Table Of Content

PLAY BLuES • ROck • jazz • acOuSTic • LEad • RhyThM • and MORE! 260 SEPTEMBER 2016 MORE MuSic Than any OThER guiTaR Mag! steal motown’s tricks to play amazing rhythm classical Discover new shapes and approaches Edward Elgar Never be stuck for rhythm ideas again Play his haunting Salut d’Amour Perfect for almost any style of music! Passion & Warfare 25 years on we honour Steve Vai’s finest album with in-depth style study soloing Stacked Over triadS 89 Sound hot with cool new licks Licks, chords and solos! Your Style 40 great blues... Masterclasses intros & Learn the great licks outros of the greatest players! Featuring: Scott Henderson, Kenny Wayne Shepherd, Dick Grab a huge Dale, Don McLean and more! new lickbag! Classic and modern, easy to advanced - sound like a pro! ISSUE 260 } September 2016 READY TO SUBSCRIBE? www.myfavourite magazines.co.uk WElcoME Just some of your regular GT technique experts... rIchard barrEtt We’ve done a few features on rhythm Back and you’ll see it’s a total guitar fest: One of the best players around, Richard is adept at most styles but truly excels in guitar over the years, and they seem to go octaves, sliding 3rds and single-note the bluesier side of rock. He currently down really well. as we so often say, melodies woven together to really propel plays with Spandau’s Tony Hadley. rhythm is what we guitarists spend most of the number along. ShaUN baxtEr our time doing, and yet it’s an area where Richard Barrett has examined the One of the UK’s most respected music many of us fall down. The reason could be playing on decades of Motown hits – educators, Shaun has taught many who are now top tutors themselves. His Jazz simply that it’s not as sexy as playing lead including after the company decamped to Metal album is considered a milestone. so we don’t bother. and yet, if you want a Los angeles and the line-up changed joN bIShop job in a decent band, or wish to do sessions, somewhat – to create some fabulous Jon is one of those great all-rounders the ability to come up with interesting, examples of how they created those who can turn his hand to almost any style. No ‘Jack of all trades and master of cohesive and complementary parts will be groundbreaking tracks. It’s a lesson in none’, he nails every one with ease! vital if you’re to survive. part creation and musical interplay that one bunch of players that did just that we can all learn from. lES davIdSoN Les has worked with Mick Taylor, Rumer, was the three-guitar line-up of Robert now, I know the feature is labelled Jon Anderson, Pete Townshend, Tina White, eddie Willis and Joe Messina ‘Motown’ but these ideas are Turner & more. He also runs a recording studio and teaches at BIMM London. at Motown, in detroit. Said to have easily transferable to most played on more number ones than other styles and genres, charlIE grIffIthS Guitar Institute tutor Charlie first came The Beatles, The Beach Boys and since the principles are the to fame in Total Guitar’s Challenge elvis Presley combined, this same for all. Simply change the Charlie series. He’s also one of the UK’s trio powered innumerable tempo, the feel or even the top rock, metal and fusion guitarists. hits with their ear- guitar tone and off you go. phIl hIlborNE catching hooks and I hope you enjoy the issue – now The UK’s original magazine guitar tutor, Phil’s something of a legend. A great fascinating interplay. You get strumming! player, he’s currently touring Europe may be thinking that with the Champions Of Rock show. Motown doesn’t exactly pat hEath shriek ‘guitar’ at you, but do BIMM Brighton lecturer, ESP product demonstrator and all-round busy me a favour and Google the Neville Marten, Editor musician, Pat brings you six cool licks Jackson 5 doing I Want You [email protected] each month in 30-Minute Lickbag. brIdgEt MErMIkIdES Don’t miSS our amazing DIGITAl EDITIOn Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player Guitar Techniques’ iPad* edition is now even better! and award-winning blues guitarist. MIltoN MErMIkIdES One of the country’s most respected music professors Milton’s list of credits is embarrassingly long. Go to miltonline. com to learn all about him. StUart ryaN Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD The Tradition is available now. jUStIN SaNdErcoE One of the most successful guitar teachers ever, justinguitar.com is a mine Tap the links Animated tab & audio Play the videos of information, and his YouTube channel Finding your way around the Songs and lessons have the audio Certain articles have accompanying boasts almost 500,000 subscribers! magazine is easy. Tapping the feature built in with a moving cursor videos full of useful insight and titles on the cover or the contents showing you exactly where you are additional information. Once again, IaIN Scott page, takes you straight to the in the music. Simply tap the ‘play’ tap the play buttons to enjoy video For over 25 years Iain has taught in the relevant articles. Any web and email button then you can fast-forward or masterclasses on your iPad or UK’s top schools and academies, as well links in the text are tappable too! scroll back at will. smartphone. as a stint at GIT in LA. He can also boast playing with the legend Brian Wilson! plUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition regularly, go to bit.ly/guitartechniques (if you live in the UK) or bit.ly/guitartechus (overseas). johN WhEatcroft * Note: Only the Apple version contains interactive tab and audio. Zinio and others do not. A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Disc auDio Sometimes the GT CD features some articles’ backing tracks as mp3 files due Jazz. His album Ensemble Futur is out to space. These will be found in a folder on the CD-ROM section of the disc, accessible only now on iTunes and Amazon. via a computer and not a conventional CD player. September 2016 03 CONTENTS TURN TO PAGE 24 NOW FOR THE LATEST • CONTENTS • SEPTEMBER 2016 • SUBSCRIPTION OFFERS LEARNING zONE LESSONS INTRODUCTION 57 Jason Sidwell considers the use of dynamics to help the guitarist be heard but not be too loud; be confident but not be too ‘look at me’. 30-MINUTE LICkBAG 58 Pat Heath has six more licks for you to play at easy, intermediate and advanced levels. BLUES 60 Les Davidson checks out the style of the incredibly gifted Kenny Wayne Shepherd. ROCk 64 Martin Cooper brushes up on his exotic scales to introduce legendary surf rocker, Dick Dale. HARD ROCk 68 Charlie Griffiths pays homage to Steve Vai on the 25th anniversary of Passion & Warfare. jAzz 72 John Wheatcroft examines the playing of a jazz- blues guitar titan, the great Scott Henderson. ACOUSTIC 78 Stuart Ryan brings you a study of American Pie and Vincent composer, Don McLean. CREATIVE ROCk 82 Shaun Baxter blends more bluesy ideas with the Mixolydian – this month, stacking triads. IN THE wOODSHED 88 Charlie Griffiths with exercises to strengthen your second, third and fourth fretting fingers. Using smaller chord CHORD CAMP 90 shapes for bigger Iain Scott has a selection of 7#5 and 7 5 rhythm sounds! chord shapes in a variety of useful stylbes. fEATURES REGULAR FEATURES VIDEO TUTORIAL wELCOME 3 BRETT GARSED COVER FEATURE Nev salutes Motown’s triple-guitar threat. Video Masterclass 44 In instalment #4 of his masterclass series STEAL MOTOwN’S TRICkS fOR... TALkBACk 6 Brett plays over a smooth but technically Amazing Rhythm 14 Your comments and communications... demanding fusion piece called Grasshopper. Motown’s triple-guitar section powered 100s INTRO 8 of hit tracks. Richard Barrett reveals their tricks Justin Sandercoe’s new column; plus Session of the trade and shows you how to introduce Shenanigans, Jam Tracks and more. interest and movement to your own rhythm. SUBSCRIPTIONS 24 Save time and money – get GT delivered! SPECIAL FEATURE BACk ISSUES 94 40 BLUES INTROS & OUTROS Missed a copy of GT in the last six months? Top and tail your solos 26 See how you can get it here! A good entrance and exit is vital if you are to ALBUMS 95 leave your audience impressed. Richard Barrett Reviews this month include: Eric Clapton, Clive reveals the secret to great intros and outros. Carroll, Oz Noy, Ralph McTell and Wizz Jones. USER GUIDE 96 TRAnSCRIPTIOn Get more from GT by understanding our easy-to-follow musical terms and signs. EDwARD ELGAR Salut d’Amour 52 NExT MONTH 98 Brett Garsed Bridget Mermikides arranges and transcribes Play Like The Shadows’ Hank and Bruce. Three with another another beautiful piece from one of the most Kings – Giants of Blues. Play Tchaikovsky’s great video solo typically ‘English’ of all the composers. Dance Of The Little Swans – and loads more. September 2016 5 TalkBack Post Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS. Email [email protected] using the header ‘Talkback’. Futurama BACK TO THE probably would have loved. In pieces, I’ve found, are definitely two from the other guitarist in on sale in Liverpool FUTURAMA - 2 that issue I also did Creative ‘more moderate’ than others and my band. He wants the mag now, I recently read Rock, the Lonnie Mack tribute, maybe this might offer me and too - but he can buy his own! your Talkback the John Mayer acoustic lesson (I others a better way of grouping Thanks, guys. page in issue 259 didn’t think I liked him!), and the them and approaching them in an Si Farmer of GT, and I AC/DC rhythm and lead licks. So, order for personal study if I know noticed a letter to all those that assess a feature that ‘this one’ is a Grade 3 and Your comments definitely resonate from a Mr George on its style, genre or whatever – ‘that one’ is a Grade 5. Perhaps with me and I’d bet loads of other Stapley inquiring I’d suggest you do what this could be extended readers, Si. It’s a confidence thing, I about a Futurama I did, and play every to other areas than think: if you feel unsure of any area of Coronado Guitar. audio track first. You’ll just classical as well? the neck – like the bottom three strings I know someone definitely want to learn Just a thought and or, indeed, above the 12th fret – you who is currently things that you’d wondering what say won’t feel comfortable there. Larry selling one and I otherwise dismiss you on this idea? Carlton says he learns every lick or would be happy as ‘not you’. Nick Cebalo triad, in every position on the to put them in John Goodman fretboard, including above the 12th touch with you if To be honest, Nick, I think the fret on the lowest three strings. If we all required? It is I know that scenario, John fault is ours. We do put an did that, we’d increase our potential – currently for sale – the very mention of ability rating next to every and our confidence at playing in these in Twisty’s Music store in certain words or phrases shuts my article, but I’m beginning to suspect that, ‘dusty’ areas – hugely. Glad you Liverpool and I have attached a brain off from hearing any more. But between all of us here that check these enjoyed the feature. photograph as evidence! your letter is genius! I wonder how things, we’ve managed to let Bridget’s Ian Ward many other readers simply look at a slip through the net. Some of hers are NOT-SO-HOLLOW PRAISE feature’s title, or see a musical style, definitely harder than moderate, and I wanted to write and let you know Thanks, Ian. The power of print in action! and think, ‘Not for me’, when if they’d others easier. We do usually double-check that I really enjoyed the four-part I’ve forwarded your email to Mr Stapley acoustic blues piece that Jon USUALLY, WHEN PEOPLE START so he can take it from here if he wishes. Bishop put together for the May Thanks for your keen-eyed spotting. TALKING ABOUT ALTERED SCALES MY 2016 issue. The series progressed BRAIN INSTANTLY SHUTS DOWN nicely and took my blues playing USE YOUR EARS! to another level. In particular, I I absolutely loved John listened to the audio tracks they’d these things, as some of the contributors liked the fourth example which Wheatcroft’s Exotic Blues feature have gone. ‘I really want to learn that’. underestimate something’s difficulty also works nicely on an electric (GT259). Usually, when people So thanks for imparting that nugget for mortals like us, so for now we’ll leave hollow-body. In general, your start talking about of wisdom – really things as they are but be a little more on magazine is very well written and ‘Altered’ scales or, obvious to some, I’m sure, the ball as regards Bridget’s column. a step above the other guitar heaven forfend, but an eye-opener to publications I’ve read. ‘Superlocrian’, my others, I hope. DUSTY END Bob Kozdemba brain instantly shuts Thanks for the Above The 12th down and no more goes MAKING Fret feature (GT258). I’d always Thanks, Bob. We’ve had a few similar in. A bit like when my THE GRADE used the dusty end as a ‘last letters about that feature. But you make financial advisor starts I’ve been avidly resort’ in my playing. a good point that Jon’s talking about tax purchasing your mag I’d get towards the examples do also sound liabilities, annuities every month since the climax of a solo and great on electric. If anyone and so on. first CD edition. think, ‘I should go up has that issue (GT256) and I’d got the mag and saw the Although it’s always been great, an octave now, but I’ll thought the article and feature but, again, thought I I’m particularly enamoured with only play the same old music in it wasn’t for them, wouldn’t understand it. So for a what Bridget’s going to have in licks 12 frets up’. And why not crank a dirty-ish change I listened to John’s store each month, and I have a that deterred me from tone from a semi-hollow examples before I read the piece wee suggestion based on wanting to do so. It had Jon Bishop: or all-hollow electric, acoustic – and indeed the other audio difficulty rating. never occurred to me whack on some tremolo blues hero tracks – to see if it might be I have a growing collection of to use the smaller fret and a bit of slap-back within my ability range. I’d never ‘moderate’ pieces which fairly spaces to their advantage, and echo, and give it some welly. Do it and I done that before and, you know represents my classical ability at your article gave me heaps of guarantee you a new party-piece (or what? It’s the best thing! I usually present. What to practise for ideas to be getting on with. I two, or three, or four!). And if you didn’t look at the article’s title to work maximum benefit first then? don’t usually do tapping, but a buy it then but fancy a crack at it now, out if it’s for me or not, and have Would it be possible to include a couple of those licks made me zip over to our Back Issues page (p94) clearly missed loads of stuff that I grading for each piece, 1-8? Some smile – and raised an eyebrow or where you can order it now. 6 September 2016 Intro food for thought Every month, Justin Sandercoe of justinguitar.com lends GT his insight as one of the world’s most successful guitar teachers. In his fourth column, Justin looks at playing what you hear. T his month I want to delve into the mystical world of ‘playing what you hear’, what it really means, how I think it might work and how you can develop it. So to start with, what is hearing music? Think about your favourite guitar solo in your mind. Can you hear the notes? Can you hear the rhythm? Can you imagine the tone? Like most things I think the learning to ‘hear in your imagination’ is a skill that can be practiced by doing it; a little time each day imagining riffs, licks or lines is a great way to develop it. If you can sing what you hear in your imagination you can be sure it’s properly in there (and I highly recommend trying to sing, even if you’re not a confident vocalist). So how does being able to ‘hear in your imagination’ help you play guitar better? I have a great little exercise I give to any new students you might like to try that will explain it. Put your first finger on the 8th fret, third string, then play Happy Birthday while staying in position (not going up and down one string). We all know how that song goes so if you can’t do it then there is a disconnect between your ‘imagination’ and your hand that Justin says that could use some work! If you found imagining the music that one easy, pick another song in your head is a great way to learn that is slightly more difficult (jazz standard melody?) and try again somewhere else on the neck. If you pick one at random and put my There are quite a few things know where to make those sounds can play all the melodies you can hand somewhere on the neck and you can do to help this develop on the guitar neck. Doing ‘interval think of, then you’re doing it for try to play it. Sometimes I find that quickly. Transcribing is my ear training’ is also something I real – you’re playing what you actually I can’t hear the melody favourite: you hear a note on the highly recommend. You’ll find free imagine and I believe that to be clearly in my imagination so the recording, find it on the neck, hear courses on both on my site if the purest of expression – and, if problem is not with the hand/ the next one, find it etc. So you’re you’re interested. you can, congratulations! imagination connection but playing what you hear in slow So please have a try at playing If you found it difficult or getting it right in my imagination motion – but at the same time you what you hear in your impossible, like most people do to start off with. I’m also working are installing the music correctly imagination. It’s a wonderful (and I did) then you can work on on playing solos I know well in my into your imagination, which is feeling when you can do it - and it. Again, the solution is practise. I imagination on the ‘wrong’ parts important. After a while you’ll find well worth the effort! Good luck! start almost every practice session of the fretboard, for any of you that you can transcribe whole phrases with 10 minutes of ‘playing my find basic melodies too easy. because you recognise them and Check out www.justinguitar.com/ imagination’ and over the last few gtmag for some example routines years, I have seen a great imagine your favourite solo in and links to exercises you might NEY improvement, though I’m still far your mind. can you hear the notes, like to try out for each section! NICK DELA ftrhoamt I p aedrdfe tcot .a Ill h tahvee t iam lies,t aonf dso In jugss t the rhythm, the tone? 8 September 2016 Intro T here must exist an area of The nostalgia fest was under way psychiatric study that almost from the start, as I lapped deals with childhood up the display of framed music, influences and consequent platinum discs and programmes life choices. In my case I refer not on The Shadowbilia strewn studio to the pathologically irrational and walls. It came as a shock that I had heartbreaking lure of Tottenham retained considerably more Hotspur FC. Or the uniquely Shad-info than he, and could spout challenging repercussions on my more trivia per square metre than net worth that decades of season the owner himself. But that’s ticket renewals have engendered. fandom for you, I guess. However, this emotional scar is I bumped into Hank again but an amuse bouche on the while deputising for him on personal menu of mistakes if Surprise Surprise. Due to the clue Mitch Dalton’s contrasted with the seismic contained in the title of Cilla’s TV aftershock that occurred during a show it was essential for Mr session shenanigans family holiday to Bournemouth Wonderful Land to be hidden until back in the mid-Jurassic era. the big moment. So I spent three There was I, innocently reverb-drenched hours rehearsing The studio guitarist’s guide to happiness and vandalising the hotel’s one-armed FBI with the house band. bandit, when it happened. The personal fulfilment. S is for Shadows. And I met Bruce while playing adjacent juke box whirred into life. at Shadowmania, the annual fest The room filled with a sound that It got off to a false start, to be A few days later I found myself for electronically tagged middle- might have emanated from Ursa fair. There I was, sitting at home overdubbing in Hank B’s home aged males at The Lakeside Club. Minor Seventh. What not-on- between marriages, when out of a studio, under the watchful ear of Theme For Young Lovers. On a ’62 Earth was this? The twangy guitar? clear blue telephone came the stuff my childhood hero. Once the Strat. With the original drummer. The echo? The drums? Apache’. of comic strip fantasy. “Hello? Is inconvenience of having to play Can it get better? That’s what it was. that Mitch Dalton? It’s Bruce the guitar was done with, I spent The last word must go to Brian, And that’s when I became a Welch here. Could you come and an unforgettable day talking whom I have come to know well. professional guitarist, in my play on a record I’m producing?” instruments and band history. The “Mitch. I’ve had an incredible juvenile head at least. I nagged my Cue the feather and a technical great man fielded the questions time. The band changed my career parents. I got guitar lessons. I knock-down. But would you from my outer eight-year-old with path and my life. But I don’t quite spent all my pocket money on the Adam-And-Eve it? I couldn’t. How kindness, patience and no little understand it all.” And as I replied, works of Hank and the boys. I can could it be possible that I was just humour. However, I noted that my “Brian. You’d have to be eight confidently lay claim to ownership too busy? Suitably crushed, I spent new friend emigrated to Australia years old to understand. And by of one of the finest collections of the following week thinking I had within a few short weeks of our the way – it didn’t just give you a memorabilia featuring the UK’s hallucinated the call. meeting. Coincidence? You decide. job for life. It gave me one too.” premier Instrumental Combo. But all was not lost. Fast- And then, some time later, Out Of The Shadows* indeed. Yep. There’s obsessive. There’s forward a couple of years: “Hello? came the enquiry “Hello. Is that (*Er. Second album. 13 tracks. sad. And then there’s the 11-year- Is that Mitch Dalton? It’s Hank Mitch Dalton? It’s Brian Bennett Released in 1962. I need help). old me. All of which serves to Marvin. Could you possibly come here. I wonder if you could play on preface the weirdness that along and play on a record I’m a record I’m producing?” For more info on Mitch Dalton occurred when childhood hero producing?” “Er. Yes it is. And yes Mr B is delightful man, a great and his Studio Kings go to: worship met grown-up reality. I can. Try stopping me this time!” drummer and a fine composer. www.mitchdalton.co.uk Phil hilBorne’s one-minute licK Cell combination lick This month’s lick contains three short melodic itdheea nse ocrk ‘c. Tehllse’ tlihcakt w airlel wmoorvke gdr eina ts eoqvuere Mncaej odro wn # q©4–q»=™q™ceºLively ∑ ¡Dœ9 ™œ #œ£ ¢œ ¡œ ™œ n£œ #¢œ ™œ ¢œ #¡œ ™œ ¡œ ™œ #£œ ¢œ or Dominant chords – here it’s played against & 4 D9. All the ‘cells’ are four notes long. The first F ascends chromatically from the 3rd (F#) to the 5th (A); the second E 14 15 16 17 10 12 13 14 9 10 B 10 12 7 8 9 10 is a bluesy approach of R-2-3- 3; GD b A and the final cell ascends from the 5th E 1 (A) to the root (D) – 5-6-7-1. These cells are repeated an octave lower and then cloewllse 1r banefdo 2re a croe mplianyge tdo a rneostt hoenr t ohcet arovoet &# ™œ ¢œ n¡œ #œ™ œ œ #œ œ œ œ #œ œ œ œ nœ #œ w~~~~~ note. With practise and re-application, ™ ¢ ¡ ™ ¡ ™ £ ¢ ™ ¢ ¡ ™ £ this idea can propagate many other E ~~~~~ B 6 7 interesting lines. So, experiment with G 7 9 6 7 D 7 9 4 5 6 7 3 4 these and other ‘cells’ in both ascending A 5 7 5 E and descending directions. Have fun! 3 September 2016 9 Intro Inquisition! instrumental Instrumentals have supplied some of music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: Genesis guitarist and solo artist extraordinaire, Steve Hackett GT: What is it about guitar hell you’re doing if you employ it! instrumentals that appeals to you? GT: And key modulations? SH: If it’s nylon classical, it’s the SH: That can sound either very self sufficiency. If it’s electric, it’s natural or really contrived. It’s the excitement that it produces. fantastic when it works. GT: What can an instrumental GT: Do you view the backing band provide that a vocal song can’t? differently than on a vocal song? SH: Sometimes a poetic title is all SH: I’ve come to realise that the the lyrics you need to make the humble triangle is just as dream complete. important in an orchestral work as GT: What do you embrace or avoid? everything else. There is no such SH: It’s important not to fall back thing as the backing group for me. on technique too much. A great GT: What are your views on melody should be enough in itself. harmonising melodies? I try to tailor the tone to fit the SH: Vocal harmonies can be phrase and the line. incredibly moving. It’s what drove GT: Is a typical song structure The Beatles on to world fame. always relevant? Harmony guitar work can be really SH: An instrumental doesn’t need beautiful. I have a Boss Harmonist to be limited by the same pedal, which does great three-part constrictions as a vocal work. I harmonies and works very well for prefer not to get stuck with recording or live work. Sometimes formulae. I like instrumentals to I add a 5th harmony to the straight go off the map at times. 3rds from my Digitech Whammy GT: How useful is studying a pedal, which sounds more like the vocalist’s approach? brass arrangements by William SH: The electric guitar is basically Walton than rock guitar. It’s another voice. It can sound like a perfect for heroic-sounding chords. woman’s voice with the right GT: Name three guitar amount of sustain, feedback and instrumentals have inspired you. effect. But then some vocalists SH: 1. Apache by the Shadows and inform musical ideas. The power Steve Hackett The Ventures. A great melody, of Mario Lanza’s voice is an with his modified both romantic and descriptive. 2. influence on my guitar playing Les Paul Goldtop Jigsaw Puzzle Blues by Fleetwood when I hold really long notes with Mac, written by Danny Kirwan. my Fernandes guitar. it’s imPortant not to fall BacK This is in the style of blues guitar GT: How do you start writing one? but with the influence of Django. on technique. a great melody SH: I sometimes start off with an 3. Concerto de Aranjuez by acoustic melody, which I can should Be enough in itself Rodrigo. A famous guitar piece arrange to fit the electric guitar, as that really captures the spirit of we did many times with early I’m as influenced by the soaring write in unfamiliar keys such as F# Spain. The melodies perfectly Genesis melodies. strings of Rachmaninov as by a Les to get the best out of the pianist. bridge the gap between flamenco GT: What do you aim for when your Paul and a Marshall on full stun. GT: Are minor or major keys easier? and classical work. For me it’s both performance is centre stage? GT: What type of guitar tone do you SH: I find all keys equally difficult melancholic and uplifting. During SH: The melody needs to be able to prefer for instrumentals? if you want to truly inspire and the slow movement the rising fast haunt me. I often capitulate to SH: I find a continuously changing surprise yourself. arpeggio section sounds like the subject matter in the way Oscar tone is best. While in my early days GT: Any favourite modes? music from a thousand fountains... Wilde so perceptively described – I tended to play in one tone, I now SH: Like all guitarists, the Dorian GT: What are you up to: gigs, tours? a certain amount of surrendering allow the music to take me to areas scale is perfect for firing off salvos SH: There’s The Total Experience in order to be honest rather than I might have previously rejected. that are none too careful but are Live In Liverpool Digipak – solo trying to be fashionable. GT: Favourite keys or tempos? thrilling. But I do enjoy Eastern numbers plus Genesis classics and GT: Many songs feature a solo that SH: I’m mostly known for slow sounding scales. There is a very documentary. And The Charisma NT starts low and slow, and finishes solos but I also love the thrill of interesting Bartok scale which Years – eight vinyl plus 12" EP box O M high and fast. Is this useful? impossibly high-speed work. All comprises: E-G-A-B-C-C#-E. set; and Deluxe CD/5.1 DVD sets AEL LA SH: A climbing melody will often keys that have open strings are This sounds marvebllously exobtic of Please Don’t Touch, Spectral H MIC sound more and more emotional. interesting but the best thing is to and few people will know what the Mornings and Defector… 10 September 2016