Japanese and Indian Soloing

8/6/2019 Japanese and Indian Soloing

1/12

Exo tic s ca le sMARTY .FRIEDMAN MASTERCLASS

GTRATINGMOD.E.RATE1,1 '1111.1Help, ; impl"CYe YOJr~iii E)(t:ltilt:.aIiOiIQmWIi:dg~ L@ft~handfingeril1g s ee se (If IfMlodicaaven~ili'e.!

"I learnedfrom foreigninstrumentsand copiedtheir phrases."

M - -ny Friedm an m ade hisname vla amultl-platinum career withspe-ed metallersMcgad el h, y et all alo ng the way he 'sq uie tl y f or ged a su cc es sf ul s ol ocareer in parallel He's now ac onf irme d s ole ar ti st. and GT ca ughtL IPwi th hi m dur ing a r ece ntp ro mo ti on al t ou r o f . IU s ne w a lb um ,' M us t o F o r S p ec d. 1 ng ', to f in d c u t,more about some of his mostc h ar a ct e ri s ti c t e ch n iq u e s.H is solo mater ia l has a lways been

a bit. or a departure ( ro m t he d ie -h a rd r iI fu J .g Of M e ga -d ct h, b u t e ve nd~lri_ng the days of accornpnnytngt he poun ding guit ar pla yin g of Dav eMustalne, Marty's love of Easternmu s ic h a s a l wa ys h a d. a n o u tl et ,

"I . didn't want lO lea rn t h - e s ames tuf f as e ver yone e ls e, s o ( lea rnedf rom f or ei g n l ns tr u _r n _c o ts a n d o o pt edtneir pnrases .v he s a ys . " I n MiddleEastern music, their phrases arequite s im il ar to wha t I 've bee n dQingf or a l on g t im e, with a L ot o f o d dp at te rn s. T he r ea so n ls b ec au se t he yhave thousands of years of mus ich is to r y, t he fl1US~C h as e vo lv ed , s owhen thev hear these odd rhytluns,i t's like us listening to AC/DC!"

A LT HO UG H M AR .T Y F RIE DM AN made h is n am ewit h ' 90 s met al s u p er st a rs M e g a d- e th , " I s p e rs o na lin.spiration hM o rt en b ee n the music of t il e m i dd lea nd f ar East . His first s ol o a lb u m, 'S ce ne s. ' ( 19 92 ,Shrapnild), wa s a collaboration with new a ge s ta rK i ta r o , f o li Qw ed by 1 99 4 's ' In tr od uc ti on ', w h ic hboasted e v en : st ro n g er J a pa n es e f I ! l \ l l O l l r . O t he r a lb u msi nd ud e' True Obses si on ' (19 96 ) and t he j usc rel ea sed

'Music: For Speedins;' (Mascot records in Eur ope. hvor ed Nat io ns i n theUSA) , 'Which revis1t3 hili more aggreuiw playing. Yo u l:lfI Be t it f romwww.arnaztH'l.co.uk

EXonCEARSMarty admi ts h is penchan t fo rexotic scales Jsn't rea lly based onany particular theoret ical grounding"l le t. my ca rs ( 10 al l the t heo ry," hes ays . I n t his m as ter clas s, w e'veincluded all the main scale shapesthat- his nifty ears have picked upover the y e ar s, 1 m L r em e m b er thatMarty very often dips his toes intomany different S l ' l . a PES . Your carsshoul d a ls o bey our sn ide oncet he s e s ha p es a re c o mf or ta bl eunder yOUI' fingers.

., SOUND ADVICEFRiEDMANIAMAIm' F RIE DM A N U SU A LL YP L A Y S h i: ; own jeckson signaturemodel , the KEI Many friedlTWl,now d iscon t in ued If y o u f in d 0tI1!!new- or second-hand. you'll discoverit 's:a simpk! alder bod)'/~topg u it ar w i th a t hr u- -n ee k . I -p ic k up .no- tone ee rer cl a nd a Khal er f ix edbridge . for eeeesue passa,ges.F r i edman p l a y ! . v a ri ou s . A lv a re zg\ lMn; . a n - d USi!$ C ra te B lu e \Ibodoo1 1 0 h e a ds a nd C nt e - 4) (1 2 " ca b s.

MART Y ' S SCAlES5 1 1 . A . L , . , , . wi," ~ 1, . Used In

EXAMPLE 2

S M . . . ASp,"ohG,p". Used~nEXAMPLES2&3

A " . ". "5 (moce4oftheharmonicminor)U"ill"ld inEXAMPLE I ,

_ 9th position

!IIi 9 1 1 ~ ~ ~ ~ ~ ~ : &", 7,h '0" ' ;0" i~Q& I D m ~ , ~ ~ , ~ ~ : ; '

Undl. !EXAHPLE5 ~c _ _ _ _ _ _ _ _ _ _ _ _ . 1
http://www.arnazth%27l.co.uk/http://www.arnazth%27l.co.uk/


2/12

H~ Friedn'HIIl: OQznim.aI"i: W'!:nI:':h3Tm~ inthe taking of thi~ photo.

@PROTIPE V ER Y P L AY ERinterested in Marty'sma . " ,r c l . . . probablyharbours; a desire tom o ve b e yo nd t he blues-based sales used soo f te n I n r oc k, a nd thislesson could be a ratf i rs t n e p , But try anddistinguish the differencebetween U k i nl lo n e 0 1t he se n ew s ca le ! a ndfinding I t hard co master,The lat ter tyst req ulrespe.rseverenc. , but r f you:5-implydon't llke hsm e lo d ic f e el . m o v e o n !P r a cd c i ng t h in g s y ou

~ dislike is tedious.


3/12

E xo tic s ca le sMARTY FRIEDMAN MASTERCLASS

is the glancing bend thut involves b ruling fr Inart outside note. "The trick is to start with the lefthand ul, the target Hole, and then g lorr it sn-aighl ~i'W"cly,o you geLa shade of the target note. Just long nough 10soundoutside - like you're muking a mistake, but then iL brings you back in quickly. You do it1.00 much though, i t sounds l ike you're seasick or something."

FreetimeN.C. 6

BD BU5}---(4)-{S S--2--4-{S}---(4}---(S -{7}----(6l--(7)-(6}---(7

PBaBU BD BU

S-----7-----5~-{8r--i7r___l8 S-{9)--(a--197)-5

SD BU SD au10)-a------7-{8)-{7}---(S)---S9 8-5-2

r---3----,r.

AS"

3 6 G l u t " r1 e c h n iq u e : MAY 2003


4/12

TRACKS 20-25

,EXAM PLE 2 INDIAN DRONE" 'l ARTY D0MONSTRATED THIS SOLO idea dur ing "di scussi on "bout h i> Midd leEaste rn musical inspirarfon, "I guess I was ori gi na ll y i nfl uenced by s ita r p layers . ' l' heydon't have a I, 2, ~~.4 like we do in rock'n'rott, and thls is particularly true in Indian[IlUS1c, Where' s t he ' J I. ? If y ou cun lind the l,ou're a better man than. [lie! The low Aa lso a c ts a s a drone , so the re a re no ru le s w hen it c om es to s ca le c ho ic e."

PreetlrneN.C.".~ -

'7-a~10~8~7-8---7 ~a 7-B1Qj-7

-s S

~D~~~~~~

~~ 9-6- 7 B 10 B 10-8-7 ~9 7 7 8 1()-1110 B 7 8 7 8 7 __

,---.3-,

"

11~~ , ~ ,H. 6. ~~0)

'~7 78 --10- -10G 10 B _ _ _ _ _ _ _ _ , g0


5/12

Exo tic s ca le sMARTY FRIEDMAN MASTERCLASS

D ~S PIT E M A RT Y'S F RE QU EN T U SE 0 1 u mb ig uo us sc ale s, h e is v ery fo nd of us inguie flfLh mode of the harmonic minor - otherwise known as the Spanish Gl'PS),s c a le . T h e penultimate b a r h ig hU ghW l the rnajor/mlnor amblgutty thai . is particularlyevident in Spanish music.

Preetjme

O J ~ . -

-J----'

S S S

~~~~8~~~~~'~~~~~7~~~~~~~~~~~~~~5'~~~~~~~~~~~~~~~~~~~~~~~

-

.)~ ~.

" . .oscet- - ~ - - ~ - - --~r--

3 8 G u i h l rT I x : h n i q u l' :' : MAY,~03


6/12

= TRACKS 20-25" P GO I 'L 0 A SK M E WHAT 'S Y O UR !, 'A V O URI TE scale, I mean what' , your favourite a l p habe t? I 'mn ev er re ally stu ck in th e- s a me sc ale fo r m ore th an a se co nd , F h'S L of a ll I d ec id e r donie W".lnt todlfferenti . .te between maj or and mi nor, so we're gQi .ng i n and out of major and minor; of coursepowerchords allo. '. ' you to do break out anywhere." Here, ,\-[an.y seamlessly combines 1"iIRltusen,li: major, E blues, G Kurnoiand Bphrygian scales. Pay attention at the buck!

FreetimeN.C ." -SII

eo BU

:":,~~~~~~1-{l 21---11}--(t2)-t 211 11 109-10 t2

! = H . . ~ f'- #~ b . . ~ . . . .~ '-----J~

E--12 to 11B 11 t2 1D--11 10 11 1(> 10 to0 12 1211_,2 t2-4-7-D

r - . t -

MAY 2003 Guil~lrThchniqul':3 39


7/12

Ex o tic s ca le sMARTY FRIEDMAN MASTERCLASS TRACKS 20-25

EXAMPLE 5 EXOTICARPEGGIOS"ARPEGGIOS HieVER\' NIC!; TO US!; to connect idea" but Idon't l ike I)\ayil lgarpeggios straight UI)and down, us its ou nd s ju st . l ik e a n .xercise. Ag .. :' li n, h ey c a n h a v e o d d n u mb er s , but il l a normal cont x t, a s y ou d on 't w an t it to soundlikean Oiympic e em," Many" silky smooth sound comes from Vf!fY minimal alremate picking, soa lot of legato and conornypicking is used Interestlngly, M a rt y u s es d o w n p ic k s w h en c o m in g backwards through an arpeggio s h a pe r a th e r thansweep d-II]J picks, 50 a lotof the shapes are geared towards COIlOIIlY picking and sweeps in a downward motion.

FreetlmeN,C.

1\

" - ~ -3'----3-.1 ~ - - -aster

S S 5 S2-4 2-11--9 11-9 a 8----18~___5 4-

"

4 0 G u i t ll r' fu : lh n i q u B S MAY 2003


8/12

Irack info ~".d15 2022Guthr ie Go van l ea ds y ou toJapan to add some orien ta lspice to your playing20. Introduction'

track:

r at in g i nf o

r " t i n a ; moderate

n ua nc es - w id e v ibr at o. p re -b en di ng a nd s o o n. I he xo roTe chniq ue ' i s s EJ r p r is i n giy e a sy tomas te r . t h ou g h !

m ee t , ou r !It tutor:gu th ri e govan H a vi ng p la ye d g ui ta r f or 2 3of his 26 years Guthrie wasGuitaristmagazine's Guitarist OfT he Y ea r in 1993, a nd w asf ea tu red i n C li ff Dou se 'sG ui ta ri st B oo k o f G ui ta r P la ye rs .H i s s ol o m at er ia l f ea tu re s o n t heLegato compilation, GuitarOnT h e E dg '~ V ol I V. H e h as tau ght a tt he Gui tar I ns ti tu te in Acton,the Whirligig Rockschonl inChelmsford. and Guildfcrd'sA CM . H e c a n b e c on ta cte d f ors es si on s, l es so ns e tc a t; P O B ox1001, Baslldcn, Essex 5513 15R,or write to him at gt! . theJ a p a n e s e . .

c o n n e c t i o nN o w a ll y o u T o k y o J o e s c a n a d d s o m e o r ie n ta l s p ic e t o y o u rp la y i n g w i t h t h e K u m o i p e n ta to n ic s ca le !


9/12

R ather than attempting a fullyauthent ic Japanese compostuon,this month, I thought it would be.more useful to 1001 at how you canincorporate some l it tl e Eastern-sounding touches to the way you'already play. I think we can look at thisin fo rmati on in t hr ee ca tego ri es: scal e cho ice,guitar tone, and phrasing. And so without furtherado, let 's press 0]1...Be low is a cho rd cha rt f or t he demons tr ati on

piece on the 9tCD. Note how a different scale hasbeen assigned to each chord:

s ound advic eg uth rie 's g te d g ea rFo r th e C D le ss on I u s ed P hil's re d S tra t P lu s, s et to th e fr on tp ic k-u p f ur t he f irs t l 6 b ar s a nd th en s et t o t he s ro nt ancmiddle Fo rthe r est oft lie tune. ThisWdS J l J I1 a Marshall Studio 1 :5 v a l ve e er nb o ( ah a!M a rs ha f A rt s - g ed di t? ) s et a s f o ll ow s:gain treb mid bass output4 4 2 1 0 1 6

F ro m t h er e, t he s ig n al w e nt i n to a P a lm e r s p ea k er s im u la t or . T ow elty th ing s u p a b it , a L exico n M PX l w a s " t 1 : n l i s t e d to pro vide a' Bi g S tu d io ' r ev e rb .

hord and scale chart

Em9(13)

E KUMOI - - - - - - - - - - - - - -- - - - - - - _- l

E KUMOI (3r~ MODE,)Gmaj7~11 I

9,25

E MAJOR PENTATONIC - - - - - - --

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Japanese and Indian Soloing