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J U LY 2 0 1 2
Jan akkermanWayne krantz
Reviewed! koll Duo Glide
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The virtuoso 12-string innovator goes deep into his
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Leo KottKe
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GUITAR PLAYER VAULT | July 2012 | 7
July 2012 Volume 2, Number 7 contentsNew Artist FeAture08 Wayne
Krantz FromthecurrentissueofGuitarPlayer
From the vAult17 Jan Akkerman AclassicstoryfromtheMay
1975issueofGP
23 Classic Leo Kottke Interview
Thevirtuoso12-stringinnovatorgoes
deepintohistechniquesinthisfascinating
andfreewheelinginterviewfromthe August1977GPcoverstory.
GeAr44 Reviewed! KollDuoGlide!(fromthecurrentissueofGP).
oN the NewsstANd48 GPJuly2012TableofContents
lessoNs50 Pat Martino: Sacred Geometry, Simplifying the
Fretboard. FromtheApril2004issueofGP.
61 Lenny Breau FingerstyleJazzTremolo
TechniquesfromtheMay1983issueofGP. sessioNs62
Theever-popularTrueFire Lessons
trANscriptioNs64 WakeUpEverybodyJohn Legend & The Roots70
FireWomanThe Cult80 InLovewithaGirlGavin DeGraw
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GUITAR PLAYER VAULT | July 2012 | 9
Wayne KrantzBy Barry Cleveland
Wayne Krantzs singular and frequently visionary playing has made
him one of New York Citys most highly respected and sought-after
guitar-ists, resulting in performing and recording gigs with a host
of luminaries such as Steely Dan, Victor Bailey, Michael Brecker,
Carla Bley, Billy Cobham, and Chris Potter. Beyond those celebrated
sideman roles, Krantz has led his own trios through intriguing and
ever-shift-ing musical landscapes for nearly two decades,
spe-cializing in structured improvisations that showcase his
formidable stylistic scope and uncanny real-time compositional
prowess. (Intrigued listeners with the aspiration and determination
to plumb Krantzs con-ceptual depths for themselves may attempt
ingress via his instructional masterwork, An Improvisers OS,
pub-lished in 2005.)
On Krantzs latest release, Howie 61 [Abstract Logix], the
perpetually restless guitarists polyglot musical trip mutates into
an unprecedented take on the singer-song-writer format. Except for
an extended improvisation
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10 | July 2012 | GUITAR PLAYER VAULT
artist feature krantz
on Ice Cubes Check Yo Self, the songs are relatively short, have
easily discern-able sections, and feature Krantzs lyrics and
vocals. The album also departs from the past by featuring
combinations of more than a dozen stellar players rather than the
familiar trio lineup.
Was there a concept behind Howie 61 when you started out, and
how did the circumstances sur-rounding the making of the record
differ from those surrounding your previous albums?
The process began on Krantz Carlock Lefebvre [2009], which
contained a few actual songs in terms of shorter length, lyrics,
and singing. Howie 61 continued my exploration of how I might take
all of the stuff Ive learned about guitar playing and improvising,
my thoughts about what kind of words I want to be responsible for,
and what was possible given the limitations of my voiceand pack all
that stuff into a short song.
Another huge shift was that going back to 1993, all of my
records have fea-tured the bands that I was working with at the
time, and I wanted to get away from that because I felt I had
already done it. So I invited a lot of musicians that I had played
with previously, or had wanted to play with, and combined them in
different ways to expand into a broader thing with more colors
coming in from other places. Some tracks were recorded in L.A.,
some in London, and some in New York. Every-one gave their all and
were really into it, which was very gratifying because there were
no limousines or complimentary sushi dinnersit was pretty rough and
rugged.
What about the title track? Is there a direct connection to
Dylans Highway 61 Revisited?
There actually is. Its an example of
starting with a titlein this case a play on words that I thought
was funny. Instead of saying Highway 61, which has the his-torical
weight of both the Americana and Dylan things, switching it to
Howie 61 made it ridiculous. The wordiness of the song is also kind
of a reference to Dylan, and the songs formwhich is basically a
weird, expanded bluesis based on the structure of a Dylan tune. As
far as the album title, I was going to call it something else, but
Howie 61 was kind of funny and easy to remember, so I decided to
use it. And I had no idea that that song was going to open the
album when I wrote it, but I like that it provides a soft opening
and just kind of eases the listener in.
Is there a single guitar part on the album that you were
particularly pleased with?
I like the guitar solo on How the West Was Left a lot because it
was an overdub and I wasnt sure how I wanted to approach it
sonically. I experimented with some dif-ferent things and
ultimately I discovered that using the back pickup with pretty high
gain on the amp but the volume turned down and playing with my
fingers rather than a pick gave me the sound I needed. I was happy
with that, though by nature Im not motivated to sit around trying
to figure out what the best sound for something is.
You have always said that you arent a gear guy, and that you
dont spend a lot of time mess-ing with thingsbut you have good gear
and always get good sounds. Do you just choose a few things and
focus on getting them to sound right?
That makes me wonder if Ive just been fooling myself all these
years [laughs]. But the second part of what you said also makes
sense. The beginning of my sound was in 1993, when I got rid of a
bunch of amps and just plugged a Strat directly into a Fender
I think it is nice for the audience to experience some lushness
and beauty. I dont want everything to be harsh and difficult just
because thats what gets me off.
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12 | July 2012 | GUITAR PLAYER VAULT
!"#$%#&'(!#)"( krantzDeluxe turned all the way up. That
sounded terrible for a year or so, but the good thing is that I had
to figure out how to make such a thin tone sound good just by using
my hands rather than relying on an amp.
That said, fast-forwarding to the present, Im kind of excited
because Matt Brewster at 30th Street Guitarswho does all my guitar
work, advises me on gear, and built my pedal-boardshowed me this
Tyler amp that I really like. I believe its called a JT46, and its
based on an old Marshall. When I heard it I said, That is a sound I
can use, so I bought one, along with a couple of Tyler cabinets,
and I also tweaked my pedalboard. So maybe I am getting into
gear.
Did you use that rig on the new album?Yes, on part of it. I also
used my Marshall
2553 Jubilee head, which I still love. In fact, just this last
week I started using the two amps together. The Tyler cabs are
super lightweight
and loaded with both 12 and 10 speakers. I use them with the
Tyler and Marshall heads, with a little more break-up on the
Marshall, and delay and reverb on one side. Its essen-tially an
exaggerated clean sound, and then I add more distortion with a
pedal when needed. The reason Ive just used one amp for so many
years is that the sound is more focused when it comes from one
place. Thats particularly important rhythmically, as the more
spacious the sound, the less rhythmic it is. Rhythm is like the
crack of the snare when youre a foot away from the drum. On the
other hand, I think it is nice for the audience to experience some
lushness and beauty. I dont want everything to be harsh and
difficult just because thats what gets me off.
Whats new with your pedalboard?Im still using the Boss DD-3
delay and
OC-2 octave pedals, and the Moogerfooger MF-102 Ring Modulator,
but I added a Strymon
El Capistan delay and a Wampler Pinnacle dis-tortion. I also
have a Hiwatt wah and a Dr. Sci-entist Reverberator pedal, and very
recently I got an Electro-Harmonix Freeze, which sounds sort of
low-fi and funny but is really useful.
Are you still playing the James Tyler Studio Elite?Yes, with a
Duncan Full Shred in the bridge
slot and two Suhr single-coils. James is also working on another
guitar for me that may become a signature model. The neck is
mod-eled on the neck on my 73 Fender Strato-caster, which is not a
particularly good guitar, but I love the way the neck feels,
probably just because Ive played it for so long. I got that guitar
in 1980, and learned to play on it.
Did you use any other guitars on the album?Yes, a really cool 67
Fender Tele with a
great neck that I got some years ago and love very much, and a
Godin dreadnought acoustic.
Transitioning away from gear, briefly describe what An
Improvisers OS is all about.
KRANTZ TEARS IT UP LIVE WITH DRUMMER ZACK DANZIGER AND BASSIST
LINCOLN GOINES IN 2009.
-
artist feature
14 | July 2011 | GUITAR PLAYER VAULT
krantzIt contains the method I stumbled across for
practicing the chords and scales that are part of chromatic
tonality that we are subject to here in the West. But the method is
creative and musical, as opposed to re-creative and pattern
oriented, and the material is presented within the context of
improvising.
Talk about your approach to groove.Im coming from the James
Brown, Sly Stone,
Prince campand I list those guys in order of my discovery of
them. As far as I understand it, their groove has a lot to do with
rhythmic counterpoint.
Ellington talked about it, too, and when I ana-lyzed his music I
saw that the use of rhythmic counterpoint gave a certain kind of
bounce to the groove. I think of it as a vertical lift that the
groove has, where the 2 and the 4 just pop up off the snare. The
energy is going up, whereas in a lot of rock music the energy is
going down, as in to the floor. That vertical energy fits perfectly
with what I do, because while the ball is in the air, before it
hits the floor and bounces again, all kinds of things can happenand
thats where I live. Thats where all my stuff is happening.
Your improvisational style involves harmony as much as it does
melody. To what extent are you con-sciously thinking about harmonic
relationships, and to what extent are you just going with the
flow?
Its a good question. Surprisingly, its kind of hard to answer
because the space that Im in when Im playing is something that I
havent really quantified. That said, Ive been practicing that
approach for so many years that I dont even think about it as
adding harmony. Im either play-ing one note at a time, or more than
one note at a time, but its all coming from exactly the same place.
The only difference is the kind of impact it has. Theres a certain
effect when you do one of those two things and then suddenly people
perceive it as a chord or a line or something. But as far as how it
feels, its not really a distinc-tion that I make.
You are able to find space for your parts even when navigating
the densest musical environments. How do you do that?
Thats counterpoint. And although it may seemlike there is no
space in the music, almost inevi-tably there will beand thats my
place. Ive lik-ened it to looking at an image and then seeing a
negative of the image to see what isnt there. It is also a little
like looking at a page of text and seeing the spaces between the
words. Those kinds of images sort of describe what Im talking
about. Honestly, though, it is a classic skill that many different
types of musicians have. For example, all of the great R&B
session players have that abil-ity. In order for them to create a
part that mat-ters, they listen to where the cracks are in the
music, center their parts those cracks, and then maybe ornament
them beyond that. They may bleed over into space that is already
occupied, too, but the fundamental parts are in the places where
nothing else is happening.
And the same is true in terms of sound. When I first got to New
York many years ago, I attended a David Sanborn rehearsal and Hiram
Bullock was the guitarist. At the time I was playing through two
amps, stereo chorus, stereo delay, and all this stuff that gave me
a big, lush sound. When Hiram started playing he had a really thin
and not great sound, and I thought to myself, Why would he opt for
a sound like that? Then the band started playing, and that place
that he occu-pied sonically was completely his own. The lush-ness
of the overall sound came from the entire band. His experience told
him that thats where he had to be to make a difference, and it
sounded incredible in that context, whereas a big, lus-cious guitar
sound would have been inaudible. That was the voice of experience
talking. And it was a beautiful thing. g
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GUITAR PLAYER VAULT | July 2012 | 17
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28 | July 2012 | GUITAR PLAYER VAULT
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32 | July 2012 | GUITAR PLAYER VAULT
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34 | July 2012 | GUITAR PLAYER VAULT
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38 | July 2012 | GUITAR PLAYER VAULT
classic interview
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powered by a 300V valve circuit, make this the ultimate metal
tone machine.No compromises, no excuses, no apologies - stay
Metal!
Two channels of extreme gain
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40 | July 2012 | GUITAR PLAYER VAULT
classic interview
A very young kottke plAys eight miles high live in 1977.
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Paul Smith is talking, you should listen.
rules tone.com
Visiting www.rules of tone.com is as close as youre going to get
to our trade secrets.
2012 PRS Guitars Photo by Marc Quigley
Paul Smith discusses improvements made to PRS tuners.
Wevecrackedthe codePaul Reed Smith on PRSs new tone and the
tweaks
More in-depth videos available at:
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42 | July 2012 | GUITAR PLAYER VAULT
classic interview
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44 | July 2012 | GUITAR PLAYER VAULT
test drive
Koll Duo Glide TesTed by dave HunTer
THe cusTom-builT creaTions of saul Koll of PorTland, Oregon,
have long inspired lust in the hearts of guitarists for their
superb build quality and diner-retro meets space-race-modern
styl-ing. In joining the Premier Builders Guild, Koll guitars are
now more widely available, while retaining the U.S.-made kudos and
small-shop quality that PBGs team of California-based luthiers
brings to the table. The Duo Glide is Kolls flagship model, and
blends elements of classic familiarity with artful originality. In
its more frequent incarnations, with either TV Jones Classics or
Lollar PAF-style Imperial humbuckers, it blends elements of Gretsch
and Gibson in a boutique-grade package with Kolls inim-itable stamp
upon it. With the more unusual pickups used here, and dressed in a
surf-tastic finish option, this Duo Glide is some-thing rather
differentand certainly a sweet hunk of eye candy by any
standards.
The Duo Glide sports a body of chambered mahogany with a
glued-on maple top. The set neck is also made from mahogany,
carved to a rounded C profile that measures .830 thick at first
fret and .960 at the 12th. The ebony board carries 22 medium-jumbo
frets, and upper-edge inlays of white pearl, Kolls twist on the
position markers of several late-50s and early-60s Gretsch guitars.
The ebony facing on the asymmetrical headstock bears a matching
white-pearl logo inlay and is trimmed with narrow off-white
binding, also echoed in the bound body top, fretboard, and f-hole.
What really makes the package pop, though, is the taffy-sweet surf
green urethane finish splashed across the entire body and neck, and
the heart-shaped white pearloid pickguard that dramatically offsets
it. The inclusion of a Bigsby B-5 vibrato is practically required
by law.
The beating heart of this Duo Glide lies in its pair of Regal
humbuckers, acclaimed pickup maker Jason Lollars rendition of the
Fender Wide Range Humbucker of the early 70s, as designed by Seth
Loverbetter known as the father of Gibsons legendary PAF humbucker.
These pickups are wound pretty hot, like the
gear
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GUITAR PLAYER VAULT | July 2012 | 45
originals, at around 10k, but the use of magnetic
polepiecesrather than steel poles with a bar magnet beneath, like
traditional Gibson and Gretsch humbuckersaims to retain clarity
amidst the heat. It has to be noted that the pickups polepiece
spacing falls wider than the outside E strings, but check photos of
70s Fender Telecaster Thinline, Custom, or Deluxe models that
car-ried the Regals predecessors and youll see the same disparity
of widths, so its clearly a quirk of the original design. A single
master Volume and Tone control and a 3-way switch govern the
package.
The few Koll Duo Glides that I have laid hands on in the past
have achieved that illusive trick of blending the indefinable magic
of a great vintage guitar with the playability of a skillfully
crafted modern instrument. This PBG-built Duo Glide goes a long way
toward nailing the same Holy Grail mojo. Fit and finish are
immac-ulate, the neck feels great in the hand, and the guitar rings
loud and clear, even when played unplugged.
Fired up through a Matchless HC-30, a Bogner Goldfinger
(both
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46 | July 2012 | GUITAR PLAYER VAULT
gear test driveKOLL
through a 2x12 cab with Scumback speak-ers), and a Fender EC
Twinolux, the Duo Glide translates its candy-colored faade to a
surprisingly sizzling tone beast that heaps on bite and bluster
when needed, but also offers sultry sonic depths and nuances for
more contemplative moments. The Lollar Regals really do pack a
sting, but its a more vintage-edged snarl with plenty of clarity
and cleaner tones when you turn down the gui-tars Volume control.
The Duo Glide excels at anything from the meaner side of surf to
alt-country with attitude to gutsy-blues and garage rock on those
edge-of-breakup amp settings. Cranking some high gain with the
Bogner or an OD pedal, it proved an easy match for just about any
breed of straight-on rock, too. The polepiece spacing issue doesnt
seem to affect string output or balance in the least, and the
Bigsby works smoothly with-out any major return-to-pitch issues.
All in all, the Duo Glide is a blast to play, is surpris-ingly
versatile, and damn if it doesnt make you look good in the process!
g
CONTACT Premier Builders Guild, (714) 514-0647;
premierbuildersguild.com
Duo GliDePRICE $3,695 street (with hardshell case); $3,595 with
TV Jones Classic pickupsNUT WIDTH 1 11/16" GraphTech TusqNECK
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TonePros Kluson-style vintage tunersBODY Chambered mahogany with
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Lollar Regal humbucking pickupsCONTROLS Single Volume and Tone,
3-way selector FACTORY STRINGS DAddario, .010-.046 setWEIGHT 8 lbs
BUILT USAKUDOS Impeccable styling. Excellent build quality.
Original tones that are extremely versatileCONCERNS Pole spacings
on these pickups dont accurately match string spacing, but this
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88 J U LY 2 0 1 2 G U I T A R P L A Y E R . C O M
Lessons
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gpr0712_less_dc1.indd 88 5/7/12 5:26 PM
current issue
42 J U LY 2 0 1 2 G U I T A R P L A Y E R . C O M
ArtistsArtistsArtists
SC
OT
T U
CH
IDA
/AT
LA
S I
CO
NS
gpr0712_art_zappa_ko2.indd 42 5/8/12 1:16 PM
Whether youre in this game
for fun or profitor bothbeing a musician isnt easy. Some people
automatically assume were weir-dos, egotists, narcissists,
druggies, alcoholics, and/or arrogant putzesnot an ideal best foot
forward for meeting new friends, to say the least.
Making a living is viciously brutal. Even if you score a hit,
you never know if that revenue stream is going to be consistent, or
if it will all end abruptly within a couple of years. This can make
long-term financial plan-ning the equivalent of a Hail Mary pass in
football. And lets not even start with all the personal demons one
unleashes when you make a pact with your creative muse to put your
musical endeavors and emotions out there in an often cruel and
uncaring world. Musicians themselves can be the most malicious and
spiteful crit-ics, zeroing in with unabashed glee on minute details
regarding the quality of tone, technique, and composition.
Yes, there are truckloads of
things the average musician worries over and whines about to
everyone and anyone who will listen.
But have you ever considered that, when we bemoan our state and
stat-ure, we shine a bright-white spotlight on our shallowness and
self-absorp-tion? If you dont agree, then say Jason Becker, and I
dare you to not to feel guilty and small for bitching about your
own relatively mundane worries. Beckers journey trumps us allor at
least 99.9-percent of us (my apologies to anyone in the 0.1 percent
I may have offended). You can read about the specifics in Matt
Blacketts excellent story on Becker in this issue, but, for now,
lets just agree that having a burgeoning
career destroyed by your very own body is a very cruel twist of
fate. But the inspirational supernova is that Becker didnt go
quietly into the void when he could no longer speak or play guitar.
He kicked back fero-ciouslydeveloping a new language with his
family that allows him to com-municate and create and still make
music. Today, against all odds, he is an immensely talented
composer, funny as hell, and a sexy guitar god. He is no victim of
fate, andheres a mammoth understatementhes certainly no whiner.
So, I dont know about you, but whenever the going gets tough for
me in this crazy soap opera called the music business, Im not going
to complain, get angry, or even sigh. Im going to think of Jason
and forge ahead with renewed, kick-ass vigor. I figure that if
Becker can give the finger to ALS, the least I can do is get out of
my own way.
in Bob Kuliks enthusiasm for Jimi (may 2012),
i found a few inaccuracies:
Bob said: there was a really nice mafia-
run club around the corner called the night
owl Cafethe big acts like the Lovin spoon-
ful and James taylor played thereand they
wouldnt hire Jimi because he was black. they
didnt want to take a chance of upsetting the boys.
First of all, life would have been so much easier for Joe marra
if hed
been mafioso! all club owners on those streets had to deal with
the mob.
But not every large italian person is in the mob. i speak the
language, and
i know what was going on in that club. the mob couldnt determine
who
played there ... they didnt know enough about the music.
heres a short list of players i saw at the night owl: the
Chambers Brothers,
Lonnie Johnson, steve DePasse, Len Chandler, ritchie havens,
sonny terry
and Brownie mcgee, Lou gossett. if you stopped by at
thanksgiving, you might
have sat next to odetta.
and one more detail: Jimi used to
practice at the night owl on weekend
afternoons. hed make more in tips
than the spoonful would get working
nights. Joe asked him to come play at
the night owl, but Jimi explained that
Chas Chandler had made him an offer
he couldnt refuse. J o Hn S E B AST I A n
GPCommunityN O I Z E F R O M T H E E D I T O R
GP PollCAST Your voTE! nEw poLL EvErY MondAY AT
guITArpLAYEr.CoM
Best 12-string rock riff?
Stairway to Heaven 31%Hotel California 30%
turn! turn! turn! 23%tiCket to ride 13%
Band on tHe run 3%
get out of my own way.
GP Poll
R A N T O F T H E M O N T H
Hotel California
turn! turn! turn!
tiC
Band on t
arra if hed
been mafioso! all club owners on those streets had to deal with
the mob.
But not every large italian person is in the mob. i speak the
language, and
he mob couldnt determine who
he Chambers Brothers,
terry terry t
and Brownie mcgee, Lou gossett. if you stopped by at
thanksgiving, you might
20 JuLY 2 0 1 2 G U I T A R P L A Y E R . C O M
gpr0712_comm_dc1.indd 20 5/9/12 11:15 AM
108 J U LY 2 0 1 2 G U I T A R P L A Y E R . C O M
GearRoundup
10 New Acoustic and Acoustic-Electric GuitarsTesTed By The
Guitar Player sTaff
as youve likely noTiced from checking ouT new acousTic guitars
online or in the brick-and-mortar domain, there are some amazing
deals to be had these days on instruments that look, play, and
sound like they ought to cost more than they do. You even see some
with solid-wood construction, which is something that has typically
not been the case with more affordable instruments. Obviously,
manufacturing guitars in China has much to do with making this
possible, although, as this roundup points out, there are guitars
with bodies made from laminated materials that sound just as good
as some of their solid-wood cousins.
So many factors are at play in acoustic guitar design, and the
woodsbe they solid or plyare only part of a complex and highly
interactive network that includes such factors as the body
dimensions, quality of the bracing, the solidity of the neck joint,
fretboard scale, and the thickness and hardness of the finish.
And then there are the electronics that many guitars come
equipped withsome sporting lots of knobs, sliders, and switches,
and others with little more than a 2-band EQ. Most systems are well
implemented for the guitars theyre installed in, but its definitely
worth plugging in and seeing if you like the amplified sound it
delivers and wont be feeling either overwhelmed or undergunned by
the interface.
With acoustic guitars you do get what you pay for, though, and a
high-end model thats hand made from aged, solid woods is going to
score better for tonal bal-ance, complexity, dynamic response,
volume, and play-ing feel than a less costly instrument that is
built on a production line and made from woods that havent been
completely dried. That said, as this roundup of medium priced
instruments shows, there are some pretty slammin guitars out there
that offer inspir-ing sound and playability for about the same
money as a set of tires for you car.
We tested these instruments in our studios and/or on live gigs,
and plugged the pickup-equipped models into a variety of
amplification rigs, including acous-tic amps, P.A. systems, and
standard tube amplifiers.
gpr0712_roundup_ph1.indd 108 5/9/12 2:37 PM
Heres whats in the July 2012 issue of GP, on Newsstands Now!
GP COMMUNITYIts all about you! Share your photos, gear and
CD/DVD reviews, likes/dislikes, favorite amps and guitars, tone and
technique tips, gig stories, and more with the Guitar Player reader
community. Come on! Join in!
Opening ShotsWe get up close and personal with the wire, wood,
hardware, and voodoo that make playing guitar the coolest thing on
the planet.
RIFFSJohn Petruccis new TonePrint pedal, images from the Ronnie
Montrose tribute show, Jeff Augs record-setting gigs, Carl
Verheyen, Editors Faves, and much more!
COVER STORYJason Becker The Shrapnel star and former David Lee
Roth guitarist talks about his incredible technique, his
compositional skills, and how he continues to create music 23 years
after being diagnosed with ALS.
ARTISTSDweezil Zappa Wayne Krantz Sam WeberThe Making of Great
Gypsy Soul
LESSONSTen Things You Gotta Do to Play Like Other
InstrumentsJess Gress shows you everything you need to cop piano,
drum, sax, synth, and vocal lines on guitar.
Dave Hill LessonThe Right Way to Play Wrong Notes Part 1
Hey Jazz GuyJake Hertzog helps you spread out.
GEARRoundup! Ten acoustic and acoustic-electric guitars. Fender
EC Twinolux and EC Vibro-Champ Bilt El Hombre Deluxe Stompbox
Fever! DigiTech iStompField Test! Boomerang III Phrase Sampler and
Side Car ControllerScumback M75-8-65W and H75-8-65W 12''
SpeakersAccessory File Wolfetone Dr. Vintage and Marshallhead
HumbuckersBrain Snack 5 Things About Tube Amplifier Maintenance
RECORDINGThe Recording GuitaristStudio Tools
48 | July 2012 | GUITAR PLAYER VAULT
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GUITAR PLAYER VAULT | July 2012 | 49
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50 | July 2012 | GUITAR PLAYER VAULT
ROCKlessonslessonslessonslessons
photo: pAUL hAGGARD
M a s t e r c l a s s
SAcRED GEOMETRYSimplifying the fretboard with Pat Martino
B y J U D E G O L D
If theres one common misconception people have about geniuses,
its the notion that these stellar intellects engage only in the
most strenu-ous of thought; that in order to even hold a
con-versation with one of these brainiacs you need an Ivy League
PhD, an IQ of 200 or more, and a bulbous cranium that makes you
look like a character from Star Trek. In realityas brilliant
inventions such as the wheel, the light bulb, the magnetic guitar
pickup, the TV dinner, and the Pet Rock all so vividly provethe
most ingenious ideas are often the simplest. And if the mark of
true genius is the ability to find simple, head-slapping,
gosh-why-didnt-I-think-of-that solu-tions to complex problems, then
Pat Martino is truly one of the guitars cleverest minds. In this
lesson, the jazz legend shares with you an inspir-ing re-mapping of
the fretboard that is radically different from what is typically
taught in private lessons or at music schools.
The guitar is structured like no other instru-ment, states
Martino, and it unveils itself in a unique way. Like the piano, it
has its own fully unique temperament. But the communal lan-guage of
music that all musicians sharethat is,
the language of scales, theory, and intervals that we all use
when explaining or communicating musicreally has nothing
specifically to do with any instrument other than the piano.
But guess what, guitarists: Its now finally time to describe
music from our point of view. And theres probably nobody more
qualified to step up to the podium and demonstrate a guitar-centric
vision of the musical universe than Martino, because he has written
a mesmerizing treatise called The Nature of Guitar that may
for-ever change how you visualize the way harmony, melody, and
improvisation all function on the fretboard.
And yes, Martinos genius ideas are almost childishly simple.
A b A n D O n i n G T h E P i A n OHeres the piano, says
Martino, playing the C major scale in Ex. 1. These seven notes are
the white keys. And the pianos black keys are here [Ex. 2]. These
five black keys spell a D# pentatonic minor scale, starting on the
7, C#. Combine those two groups of notes and you get all 12 notes
of the octavein other words, you get the chromatic
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GUITAR PLAYER VAULT | July 2012 | 51
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52 | July 2012 | GUITAR PLAYER VAULT
lessons sacred geometry
photo: jUDe GoLDphotos: jUDe GoLD
scale [Ex. 3]. Thats seven plus five. Its a system of additiona
horizontal system based on the fact that the piano goes from left
to right, from lower in pitch to higher in pitch. This is where
scales come from, which are part of the community language you use
to function with other musicians so that you can discuss modes and
scale forms, etc. But scales really have nothing to do with how the
guitar works. The guitar does not work horizontally.
M E E T T h E P A R E n T SThe guitar, like the piano, does have
hori-zontal properties, at least in the sense that as you ascend
horizontally from left to right on a given string the notes get
higher in pitch. What makes the guitar inherently dif-ferent,
though, is that it also has a vertical nature, because it allows
you to move up and downwhich is exactly what you do when move from
a higher string to a lower string or vice versa. This means that
the fretboard is an x-y axis. Its a matrix, adds Martino. By being
both horizontal and vertical, you have latitude and longitude. Its
like a compassnorth, east, west, and south.
Were about to enter the heart of Martinos unique vision of the
fretboardbut fear not: Although Martino plays some of the most
ferocious, angular modern
jazz lines youll ever hear from a guitar player, all youll need
to grasp the concepts that follow is a basic knowledge of music
theory, because, in Martinos mind there are only two basic shapes
you absolutely must know to unlock the secrets of the fret-board.
One of them is the augmented triad (a major triad with a raised 5)
such as the Caug5 in Ex 4.
This augmented cluster is one of two parental forms on the
guitar, explains Martino. By parental, Martino means that the
augmented triadin this case a Caug5 spelled C-E-G#produces multiple
chordal offspring. Specifically, its a harmonic gate-way to three
major chords. Just lower any one of its three tones and you get a
major triad. As shown in Ex. 5, if you drop the lowest note, C, a
half-step, you get an E major triad. Or, lower the middle note, E,
the same distance, and you have a G# major triad. Or, finally,
knock the highest pitch, G#, back one fret to hear a C triad.
Slick!
fiG. 1
fiG. 2
TAB
Freely
3 3 5
5 2
2 4
TAB
Freely
4 4
6 6
3
TAB
Freely
3 4 5 6 2 3 4 5 6
2 3 4
Ex. 1
Ex. 3
Ex. 2
TRE A SURE MAPJazz fans worldwide may recognize Fig. 1 as the
cover of Pat Martinos adventurous new album Think Tank [Blue Note],
a modern bop tour de force that features sax master Joe Lovano and
an all-star rhythm section of Gonzalo Rubalcaba (piano), Christian
McBride (bass), and Lewis Nash (drums). But if youve got especially
good eyes, youll spy hiding beneath the transparent geodesic dome
that dominates this cover an additional set of intersecting
linesthe musical blueprint in Fig 2. Generated from a clockwise
placement of every note in the chromatic scaleand featuring the
letters N, E, S, and W in the center signifying the compassthis
intrigu-ing image represents Martinos vision of Western harmony and
how it is navigated using the guitars fretboard. JG
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54 | July 2012 | GUITAR PLAYER VAULT
lessons sacred geometry
photo coURtesy of bRAD GiLLis
Also, be sure to try raising any note in the augmented cluster a
half-step, encourages Martino. Thats how youll get minor chords.
For instance, raise the lowest note in our Caug5 chord a semi-tone
to C#, and youve got a C# minor triad. Sharp just the middle note,
and youll hear an F minor triad. Or, raise the highest note, and
youve got Am.
The other parental shape that Martino deems crucial is the
diminished 7th chord, which is represented by the Edim7 in Ex. 6.
The diminished cluster has a different set of siblings, notes
Martino, playing the shapes four offspring chords in Ex. 7. Lower
any one of its notes by a half-step and you get the root of a
dominant 7 chord. For example, drop the lowest tone and you get
Gb7. Or, drop the
second-lowest note and you get C7. Drop the second-highest note
and you get Eb7. And if you lower the highest note, youll hear A7.
To me, this is the guitar. These two paren-tal shapesthe augmented
and diminished clustersare the fastest way to learn the instrument,
provided you have a basic com-mand of chord theory and scale
spellings.
S Y M M E T R Y i n M O T i O nThe most beautiful aspect of the
two parental forms has to be their perfect symmetry. The augmented
triad, for example, divides the octave equally into three intervals
of a major third. For that reason, if you move the shape up or down
the fretboard a major third (or four frets), as shown in Ex. 8, the
chord doesnt
change in any way except for the fact that its tones become
rearranged (with one shifted an octave). Were playing the same
shape at the 4th, 8th, and 12th frets, yet the harmony, note names,
and fingering remain exactly the same.
It gives you automatic inversions of itself with no necessity of
memorizing new finger-ings, observes Martino. If you arrange the 12
notes of the chromatic scale like the face of a clock, youll see
that the augmented cluster forms a perfect triangle [Ex. 9].
Due to its perfect symmetry, there are only four different
augmented triads, as shown by the four triangles in Ex. 9. Our
Caug5 triad is in bold, spelled enharmoni-cally C-E-Ab.
Similarly the other parental shapethe diminished clusteris
perfectly symmetrical as well. Dividing the octave equally into
four minor-thirds, a diminished chord repeats itself every three
frets as shown in Ex. 10. Again, the only thing that changes in
these four identical grips is the arrangement of the notes.
The diminished cluster forms a square, says Martino, referring
to Ex. 11. Unlike the piano, which uses a seven-plus-five system of
addition, the guitar uses multiplication. With both of our parental
forms we cover all 12 notes of the chromatic scale by multiplying
three times four.
M O v i n O n U PWhen it comes to inverting chords, the
porta-bility of Martinos two parental forms proves very convenient.
Take the augmented cluster, for example. Remember how, in Ex. 5, a
fourth-position Caug5 triad yielded a differ-ent major chord each
time we lowered one of its tones? Well, if you move Caug5 up to its
first inversion at the 8th fret, it still produces the same three
major triads (though youll find the trio of triads has swapped
finger-ings). For instance, in Ex. 5, we dropped the lowest note of
the chord, C, a half-step and our Caug5 became an E major triad.
But in Ex. 12, the augmented cluster is at the eighth
IV
Caug5X X 2 3 X
Augmented cluster
1 IV
EX X 2 3 X
Augmented clusters offspring
1 IV
G X X 2 X 1
III
CX X 3 X 1 1
4
V
Edim7X X 2 3
Diminished cluster
1 4
IV
G 7X X
Diminished clusters offspring
1 V
C7X X
IV
E 7X X 2 3 1
V
A7X X 2 1
1 2 3 1 4 1 1 4 4 1
IV
Caug5X X
Symmetrical inversion
VIII
Caug5X X
XII
Caug5X X 2 3 1 2 3 1 X 2 3 1 X X
C EG EG C G C E
Ex. 7
Ex. 5 Ex. 6
Ex. 8
Ex. 4
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Model.Amp: Acoustic Image.Strings: GHS, .016-.058 set.
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56 | July 2012 | GUITAR PLAYER VAULT
lessons sacred geometry
photo: mARc De ocAmpo
position, and C appears on the first string. Now, lowering the
highest note yields E major, as shown.
Ex. 13 shows the same process as it relates to the diminished
cluster. Here, by lower-ing G to Gb, Edim7 still becomes Gb7, but
because were at the eighth position, the dominant chord is now
achieved by lowering the second-highest note in the diminished
form, not the lowest note (as was the case with the fifth-position
Edim7 in Ex. 7).
T h E b i G b A n GThese clusters are great for generating chord
progressions, shares Martino. By lowering one note here, raising
another there, you have a very efficient way of gen-erating complex
harmoniesand with the smoothest of voice leading.
Martino demonstrates the approach in Ex. 14, taking the
diminished parental form (in this case, C#dim7) and expanding it
one note at a time. First, he drops C# to C, yielding C7. Next, he
raises Bb to B. (That gives you a beautiful form of Cmaj7.) Adding
an open-A pedal tone to the Cmaj7 chord creates a chimey Am9
voicing. Raising G a half-step produces the tendon-twisting
Am9(maj7), which, when you raise E to E#, relaxes into the
ear-twisting Am9#5(maj7) chord that closes the progression.
Its a whole different approach to shift-ing harmony from the
standard method, which involves creating chords from scale tones
and applying complex alterations, says Martino. And again, its so
portable. Shift our original C#dim7 up to its next inversionwhich
is simply the exact same fingering moved up to the 5th fretand you
can easily generate a new inversion of the entire progression [Ex.
15]. Just as we did in the previous example, were expanding one
note at a time, but this time the same notes are on different
strings.
b R A n c h i n G O U TThe next step toward conquering the
fret-board using Martinos two parental forms is to place the
clusters on different groups of strings so you can take advantage
of the many timbres and pitch ranges that the guitar offers. Ex. 16
displays seven ways of fretting the augmented cluster using unique
string groups, while Ex. 17 shows five ways of doing the same with
the diminished cluster. In each example the chord remains the same
throughout, but the inversion and timbral character changes with
each new grip.
And yes, with any of Ex. 16s augmented voicings, if you lower
any single chord tone, youll get a major triad, and similarly, if
you flatten any note in one of Ex. 17s dimin-
ished forms, youll hear a dominant 7 chord. Martino especially
likes the open-voiced sound you get by placing the parental forms
on non-adjacent string setsand the offspring they produce. Ex. 18
shows one of Ex. 16s shimmering open-voiced Caug5 chords with its
offspring (not counting the minor chords you get when you raise any
one of Caug5s tones), and Ex. 19 shows one of Ex. 17s open-voiced
Edim7 clusters with its offspring.
c h R O M A T i c A T T A c k !Now that youve seen how the two
parental shapes act as key centers and yield dozens of colorful,
closely-related chords, its time to start thinking of them as
launching pads for melodic improvisationwhich is exactly what
Martino does. That means putting aside notions of scale patterns
and really learn-ing to visualize the fretboard as a network of
shapes connected by neighbor tones and passing tones.
Chromatic intermediates intertwine across the entire fretboard,
says Martino, demonstrating this fact with one of his trade-mark
chromatic runs in Ex. 20. While there are a ton of chromatic notes
in this long descend-ing line, the blazing riff somehow makes the
entire neck seem to scream C7. You can use chromatic notes to weave
the whole fret-board into one given topic.
V
Edim7X X 2 3
Symmetrical inversion
1 VIII
X X XI
X X Edim7 Edim7
XIVX X
Edim74 2 3 1 4 2 3 1 4 2 3 1 4
G D E B B E G D D G B E E B D G
VIII
Caug5X X
VII
EX X 3 1 X 2 3 1 X 4
VIII
Edim7X X
VII
G 7X X 2 3 1 2 3 1
4 4
Ex. 9 Ex. 10 Ex. 11
Ex. 12 Ex. 13
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58 | July 2012 | GUITAR PLAYER VAULT
lessons sacred geometry
Martino on Sacred GeoMetry.
E n c O R EIts one of the most inspirational stories in jazz:
Pat Martino learning to become a mas-ter guitaristtwice. The first
time around, I was a dead-serious youngster who was tuned in to the
competitive nature of our culture and was fully motivated to
achieve success, says Martino, who, in 1980, at the peak of his
form, suffered a catastrophic brain aneurysm that caused him to
forget all he knew about playing guitar. My second relationship
with the instrument began in a much more inti-mate, innocent kind
of way. The guitar became a playful resting place during a period
of intense therapeutic recovery. It allowed me to take my attention
away from my ordeal. I was able to enjoy the guitar in a pure and
almost childish waylike a child does a toy. I think were ultimately
chosen to be childish. Thats exactly how we come into this world
and exactly how we leave it. The guitar just happens to be my
favorite toy.g
For more on Pat Martino, his new album Think Tank, and his ideas
on the nature of guitar, visit him online at patmartino.com.
C dim7X X 2 3
Expanding diminished cluster
1 C7
X X 2 Cmaj7
X 2 3 X 1 1 Am9
X Am9(maj7) Am9 5(maj7)
3 3 1 4
4 4 2 3 1 4 X 2 4 3 1 X 2 4
EB GC EB C G E B C G E B C GA E B C GA E B C GA
V
C dim7X X 2 3
Expanding diminished cluster inverted
1 V
C7X X
V
Cmaj71
V
Am9
V
Am9(maj7)4 4
VX
Am9 5(maj7)1 1 X X 1 4 1 1 X 1 4 1 1 X 4 1 1 2 1 2 3 4
G C EB G C E B G C E B G C E BA G C E BA G C BA E
IV
Caug5X X 2 3 X
Augmented cluster
1 V
Caug5X X 2 X
V
Caug5X X 2 3 X 1 1
VI
Caug5X
VI
Caug5
VI
Caug5X X 3 1
VI
Caug5X X 2 X 1 3 X 2 3 X 1 3 1 X 4 X X 4 X 4
II
Edim7X X 2 3
Diminished cluster
1 III
Edim7X X 2
II
Edim7X 2 3 X 1 1
Edim7
III
Edim73 X 2 3 X 1 1 4 X 4 4 4 1 X 2 1
Ex. 14
Ex. 15
Ex. 16
Ex. 17
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transcriptionstranscriptions john legend & the roots
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