Fusion maestro Frank Gamat returns wth on cls digit-tsxing soo 1eroscton 2. Fal ace hanced eens etn Sep ping ar eon et Luks agg earcingovtane of Fans tos or tectiqs Ts pec aso rrquses gon urdesanns show ihe Dsl ant rages 2 tolnetten sameey e98 50d owe a the sees ed segues ial postions meet the masters team: worked on eneoursing Frank Gamba te venture nto the at sluos ny da 3 track kicks off master Frank Gambale 6 ease you into what Lies ahead, Frank with a look at his approach to fo The whole afar we vty constructing a solo, and discusses the scceful athaugh the scales he used to play over this month's crerteried ame gt the track. Frank also shares his secrets on nema tat af pti Frank’ se ree his approach to how he apy aS me arpegitios, and how he extends them to get a Now it’s time for the main soto, so Uh you've prepared yourself for a pretty Remember that Frank is a les and their application, Jon't try to do too much break it down bunks before jumpy performance notes The piece transcribed is Concluding our two-part exclusive feature with Australian fusion pt together by Phil Hilborne bass. Frank did not hear the ick until he arrived atthe studio, so everything here was improvised this abit too difficult, try to take xereise illustrates Frank’ solo, Bars 1-4 ick off with Frank introducing a melody based around E Dorian Eire GAN BST CRNUONTE SRE ALAS IAT ONE Frank also includes notes trom the E blues scale at bar 3 FULCRUM RA TALES Through bars § to & Frank includes more melodic Dorian-based lines, plus a D/P triad in Bar 6 iver the D/E coed. At bar 7, Frank inchides the ¢note, which could be taken from E Aeolian, the sixth mode of 6 major ESI RRNA BEC ODI AAAS IEA. Bars 910 12 introduce the chorus and modulate to C Lydian, the fourth mode of G major CUE DAREN PRARYB EEG) ELAS IOLN TSE Wate the phrasing here, as you'll notice that Frank uses swung sixteenth as opposed to straight sixteemths. He also includes a fast run ‘Hat uses ecomomy-pickins in bar 12, Bars 13 to 16 reintroduce the verse progression based around E Dorian. Here we see mote E blues scale lines, plus some fast licks based around E minor pentatonic is 17 to 20 include more rapid Dorian lines, plus some tasty, bluesy hends, Bar 19 inclules a very fast arpegiio section. With this type of lick 1 would try to target nates to specific beats instead ff tying to read the thythm exactly, Once the lick is under your fingers, the timing of it should fall into place. Bar 20 wraps up the second verse with a B major arpexgio figure, He also includes the G note that originates from B Mixolydian i the fith mode of E Melodie Minor: Bo Or DFE aera GAB sew 1 Bars 21 0 24 include the second chorus, with bars 21 and 22 showing off Frank's incredible sweep-picking technique. For ease, 've quantised these arpexios to the nearest beat to make practising them slowly with the metronome a lot ‘easier. Don't ty this ton fast to start wits practise ita bar a atime. This type of cascading arpegsio ia is very common in Frank's playing. Here he {s using arpeggios that are diawonie to C Lydian. Bars 23 and 24 conchude the chorus with more rapid Dorian Lines. Bars 25 10 28 introduce the final verse, and ick off with another fast sweep-picked arpexiio and fast Dosian/pentatonic lines Bary 29 to 22 show the final four bars of the verse, with yet more Dorian phrases and B Mixolydian 56 over the Bsus4 chond at bar 32, Bars 23 to 15 conclude the pieee, with Frank Diasting through some tern blues sale licks garn pematoni ied with some sweep-picking for ‘500d measure, Exercise 2 llusirates the thythm guitar part bars 1 to show the verse progression, based around a single-note sixteenth-note syncoy rhythm. This type of thing fs quite ricky 0 get smooth and constant. Check out some of Luke's playing on his recondings with Toto and Mietael Jackson. The ve arpesiated Bs Bars 9 t0 concludes at bar @ ith an 4 chore 2 illustrate the chorus progression, and inchides some clean tekad ideas that follow the keyboards. Du doubled by an overdriven second gultar To cap it off, bars 33 and 34 include the final m1 chord that i performed with a reversed rake the second verse this is across the strings There, we made it There's lot hete for you to fet your teeth into. Just remember to take i Slowly’ an spend trae with the transcription Have fun! gt jargon buster A sixteenth notes, the fs sn the swung sateents Swng seen ae simiar osaigt ate of the grouping i renliced with an eighth note The group on one eat hth soxteenth eght, sree roped a 2 siateenth-note tpt. You ca sl court them fs T-E-RK Out sng th 8 tee Fe A 1m REEL term nd gs at fly explained on page 84 ame 80 18 FO Po. 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