scam ieanaaieine APES

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rhythm. bluds.
latin . flamenco\—
 Digitized by the Internet Archive
in 2024

https://archive.org/details/ison_ 9783802403439
 ny sash —
Suta rsonic

fee 99 pro tracks included \

over 100 groo
ves
for all styles:

rock . pop . wave

metal . crossover

funk . soul

rhythm . blues

latin . flamenco

african . jazz

7 Voggenreiter
No part of this publication, such as the music, text, design or graphics, may be
reproduced in any form, or by any means, without the prior written permission
of the publishers.

Cover design by: OZ, Essen (Christian Brackmann & Katrin Nacke)

VOGGENREITER PUBLISHERS
P.O. Box 210126, 53156 Bonn/Germany
www.voggenreiter.de
info@voggenreiter.de

© 1998 by Voggenreiter Publishers

International Copyright Secured
All Rights Reserved
ISBN: 3-8024-0343-6
 “SUPERSONIC” THOUGHTS
“What do you call someone who's hanging out with musicians?”
“A guitarist” !

Baaaaad joke! That’s a hard one for us guitar players to swallow and
could be based on our vain tendency to “noodle”our way on our beloved
instrument.

O.K., O.K., guess you got the

SCOOP.

Maybe this little joke also means:

“to be a real musician, guitarists
are lacking something in a major
Way.”
From now on I'll call this “some-
thing” GROOVE.
Hold on, wait a second, don’t
freak out on me now, will you?
Being guitarists, we often have
the habit of sacrificing the majo-
rity of our practice time on
soloing. Time that would be bet-
ter spent practicing rhythms,
especially when most of us are
not even able to play straight
eighth-notes at 60 bpm in time.
Maybe this results from the idea
that rhythmical phrases are not
interesting enough?!

SUPERSONIC GUITAR GROOVES wants to prove the opposite.

The goal of this book is to promote rhythmically and harmonically chal-

lenging phrases and licks, in order to give you an authentic inside view
on seven selected styles.
THERE ARE NO GOOD LEADS WITHOUT GOOD RHYTHM!

Whoever doesn't have it (yet), will not be able to convincingly play the
licks of other players even when learned by heart. This lick playing, quite
honestly, will do much less for you in a studio session than would a crun-
chy rhythm line, played tightly and “right on the money”.

In the studio there’s one main rule: ” 7ime is money and we've got neit-
her”. You will have to completely satisfy whoever books you, before you
even get a chance to blow him/her away with your lead chops (if you get
a chance to do so at all). And even in the lead section, you will be uncon-
vincing without a good feel of rhythm. Vicious circle?

Nowadays most productions are “infected” with drumloops and sequen-

cers. That’s why “being tight” is an ultimate must, and your key to suc-
cess.

Instead of only concentrating on different rhythms, | will also present

typical voicings for each individual style.
 ‘inderstand “Supersonic G tarGrooves’:as
so Laeever wanted toachieve myour g

The styles presented in this book are just a fraction of the existing ones
that are actually out there. | chose seven styles that are among the most
popular and thus most frequently heard. | did this to ensure that you are
able to make these examples part of your daily playing.

It is much more likely that you will be called to a Rock, Pop, Rap, or Funk
session than to a Jazz or Blues studio gig. That’s why this book contains
fewer examples on Jazz and Latin, than on Funk & Soul, and Rock & Pop
etc.
I'm sure you'll agree...
 GROOVE
You can improve your rhythmical abilities with some simple methods:

- Please stop practicing rhythm-playing without a metronome!

This unstable “do-it-yourself-groove” will get you nowhere. Use your
time more effectively: you haven't got enough of it anyway (or does
your girlfriend (boyfriend) have 17 favorite hobbies?).

- Set your metronome (please do not use manual ones) so that it clicks
on beats 2 and 4. You are emphasizing beats 1 and 3 yourself. Place a
piece of cardboard under your foot and tap the clicks of the metrono-
me. If you can’t detect the metronome’s click anymore, that’s a sign
that you’re playing “in time”. Isn't it simple to produce a feeling of suc-
cess?

It is extremely important to be totally “tight”. But there are also situations

in which a more “laid back” feeling is more appropriate. It is my guess
that most of you play more “ahead of the beat” than “laid back”!
Your adrenaline takes care of this and mostly you can’t help it. That’s why
you should also practice playing “laid back”:
Tap your foot a little “behind” the beat.

- Dynamics! Do yourselves a favor and watch your dynamics while play-

ing. Imagine talking monotonously, without constantly raising or lowe-
ring your voice. Would this sound very passionate? Well that’s how you
will sound if you do not make dynamics a part of your playing.

- Most of the time, a bass or keyboard player will accompany you. For
this reason, it’s better to avoid “root” voicings whose highest and
lowest notes get in your fellow musicians’ way. They will do everything
for you if you avoid clashing with them on every other voicing (remem-
ber: you might need some extra hands next time you’re moving).

It doesn’t matter what you’re playing. It's HOW youplay it!

- Not 150 notes per second will do the trick, but the “attitude” and feel
behind the notes.
- Being 120% convinced of what you’re playing makes the difference
(often referred to as “tone”).
- Inevitable for a musician is the opportunity to record his own licks and
arrangements on a tape recorder or 4 track machine.

Recording yourself is the final check on your playing; it enables you to

detect flaws and to practice listening to other instruments. I’m not exag-
gerating when | tell you that little Jerry improved his musicality from the
day he stole (hmm bought) his first 4-track. (Oh God, please no “parental
advisory” sticker on the book cover).
- OK, here are some hints on how to practice reading rhythm.

Sixteenth notes you preferably count: 1-e-an-da

cae Triplets you can count like this: 1-da-da/2-da-da

5 ) A good pattern for quintuplets is: U - ni - ver - si - ty

In order to count Sixtuplets just add the number of the beat

(like 1-U-ni-ver-si-ty/2-U-ni-ver-si-ty and soforth.)

- Watch your foot when clapping these rhythmical subgroups. Often the
groove is not right, because your foot keeps throwing you off. It is a
bad mistake to tap your foot in eighth, or even sixteenth notes when
playing a ballad or a “half time” part of a song (got you on that one,
didn’t | ?). This will definitely kill any feeling whatsoever. Quarter-notes
or half-notes are much more appropriate in these situations.

- This is the “ultimate check”:

Have somebody play completely beside the beat, trying to throw you
off the groove as hard as he can (no touching or tickling allowed). The
more “off” your buddy plays, the harder it'll be for you to play “in
time” (and the harder your partner will laugh at you).
When someone tries to express musical impressions and feelings verbal-
ly (and that as authentically as possible), he will run into quite a few diffi-
culties.

| know that “dragging”, LA

“playing ahead of something” and so forth are
Ml

poor means of expressing concrete rhythmical statements, still | hope

that most of you have heard these and other expressions before.
This also includes statements like “a thin bass line”, or “elegant treble”
that can’t express actual sounds either, and are often promoted in hi-fi
and audio literature, so have mercy!

Please note that | notated the examples using the usual TAB and standard
notation, PLUS up and downstroke symbols for your right hand. This is to
be understood as a suggestion only, and by no means binding. If a diffe-
rent pattern works better for you, use it. The same goes for the left-hand
fingering.
You'll see what works best for you and | want to discourage - sorry,
encourage you - to experiment to find your way.

Remember, what you give is what you get.

Let’s spend some thoughts on sound...

Since the beginning of electric guitar and amplification, there’s been
some sort of cult going on about the guitar player’s sound: fatter, warmer,
crunchier ...
I'd be lying, if | said that | was not looking for the “ultimate sound”. That's
why | have the right to feel especially frustrated whenever my meti-
culously pre-programmed “mega-sound” fails to serve as a_ useful
backing sound in a band situation.
What does Mr. Sash want to tell us?

Well, it’s worth taking the following hints into consideration:

- The guitar has a frequency range of approx. 70 Hz to 10 KHz max.
At 70 Hz, we are sharing our frequencies with the bass drum, bass,
piano, synthesizer and other instruments. We are clashing with the
other instruments at this range, which can even lead to instruments
“erasing” one another!

If you sound good while you're playing isolated, it doesnt necessarily

mean that you sound good in a band context.
So carefully adjust your bass knob.

- The same goes for middle and treble. Beg your fellow musicians for
mercy when you adjust your sound (especially in a live situation) while
they are playing.

- Should you use effects pedals or rack-gear, avoid long cable streams as
much as possible.

- Using a volume pedal, you will not have to constantly run back and
forth. This will save you a lot of hassle and time.

- Playing studio sessions, generally avoid everything that’s unnecessary!

Even if a studio gig is often associated with a feeling of “adventure”
and “call of the wild”, in the beginning you shouldn't forget that we are
serving somebody here. It is very likely that you will be penetrated with
all kinds of expectations regarding your sound settings, and you will
have to deliver!

On the next page | will mention several guitar-sound settings, reflecting

an established studio standard.

=n
RHYTHM AND BLUES:
The singe coil in the neck position has a very warm sound.

JAZZ:
The typical “muddy” sound you get from a humbucker in the neck positi-
eae

on of a “fat” Jazz guitar.

FUNK AND SOUL:

The crunchiest sound, you'll get from “single-coil strats” whose pick-up
selector is set to position 2 or 4. | recommend adding a compressor and a
light chorus effect.

AFRICAN:
Same as Funk and Soul. A little more treble end won't do any harm.

LATIN:
A jazzy sound seems appropriate.
Acoustic guitars are also often used in Latin music.

METAL AND CROSSOVER:

A humbucker in the bridge position is the right choice for a distorted
sound, single coils definitely sound too thin.

ROCK, POP, WAVE:

In these styles, the use of effects is more common than with those pre-
viously mentioned.
The sound settings described under FUNK AND SOUL and METAL AND
CROSSOVER are also appropriate.

If your guitar or amplifier does not sound right in the first place, even the
most expensive effects will only help you insignificantly. The person
behind the mixing board will most likely not be able to make the miracle
happen.
The saying: “the fingers make the tone” is absolutely true!

The way your right hand hits the strings has a major impact on your
actual tone.

oe ie
In case you want to use a delay effect when playing rhythm, remember to
watch the correct setting of your effects unit.
This following list will help you set your delay level to the right tempo.
On the left, you find the bpm’s and on the right the relating delay set-
tings.

o
3000ms 1500ms
2963ms 1482ms
2927ms 1464ms
2892ms 1446ms
2857ms 1429ms
2824ms 1412ms
2791ms 1396ms
2759ms 1380ms
2727ms 1364ms
2697ms 1349ms
2667ms 1334ms
2637ms 1319ms
2609ms 1305ms
2581ms 1291ms
2553ms 1277ms
2526ms 1263ms
2500ms 1250ms
2474ms 1237ms
2449ms
2424ms 1212ms
2400ms 1200ms
2376ms 1188ms
2353ms 1177ms
2330ms 1165ms
1154ms
2286ms 1143ms
2264ms 1132ms
2243ms 1122ms
2222ms 1111ms
2202ms
2182ms
2162ms 1081ms
2143ms 1072ms
2124ms 1062ms
2105ms 1053ms
2087ms 1044ms
2069ms 1035ms
2051ms 1026ms
2034ms 1017ms
2017ms 1009ms
2000ms
1983ms
1967ms
1951ms
124 1935ms

1905ms
1890ms
1875ms

1846ms
1832ms 115ms
1818ms 114ms

1805ms 113ms
1791ms
1778ms
 ~ WARMING UP
The photos below show the left hand in various warming-up positions.
You can exercise with these anywhere, without using your guitar.
PLEASE: forget the “no pain no gain” approach! You often read “if it
doesn’t hurt, you do something wrong” or “we have to treat our left hand
tO =ae.
These authors watch too many horror movies!
Nothing “has to”, and too much stretching is NOT good for you! Relax
your hand immediately, even if you only feel an insignificant feeling of
pain. Once you've caught tendonitis, you are a prime candidate for cat-
ching it again and again for the rest of your life. Know your limits and res-
pect the times you feel you have to rest your hands. I’m not kidding.
Those Chinese health balls you can buy in Chinatown and Chinese shops
are a great tool for training your motor skills and relaxing your muscles.
Place them on your heater before usage, and you'll be able to warm up
your hands in a perfect way. Now, take a look:

<3"
 NOTATION

p = Thumb
1 = Index finger
(oft hand Diz Middle finger
3 = Ring finger
4 = Pinkie

p = Thumb
i = Index finger
Right hand m= Middle finger
a = Ring finger
c = Pinkie

Right-hand picking:

Ke] = _Downstroke (using your pick)

Vv = Upstroke (using your pick)

f = _Downstroke (using your thumb)

| = _Upstroke (using your thumb)

j = _Upstroke (using your index finger) (i) !!!

i = vem", “a” “sliding” over the strings

; Rasg. S Rasgueado, hitting the strings the Spanish way

«iA
Generally:

Play an octave higher than written

Triplet feel
(shuffle or swing, so-called “swung eighth-notes”)

Play the same chord as before. Whoever notated

or
this was too lazy to write the same chord twice.

Slide into the next note

Pull-off

Hammer-on, the opposite of the pull-off

Strings are sounding percussive only

The figures show the fingering of the

left (fretting) hand

Tabulature, the figures display the fretting position

Tie (hold note)

Staccato

e< Accent the note indicated

eee
All tracks composed and arranged by JEREMY SASH.
Produced by STEFFEN SCHMID and JEREMY SASH.
Recorded and mixed by STEFFEN SCHMID at Spacehouse Studio, Frank-
furt/Main, Germany.
All guitars and sampling by JEREMY SASH.
Drums on tracks 68-83 played by PHILIPPE SEMINARA.
Bass on tracks 68-83 played by ALEXANDRA KRINGS.

The recording on this CD is arranged as a play-along concept, meaning

that you'll hear my guitar only twice. The next two runs are up to you, to
play along with the rhythm section only. Every take has a two bar count-
off.
You can use the “repeat” function of your CD-player and practice each
take repeatedly, as often as you wish.

The CD is limited to 99 tracks. That’s why | recorded take 91-1; 91-2 and
91-3 at track 91. You'll find tuning notes at the beginning of track 2.

All drum loops are from the sound-library of bes; ‘e, Munich.

Song “RHYTHM COMES TO HEAL”

JAM put some nice Bass-In-My-Face.
TULAY SANLAV is God.
GREG DE NEUFVILLE appears charmingly as “the son’.

lige
 RHYTHM & BLUES
The archetype of the Blues is the “Country Blues”. It manifested itself at
the beginning of the 20th century in the outlying districts of the United
States. The Blues was mostly sung, accompanied only by a Blues harp or
an unamplified guitar.

Guitarist Blind Lemon Jefferson was the first “Bluesman” to be recorded

on the 78rpm records of this time. The guitar gained acceptance as a
Blues instrument through the Mississippi-Delta movement and its charac-
teristic bottleneck technique. We’ve all heard the prejudice that Blues is
music for the “lower class”. | would like to stress one more time that
Rock’‘n’Roll in the 50’s, the English Beat movement of the 60’s and Rock
music in general(!) wouldn’‘t have been possible without Rhythm & Blues.

As if this wasn’t enough: You'll find Rhythm & Blues elements in Jazz,
Funk & Soul, Reggae and Latin-Rock. The guitar’s function in Rhythm &
Blues include rhythm and lead playing. Memphis, New Orleans, Austin,
Virginia and Chicago are capitals of the Rhythm & Blues music. Chicago
even established its own “branch’, the “Chicago style”. Muddy Waters is
one of the most famous players representing this “Chicago style”.

In the early 60’s, the Blues wave came to England and players like Eric
Clapton and later Jeff Beck gained cult status.

Here’s a list of other Blues legends:

Robert Johnson, Albert Collins, B. B. King, Albert King, Freddy King,
Mike Bloomfield, Johnny Winter, Stevie Ray Vaughan, Larry Carlton,
Robben Ford, Ry Cooder, John Mayall, Buddy Guy, Lonnie Mack, Light-
nin’ Hopkins, Howlin’ Wolf, Jimmie Vaughan, Peter Green, ...

Now let's hear what the cat dragged in!.

eS.
 J = 140 BPM

In this exercise, | would like you to familiarize with double stops, in case
you don’t know them already.
Double stops belong to the Blues like fish belong to water, so take a look.

In this example you have to pick using both your fingers and your pick, in
order to properly play the double stops consisting of 6th intervals. In bar
one you find a beautiful E2d413 voicing.

= : ) Music by Sascha Stojanovic

© Voggenreiter Publishers, Bonn
This is another shuffle line. The example would sound rather uninspired
and “cold”, if you used straight eighth notes instead and this we don't
exactly aim for. | find the “fourth voicings” (functioning as an E/) in the
3rd and 4th bar very interesting. In this example, | show another combi-
nation of pick- and fingerstyle playing for your right hand.
Don't forget the slides.

ache

BE os
A/ D7

tan’ tae aaa ee) a, es a 1 <a a ee |

iy CEE GEES” BRI,4F'Y AS A aris i See ee ed, EY ee
G fan ES AGS | ee Eee ae eee eee ee a eee ee ey Rey a
|DRSU ESS a Eee ae Eee a ae ee | a ee ee ee PS

ES)
= ae eo ee ee ar ear ees 7 pi
WE fey CE EE PP ae SEY CSR LI a 9a Xen)
a
AG) a ee a ee ee a Ly a
 J = 118 BPM

This line is reminiscent of one of the Blues’ greatest players... guess who?
(Nobody ever came close to such an expressive tone - ...who???)

Go ahead and shuffle like there’s no tomorrow right after the rests in the
beginning, but make sure you use a more “laid back” feeling. Massive
sounding chords don’t hurt at all in this example.

ey on
ae ee
ee eg Oe ee |e ae
if eS —
RN ee. eS
2 Sa Pa

Y BeersGa? eee 5 a ees Pe ee) aes

| A Oe aaa 1 Pe pf —— Pn eee
aeSMA ch ESE EEA EE EE AE a ae Fe
AS i mae Je” Dis sl ‘Soa —sr
ae ats ae oe 6 ace ea

bee 2

-21-
 J =118 BPM

Here is a straight Boogie-Woogie-Rock’n’Roll groove. (The guitar empha-

sizes the downbeats, thus becoming a characteristic part in the piece. The
syncopated eighth notes in bars 1 and 3 are typical for this specific style).

In order to get a balanced sound, | recommend using downstrokes only.

» 22 =
 J = 110 BPM

This two beat groove is perfectly suited for a funky “up-tempo” Blues.
In bar 1, you find a single note line that reminds me of horn arrange-
ments.

This line derives from the Bm-Blues scale (153 455 557) and perfectly fits
the B7th chord.
This way we “extend” the chord like this: 53, 4,55, 13 and b7(BD).
That’s everything a good Blues line needs.

Music by Sascha Stojanovic

© Voggenreiter Publishers, Bonn

es A LJ
2a ee a A
eS See). | )_ ee en es ee Pe eee
EWS enn eee Se
ee ee Lar ed

o>)Wee
oe S

need to hurry. This line is a minor-Blues which works great using finger-
picking. Your thumb plays the bass notes, while index, middle and ring
finger are picking the chord notes. (This example is only played twice on
the CD.)
ieneal

JJ-J ern?
fs) L L
LS’ Sealin Ey Breas 1 @ I Vn EGY) ee ee ee ev
|
Ae hy gi ey le OT : [4le Ol gti ga ga . lala:
tAN\_L i? 2: 7h_ 8A 4 4 4 4 4

EAs BETS AC A
 J = 128 BPM

Here’s another triplet- (shuffle-) based example. This | - IV - V twelve-bar

pattern also features interesting harmony (for example, it contains
major/minor thirds and the 55 (bluenote). This example is also played
twice on the CD.
Music by Sascha Stojanovic
© Voggenreiter Publishers, Bonn

4
AW et age

= \ 674
Siaa ET) eePR a
=
 J = 126 BPM

This example introduces an off-beat feeling. The chords are played on the
second eighth note in each quarter note beat. The drummer’s snare drum
emphasizes the downbeats.

In the 3rd and 4th bar, you hear a standard Blues turnaround.

oye
 J = 120 BPM

This example’s main key is E.

The lick in bar two is reminiscent of “Hey Joe”, because | wanted to show
you a fill using the open (high) E-string.
The dotted eighth notes tell you ... what?
Exactly; they indicate the shuffle-feel. In the last bar, a combined pick-/fin-
gerstyle playing is required one more time.

Watch the pull-offs and hammer-ons.

Music by Sascha Stojanovic
© Voggenreiter Publishers, Bonn

A 4 he
al! SS el PC Pe ee ee ee ee SS >| @- @& 1
>.< ae. A A ee Be’ Biel Bie Ee
Bl (.. Wee a, J ee eee Eee ee ee ee ee See ke ke 2 eee Sleoi

eee eS om eeea
LE QUASBES SOS). Gee Ge Se Gel Bee Wee Fee ee ee ee
—

~ OF:
 J = 100 BPM

This line works as a straight swing accompaniment, as well as a shuffle,

or simply accompanied by fingersnips on beats 2 and 4.
The rests on 2 and 4 indicate an interesting question/answer feeling.

Preferably use fourth intervals.

This example also serves as a nice lead-over to the next chapter JAZZ.

ae ae
= J ) Music by Sascha Stojanovic
; © Voggenreiter Publishers, Bonn

Gm
 JAZZ
Swing, West-Coast Jazz, Cool Jazz, Bebop, Hard Bop, Free Jazz ...
Jazz and Blues are definitely America’s most traditional and most endu-
ring forms of music.

The guitar was introduced to Jazz somewhat late: In the late 1920's it for-
ced the banjo out of the rhythm section. The guitar promoted the swing-
ideal and served, due to its tuning, as a more useful tool in accompany-
ing the band members. When picks and amplification were introduced to
guitar playing the guitar’s authority and its position in the band increased
continuously. Charlie Christian and Django Reinhard were popular perfor-
mers in the beginning of the Jazz era.

Next to Wes Montgomery, the 50’s and 60’s “belonged” to players like
Jim Hall, Barney Kessel, Tal Farlow, Joe Pass, Pat Martino and later Geor-
ge Benson (who was the first player to introduce Jazz to a Pop context).
Other musical legends are Pat Metheny, John Scofield, Stanley Jordan,
Mike Stern, etc.

In the late 1980’s London’s DJ Gilles Peterson made Acid Jazz popular, a
synthesis of Jazz, Funk, Soul, Rock and dance-floor-oriented grooves.
Bands including Galliano, Incognito, Brand New Heavies and Mother
Earth were taking over the charts all over the planet and Jazz music had a
huge comeback. Through this “revival”, guitarists like Mark Whitfield or
Ronny Jordan became recognized even by non-musicians, combining old
Jazz tradition and new influences into a whole new “music for the head
and feet”.

£303
 J = 130 BPM

Here’s a different perspective on Jazz Blues comping: This lick combines

a walking bass line and chord phrasing. Watch your chords, note that
they are not ringing, but played staccato to oppose the bass notes. This
lick is only recorded twice on the CD.
ae

ae A Cala ORE du cea EB EEE! ACU

ww PER Eee iy SOR EPSSEe
S| CSS GT Snaes Be CNS bs a SE

| 4 g E ; 2 Oy 3 harTSsaers
Ff yc OST TS TI MES SN ERNE FO Fe SE Sy FO EE RES TS TG RTT
LASUGaay XSGl he See 2a Re eee eee ee eee eee eed

ee Preea. 2: SS ee
Ss a a a | a a PP ee oe eB
ES Ee en RE SS SAS SSeS eee
 J = 190 BPM

Another walking bass example without chords this time. This helps us
create a stand-up bass feel and the impression of continuous “motion”
(that’s exactly what “walking bass” refers to).
Those straight quarter notes offer a nice contrast to the drums’ “swing-
feel”. .
This lick mixes triplet feel (drums) with the straight feel of your guitar.
| recommend using the thumb of your right hand - sounds much smoo-
ther this way.

a
 J = 150 BPM

This is a Il-V-I progression, featuring this typical “gypsy-sounding” groo-

ve. Again: Straight quarter notes played against the Swing-fee/. Do not
underestimate these phrasing concepts, because seemingly monotonous
comping should never sound monotonous. You’re here to make it swing.
Your left hand mutes the strings right after the right hand’s downstrokes
i.€., you press down the strings just long enough to be able to hit the
strings. The “bonding” chord in bar 4 (C40) is also worth mentioning.
You will find this chord type very often in Jazz harmony.

cmaj7 CyO

- 33-
 J = 130 BPM

Cool Jazz rules. | hope this example helps you to “cool down” (relax
yourself, minimize your facial expressions and visualize a rendezvous in
the local red-light district...).
The first bar sounds just like you have all the time in the world.
No need to even continue.
Advantage!
Use triplet feel throughout the whole example. Bars 2 and 3 start out with
an off-beat.
The syncopated last G7 chord serves as beat 1 of bar 4.

fs

ee

a).oe
 J = 130 BPM

Take 16 is our Cool Jazz #2, and is another Jazz example based on a tri-
plet feel. You'll find some jazzy G/ voicings and interesting combinations
of off-beats with downbeats.

Personally, | like bar 4 best.

Music by Sascha Stojanovic

= © Voggenreiter Publishers, Bonn

a I 2 2 3 ‘ a
Se) er ee Sn eee eae
Be eR. r,s ee
SS aa A ae 2 EE Ee SY BS ES ee Pee a Saw FEN
Sars 4. a as
 J = 150 BPM

This is another II7-V7-Imaj7 progression in G. The contrast between the

tied eighth notes (on 1+) and the preceding 16th notes is pretty inte-
resting. The differences are really significant, which makes careful phra-
sing necessary. There’s a simple rule of seventh-chord voice-leading, say-
ing that third and seventh, and fifth and octave/root should take turns.

This lick is an example of this concept.

- 36 -
 3 - 100 BPM

One of the most interesting style syntheses of the last years must be Acid
Jazz, which was made famous in the club “Talking Loud” in London.
This lick’s chords are perfectly suited for jamming over an E7th back-
ground. The drum groove is funky and this is also what your guitar-part
should sound like.
A little hint: A semi acoustic guitar sounds especially funky in this exam-
ple.

Music by Sascha Stojanovic

© Voggenreiter Publishers, Bonn

« 4 Ks 4
AT AT IED ST AL, Mp ADT IY* 1. OEE ff]
ir
EB aa Ee
‘aa iv vr
Pt
1
SSA
la

le 4
, ea

By Ae
 J = 106 BPM

Here’s a little snack: a two bar “Acid Jazz” example. The rhythmical ideas
are everything but spectacular, but Take 19 is very distinguishable. Beat 4
in bar 2 is syncopated, the rest is played on the beat.

The less spectacular a rhythmical phrase, the more convincingly it ought

to be played, to not sound too predictable.

In the words of British guitarist Mark Whitfield:

“Phrasing is the difference between playing notes and making music”.

La
 J = 116 BPM

This line has a funky rhythm.

Wes Montgomery and George Benson made this “octave playing” popu-
lar. Nowadays, players like Ronny Jordan use this melodic concept.

You can play this style over a Fusion or Acid Jazz composition.

Em
sl. ° os sl. 4
4 - - ee el

- 39-
 J = 106 BPM

This is the last Jazz example which serves us as a bridge to our third
chapter “Funk and Soul”. The first impression when listening to this
example is: Horns, if it wasn’t for all those slides. The slides are the main
feature of this example and make it sound less sterile and predictable.

The 16th notes are very predominating here. The amount of slides limit
the right hand’s job of hitting the downstrokes.

Music by Sascha Stojanovic

E7/9 © Voggenreiter Publishers, Bonn

arty Ber Ber Phas any Baa By ed A | D4 rh A | De ear

LA 30 ei i@agp @tige @ ep) OT ig? @o ig pp ¢ Pop er aa ts A @ om °| |
FT fa RE 2 EY YS el a ml NA el yh ne Peat
St 1GeT. ae 1a ee ..-—H 4 to &o_oAL Ue |oe i aa tf os iT JSS
V y

40
CHAPTER
 FUNK & SOUL
One of the most characteristic attributes of Soul music in the 50’s and
60’s (Motown and Memphis style) are the dominant vocals. This is one
reason why the guitar served mostly as a not-so-spectacular rhythmical
backup instrument. This tradition was first broken by Dyke and the Bla-
zers in 1967 with their hit “Funky Broadway”. Their exceptional guitarist
was Al McKay. Other players worth mentioning from this period include
Wesley Jackson, Jimmy Lewis, Leo Nocentelli, Robert White, Joe Messi-
na, Eddie Willis, Dennis Coffey, and WaWa Watson.

The rhythmic aspect of the songs gained momentum.

In 1967-69, the birth of the Funk was mainly associated with one name:
James Brown, the Godfather. His compositions mostly consisted of only
one motif, which was rhythmically altered, and promoted a feeling of a
free-sounding (“jamming”) musical context. The Godfather’s own way of
mixing dialogue (“...Maceo, | want you to blow!”) and improvised vocal
parts was often misunderstood as (jam)sessions. But, really, the songs
are well structured. His bassist Bootsy Collins (who was discovered at the
age of 16!), and Larry Graham (Sly and the Family Stone) were revolutio-
nary musicians. Slapping and Popping, for example were invented by
Graham.

Funk never died (like Motown and Memphis did). Its harmony structure is
simple - but groove rules! This is another reason for the guitar being a
more percussive instrument in Funk music. The phrasing of the electric
guitar in Funk is reminiscent of horn lines (staccato, slides, syncopated
rhythms...)
No wonder. Horn players are generally the more “complete” musicians.

Real innovators of the Funk and Soul guitar were Jimmy Nolen and Steve
Cropper. The heroes of the 80’s and 90’s are Nile Rodgers, Rodney Jones
and among many others Paul Jackson Jr., Randy Jacobs.

Have fun(k)!

- 42-
 J = 96 BPM

This take is the first of a series of two-bar examples. Longer phrases are
often not very useful, and it’s better to have a few short ones to offer.
This example is written in D minor, and has a characteristic staccato phra-
sing. So let the notes ring as short as possible. The up- and downstroke
notation of the right hand may look odd to you but, trust me, the picking
direction was chosen carefully.

In my opinion, downstrokes are perfectly suited to hitting the staccato

notes, but choose yourself.

Dm
v v_ staccato H M4 V4

- 43 -
 J = 107 BPM

As | said before, Funk guitar often reminds me of horn lines. This exam-
ple is perfectly suited to training the synchronization of your left and right
hands. (in this case a/ternate picking).

In bar two, the motif of bar one is repeated, without the second sixteenth-
note group. |

This is a straight groove. Please do not shuffle.

- 44 -
 Take 94
This one sounds like a mixture of a Funk groove and Jimi Hendrix.
The contrast between dotted eighth notes (followed by a sixteenth note)
and the “regular” sixteenth notes sounds pretty funky.

At the end of bar 2, you find an interval-lick typical for Hendrix. These
intervals are a major part of his massive-sounding playing we all know.

When God spread the groove among all players, little Jimi must have cal-
led twice.

- 45-
 J = 107 BPM

This line is typical for the early “James Brown” style.

The bass drum takes care of the accents, while the hi-hat and snare keep
the beat.

The guitar balances this straightness and adds some extra “drive”.
The wah-wah makes for a nice tone coloring.

Wah-Wah

a
CI SS ES a fee ee 8 (ey ee ee ae me Ee ae le
(nS Se CR OS a A A CO A A ee A
ESS LES SIA ES RS | [a ae (YR | ee
=== i — | a — |

ee
EE
ee |

ERE (FE A RE Se nS. |

ae a ee a a |
ial m7 SP aie. URL ™ Ve rey at 7 ae Nal on ed

- 46 -
 J = 98 BPM -

O.K., folks, this is a minimalist Funky line. You can tell by listening, that
this one comes from the early days..
Its rhythmical pattern is reminiscent of some vocal lines of the time (like
“Sly and the Family Stone”).

The E/#9 chord (most people know as the “Hendrix chord”) really is an
old jazz chord.

Wah-Wah

ie»
 J = 109 BPM

Let’s take a look at the voicings of this two-bar phrase:

With the exception of the ESUS4, all chords are inversions of an E/. The
“voice leading” (highest note) moves higher and higher, and makes this
line’s harmony more interesting.

In addition, the “voice-leading” aspect offers you quite a few new ways
of playing a dominant chord. The dotted eighth note in the beginning is
proceeded by a tied one, followed by chords on beat 3 and 4. The open
low E string is played on the off-beats.
Bar two has a more funky rhythmical structure, which makes a nice con-
trast, comparable to bar one.

eZ UM masala iee, eth We Vv V im NY

- 48 -
Here’s another two bar phrase in our “Funky collection”. This one really
raises the playing tempo (even though the line is only at 95bpm).

It results from the sixteenth notes which, in this example, are played as
chords and percussive.

Aaddg Aaddg psus4 p/7 Am/p

- 49-
 A = 100 BPM

Typical Funk voicings. Very distinguishable.

Play the percussive notes in bar 1 and 4 on all six strings.

The tied notes are responsible for this example’s “laid back touch”.

You start off, and hit the chords in bar 2 and 4 with a downstroke.

1
a r r
Cg Be a ce r
Hy_———— el bea
‘a, Ge Gc” SS ae ae
EW Ae ae BS) ES ee ee a ae]
a has as ear

Re
This example’s staccato-feel adds a little extra tension. Its phrasing is also
reminiscent of horn lines.

Watch the slides in bar 3. If you do not play tight enough, you might
screw up the following phrase.
 J = 105 BPM

Funk example #10 is a combination of single notes and funky triads and
could have been written in the early days of Funk and Soul.

The main theme is formed by the single notes in bar 1 and 3. The arran-
gement of the two phrases give it a question/answer feel.

- 52-
Here’s something that former James Brown guitarist, Jimmy Nolen,
might have played. Let’s take a closer look at bar 1. You'll see the first E9
voicing played on 1+, the second on 2e, the third one on the downbeat of
3, and the fourth on “da” (fourth 16th note in a group of four 16th notes).
This is followed by the syncopated downbeat one of bar 2. This kind of
phrasing feels somewhat uneasy to me, but very powerful.

| mostly use upstrokes in this example in order to give the sound a little
extra edge.

oe ee
a a
Al

a
 3 = 100 BPM

Jimmi Nolen, the second!

The first two bars are obviously “Sex Machine” influenced, which had to
be stated here, because a minimal amount of rhythm can groove like
there’s no tomorrow.

While bar 1 and 2 seem to focus on the down- and backbeats, bars 3 and
4 are taking care of the off-beats (by the way, here’s also a beautiful
dominant; in this case F/ voicing).
Triads rule in this example.
Bars 1 and 2 should sound somewhat relaxed (no staccato please),
because bars 3 and 4 are crunchy enough. This is another horn-influen-
ced example (by the way, “Tower of Power” has one of the most famous
horn-sections).

The contrast between the first and second half of the example is very
important.

Dm/ 5
je 42 j9—29'%: je (2 ‘“Espig: 1919-01
LY OR LL A A LM OE AS AT TN EE I LY OOD EN AEG Be A

) 3

- I
ZA Ji ~ I
Ld

|e DE. the BSE lhe 9. Eee be SGTr ar lark: bb,

se 2 Ame 8 OS Dod ae | im ab A he es Hee
4 | | ak a a lS Ee ee,
’ ; | : : ; ' } : . ' i : ;
: ; eS as
|
;| : |
— :|— | so |
| a = i
|

rivriv YTIVIIV ee oO a on Ag YTIV oy,

oie
 J = 102 BPM

This example is perfectly suited to an up-tempo Funk.

The sixteenth notes are definitely dominate the scene.

Generally, bars 1, 2 and 4 are already rhythmical figures by themselves,
and thus interchangeable (how about bar 4, followed by bar 2?).

| recommend up- and downstrokes.

r
Gee Ge om Led a
ee
a
GS ae ee ae
a = ee oe
ee aes

ed VIM EEE AV, VoVear Vv. Ft aad ot evr

 J = 106 BPM

This is a minor 7th voicing all keyboarders in this galaxy love!

At least | never found one who didn’t consider this one “really pretty”
(hell knows why). This is probably the most often-used and most dated
Funk-guitar voicing.

The rests in bars 1 and 3 leave room for bass and drums (lesson 1: the
unselfish guitar player ...)

ina’ kas “aaa a, Soiree eee ee er a, Sandra eas

Cates TEs AA et eae [ea |

sae
DD
)
)

: 2% ! ,
=p faa erro ee eee a bree ee
Sy cea oe. @ © 8s ea, GTN VEOS Rs ETE
SS = ed es)
[SAG 9 Sareea a 2S SS ee eee ee
ay sae ne ae

a ee
 J = 104 BPM

This is the first of a whole bunch of single-note lines. It would be good if

the staccato accents were identifiable; this would also add some extra
power to the groove.

If you play the strings muted, this line also works in less aggressive
songs with a slower beat.

Dm/ Fmaj7 Bb7

- 58-
 = 108 BPM —

This is a single-note line with a vital character due to its staccato-phrased

eighth and sixteenth notes.

The lick is based on the A Blues scale (55) and its rhythmical qualities out-
weigh its harmonic ones. The rest in bar 4 leaves the rhythm section just
enough room for a break (or to run to the fridge and get a coke)!
 J = 100 BPM

This example has more than two or four bars. It combines sounding- and
percussive-played single notes and intervals. Besides that, it features a
“bluesy” touch. Bend up the first dotted eighth note in bar 3 and 4
approx. one quart of a note. | didn’t especially note this in the TAB.

This line is only played twice on the CD.

Ol fae mea Be DeeRU al

RS) 2 0 ES ee ee ee
—— = ——
 J = 100 BPM —

Another single-note example: But this example #16 of the Funk section
contains hammer-ons and pull-offs, and thus differs from the previous
one. The static sixteenth notes sound a lot more !oose this way.
Bar 4 (syncopated beat 1) is based on a Gm-Blues pentatonic scale and
consists of fourth intervals.

Pretty “bluesy”!

exces RE] (EN | RE | —ee PI I ne eee PO (TE

BS CS, SS a Ee a a ee ee el ae ee ee ee ae eT ST
f(s Aw eS By Bey ey pees Pee Oe ee eee ee Oe eee
EWA ae i.e ee
| SEL) EE A FAP, —

ihe
 J = 106 BPM

Here’s another example promoting the sus4 sounds.

This one features downbeats as well as off-beats.

The bass functions as the “straight” instrument.

= DT ae ae a
EY BGrea Bima,

~ 60+
Here’s something “souly” for a change. This II-I\Vm-IV-V vamp in A major
is an example for two guitars. With all due respect, I'd like to ask you to
focus on guitar 2 (the one transcribed on TAB). This kind of guitar arran-
gement was typical for soul ballads. Personally, | prefer a smooth, soft
guitar sound for this example, so I’m using my fingers instead of a pick.
This one is only played twice on the CD.

a A ‘ p « g| U
’ aan Pee | ee en ee | ae eee ey Rie Bey
Sy , Saas Ea. OE A).(A Sl A = |a
LfeN let @ | | @|[yy ie] @ | | @ | tw ahr kw
RWWA Sete a aaa “acaaneiinendes eo" rear eer

le OA
2‘2 2 TT oT
1TAA RE ERT ETyr
ETet |
area Bete Al
 J = 106 BPM

Another example featuring two guitars. We will focus on guitar 1 exclusi-

vely. The arrangement of these two guitars is typical for Soul music. As
you can see in the notation, guitar 1 is playing when guitar two is “not
busy”. In this case, we have a sixteenth-note line featuring slides (bars 1
and 2), which is a real “ear catcher”.
| recommend using sweep picking in bar 4

"a 4 # @o~te—t
we ~be—-t+
Ee’ Baer i ,
CSS te Day SA. Ra ea
(RS a

nnQA
 J = 100 BPM

This is a real common phrase in Soul music.

The right hand mutes the strings while arpeggiating the chords. The rhy-
thm shows impressively, where the composer of “Enter Sandman” got
the inspiration for bar 1 of his song.
The comping in Soul ballads was kept as simple as possible, to leave the
singer as much room as possible.

(Rule 2: Singers like to be the center of attention.)

<a
fay Ree
BSS Ea Eee asa Ere
ine ce

#65 =
The last example in chapter 3 is a very pleasant combination of fourth
and sixth intervals, triads and notes from the Cf minor pentatonic (bar 2).

You will not find spectacular rhythm in this example.

You should sound relaxed and somewhat cool. The slides, pull-offs, and
hammer-ons are intended to loosen up this example. Even though many
guitarists prefer the more manlike lines, (“hey, honey, do you like my
axe?”), you are hereby permitted to relax for a minute and enjoy the
beauty of simplicity.

1@ 1@486 1
f\ 4 r r r
r ——
——

a” Geese "Bt SD
a, OE, <CE Be a eaae Fal
Ey <a ast | + | aaa) GS ae SEY
ES EG
aay, as ——._ = "| an." ae)
 ROCK & POP & WAVE
Rock music and all its preceding styles became a means of political and
social expression for the youth of the white American middle class. The
early stages of Rock music were represented by Rock ‘n’ Roll (1954-60),
with guitarists like Bill Haley and Chuck Berry.
The decreasing interest in Rock ‘n‘ Roll and the increasing social move-
ment, helped Folk Rock (1960-66) to establish.

The third era of Rock music was opened by the Beat movement based in
England, making guitarist Pete Townshend world famous. This phase
lasted until 1970.
David Gilmore managed to create a whole new style of music with Pink
Floyd. “Psychedelic Rock” was born, leading to a mass hysteria among
Floyd fans and new dimensions of concert performances. Meanwhile in
America Jimi Hendrix was the first to use the guitar as an orchestral
instrument and became the first real “guitar hero” with his massive
sounds.

The European Beat-wave reached the U.S. In its late stages, the musici-
ans showed a growing interest in experimenting, which often led to exo-
tic syntheses of styles. This is definitely one reason for “Fusion Music”,
which was formed in 1967, combining Jazz and Rock.

In the mid 70’s, England once more became a trendsetter in Rock with the
styles Hard Rock and Heavy Metal (more on Heavy Metal in Chapter 5).
Also in England, Punk, New Wave and Pop (with guitarists like Andy
Summers and later David “the Edge” Evans or Johnny Marr) formed.

- 68 -
 \Take 46

This example takes us from the last chapter to ROCK and at the same
time proves that playing “funky” in a Rock context is not a crime. The
crunchy sound does not sound funny at all.

What is responsible for the figure’s “funky” feel?

Well, first there’s the combination of dotted eighth- and sixteenth notes,
and second the application of the Dm chord on 1e in bar 2.

Dm Fmaj7 Gadd9 G Dm Fmaj7Gadd9 G

Show
 J = 118 BPM

This is an example for a mid-tempo song. The bass note in the first three
bars is a D (open string). The chromatic voice leading moves downward
and gains some extra tension from the static bass note. The eighth notes
are responsible for this line’s straight rock character.

After hitting the first downstroke, | hold down the whammy-bar and
quickly let it slap back to its original position. This gives the chord a very
guitar-typical sound.

Ea ae Re RT
2 SA Ey, 2 ES A)
dined ER SY * Dh i ee rl ae

-J70-
 }Take A8 J = 106 BPM

Listening to this example, you immediately know that this lick is from the
early stage of Rock music, Rock‘n‘Roll.
Rock‘n‘Roll combined Rhythm & Blues, Country & Western, and Beat for
the first time.

You can hear this fusion in our example, combining a shuffle feel with
bluesy sixths (bar 4).

fasul

dens dm
(a = See Ae BE SZ.
Ee SE 2a a a ae A" SS)
> eee aS 7 Sy Le” tay Boy Ee 2a 2 ee eee ee ee ee ee pay 2
G (on WS ABS a (ee ee Be ee ee ee a ee) a ee Sa)
BNE a ee
——
ee ae
Se a
ee
Ud
Se a ee ee EE Ge OS

(l’
a
eens | ee ee Se | BeseSS Ce
U

eee ee ee
a

ee
; a
=~

ee eee
iy an Bey Buy RS Bol Gey RGSeRCry SBe Sea ee Bees Bee Baal 1A Ae
0 fan SS See | es es eee |e |e |) en i ee —- ee [Spe ad ae Ee ee
PASS aaa —_— Ei "VRE VA

ay(ae
 J = 110 BPM

Number 4 is a progression in A-dorian. The voicings sound very “open’,

thanks to the open A,G and E strings.
The rhythm is rather basic (quarter notes and eighth notes), while the
open A string serves as a bass foundation, accentuating the “off-beats”.

Am/ A7/11/13

9%
 J = 122 BPM

#5 is an E minor lick. Even though this is a Rock example, | could imagine

it fitting in a House or Techno context. Some hints on how | got the sound
on the CD: Pick-up selector in the humbucking mode, to the wah-wah,
which should be switched ON and rest in an angle of 45°. Just add some
major distortion and you're there.

The slides in this example make alternate picking less important. Use
downstrokes only.

« 73=
| have to confess, | have a fondness for slow grooves. My right hand's
palm mutes the strings in order to create a more percussive sound.

With the exception of two preceding upstrokes in bar one, I’m exclusively
using economy picking.

|
eaeese SS ee
paaa [ss
(Oe EO SSS ee SS

574.
 J = 131- DEM.

This example’s harmony is based on steps | and IV of the A harmonized

major scale. If you play this riff on a Telecaster and leave out the drums,
you come pretty close to a “Rolling Stones Sound” (hey, they must have
learned it somewhere).

Once again, it’s simplicity that makes this example so recognizable.

}—_—_—_*2—5 92 “2 —. ps —_e.2_|__ e—__ +s. = se

F ae y___f sie 2a 2 eae eee td — it
. s— ett
Sd eS es eee ees eee ee re ee ee Ee

one
 J = 114 BPM

In bars 1 and 2 we have a strong off-beat feel, while the other two bars
come across somewhat straighter. In order to give the upstrokes a little
edge | recommend upstrokes only.

In bar 2 we have an A major chord with a B in the bass.

My suggestion:
Use a straight feel in bars 1 and 2, and shuffle in bars 3 and 4.

This is a great exercise, and also sounds great.

 J = 110 BPM

Off-beat, the second!

This example is in G major and is based on the interaction between the

chord G and the note G on the low E-string. The bright sound (chord) and
the dark sound (note G) are taking turns (interesting effect!).

| was messing around with the timing a little bit. In order to give this line
an extra “garage-edge”- factor, | hit the eighth notes in bars 2 and 4 as
“behind” as possible. That’s what makes this example sound a bit “off”
Be strong, be wrong!
Music by Sascha Stojanovic
© Voggenreiter Publishers, Bonn

Cn) ee YS ee ee ae
4
@ S3— 2k —_1—_ __ ae ae ee ee MSS —_—_
oo :
 J = 98 BPM

How about some Southern sounds? The Spin Doctors were the most
recent band to re-introduce “bluesy”, shuffled rhythm lines to popular
music.
In this example, we combine major and minor third intervals, in order to
get a “bluesy” sound. The use of pull-offs and hammer-ons makes the
chords sound more loose. The high A and G chord voicings may seem
uncommonly high, but | liked this particular sound.

If you want, you can try those voicings in a lower octave.

- pil — — @108 @ |
i 616-607 HOt ty Dp Ue te! —| | @._-
= Aa A A ll 0 De,
WBE GY Bot 2 a Patta —_—

AIR
 J = 116 BPM

Bars 1 and 2 are rhythmically not very distinct, and serve more as an
introduction to the two following bars. The note D in bar 2 is tied and
thus becomes the syncopated 1 of bar 3. On beat 2, we have a staccato
line which repeats in bar 4, beginning on beat 1.

This shift adds some rhythmic sense to the exercise.

Music by Sascha Stojanovic
© Voggenreiter Publishers, Bonn

« 79 -
 J = 118 BPM

In this A minor line, the one and only rule is: play straight!
The bass is pumping straight eighth notes and the guitar only seems to
break this pattern by syncopating beat 1 of bar 2. There’s nothing to do
for your right hand except using downstrokes.

Take 58 is a great addition to this example.

downstroke all notes

- 80-
 J = 118 BPM

The tied eighth notes are responsible for this example’s off-beat feel.

The drums sound somewhat funky, the bass comes along straight. This
example and the preceding one can be combined, because they have the
downstrokes and the key of A minor in common.

FEN

ei
With this exceptional example | want to remind you of the “less is more”
concept, which is true in so many aspects of music. So, we'll leave the
more or less complicated rhythm of former examples behind, and focus
on minor 7th voicings. Also, we will use the string skipping technique, in
order to add some “piano touch” to our chord sounds. The open A string
serves as our foundation and a chorus effect will make the whole thing
sound better. Pianists may be superior with their chord voicings, but they
cannot play their instruments with their tongues or behind their backs.
So, who is superior in the end? (This example is only played once on the
CD.)
 J = 105 BPM >

Here is a six bar groove, based on the G-minor pentatonic.

It's an interesting combination of swung (shuffled) eighth notes and six-

teenth notes. This example builds up tension in bars 1 and 2, and really
takes off in bar 3.

Music by Sascha Stojanovic

ab
© Voggenreiter Publishers, Bonn

le |
A A Re (GE — ne SA. ST. RT ee (SESS Era
PENSE SR <0 Mm A dS i Baer eed RS) BE PS

EE er ae a ee as ee
en A i

- 83-
 = 118 BPM

Here we go again: another straight groove.

No rests, no syncopated notes, nothing spectacular.

This example’s task is to master the right hand’s actions properly.

Music by Sascha Stojanovic

© Voggenreiter Publishers, Bonn

- 84-
 J = 118 BPM

With this example you can try and utilize this book’s delay chart.
Mess around with different, settings and remember the timing (in this
example 118 bpm).
The intervals in both bars are minor thirds.
Music by Sascha Stojanovic
© Voggenreiter Publishers, Bonn

- 85-
 J = 98 BPM

Here’s another example, focusing on our right hand.

Take a look at bars 3 and 4: single notes and intervals are taking turns,
i.e., downstrokes followed by upstrokes. This example is based on the E-
natural minor scale.

Music by Sascha Stojanovic

G © Voggenreiter Publishers, Bonn

"a owe of o® ¢ ir O36 a a a o@@ 6 6 26 26 a a tg la

LSP EES AERIS Eat [EAA RN WSN ARN LEH PRR TER, AT (VAN FR PP) ET (epee fps RP «WFfare I FT Jee (Tae a ee

- 86 -
 J = 136 BPM

Here’s a single-note line that would nicely support a lean arrangement.

Try using some effects like flanger, chorus, envelope-filter, delay...

Generally, this example features a series of diatonic thirds in F-major.

The chord harmony outlines a Vim-lV-ViIm movement.

Music by Sascha Stojanovic

D m/ Bb © Voggenreiter Publishers, Bonn
 J = 118 BPM

Let’s see:
Eighth note rhythm, indicating a sequencer-line. Dramatic sounds, remi-
niscent of James Bond’s “A thousand girls and not a single rejection”-
movies.
Whether used in a break, or as an accompaniment in a verse of a song,
this example will work due to its dramatic sound. If you are intending to
play this example in a different key, | recommend using a capo.
This will add some extra, attractive and interesting sound-factor to this
line (less bass).

: Music by Sascha Stojanovic

E without 3rds © Voggenreiter Publishers, Bonn
 J = 115 BPM

Here’s a suggestion to introduce the sus4-chord to this chapter’s exam-

ples.
You arpeggiate the chords. The rhythm sounds a bit like a sequencer, due
to its use of eighth notes.

In this example, we utilize string skipping again.

Music by Sascha Stojanovic

© Voggenreiter Publishers, Bonn

z z
aa | SE 18 a A A ee ER CS RS, a Ae ee Se
BR oe ree ee tt ee JSST BE A
3
 J = 118 BPM

Take out those delay pedals, take a look at the delay chart on page 12 and
adjust the proper setting.

Mute the low strings with your palm and vary your dynamics.

- 90-
CHAPTER
 METAL & CROSSOVER
Hard Rock was born in Great Britain in opposition to the pompous Art
Rock and dark Psychedelic Rock of the late 1970s.
This style of music was dominated by guitar sounds like no other. The
most successful veterans of the early era were Led Zeppelin, with guita-
rist Jimmi Page; Deep Purple with Ritchie Blackmore; Black Sabbath with
Tony lommi, and later AC/DC with the Young Brothers.

The more aggressive version of Hard-Rock, Heavy Metal, developed in

the late 70’s with bands like lron Maiden, Judas Priest and Motorhead, to
name a few.
In 1978, Edward Van Halen revolutionized the way guitar can be played
combining new playing concepts and incredible techniques (for example,
two-hand tapping) like no other guitar player since Jimi Hendrix.

Aggression and speed in guitar playing were mostly dominated by Amer-

ica‘s metal-scene in the late 1980’s. American bands like Metallica, Slayer,
Megadeath and Anthrax are currently dividing Metal into various sub-
groups such as Black-, Speed- or Death-Metal.

In the late 80’s Grunge and Alternative Rock arose and bands like Nirva-
na, Pearl Jam, Stone Temple Pilots and Soundgarden conquered the
music market.

Not much later Crossover became the “hipper” version of Metal.

Bands like the Red Hot Chili Peppers, Clawfinger, Fishbone, Infectious
Grooves or Rage Against The Machine proclaimed this music as the new
way of life for the 90's.

Naming all the great masters of Metal guitar would take up too much
space in this book, but here are some of the most influential:
Rhandy Rhoads, Uli Roth, Gary Moore, James Hetfield, Kirk Hammet,
Steve Stevens, George Lynch, Joe Satriani, Marty Friedman, Yngwie
Malmsteen, Steve Vai, Dave Mustaine, Vernon Reid, Paul Gilbert, Nuno
Bettencourt, Diamond Darrel ... and, of course: David Hasselhoff.

- 92-
The G major chord creates tension, utilizing a “tension note” (third eighth
note in bar 1).
The run in bar 2 consists of straight eighth notes, and ends with a six-
teenth note, followed by a dotted eighth note.

The amount of rhythmical figures makes this example so interesting.

G Music by Sascha Stojanovic

© Voggenreiter Publishers, Bonn

OES
S|
This example is based on the E minor pentatonic scale.

Play this line “laid back” in order to get the “heaviest” result. The six-
teenth notes at the beginning of bar 1 are played utilizing sweep picking,
followed by an upstroke.
This right-hand figure repeats after the tie in bar 1, and in the whole of
bar 2.
We're using pull-offs, so I’m only hitting the first note of the sixteenth-
note triplet at the end of bar one.

- 94-
The first three voicings are often used in Pop and Funk music (mostly
played an octave higher).

This example is once more dominated by sixteenth notes, so you should

focus on hitting the intervals (played as eighth notes) with a downstroke.

epens Ee FS. A a =ee ee ASN EON ae

4 fi

ii Ploy i hv Ba ara Pi es Oh ee Ae ae

- 95 -
This example can be seen as a supplement to the preceding one. We start
off with an upbeat, which could, for example, be used as a break in a
song. In order to prevent timing problems and tone differences, | recom-
mend exclusively using downstrokes.

The syncopations lead this example on, and are a big part of its “driving”
character.

Amo Am D

- 96-
This is a good example of what you can do with the open E string in the
key of E minor.

This two-bar phrase sounds pretty massive, due to its fourth intervals and
the open string. The line on the low E-string seems to pound on and on,
Only interrupted for a moment by the fourth voicings.

-97 -
Let’s continue with E minor. But watch out: bar 2 is a 5/4 measure! The
eighth-note triplets in bar 2 are taking out some of the speed and offer a
nice contrast to the high pace in bar 1.

Your technique will profit from this line’s “two 32th notes / eighth-note tri-
plets” combination. Bar 2, for example, is a great rhythm exercise.
| recommend alternate picking and muting your strings.
It may be difficult to “feel” the groove of a 5/4 measure. Our ears and feet
are not trained for anything but 3/4 and, of course, 4/4 measures. If you
have difficulties with this part, try counting out the bar in order to get a
feel for the 5/4 measure.

tra Aw foal ae mv te3 OO fh 3 OL 533 —__I

ie Veta 5 i Uae A AR! FI, V

- 98-
You should know this Crossover lick because:

(J You do not have a girl- (boy)friend, but you would like one.
1 You have a girl- (boy)friend, but you want to get rid of her (him).
CJ This lick sounds awfully good.
CJ You have not forgotten about the American dream.
(J Goofy is (not) a dog.

N\
IN NZ en

- 99-
Here’s a killer-line! The fourth voicings are very present and make a huge
part of the energy of those riffs, and are usually doubled several times
during recording, and then panned to left and right. This makes the
sound thicker and more bombastic.
This example is played at a fairly high tempo, and the technical demand
regarding your playing technique is equally high. The lick in bar 4 is not
easy, folks.

You can also try picking the fourth voicings with the middle and ring-fin-
ger of your right hand, while playing the low E string using your pick, and
find out if that’s easier for you.

CaS - —— — sees
A I Sees a = —
<< re en SO sl ty Foe ae aria

- 100-
The first eighth note of the eighth-note groups is a #5 interval, which is
resolving to a perfect fifth in the second eighth note. This line is primarily
based on this effect.

The combination of eighth and sixteenth notes is often used in this style
of music.

—n ES Ge bE ee
ee a Ye FS a (EE)
hha Sry Bey LS
ye at SS
 J = 150 BPM

Hey, isn’t it beautiful to count out measures while you're groovin”? That's
right! Here’s a “4/4 measure followed by a 6/4 measure” example. Tune
your low E-string down a whole step. This way, you get even more power
from a distorted sound. There are not too many bands who do not use
this trick.

This line is dominated by its eighth and sixteenth-note rhythm.

OOOOOO

nipaligat
BANYZ Uae ew a aol ca ale
HU
VA Ter
OOO
he ieda beanie

- 102-
If you are into the “dropped-D-thing” this example is perfectly suited to
you. The tempo is rather slow, and the riff is developing dramatically.

The steadiness caused by the pounding eighth notes is only broken by

the syncopated one of the following measure.

OOOOOO
D (no 3rd) Dpsus4 D (no 3rd) psus4

[ —
DAS Ss Gitioal ES aaa ae a ee a ee ee

coe SRR ——

downstroke all notes

D (no 3rd) Dsus4 Fsus4

 J = 100 BPM

But seriously ...You thought tuning down to D is the only thing you can
do with your low E string? - Who said that?

By tuning down to the low B, you will get intonation problems after a
while, due to the string tension to which your guitar is (should be) nor-
mally adjusted.

In case you own two (or more) guitars, you should leave one of them at
the “low B” tuning, if you use this tuning regularly.

OOOOOO

Cale Taal Velen WE UIA UN LNA ea VIG EVE OW OPM

Ral Nee ea

C7 B/ BP BS
a tres, _—=
Co) ae SE ar ea
ea ee ee ee ee
‘avy A [ES 7 - +o —_ i ne —. ae a (a
A ea |

Pr TT Ve Fy OPIVII PAV ee ee rive

- 104-
 J = 110 BPM

With this 7/8 measure groove, we take another step into “odd meter”
territory.
| recommend counting out each measure.

Odd meters “feel” rather strange. You think the beat goes on, but sud-
denly something unexpected happens.
The principle reminds me of driving a car: indicate left, then do a fake
right turn and drive right through the middle...

Tuning: §=9§.O©OOOO®

- 105-
 J = 130 BPM

Here’s a tough one.

This 14th example in chapter 5 is strongly dominated by sixteenth notes.
Alternate picking seems the only way to master the amount of notes.
Let’s take a look at the run in bars 3 and 4:
After the first time through, the line seems to repeat. But watch the syn-
copation (beginning on 4-e-an-da). You also leave out the first two six-
teenth notes.

OOOOOO
Seay Spl gesOi 2Paget
pD(no 3rd) C#(no 3rd)

Gi viclvid. Vil. Clive Riv MIiVvEelVvil. Vict. lV ee

downstroke all notes

a ee 2
—— es ee ae
el

T1V Pat Pole VER IM SEE Ve Nae Po Nie al Verte Notre

- 106-
 J = 130 BPM |

Speed it up!

Here are some more of those inevitable sixteenth notes. The last measure
sounds very effective, if the rhythm section is emphasizing the “sixteenth
note followed by a dotted eighth-note” figure. The right-hand picking
may seem odd to you at first, especially because of the “loose” feel of the
“low B string”. Don’t you give up: Be a “man”. Hit it hard!

OOOO@O®

A) Rc ES _.
=> __._ Bane Soe ieee a a es fe ae a ee
> 2a eee ee |e a | es a ee ee ee ee
ol. EEE — 2 ee nn ee _ —_ —_ Be a ee ee ae Se Dd
EN Ar Ea ee BL Ra EIEae 2 Soo a et et Ba a Se ee

ay
ey lay ks
eo
Neal
tev IP EOL ey
cyae |
eae so Ve Sai lay

- 107-
e10 83
Here’s something to calm you down a bit.

In this final groove, | recommend using alternate picking. There are some
exceptions that make playing easier for me.

Enjoy.

- 108-
CHAPTER
 LATIN & FLAMENCO
Latin music has been a means of expressing social and political matters
for ages. All styles of this music have a common theme: political suppres-
sion and rebelling Indos.

Rhythm (especially polyrhythmical, triplet-based percussive accompani-

ment) is the main feature of this music. Only in Bossa Nova (a synthesis
of Cool Jazz elements and Brazilian Samba, which formed in the early
50’s) did the guitar play a main role.

Due to the essential impact Blues has on this style of music, Jazz-chords
and harmony are an elementary part of Latin music.

Baden Powell, Luis Bonfa, Charlie Byrd and Al Di Meola are exceptional
performers of this style of music. The most inventive Latin-Rock player is
Carlos Santana. He has released more than 26 records so far.

The masters of contemporary flamenco guitar are without doubt Paco de

Lucia, Carlos Montoya und Paco Pena.
Traditional flamenco (TONA GRANDE, TONA CHICA, CARCELERA) was
performed exclusively “a-cappella” in the beginning.
Later, Arab-Indian influences and Gypsy music were extended to instru-
mental performances (the roots and chronicles of flamenco have never
been totally explained by historians).
The acoustic guitar is used as a solo and rhythm instrument in flamenco
music.

- 110-
Latin-"feel” means utilizing syncopated rhythm a lot. Similar to African
rhythm, theory will only get you so far. Listening is the key.
The chords B’, Em/, A7, G7 and C™aj7 in this example are constantly
playing “ahead” of the beat. You probably know the voicings | used from
a Jazz context. Latin is almost always combined with Jazz harmony.
I‘m not using a pick in this example, thus: (p) stands for thumb, (m) for
middle finger and (a) for the ring-finger of your right hand. Sounds smoo-
ther this way.

-111-
Come on, amigos.

We already know these voicings. What’s happening rhythmically?

In this less “driving” line, we don’t have to focus on syncopated rhythm

as much as in the last example. Bars 1 and 2 can be seen as a separate
line, as well as bars 3 and 4. I'm using finger-picking (fingers p, m, a)
instead of a pick, just like in the preceding example.

-112-
 J = 108 BPM

The rhythm in bars 1 and two is called Baiao.

In bar 1, you emphasize beats 3 and 4, while in bar 2 you accent beats 3
and 3 - e - an - da- a slight difference with a strong impact on the rhyth-
mical feel.
Bar 3 alone could be seen as a whole rhythmical unit. The rhythm is
Samba!
The Db//9 chord in bar 4 leads over to the CM€j7 chord.

-113-
 J = 140 BPM

This example features a Bossa vamp, which again is defined by its 1st
and 3rd measures. Beat one of bars 3 and 4 is syncopated which is typical
for Bossa.

Like in the preceding example, I’m using finger-picking (p, i, m, a), with
the thumb focusing solely on the bass notes.

-114-
 J = 108 BPM

The drums play a Samba groove in this example. The harmony follows a
Ilm7-V7-Imaj7-pattern in C. The C#07 is once again a “bonding” chord.
The “beat one’s” of bars 2, 3 and 4 are not syncopated in this example.

Be aware of the eighth-note triplets in bar 4. They create tension and are
a popular stylistic feature in Bossa music.

- 115-
 | J = 140 BPM

Latin groove No. 6 is a combination of downbeat- and off-beat rhythm.

The first chord may seem somewhat unusual, but I’m sure you'll master
it! In bars 3 to 4 we syncopate the G> chord on beat four, to beat one of
bar 4. This leaves room for drum-fills and underlines this example’s
“calm” character.

Get out those long-drinks.

Eb13 E1349
 J = 140 BPM ©

Here’s another Bossa groove.

This time, a bass note (on the low E-string), introduces the chords. This
example’s mood is very quiet, and that’s also how your playing should
sound. So, make sure to play “laid back” and don’t rush.

Your thumb is hitting the bass notes, while “i”, “m” and “a” are hitting
the chords.

Amaj7 Ab? Ab7/#5 Ab/

Hf Ree Me! Ys‘ ae a ee

ote a So PS ee yp __4 EEE SEE SESE

-117-
With this example, which seems to promote a never-ending number of.
notes, I'd like to introduce a picking technique named RASGUEADO. As
demonstrated in the pictures below, you start off with your right hand
closed (Pic. 1).

You hit the low E-string as well, so | recommend resting your thumb on
the edge of the fretboard. From this position, you hit the strings, opening
your hand starting with your ring-finger, followed by middle- and index-
finger (Pic. 3).

You instantly mute the strings after hitting, using the palm of your right
hand.

- 118-
F//9
rasgueado

- 119-
 2 Take O T ae o = 100 BPM
ae

Most of you will not be very familiar with this sort of picking.
) and ¢ stand for the direction of the thumb or right hand (pic.1 and 2).

i means: “index-finger is striking upward”.

At {| the formerly closed right hand opens, hitting the strings by letting
the fingers “glide” over them (pic. 3).

This “gliding” process is not comparable to the Rasgueado of the last

chapter. You get the percussive “tshc”-sound if your palm mutes the
strings immediately after “gliding”.

- 120-
 and so on

-121-
 J = 100 BPM

The picking technique described on the last page is used one more time
in this example. The picking pattern has slightly changed. We start off
with the percussive “tshc”- stroke. ( f ).
Beats 2 and 4 are syncopated.
These last three examples are not referring to Latin music. They are fla-
menco examples. Flamenco gained worldwide popularity via the band
Gypsy Kings and their specific sound. That’s why | wanted to show some
examples of this style of music.

ams 7/9

- 122-
 AFRICAN
Reggae was exported from Jamaica. Its roots are in African music, com-
bined also with Blues and Country elements. There’s Ska and traditional
Reggae. It’s the guitarist’s job in Reggae to emphasize mainly the “back-
beat” (beats 2 and 4), while the bass has the main role.

This is not the case with traditional African music! The styles of the Afri-
can guitarists vary from state to state. This includes Afro-Cuban Rumba
and Samba, as well as Zulu-style rhythm.

Historians presume that the Portuguese introduced the guitar to Africa

around 1400. But only in the 60’s did guitarist Dr. Nico make people inte-
rested in his playing technique, combining traditional music with electric
guitar. Since then, many African passionately play guitars that are made
of frying pans (nobody can afford real instruments). This does no harm to
their enthusiasm for the instrument and their sometimes incredible play-
ing technique.

Kinshasa, capital of Zaire, is the musical Mecca of Africa, with more than
1000 bands.
Other cities with a well-developed musical scene are Zimbabwe and
Johannesburg in South-Africa.

The most famous (not here, though) African guitarists are Johnny Clegg,
Jonah Sithole, Manauku Waku and Marks Mankwane.
The outstanding Ry Cooder has been successfully combining African ele-
ments with Rhythm and Blues for years.

- 124-
 J = 140 BPM

Here we have a prime example for single-note playing, making the guitar
commercial in African music. The chord tones arpeggiated in triplets pro-
mote a loose feeling of question/answer between guitar and the rest of
the band.

Harmony in African music is often not so spectacular (I-IV-l-V-move-

ments) and mostly features major sounds (the Blues seems to be less of a
problem when the sun is always shining).

- 125-
 J = 132 BPM

Here’s another way of accompanying reggae.

This is another triplet-based example which | notated as dotted eighth

note plus sixteenth note. You can visualize triplets, when playing, if this
makes it easier for you.

This motif reminds me of bass patterns, the single notes are muted with
the palm of your right hand.

- 126-
 J = 136 BPM

This Reggae follows a I-V-IV-V pattern.

Accentuating beats 2 and 4 is typical. Bars 1 and 3 feature a triplet feel on

beats 3 and 4, which makes a nice contrast to the laid back beats 2 and 4
in bar 3 and 4.

- 127-
The guitar in this Reggae accentuates the “an da” of each beat.
This is another common playing situation in Reggae, like the standard
“eighth-notes on the off-beats” (remember: guitar is only a means of
accompaniment in this style of music).

In order to assure a fluent right-hand picking, | recommend:

Keep your hand moving as if you were hitting each sixteenth note in the
measure. This results in a constant change of up- and downstrokes.

So once again: the first two sixteenth notes are only “air guitar”; you hit
the strings only on the last two beats of each sixteenth note group (an -
da). It’s very important that you count along with your playing.

- 128-
Bars 1 and 3 may sound somewhat more “ahead”, because we come in
on 1 - e. Contrasting to this are bars 2 and 4: Accentuating an - da and an.
This little effect makes a big difference.

The harmony structure is VI-I-V-VIm, the F9 is a “bonding"-chord.

The right hand performs the same as in the last example”.

- 129-
 This one is a bit more special. Let’s focus on Ska rhythms.

In this particular example, you play on the last sixteenth note (da) in a
group of four sixteenth notes, using upstrokes.

Remember to keep moving your right hand and count along while you’‘re
playing.

Dm A7sus4
a 14 7 so
GSO 22007] ST. I ) . ae e eee P e e ee
LY Ca!
. Se GY Oe Ye ee Ye eee 9 eB Ee ee en PT a
of Lo 2’ ES Se ee |= eer V et eo) ee er ee EY ie ee ed
LAS? Ste) Sel Gy Dey Ie ene? Pe Bee Gee ed ee oe ey ee Sy ey ee

: S : s yee "7 are =

J) a I) ES By Bi Se eS 5 eS Be
Se a a ae as wee Se
A A A A

V V V V

Bp A/

e s @ J |
:
| Dy
5 zi
Kite ie ROG SE
?, z,
hy Si GE
z 7
Dy Hs iy Dre
zy y 5 = 2 |

_eo

ee WAREEE Raed) Seunemess eer emer

A A A A
V V V V

- 130-
 J = 120 BPM

In African example #7 we approach more traditional patterns. The feeling

combines triplet and straight feel. The guitar is playing sixth- and third-
intervals, so | recommend holding your pick between thumb and index-
finger in order to be able to play the lower notes with your pick and the
higher ones with your middle-finger.

The main feature of this example are bars 2 and 4.

Me

: sl.
E>3 sl.
ss aoe 14
sl.~ 1
(PoP ied oS ea aes Se a See eg Eee We al a ee 7? #JI@ @ @ ~'
S77 GaNSe. Se
2 eae Se Zee en es Ea) a ee Ce es GS a

pick pick ; pick pick pick pick

aes |
Wine tS) ae ant ee eer | eel a
a ES a. Be Bl DT
O) UJ ©. )

YS aa CS aa Kk) NS Fi

-—3— So Wel N/ NV aVied V

m m m m m m m m m

pick pick pick pick pick pick pick pick pick

- 131-
 J = 120 BPM

This two-bar example is the last one. Hold out my friend.

(| would like to mention that this example is a Soca Groove. Soca stands
for Soul-Calypso).

The rhythmical motif is dominated by the following pattern:

Two sixteenth-notes - sixteenth rest - sixteenth-note.

This motif is perfectly suited to playing along with a steel-drum (what,

you don’t have a steel drum ...!?)

1 <a, a la la la

a? ey Se oe a a (oe oso © |-4#¢ & © @ s fea marie ram om, |

| fy. “— o lm [ae e@/ la Ia Bel seo eepsspeeeps irrrrerr rear rrrrrer: ft)
(al Can A aS AY A rT oY EY SY ee ee ee i ae
PASSA SE (A SESE A WE ET RS A SO (SO AR ERE NAR RT OA MY SS LS HF

iS Se a ae es Se
iiis asc cele SS OS He DR WSS UD Dd es
Le Se) a a ee ee

- 132-
 THANK YOU
Ralf and Charles Voggenreiter and Herman Schrage for your support and
your confidence, leaving me unlimited creative freedom.
Norbert Opgenoorth: for your patience and professional assistance.
Lars Riemer Amps & Guitars in Frankfurt am Main: thanks for the service
Musik Schmidt/P. A. Sound/Mr. Bassman in Frankfurt am Main: for being
there when | needed you.
Andreas Vahsen from MGI/Munich: for your nice gesture!
The Kablar Family: for the warmth and the support. | wish you a fulfilling
life.
Steffen Schmid: for our great friendship and your dedication to leaving
no question unanswered. Great recording session!
Karin Baumann: for your generosity and the great photo sessions.
Philippe Seminara and Alexandra Krings: good groove, fellows! Thanks a
lot.
Klaus Kandler from Best Service / Munich!
You can order a catalogue at the following address:

Best Service
Siegesstr. 23
80802 Munich
Germany
Internet: www.bestservice.de

Chris Korblein: for the superb translation!

Thanks also to my former music teacher: | will continue to play E-minor
over whatever-the-hell-l-want.
Tulay, Greg and Jam: you were great!
The last lines belong to you, Tina: | thank you for the wonderful moments
we share. | know that you believe in me and you know that, without your
patience, even the fifth proofreading of the book wouldn’‘t have been
enough.

- 133-
 LAST WORDS
Puuuh, that’s it.
One of the most difficult problems | had to deal with, writing this book,
was assigning each line a certain style:
- Is this Take more funky or jazzy?

Thanks God, this was not the only problem:

| What is a good lead over to the next chapter?
O How many examples should one chapter have in order to give an
authentic look at each particular style?
| How many seconds can one Take have in order to not exceed the CD
time-limit? ...

SUPERSONIC GUITAR GROOVES has been written with dedication, ener-

gy and commitment. | am very proud of this work and hope that the fun |
had writing it came across in addition to the learning success.

| will not be happy about bad criticism.

| will be very happy about constructive criticism. Maybe.
Please do NOT send teddy-bears, bottles, bombs or equals!

VOGGENREITER PUBLISHERS
c/o Supersonic Feedback
VIKTORIASTRASSE 25
53173 BONN/Germany

Jeremy’s E-Mail: 06997840299@t-online.de

- 134 -
- Voggenreiter
MADE IN GERMANY

Chris Korblein
Solo Solutions 4 Guitar

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guitar player who intends to develop his soloing
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 Voggenreiter
MADE IN GERMANY

INTERACTIVE
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RS Gitorre richtig stimmen

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 supersonic guitar grooves
e goal of this book is to promote rhythmically and harmonically oe
challenging phrases and licks in order to give you an authentic inside
view on seven selected styles.

Live or in a recording session: playing rhythm is the Quitarist’s main duty.

This makes it even harder to understand why most guitarists’ rhythm
=> work (frankly) sounds rather unrehearsed and colorless. Especially since
_ Working with drum machines and samplers has become a vital part of |
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be your "key to success”. ~

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