Gavin Degraw Guitar Pat Martino Geometry_Player_Vault_July_2012

J U LY 2 0 1 2

Jan akkermanWayne krantz

Reviewed! koll Duo Glide

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The virtuoso 12-string innovator goes deep into his techniques,

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3 FREE Song TRanScRipTionS

Leo KottKe

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GUITAR PLAYER VAULT | July 2012 | 7

July 2012 Volume 2, Number 7 contentsNew Artist FeAture08 Wayne Krantz FromthecurrentissueofGuitarPlayer

From the vAult17 Jan Akkerman AclassicstoryfromtheMay 1975issueofGP

23 Classic Leo Kottke Interview Thevirtuoso12-stringinnovatorgoes deepintohistechniquesinthisfascinating andfreewheelinginterviewfromthe August1977GPcoverstory.

GeAr44 Reviewed! KollDuoGlide!(fromthecurrentissueofGP).

oN the NewsstANd48 GPJuly2012TableofContents

lessoNs50 Pat Martino: Sacred Geometry, Simplifying the Fretboard. FromtheApril2004issueofGP.

61 Lenny Breau FingerstyleJazzTremolo TechniquesfromtheMay1983issueofGP. sessioNs62 Theever-popularTrueFire Lessons

trANscriptioNs64 WakeUpEverybodyJohn Legend & The Roots70 FireWomanThe Cult80 InLovewithaGirlGavin DeGraw


Wayne KrantzBy Barry Cleveland

Wayne Krantzs singular and frequently visionary playing has made him one of New York Citys most highly respected and sought-after guitar-ists, resulting in performing and recording gigs with a host of luminaries such as Steely Dan, Victor Bailey, Michael Brecker, Carla Bley, Billy Cobham, and Chris Potter. Beyond those celebrated sideman roles, Krantz has led his own trios through intriguing and ever-shift-ing musical landscapes for nearly two decades, spe-cializing in structured improvisations that showcase his formidable stylistic scope and uncanny real-time compositional prowess. (Intrigued listeners with the aspiration and determination to plumb Krantzs con-ceptual depths for themselves may attempt ingress via his instructional masterwork, An Improvisers OS, pub-lished in 2005.)

On Krantzs latest release, Howie 61 [Abstract Logix], the perpetually restless guitarists polyglot musical trip mutates into an unprecedented take on the singer-song-writer format. Except for an extended improvisation

10 | July 2012 | GUITAR PLAYER VAULT

artist feature krantz

on Ice Cubes Check Yo Self, the songs are relatively short, have easily discern-able sections, and feature Krantzs lyrics and vocals. The album also departs from the past by featuring combinations of more than a dozen stellar players rather than the familiar trio lineup.

Was there a concept behind Howie 61 when you started out, and how did the circumstances sur-rounding the making of the record differ from those surrounding your previous albums?

The process began on Krantz Carlock Lefebvre [2009], which contained a few actual songs in terms of shorter length, lyrics, and singing. Howie 61 continued my exploration of how I might take all of the stuff Ive learned about guitar playing and improvising, my thoughts about what kind of words I want to be responsible for, and what was possible given the limitations of my voiceand pack all that stuff into a short song.

Another huge shift was that going back to 1993, all of my records have fea-tured the bands that I was working with at the time, and I wanted to get away from that because I felt I had already done it. So I invited a lot of musicians that I had played with previously, or had wanted to play with, and combined them in different ways to expand into a broader thing with more colors coming in from other places. Some tracks were recorded in L.A., some in London, and some in New York. Every-one gave their all and were really into it, which was very gratifying because there were no limousines or complimentary sushi dinnersit was pretty rough and rugged.

What about the title track? Is there a direct connection to Dylans Highway 61 Revisited?

There actually is. Its an example of

starting with a titlein this case a play on words that I thought was funny. Instead of saying Highway 61, which has the his-torical weight of both the Americana and Dylan things, switching it to Howie 61 made it ridiculous. The wordiness of the song is also kind of a reference to Dylan, and the songs formwhich is basically a weird, expanded bluesis based on the structure of a Dylan tune. As far as the album title, I was going to call it something else, but Howie 61 was kind of funny and easy to remember, so I decided to use it. And I had no idea that that song was going to open the album when I wrote it, but I like that it provides a soft opening and just kind of eases the listener in.

Is there a single guitar part on the album that you were particularly pleased with?

I like the guitar solo on How the West Was Left a lot because it was an overdub and I wasnt sure how I wanted to approach it sonically. I experimented with some dif-ferent things and ultimately I discovered that using the back pickup with pretty high gain on the amp but the volume turned down and playing with my fingers rather than a pick gave me the sound I needed. I was happy with that, though by nature Im not motivated to sit around trying to figure out what the best sound for something is.

You have always said that you arent a gear guy, and that you dont spend a lot of time mess-ing with thingsbut you have good gear and always get good sounds. Do you just choose a few things and focus on getting them to sound right?

That makes me wonder if Ive just been fooling myself all these years [laughs]. But the second part of what you said also makes sense. The beginning of my sound was in 1993, when I got rid of a bunch of amps and just plugged a Strat directly into a Fender

I think it is nice for the audience to experience some lushness and beauty. I dont want everything to be harsh and difficult just because thats what gets me off.

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!"#$%#&'(!#)"( krantzDeluxe turned all the way up. That sounded terrible for a year or so, but the good thing is that I had to figure out how to make such a thin tone sound good just by using my hands rather than relying on an amp.

That said, fast-forwarding to the present, Im kind of excited because Matt Brewster at 30th Street Guitarswho does all my guitar work, advises me on gear, and built my pedal-boardshowed me this Tyler amp that I really like. I believe its called a JT46, and its based on an old Marshall. When I heard it I said, That is a sound I can use, so I bought one, along with a couple of Tyler cabinets, and I also tweaked my pedalboard. So maybe I am getting into gear.

Did you use that rig on the new album?Yes, on part of it. I also used my Marshall

2553 Jubilee head, which I still love. In fact, just this last week I started using the two amps together. The Tyler cabs are super lightweight

and loaded with both 12 and 10 speakers. I use them with the Tyler and Marshall heads, with a little more break-up on the Marshall, and delay and reverb on one side. Its essen-tially an exaggerated clean sound, and then I add more distortion with a pedal when needed. The reason Ive just used one amp for so many years is that the sound is more focused when it comes from one place. Thats particularly important rhythmically, as the more spacious the sound, the less rhythmic it is. Rhythm is like the crack of the snare when youre a foot away from the drum. On the other hand, I think it is nice for the audience to experience some lushness and beauty. I dont want everything to be harsh and difficult just because thats what gets me off.

Whats new with your pedalboard?Im still using the Boss DD-3 delay and

OC-2 octave pedals, and the Moogerfooger MF-102 Ring Modulator, but I added a Strymon

El Capistan delay and a Wampler Pinnacle dis-tortion. I also have a Hiwatt wah and a Dr. Sci-entist Reverberator pedal, and very recently I got an Electro-Harmonix Freeze, which sounds sort of low-fi and funny but is really useful.

Are you still playing the James Tyler Studio Elite?Yes, with a Duncan Full Shred in the bridge

slot and two Suhr single-coils. James is also working on another guitar for me that may become a signature model. The neck is mod-eled on the neck on my 73 Fender Strato-caster, which is not a particularly good guitar, but I love the way the neck feels, probably just because Ive played it for so long. I got that guitar in 1980, and learned to play on it.

Did you use any other guitars on the album?Yes, a really cool 67 Fender Tele with a

great neck that I got some years ago and love very much, and a Godin dreadnought acoustic.

Transitioning away from gear, briefly describe what An Improvisers OS is all about.

KRANTZ TEARS IT UP LIVE WITH DRUMMER ZACK DANZIGER AND BASSIST LINCOLN GOINES IN 2009.

artist feature


krantzIt contains the method I stumbled across for

practicing the chords and scales that are part of chromatic tonality that we are subject to here in the West. But the method is creative and musical, as opposed to re-creative and pattern oriented, and the material is presented within the context of improvising.

Talk about your approach to groove.Im coming from the James Brown, Sly Stone,

Prince campand I list those guys in order of my discovery of them. As far as I understand it, their groove has a lot to do with rhythmic counterpoint.

Ellington talked about it, too, and when I ana-lyzed his music I saw that the use of rhythmic counterpoint gave a certain kind of bounce to the groove. I think of it as a vertical lift that the groove has, where the 2 and the 4 just pop up off the snare. The energy is going up, whereas in a lot of rock music the energy is going down, as in to the floor. That vertical energy fits perfectly with what I do, because while the ball is in the air, before it hits the floor and bounces again, all kinds of things can happenand thats where I live. Thats where all my stuff is happening.

Your improvisational style involves harmony as much as it does melody. To what extent are you con-sciously thinking about harmonic relationships, and to what extent are you just going with the flow?

Its a good question. Surprisingly, its kind of hard to answer because the space that Im in when Im playing is something that I havent really quantified. That said, Ive been practicing that approach for so many years that I dont even think about it as adding harmony. Im either play-ing one note at a time, or more than one note at a time, but its all coming from exactly the same place. The only difference is the kind of impact it has. Theres a certain effect when you do one of those two things and then suddenly people perceive it as a chord or a line or something. But as far as how it feels, its not really a distinc-tion that I make.

You are able to find space for your parts even when navigating the densest musical environments. How do you do that?

Thats counterpoint. And although it may seemlike there is no space in the music, almost inevi-tably there will beand thats my place. Ive lik-ened it to looking at an image and then seeing a negative of the image to see what isnt there. It is also a little like looking at a page of text and seeing the spaces between the words. Those kinds of images sort of describe what Im talking about. Honestly, though, it is a classic skill that many different types of musicians have. For example, all of the great R&B session players have that abil-ity. In order for them to create a part that mat-ters, they listen to where the cracks are in the music, center their parts those cracks, and then maybe ornament them beyond that. They may bleed over into space that is already occupied, too, but the fundamental parts are in the places where nothing else is happening.

And the same is true in terms of sound. When I first got to New York many years ago, I attended a David Sanborn rehearsal and Hiram Bullock was the guitarist. At the time I was playing through two amps, stereo chorus, stereo delay, and all this stuff that gave me a big, lush sound. When Hiram started playing he had a really thin and not great sound, and I thought to myself, Why would he opt for a sound like that? Then the band started playing, and that place that he occu-pied sonically was completely his own. The lush-ness of the overall sound came from the entire band. His experience told him that thats where he had to be to make a difference, and it sounded incredible in that context, whereas a big, lus-cious guitar sound would have been inaudible. That was the voice of experience talking. And it was a beautiful thing. g

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Koll Duo Glide TesTed by dave HunTer

THe cusTom-builT creaTions of saul Koll of PorTland, Oregon, have long inspired lust in the hearts of guitarists for their superb build quality and diner-retro meets space-race-modern styl-ing. In joining the Premier Builders Guild, Koll guitars are now more widely available, while retaining the U.S.-made kudos and small-shop quality that PBGs team of California-based luthiers brings to the table. The Duo Glide is Kolls flagship model, and blends elements of classic familiarity with artful originality. In its more frequent incarnations, with either TV Jones Classics or Lollar PAF-style Imperial humbuckers, it blends elements of Gretsch and Gibson in a boutique-grade package with Kolls inim-itable stamp upon it. With the more unusual pickups used here, and dressed in a surf-tastic finish option, this Duo Glide is some-thing rather differentand certainly a sweet hunk of eye candy by any standards.

The Duo Glide sports a body of chambered mahogany with a glued-on maple top. The set neck is also made from mahogany,

carved to a rounded C profile that measures .830 thick at first fret and .960 at the 12th. The ebony board carries 22 medium-jumbo frets, and upper-edge inlays of white pearl, Kolls twist on the position markers of several late-50s and early-60s Gretsch guitars. The ebony facing on the asymmetrical headstock bears a matching white-pearl logo inlay and is trimmed with narrow off-white binding, also echoed in the bound body top, fretboard, and f-hole. What really makes the package pop, though, is the taffy-sweet surf green urethane finish splashed across the entire body and neck, and the heart-shaped white pearloid pickguard that dramatically offsets it. The inclusion of a Bigsby B-5 vibrato is practically required by law.

The beating heart of this Duo Glide lies in its pair of Regal humbuckers, acclaimed pickup maker Jason Lollars rendition of the Fender Wide Range Humbucker of the early 70s, as designed by Seth Loverbetter known as the father of Gibsons legendary PAF humbucker. These pickups are wound pretty hot, like the

gear


originals, at around 10k, but the use of magnetic polepiecesrather than steel poles with a bar magnet beneath, like traditional Gibson and Gretsch humbuckersaims to retain clarity amidst the heat. It has to be noted that the pickups polepiece spacing falls wider than the outside E strings, but check photos of 70s Fender Telecaster Thinline, Custom, or Deluxe models that car-ried the Regals predecessors and youll see the same disparity of widths, so its clearly a quirk of the original design. A single master Volume and Tone control and a 3-way switch govern the package.

The few Koll Duo Glides that I have laid hands on in the past have achieved that illusive trick of blending the indefinable magic of a great vintage guitar with the playability of a skillfully crafted modern instrument. This PBG-built Duo Glide goes a long way toward nailing the same Holy Grail mojo. Fit and finish are immac-ulate, the neck feels great in the hand, and the guitar rings loud and clear, even when played unplugged.

Fired up through a Matchless HC-30, a Bogner Goldfinger (both


gear test driveKOLL

through a 2x12 cab with Scumback speak-ers), and a Fender EC Twinolux, the Duo Glide translates its candy-colored faade to a surprisingly sizzling tone beast that heaps on bite and bluster when needed, but also offers sultry sonic depths and nuances for more contemplative moments. The Lollar Regals really do pack a sting, but its a more vintage-edged snarl with plenty of clarity and cleaner tones when you turn down the gui-tars Volume control. The Duo Glide excels at anything from the meaner side of surf to alt-country with attitude to gutsy-blues and garage rock on those edge-of-breakup amp settings. Cranking some high gain with the Bogner or an OD pedal, it proved an easy match for just about any breed of straight-on rock, too. The polepiece spacing issue doesnt seem to affect string output or balance in the least, and the Bigsby works smoothly with-out any major return-to-pitch issues. All in all, the Duo Glide is a blast to play, is surpris-ingly versatile, and damn if it doesnt make you look good in the process! g

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Duo GliDePRICE $3,695 street (with hardshell case); $3,595 with TV Jones Classic pickupsNUT WIDTH 1 11/16" GraphTech TusqNECK Mahogany, glued in, C profile (.830" thick at 1st fret, .960" at 12th)FRETBOARD Ebony, 24 3/4" scaleFRETS 22 medium jumboTUNERS TonePros Kluson-style vintage tunersBODY Chambered mahogany with maple topBRIDGE Tune-o-matic with Bigsby B-5 vibratoPICKUPS Two Lollar Regal humbucking pickupsCONTROLS Single Volume and Tone, 3-way selector FACTORY STRINGS DAddario, .010-.046 setWEIGHT 8 lbs BUILT USAKUDOS Impeccable styling. Excellent build quality. Original tones that are extremely versatileCONCERNS Pole spacings on these pickups dont accurately match string spacing, but this doesnt

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gpr0712_art_zappa_ko2.indd 42 5/8/12 1:16 PM

Whether youre in this game

for fun or profitor bothbeing a musician isnt easy. Some people automatically assume were weir-dos, egotists, narcissists, druggies, alcoholics, and/or arrogant putzesnot an ideal best foot forward for meeting new friends, to say the least.

Making a living is viciously brutal. Even if you score a hit, you never know if that revenue stream is going to be consistent, or if it will all end abruptly within a couple of years. This can make long-term financial plan-ning the equivalent of a Hail Mary pass in football. And lets not even start with all the personal demons one unleashes when you make a pact with your creative muse to put your musical endeavors and emotions out there in an often cruel and uncaring world. Musicians themselves can be the most malicious and spiteful crit-ics, zeroing in with unabashed glee on minute details regarding the quality of tone, technique, and composition.

Yes, there are truckloads of

things the average musician worries over and whines about to everyone and anyone who will listen.

But have you ever considered that, when we bemoan our state and stat-ure, we shine a bright-white spotlight on our shallowness and self-absorp-tion? If you dont agree, then say Jason Becker, and I dare you to not to feel guilty and small for bitching about your own relatively mundane worries. Beckers journey trumps us allor at least 99.9-percent of us (my apologies to anyone in the 0.1 percent I may have offended). You can read about the specifics in Matt Blacketts excellent story on Becker in this issue, but, for now, lets just agree that having a burgeoning

career destroyed by your very own body is a very cruel twist of fate. But the inspirational supernova is that Becker didnt go quietly into the void when he could no longer speak or play guitar. He kicked back fero-ciouslydeveloping a new language with his family that allows him to com-municate and create and still make music. Today, against all odds, he is an immensely talented composer, funny as hell, and a sexy guitar god. He is no victim of fate, andheres a mammoth understatementhes certainly no whiner.

So, I dont know about you, but whenever the going gets tough for me in this crazy soap opera called the music business, Im not going to complain, get angry, or even sigh. Im going to think of Jason and forge ahead with renewed, kick-ass vigor. I figure that if Becker can give the finger to ALS, the least I can do is get out of my own way.

in Bob Kuliks enthusiasm for Jimi (may 2012),

i found a few inaccuracies:

Bob said: there was a really nice mafia-

run club around the corner called the night

owl Cafethe big acts like the Lovin spoon-

ful and James taylor played thereand they

wouldnt hire Jimi because he was black. they

didnt want to take a chance of upsetting the boys.

First of all, life would have been so much easier for Joe marra if hed

been mafioso! all club owners on those streets had to deal with the mob.

But not every large italian person is in the mob. i speak the language, and

i know what was going on in that club. the mob couldnt determine who

played there ... they didnt know enough about the music.

heres a short list of players i saw at the night owl: the Chambers Brothers,

Lonnie Johnson, steve DePasse, Len Chandler, ritchie havens, sonny terry

and Brownie mcgee, Lou gossett. if you stopped by at thanksgiving, you might

have sat next to odetta.

and one more detail: Jimi used to

practice at the night owl on weekend

afternoons. hed make more in tips

than the spoonful would get working

nights. Joe asked him to come play at

the night owl, but Jimi explained that

Chas Chandler had made him an offer

he couldnt refuse. J o Hn S E B AST I A n

GPCommunityN O I Z E F R O M T H E E D I T O R

GP PollCAST Your voTE! nEw poLL EvErY MondAY AT guITArpLAYEr.CoM

Best 12-string rock riff?

Stairway to Heaven 31%Hotel California 30%

turn! turn! turn! 23%tiCket to ride 13%

Band on tHe run 3%

get out of my own way.

GP Poll

R A N T O F T H E M O N T H

Hotel California

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tiC

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arra if hed

been mafioso! all club owners on those streets had to deal with the mob.

But not every large italian person is in the mob. i speak the language, and

he mob couldnt determine who

he Chambers Brothers,

terry terry t

and Brownie mcgee, Lou gossett. if you stopped by at thanksgiving, you might

20 JuLY 2 0 1 2 G U I T A R P L A Y E R . C O M

gpr0712_comm_dc1.indd 20 5/9/12 11:15 AM


GearRoundup

10 New Acoustic and Acoustic-Electric GuitarsTesTed By The Guitar Player sTaff

as youve likely noTiced from checking ouT new acousTic guitars online or in the brick-and-mortar domain, there are some amazing deals to be had these days on instruments that look, play, and sound like they ought to cost more than they do. You even see some with solid-wood construction, which is something that has typically not been the case with more affordable instruments. Obviously, manufacturing guitars in China has much to do with making this possible, although, as this roundup points out, there are guitars with bodies made from laminated materials that sound just as good as some of their solid-wood cousins.

So many factors are at play in acoustic guitar design, and the woodsbe they solid or plyare only part of a complex and highly interactive network that includes such factors as the body dimensions, quality of the bracing, the solidity of the neck joint, fretboard scale, and the thickness and hardness of the finish.

And then there are the electronics that many guitars come equipped withsome sporting lots of knobs, sliders, and switches, and others with little more than a 2-band EQ. Most systems are well implemented for the guitars theyre installed in, but its definitely worth plugging in and seeing if you like the amplified sound it delivers and wont be feeling either overwhelmed or undergunned by the interface.

With acoustic guitars you do get what you pay for, though, and a high-end model thats hand made from aged, solid woods is going to score better for tonal bal-ance, complexity, dynamic response, volume, and play-ing feel than a less costly instrument that is built on a production line and made from woods that havent been completely dried. That said, as this roundup of medium priced instruments shows, there are some pretty slammin guitars out there that offer inspir-ing sound and playability for about the same money as a set of tires for you car.

We tested these instruments in our studios and/or on live gigs, and plugged the pickup-equipped models into a variety of amplification rigs, including acous-tic amps, P.A. systems, and standard tube amplifiers.

gpr0712_roundup_ph1.indd 108 5/9/12 2:37 PM

Heres whats in the July 2012 issue of GP, on Newsstands Now!

GP COMMUNITYIts all about you! Share your photos, gear and CD/DVD reviews, likes/dislikes, favorite amps and guitars, tone and technique tips, gig stories, and more with the Guitar Player reader community. Come on! Join in!

Opening ShotsWe get up close and personal with the wire, wood, hardware, and voodoo that make playing guitar the coolest thing on the planet.

RIFFSJohn Petruccis new TonePrint pedal, images from the Ronnie Montrose tribute show, Jeff Augs record-setting gigs, Carl Verheyen, Editors Faves, and much more!

COVER STORYJason Becker The Shrapnel star and former David Lee Roth guitarist talks about his incredible technique, his compositional skills, and how he continues to create music 23 years after being diagnosed with ALS.

ARTISTSDweezil Zappa Wayne Krantz Sam WeberThe Making of Great Gypsy Soul

LESSONSTen Things You Gotta Do to Play Like Other InstrumentsJess Gress shows you everything you need to cop piano, drum, sax, synth, and vocal lines on guitar.

Dave Hill LessonThe Right Way to Play Wrong Notes Part 1

Hey Jazz GuyJake Hertzog helps you spread out.

GEARRoundup! Ten acoustic and acoustic-electric guitars. Fender EC Twinolux and EC Vibro-Champ Bilt El Hombre Deluxe Stompbox Fever! DigiTech iStompField Test! Boomerang III Phrase Sampler and Side Car ControllerScumback M75-8-65W and H75-8-65W 12'' SpeakersAccessory File Wolfetone Dr. Vintage and Marshallhead HumbuckersBrain Snack 5 Things About Tube Amplifier Maintenance

RECORDINGThe Recording GuitaristStudio Tools



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ROCKlessonslessonslessonslessons

photo: pAUL hAGGARD

M a s t e r c l a s s

SAcRED GEOMETRYSimplifying the fretboard with Pat Martino

B y J U D E G O L D

If theres one common misconception people have about geniuses, its the notion that these stellar intellects engage only in the most strenu-ous of thought; that in order to even hold a con-versation with one of these brainiacs you need an Ivy League PhD, an IQ of 200 or more, and a bulbous cranium that makes you look like a character from Star Trek. In realityas brilliant inventions such as the wheel, the light bulb, the magnetic guitar pickup, the TV dinner, and the Pet Rock all so vividly provethe most ingenious ideas are often the simplest. And if the mark of true genius is the ability to find simple, head-slapping, gosh-why-didnt-I-think-of-that solu-tions to complex problems, then Pat Martino is truly one of the guitars cleverest minds. In this lesson, the jazz legend shares with you an inspir-ing re-mapping of the fretboard that is radically different from what is typically taught in private lessons or at music schools.

The guitar is structured like no other instru-ment, states Martino, and it unveils itself in a unique way. Like the piano, it has its own fully unique temperament. But the communal lan-guage of music that all musicians sharethat is,

the language of scales, theory, and intervals that we all use when explaining or communicating musicreally has nothing specifically to do with any instrument other than the piano.

But guess what, guitarists: Its now finally time to describe music from our point of view. And theres probably nobody more qualified to step up to the podium and demonstrate a guitar-centric vision of the musical universe than Martino, because he has written a mesmerizing treatise called The Nature of Guitar that may for-ever change how you visualize the way harmony, melody, and improvisation all function on the fretboard.

And yes, Martinos genius ideas are almost childishly simple.

A b A n D O n i n G T h E P i A n OHeres the piano, says Martino, playing the C major scale in Ex. 1. These seven notes are the white keys. And the pianos black keys are here [Ex. 2]. These five black keys spell a D# pentatonic minor scale, starting on the 7, C#. Combine those two groups of notes and you get all 12 notes of the octavein other words, you get the chromatic


lessons sacred geometry

photo: jUDe GoLDphotos: jUDe GoLD

scale [Ex. 3]. Thats seven plus five. Its a system of additiona horizontal system based on the fact that the piano goes from left to right, from lower in pitch to higher in pitch. This is where scales come from, which are part of the community language you use to function with other musicians so that you can discuss modes and scale forms, etc. But scales really have nothing to do with how the guitar works. The guitar does not work horizontally.

M E E T T h E P A R E n T SThe guitar, like the piano, does have hori-zontal properties, at least in the sense that as you ascend horizontally from left to right on a given string the notes get higher in pitch. What makes the guitar inherently dif-ferent, though, is that it also has a vertical nature, because it allows you to move up and downwhich is exactly what you do when move from a higher string to a lower string or vice versa. This means that the fretboard is an x-y axis. Its a matrix, adds Martino. By being both horizontal and vertical, you have latitude and longitude. Its like a compassnorth, east, west, and south.

Were about to enter the heart of Martinos unique vision of the fretboardbut fear not: Although Martino plays some of the most ferocious, angular modern

jazz lines youll ever hear from a guitar player, all youll need to grasp the concepts that follow is a basic knowledge of music theory, because, in Martinos mind there are only two basic shapes you absolutely must know to unlock the secrets of the fret-board. One of them is the augmented triad (a major triad with a raised 5) such as the Caug5 in Ex 4.

This augmented cluster is one of two parental forms on the guitar, explains Martino. By parental, Martino means that the augmented triadin this case a Caug5 spelled C-E-G#produces multiple chordal offspring. Specifically, its a harmonic gate-way to three major chords. Just lower any one of its three tones and you get a major triad. As shown in Ex. 5, if you drop the lowest note, C, a half-step, you get an E major triad. Or, lower the middle note, E, the same distance, and you have a G# major triad. Or, finally, knock the highest pitch, G#, back one fret to hear a C triad. Slick!

fiG. 1

fiG. 2

TAB

Freely

3 3 5

5 2

2 4

TAB

Freely

4 4

6 6

3

TAB

Freely

3 4 5 6 2 3 4 5 6

2 3 4

Ex. 1

Ex. 3

Ex. 2

TRE A SURE MAPJazz fans worldwide may recognize Fig. 1 as the cover of Pat Martinos adventurous new album Think Tank [Blue Note], a modern bop tour de force that features sax master Joe Lovano and an all-star rhythm section of Gonzalo Rubalcaba (piano), Christian McBride (bass), and Lewis Nash (drums). But if youve got especially good eyes, youll spy hiding beneath the transparent geodesic dome that dominates this cover an additional set of intersecting linesthe musical blueprint in Fig 2. Generated from a clockwise placement of every note in the chromatic scaleand featuring the letters N, E, S, and W in the center signifying the compassthis intrigu-ing image represents Martinos vision of Western harmony and how it is navigated using the guitars fretboard. JG

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photo coURtesy of bRAD GiLLis

Also, be sure to try raising any note in the augmented cluster a half-step, encourages Martino. Thats how youll get minor chords. For instance, raise the lowest note in our Caug5 chord a semi-tone to C#, and youve got a C# minor triad. Sharp just the middle note, and youll hear an F minor triad. Or, raise the highest note, and youve got Am.

The other parental shape that Martino deems crucial is the diminished 7th chord, which is represented by the Edim7 in Ex. 6. The diminished cluster has a different set of siblings, notes Martino, playing the shapes four offspring chords in Ex. 7. Lower any one of its notes by a half-step and you get the root of a dominant 7 chord. For example, drop the lowest tone and you get Gb7. Or, drop the

second-lowest note and you get C7. Drop the second-highest note and you get Eb7. And if you lower the highest note, youll hear A7. To me, this is the guitar. These two paren-tal shapesthe augmented and diminished clustersare the fastest way to learn the instrument, provided you have a basic com-mand of chord theory and scale spellings.

S Y M M E T R Y i n M O T i O nThe most beautiful aspect of the two parental forms has to be their perfect symmetry. The augmented triad, for example, divides the octave equally into three intervals of a major third. For that reason, if you move the shape up or down the fretboard a major third (or four frets), as shown in Ex. 8, the chord doesnt

change in any way except for the fact that its tones become rearranged (with one shifted an octave). Were playing the same shape at the 4th, 8th, and 12th frets, yet the harmony, note names, and fingering remain exactly the same.

It gives you automatic inversions of itself with no necessity of memorizing new finger-ings, observes Martino. If you arrange the 12 notes of the chromatic scale like the face of a clock, youll see that the augmented cluster forms a perfect triangle [Ex. 9].

Due to its perfect symmetry, there are only four different augmented triads, as shown by the four triangles in Ex. 9. Our

Caug5 triad is in bold, spelled enharmoni-cally C-E-Ab. Similarly the other parental shapethe diminished clusteris perfectly symmetrical as well. Dividing the octave equally into four minor-thirds, a diminished chord repeats itself every three frets as shown in Ex. 10. Again, the only thing that changes in these four identical grips is the arrangement of the notes.

The diminished cluster forms a square, says Martino, referring to Ex. 11. Unlike the piano, which uses a seven-plus-five system of addition, the guitar uses multiplication. With both of our parental forms we cover all 12 notes of the chromatic scale by multiplying three times four.

M O v i n O n U PWhen it comes to inverting chords, the porta-bility of Martinos two parental forms proves very convenient. Take the augmented cluster, for example. Remember how, in Ex. 5, a fourth-position Caug5 triad yielded a differ-ent major chord each time we lowered one of its tones? Well, if you move Caug5 up to its first inversion at the 8th fret, it still produces the same three major triads (though youll find the trio of triads has swapped finger-ings). For instance, in Ex. 5, we dropped the lowest note of the chord, C, a half-step and our Caug5 became an E major triad. But in Ex. 12, the augmented cluster is at the eighth

IV

Caug5X X 2 3 X

Augmented cluster

1 IV

EX X 2 3 X

Augmented clusters offspring

1 IV

G X X 2 X 1

III

CX X 3 X 1 1

4

V

Edim7X X 2 3

Diminished cluster

1 4

IV

G 7X X

Diminished clusters offspring

1 V

C7X X

IV

E 7X X 2 3 1

V

A7X X 2 1

1 2 3 1 4 1 1 4 4 1

IV

Caug5X X

Symmetrical inversion

VIII

Caug5X X

XII

Caug5X X 2 3 1 2 3 1 X 2 3 1 X X

C EG EG C G C E

Ex. 7

Ex. 5 Ex. 6

Ex. 8

Ex. 4

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position, and C appears on the first string. Now, lowering the highest note yields E major, as shown.

Ex. 13 shows the same process as it relates to the diminished cluster. Here, by lower-ing G to Gb, Edim7 still becomes Gb7, but because were at the eighth position, the dominant chord is now achieved by lowering the second-highest note in the diminished form, not the lowest note (as was the case with the fifth-position Edim7 in Ex. 7).

T h E b i G b A n GThese clusters are great for generating chord progressions, shares Martino. By lowering one note here, raising another there, you have a very efficient way of gen-erating complex harmoniesand with the smoothest of voice leading.

Martino demonstrates the approach in Ex. 14, taking the diminished parental form (in this case, C#dim7) and expanding it one note at a time. First, he drops C# to C, yielding C7. Next, he raises Bb to B. (That gives you a beautiful form of Cmaj7.) Adding an open-A pedal tone to the Cmaj7 chord creates a chimey Am9 voicing. Raising G a half-step produces the tendon-twisting Am9(maj7), which, when you raise E to E#, relaxes into the ear-twisting Am9#5(maj7) chord that closes the progression.

Its a whole different approach to shift-ing harmony from the standard method, which involves creating chords from scale tones and applying complex alterations, says Martino. And again, its so portable. Shift our original C#dim7 up to its next inversionwhich is simply the exact same fingering moved up to the 5th fretand you can easily generate a new inversion of the entire progression [Ex. 15]. Just as we did in the previous example, were expanding one note at a time, but this time the same notes are on different strings.

b R A n c h i n G O U TThe next step toward conquering the fret-board using Martinos two parental forms is to place the clusters on different groups of strings so you can take advantage of the many timbres and pitch ranges that the guitar offers. Ex. 16 displays seven ways of fretting the augmented cluster using unique string groups, while Ex. 17 shows five ways of doing the same with the diminished cluster. In each example the chord remains the same throughout, but the inversion and timbral character changes with each new grip.

And yes, with any of Ex. 16s augmented voicings, if you lower any single chord tone, youll get a major triad, and similarly, if you flatten any note in one of Ex. 17s dimin-

ished forms, youll hear a dominant 7 chord. Martino especially likes the open-voiced sound you get by placing the parental forms on non-adjacent string setsand the offspring they produce. Ex. 18 shows one of Ex. 16s shimmering open-voiced Caug5 chords with its offspring (not counting the minor chords you get when you raise any one of Caug5s tones), and Ex. 19 shows one of Ex. 17s open-voiced Edim7 clusters with its offspring.

c h R O M A T i c A T T A c k !Now that youve seen how the two parental shapes act as key centers and yield dozens of colorful, closely-related chords, its time to start thinking of them as launching pads for melodic improvisationwhich is exactly what Martino does. That means putting aside notions of scale patterns and really learn-ing to visualize the fretboard as a network of shapes connected by neighbor tones and passing tones.

Chromatic intermediates intertwine across the entire fretboard, says Martino, demonstrating this fact with one of his trade-mark chromatic runs in Ex. 20. While there are a ton of chromatic notes in this long descend-ing line, the blazing riff somehow makes the entire neck seem to scream C7. You can use chromatic notes to weave the whole fret-board into one given topic.

V

Edim7X X 2 3

Symmetrical inversion

1 VIII

X X XI

X X Edim7 Edim7

XIVX X

Edim74 2 3 1 4 2 3 1 4 2 3 1 4

G D E B B E G D D G B E E B D G

VIII

Caug5X X

VII

EX X 3 1 X 2 3 1 X 4

VIII

Edim7X X

VII

G 7X X 2 3 1 2 3 1

4 4

Ex. 9 Ex. 10 Ex. 11

Ex. 12 Ex. 13



Martino on Sacred GeoMetry.

E n c O R EIts one of the most inspirational stories in jazz: Pat Martino learning to become a mas-ter guitaristtwice. The first time around, I was a dead-serious youngster who was tuned in to the competitive nature of our culture and was fully motivated to achieve success, says Martino, who, in 1980, at the peak of his form, suffered a catastrophic brain aneurysm that caused him to forget all he knew about playing guitar. My second relationship with the instrument began in a much more inti-mate, innocent kind of way. The guitar became a playful resting place during a period of intense therapeutic recovery. It allowed me to take my attention away from my ordeal. I was able to enjoy the guitar in a pure and almost childish waylike a child does a toy. I think were ultimately chosen to be childish. Thats exactly how we come into this world and exactly how we leave it. The guitar just happens to be my favorite toy.g

For more on Pat Martino, his new album Think Tank, and his ideas on the nature of guitar, visit him online at patmartino.com.

C dim7X X 2 3

Expanding diminished cluster

1 C7

X X 2 Cmaj7

X 2 3 X 1 1 Am9

X Am9(maj7) Am9 5(maj7)

3 3 1 4

4 4 2 3 1 4 X 2 4 3 1 X 2 4

EB GC EB C G E B C G E B C GA E B C GA E B C GA

V

C dim7X X 2 3

Expanding diminished cluster inverted

1 V

C7X X

V

Cmaj71

V

Am9

V

Am9(maj7)4 4

VX

Am9 5(maj7)1 1 X X 1 4 1 1 X 1 4 1 1 X 4 1 1 2 1 2 3 4

G C EB G C E B G C E B G C E BA G C E BA G C BA E

IV

Caug5X X 2 3 X

Augmented cluster

1 V

Caug5X X 2 X

V

Caug5X X 2 3 X 1 1

VI

Caug5X

VI

Caug5

VI

Caug5X X 3 1

VI

Caug5X X 2 X 1 3 X 2 3 X 1 3 1 X 4 X X 4 X 4

II

Edim7X X 2 3

Diminished cluster

1 III

Edim7X X 2

II

Edim7X 2 3 X 1 1

Edim7

III

Edim73 X 2 3 X 1 1 4 X 4 4 4 1 X 2 1

Ex. 14

Ex. 15

Ex. 16

Ex. 17


lessons


TrueFiresessions


ROCK

Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.

transcriptionstranscriptions john legend & the roots

GUITAR PLAYER VAULT | July 2012 | 65Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.

john legend & the roots


transcriptions


john legend

70 | July 2012 | GUITAR PLAYER VAULT Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.

transcriptions the cult


transcriptions


the cult


transcriptions



transcriptions


the cult


transcriptions



transcriptions


the cult


transcriptions



transcriptions


the cult

80 | July 2012 | GUITAR PLAYER VAULT Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.

transcriptions gavin degraw


gavin degraw


transcriptions


gavin degraw


transcriptions



transcriptions


gavin degraw

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