Creative guitar 1 : cutting-edge techniques

118 Pages·2002·13.161 MB·English

by  Guthrie Govan

Pllnted ,n the United Kingdom by MPG Books, Bodmm
Published by Sanctuary Publishll'lg Limited, Sanctuary House, 45-53 Sinclair
Road, london WI 4 ONS, UmTed KlI'lgdom
wwwsanctuaf'lpubhshlngcom
Copyright Guthrie Govan, 2002
MuSiC typesetting Cambridge Notation
Cover photograph GettylStone/Patrlck Coughlin
All nghts reserved No part 01 lhls book may be reproduced in any form or by any
electronic or mechanical means, Including Information storage or retrieval
systems, Without permiSSion In wilting from the publisher, except by a reVieWer,
who may Quote brief passages
While the publishers have made every reasonable effort to trace the copyright
owners for any or all of the photographs on thiS book, there may be some
omiSSions of cred,ts, for which we apologise
ISBN 1--86074-462·1
CREATIVE
GUITAR 1
CUnING-EDGE
TECHNIQUES
Guthrie Govan
Sanctuary
BOOK CONTENTS
CD Contents ......................................................................... 6
Foreword .............................................................................. 8
Introduction .......................................................................... 9
1 GENERAL STU FF ................................................................ 11
2 TECH NIOU E ........................................................................ 16
3 THEORY WITHOUT TEARS ................................................ 55
4 SCALES AND CHORDS ...................................................... 64
5 ON THE CD ....................................................................... 10 9
Afterword ......................................................................... 118
CD CONTENTS
1 Intra/ Tuning Notes 27 G Aeolian Shapes (Example 4.51)
2 A minor Pentatonic Scale Shapes (Example 4.13) 28 G Phrygian Shapes (Example 4.51)
3 A Major Pentatonic Scale Shapes (Example 4.14) 2. G Lydian Shapes (Example 4.52)
4 Minor Pentatonic Bends (Examples 4.15-4.19) 30 G Ionian (Example 4.52)
5 Sliding Ideas (Examples 4.20-4.22) 31 G Mixoydian Shapes (Example 4.52)
•
Connecting Pentatonic Shapes (Example 4.23) 32 G Locrian Shapes (Example 4.53)
7 Connecting Pentatonic Shapes In Groups Of Three 33 Goodbye
(Example 4.24) 34 Hendrix-Style Chordal Embellishments (Demo 1a )
8 Pentatonic Patterns (Example 4.25) 35 String Bend $010 (Demo 1 b)
•
Pentatonic Patterns (Example 4.26) 3. Backing Track 1
10 Pentatonic Patterns (Example 4.27) 37 African Style Triads (Demo 2a)
11 Pentatonic Patterns (Example 4.28) 38 African Style Solo (Demo 2b)
12 Pentatonic Patterns (Example 4.29) 3' Sacking Track 2
13 PentatoniC Patterns (Example 4.30) 40 Combining Pentatonics (Demo 3)
14 Pentatonic Patterns (Example 4.31) 41 Backing Track 3
,1.5 Pentatonic Patterns (Example 4.32) 42 Aeolian Blues (Demo 4)
Pentatonic Patterns (Example 4.33) 43 Backing Track 4
17 Pentatonic Patterns (Example 4.34) 44 Tower Of Power Style Funk Rhythm (Demo 5)
1,.8 Pentatonic Patterns (Example 4.35) 45 Backing Track 5
Pentatonic Patterns (Example 4.36) 4. Dominant Arpeggio Blues (Demo 6)
20 G Major Arpeggios (Example 4.43) 47 Sacking Track 6
21 G Minor Arpeggios (Example 4.44) 48 Lydian Improvisation (Demo 7)
22 G Major 7 Arpeggios (Example 4.45) 4. Backing Track 7
23 G Minor 7 Arpeggios (Example 4.46) 50 Pentatonic Key Changes (Demo 8)
24 G Dominant 7 Arpeggios (Example 4.47) 51 Backing Track 8
25 G Minor 7 F)at 5 Arpeggios (Example 4.48) 52 Metal Rhythm (Demo 9)
2. G Dorian Shapes (Example 4.51) 53 Backing Track 9
6
CD produced, compiled/edited and mastered by Phil Hilborne. Recorded/mixed by Phil Hilborne at WM Studios. Essex. June 2002
Web/Info: www.philhilborne.comorwww.phllhllborne.co,uk
EqUipment: Guthrie Govan used PRS GUitars and amplification by Cornford. Effects used were by Lexicon, Morley and Yamaha. Guthrie
Govan uses and endorses Corn ford Amplification.
Keyboards/strings played by Phil Hllborne, Phil Hilborne uses and endorses PRS GUitars, Picato Strmgs and Cornford Amplification
All guitars played by Guthrie Govan. Bass on tracks 40--3. 46-7 and 50--3 played by Guthrie Govan.
Drums on tracks 34-9, 44-5 and 48-9 played by Pete Riley.
Bass on tracks 34-9. 44-5 and 4B-9 played by Seth Govan.
Drum programming on tracks 50-3 by Guthrie Govan.
Drumlloop programming on tracks 40-3 and 46-7 by Phil Hllborne
© 2002 Guthrie Govan, thiS instructional content.
Web/info: www.guthriegovan.com.
© 2002 Phil Hilborne(v\liddle Music. this audio recording.
© 2002 Guthrie Govan and Phil Hilborne, all tracks!backing tracks.
Samples used on tracks 40-3 and 46-7 taken from 'Retro Funk' by Spectrasonlcs and 11110 Entertainments. Used under licence
7
FOREWORD
The aim of this book and its companion volume, whether it's in the books or not.
Creative Guitar 2: Advanced Techniques, is to help In short. these two books are quite ambitious, so
any rock guitarist who feels stuck in a rut. They field they can't even pretend to constitute any kind of all
all of the most common questions and problems I've encompassIng guitar Bible, but my main goal was to
encountered over years of teaching guitar. They get you thinking about your playing and point your
explain the nuts and bolts of theory in an accessible playing in some new directions.
manner that you can actually use. They explain how I hope I at least achieved that much. Above all, I
to practise efficiently and diagnose what's going hope you enjoy working through this book and its
wrong in your playing. They show you lots of new companion. Remember, learning about your
licks. They promote a self-sufficient approach to instrument should never feel like a chore; it's supposed
learning to make sure you're welt equipped to to be fun and rewarding!
explore any aspect of playing that interests you, See you at the other end ..
8
INTRODUCTION
As a guitar teacher, I meet a lot of guitarists who have Conversely, those of you who already have some
reached the same roadblock in their playing: they've grounding in music theory could quite happily dip into
had some playing experience, they know a bit of the these pages at random. Bear in mind, however, that
traditional rock/blues vocabulary, they have a grasp of some chapters might well be worth reading even if
the basic techniques ... but they're frustrated. they appear to be covering stuff you've already learned.
Some might express this frustration as 'I'm sure It never hurts to have more than one way of looking
there's other stuff I could be practising; I wish I'd at things, and you never know, certain concepts might
learned properly!' or, indeed, 'People say I play pretty turn out to be more useful and far-reaching than you
well on a good night, but I feel like an impostor, thought they were.
because I don't really know what I'm doing.' The book is divided into five chapters, each with a
If you've ever felt that all you ever practise is the different angle:
same old stuff, playing it faster and cleaner but
ultimately not coming up with anything new or • In Chapter 1, 'General Stuff', I've tried to answer
anything you can get really excited about, then you all of the FAQs (Frequently Asked Questions) that
might just like this book. It attempts to show you keep cropping up when I teach people. Some of
some new avenues to explore, by explaining some it might seem a little too philosophical and weird
important aspects of theory or technique and looking to be of immediate use to you, but trust me, it's
at how you can incorporate such knowledge into your worth wading through, if only because it will raise
own playing style. some interesting questions about how and why
I've tried to arrange this information so that it can you play certain things. There are times when
be of value to as many players as possible. Theory simply thinking about your playing can improve it
wise, I've explained things from first pnnciples, so just as much as any amount of hours spent with
even if you have no grounding in theory, you'll be able a metronome.
to grasp the necessary concepts without undue
suffering (although some concentration might be • Chapter 2, 'Technique', takes an in-depth look at
required from time to time!). In general, whenever technique, focusing on efficiency of movement
you think a chapter has taken you out of your depth, and making your playing feel as natural and
it's probably best to put the book down for a while effortless as possible.
and spend some time assimilating what you've
learned so far. This stuff is all meant to be used, so I • Chapter 3, 'Theory Without Tears', tries to simplify
would recommend incorporating each idea into your music theory, explaining some of the essential
playing at your own pace. jargon, showing you how scales and chords fit
9
Introduction
together and touching on the much-feared topic backing tracks. For each track, I've explained the
of sight-reading. I can't lie to you - this won't be a chord progression, suggested a few appropriate
fully comprehensive sight-reading course, but it note choices and then basically left you to your
will explain the basic principles and enable you to own devices, so you can apply what you've learned
understand all of the written music in the book. from this book in whatever way you see fit.
(The rest, of course, IS down to practice!)
Whenever you come across an idea, particularly
• Chapter 4, 'Scales And Chords', translates music towards the end of the book, you should use It as a
theory onto your fretboard, explaining a lot of the starting point and try as many variations as possible.
essential jargon and showing you how scales and Try things in different keys, use different scales,
chords fit together. experiment with different rhythms - in short, do
whatever it takes to make the idea as useful as
• Chapter 5, 'On The CD', lets you put all of the possible in your own playing.
previous ideas into practice, with the help of various Right then, let's get stuck in ..
10
1 GENERAL STUFF
Goals
I was intrigued. He went on to explain that he was
From time to time, I get asked to take guitar a busy gynaecologist who had no intention of
workshops. I enjoy doing this immensely, as it means revolution ising rock guitar - indeed, he was so busy
I get to stand up in front of a group of 20 or 30 people, that he couldn't even get to jam with other people on
trusty axe in hand, and talk about one of my favourite a regular basis. 'Alii want,' he concluded, 'is to come
things: playing guitar. home after a long day at work and be able to play
At one such event a few years back, I found myself "Wonderful Tonight". I don't have the time to figure
rambling about the proliferation of transcriptions and it out for myself, so without those transcriptions I
backing tracks on the market today. It's probably fair to wouldn't be able to get half as much enjoyment from
say that guitarists have never had it so good - whatever my hobby.'
you want to learn, there's probably a high-quality Fair play. I think I was forgetting that not every
transcription of it floating around somewhere - but my guitar player has the time or inclination to spend every
point was that this might be creating a generation of waking hour studying their instrument, and the above
lazy guitarists. I pointed out the importance of having a exchange served to remind me that different people
good ear - the ability to understand what you hear and play guitar for different reasons. I think it's all valid, as
replicate it on your instrument, to work out solos from long as it's making you happy.
records, to jam with other musicians in real time and In terms of how to use this book, I think the moral
so on - and wondered out loud if all of these great of the above story is that it's important to know exactly
teaching products might not be impairing the listening what it is you're aiming for so that you can use your
skills of the modern guitanst. I've met players who know time more productively. How are you going to work
every note of Steve Vai's monumental Passion And towards your goals if you don't know what they are?
Warfare album but can't jam over a 12-bar blues, and I If you're happy to work through the occasional
personally find this somewhat disturbing. Are these transcription of a song you like and you play mainly for
guys (and yes, this does seem to be a predominantly therapeutic reasons, or in order to have a couple of party
male phenomenon) actually making music, or are they pieces up your sleeve, you probably don't need any
simply performing the guitar equivalent of typing a 'new directions', although I dare say you'll find some
dictated letter? aspects of guitar playing covered here enlightening.
Anyway, there I was at the guitar workshop, If you're a seasoned live player who has learned by
lamenting these symptoms of the modern age, when ear, you might sound great but not know what you're
one of the students put his hand up and commented, doing. Players in this category would probably get a lot
'I hear what you're saying, but I don't think it applies from the theory section of this book.
to me.' If you're a compulsive shredder (Webster's
11