Scofield Fusion Lick

You probably know who John Scofield is, if you don't, stop reading this as you've got more important things to do. I've always loved his phrasing and his ability to fuse blues and jazz, among other things. Some phrases really show that off, so here's one I love from a live version of a tune called Hottentot (originally from the album, A Go Go, a fantastic collaboration with trio Medeski, Martin and Wood):

The line starts in a Bbm pentatonic zone, climbs up through some dorian (g natural in Bbm), moves through some chromatics and end with a little scale run into great bend. It has a lot of energy to it and really drives into a new section with the band. Its a great example of mixing pentatonics/blues and jazz elements.

Check it out. Mess with the fingerings and phrasing. I find that a little economy picking helps in the chromatic section. Enjoy.

PA

Here's a link to the video (line starts around 6:17).

Nick Johnson Guitarist - Arpeggio Sequence

Nick Johnston Guitar

We're looking at another lick from Canadian guitarist, Nick Johnston. Its a cool sounding arpeggio sequence that you can move up and down the neck and use as a basis for other lines.. It has a clever fingering that flows really well and offers more insight into his approach towards the guitar neck. You’ll see how it connects to the last lick we looked at and how you can take the concept even further.

Let’s start with the line:

Nick Johnston Guitar - Arpeggio Sequence Lick - Main

You can see Nick playing it and walking through it here.

It’s a cool line in C major that flows really nicely and is a good workout for your legato and hybrid picking chops. It even has a little sweep in there for good measure.

Technically, take the first measure. You start with a downstroke (the upside down "u" symbol), hammer to the next note, downstroke again and then pluck the last of that group of 4 notes with your middle finger (marked "m"). The next 4 notes (still 1st measure) you have two consecutive downstrokes which you sweep, then grab the third note with your middle finger followed by a hammer on. That fingering pattern repeats nicely for every new position you move to.

Musically, you could think of it two ways. Each measure has two chords (Cmaj7 and Em7, Dm7 and Fmaj7, etc.) like this:

Nick Johnston Guitar - Arpeggio Sequence Lick - Ex. 2a

Or, every measure is basically a major or minor 9 chord like this:

Nick Johnston Guitar - Arpeggio Sequence Lick - Ex. 2b

If you think of the chords as being C, D, F and Am (like Ex. 2b), you have I7 - ii7 - IV7 - iv7. Can you find those chords in different keys? Try G,  Eb, etc. Also, it sounds cool as is but try moving it out of sequence like this (Ex. 3):

Nick Johnston Guitar - Arpeggio Sequence Lick - Ex. 3

Anyway, you get the idea. Get it into your fingers. Move it around. Change up the sequence. This will help you nail the technique and come up with creative ideas.

Alright, let's take this just a little bit further. Since we've moved up in 4 note groups, how about trying it backwards? Take the shape and play it backwards (just play the first note with your middle finger and hammer-on/pull-off everything else):

Nick Johnston Guitar - Arpeggio Sequence Lick - Ex. 4

Get used to going backwards and try that out on all the chords. Next, try going up (like the original) and then back down like this:

Nick Johnston Guitar - Arpeggio Sequence Lick - Ex. 5a

Or, here's an alternate version where you don't re-strike the string on the way back down. I think it flows a little better:

Nick Johnston Guitar - Arpeggio Sequence Lick - Ex. 5b

Try that for all of the other chords in the sequence too (Dm, F and Am).

One more thing, you can take that concept one step further and get a really cool melodic idea by going up one shape, sliding up into the next and then coming back down. Try this:

Nick Johnston Guitar - Arpeggio Sequence Lick - Ex. 6

I love the sound of the line sliding up and coming back a different chord. Here's that idea applied to the original arpeggio sequence:

Nick Johnston Guitar - Arpeggio Sequence Lick - Ex. 7

Again, like we looked at in Ex. 3, try mixing up the chords. Go from the lowest to the highest. Isolate two chords and loop them. Even try changing string sets.  Its a great little idea that sits really nicely under your fingers.

Until then, practice up, let me know if you have any questions and don't forget to make it musical,

PA

Nick Johnston Guitarist - Hybrid Picking and Legato Arpeggio Lick

I was never really into metal growing up*, though I can appreciate almost any music and there are definitely some great musicians in that scene. These days though, its seems like there are some uniquely creative shredders out there who cross genres, have incredible technique, musicality and are really interesting to listen to. As a guitarist they grab your ears no matter what kind of music you're into and demand you listen! Immediately I think of guys like Guthrie Govan, Ron Thal (Bumblefoot, Guns N' Roses) or Mattias Eklundh who are shredders from another universe, so musical and can seemingly play anything or any style they want that they could hardly be described as to only a hard rock or metal player. Well, recently this Canadian guitarist, Nick Johnston, starts popping up on my facebook feed. Along the same lines, he's a great player with a refreshing approach. Lately, He's been doing some posts teaching some of his go to lines for improv.

I'm always fascinated to see how other players move around the guitar and love picking apart lines to figure how they think. I've picked up a few of his lines and thought I'd post some transcriptions with insights into how you can get them into your own playing if you're interested. Check it out. You can see him teaching the lick here (he might be tuned down a half step).

Its a cool line where he mixes legato playing (hammer-ons and pull-offs) and hybrid picking over a C minor 7 sound with some chord extensions for color. Here is the line (Ex. 1):

On the way up he uses hybrid picking. Think of every three notes as a grouping. The first note is played with the pick, the second is plucked with the middle finger (marked "m" in the music) after which you hammer on the third note. Same for the next group of three notes. After that, the next group of three (last two beats of measure one) has an extra pull off and starts you descending through the line. On the way down it is all legato, meaning you don't pluck any notes with your right hand and its a hammer-ons and pull-offs party all the way down. Even as you cross strings you hammer-on (marked by "h" in the music). Try it out. It flows pretty smoothly.

I mentioned its over a "C minor 7 sound" as there is more going on than straight C minor. It is a C minor 7 chord with an added 9th and 11th (you could call it a number of things, Cm9, Cm11, etc., etc.). Here is the breakdown (Ex. 2):

If I find a sound I like, I'm always interested to see if I can move it around and really get it into my playing. So, here is the lick moved to A minor (Ex. 3):

It sits there beautifully. Well, then why not try to move it though all the diatonic chords in C major to see what else we might find? (Ex. 4):

Some I liked some more than others. You can see that the original pattern (A minor above) fits exactly the same over D minor here. That's kind of nice. Over the E minor chord you catch a flat 2 which is a little dark sounding. Cmaj7 and G7 work pretty well. Fmaj7 had a #11 (or #4) which was kind of cool. Anyway, moving a lick around like this is really useful for a couple of reasons: 

• One, its great practice for getting the general movement of the line into your fingers.
• Two, you explore the neck and have time to absorb the concept, which might lead to other discoveries. For instance, if you hadn't noticed, the entire line is moving in thirds. I broke things up so you could maybe see it more visually here (Ex. 5):

Nick Johnston Guitar - Cm Arp Lick (Breaking up the line)

Notice that you have three little chords embedded in the line: an A minor triad ("R" for root, 3 for the third, and 5 for the fifth), a G major triad and an E minor triad. You could really easily break the line into smaller parts so that you didn't always have to start on the 6th fret and could try mixing it fluidly into other lines you might play. Try this for starters (taken from the A minor line, Ex. 6):

Nick Johnston Guitar - Cm arpeggio Lick (smaller lines)

So, mess around with it. Be creative. It can be really inspiring to see how other players put ideas together. You can get a lot from that. Again, here is Nick playing the line.  

Practice up and don't forget to be musical!

PA  

P.S. In the video he moves through 4 note patterns at the end. I'll try and get to that soon as its a nice way to make the line more flexible.

*Thanks to my friend Lyndon to changed my lack of metal awareness and introduced me to the finer points and sub-genres of the scene (Viking metal??).

**picture via truthinshredding.com

For the (Electric) Church Guitarist - Playing Higher Up the Neck - Triads 1

Alright electric players*, this is a good place to start, especially if you're looking to break out of first position and move up the neck. Be sure to check out the acoustic posts on CAGED families as a lot of that will apply  to you as well but I wanted to start with something that would be pretty immediately useful (though you can go really deep with this too): chord triads. Fancy name for very useful little chord voicings. You may go to some of these already. In fact, if you play any chords at all you already do play them, either way, you're hearing these particular voicings of chords ALL the time. We'll look at examples in songs soon but for the next couple of posts we'll talk about what they are, how to use them, and how practice them.

What They Are:A triad is the raw material of a chord stripped down to its basics. Just like the name implies, it has three things going on. In this case, notes. 3 notes to be specific: the Root (R), the third (3), and the fifth (5). That's what makes up a chord at its basic level. Ok, enough theory, lets move on to the chords:

Consider the example to the right (Figure 1), Triads in C major (if the term triads freaks you out, just think "little chords").

If you're not familiar with these they might look a little strange but the example shows you two things: First, there are three shapes, and second, they move up the neck.

So, for one C chord, you have 3 choices that move from the bottom of the neck all the way up to the twelfth fret (even more if you keep repeating the shapes). That's a lot of distance and will help you not be stuck on only one zone of the neck.. Again, as I've mentioned before this stuff is like building your musical vocabulary. You want to have options and be able to be as creative as possible. These will help you loads and is absolutely essential for an electric player (really any guitarist).

The diagram is a representation of the guitar neck starting at the first fret (top of the pic) moving all the way to the 12th fret. Certain frets are numbered for guidance. The chords are also labeled with R, 3 and 5 for root, third, and fifth. The black dots are for your fingers and the open circle is the root. Finger them however it makes sense. OK, so check the chords. Play each one. Don't just strum through them but play the notes one by one. Try playing the notes in different orders. Move them around. Chances are it will start sounding like something you've heard before. You might even start getting a creative idea.

If you have something to play against, even better. A looper works well. If you don't have that, check out these ambient pads in all 12 keys. Play the one in C for about 8 minutes of washed out C majory goodness. Its waaaay more interesting and fun to play/practice this stuff in some sort of musical context.   Now you have to get these into your fingers. We'll hit that up in another post but quickly:

1. Get used to the shapes.
2. Notice where the roots are. These are all moveable chords so they become whatever chord you want them to be depending on where you move them.
3. Practice with a simple chord chart. Can you move these around to become other chords? It helps to get to know the notes on the neck, but well talk about that soon if you're unfamiliar with that.

So, dig in to these. Start becoming familiar with them and check out part 2 here.

Practice up, let me know if you have questions and thanks again for serving your local church!

PA

*This is great stuff for any guitarist, not just electric players, though they will tend to use these more than open chords like and acoustic player would in this style.