As a follow-up to last lesson’s comping ideas, we stole some organ style licks suitable for soloing applications… There’s no need to memorise the whole transcription (the solo was improvised, after all!) – it’s better simply to pilfer the licks you like and incorporate them into your own style. If you remember last lesson’s organ-related audio track, this time backing track will sound hauntingly familiar – yes, it’s the same chord progression! However, the prominent guitar part in the mix is considerably busier this time and it relies on more single-note lines, double-stops and a looser rhythmic feel to create more of a soloistic vibe. Many of the licks you’ll hear this time round are considered cliches when played on a Hammond, but you don’t hear guitarists doing them to the same extent. So here, in a sense, we’re trying to quote elements of the organ tradition to create something fresh-sounding.

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Danny Gatton - Licks and Tricks 2 - Instructional Video Danny made before the Hot Licks Series. Danny Gatton - Licks & Tricks 4 — BIQLE Video. Formato rus sunat pdf download filocalia 7-pdf split and merge download. He knows all the tricks—and has invented a few of his own—as is immediately apparent.

Having said that, pilfering Jimmy Smith licks isn’t a completely original idea, as the ‘further listening’ box will tell you: players such as Danny Gatton have used the idea to great effect and I think that some of Robben Ford’s phrasing can perhaps be traced back to the same source.

The key to making this stuff work is to think like an organ player and this leads us into the interesting arena of MIDI guitar. Have you ever heard someone asking to try out a synth guitar in a music shop, firing up the most expensive-sounding ‘grand piano’ patch they have to offer and then playing their favourite Clapton licks replete with wailing string bends? This tends to sound unwholesome and bad because the phrases being played are at odds with what the synth sound leads you to expect. It’s always better to modify your picking technique, phrasing and chord voicings so that they complement the sound that’s emanating from the speakers.

Obviously, you don’t need a MIDI pick-up to use the licks you hear on the audio tracks. I make the point because the mindset you need to inject a touch of the jazz organist into your normal guitar playing is exactly the mindset that would help a MIDI guitarist to get a convincing string arrangement, marimba solo (or whatever) out of a synth module. It’s all about respecting the instrument you’re trying to emulate.

But enough of the philosophy; hopefully the accompanying audio track will demonstrate what I mean. Apart from the occasional cheeky string bend (the ‘BSS’ sign rears its ugly head from time to time in the transcription) this is all believably organ-esque stuff. Specific points of interest include the idea of sliding up to one of the notes in a double-stop (as in the opening lick); the use of the occasional dead note (wherever ‘MU’ or ‘X’ crop up in the transcription) to approximate the percussive ‘cluck’ you hear when an organist strikes a key in a staccato fashion; the rhythmic flurries of passages such as those in bars 18-19, 23-24 and 28; and the pedal tone idea in bars 25-27. The idea with this last one is to keep a consistent rhythm going on the G (17th fret D string) and throwing in occasional stabs (anything on the B and G strings). You might like to try picking the G pedal tone and ‘grabbing’ the stabs with the middle and ring fingers of your right hand.

• #dannygatton #guitarlesson #tonyfuentes FuentesTV twitter: @tonyfuentestv.
• Danny Gatton is handsdown my favorite guitar player of all time and was a master of so many styles. What I like about his rockabilly playing are the nonrockabilly elements he throws in. This is a rockabilly lick that sounds classic enough but ends with a very dissonant chord that one would only associate with Danny. Danny has put out many of his own records but check out his work with the.
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• In the late 80s Danny Gatton was invited to make some teaching videos – and these, now of course available in DVD format, are invaluable. Danny’s first instructional video was Licks & Tricks For The Telecaster, on which he used the ’53 Tele and a silverface Fender Super Reverb.

Be sure to find a left-hand fingering that works here; I would recommend fretting the G pedal with your third finger right up to beat 2 of bar 27, when your first finger should take over; aim for a smooth transition and be prepared to shift back in bar 28.

Enjoy the piece and I’ll see you next time.

Further listening

This lesson’s homework is to track down Danny Gatton’s Unfinished Business album and to check out how he incorporates Hammond B-3 licks into his depressingly eclectic guitar style. As a postscript to previous part recommended listening, Charlie Hunter fans might like to know that His Polyphonic Majesty contributed some guitar and bass tracks on the new D’Angelo album.

It’s a part of Organ Style Soloing lesson

Below you can download a full copy of

lesson with backing track for free

Chops: Intermediate
Theory: Intermediate
Lesson Overview:
• Improve your hybrid picking.
• Understand how to move ideas to different string sets.
• Learn how to incorporate organ riffs into your guitar grooves.

If you’re a regular reader of this lesson series, you may notice a slight format change this time around. Rather than look at a technique or concept, let’s check out the unfathomably talented Danny Gatton.

I’m a huge Gatton fan and in recent weeks I’ve been reading Ralph Heibutzki’s fantastic biography Unfinished Business–The Life & Times of Danny Gatton, so the subject is hot on my mind and his albums have been on constant rotation for a while.

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Who then is this Danny Gatton chap? Often touted as “the world’s greatest unknown guitar player,” Gatton was born and raised in the D.C. area. Growing up in the ’50s, he was exposed to everything from rockabilly and bluegrass to jazz and country music. From Les Paul to Roy Nichols, James Burton to Chet Atkins, Gatton absorbed it all, becoming a true master of many styles.

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Gatton would constantly perform in and around D.C. in various groups, and despite making pilgrimages to Los Angeles, New York, and Nashville, he always felt better at home. He was content to be a local legend and apparently didn’t feel an urge to tour around the country to take things to the next level.

Aside from two albums on Elektra, Gatton was on small labels for most of his career. Nonetheless, his recorded output was strong and such albums as Redneck Jazz, Unfinished Business, New York Stories, and 88 Elmira Street are fantastic examples of his broad taste in music.

Sadly Gatton’s life was dogged with issues and his seemingly chronic depression and mood swings eventually led to suicide at his home in 1994. To this day, the causes aren’t fully understood and while there are theories, I think it’s best to remember Gatton for what he did, rather than why he stopped doing it.

Because Gatton covered so much musical ground, I’ve decided to break our lesson into two installments. This month we’ll take a look at some of his fantastic rhythm guitar ideas, and then next time we’ll investigate some of his incredible soloing techniques.

One of Gatton’s strongest musical traits was his ability to incorporate non-guitar influences into his playing. In this first lick, you’ll see how organ players affected Gatton’s comping. If you listen to his rhythm playing on tunes like “Funky Mama,” from the album Relentless with organ virtuoso Joey DeFrancesco, or just watch Gatton’s instructional videos, you’ll hear the organ connection.

To execute ideas like this, you’ll need to feel comfortable with hybrid picking. This right-hand technique lets you pluck several strings at once, rather than strumming across them. Gatton was a phenomenal hybrid picker. It’s well documented he was also a highly skilled banjo player, so right-hand finger dexterity is one of his most impressive skills. Rather than using thumb and finger picks, he simply translated all these skills to flatpick and fingers—his use of banjo rolls could take years to investigate.

Looking at Fig. 1, you can see a very defined upper and lower voice. Notice how the bass shuffles along below chord stabs—plucked by the middle, ring, and pinky fingers— punctuate the phrase.

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The organ influence is based around the use of moving triads over a static bass note. We are implying G7, G13sus, and G7sus chords, but basically we are moving Bb, C, and F major triads over the G bass note. As an aside, I recommend fretting that bass note with your thumb, so you can reach back to the lower frets to grab the 1st-position F triad. I’ve also included a slow audio version so you can work out the finer details. This one may need some time to master because your fingers and pick act independently and come together to make one finished product.

Danny Gatton Music

To take this idea full circle, I’ve written out a complete 12-bar blues (Fig. 2) using this idea. Fortunately, when we move to the C7 and D7 chords, we simply take the pattern up the neck and play it in a new location. There’s also a more extended I-VI-II-V turnaround going from G7 to E7#5#9 (a cool little voicing pinched from Scotty Anderson) to A7#5b9 then D9. To get this closer to the sound of an organ, I’m using Gatton’s trick of using both pickups on my Telecaster, rolling back the tone, and then running through a vibe pedal.

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