Guitar Techniques - September 2015 UK

100 Pages·2015·20.96 MB·English

the finest guitar lessons on the planet
247 SEPTEMBER 2015
PLAy LIkE THE LEGENdARy...
CARLOS JOHN
RENBOURN
8-page tribute to
a fingerstyle
SANTANA
genius
Learn what makes this iconic
STyLE STUdIES
guitarist so special - master his
ERIC CLAPTON
rhythm and lead styles today!
Acoustic style explained
GUNS N’ ROSES
Play like the brilliant Slash
JOHN MAyER
His bluesy side exposed
JIM MULLEN
Thumb picking jazzer
CHICAGO
Classic soft rock
TRANSCRIBEd
CLASSICAL
Fernando Sor’s Study In
C tabbed for solo guitar
CLASSIC TRACk TABBEd!
ALLMAN BROTHERS
Statesboro Blues
Learn this guitar extravaganza
from Duane Allman & Dickey Betts

ISSUE 247 SEptEmbEr 2015 the
finest
guitar tuition
Welcome you can
Just some of your regular buy!
GT technique experts...
steve allsworth
A most versatile player, Steve has played THIS MONTH WE have a triple artist focus, Band (with Michael Bloomfield and Elvin
with Ronan Keating, Lulu, Rod Stewart, all very different styles, feels and genres. First Bishop) were the US equivalent to John
Westlife, LeAnn Rimes and Lily Allen. He is a man who has been on top for decades. He Mayall’s Bluesbreakers, Fleetwood Mac and
also teaches rock at BIMM Brighton. shot to fame with a set that took Woodstock Cream, and made stars of these players just as
Festival by storm. His liquid style sounded like Mayall had done. Steve Allsworth offers a
shaun baxter
One of the UK’s most respected music nothing we’d heard before and his band’s Latin faithful take on one of the group’s greatest
educators, Shaun has taught many who rhythms had the vast crowd dancing in the tracks: the powerful Statesboro Blues in which
are now top tutors themselves. His Jazz mud. Yes, it’s Carlos Santana. And while Carlos Allman and Betts both display their genius.
Metal album is considered a milestone. does divide opinion, who can deny a career When acoustic fingerstyle giant John
that spans six decades, 10 Grammys and Renbourn died in March this year we were
jon bishop
Jon is one of those great all-rounders album sales that top 100 million? That his determined to honour this wonderful musician
who can turn his hand to almost any recent works, Supernatural and Shaman are with a full feature on his playing. We asked
style. No ‘Jack of all trades and master of among his most successful of all is testament Stuart Ryan to come up with something
none’, he nails every one with ease! to his generation-spanning appeal. Phil special; Stu has done us proud with a lesson
Capone looks at Carlos’s unique style, that shows just what made Renbourn so
phil Capone
Phil is a great guitarist who specialises in covering Latin rhythms, bending and respected by his peers and fans alike. So
blues and jazz. He teaches at ICMP in picking, tone, choice of scales and more; enjoy these articles and this issue’s other
London, writes for GT and Total Guitar all ending up with a final jam that you great lessons and features.
and has published 10 top tuition books.
can learn in its entirety, or use to WIN! You’ll also notice an amazing
practise your new Santana licks! competition to win thousands of £££s’
les davidson
Les has worked with Mick Taylor, Rumer, Our recent ‘jam’ feature got worth of group gear. Open to UK
Jon Anderson, Pete Townshend, Tina us thinking of the American residents only, it’s an
Turner & more. He also runs a recording bands that inspired that amazing chance to kit
studio and teaches at BIMM London.
great nation to take up your whole band out
Charlie griffiths blues guitar and which, with top-of-the-range
Guitar Institute tutor Charlie first came in turn, were the key to gear. Please do enter - and
to fame in Total Guitar’s Challenge discovering their own I’ll see you next month!
Charlie series. He’s also one of the UK’s original blues artists.
top rock, metal and fusion guitarists.
Bands like The Allman
phil hilborne Brothers (with Duane
The UK’s original magazine guitar tutor, Allman and Dickey
Phil’s something of a legend. A great Betts) and The Paul Neville Marten, Editor
player, he’s currently touring Europe Butterfield Blues [email protected]
with the Champions Of Rock show.
pat heath
DON’T MISS OUR AMAZING DIGITAL EDITION
BIMM Brighton lecturer, ESP product
demonstrator and all-round busy
musician, Pat brings you six cool licks Guitar Techniques’ digital edition is now even better!
each month in 30-Minute Lickbag.
david mead
As ex-editor of both Guitarist and Guitar
Techniques magazines, and author of
top-selling tutor books, David is the
perfect choice as Theory Godmother.
bridget mermikides
Guildhall and Royal Academy trained,
Bridget is a Royal College of Music,
examiner, a respected classical player
and award-winning blues guitarist.
stuart ryan
Head of Guitar at BIMM Bristol, Stu is an
acoustic guitar virtuoso who performs
throughout the UK. His latest book/CD
GES ‘The Tradition’ is available now. Tap the links Animated tab & audio Play the videos
MA Finding your way around the Songs and lessons have the Certain articles have
GETTY I Aa tnopd tyea schaepr aht ithre Guitar Institute mfeaatguarzei ntietl eiss e oans yt.h Tea pcopvinegr othr e acuurdsioor b suhioltw inin, gw yitohu a e mxaocvtilnyg aucsceofuml ipnasnigyhint ga nvdid aedods iftuiolln oafl
NS / (ICMP), Andy is a phenomenal player in a the contents page, takes you where you are in the music. information. Once again, tap
DFER host of styles. He mixes just the right straight to the relevant articles. Simply tap the ‘play’ button the play buttons to enjoy
NG / RE degree of flash with consummate taste. Atenxyt awreeb t aapnpda ebmlea tiol loin!ks in the tshcreonll y boauc kc aant wfaisllt.-forward or viPidadeo o mr samstaerrtcplhasosnees. on your
OTO: BOB KI Amjo pashhteennr oa wtm aehll nsetayla lgetus iCbtaurrtio sat ,lf eJotghenn dis ian Gypsy PLUS! Get a FREE iPad/iPhone sample of GT. For full details and how to receive our digital edition
OVER PH Joauztz n. Howis noenw iT aulnbeusm a nEdn sAemmabzloe nF.utur is raelsgou flianrdly ,u gso o tno w bwit.wly./zginuiiota.crotemch (Pnlieqausees n (iof tyeo: uZ ilnivioe iend tihtieo nUsK d) oo rn boitt .hlya/vgeu iintatertreacchtiuvse (toavbe orsre aausd). iYoo).u can
C
September 2015 GuitarTechniques 3

WIn
A BACKLInE for
Your BAnD
• CONTENTS • SEPTEMBER 2015 • Worth over £14,000
p36
Learning Zone
LESSONS INTRODUcTION 51
GT’s music editor Jason Sidwell introduces
another action-packed lessons section.
30-MINUTE LIckBAg 52
BIMM’s Pat Heath has six more great licks at
easy, intermediate and advanced levels.
BLUES 54
Les Davidson looks at a player who tops the
pop charts and plays killer blues – John Mayer.
ROck 58
Martin Cooper examines one of the mightiest
of US bands: Chicago and guitarist Terry Kath.
cREATIVE ROck 70
Shaun Baxter continues to explore his string-
pair cells – this month, it’s larger note groupings.
cHOpS SHOp 76
Andy Saphir introduces a great scale for blues,
jazz, rock and country: the Mixolydian mode.
HARD ROck 78
Charlie Griffiths continues his new series with
a look at those bad boys of 80s US rock – the
brilliant Guns N’ Roses and guitarist, Slash.
JAzz 82
John Wheatcroft unravels the unique thumb
style of Scottish jazz legend, Jim Mullen.
CoVer FeaTUre AcOUSTIc 88
Stuart Ryan looks at the acoustic side of a blues
CARLOS SANTANA 14 and rock icon – the one and only Eric Clapton.
Santana is one of the most recognisable MUSIc READINg 92
electric guitarists on the planet. Phil Capone
Charlie Griffiths continues his series with more
analyses every facet of the great man’s style.
full pieces for you to tackle.
FeaTUreS rEGuLAr fEAturES ViDeo MaSTerCLaSS
WELcOME 3 NIgEL pRIcE, part 1 62
trAnSCrIPtIon #1
Nev discusses this issue’s triple-pronged attack. This amazing British jazz guitarist astounds with
THE ALLMAN BROTHERS BAND TALkBAck  7 his first video masterclass on chord melody.
Statesboro Blues 26 In your own words...
Steve Allsworth dissects a brilliant track from THEORy gODMOTHER  9
this legendary band with inspiring slide from
Fingers in knots or brain tormented by some
Duane and cool regular solo from Dickey Betts.
unfathomable musical conundrum? Then let
Dave Mead be your Theory Godmother.
SPECIAL fEAturE #2 INTRO  10
60 Seconds, Session Shenanigans, One-Minute
JOHN RENBOURN TRIBUTE Lick, That Was The Year and Hot For Teacher.
Farewell to an acoustic legend 38 SUBScRIpTIONS  68
Stuart Ryan looks at the styles that made John Save time and money – get GT delivered!
Renbourn such an influential player on the
world’s acoustic fingerpicking scene. BAck ISSUES  94
Missed one? See how you can get it – here!
trAnSCrIPtIon #2 ALBUMS  95
New guitar CDs and DVDs reviewed and rated
FERNANDO SOR by our very own Roger Newell.
Study In C 46 NExT MONTH  98
Bridget Mermikides arranges and transcribes Sort Out Your Picking; Parallel Worlds (major
another of this great Spanish composer’s and minor); The Snack, My Sharona; Brian May,
etudes for solo classical guitar. Van Halen, Buddy Guy, John Lennon and more.
Spring 2015 GuitarTechniques 5

Post: Guitar Techniques, Future Publishing, Ivo Peters Road, Bath, BA2 3QS.
Email: [email protected] using the header ‘Talkback’.
JAMMY GENERATION the various teaching websites to
Your recent editor’s letter about which people have access. Back in my
the days you used to jam endlessly day, a few kids I knew had piano
with a friend (GT245), really lessons, but most saw this as a form
struck a chord with me as I’m sure of purgatory – like learning poetry.
it did with many readers. When I Actually, we’ve had no letters from
started playing (this is not a sob young people saying whether they
story, just the truth), we had no get together and jam or not, but I’d
guitar magazines that catered to love to hear from any that do.
our tastes; videos and DVDs Perhaps genuine human interaction
weren’t invented, guitar books is not dead yet!
were rubbish with all the songs in
F and C (even Stones songs that I INTERESTING INTERVALS
knew were in A and D), and no I loved the feature on using chord
one taught modern rock, pop or intervals in blues (GT244). I think
blues guitar. The only way a I got more out of that than any
whole generation learnt to play lesson from anywhere in a long
– and that will include the Gary time. People always talk about
Moores, the Joe Satrianis and so homing in on chord tones but I Jamming together
on – was to knuckle down with a never really knew what they is a great way for
all of us to improve
record player and slog at it, trying meant. With this feature the
to figure out what you could just penny dropped well and truly. I
by listening. If you were lucky the suppose like many older readers ranges. Often people are told, ‘Use have the rest of my life to get
band you liked were on Thank I’d noodled around for years, such and such a scale over such and better gradually. As a result I
Your Lucky Stars, Shindig or having gained a degree of such a chord,’ but this doesn’t get to really like to work from accurate
Ready Steady Go, and you might fingerboard dexterity and a sort the heart of the problem since, while and precise information.
just get to see where their fingers of understanding of scales but I the scale may indeed work, it still falls In the June issue of Guitar
went. Usually the cameraman never felt my solos went to the player to choose the best note, Techniques, in the article
was doing pretentious angles, or anywhere. Then I’d hear other and put it in the best place at the best Dynamics and Articulations you
focusing on the bass player guitarists, seemingly using the moment. Any note in D minor have a large bold quote: “The first
during the guitar solo! same notes as I was, but making Pentatonic (D-F-G-A-C) will work over method of denoting the volume
The light at the end of the their solos make sense and sound a D minor chord, but in the context of of a piece or a section is by using
tunnel for us was those jams with fantastic. Going through Jon a piece of music that’s moving in 4/4 the letters p and f – piano and
your pals, comparing licks, Bishop’s examples the light went time the D, F and C will sound strong forte, or loud and soft’. However,
laughing at each other’s wrong on – target the prime notes in the when played on the beat, and the G in the article it states: ‘The first
chords and basically striving to chords as they change! It means and A less so. But you also have to method of denoting the general
get better together. you need a better understanding create a shapely lick or line in which volume of a piece or a section is
I don’t know if any younger of the licks you are playing, and strong notes do then land on strong by using the letters p and f. These
readers have written in with their where they are going, so you can beats. You need a mental road map are the initials of the words piano
stories, but I’d be interested to ensure you do land on a good on which you can plot the licks you and forte; ‘p’ means soft and ‘f’
know if our culture of learning note. It didn’t take long before I are playing so this ideal situation is means loud…’. I don’t mean to
still exists today in any form. Or, started to get the hang of it. achieved. Something simple on paper nitpick, as I really do like what
as with seemingly every other This single lesson has moved becomes more complex in practice you put out, just wanted to let
pastime, it’s turned into a solitary my playing on dramatically. So, because so many external forces you know that you had a small
event that usually involves thanks, Jon – and thanks GT! enter the equation – experience, slip-up. Thanks again for a
laptops or mobile phones. If William Donovan taste, technique, musicality (or lack of wonderful publication and keep
that’s the case I feel sorry for the it), choice of notes, and so on. The up the good work.
generations that are missing out Whenever I’ve done any kind of best advice I can give is that practice, Danny White
on such a brilliant social, teaching, such as IGF or GuitarBreak and using your ears more than your
educational and enlightening weekends, this has been the major eyes (ie listening rather than relying Oh dear, Danny! It looks like one of
way to spend their formative problem for most students – solely on tab), is most likely to yield those cases where someone didn’t
musical years. especially those in the older age the results you are looking for. write what they meant to (probably
Bill Padstow I’m glad Jon’s article was the me since I usually select and create
catalyst to your becoming the the pull-out quotes). The various
It is indeed a different world player you want to be. people who read the article after
now, Bill. Learning an that, didn’t spot it either. So slapped
instrument has never been DON’T KNOW OUR PIANOS wrists all round and thanks for
easier, what with schools being FROM OUR FORTES spotting the mistake – ‘piano’ is
more focused on music, parents First off I applaud your indeed soft, and ‘forte’ loud, in case
wanting their kids to succeed in publication. I really there’s still any confusion. And, as I’m
ever-broader areas and willing Hitting a chord appreciate the content and sure you all know, it’s the reason the
to stump up for extra-curricular tone on a strong viewpoints and I try to take piano-forte is called the piano-forte,
beat is a good
activities such as guitar lessons. in everything I can each as its pedals and touch sensitivity
place to start
CK Not to mention YouTube and month. At my age, I don’t allow it to play both loud and soft!
O
IST
September 2015 GuitarTechniques 7

Q A
&
Theory Godmother
Post your posers and teasers to: Theory Godmother, Unit 5, Pines Way
Industrial Estate, Ivo Peters Road, Bath, BA2 3QS; or email me at info@
davidmead.net – your every wish is Fairy Godmother’s command!
Intruder Alert!
EXAMPLES 1 – 6 guitarist knows that we are limited in
Dear Theory Godmother GUITAR TECHNIQUES MAGAZINE 2 4 7 terms of close harmony or some interval
Theory Godmother - David Mead
I was looking through a songbook EExx 1 1 stretches, so often the solution is to
the other day and I found a song in Gmaj7 Am7 F7 Bm7 retune the strings to make life easier.
the key of G that includes the chord &# 44 œœœ œœœ œœœ œœœ ##œœœ œœœ nœœ œœ Sometimes it might be a question of
F#7. I know that F#7 doesn’t belong œ œ œ œ œ œ œ œ dropping the bass strings from E and
in the key of G and so I’m wondering E A to D and G, and the difference is
B 3 3 1 1 2 2 3 3
how you’d approach soloing over this G 4 4 0 0 3 3 2 2 immense in terms of fingering.
D 4 4 2 2 2 2
change. The rest of the song appears AE 3 3 0 0 2 2 2 2 On other occasions, I think adopting
to stick to the chords in the key of EExx 2 2 an unorthodox tuning can present
Gup bsuett tmhyis aotdtedmbapltls c thoa pnlgaey soeveemr ist .t Ao ny &# 44Gmœaj7œ œ œ œ œ œ œ Amœ7œ œ œ œ œ œ œ Bmœ7œ œ œ œ œ œ œ afr ecshhaellneinngge u apn ydo huars m thues iecaffle pcet rosfp ective.
advice would be greatly appreciated. G Ionian A Dorian B Phrygian With the strings retuned in an abstract
Dave E 3 3 5 3 5 7 way, it forces you to explore the
B 3 5 7 3 5 7 3 5 7
GD 5 7 4 5 7 4 5 4 5 landscape anew and this is often all you
A
I’ve outlined the changes you sent me E need to spark a great idea.
in Ex 1 and, yes, the F#7 really does EExx 3 3
Gmaj7 F#7 Well Read?
iGwm ompuoaldsjoe sr o ictlshoeo lofr vdaes sr ae t qhvuiese iGtnomcre ian. jN7 a,o nAr mmota7hl elayrn wydoi sue &# 44 œ œ œ œ œ œ œ œ ##wwww DI kenaor wTh yeooury’v Geo bdemeont haeskred this before,
Bm7 using a mixture of scale and chord EB 2 but what are your views on a guitarist
G 0 3
tones and if we wanted to look at the D 0 2 4 2 today learning to read music? Is it
A 0 2 3
pure vocabulary available, it would E 3 2 really necessary or just purely a nicety
take the form of G Ionian, A Dorian EExx 4 4 and not really that vital? I ask because
F#7
aonf dth Be Pfohuryr gcihaonr d(Esx, 2y)o. uS’ore f oorn t hprreeett yo ut &# 44 œ #œ #œ œ œ œ œ œ mseyri oteuesn aabgoeu sto pnu sresuemings tao c baere deer aind ly
safe ground if you just stick to the G music and he is putting up a lot of
major scale. As you know, the trouble EB 2 5 2 5 2 resistance regarding learning to read.
G 3 3
begins when we hit the F#7; in Ex 3, DA 4 Bob
E
I’ve outlined both the chord and the G
EExx 5 5
major scale it’s visiting and you can see Gmaj7 Am7 F#7 Bm7 Had you asked me this 20 years ago I
straight away that the note F# itself is &# 44 œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ might have replied that it can’t hurt to
native to G major, but both the C# and acquaint yourself with music’s written
A# present a problem. language. Even if you just master the
E 2 3 2 5
My simple solution is not to look at B 3 5 2 5 3 basics it can provide information above
G 4 2 5 3 4
D 5 4
a relative scale for the F#7; as the chord A and beyond the numerical sequences
E
has only a fleeting presence in the EExx 6 6 of tab. These days though the situation
sise aqtu tehnec ceh aonrydw toayn,e tsh teh fiermsts pellavcees. tIo’v elo ok &# 44Gmœaj7œ œ œ Amœ7 œ œ #Fœ#7 #œ œ œ Bmœ7 œ œ hwahsa ct hita wngaes da.n Tdh eit ’sm oufsteicn i nthdeu sctarsye i stnh’at t
written out an F#7 arpeggio in Ex 4 and freshly-graduated guitar students have
as you can see, it includes the notes F#- to teach to subsidise their income
E 2 3 5 2
A#-C#-E. If we treat the whole sequence BG 4 3 3 5 3 2 5 3 2 4 while exploring available gigs; plus
D
as a line of arpeggios, we will begin to AE many guitarists look towards work in pit
hear the effect you want to achieve orchestras or other situations where a
(Ex 5). It might not sound too much like good reading ability is essential.
a solo, but it’s accurately outlining the Name That Tuning so on seem to choose the weirdest Competition for work in music that
chords and getting the point across. Dear Theory Godmother tunings for their music, some of which will pay enough to live on is far more
The next thing to do is to get Having just begun to explore the make no sense at all. So where do the fierce than it was when I entered the
those arpeggios under your fingers world of acoustic instrumental acoustic’s wilder tunings originate? profession many years ago. It’s very
using a backing track so you can hear music for myself, I am amazed at Ross much a question of only the most well-
everything falling into place. Then try how many players seem to have equipped players finding the best jobs.
some experiments: alter the rhythm, moved away from standard tuning Obviously, it’s difficult for me to get into So why not explore the idea of your
play extracts from the arpeggios, mix in in favour of alternatives. Some of these players’ heads, but I think that son attending one of the many guitar
some notes from the G major scale on these I can understand, like tuning you can look at the wilder tunings in schools out there? A quick Google
the G, A and B chords and if you work to a chord obviously makes sense for two different ways. If you’re writing a search will reveal them to you and all
at it, you should begin coming up with certain pieces and even DADGAD is tune away from the guitar, it’s easy to are well aware of the skills necessary to
something like Ex 6. It might not be too fathomable in this respect. But players come up with something that’s very enter the world of professional guitar
elegant, but it’s bang on correct! like Andy McKee, Antoine Dufour and difficult to put onto the fretboard. Every playing. Tell him he needs to read!
September 2015 GuitarTechniques 7
60 Seconds With...
Just one short minute is all it takes to find out what makes a great guitarist
tick. Before she jumped into her limo for the airport, we grabbed a chat
with exciting Finnish blues and slide guitarist, Erja Lyytinen.
GT: Do you have a type of pick that GT: Who was your first influence
you can’t live without? to play the guitar?
EL: When playing slide I get a EL: My Dad.
louder sound with Dunlop
fingerpicks. I use a thumb pick GT: What was the best gig you
and a middle-finger pick. I need ever did?
fingerpicks to be able to play EL: Opening for Robert Plant in
Travis picking style with heavy 2001. It was just a girl and a guitar
gauge strings. When playing – scary, but so cool!
regular guitar, I use a red Dunlop
Jazz III. It fits my small hand well GT: And your worst playing
and makes my playing precise. nightmare?
EL: In Sweden, a huge biker
GT: If you had to give up all your festival. The crowd was nice, but
pedals but three, could you do it the weather was horribly cold
and what would they be? – two degrees C in the summer.
EL: Fulltone Clyde Standard My fingers really hurt.
Wah-wah. In addition to the wah
sound, you can leave the pedal in GT: What’s the most important
different positions to get this nasal musical lesson you ever learnt?
sound. TC Electronic Flashback EL: Play what you feel. When
Delay with Looper, so many you’re on stage, forget what you’ve
pre-sets to have fun. Delay adds a learned; scales, fancy chords etc.
feel of sustain to playing. Mad Feel is so important.
Professor Mighty Red distortion.
I rarely play without distortion. GT: Present company excepted,
who’s the greatest guitarist that’s
GT: Do you play another ever lived?
instrument well enough to EL: Jimi Hendrix was just
be in a band? phenomenal for his time.
EL: I play some bass and drums. I
also play keys and I’d love to GT: Is there a solo you really wish
someday be able to record some you had played?
standards – just a woman and a EL: Mike Stern on Little Shoes. He
Erja Lyytinen
piano. I made the horn has got the blues – until he shreds
with sparkly
arrangements on the Sky Is Crying G&L ASAT and it to 36 million notes.
album using a piano, so it is an Monster amp
essential instrument to me in that GT: What’s the solo or song of your
respect too. GT: Do guitar cables really make a Monster Amps (Finnish), but own that you’re most proud of?
difference? What make are yours? recently bought a 135-watt Twin EL: Song: Grip Of The Blues; it
GT: If a music chart were put in EL: Yes they do. My pedal board Reverb from 1975. Volume and has some nice chords, a deep story
front of you, could you read it? has been built with George L’s gain both 5.5, spring reverb at 3, and lots of wah-wah distorted
EL: Yes definitely! I got a Masters cables. Sometimes I use a wireless not too much bass. guitar. Solo: The Sky Is Crying –
degree in music from Sibelius system though and then it’s Stage there’s the Elmore legacy and it
Academy, Helsinki. It’s a very Clix, which hardly changes the GT: What kind of action do you keeps growing.
basic but important skill. original sound, but boosts it a bit. have on your guitars? (Any
particular quirks etc?) Erja Lyytinen’s
GT: Is there anyone’s playing, EL: I use a high action. Standard Live In London
of which you’re slightly jealous? guitar action 2.0 mm at 17th fret album is out
Play what you
EL: Eric Johnson and Pat and on slide guitars it is 2.5mm. now on Tuohi
feel. When you’re on Metheny both have a brilliant Records. Her
sense of melody. They’re amazing GT: What kind of strings do nationwide
stage, forget what
soloists and composers too. Sonny you use? 13-date UK
you’ve learnt; scales, Landreth has his own unique style. Standard guitar, it’s D’Addario tour starts October 2nd at the
n .010-.046 and when playing slide, Darlington Blues Club.
one fancy chords. Feel is GT: What’s your favourite amp and I use .012-.052 and change the For further information on
hk
ani Ma so important. hEoLw: I d uos eydo uto s pelta iyt? a lot with hthigichkeesrt ssotruinndg .to .015 to get a Ewrwjaw L.eyryjtainlyeynt,i nveisnit.c: o m
J
10 GuitarTechniques September 2015