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*Danny Gatton (1992/1993) Guitarist: Danny Gatton. Although this list is supposed to be an homage to rockabilly guitarists from the Fifties, this Danny Gatton track from the early Nineties accomplishes the same goal. It finds Gatton blazing through a medley of songs originally recorded by Elvis Presley and Scotty Moore in the Fifties—the songs.
*Those shows (with all musicians performing for free) raised $25,000 for Gatton's wife and daughter. Blue Skies Calling (2011), an album by Boy Wells, includes nearly an hour of Gatton and Wells playing in his living room. 'Danny called me before he died and asked me to put a vocal tape together for his label at the time.
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. We talk for mac. 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.
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.
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 freemore.. Lessons • Intermediate • Rhythm • Sound SamplesPrint it!
Click here to download a high-resolution, printable PDF of the notation.Chops: Advanced beginner to early intermediate
Theory: Beginner
Lesson Overview:
• Learn the basics of boogie-woogie guitar styles.
• Play Danny Gatton-inspired riffs with hybrid picking.
• Develop independence between fingers on your picking hand. Danny Gatton is probably one of the most versatile musicians to ever pick up a Telecaster. One of the many qualities that made him so special was his ability to cop concepts, grooves, and idiosyncrasies from keyboard players. This was largely due to Gatton’s frequent bandmate, Dick Heintze, who was a master of all styles and a powerhouse pianist. Both Heintze and Danny were always going head to head and pushing each other to the limits of their ability. Anyone who knows Gatton’s playing can hear that he never satisfied being just the guitarist in a band. He was trying to be the pianist, organist, horn section, banjo player and steel guitarist all in the same song. And here's the kicker! It was always musical.
This month’s lesson will take a close look at Danny Gatton's boogie-woogie piano grooves on guitar. Boogie-woogie is a style of blues usually played at fast tempos. Its main characteristic is the repetitive bass line. This is usually combined with stabs or soloing in the right hand.
First, let's play the bass figure in the key of A in the open position shown inFig. 1. Use the pick strokes written in the example and make sure to be consistent with them. It will make it easier when we combined this with the stabs in the next example.
Download Example 1 Audio..
InFig. 2we'll add in the chord stabs. I'm using my pinky to barre across the first and second strings at the fifth fret. With your picking hand grab these strings with your middle and ring finger and pluck. It's important not to let these ring. Once you have plucked them release the tension in the pinky so the ringing stops. Go slow and calculate each movement. There's a lot to think about in this one.
Download Example 2 Audio..
Danny Gatton Licks And Tricks Pdf Free DownloadFig. 3is a movable version in the key of D major. I'm going to start by barring my index finger across the fifth fret starting on the fifth string. Then I'm placing my middle finger on the seventh fret fourth string. This frees up my ring and pinky fingers to play the bass line.
Download Example 3 Audio..
Next, we will add the chord stabs. InDanny Gatton Licks And Tricks Pdf Free EbookFig. 4we have the boogie pattern along with the chords on the upper strings. Your barre finger will now have to release tension after the stabs to make sure they don't continue to ring.
Download Example 4 Audio..
Finally, we haveFig. 5, which combines all the examples together to create a cool rhythm part over a blues in the key of A. Although I might sound like a broken record, start each example at a slow tempo in order to internalize the pattern. Once you feel comfortable, increase the tempo and move the pattern around to different keys.
Download Example 5 Audio..
Jason Loughlin has performed with Amos Lee, Rachael Yamagata, James Burton, Mike Viola, Nellie Mckay, Phil Roy, Marshall Crenshaw, Sara Bareillies, Lesley Gore, Ben Arnold and John Francis to name a few. Jason lives in Williamsburg, Brooklyn performing and teaching. Look out for his new record,Peach Crate, due out in February. For other info be sure to check his websitejasonloughlin.com