Classical Riffs for Rock Guitar - Wolf Marshal

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    CassicaliffsfOruitarby Wolf Marshall

    I Le,aJ'I'I ..,nI Seq ...e:nces1 IH,~"ic Miinor $calesI

    I ,. [Phrygian [ M O _ - , _ d _ e'....S,weep' A!rlpegg ios....and' much IQ'U)Je'

    hhear Ih,ow,.playnow!

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    ClassicalRiffsforRoc Gluitarby Wolf IMarshal1

    . $AIlMlc!Q, Pu'bllcatla:n,.N ie ,,, Y b fi ,: ib oc c .f 1i 'S y d '1 e y /C ;o ls o; ;; r e

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    CM,AP'I'EIR, 'ITab,1ture 5CHAPTER :I

    Dj!,'ItQIliK; S ~ < J ~e Form~ aC M aj or S eal e a,E r - ' l i riO 5cale Iin Th re e Fingeri 1P 8Se(J I~ 'j'! r lgE;! r l r i lg !;;x ere se 9 'Six- \let c So le Finger ing: Exere isc(Hird .

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    I"I

    II

    Steve Vat

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    -rABLATUR_AH of the m us ic examples in this b ook. a re presented in standard music notatlonand tatsature. Tablature is a six-fine system in which each line represents a stringof the gl l ita r, Numbers placed on the lines lnd icat e frets _A zero l11dlcates an .0penstring. as ill the foillowing 'example.

    First String P la ye d O p enf J - - - - - . . . . . . .

    I'~ (E). - . EO '"" . . . '"1 ,AB

    Here is a tuning d iagram in m us ic and tablature.~

    IL ' C D ~ J : . ,. - - - - ~E B G eD A : ! l _" E. . . " '.IT ~ -"A . .. "H v ,.n~.

    5

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    For your reference, here is a diagram of tablature s ign s a nd s ymb ols .

    ! " l ~~-IIt. H.:.-"' "'"T OJ'AR

    '1'''AR

    Hammeron

    H

    B

    Finger vlbrato

    IVp Pulleff

    Slight bend to indefinite r~utch-us.ually IIeS5 thana half step- (SeE!following example for notation ofother types of bends.j

    Whammy-bar vibrato1 "AR

    Dive and retu rn with wt l ammy bar

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    . I

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    , '1 J . I _ I.L

    AT 'ifAB

    op 'en (1 1 atu r a~) ha rmonic - tabiatu r' e shows,fr-et at which! to touch open string, musicshows actual pitch,

    Ani'ficial (pinch) harmonic - tablature alnd musicboth indicdte point at whi-ch left hand stopsthe str~ng,

    Tap-on harmonic =tablature and music bothi nd i cC l lt e p oi nt at which right hand taps on,

    Glenn ripton

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    DIATONIC S,CALEPORMS

    lh,e d ia ton ic s co te is the basis. for practically all conventtonal melodies in Westernmusic. I~tserves as an ideal starting point for our study of the classical melody line.IHere is the G major diatonic scale in second position . iNow try playing the retotive minorscaie-: E minor. The example shows threebasic finger~nl5 patterns, a'Splayed 0 1 1 1 a single string, II"G 1 3 G 1 . 2 1 2 . . 1 2 - 4 , 1 2 .{ 1 2 4

    On the f i rst tra clc 0n th e accom pan y ing casset te, you'll be rnov ing these til reefingering patterns round the fingerboard of the guitar. Start on the sixth string,move to tile fourth string, then to the second string- and, finally, to the firststring. All three fingering patterns are used in each phrase.

    8

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    G/B C5 D5 E51 :I 4 1 :3 " l2 . . . I'I 4 , 1 2 4 t a 4 J 2 4, 1 .2 s 2 I

    m~ 1 2 (I 1 2

    n/F'.~1.24124

    G5I 2 4 1 2 4 : AS: 1 .3 0: & 1 s 4,

    G/ll CS DS E5 Ern D/F#IZ 4, 1 2 : 4 J ! 2 ' " i 2 , f i 2 4 . ! : 3 4 1 3 4 1 2 - "

    1.M.- - - - - - _.,. - - - I

    9

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    Em GS A51 a 4

    1 . : : 5

    B-~,-

    Afte r yo u 've b e co m e fa mil la r wit h tlh is sea Ie fingeri rig e xe re i se , yo U m ig:htwant to play it double-tl me - or ' e ven alter the pattern - as demons t ra t ed on thetape.N ow le t's loc k at the scale patte rn s y ou have just p laye d ln s i x- not e lr oup il rt lg s .,Notice the similarity of the fi ngering shapes lin the first and second six-note forms.Play this exercise slowly along with tile ta pe .. '.

    Thl'lI'CIl FQft'fI

    2 ~ ,I I ., . 1.-1 4 2 l~ 1 I1 . " : 1 ' . .

    sh(ft shill457 4 :

    N ow try the s am e e xe rc is e US~!1gth,e f i rs t and second s tr ings of the gui tar.

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    'i

    "1 )

    The two exercises you have just played are combined in the next track on thetape. Play the entire pattern in tempo along with the tape .. m D/F# G5 ASf~/B C5 D5 E5

    11

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    Em D/F# G5 AS

    GiB C5 D5 E5

    As you played the exerrisewith th e ta pe , you probablv noticed that the bad-ground s id e of the stereo split features a harrronvgultar part. Once you've mas-tered the lead line, turn oft he lead channel [with the balance control) and try yourhand ail:tile harmon)! part. Ttl is wiH hel p to develop vour musical vocabu iarvendsharpe n your e ar .For further practice, play the exercise with legato phrasing in double-time, asde sui bed on the ta pe.

    VIJgwie J MaimsteE'n

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    SEQUENCESTo get a handle on sequences, first learn the simplefour-note pattern featuredbelow .

    1 :2 4Now practice an ascending phrase which features the rour-nots pattern youhave just played in a steady sixteenth-note rhythm,

    2,< 1 "I '~.4 .124 m _ ~ . . . . . ~1241124-J.]241'" .2, . . . " ' + . 1 ' . . 2 4 - 1 2 4~1trI.

    b

    13

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    1.2412412

    F --;

    8M - -< I .3 4, , -

    Now practice a descending phrase which uses a two-note pattern of brokenthirds ln a (Om~niLlOUS sixteenth-note rhythm. m - -4 4 1 1 11 1 1 ; i!e 1T------'I9~ 1 7 14 1 5 1~ : ~9 E ~ 1; !1 ]8~l- - - - " " 1 -1 1 : : I I 3 4 12. 1 2 . 4; ~ 2 - 1 1 2 1;.~ 1 4 1 2 .j 1 3 1

    - .

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    The next track on the tape combines the a s ce n d in g am i descending phrasesy ou have j I IJ s t p ll ay eo. N once , h oweve r . that th iedescend i'1Igphrase te a tu re d on thetrack begins on an A. Play th~entire sequence twice along with the tape.YOU !will hear this type of pattern ln the guitar play~ng of artlsts l ike Rand yR l1 oa ds , Y n gw ie . Malmsteen, and Vinnie Moore,Now let's lookat another standaro descending melody sequence. As before,learn the simple four-note pattern first. Then practice sn ifting the pattern downthe neck.

    lia -4 2 4 - " " " I II_;

    , I

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    Now play Ule entire sequence in tempo along with thetape

    I ~, '). I' 4 " 4 3 1--'1 4.2 1-1'"'.. ~ I-I 1I-17

    1 " ~ I 4 : 2 ; 1 ;i . 2 I-I 4 2 ] > I

    The phrase you have just played is W,~rylexible because you can change stringgroups, posltlons, and filligeri,ng forms at vi rtually any point ill the line. Once youhave 'mas te red the phrase as it is notated in th: preceding e xamp le , g o ahead andexperiment with every possible variation you (an imagine,

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    . i\

    HAIR ONIC MINORTi le harmonic minor c on ta in s a ra lsed seventh degree, This can create a r n exotic orethnk effect in your music, T ry playing tile A harmonic minor scale

    19

    Here's a three-part pattern U l s . i ~ . g the A minor harmonic scale. The me-ladymotif ls stated in the first measureo f the pattern. The tWD measures that To-Bowemplov imitation to expand 011 the motif... '

    I J

    By using me A harmonic minor in ccmblnatlon witn an Echord tthe domfnantchord,) you can give your music a Spanlsh/Moorl sh ftavor - an effect that hasrecently become quire popular. Play this descending A harmonic minor patternagainwith an Echord in the background, This narmonir relationship Is referred toa s th e Spanish Phrygian mode.

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    1 I

    1I,

    I

    ic K Mars18

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    ARPEGGIOSAn arpeggio [or broken chord) is an important element of the classical-rock style ..Let's IODkat a simple A minor arpeggio triad which uses the root, third, and fifthd e gre e s of the scale. T ry p~ayingthisarpeggio patten in t ou r octaves, as no ta te dln the example that follows.

    Now connect the phrases, and p~ay the arpeggio iinitempo along wuth the tape .

    . ." ,

    19

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    Add the neughbor notes one-half step bellow each arpeggio tone .

    .. ..1~1~1 4 , 3 < 1,'I

    . ,.Her-ets the entlre arpeggio phrase with the added neighbor notes. Try playingthis phrase a~()ngwith the tape.

    In the next track on the tape, you willi be using an ascending arpeggio phrasewith nelghber notes, as well as the motif from the previous track. Listen for thechord movement from tonic to dominant -3tamlliar sound in rlassical rock ..TheSpanish Phrygian mode is used in the second phrase of the track ..

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    Am. . .

    E8va - Am

    . . . . . ',- ,

    .;,

    Dove Muml!j