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Mag & CDAll lessons tAbbed plus full Audio & bAcking trAcks!

Rock!with cool

jAzzy chords

Roll!with snAzzy

licks, fills & solos

P R E S E N T S

Rock & RollLearn the styles of the greatest ‘50s pickers & sound like a legend!

Play like Chuck, Buddy, Eddie, Scotty, Hank & many more!

PLAY GUITAR NOW! PRINTED IN THE UK £4.99

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3

Rock’n’roll is a great guitar discipline. Its exponents had unique styles that became the building blocks for later rock, blues and pop legends like

Hendrix, Clapton, Beck, Page and of course The Beatles and Stones, much of whose early material was lifted from the rock’n’roll era. Rock’n’roll sprang from a wonderful mix of white country, black blues, and a healthy dollop of jazz - which contained both ethnicities. Where Chuck Berry’s rock’n’roll was blues-country, Buddy Holly’s was more country-blues, while Elvis Presley went right down the middle but teamed up with a country-jazz band. It was these odd mixes and the different balances of country, blues and jazz each artist melded together, that made them all so individual. In this magazine and CD package I’ll be looking at nine of the greatest elecric guitarists of the era: Scotty Moore (Elvis), James Burton (Ricky Nelson), Cliff Gallup (Gene Vincent),

Danny Cedrone (Bill Haley), Eddie Cochran, Chuck Berry, The Everly Brothers, Hank Marvin (The Shadows) and that other cool dude famous for his specs and Fender Strat: Buddy Holly. These players were in at the beginning of the electric guitar explosion, so their techniques were formative by today’s standards. But that’s partly what makes their work so evocative and exciting. And while I’ll endeavour to clean things up where really necessary, I don’t want to rob the music of its naïve charm. With that in mind I have played with more of an eye on feel and vibe than pinpoint technical accuracy. I do hope you enjoy my delve into the styles of this group of players that pushed guitar to the forefront, and helped to change music forever. Have fun!

Neville Marten, Editor

CONTACTFuture Publishing30 Monmouth Street, Bath BA1 2BWTel: 01225 442244 Fax: 01225 822763Facebook: www.facebook.com/GuitarTechniquesWebsite: www.guitar-techniques.com

EdiTOriAlEditor Neville Marten, [email protected] Tutor Neville MartenArt Editors Carlton Hibbert/David Dyas, [email protected] Editor Cliff Douse, [email protected] Music Editor Jason Sidwell, [email protected] Engraver Chris FrancisDVD interface Design Adam CruteVideo Production Martin Holmes

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Printed in the UK by William Gibbons on behalf of Future. Distributed in the UK by Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT.

Load your CD to play the audio tracks that go with each example

welcome Editor’s Letter

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Future plc is a public company quoted on the london Stock Exchange (symbol: FuTr).www.futureplc.com

Chief executive Mark Wood Non-executive chairman peter Allen

Chief financial officer graham hardingTel +44 (0)207 042 4000 (london)

Tel +44 (0)1225 442 244 (bath)

4 BUDDY HOLLY One of the mightiest of rock’n’rollers, he made The Beatles want to write songs and inspired the Hank Marvin look!

7 SCOTTY MOORE What would Elvis have sounded like

without Scotty’s cool jazzy licks and rocking, echo-laden guitar tone?

11 CLiff GALLUP A true phenomenon, Gallup made session players of the day gulp in awe, and gave Jeff Beck the tools of his trade.

14 CHUCK BERRY The greatest of all rock’n’roll guitarists,

Chuck invented a sound and in doing so fuelled the rise of The Rolling Stones.

17 DAnnY CEDROnE Bill Haley’s original guitarist knew how to drive an audience to fever pitch with his incendiary jazz-tinged solos.

20 HAnK MARVin The inspiration for a thousand British

schoolboys to want to learn guitar. Hank is the archetypal Man Of Melody!

24 THE EVERLY BROTHERS Phil Everly states that brother Don invented rock guitar and heralded the rise of the riff. And who are we to doubt him?

28 JAMES BURTOn Slinky solos with bendy licks that weave throughout the chords; no wonder Rick Nelson, Elvis and even Dylan wanted him!

31 EDDiE COCHRAn The look, the sound. Cochran IS rock’n’roll!

No self-respecting rockabilly guitarist is without his quiff and an orange Gretsch!

34 YOUR USER GUiDE Refer to our terms and signs for picking and fretting instructions to help you enjoy this magazine and CD package.

Contents ROCK’N’ROLL

6

rock & roll

This example (neck pickup throughout) uses elementary sweep picking to create a swinging rock’n’roll rhythm. It also demonstrates how playing 3rds with muted strings, then more freely and finally going up an octave, offers three different and effective ways to play exactly the same thing.

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GUITAR TECHNIQUES MAGAZINE 123 Buddy Holly "R n R"

7

Scotty’s early sound came courtesy of archtop jazz guitars with P90 pickups (Elvis’s first recordings were 1954 and the humbucking pickup didn’t emerge until three years later). He also used a healthy dose of slap-back echo. Set your guitar to the neck pickup and if it’s a Strat or Tele-type instrument, roll off some of the tone. Try a delay time of around 160ms and adjust to taste. Don’t be shy with the echo level either – this is delay with attitude! Scotty used an amp built by Ray Butts with effects built in - in the mid 50s! So a small valve combo is your best bet, or an emulation of that sound if you are using a modelling amp or software.

Get the tone

TRACK RECORD Elvis Presley’s Sun Sessions contains the best of the recordings on which Scotty Moore, Bill Black and DJ Fontana played. It also features the guitar playing that shaped the lives of every great player who came after it. If you can find a copy of The Guitar That Changed The World, it has Scotty playing many of these great songs with his Gibson in the forefront!

Scotty MooreElvis Presley’s original guitarist helped define the sound of rock’n’roll by creating jazzy licks drenched in slap-back echo behind Presley’s acoustic, bass and drums.

WhEn a young Elvis Presley entered Sam Phillips’ Sun Studios for his first proper recordings in 1954, his band of ‘middle-aged jazz musicians’ included guitarist Winfield Scot Moore – all of three years and two months the singer’s senior. Together with double bassist Bill Black and drummer DJ Fontana (Elvis himself often slapping the side of and sometimes strumming his own Martin D-18) they made up the Blue Moon Boys, a group that would lay down some of rock’n’roll’s most important tracks. The trio toured with the burgeoning superstar, recorded numbers like That’s All Right (Mama), Good Rocking Tonight, Hound Dog, Mystery Train and many others.

“It was all very informal,” Scotty told me some years ago. “We’d go in and maybe Elvis would have a couple of tunes he’d want to try, or maybe Sam would have some ideas. So we’d try different things and finally just lock into

one of them. We had no overdubbing, no splicing. What you hear is what we played.” Moore, Black and Fontana also appeared with Presley on TV and in many of his films.

‘Scotty’ was indeed a jazz guitarist, but his Tennessee upbringing imbued his thinking with a fair bit of country too. He even played in a local group calling themselves The Starlight Wranglers. He favoured archtop Gibson guitars and it was Moore’s jazzy chords, mated to Presley’s incredible ‘white’ blues singing over country-inspired songs, that helped to create the sound that we associate with early Elvis – and indeed with rock’n’roll itself.

As Scotty stated, these were straight takes and often mistakes would occur. Sometimes Elvis would choose a take for its feel or vocal performance, but with Scotty playing somewhat ‘outside’ the expected norm. Here’s what Scotty told me about his outlandish excursion on Too Much. “The song was in an unusual key for us. It was in A flat and we’d done two or three cuts on it, but on this particular cut I got absolutely lost, but somehow or other I came out of it and that’s the one Elvis picked. He said, ‘That thing felt good,’ because feel was what it was all about. But I’ve seen guys play that sucker note for note.”

Scotty used pick and fingers for much of his chord work and a regular flatpick for solos. He’s still playing today although his fingers aren’t so deft as they once were. But we can’t overstate the importance of this true southern gent in the making of some of the greatest tracks of all time.

Scotty Moore

My left hand’s doing good, right hand’s doing alright, mind’s as sharp as a tack; now if I can get all three of them working together we’ll be alright! Scotty Moore

MIC

HA

EL O

CH

S A

RCH

IVE/

GET

TY IM

AG

ES

l Scotty playing guitar with The King of Rock’n’Roll, Elvis Presley

14

rock & roll

Chuck’s use of Gibson semis and small Fender combos meant that most of his playing features natural amp distortion - sometimes just mild break-up and others on the verge of fuzz. You’ll rarely hear any effects on the guitar save for a splash of reverb - either from the amp or added at the mixing stage for ambience. On a twin-humbucking guitar try both pickups on together, and on a Strat or Tele style instrument select the middle position of the pickup selector and back the tone off to taste. Use more power amp overdrive than front-end gain but make sure the tone is so fat it’s almost muddy!

Get the tone

TrAck rEcorD It has to be one of the many ‘greatest hits’ packages out there. But make sure it contains Roll Over Beethoven, School Days, Johnny B Goode, Maybellene, Nadine, No Particular Place To Go, Carol, Come On, Memphis Tennessee, You Never Can Tell, Rock And Roll Music and Sweet Little Sixteen, and your collection will instantly include most of rock’n’roll’s all-time guitar classics.

Chuck BerryOne of the most influential musicians ever to pick up a guitar, Chuck Berry’s style fuelled the R&B explosion of the 60s and heralded The Beatles and The Stones.BOrn Charles edward Anderson Berry in St Louis, Missouri in 1926 to a schoolteacher mother and church deacon father ‘Chuck’ Berry would become the most influential of all the rock’n’roll guitarists. Although raised in one of the city’s few prosperous black neighbourhoods, trouble was never far away. In 1944 Berry served the first of three prison sentences for a variety of well documented offences; when released on his 21st birthday, Chuck renewed his love of singing and playing the guitar.

Having been weaned on a diet of Muddy Waters and T-Bone Walker, it’s no surprise that Berry was first and foremost a blues guitarist. By the time he took over the leader’s role in the St John’s Trio, adding his ever more exuberant stage act to the group’s staple of blues and R&B, the band was one of the most influential around St Louis, rivalling even the great bluesman Albert King.

When his idol Muddy Waters suggested Chuck visit Chess Records, and blues mogul Leonard Chess liked his rendition

of country staple Ida Red – soon to transmute into Chuck’s first chart-topper Maybellene – the die was cast for a career that would go on to impact on everyone from The Beatles and The Stones to AC/DC and Led Zeppelin.

A string of Berry-penned hits followed, including Roll Over Beethoven, School Days, Rock And Roll Music, Sweet Little Sixteen, Carol and of course Johnny B Goode.

In 1962 Chuck found himself behind bars again. His term lasted three years, during which time he studied business and lost no time writing more classics, including No Particular Place To Go, Nadine, You Never Can Tell and Promised Land – all of which would chart after his release.

When Berry left Chess and signed to Mercury in 1966 rock‘n’roll was in decline. Despite constantly touring, Chuck never hit his previous heights except for a surprise UK number one in 1972 with the novelty song My Ding-A-Ling. His position as one of the most influential songwriter-guitarists of all time, however, cannot be overstated. His songs continue to be performed around the world today.

Chuck’s style is characterised by a fat and gutsy Gibson tone (he preferred the ES-300 series), the use of double-stops, blues-style major-minor ambiguity and the addition of notes such as the 6th and 9th into his lick vocabulary – much of this coming from his guitar hero T-Bone Walker. At the time his technique seemed virtually unsurpassable. His lyrics are brilliantly descriptive and highly intelligent and he is rightly often termed the ‘rock’n’roll poet’.

FRA

NK

DRI

GG

S C

OLL

ECTI

ON

/GET

TY IM

AG

ES

l The one and only Chuck Berry sporting a blonde Gibson ES-350

Chuck made me say ‘I want to play the guitar’. When I heard him, suddenly I knew what it was I wanted to do Keith Richards

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GUITAR TECHNIQUES MAGAZINE 126 Chuck Berry Rock n Roll

ChuCk Berry

In order to make the backing track less busy, my rhythm part is a simple four-to-the-bar down-stroke feel, but you might want to double-time it – still keeping it all down-strokes. The main point is to highlight Chuck’s habit of not only moving from the 5th to the 6th interval (Status Quo rhythm!), but also covering the next string up with the same finger, to give a sort of double movement (this adds the slightly odd-sounding root to 2nd sound).

liCk 1 CHUCK RHYTHM CD TRACK 12

You’ve heard solos like this 1000 times, but no one does it like Chuck. These are all really blues licks, but without the bends and vibrato you’d hear from Stevie Ray Vaughan or Angus Young, who would both use similar notes. The stuttering syncopated third-string bend is a direct lift from T-Bone Walker!

liCk 2 CLASSIC BERRY INTRO/SOLO CD TRACK 13

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24

rock & roll

Don used regular sized Gibson acoustics in the studio, not the bigger Everly Brothers jumbos the brothers took on stage. Go for a mellow tone and back off the top end if you’re using a piezo. For the riffs and chords a Tele, or a semi with humbuckers or single-coils is ideal, but any bridge pickup will do. When using Tremolo, it always sounds best with a little delay. Don’t worry about timing the speed to the track, just make sure that the depth and speed are sympathetic.

Get the tone

TrAck rEcorD It’s Greatest Hits time again. There are numerous on the market but The Golden Years Of The Everly Brothers contains Wake Up Little Suzie, Bird Dog and Bye Bye Love (all of which use Don’s open G chord riffing) and of course Cathy’s Clown, Crying In The Rain, Temptation, The Price Of Love, Walk Right Back and all those other killer tracks.

The Everly BrothersTwo of the most influential figures in music not only changed the vocal approach in popular songs, but arguably invented the heavy rock guitar riff too!Think of The Everly Brothers and you inevitably imagine beautiful sibling vocal harmonies, weepy ballads about plane crashes, teenage crushes gone wrong and a host of other sad-ending songs. But would it surprise you to find that guitar riffs as powerful as Smoke On The Water, Communication Breakdown and Sunshine Of Your Love can be traced directly back to Don Everly’s innovative acoustic guitar playing on the duo’s 1957 debut hit Bye Bye Love?

According to Don, the older of the Everlys, he’d heard Bo Diddley’s famous ‘dum-ti-dum-dum, ti-dum-dum’ rhythm and it affected him so much that he wanted to come up with something equally catchy but which didn’t rip the great bluesman off. Don had already got into open G tuning via his father, country singer Ike Everly, and an aunt Hattie who also played songs in this way. So the tuning and the rhythm conspired to create the sound you hear at the start of Bye

Bye Love, Wake Up Little Suzie and others; a simple but powerful minor pentatonic chord riff with very similar intervals to Smoke On The Water. “I tried it on my open G acoustic one afternoon and it just happened,” recalled Don.

Brother Phil goes as far as asserting that big brother Donald actually invented heavy rock by way of the standalone intro chord riff – a sequence sometimes but not always related to the song that follows it, such as Led Zeppelin’s Communication Breakdown, Sunshine Of Your Love by Cream and the aforementioned Deep Purple classic.

Phil: “When you take Donald’s intro to Bye Bye Love, Wake Up Little Suzie, Bird Dog or any of the others, that was the first time that those kind of incongruous chords were used. If you take those chords and electrify them with a lyric on top, you have the essence of heavy rock, which is essentially a song written around a riff.”

The great guitarist Chet Atkins, a friend of the boys’ father and a great champion of the duo, would manage many of The Everlys’ studio sessions and invariably end up playing electric guitar on the tracks. This could be in the form of a riff, broken chords or arpeggios - very commonly using tremolo effect - and even the occasional baritone guitar to beef things up in the low end.

This example imagines a typical Everlys’ session guitar line-up of Don’s acoustic rhythm, a tremolo guitar playing

CBS

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l Legendary duo: the Everly Brothers playing their trusty Gibson acoustics

If you take Don’s chords and electrify them, with a lyric on top, you have the essence of heavy rock Phil Everly

25

everly brothers

You’ll need to drop your first and sixth strings from E to D and your fifth from A to G to get the right sound. Major chords are now playable by simply barring across all six strings. Notice how the first intro chord is a barre at the 12th fret and the guitar returns to this as ‘home G’ every time. Be loose and open with your strumming - the correct feel is everything. For the Bb, C and D chords, simply barre the 3rd, 5th and 7th frets as appropriate.

lick 1 DON EVERLY ACOUSTIC INTRO CD TRACk 22

Tremolo was probably the commonest effect used after echo in the rock’n’roll years and many Everlys’ tracks employ it. The idea is to move away from the main chords by using different inversions on another part of the neck. As the main guitar is in open G, I simply played a three-note ‘Dm7’ shape chord at the 8th fret for C, and a ‘D’ shape at the 7th for G and so on. This is standard practice for creating this type of part.

lick 2 TREMOLO CHORDS CD TRACk 23

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broken chords by perhaps Chet, and another guitar (not baritone for reasons of practicality) adding fills and possibly played by studio guitarist Ray Edenton.

The acoustic guitar is in Don’s open G tuning (D G D G B D) but the two electrics are at standard pitch.

Between 1957 and 1965 Don and Phil Everly clocked up 15 or so massive single hits, many of them topping the charts on both sides of the Atlantic and around the rest of the world. Their songs and singing style influenced

everyone from The Beatles, to Simon and Garfunkel and The Beach Boys. And if Phil is correct about his brother’s effect on guitar riff writing in rock music, Led Zeppelin, Deep Purple, Cream and a host of others too!

After falling out quite badly in the ‘70s the brothers made up again in the 1980s and, while officially retired, still perform occasionally, often guesting alongside other classic acts that are happy to doff their caps to their idols. It’s unlikely that there’ll ever be another Everly Brothers.

32

Eddie’s soloing style, rather like that of Gene Vincent’s Cliff Gallup, would often consist of licks pulled out of the underlying rhythm chords. In effect he was further beefing up his double-tracked acoustics. In this solo you’ll hear rhythmic doubling of the bassline; bluesy quarter-tone bends on the third and second strings that ‘clash’ deliberately with open second and first strings; sliding 6ths with added b7ths and neat triads (D shapes at the 9th and 11th frets for A and B); and ending with a 12th-fret three-note chord of E (G#, B, E). These are all classic rock’n’roll moves showing that, indeed, simple can sometimes be best. Now try similar ideas in your own solos and see what you can come up with. In fact, why not try them now over track 30!

example 1 LEAD/RHyTHM SoLo CD TRACk 29

Eddie often recorded virtually all the instruments on his tracks – including drums – and so it was natural that he would also overdub more than one guitar. Many of Eddie’s biggest hits featured two acoustics – one playing regular open chords and the other capo’d further up the neck. For this track I played regular open E, A and B7 chords in the first position, then placed a capo at the 4th fret and played the shapes of C, F and G over the top (despite the capo Eddie often played E-shape barre chords and so I followed suit at the 5th and 7th frets, but feel free to replace the 7th-fret barre with open ‘G shape’ if you prefer). When mixed together the two tracks gel so well that you often can’t hear which chord tones are coming from which track. Try this on your own recordings – it’s a great trick that bands like The Eagles also love!

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R 9 5 7

YOUR USER GUIDEYou can get more from GT by understanding our easy-to-follow musical terms and signs...

Chord example (with capo)the blue line represents a capo – for this a chord, place it at fret 2. capos change the fret number ordering – here, the original fret 5 now becomes fret 3, fret 7 now fret 5, etc.

Read music

SCale examplethe diagram shows the fret-hand fingering for the a major scale (root notes in black). the photo shows part of the scale being played on the fourth string with first, third and fourth fingers.

a major scale

Tapping & harmoniCSthe left box shows an a minor pentatonic scale with added tapped notes signified by ‘t’s. above shows a cmaj9 (no 3rd) with harmonics at the 12th fret.

Relating tab to youR fRetboaRd

hand labellinghere are the abbreviations used for each finger:Fretting hand: 1, 2, 3, 4, (t) picking hand: p (thumb), i (first finger), m (second), a (third), c (fourth)

Guitar techniques: How tHey appeaR in wRitten music...

T

12

3

4

p

c

am

i

every transcription or lesson in Gt is graded according to its level of difficulty, from easy to advanced. we’ll also let you know what aspect of your playing will benefit by attempting a lesson.

our raTing SySTem

advanced

moderate-advanced

moderate

easy-moderate

easy

&

1 E2 B3 G4 D5 A6 E

2nd string3rd fret

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2nd string1st fret

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3rd string2nd fret

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4th stringOpen

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1 E2 B3 G4 D5 A6 E

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GUITAR TECHNIQUES MAGAZINE USER GUIDE

Guitar Technique Examples - Treble Clef And Tablature

&

1 E2 B3 G4 D5 A6 E

2nd string3rd fret

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2nd string1st fret

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3rd string2nd fret

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4th stringOpen

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GUITAR TECHNIQUES MAGAZINE USER GUIDE

Guitar Technique Examples - Treble Clef And Tablature

Tabbing under the musical stave, tab is an aid to show you where to put your fingers on the fretboard. the six horizontal lines represent the six strings on a guitar – the numbers on the strings are fret numbers. the two stave and tab examples show 4 notes and 4 chords; c (c major), em (e minor), D7 (D dominant 7) and am7 (a minor 7).

muSiCal STaVe the five horizontal lines for music notation show note pitches and rhythms and are divided by bar lines.

nuT & freTboardthe fretbox diagram above represents the fretboard exactly, as seen in the accompanying photo. this is for ease of visualising a fretboard scale or chord quickly.

piCking variations anD alternativesup and down picking

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Down & Up Picking

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Tremolo Picking

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GUITAR TECHNIQUES MAGAZINEGuitar Technique Examples - Picking

n the first note is to be down-picked and the last note is to be up-picked.

appeggiate chord

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Down & Up Picking

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n play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.

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Down & Up Picking

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pick rake

n Drag the pick across the strings shown with a single sweep. often used to augment a rake’s last note.

n palm mute by resting the edge of picking-hand’s palm on the strings near the bridge.

Tremolo picking

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Down & Up Picking

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Tremolo Picking

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n each of the four notes are to be alternate picked (down- & up-picked) very rapidly and continuously.

Chord example the diagram represents the G chord in the photo. the ‘o’ symbol is an open string, and a circled number is a fretting finger. intervals are shown below..

&

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Down & Up Picking

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&

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42 5


each transcription is broken down into two parts...

palm muting

34

guitar sampler

Documents