)\---6hb-----7---8p7----------12--13p12-------------8- |--7---------4----(4)\---4hb-----7---7------------12------------7\5--5---- |--7----5----5----(5)\-----------7---7----7---10--12---------------------- |--5----3----5----(5)\-----------5-------------8--10---------------------- |------------3----(3)\---------------------------------------------------- |------------------------------------------------------------------ |-7-----------------12---13p12---------10\--7---7------------------ |---7---------------12--------------------------7------------------ |-----7--6--7----10-12---------12p10---10\--7---7----------10------ |-----------------8-10-------------------------------------------8- |------------------------------------------------------------------ 1.b)THE EARLY ACOUSTICS In his earlier acoustics, Slash used more legato forms like hammer ons and pull offs. He also used lots of alternate picking. One more thing that is common in all his acoustic songs is that he uses distortion for a powerful last chorus/outro. EXAMPLE: Civil War, Intro |-------------------------------------|--------------------------------- |-------------------------------------|--------------------------------- |-------0----------------0------------|-------0---------------0--------- |---2-----2---2------2-----2-----0----|---0-----0---0-----0-----0-----2- |-----2-----2-----(2)--2-----0h2------|-----2-----2----(2)--2-----0h2--- |-0--------------0--------------------|-3-------------3----------------- EXAMPLE: Don’t Cry, Main Riff E|-----|--------0-------------1---------------3----------------------- B|-----|----------1---------3---3---------------3--------------------- G|-----|------2-----2-----2-------2---------0-----0-------0-----0----- D|-----|----2---------0-0-----------------0-------------0-----0------- A|-----|--0-------------------------0---2-----------0-3-----2-----3-2- E|--3--|------------------------------3------------------------------- E|-------0-------------1------------------------- B|---------1---------3---3----------------------- G|-----2-----2-----2-------2---------0----------- D|---2---------0-0-----------------0-----------2- A|-0-------------------------0---2-------------0- E|-----------------------------3---------2-3-4--- 1.c) EARLY SOLOS Okay, In his earlier solos, they were pretty bluesy and usually had some palm muting or some chords in them. (Usually double-stop chords.) EXAMPLE: Welcome to the Jungle, Solo e|-------------------------------------------------------|-------------------| B|--------------------------------12------------15~~~~~~-|---------------15--| G|x-12/13---x----13--13~~~~-(13)--12-13--x-x-x--16~~~~~~-|-12/13-------x-13--| D|x-11/12---x-14-14--14~~~~-(14)-----14--x-x-x-----------|-11/12-------x-----| A|-------------------------------------------------------|-------------------| E|--------0----------------------------------------------|-------0-0---------| __hold_ e|----------------------x-15-|----------------19fb½-----19--18--17fb------r--| B|-15~~--14/15\\\---x-x-x-15-|-------------17--------------------------------| G|-13~~--15/16\\\---x-x------|----sl.\6/18-----------------------------------| D|---------------------------|-----------------------------------------------| A|---------------------------|-----------------------------------------------| E|---------------------------|-----------------------------------------------| ___hold___ e|-(17)--15--16--------------------------------------------------------------| B|---------------15~~~~~(15)\\\\---15fb------(15)-15p12----------------------| G|------------------------------------------------------15-14fbr(14)p12-14p12| D|---------------------------------------------------------------------------| A|---------------------------------------------------------------------------| E|---------------------------------------------------------------------------| A.H e|------------------------------------ B|------------------------------------ G|-------------------------------8fb½- D|-14-12------------------------------ A|-------14-13-12fbr(12)p10----------- E|--------------------------0--------- XAMPLE: My Michelle, Solo |---------------------------------7---7--------------7--------------| |-16hb-16hb-16-16---------------7---7----10fb~~~~~~~---10p9-9b(1½)--| |-16fb-16fb-16-16p14----14----------------------------------9b(1½)--| |--------------------16----16~~-------------------------------------| |-------------------------------------------------------------------| |-------------------------------------------------------------------| |-7--------------7------------0-----------------------------------------| |---10-------------10-----------0---------------------------------------| |------r9(3/4)--------r9(3/4)-------------------------------------------| |-----------------------------------------------------------------7-----| |-----------------------------------10b(2)rb(2)rb(2)rb(2)r~~~-7fb---7fb-| |-----------------------------------------------------------------------| |-------------------------------------------------------------------| |-------------------------------------------------------------------| |-------------------------------------------------------------------| |-----------------------------------------0---5fbr--5--5--(5)~~~~~~-| |-7-5----------------------------2---4hb----------------------------| |-----7--5-4-3---3fb--3~~~~-5fb----5--------------------------------| 2.) THE LATER STAGES In the latter of Slash’s performing years, he uses lots of “Drop-D’ Tuning. For those of you who don’t know, that’s when you put your low-E String down 2 steps. That means, when you play, you can make a power-chord by just playing a straight chord. CHORDS: (Drop-D) ------------------------------------------------ ------------------------------------------------ - ---------------------------------------------- ------ -7--------------------------------7------ - ------7--------------------------------7------ --------7--------------------------------5------ Straight Chord Power chord EXAMPLE: Come on, Come in, Main Riff ----------------------------------------------- ----------------------------------------------- ----------------------------------------------- ----0---0--7--0--6--5--0-10--0--5--0--3--4--5-- ----0---0--7--0--6--5--0-10--0--5--0--3--4--5-- ----0---0--7--0--6--5--0-10--0--5--0--3--4--5-- 2. b) LATER ACOUSTICS Slash uses lots more appregiating, or individually strumming, his chords in his later acoustics. EXAMPLE: Fall To Pieces, Intro |-3-2---------2-----------------0-------------0------| |-3---3---------3-------------3---3---------3---3----| |-------3-0-------0-----0---0-------0---0------------| |-----------0-------0-0---0-----------0---0----------| |----------------------------------------------------| |----------------------------------------------------| 2.c) LATER SOLOS A lot of his solos are pretty similar now, but his speed has significantly increased, either that or he was hiding something. (Smart move!) EXAMPLE: Dirty Little Thing, Solo |--------------------------------|----------------------------------| |--------------------------------|----------------------------------| |-------------------2-4-2h3---4--|-------2-4p2---2-2/4--2h3-2--4bf--| |-------------2h3h4--------------|-2h3h4-------4--------------------| |-0-----2h3h4--------------------|----------------------------------| |---2h4--------------------------|----------------------------------| |-2-------2-------2-----------------|-2-------------------------| |-2-5p2---2-5p2---2-5bf-small-5p2---|-2-5p2---------------------| |-------4-------4-------rest------4-|-------4bfrp2---4-2--4p2-4/| |-----------------------------------|--------------4------------| |-----------------------------------|---------------------------| |-----------------------------------|---------------------------| ~~ |--------------------------------|-------------------------------| |---5---7-7p5-5-10p7-7--12-12p10-|-14-14p12-17-17p14----1717bf17-| |/6---6--------------------------|-------------------16----------| |--------------------------------|-------------------------------| |--------------------------------|-------------------------------| |--------------------------------|-------------------------------| |------------------------------------------------|-----------------------| |-14h17p14----14------14-------------------------|-----------------------| |----------17----16bb----16bbrp14-16bfrp14-16p14-|-------14--16-------14-| |------------------------------------------------|-16p14--------16-16----| |------------------------------------------------|-----------------------| |------------------------------------------------|-----------------------| -----------|-15p14p12-14p12----12----------------|---------------------------| -----------|----------------15----15-14-15p14p12-|---12----------------------| -16p14h16\-|-------------------------------------|-15--15-15p14p12-14p12h14p-| -----------|-------------------------------------|---------------------------| -----------|-------------------------------------|---------------------------| -----------|-------------------------------------|---------------------------| ---------------------|-----------------------------------------------------| ---------------------|-----------------------------------------------------| 12\11----12----11h12p|11---11----------------------------------------------| ------14----14-------|--14---12h14-11h12p11----11--------------------------| ---------------------|----------------------14-----14-9h10----9------------| ---------------------|-------------------------------------12----10/12---0-| |------12-12-------12-12------12-|-15-14-12-14-------12----------------| |-12---12-12--12---12-12-12---12-|-15-14-12-14-12----12-------15-14-12-| |-14bf--------14bf-------14bf----|----------------15----15-12-15-14-12-| |--------------------------------|-------------------------------------| |--------------------------------|-------------------------------------| |--------------------------------|-------------------------------------| ~~~~ |--------------------------------|-------------------------------| |-14bbrp12-14--------12-14-12-14-|-14bbrp12-14--12--15bf-(15)\---| |-14bbrp12-14--------12-14-12-14-|-14bbrp12-14--12---------------| |--------------14----------------|-------------------------------| |--------------------------------|-------------------------------| |--------------------------------|-------------------------------| 3.) MISCELANEOUS Here’s where I’m gonna add a couple things I didn’t have time to cover. 3.a) UNORTHADOX Slash has a lot of Unorthodox riffs, and I’ll list a few of them. EXAMPLE: Superhuman, Intro |-----------------------------------------------| |----13----15----15-13----13----15----12--18----| |-----------------------------------------------| |-12----12----12-------12----12----12-----------| |-----------------------------------------------| |-----------------------------------------------| EXAMPLE: Mr. Brownstone, Main Riff e|---------------------------------|---------------------------------| b|---------------------------------|-3p2p0---------------------------| g|-------------------------2-------|-------2p0-----------------------| d|-------------------------2-------|-----------2p0---------2---------| a|-------2p0---------------0-------|---------------2p0-----2---------| e|-0-3-4-----0-3-4-0---3-4---------|-------------------3h4-0---------| 1 e + a 2 e + a 3 e + a 4 e + a 1 e + a 2 e + a 3 e + a 4 e + a e|---------------------------------|---------------------------------| b|---------------------------------|-3-------------------------------| g|-------------------------2-------|-2-----2-------------------------| d|-------------------------2-------|-0-----2-----2-------------------| a|-------2p0---------------0-------|-------0-----2-------b-----------| e|-0-3-4-----0-3-4-0---3-4---------|-------------0-------3-----------| 1.b) INTROS Slash used a lot of the pentatonic scale for his intros, and he also collaborates and makes use of the two guitars in the band. EXAMPLE: Sweet Child O’ Mine, Intro E:|--------------15----14-----|--------------15----14-----| B:|-----15--------------------|-----15--------------------| G:|--------14-12----14----14--|--------14-12----14----14--| D:|--12-----------------------|--12-----------------------| A:|---------------------------|---------------------------| E:|---------------------------|---------------------------| C E:|--------------15----14-----|--------------15----14-----| B:|-----15--------------------|-----15--------------------| G:|--------14-12----------14--|--------14-12----------14--| D:|--14-----------------------|--14-----------------------| A:|---------------------------|---------------------------| E:|---------------------------|---------------------------| EXAMPLE: Welcome to the jungle, Intro Slash E|----------------------------------------------------------| B|----------------------------------------------------------| G|---4--4--------------------------------4------------7-----| D|---4--4-----7--7-------5--5----2--2----4----7---2---7--7--| A|---2--2-----7--7-------5--5----2--2----2----7---2---5--7--| E|------------5--5-------3--3----0--0---------5---0------5--| Izzy E|--------------------------------------7--7/5--5-0---------| B|--------------------------------------7--7/5--5-0---7--5--| G|------------7-9-9fb---7qb---------------------------7--6--| D|---7h9--9-------------------7h9--9s2----------------7--7--| A|-------------------------------------------------------0--| E|----------------------------------------------------------| 3.c) ENDING Well, that’s it. Be Mindful that all of his older stuff is in half-step down tuning. Okay the Bye. PS: I’m not gonna say go easy on me, but this is my first article and I’m only 13… (Well unless you count that other tab I sent in). ==================================================== LESSON 2 ==================================================== >DESCR: This article will show you how to use more than three major chords in a song without modulating. To do this, the article will cover some theory and give examples of which major chords can work well together. Tables of chords appear at the end of the article for you to try. LOTS OF MAJOR CHORDS IN ONE SONG & NO MODULATION – HOW IS IT DONE? ------------------------------------------------------------------ INTRODUCTION ------------ This article is written for intermediate guitarists and songwriters. There is an assumption that the reader has a basic knowledge of music theory. The lower case “b” is used throughout the article to represent the flat symbol used in music. Examples in this article are normally abridged to save on space whilst still showing the point of the example. So, how many different major chords can you fit into the one song? I’m glad you asked. The simple answer is: Well, that depends on how much you want the chords to sound like they belong with each other. Some time back I sat down and wondered why successful young bands wrote songs containing all major chords and totally ignored the ‘rules’ of major and minor. I don’t wonder why any more. I know why! (oh, by the way, when I say young, I mean young as in new to music, not necessarily young as in age) This article will show you how to use more than three major chords in a song without modulating. To do this, the article will cover some theory and give examples of which major chords can work well together. Tables of chords appear at the end of the article for you to try. THE THEORY ---------- Lets look at why you can use more than the three ‘correct’ major chords in a song without modulating. The answer lies in the good old Blues Scale. The Blues Scale is often played in parallel to the Major Scale, but is more closely related to the Dorian Mode. A comparison of the Blues Scale and the Dorian Mode is shown below. BLUES SCALE: 1 . b3 4 b5 5 . b7 1 DORIAN MODE: 1 2 b3 4 . 5 6 b7 1 (NOTE: This is the normal blues scale. Guitarists often omit the b5 from the scale for playability reasons.) As you can see, the two are relatively quite similar. The Dorian Mode has 5 of the 6 Blues Scale notes. The combination of the Blues Scale and Dorian Mode gives us the ‘Dorian Mode add Flat Five’ or, perhaps you could call it the Blues Scale add 2 & 6. I prefer to think of it as the ‘Blues Mode’, and for this article that is what I’ll call it. BLUES MODE: 1 2 b3 4 b5 5 6 b7 1 So how does this relate to major chords I hear you ask. Well, young musicians often do two things: They play lots of major chords; and also, they play the Blues Scale over just about everything, even where it doesn’t work particularly well. The two have a relationship, and that’s what we will be exploring. Let’s work out the chords for each note of the Blues Mode. By applying either the Major Chord intervals (root, up 4 semitones from root, up 7 semitones from root), or Minor Chord intervals (root, up 3 semitones from the root, up 7 semitones from the root), or diminished chord intervals, or augmented chord intervals, we get the appropriate chords. The initial ‘Set of Chords’ is as follows: 1 = minor 2 = MAJOR & minor b3 = MAJOR & minor 4 = MAJOR b5 = augmented & diminished 5 = minor 6 = diminished b7 = MAJOR As mentioned earlier, the Blues Scale can (depending on the chords) be played over its parallel major key (e.g. E Blues over E Major). Taking this piece of knowledge, it should therefore be reasonable to say that the basic Blues Mode chords can be combined with the parallel major key chords to give you the following ‘Set of Chords’: 1 = MAJOR & minor 2 = MAJOR & minor b3 = MAJOR & minor 4 = MAJOR b5 = augmented & diminished 5 = MAJOR & minor 6 = minor & diminished b7 = MAJOR You may ask, “So what if I want to play G# or D# chords in the key of E Major? They belong to the E Major scale. Are they major or minor, or what?” Good question. In the key of E, G# is the natural third note, and D# is the natural seventh note. Taking these two notes and creating a chord using the Blues Mode we get the following: 3 = diminished 7 = diminished Knowing that in the Major Key the 3 note is usually a minor chord and the 7 is already a diminished chord, we expand the ‘Set of Chords’ to the following: 1 = MAJOR & minor 2 = MAJOR & minor b3 = MAJOR & minor 3 = minor & diminished 4 = MAJOR b5 = augmented & diminished 5 = MAJOR & minor 6 = minor & diminished b7 = MAJOR 7 = diminished I hear you asking, “So if I want to play an F chord in the E Blues Mode, what would that be? major or minor?” Another good question. The remaining notes not covered are the b2(more correctly regarded as a b9) and the #5. Using our Blues Mode we get the following chords: b2 = augmented #5 = MAJOR Ok, now lets put all the chromatic chords together for the Blues Mode. The ‘Set of Chords’ now look like this: 1 = MAJOR & minor b2 = augmented 2 = MAJOR & minor b3 = MAJOR & minor 3 = minor & diminished 4 = MAJOR b5 = augmented & diminished 5 = MAJOR & minor #5 = MAJOR 6 = minor & diminished b7 = MAJOR 7 = diminished As you can see, we have seven major chords and six minor chords. We can use all of these chords to create a song - It sounds too good to be true. Notice that there are three chords that are neither major nor minor (you will probably avoid them). Of course there are other chords that work in this mode, and some of them are listed in the tables at the end of the article. EXAMPLES -------- If we look at some songs that have lots of major chords and little else, we find that the Blues Mode is out there and being used. Lets have a look at the main chords to the White Stripes song Seven Nation Army. I’ve inserted the chord numbers above the chords to help identify which of the chords fit the Blues Mode. 1 1 b3 1 b7 #5 5 | E - - E G - E D | C - - - B - - - | 1 1 b3 1 b7 #5 b7 #5 5 | E - - E G - E D | C - D C B - - | b3 4 | G | A | As you can see, six major chords from the Blues Mode have been used. No other chords are in the song. I think it’s no coincidence that only the Blues Mode major chords have been used. Lets have a look at the Creedence Clearwater Revival song Proud Mary. The song is in the key of D Major and the main riff section goes like this: b7 5 b7 5 b7 5 4 b3 1 C A C A C A – G - F D Again, all the chords are major chords and again all fall within the correct chords for the Blues Mode. Kings of Leon also fit the criteria with songs like Red Morning Light. 5 1 5 4 b3 2 1 VERSE: B E B E B E | B | A G F#| E | E | 5 4 b3 2 1 CHORUS: | B | A G F#| E | E | [repeat] Hey Joe by Jimi Hendrix is another good example. #5 b3 b7 4 1 C G D A E E E E [repeating] Some teachers and academics will discuss modulation and show how the theory of modulation applies to a song like Hey Joe. I’m not going to say they are wrong. However, applying modulation theory to a song doesn’t explain how young bands (with very little knowledge of music theory) manage to choose the Blues Mode major chords for their songs. (Bands pick Blues Mode chords because they sound good together!!) Nirvana’s Smells Like Teen Spirit is another example: 1 4 b3 #5 F Bb Ab Db [repeating] Whilst still a young band DEVO wrote Mongoloid. Have a look at the chords. 1 b3 #5 b7 1 | B | D | G A | B | [repeating] b3 #5 1 b7 | D G | B A | D G | B A | D G | B A | D G | A | “And he wore a hat...” etc. Another song by DEVO is also a good example. Have a look at Freedom of Choice which is in the key of G Major. b7 1 b3 4 5 4 F G F G F G F G F G Bb C D C 1 b3 #5 4 5 5 4 | G Bb | Eb C | X4 then | D | D C | X4 The Model by Kraftwerk is shown below: 1 5 1 5 VERSE: A E A E [repeating] b3 2 b7 b7 b3 2 5 5 CHORUS: C B G G C B E E This Is The Day by The The (yes, that is the name of the band): 1 6 2 4 Bb Gm C Eb [repeating] Uncertain Smile by The The is also an interesting example. 5 2 4 1 VERSE & CHORUS: B F# A E [repeating] b3 2 b3 4 BRIDGE: G F# G A [X2] What is particularly interesting with Uncertain Smile is that most of the chords are played in the E barre chord positions with strings 1 & 2 played open. Try playing it that way and enjoy the airy sound. Another interesting example to look at is Strychnine by The Sonics. 1 #5 b7 5 VERSE: | Cm Ab | Bb G | [repeating] 4 1 4 5 BRIDGE: F7 C7 F7 G(d.b.)[n.c.] Strychnine is in C Major. This is clearly shown by the chords used in the bridge section of the song. However, the verse reveals the song’s Blues Mode connection by the use of the C minor chord. Looking back through the article, you will notice that the number 1 note of the Blues Mode can be made into either a major or minor chord. That is exactly what we see here. Some bands did little more than play the three major chords of a major key (i.e. 1,4,5), and add just one of the other major chords (i.e. 2,b3,#5,b7) to create power chords. Try it yourself – it actually works. Now lets see what else can be done with the Blues Mode’s major chords. I will use a simple (and over used) 12 bar blues progression and add a few chords. SIMPLE 12BAR BLUES: | E | E | E | E | A | A | | E | E | B | A | E | E | MODIFIED EXAMPLE 1: | E | E G | E | E G | A | C | | E | E G | B G | A D | E |E(d.b.)(n.c.) | MODIFIED EXAMPLE 2: | E G | B F# | E G | B F# | A | A G | | E G | B F# | B A | A G | E G F# |E(d.b.)(n.c.) | The addition of the right set of major chords makes quite a difference to the simple 12 bar blues. If you throw in major chords other than the ones mentioned as being part of the Blues Mode, you will immediately get a feeling that they sound out of place. There are many more examples I could show you, but, I feel we have covered sufficient songs to illustrate how the Blues Mode chords can be used. CONCLUSION ---------- There is a bit more to the Blues Mode than mentioned here, but the article is a good primer to get you interested in making songs with this combination of chords. Additionally, there’s a whole article worth of information on how to improvise over something like the Blues Mode. But that will have to wait until another day. It’s important to note that, not all bands that use major chords are applying the principles of the Blues Mode. Some bands are actually just modulating their way through their songs. However, why modulate when you can start with a set of chords that sound good and make improvisation easy. Also, you will notice from the chord tables below, there is plenty of scope to write songs without using just straight major chords. Have a go and enjoy the results. So, when your music teacher hears you playing all major chords and says to you, “Haven’t you learnt anything in the five years that I’ve been teaching you!?!”. Your reply should be, “Yes Sir(Ma’am), but I’m playing chords in Dorian Mode add Flat Five”. ################################################################### SET OF CHORDS (by number) ------------------------- 1M, 1M7, 1m, 1m7, 1sus4, 1sus2, b2aug, 2M, 2M7, 2m, 2m7, 2sus4, b3M, b3M(maj7), b3m, b3m(maj7), b3add9, 3m, 3m7, 3m(maj7), 3dim, 4M, 4M7, 4sus4, 4sus2, 4M9, 4add9, b5aug, b5dim, 5M, 5M7, 5maj7, 5m, 5m7, 5m(maj7), 5sus4, 5sus2, #5M, #5M7, #5maj7, #5M9, #5add9, 6m, 6m7, 6dim, b7M, b7maj7, b7(7sus4), b7(7sus2), b7add9, 7dim ################################################################### |=================================================================| | KEY OF E MAJOR | |=================================================================| | 1 | E=022100 | E7=020100 | Em=022000 | | | | Esus4=022200 | Em7=020000 | | | | Esus2=024400 | | |-----------------------------------------------------------------| | b9 | | | Faug=x03221 | |-----------------------------------------------------------------| | 2 | F#=244322 | F#7=242322 | F#m=244222 | | | | F#sus4=244422 | F#m7=242222 | |-----------------------------------------------------------------| | b3 | G=320003 | Gmaj7=3x0002 | Gm=xx0333 | | | | Gadd9=3x0203 | Gm(maj7)=xx4333 | |-----------------------------------------------------------------| | 3 | | | G#m=xx6444 | | | | | G#m7=xx1102 | | | | | G#m(maj7)=xx1103 | | | | | G#dim=xx0101 | |-----------------------------------------------------------------| | 4 | A=002220 | A7=002020 | | | | | Asus4=002230 | | | | | Asus2=002200 | | | | | A9=022223 | | | | | Aadd9=002420 | | |-----------------------------------------------------------------| | b5 | | | Bbaug=xx4332 | | | | | Bbdim=xx2323 | |-----------------------------------------------------------------| | 5 | B=xx4442 | B7=x01202 | Bm=xx0432 | | | | Bmaj7=xx4446 | Bm7=x00202 | | | | Bsus4=024400 | Bm(maj7)=x20332 | | | | Bsus2=xx4422 | | |-----------------------------------------------------------------| | #5 | C=332010 | C7=032310 | | | | | Cmaj7=332000 | | | | | Cadd9=032030 | | |-----------------------------------------------------------------| | 6 | | | C#m=xx2120 | | | | | C#m7=022120 | | | | | C#dim=xx2323 | |-----------------------------------------------------------------| | b7 | D=xx0232 | Dmaj7=x00222 | | | | | D7sus4=x00213 | | | | | D7sus2=002233 | | | | | Dadd9=x04230 | | |-----------------------------------------------------------------| | 7 | | | D#dim=x01212 | |=================================================================| ==================================================== LESSON 3 ==================================================== 195324 gratefuldead22 Psychedelic 60s Guitar *** This lesson will teach you how to play in the style of players like Syd Barret, Jerry Garcia, Jorma Kaukonen, Robbie Krieger, Jimi Hendrix, Eric Clapton and other great guitarists of that era. I will talk about the different scales, modes, and effects that they used. I will also talk about things such as Sitar licks. *** Ever dreamed of playing a 30 minute Pschedelic solo just like Hendrix or Barret? If you keep practicing these techniques you'll be able to. In this lesson I will talk about such things as the scales, modes, and effects these players used. And things like Sitar playing. Psychedelic music is essentially a large combination of different types of music. It's mostly made up of Jazz and Exotic sounding music from India and the Middle East. But it also does take things from Blues and other styles of music. Noted Psychedelic guitar Jorma Kaukonen from the Jefferson Airplane was known for using very exotic sounding scales such as the Harmonic Minor scale. He grew up in Pakistan so he was very influenced by Eastern music. Harmonic Minor scale in the key of A e------------------------------------------------------------4---5---7----8-- b---------------------------------------------------5---6--------------------- g-----------------------------------------4--5--7---------------------------- d----------------------------------6--7--------------------------------------- a---------------------5---7---8---------------------------------------------- E-----4--5---7---8---------------------------------------------------------- He would mix that with the Natural Minor and Minor Pentatonic scales Natural Minor in key of A e-----------------------------------------------------5---7---8------ b------------------------------------------5--6---8------------------ g-------------------------------4--5--7------------------------------ d-------------------------5--7---------------------------------------- a----------------5-7-8----------------------------------------------- E-----5-7-8---------------------------------------------------------- Minor Pentatonic in Key of A e------------------------------------------------5----8-------- b----------------------------------------5---8----------------- g--------------------------------5---7------------------------- d-----------------------5----7--------------------------------- a---------------5---7------------------------------------------ E-----5---8---------------------------------------------------- One commonly used mode was Phrygian Phrygian in Key of A e-------------------------------------------------------5--6--8-- b--------------------------------------------5--6--8------------- g-------------------------------------5--7------------------------ d--------------------------5--7--8------------------------------- a---------------5--7--8------------------------------------------ E----5--6--8----------------------------------------------------- Another commonly used mode was Dorian Dorian in A e-------------------------------------------------------5--7--8-- b--------------------------------------------5--7--8------------- g---------------------------------4--5--7------------------------ d--------------------------5--7----------------------------------- a---------------5--7--9------------------------------------------ E----5--7--8----------------------------------------------------- Robbie Krieger from the Doors often times mixed Dorian with the Blues scale ~~~~~~~ -----------------5---7---8---7h8p7p5---------5------------------------------------ ----------8------------------------------------8----------------7h8p7p5---------5-- -------------------------------------------------------------------------------7-------- ----------------------------------------------------------------------------------------- ----------------------------------------------------------------------------------------- ----------------------------------------------------------------------------------------- Blues Scale in A ---------------------------------------------------5--8--- -------------------------------------------5--8----------- ---------------------------------5--7--8----------------- --------------------------5--7---------------------------- ---------------5--6--7----------------------------------- --------5--8--------------------------------------------- Effects they used: Reverb: This is by far the most used effect in not only Psychedelic music but almost every kind. There are two main types of Reverb, Room reverb and Hall reverb. Just as their names imply, Room simulates you playing in a large, medium or small room (depending on the settings you have it on), and Hall simulates you playing in a long hallway. Most amps have built in Reverb. The reason why its used so much is because it adds a lot of depth to youy playing, you'll soon notice that when playing without it, your music will sound somewhat dry. Tremolo: Tremolo can also be found built in to most amps. Tremolo is basically an effect that, when in use, adds a lot of flavor to your music. What tremolo does is it rapidly increases and decreases your volume. Depending on the rate you have it set on (at a very high rate it can sound as if the amp is going on and off), it can add a lot to your guitar playing. Its used in the very famous song For What It's Worth by Buffalo Springfield. Fuzz: Another heavily used effect in not only Psychedelic music but in others. The Fuzz pedal simulates the sound of a broken speaker. It was used in many many famous songs such as Satisfaction, Sunshine of Your Love, Hello, I Love You, and almost every Jimi Hendrix song. If your going to get a fuzz its probably a good idea to also get a volume pedal because even when your not playing anything the fuzz box is still hissing. Volume Pedal: A volume pedal is a really simple device. Its a pedal on the ground that has control over your volume (obviously). You basically push the pedal all the way forward for full volume and pull back to turn volume off. Guys like Syd Barret used the volume pedal extensively to sweep in and out of notes to create a violin like effect. Wah-Wah: The Wah pedal is probably the most famous effect, used in almost every type of music its a very well known pedal. Its very similar in shape to the volume pedal. It's basically a volume pedal that isntead of controlling volume it bends your tone. With the pedal all the way forward its very trebly, in the middle its very hollow, pulled back its very bassy. Its used in such songs as Voodoo Chile (Sight Return), White Room, and Estimated Prophet. Delay and Echo: Delay and Echo are both very similar and are used a lot in many types of music. What they do is they take what you just played and repeat it as many times as you set it to do. Often times fading out as its repeating itself. Guitarists like Syd Barret used the Echo-Plex a lot. The Echo-Plex is basically a very large board with all sorts of options of what you can do with delay. Flanger: Flanging was originally found when the Beatles were recording Tomorow Never Knows. What they did is they took two tape players and played two identical tapes of John Lennon singing the song and on one tape player they varied the speed causing it to overlap and make a sweeping type sound. In order for guitarists to get this sound, they took a speaker and pointed it towards the ground, on the ground was a large drum that would turn causing the sweeping effect. Chorus: Chorus is similar to flanger except that instead of a sweeping effect, it gives a more of a swirling type effect. Whammy (tremolo): Although this is not an electronic effect, I'd still consider it an effect. It's basically a metal bar stuck onto the bridge. The bridge is held to the guitar body by springs. When you press down on the bar the notes will go lower. This effect is used a lot in every single style of music. Its found on a lot of guitars also, particularly Stratocasters and ES-335s. There are to main types of Whammys, the double locking ones found on Fenders, and Bigsby's. Double Locking tremolos have the springs in back of the guitar and they can go down farther when you press down on them. Bigsby's have all the springs on top of the guitar and they create a more wavering type sound heard by Grateful Dead, Neil Young, Jefferson Airplane, and the Qicksilver Messenger Service. Guitar "Tricks" Octaves: Octaves were used a lot by Jimi Hendrix and many other pkayers. They are very similar to a Power Chord, except instead of playing the fifth above the note, you play the actual same note only an ocatve higher. D-----------7--------9--------12----10-------- A------------------------------------------------- E-----------5--------7--------10-----9--------- Harmonics: Harmonics are when you lightly put your finger over the metal fret and hit the string, it will make a very high sound. Naturaly Harmonics were used a lot in Psychedelic music. The most famous example is probably this. with tremolo on *=natural harmonic e---------12*---------------------7*--------- B---------------------------------------------- if you didnt catch what song that is its For What it's Worth by Buffalo Springfield. Barre Chords: Barre Chords are simply normal chords but your barring down what would normally be open strings. e--3--8-- b--0--5-- g--0--5-- d--0--5-- a--2--7-- E--3--8-- Both are G chords jsut one is barred on the fifth fret. Sitar style playing: Sitar is an Indian instrument with many strings (i think 13) that drone. The first person to put this technique into use on guitar was George Harrison in the song Norweigan Wood. What i mean by droning is you play something while the playing the same open string making a sympathetic droning sound. ------------------- ------------------- -2----4----7-----6- -0----0----0-----0- -0----2----5-----4- ------------------- ~~~~~~~~~~~~~~~~ ------------------------- ------------------------- ----5h7p5----5h7/ 9 \7p5- -0----------------------- ------------------------- ------------------------- ~ = let the open D string ring Octave Bends: I didnt know the actual name for this technique but the name seemed to make sense. This is when you play two notes at once and you bend the lower one up to where the higher one is. This technique is heard in Highway Chile by Hendrix. -12-- -15^- ----- ----- ----- ----- That technique is hard to tab out but what it is is the 12 fret on e is an e and the 17 fret on b is also e, so you bend the 15 up to the 17 so they are the same note. There's a lot of other stuff i could talk about, but i dont really have timne. You should pick up the video '60s Psychedelic Guitar by Tom Kolb. if you ever feel your losing creativity than just listen to some good Psychedelic bands and all the creativity they put into there music. P.S. writing Psychedelic music is easier if under the influnce of Mind-Altering drugs