Joe Satriani - Guitar Secrets

41 Pages·2004·2.51 MB·English

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Foreword

Ten yuileristc in thehsceny ol the strut have Fad ths arrose lence oboe Satria’ Te
rmubsie keashe israeerl as ancoftheyrest rock yuilerinsruinent "sf oF Ou" sme. 3ul git sts
throughout the worl he is. a fountain of fath wnspiration ara infgunat on. Elis wealth of musical
\nomloege and innste ab ty to share ithavetakcnon anocier lave ef wonde’ as lowsstuentshave
goreouton theirevser fo create some ul he ost arique aid celebrated yuilersourc im wuck. Kk
Flare, Stat Vai and Alex Skalnick arvamang "esasilents, [cw isypur clience kayo. tern
EF ismy hope rel Joe's thas these lacus, achich fist appeared in CLITAK For Fhe Practicing
Musiciag, ill nspire all we70 ase 279m :9 achieve the creative heighss lo which sey asec

Jone Sin.
Felton ly Chel
iar tie the Pris, sic

—_— Introduction —

A fone year ago, che ealers oF LAK
Tor The Pact ving Mase iae asa ne
le cortibute % theit “Guitar Secress
alan [ure athe oppencity

bach month, ae, concise a the
cuzhhy useful idea, wilh examples
tsi, be presented thatthe reer,
‘ili aoe ena, could yin unelul
inienrrati tha: was resely for applic

After threw yeas and farce install-
vn, we WOUR L will an impes

1 bealy of vr covering an ena
tous aroun: ol riusical ground
Chards, seaces, cunings, theory
swharrars har su le. Vo naan
ceovered i

$e eve put it all agethr= in ane book fr al 10 explare ail ono.

Brsr of luck!

—Sur Sarniani
CONTENTS

Advanved Improvsing (8427 $0). are Open D Bus jAnd ‘9 30
Acvanced improvising Revisited (Cet. 90) .. 37 Open TH Pg (MRP BB oso 0
‘ona! Seal SHgINg {Mat "BE arse orn Open Shing Color (20, "90. aenarnnr 8D

Phiokgraphic Memory {Parl Cne} (Oot.
Photographic Memory (Part Tw joy. 89} .25
Praclioal Ear 18142 (AUBUSt Boerne dD

hromavie WarrlIp 8 90
ormpaund Octeves (Sent. 29}

Friving tie Note

87).

Mutter Power iPart One} {130.9 ReAssign ng Chord lena (3 “PL. 8
Futter Power Part Thal (Feb. 31 Right-Hand llarmanes (Ore. 87) 6
Grouped Articulations (Maret “BI... ‘Smart Fingers (Seat. ‘87: a
Grouper Articulations: Trees (ps 86}... 20 ‘Smart. Tinge's Part Tac (5p YP BA
Soloing ral 12 Keys August 8) 43
Hermans Crunch ow, “9C} ‘Suspended Chords (Dee. ‘48 18
Harmonizec Minor Pentstonic (une '89). 22
Harmanizec Seales (Part Onc) (80, “SB su? Thrash Sole'rg (Pan One} (Fa. ‘90% 28
Harmonized Scales (Part Twa) (Feb. “BB... 7 Theash Solu rg (PHA TWO} [SCH GO} nee BB
Hind Seale, The (August 90), 8B Tod Ampegins june 8! 10
Lads (Part One] (Dee, "293 oer)
| Ugat and runky Gord {05t. 88} neve DB Thad (Part Tan} fan. °30) 27
TwenlyCne athStrngeol Chor (iy 90) ..3
‘Modal arpeggios (Now. 28 a5
ncoriman Aipaggios (Sept EB} vanenrnd
NaturabHarmanic Map (Sep. “962 26 “usual Tunings (Oct, ’#7! s
Octaves (uly 89} ‘Wang Bar, The (ay 89}. 12
[| OneSuing Sues
Asoagemant ill ars Margen

"sly ok Alba. Brve lek er apa!
ines al Hiss Cla
ha sa ng Conn la,
ae eon nt
Sisco sve ake

Cosi 51903 cheney Lane ms Con
tote Comet eum Al Ri Rew
September ‘87: SMART FINGERS

Fingor exercises cam be helpfid in many ways. They are wot any good lor wang up, hut also or introuucine ness
techniques iats your vacabulsey, Drversiticaton is paramount, The mere you know, the better. Here isan exercise
Teall The Dinnininheed Char Ray." Tinsel ven playing, seven diminishes chords ia capi sucexssion up an doen
the fretboard, It's a veritable fmger-teister,

ust msmodize che chord woicings in Ex. 1 Shum #1 onc. making sure i sound good, with ny bw77y noises and
appem strings. Then with your stuntaing band. nna ibe strings, Whilsthesuingsarc muted, fingereboed #2. Once

‘yon hav it, strani just ss you did the first chore, Mose tte #3, smd then back 1043, #2 nl Tnully #1 alsa
using the sae siaam-mute-switch sontiae, Aft you've gt thar dossn, repeat the exercise a half step (one fl
bighcr. Ho sure maintain the same imervallf relationship berween each af he chal und remernher to shart
skily and develop covcdinacion fics. I's qualcy berore speed every time

Foc vasation. uy’ the approsch as stiowa in Bx, 2, Arpeggiate cach chard with muted sitiigs. Obs picking siyle char
swans well in this situavien is dowea-upeupup.

The Dirninishel Chon Relay in an excellant ever ° ay long as i€ remains

challenging to your technique, So when it becomes cus, make i diffioull If gets boting. make tiascvssting. And
itor ForgeLi ise tthe sowed the chords, Used creatively diminished ehotds can de what ng caher chelsea,
Experiment, und fn eu wha tis,

For developing “sant tines,

ret
“ a =
Ob. — Hite = a
= i .
T =a
eB j T A i
ee

apa
“|
October ‘87: UNUSUAL TUNINGS

Thave always considered dhe guitar's waning Mexibility co be ore pF ils rene! attributes. This menth Lend Tike
to sheas you Inn you ean got some inceresting cesults with some unusual emizgs.

Lecsstart withthe tuning 1 used tor “blow My"L cars” on Stuart Hamm's debut album, Kedie Aree Alsat The
song is she key of F minor, wilh dhe chars and melody spelling sul av Fan? 1a Canaj94]Y pattesn, The didi
ality of the piece inspircd me to play harmonies "na random pattern supporting both relly and Bameny Here
is die tuning T sed batt top): EC BGA B.

By playing hacmanies on he Sch, 7 and 12th fets. Leas able w produce notes ssapathatie to dhe changes. a5 well
aseralea combination helkalinahy-like sound. Wits the upplisation af dyrumnics, yu will Find ibe timbre ofthese
darowtesean sare. That's someting [wouldke you urcxperionent with, L sed chistniug era techniyue together:
‘vith variation, for “Rubs.” Foural in ny Not of Fh Fach rlewse, The sariaion: FG DT A E.

Ruhina’ ancl “Flow My Tours” are in dhe relive heys Gm and Fenn, respeetively-—thas the eomepaliblity
ofthe tunungs and sougs. ‘Tey playmg the harmonies in groups of two—twe harmonics at once jumping positions
and skipping siringy, in create akalinhacike sound, For unre cascading tarnumnie bell sound, pick each harmonic
seperacly while applying a simple or vomplex chythm, With seme reverb, delay ors.ere0 charus—aril combination
‘of all thvee—you will fad you can eveate a teuly sublime sound. Tuse up aad explore.

November ‘87: FINDING THE NOTE

tis importantto know your way around your instramtent, snd throngh the cars| have seen: many'fretboant exsre1ses
lleveloped for justthispurpose. Soe 'therm areeusy, sbat-aredilieulsamie«t ther 4 fan, some unbearable
nding one that works canbe rough, But hereis onc that does, provided you play bymyrnles, You wallaced aguita,
sa mmetnmome, ane a gone dove of concentration

Decide cna nite you wish to acute 5 of the eleononne,Fvate
th note on the Ath trig inal posttions, Without missing ubbest, proceed 19 La Sth string and fin! thet note, agin
inevery possible position, Play on the beat, continue an all strings aid use the open-sting penitions tao, Reiombe.
NOCHRATING, If 61 is to Fax, slow it dawn. [7s op slow, speed i up, Aral mersLinypsrtann prague: with al

T2 notes,

ul sel pour metsemome to 60, Then wich eas

Fyre juststarting ut lus aves chat (a rape tepresentadon of the ftethosrd showing the names ofthe notes
and where they ane found). Ube i tc help in Hugling the desire les. Dat thi ecercive every aay unl yous are si
seed at it you can de icin your soep.
6

December ‘87: RIGHT-HAND HARMONICS

This technique is one of ney favontes, | find it lelpe an making noles sound more expressive trl lively. Halo
facilltues petave displacerrept as well as large-leval hayyping. Let's hey: by bending your lst Finger to play
Con dhe G string (5t feet). Muke sure your hum is grabbing the noe. The side af your knuckle on the Ist
Fhnger shold be lush with the side athe neck at alvout the 3rd fel. Using a downward polling motion uf Cie
ssrist bond the G stting onc wnole step bigher lo 1, Repeat this u few loses, making sire: your intonation is
pall

Naw that Tse yo you beuwling on the Helboard, use yuur picking band wo dewwupick the G stehig about 24
lashes fom tac bridge, allowing ahr. of your right-hand thom ty touch the sizing along with the pick This wil
/e you the sane wo notes tHe aectaves higher. When picking 4 inches fora che bridge, you WU get notes a
rexjot 3-4 higher than thal, an! at 3 inches a perivet Sth highes. AI 2% inches yor get ace Fa Mgr atl st
2.4 ines you will hear the thd octave, With each different ftor pesition your harmonic posutons change. So

lay au te mek 1 gota Foe Ft

= ever-changing pislions

‘This technique will work an wvery sing, some belle than olhers, And as Farts the lef bund gies, yon eam pl
‘anajor Zod, a minor Sd. major Sed or a faras yor ean manage. Goad! ck and

upar down a nina
hive fim
January ‘88: HARMONIZED SCALES (PART ONE)

Here's a lesson Tonjoy giving because the benefits aad possibilities are ere, white the micthod is simple and cay
toimpleme, Por talking shout harmonized seals. Let's ye, specific, F?you stay within the bounds 1 tbe war
seale you vill ad har cach nate vanlbc harmonized with aae ar more notes trem the sare seals. itl: warying cesults,
Ter'stryutveo-octave C major scale harmed 0 3téfsee Stall 1). As you cam see, we geLetajor 2rd fr the motes
,Faad G froot. tl and Sch). and ramor Ards for the notes D. E. A and B (nd, 3rd, tl and 7th). Next try the
ttinor scale in three netaves tse Stall 2,

[think you sil Fd practicing inh
itis essential that you iy to meaonc every fmgering and positional variation inl keys, Weeull now thal exercises
‘neu well known Jor dheir "musical sving.” you wll have to ake dis convey and apply ite an actual melody.
solo or sapport lin tn really haar at work, ‘Eines have avery haumoniows soune, bul tnene are memy ather options
‘whew ccasideriag haemanizacioa. Nest month we will explore soine seller options,

or more oes more beneficial wit exetines of this nature. Rewrember,

(Crmajor sale in cs sn cots)

6, se ee et F ‘
T. _ cog pe 2 & 8 8
# $ = =a
A minor scale in Inés ith-ce octaves) o

é cessett tt? gest
O-ya tf aS

REE ERR
lA re
Beppiids _— i

February ‘88: HARMONIZED SCALES (PART TWO)

Last moath | isons techniques and benetits of leaning scales hactmonized in Ards in both evra and three
‘octaves Tats mae on te sth aml Sts. Using the Ge rnjesr scale, we Tine! tha it taken sariely af ds and Sth 10
Secup the orcect harmony (ace Staves | and 2}. Qace memorized, tanspose into all keys, Play slowly and pay’ lose
auention Ye the characteristics of these harmonies. By that Trea their uniqueness nel ther “cole.” Pach interval
hs its own sound, and knowing these sounds will puc vou in contol, Next, uy waiting a raclody’ or sole and
hasnonize it using rs, ths and Sths in any unbination you ike, Experiment

Hannon ed guitar Tines are v2ry popular Giese days, Far ‘he ros! autrngesns exaanple, 1 revornanend Steve Val's
“Tne Attide Song” (ernscribed in the Nov. “87 issue of GUITAR Far The Practicing Stusiclan). Steve puis more
sitar harmonies per vinylineclindhal sng thusanything else have everhead. For something vompletly differen,
try "New Day” on my Not of this harsh Pp air*Cirstes™ on my len! releass, Srfing with she Afien, Listen. Enjey
Learn, Experiment,

6 ansjor scale in Arts hte acne

Boaatt an

aa

6 muior scale in Shs thee tases)

T “# ae #8 B
Legsgiteutsastiee

March ‘88: ATONAL SCAT SINGING

Witha tite ke” Atonal Seal Singing.” yousam besure this is. r
This une Laat to show youa perplexing car traning endurance excteise that well bring together che imgination
(he hind anu The -ustrurnen, This exercise xmies ta us courtesy of mie Tristan, "The Father el Cal Tar” th
tyalliant pianist composer who bopped with the best, He kaught is students to mo-narize cxsrythung, 6 embr30%
Wse’plne wrulshe eal wopla onl hata ttepla 1 asor ctd OTL Te at

1 mu oe em 1 ne Rey a
April ‘88: ONE-STRING SCALES

‘Changing the Way you think shou! masse cun help yu got nt of old abit and hreak nese gv ound, Foe the mode
nlarist, one-string susles usa mus Ero miedor cul lines and arpaggis Wo sicepping legates uns, tee pal
fe somieaf the mow. ide:y Use tea. They can alse help yor soe seales in acittevent way, as if dey were Sosa
Tines. Yes, thine tinea: In. 1 arse svttem the palierns in groups at dhiew. Play Thea as sett, with bu
up-down up pickine. Accent the fis: ot evory Une notes

For vacation uy EX. 2. Whete the fust two parterns su built fo: speed. these twa will ores you w see the scale a
Aasiuight fine, Once you have nieuwuiead theses scules apply this conwepl ts the scales you use the moscottet Us
differen shy thos nnd packing ectnique' for variation. Yourgoals shock! inehude memorizing ll alsin all kes
Remember: knowlenge Is pees

bet
major

harmonic inne
eectttet

B

on wear dda (ar,

i = ae
Bf sccuunevunzn wipeiesesssa|rs
la

May ‘88: OPEN TUNING

‘Take your guitar aad lune che 6th string down ons hole step, Next, bring Ihe Sih sir-ng down taf, Loave strings
4,4 and 2usthey are {D, Gund B, respectively Fiauly, take die Jat string down one whole step lo D. There sou
nave the opoa G luamg ‘ae Fx 1)

This ¢ype of wing nor only sounds prea! but
For the last 25 years Keith Richards has provee it ith
tan'c You Fear Me Knockie " gril “Start MeTp

fea “guitar raythan” pproach ot gossible sth area ining.
Sih Neevoans Breakdossa.” “Gimene Shelter.”
oname a few. Tor siexsle ileus sqund Big

ley those

bapoap Fe Chad co

iar

Mix desc up bicand apply someshythey Fann sume yeu sil Find some good patterns taking shapes ‘Lake Ke tha
since no open strings ae used with these chords, they are movable. In othe words, MOVE "EM AROUND! Any
style of masie iy possible wih cis or my othur npn ning, oom zrcient fk music vo Lae unique music of Adan
Belew felch out “Ballet or the Blue Whale” on his Twang Bar Kiny Lpb Su eaperintes:and kee? an open nv
‘ner isa goon hook ofehonls anlunings tha isa rst fora of yu wh ash ohne moe. 1 seal ed Chords
and Tani jon Pretted tnsttwnentsby Larry Sandberg (Oak Publicar) Hind it. Read. Leamit, Andbavesome
Tun sit the pula.

dune ‘88: TRIAD ARPEGGIOS

Here isa triad empeggio exercine tha spans 43 freksanul uses al ix strings. Wisun excellent workout forho.a hans
anil will help you visualize mace clearly now a chord can be spread ou over the Trethoard. Weiter ce the wads
Hajar (1, 3,5), F minor (1,53, 5), Paliminished (1.3.48), Pampered (1. 3,25) amd Patel (1,4, Si, Play them
‘wilh altccnating suokes.

‘These arpeggios should be practice in all pusilions. Kn kovemg a eyele af dths oan be use here, Pay each of the
Five mpeion aff he flowing, notes Ga the ander weitten}: CT, Be, Bo. Ak, De. Gr BF, AD. Ge AF yon canna
complete an arpeggio doe 19 kick of its. simply go ae Car as yor Pethoard perms,