SIING IN: ROCK GUIR CONNS bout the uthor Introduction ow to Use his ook Working with the Play-long racks Scale heory6 Intro to Rock armony Changing Keys and Making the Changes Say Wha? (Classic Rock in ) lue Checkerboard (Slow lues in b ) 6 lind Swine (ard Rock in Minor) ipitina s (Funk Rock in C Minor) reaking Limits (Country Rock in C # Minor) Crocodile in the Rain (lternative Rock in D Minor) 6 Protector of Music (Funk Rock in b Minor) choes in the Cavern (lues-rock in ) Wandering roubadour (ard Rock in F Lydian)8 8 Proof to Go (eavy Metal in F # ) he Grand Ryman Pews (Country Rock in G)8 Sometimes Less Is Fillmore (Rock-lues in G # Minor)6 o e or to CG e? (lternative Rock in ) 66 eavy as Rox (eavy Metal in D) SONGS Y CGORY CLSSIC ROCK Say Wha? (6 PM) LUS-ROCK lue Checkerboard (6 PM) 6 choes in the Cavern ( PM Swung) Sometimes Less Is Fillmore ( PM Swung) 6 RD ROCK lind Swine ( PM) Wandering roubadour ( PM) 8 FUNK ROCK ipitina s ( PM Shuffle) Protector of Music ( PM) COUNRY ROCK reaking Limits ( PM) he Grand Ryman Pews ( PM) 8 Vulcan rmadillo ( PM Swung) LRNIV ROCK Crocodile in the Rain ( PM) 6 o e or to CG e? (8 PM) 66 VY ML 8 Proof to Go ( PM) eavy as Rox ( PM) Vulcan rmadillo (Country Rock in C) Scale ppendix 8
6 SIING IN: ROCK GUIR SCL ORY scale is an arrangement of notes in a specific order of whole steps (two frets) and half steps (one fret) he maor scale is made up of seven notes which, when played in sequence, make the familiar melody: do re mi fa sol la ti (do) he scale is constructed by starting on any note and following this pattern of whole steps and half steps: W W W W W Maor Scale W W W W W w w w w w w w w W = Whole step = alf step C D F G C here are notes in music, and a maor scale can be built from any of the notes In order to maintain the pattern of steps that make up a maor scale, every scale starting on any of the notes has its own combination of flats or sharps (except for C Maor, which is comprised of natural notes) he name of the note that the scale starts from is called the tonic (although rock musicians often call it the root, so in this book, we ll use that term) o the right are all maor scales Notice every note in a scale (the scale degrees) is numbered he maor scale is the standard to which all other scales are related s you saw above, the individual notes (called scale degrees) of the maor scale are numbered 8, and other scales are often described as alterations of these degrees he scales (with formulas) used in this book are to the right:
SIING IN: ROCK GUIR lind Swine rack (Minus Guitar Lead) min Π= # # rack (Full Mix) (ard Rock in Minor) # min # min # # ( ) ( ) ( ) ( ) ( ) ( ) # ( ) ( ) ( ) ( ) ( ) ( ) min ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) # ( ) ( ) ( ) min # # ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) # ( ) ( ) ( ) min ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) # ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) 6 ( 6) ( ) 6 ( ) 6 ( 6 ) min # # # min # ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) P 6 8 ( 6) 6 ( ) 6 ( ) 6 ( 6 ) G # # Π# n G Π# n P ( ) ( ) ( ) ( ) 6 8 P P ( ) ( ) 8 ( ) ( ) 6
SIING IN: ROCK GUIR Overview ustin City Limits (CL) should need no introduction s a venue, festival, and V show, its influence is vast he beautiful Moody heater has been home to this maor music series since the early s Originally created for country and blues, CL has gone on to represent every genre of popular music his tune is a blend of a steady eighth-note rock feel in the style of U and country poprock playing It features double stops, triple stops, and country bending (a unique bending technique that comes from imitating country and bluegrass instruments, such as the bano, dobro, and pedal steel guitar) Country guitar styles are found in Southern rock, and it has become an in-demand style for the modern studio guitarist General form: i b VI b III b VII, Chorus: b VI b III b VII b VII Key: C # Minor = PM Listening Suggestions ellecasters: ack on erra Firma Sweet Dreams he ellecasters are one of the most popular country guitar groups With three top-notch players ripping in harmony and trading solos, they keep everyone on the edge of their seat ohn Mayer: elief Modern country music might seem far away from pop artists like ohn Mayer, but both could be viewed under the mericana umbrella his is a great song that nails the feel we intend for reaking Limits Carrie Underwood: lown way his is the most un-guitaristic song in the book, but it s a great modern country-pop reference he feel is not rooted in country but, rather, a rock four-on-the-floor feel Soloing In this chapter, we ll discuss country-style techniques you can use to spice up your solos his will create a country flavor, but be sure to try them in other styles of music his tune is in the key of C # Minor, so you can use the C # Natural Minor scale, the C # Minor lues scale, and lots of open strings (,,, and low ) in your soloing he licks are in closed position (no open strings, usually involving about five adacent frets), so they can be easily transposed to other keys Shape Shape Shape Shape Shape C # Minor lues 6 6 8 6 8 C # Natural Minor (eolian) 8 6 6 8 6 8
SIING IN: ROCK GUIR Licks Lick for Shape his lick features a little trick at the end: the 6th-triplet section uses a rolling technique to b Minor lues Shape smoothly move across the strings Start by fingering with the tip of your st finger, then hammer on the next note When you pull off, collapse the tip oint a little and land on the pad of your st finger Now, the st finger rolls down to play the next string with the tip again; repeat his rolling effect is fast and efficient and will feel as though the finger is ust shimmying up or down the strings b b b b b b b min b min w ( ) b min b min b min Ó b min P P P Lick for Shape When soloing in a funk-rock groove, it s great to use ornaments like those demonstrated in this next lick hese quick little hammer-ons and pull-offs dress up a melody with bit of soul b Minor lues Shape 6 b b b b b b b min Ó 6 6 ~~~ b min ~~~ ~~ b min ~~ ~~~~~~~~~~~ 6 6 6 ( 6 ) b min Œ ~~ ~~~~~~~~~~~ P P ~~~ ( 6) 6 b min b min ~~~~~~~~~~ 6 ~~~~~~~~~~ ( ) Lick for Shape Let s explore Shape with a catchy repeated rhythm his melody moves down in a naturalfeeling one-and-a-half-beat phrase, which gives a nice syncopated onbeat offbeat onbeat, push pull effect s with many of the licks in this book, this phrasing idea was played naturally and then put under a microscope, not the other way around Once you get this concept into your head and hands, it should become a natural soloing concept for you b b b b b b b min 6 ~~~~~~~~~~~~~~ 6 8 ( 8) b min ~~~~~~~~~~~~~~ b min ( 8) 6 8 6 6 b min ( 6) 6 6 8 8 ( ) 8 b min b Minor lues Shape 6 8 ~~~~~~~~ SL b min 8 8 6 6 ~~~~~~~~ ( )
SIING IN: ROCK GUIR 6 Roadmap Six total choruses: head, guitar solo, keyboard solo, guitar solo, keyboard solo, head Overview he club CG was at the heart of New York City rock and roll for many years he careers of artists like he Ramones, Patti Smith, elevision, alking eads, Misfits, londie, and he Police were launched there ven though CG stood for Country, lue Grass, and lues, the venue at owery St mostly hosted rock, punk, post-punk, and the cutting-edge sounds on the day o e or to CG e chugs away in this vein, starting with riffs based on power chords that alternate between and D he second section does a walk down through a descending chord progression and ends up on the V chord () to build up tension and to bring it back to the top General form: i i iv iv i i iv iv, ridge: i V v IV b VI b VI V V Key: Minor = 8 Listening Suggestions he Ramones: Rock Roll igh School his is an iconic song from the group that largely defined the New York punk-pop sound Guitarist ohnny Ramone threw down heavy power chords and riffs elevision: Marquee Moon he band elevision was an integral part of the s New York rock scene hey recorded in a raw, stripped down manner but drew from azz and improvisational influences his song is the title track from their influential debut album Guitarists om Verlaine and Richard Lloyd played dueling guitar parts, often in a unique angular style Soloing While you could solo over this tune entirely with the Minor lues scale, there are other options for making the changes he first section is simply Minor to D Minor, so use the Minor lues scale for the Minor chord and the D Minor lues scale for the D Minor chord When we move to the bridge section, the Minor lues scale can work but it may miss the intricacies of the progression he bass line for the chord progression forms the descending melody of G # G F # F First and foremost with soloing, try to think in terms of arpeggios for these chords You can use Natural Minor or Minor lues scales for Minor but you ll need to make alterations for the other chords For /G #, you could play Phrygian Dominant ( armonic Minor from the fifth degree) or Dominant b Pentatonic For the min/g chord, you can play an Minor lues scale or go back to Natural Minor For the D/F # chord, you can play Dorian (D Mixolydian), D Maor lues, or D Dominant Pentatonic For the F Maor chord, you could use Natural Minor (F Lydian) or F Maor lues For the last chord, Maor, either Phrygian Dominant ( armonic Minor) or Dominant b Pentatonic would work Please refer to the appendix on page 8 for the scale shapes used throughout