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. ..,...
Transcriptions by Colgan Bryan
Text derived from the DCI Music Video “The Complete Styles of

Steve Morse”
Additional text...
TABLE

OF

CONTENTS
Foreword 3 Piano Style 36
Legend Of Musical Symbols 4 example 19 36
example I 5 Banjo Style 36
“Chicke...
FORE WORD

 

The ideas and exercises presented in this book are just one indiVidual‘s approach
to music and guitar playin...
Legend of Musical Symbols

 

Downstrokes Upstrokes Left hand fingering Right hand lingering Hand vibrato
p 2 thumb i =  i...
The Complete Styles of Steve Morse kicks off with a blistering solo that
includes many of Steve’s signature techniques. 

...
‘ ‘ 2» > sowwwwws
IF ¥ _ __ 
l’e= ""'j""jI, ,_—I%1ZE_11—-1 ‘ «:1
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: .B R s: 

 

 
  

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: ;—...
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‘—-: '?‘Z IIFvL| Y”

 

 

A .  .. -.. , ~Isv'= "“ 1711...
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* touch the harmonics seven frets
abovefingered notes

10
* touch the harmonics revert frets
abo ve fingered notes

 

T q :  7‘ é‘ fade out
“CHICKEN PICKIN ’ ”

“Chicken Pickin’ ” is a term coined by country guitarists to describe a certain
expressive plucking t...
—: .-

13
j
.1 13-3: J I’ 111-
mi: 

 
 

4|

—
IIV HI

      

l

 

Using this technique,  you can get a lot of expression even pl...
e. "amp/ e 

Here is a more developed version of the previous example.  There is a quality
to this technique that makes th...
This exercise uses double stops.  You’ll be lucking notes with the middle
and ring fingers of your right hand as well as yo...
1351117 Bl7m(add9) Ei7sus4 Elm Bi)

Bl7m7 Dla Fm GI) Blam Ci?  CI7sus2 Ei7m Bl7sus4

 

17
Wup twelve frets‘ above
fingered notes with
right hand thumb

18
rs

A ,  ' I .  I .  .. 
-7--I1!‘ ‘II _‘lf HZ
 ‘! —‘! _x

 

     
 
 

>

 

‘:2 ': .» : > : > >

.  > > see _ :2 

' ' ’...
mPm"1P”*PmPmPP P

    

.  . .  :—
III‘-I-_: .-——--‘I-‘--2.,  .j—Zu__'—-jiI'| 'C-—-, "—jZI'[l:  , _
Q“7 —! !ZjZfZ _f—IZI1Z...
The intro to “Ice Cakes” is played fingerstyle,  using the “chicken pickin’ ” or
plucked technique.  Notice the huge variat...
Steve shifts gears in this section,  going from fingerstyle to pick,  and from a
clean sound to a distorted one.  He uses ...
(: ’.'(lIII[)[(’ 9

After a brief ethereal passage,  Steve plays this complex lick.  It is full of
position shifts and pre...
c, i'cn12plc’ I 0

Steve starts the “Ice Cakes” solo by improvising a chordal passage which is
classical in nature.  The e...
€. X‘(lI’I'Ipl€-’ 1 I

A basic voice—leading device in classical music is to move one note in a
chord while keeping the ot...
('. ‘umpIe I 3

Here is a variation on the previous example. 

~ .7 . -—s. a.m; ¢:«. .*~-—l

Iup / iannonir‘. s' t/ imuglm...
i
E

 

exalt: /J, le I

 

At this point in the solo,  Steve goes back to the plucking fingerstyle technique. 
Again,  pay...
At times,  Steve likes to throw in a fast picked line,  and then return to
fmgerstyle.  To keep the mood subdued,  he mute...
example I 6

In the second half of “Ice Cakes, ” Steve cranks up the distortion and plays a
scorching solo with the pick, ...
,,4.. _<h J -’i’: )lfifi’  V’ 
 I’ .  F I‘ 9

tit Eng

    

    
 

I

hold bend gradual bend
,  B 7‘ B  —,  ‘ 
97:9; 9‘ ‘s...
%"""" T ‘‘‘‘/ “4“ A

8120 -------------------------------------- - -

T/ Y@%4’V§ :3
> . .
A ' = 

.  , , 
—v1-u—I3"j* jaw,...
1'1-v)j! 'l'm _-T —!7 Z- V) __ C-
Jjffijfl-T 2'!  j'S: —Z, 'Cj'IlIY TH ' :  E
'’: h-: '_---- mm All‘- F 
1Q ---: -j-__ I
L-j...
d i
Q'4§! !fljfM2-fufiufififiu ma
:1; 22% iii CIT

ju-IlfjT| jIjIl_—S
j: -:—1jTj| j——i1|j1jjj
—T. }__: -“’ , ,

. ___

ETKHII I...
(amnzp/ cl I 7

Steve strongly believes in thematic repetition in structuring a solo.  If you
repeat a simple melodic idea...
. ’’ FF‘  > ___. 
—' r x -1 -r nu’ 1, avrxsrn __ 11211’-:21:-I-mi-. 
E:  —— $‘-= .—-j %= —¥= '.-'E%i%. %i. _-E
nu!  ___j _...
PIANO STYLE

Playing frequent double stops (two notes at a time) is a technique commonly
associated with the piano.  The d...
This example is a variation of the previous exercise. 

pampampapampampa pampampapampampa pampampapampampa

III III III II...
The intro to “Southern Steel” uses the banjo-style concept,  but,  as Steve says, 
“it is mutated beyond recognition. ”

T...
BLUEGRASS STYLE

 

Bluegrass music is driven by motion and energy.  It is played using constant
motion (steady sixteenth-...
Here is the solo from “Gina Lola Breakdown, ” a bluegrass romp.  Notice the
constant flow of sixteenth-notes,  a common de...
41
Here is a great bluegrass run in C. 

Swing feel . %'7"4‘ . . 3

 

: , B vvw
1-++
T x , .. , _—ss—7—s ~—l—&5 24
s7 5—-as-...
In this example,  Steve uses pulloffs and bends t syncopate the rhhm. 

Notice that he adds the flatted third (EL) as a pa...
rctrt/ rig)/ (2 2?€9

Here is another variation on example 27.

Swing feel 3 .  . f.  .3 3
NC.  (C)

 

CELTIC STYLE

 

I...
j. F  if flii
 EE I-Zjfinifini
KInnI%; I.Tj§§. ..——_'—"éZZj
  ’

, . ,  _ 
ijzj%l-r‘lu_T? ‘**j: I*&: W'_—i 
 ‘
excmzple 3/

In the analysis of the above example,  Steve recreates the feel of a fiddle, 
using slides and bends.  For ex...
47
The following is a list of selected books and videos which are available from DC] Video/ Manhattan Music
that relate to ma...
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Steve morse the complete styles

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Steve morse the complete styles

  1. 1. ". IW "f-— A I of. ‘ ‘H r—-rw"— I Jr’: ‘_‘ i “- ‘- ‘ “‘ . ., i-I III. I-[qr . -I A‘). .‘. ‘uiuILJ . .., .. /' '__ n : 5-4 / ‘ "I-_’_', _w-~’ -fQ . 4?: . 5 . "9 , ' 3' ‘ ’ ‘F X / >1 . -”/ '. ‘;_. A I1/h _ , 9. BY STEVE MORSE ' ‘ 7‘ /4 Transcriptions by Colgan B 'an - 7 I‘, I‘1r“'. 'i“Iu ‘ VlIIiANIf/ ‘.TT! II! 3. PUBLICATIONS
  2. 2. Transcriptions by Colgan Bryan Text derived from the DCI Music Video “The Complete Styles of Steve Morse” Additional text by Askold Buk Editor It Askold Buk Music Engraving & Book Design 4* Curby Rule & Bob Sherwin/ Chelsea Music Engraving Cover Design I‘ Jack Waltrip Editorial Assistance 6 Emily Moorefield Cover Photos 3 Stephanie Foxx © 1991 DCI Music Video. All Rights Reserved. Printed in the USA.
  3. 3. TABLE OF CONTENTS Foreword 3 Piano Style 36 Legend Of Musical Symbols 4 example 19 36 example I 5 Banjo Style 36 “Chicken Pickin ’ ” 12 example 20 36 example 2 12 example 21 37 example 3 I 4 example 22 38 example 4 I5 Bluegrass Style 39 example 5 I6 example 23 39 “Ice Cakes” 16 example 24 40 example 6 J 6 example 25 42 example 7 2] example 26 42 example 8 22 example 27 43 example 9 23 example 28 43 example 10 24 example 29 44 example 1] 25 Celtic Style 44 example 12 25 example 30 44 example I 3 26 example 31 46 example I 4 2 7 example I 5 28 example 16 29 example I 7 34 example 18 34 CD AND CA SSE TTE INFORMATION Track Cassette Side A Track Cassette Side B 1 example I I 6 example I 6 2 example 2 I 7 example I 7 3 example 3 I 8 example I 8 4 example 4 I 9 example I 9 5 example 5 20 example 20 6 example 6 2] example 2] 7 example 7 22 example 22 8 example 8 23 example 23 9 example 9 24 example 24 10 example 10 25 example 25 I 1 example I] 26 example 26 12 example 12 2 7 example 27 I3 example 13 28 example 28 14 example I 4 29 example 29 I5 example I 5 30 example 30 3] example 31
  4. 4. FORE WORD The ideas and exercises presented in this book are just one indiVidual‘s approach to music and guitar playing. They work for me, and l hope you find them useful. Always keep in mind. however. that you have to find your own voice on the guitar. Licks and solos are great for learning ideas. theory, and technique, but they are just a springboard for your own creativity. It’s important to find a way to teach yourself. Obviously you have to practice to progress as a player. Zoom in on your particular stumbling blocks and expand on different ways to get around them. Whenever you take a guitar lesson, see an instructional video. or learn :1 new song, work on adapting the information to fit your own personal style. Every time you pick up the guitar, have fun! Play something you really love, and you‘ll be looking forward to playing and practicing the next time. Good luck!
  5. 5. Legend of Musical Symbols Downstrokes Upstrokes Left hand fingering Right hand lingering Hand vibrato p 2 thumb i = index m = middle :1 = ring Bend Quick bend Pre—bend Gradual bend Release bend Unison bend Hammeron Pulloff Palm mute Tremolo Trill Pick Slide Picked slide Legato slide Short slide up and down Muffled strings Natural harmonic Artificial harmonic Pinch harmonic Right hand tap Ghost note (partially implied) 4
  6. 6. The Complete Styles of Steve Morse kicks off with a blistering solo that includes many of Steve’s signature techniques. Steve employs chromatic passing tones within the mixolydian scale in bars 6-11, 14-15 and 47-49. To explain this concept, let’s look at a G mixolydian scale: G, A, " B, C, D, E, F, G. Notice that any whole step may contain a chromatic passing tone. For example, F and G would be connected by an Steve's favorite moves include bridging the seventh and root (F—Fll-G or G-GL-F), the second and third (A-A$l—B or B—Bl7-A), and the fifth and sixth (D-Dfi-E or E—E[; -D). Another technique in Steve’s arsenal is string-skipping. This requires playing scalar ideas on non~adjacent strings, producing a more open intervallic sound. Check out bars 21-23 and 32-34 for some great examples of this. Bars 55-68 feature a passage played using artificial harmonics. While fingering notes with his left hand, Steve touches their harmonics seven frets up the fingerboard with the index finger of his right hand (he holds the pick between the thumb and middle finger of his right hand). This produces tones an octave and a fifth above the fundamental notes. Also try playing harmonics five and twelve frets up the neck; once you master these, combine them. ( '= - ( _ pp p1 —j'- - X2‘! -I-—‘2 11-2-E2 L. > A > A . -. ». ‘i " s -' : , —'1:; j——jjj'v'.1—l'v—jI; IialJj. §;lIt‘;1$FI '. jIjj"_‘—? Z jj—m|1jj11_- : (é= j'j. $-jKjj—j:1%‘-111 j "“ : I j? I%r gradual bend gradual bend
  7. 7. ‘ ‘ 2» > sowwwwws IF ¥ _ __ l’e= ""'j""jI, ,_—I%1ZE_11—-1 ‘ «:1 7 h it h : .B R s: . ___. __ , , _ , . : ;—: ~%_ ‘ > g {mi ‘J-r"J'I Ail’: _): Z 5 ' I 1 I u = . : : . . (D) T‘ 8vu - - — - - - - - - - - - - - — — — — ~ ~ — — — — —~ A . I > _. ,, 4:. (E) E) , . , - " _ —jfj| -V 12.j: fiII1;l, i-I " ‘A 3' « " . ’|-‘£51 vfjizr-nus. -4'-fig-i; v,gsi; I-, .-: «auI': ::1.a-'| :1r§, v4-r. — 1- 1- —- -—-* 1 l6 B Z’ : > B 9: : -‘
  8. 8. I'I‘ 1 A ' L‘ j: ' I—lI-3.: ' :1: m . nw‘5-—<__! -!_-- . -— ‘—-: '?‘Z IIFvL| Y” A . .. -.. , ~Isv'= "“ 1711., . .. E- : '-f—: _. I _-II_-——-_. ,'IEII‘"f'. lI_ »; 'Ii-fl , I‘ I] ; ._ 'Ii‘-C]- —-'-'_ " -“-' __—‘---l_- -H--3-“H IIa| “|'i’ --2IL-*1:-8.5”‘: .'—_"; f:[IF--21-! -'lIE'—-—! E‘IT-_fl Q“"lI_! — I, ' ' T ; I ' Ill“-3 '. ‘ 111.11" . ' . , -- I , ..- _ in _. ... . 2] L —-. __
  9. 9. rtnj-173 _ 1.u—j.4n. :r. .¢: —__. ‘ I ljffliifj III E’ El gg -S-Elfffjjfifimlil ii j:3:j_-Znj; -—l. $1:jjj “Q. --*. .1é“%Z"“‘Z -jijijllfjm __ ——_____, .._| j,. ... . . _.. ‘-
  10. 10. § . --—--———~- - — , - I _ . _ , .) ‘ g f . ‘fig ( 1 , . . 3 p . > 1- . E’-i"'= =1" £5’-1 3j—ITi}"""5'1a5""'i'H A . .. i.-; . ‘ . _ —. —'-'I—fl1I--_l_: fl2lni15'JII'‘ K 1 v. j|jI1111:$|1I-Zu-Mt-! :=1 II'n-_""'*? —‘--—%_. ‘—--- , K“V : :=! —fiI I”. I ‘J x; I 1’: 9 ,7 3 kl , gradual bend B Q/ Q‘ ‘ . . I '
  11. 11. A. l-l. throng-hr)ut"‘ — — — — -> <$> E . ---1'%% T * touch the harmonics seven frets abovefingered notes 10
  12. 12. * touch the harmonics revert frets abo ve fingered notes T q : 7‘ é‘ fade out
  13. 13. “CHICKEN PICKIN ’ ” “Chicken Pickin’ ” is a term coined by country guitarists to describe a certain expressive plucking technique. Some say it makes the notes “cluck, ” hence the an term “chicken pickin . Steve often uses this technique, in a variety of settings. He picks with the thumb, middle and ring fingers of his right hand while cupping the pick between the first and second joints of his right-hand index finger. The plucking sound comes from getting underneath the strings, grabbing them and popping them up. €’_‘(tl'Ilp[€ 2 an Here is a great example of “chicken pickin . Remember to use the middle finger and thumb of your right hand to get under the strings and pull them outward. Swing feel J. " J‘ N. C. (G7) ‘:5 2: E ‘h m E E "u E "u 5 *m V‘ 1 12
  14. 14. —: .- 13
  15. 15. j .1 13-3: J I’ 111- mi: 4| — IIV HI l Using this technique, you can get a lot of expression even playing one note. This example illustrates the expressive quality the fingers have that the pick can’t duplicate. Though only one note is used throughout this exercise, the groove is still musically interesting because of the variations of the rhythmic 'dCC€l'llS. ‘[1 W}. [J H? [J [7 Ill [7 Hi I}? p 171 1) p N’! m m [2 m [7 m [7 m ‘U m A 7 7-5:)! -"X X7557 7—77‘—l:7—H—'*H 7 KX 14
  16. 16. e. "amp/ e Here is a more developed version of the previous example. There is a quality to this technique that makes the guitar sound as if it’s “talking. ” Swing feel A 5 . ' f. .‘j N. C.(A) p pm m apmpmpm p mapmpmpmpmpmpm . ,_ . n-. -H _-24;. -H211 : - . - . - . - . - - E 7 , /-%*‘%' L‘) : > 1>Q4l4v l ma use-: :>¢7x7 x '5 pmampmpmpmpmpm pmpmpmpmp m p p m p mp hold bend ----- - -| :— ; -.— : > B: » R B : » R 4% A 7 7 7 7 -~ ac 4: ma pm ppH’lC1[)p p [7 p pmamp 15
  17. 17. This exercise uses double stops. You’ll be lucking notes with the middle and ring fingers of your right hand as well as your thumb. Swing feel .7 ‘J .7 4 , , -1oJElI'+"i-Ill-raj ' - : I“ r, ;': II-lg] jE: g=’“. _+. LG? ‘ “ICE CAKES” This song is a perfect showpiece for Steve’s various stylistic influences. In it, he runs the gamut from classical to country to blues to rock. Here is the first half of the solo from “Ice Cakes, ” (starting with the ethereal “classical” chords), with analysis to follow. Bl9sus4 Di)sus2 Bhl3 sus4 w ’V . —«—’——jm / T ‘U. wtth volume control and MIDI strings ‘< s: { guitar synthesizer) 16
  18. 18. 1351117 Bl7m(add9) Ei7sus4 Elm Bi) Bl7m7 Dla Fm GI) Blam Ci? CI7sus2 Ei7m Bl7sus4 17
  19. 19. Wup twelve frets‘ above fingered notes with right hand thumb 18
  20. 20. rs A , ' I . I . .. -7--I1!‘ ‘II _‘lf HZ ‘! —‘! _x > ‘:2 ': .» : > : > > . > > see _ :2 ' ' ’ j— IlnTi! _-I-—I-; j_: ZZj-Cm? jZ! Z jii-I l!2K, £j-Ifl12~). ‘h_. .T_‘h2— KEV —‘ 1‘ 1‘ ‘III Z'I'—-—I—'----‘—Z222- / ,—. [m _> ‘ ‘ _> .5 A L -V-— ‘v mv _---J-HETKT-K—jj—_ . .—; ‘ —)n_! -_' -71’ “If N111 . —_2:—-—j . . 3 hold bend » . . : ) B 19
  21. 21. mPm"1P”*PmPmPP P . . . :— III‘-I-_: .-——--‘I-‘--2., .j—Zu__'—-jiI'| 'C-—-, "—jZI'[l: , _ Q“7 —! !ZjZfZ _f—IZI1ZIlE” ?1ZL_': _.-j . .» 20
  22. 22. The intro to “Ice Cakes” is played fingerstyle, using the “chicken pickin’ ” or plucked technique. Notice the huge variation between the plucked and the “swallowed” (muted) notes. Pay attention to the right-hand picking patterns. N1 p p pmpmpmpmpmpp pmapma I fz'nger_rry[e with clean sound E : )B BR —> er 3 3 ‘—’ “W S—x—>¢—x-ac: -c x fim 3 3 +3 21
  23. 23. Steve shifts gears in this section, going from fingerstyle to pick, and from a clean sound to a distorted one. He uses the held bent note (F to F#) to give himself time to switch to the pick. N. C. (Gm) g I 3 -> 3 , > > 3 . :-3 __ __ > 3 > 3 > 3 > 1'--i_‘jlI_mu—: :-{_— j; -U - . — 1 -. '.; .-: :== :r . =%= a=. .- 4:2.-= I== =|: ‘,E: :l! il. r': =a= :.-. ..-: ._ QQV“ [III I _ -I H ‘ 1 L2 gradual bend with pick and distortion RM. throughout - - - - -~> /5 B Z‘: :’ > : > > Z’ I E *‘ ii. ' 5 3 5——'a— at 3 ' ' —L- . » 6 ~, 3 > 6 »s : , 33* . ) 1>B 22
  24. 24. (: ’.'(lIII[)[(’ 9 After a brief ethereal passage, Steve plays this complex lick. It is full of position shifts and presents quite a technical challenge. Remember, when changing positions, always shift from a finger you are using to a finger you are not using. NC. 6 5 —— —— X’ ' 6 : : fi-I—iI| I IT. u‘ If Z-w= =g= Z I _r— ‘'1 H‘ Li_I‘. 'Y-j-—I z-. ._. .--»___ IIEIIIJII. l. ... ':. uII I. -I . -l.1.. ... ;-r: ... ... ,._. ... ..: . ‘EV-j-2!‘) -ZICLLCILQ E)-Jlflfii-_ ———1_g—: ]§L. _ I 23
  25. 25. c, i'cn12plc’ I 0 Steve starts the “Ice Cakes” solo by improvising a chordal passage which is classical in nature. The entire progression revolves around an implied BI; pedal tone. DI; Gi76 B 23:31 F7sus4 Bi7m7 Fm7 Ghsus2 Gi7 Q]; with volume control and guitar synthesizeiri < < < < < Q 24
  26. 26. €. X‘(lI’I'Ipl€-’ 1 I A basic voice—leading device in classical music is to move one note in a chord while keeping the others static. This simple concept can produce a rich harmonic sound. In this example, all the chords have at least one common tone with their surrounding chords. e. rczr1‘1ple 12 Steve uses his thumb to produce a percussive effect, a la slap bass, tapping out harmonics twelve frets above the fingered notes. N. C. (Bhm7) 25
  27. 27. ('. ‘umpIe I 3 Here is a variation on the previous example. ~ .7 . -—s. a.m; ¢:«. .*~-—l Iup / iannonir‘. s' t/ imuglmut 26
  28. 28. i E exalt: /J, le I At this point in the solo, Steve goes back to the plucking fingerstyle technique. Again, pay attention to the right-hand picking patterns. N. C. (Bl, m7) L L ' ’ ' , — 4 EEfl"£i'-Zr%%%%J %JiI%‘£I@ %E -115 I. .. 3 J *- 3 4 ll hold bend ______ _ —| hoia’ bend . . . . - . 3 hold bend :3‘ L? ‘ S’ > T) B > > ; ‘R B T? » : :- .7» B 3* R ': E , . ‘ 3 3 ‘ 5P‘(6) (6) (6) . (6) ' . ’ 3 4 3 1 1 I U m p m p m p mp m p m p m p 7 ; > : , > : » «mm 6 2», -9—-u-2:1-1: ‘ '_3_' __‘ 1 _— 11 -: + : ---I_ d I -. _E1-K-55.-Z'j'j'—_Tj-Iii III‘-:7-: —E-Id-d—_2K-C nuv Igr-lg. -v-1-I'—1I_—r-I-1-1-1jjjjjjjjtlru n. a:| ..—. .j1| 10 I ¥ [1 ' —/ -a RM’ __________ __| with pick ; ‘ :3 ‘> 3- ; >B . ‘ ‘ ‘ ‘ ‘ ,1~ 27
  29. 29. At times, Steve likes to throw in a fast picked line, and then return to fmgerstyle. To keep the mood subdued, he mutes the picked notes with his right hand. I "ll- : ,, -.I; F‘H’inI—— 'Z‘- V. A I‘. . . ' ~ C’-I '1. ' 28
  30. 30. example I 6 In the second half of “Ice Cakes, ” Steve cranks up the distortion and plays a scorching solo with the pick, employing all of the techniques discussed in example 1 as well as the concept of thematic repetition. N. C. (Bl;7)— —I-i — '——2-—4—_: “‘2 29
  31. 31. ,,4.. _<h J -’i’: )lfifi’ V’ I’ . F I‘ 9 tit Eng I hold bend gradual bend , B 7‘ B —, ‘ 97:9; 9‘ ‘so (+29 H 8 9 8 l'9 8 P9 9 8 6 7
  32. 32. %"""" T ‘‘‘‘/ “4“ A 8120 -------------------------------------- - - T/ Y@%4’V§ :3 > . . A ' = . , , —v1-u—I3"j* jaw, -pvt ” iilhjjjjluj 7 1- tujjjjlj I In-Zi! — _____— RNV —j-T“ —_. __‘ 6 23 B‘) R -vsosvvvvsosrww “ A , —g I-3 : : = I-4 Br I , , - 15 5 8va ------------------------------------------------------------------------------------------------------------------ —- > 6 > e —‘ ta . E: -:: ——-:2 : =—: = . 25 TEST] hold bend hold bend — — — — -5 > _: -s ; .. B -:7. B , .~ R -; .. -sow I I5 . - -_ ' 1-7-45 rs I-5 I-7-15-— ts I5 H I5 H’ G-8-I (H9 I-7 G-89 G8} . ‘ I 31
  33. 33. 1'1-v)j! 'l'm _-T —!7 Z- V) __ C- Jjffijfl-T 2'! j'S: —Z, 'Cj'IlIY TH ' : E '’: h-: '_---- mm All‘- F 1Q ---: -j-__ I L-jj = -—_j: ? I 27 6‘ 6 ‘> B Z’ : > H5 H +6 {-5 . — i /5- +3 44 K: is . It-? r we (H-) H 3 Sva ———————————————————————————————————————————————————————————————————————————————————————————————— — —, .> 6 - 3 hold bend ’: - : :- B R f: — ‘&rtrrr P3 , - B , -. M 1-3 H 959 61-5944 - 6 8m 4-- . ' P _ _: F—-3. ‘aw I‘ 1 f’ -7 ' I-2-3-! I . r I If “ III -jjullf - Jr: -2iI! I§SfiIjfIIN'J-I A -Q. Ila: -DI-'j 22K2‘; I-_-I. I—i—: -‘HI —T-I -III l—u‘-1i1l_- LEI _—: T2j! —j'j—‘_-j V =2—- , .. _.__ . .______. .. 31 5 0 ‘ . K’--IHEVC-S'——22=—: ;C_| jj III --2—2 _ jfl-C" -1-S j'_j'j'—fi—CZ'l"'f III I-11IZZZ—Z _— nu 32
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  35. 35. (amnzp/ cl I 7 Steve strongly believes in thematic repetition in structuring a solo. If you repeat a simple melodic idea, but change it slightly as you go along, you will produce an interesting melodic contour that will hold the listener’s interest. There is a certain reliability in repetition that draws people in—blues players have used this concept for a long time. Here is an example of one of the themes in the “Ice Cakes” solo. N. C. (BI97) with pick and distortion B : > ~o~ »-x .1» B B : > ~AA~ > ; :- : _.~ e. x‘cmzpl¢v I 8 g This study starts with a theme and develops it. N. C. (357) L » >/ as ) as ) : r 75 34
  36. 36. . ’’ FF‘ > ___. —' r x -1 -r nu’ 1, avrxsrn __ 11211’-:21:-I-mi-. E: —— $‘-= .—-j %= —¥= '.-'E%i%. %i. _-E nu! ___j ___: ' ‘ . . x . . 7 ' I , .!___| PM. ------------ --l B: R > > B R "‘ - ” — j - 3 5 ~ . ~ ~ I 1 I I I I : 8 HJ ‘ I ' . 9 H l3‘ “J 1 (‘Eva . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... . . . ’»rr« . 3’ ( ll . _ '5" > » > -’ '_3_‘ : > ; —,— 2: = ‘ : 1:1 E‘ l -. <a= %== '«-'—-———= .== =.= =! . r-" « -' -. .fl ' : —I---' 10 L_ 3——’ H----I >B : >B Q. ..‘ > > 4*? ’ , —B , > > >B *6 B> B ' / -s. f' A l' . : . . . . . » I +6-G8) W H H 15 I z B | I 8va . ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. . :_. . ‘e _ rFT 3- ‘M r ’ 13 H B ->R B> R — B T ‘ . V A '5 '5 3 M 35
  37. 37. PIANO STYLE Playing frequent double stops (two notes at a time) is a technique commonly associated with the piano. The difficulty in playing two notes at a time on the guitar is in consistently picking across two strings. e_ran1p/6 I 9 Here is a lick from the Dregs’ tune “Assembly Line” that creates a synthetic piano style. Z] I 11ZIj III . fuZ. |III . TX I I - «Z——’ -' —IlZ_j'——Z.1I: I 11.1. mg: FIHVHHH | 'lHHl'll'l. t'lF'lF'll'l/ 'l'll'lH| "l| 'l/ H l-21-21-4 l-2 Bl-4——l~5 l-3 I-'1 l-2 l—5 il-3—*l-2l‘9l~9l€ 1-4 Hlélél-IIQ BANJO STYLE This technique mimics the banjo by using rolls or arpeggiated patterns that recreate the syncopations found in banjo playing. A common banjo pattern is the 3-3-2 roll or “Scruggs style” picking (named after country musician Earl Scruggs). By subdividing the eight notes in a measure of 4/4 into rolls of 3, 3 and 2 beats, you create automatic syncopation. When playing this style, Steve cups the pick in the crook of his right-hand index finger and finger—picks with the thumb, middle and ring fingers of his right hand. excznzple 20 Here is a basic 3-3-2 roll. a m p a m p play 4 times dim L75 E let ring throughout 36
  38. 38. This example is a variation of the previous exercise. pampampapampampa pampampapampampa pampampapampampa III III III III III III III III -II III 37
  39. 39. The intro to “Southern Steel” uses the banjo-style concept, but, as Steve says, “it is mutated beyond recognition. ” This example is also a great study in rhythmic displacement. Over the first three beats of measure 1, a four-note pattern , E is played four times. Even though this is in straight 4/4 time, it feels as if the pattem crosses the bar line. What you are hearing is a “4 against 3” sound—playing four-note groupings against three beats of time. N. C. (G7) 38 play 4 times
  40. 40. BLUEGRASS STYLE Bluegrass music is driven by motion and energy. It is played using constant motion (steady sixteenth-notes, for example), combined with melodic jumps. It is mostly diatonic, with pulloffs and bends used to create accents and syncopations. Here is the intro to the Dregs’ tune “On The Pipe. ” Pay particular attention to the accent marks (. >); following them will enable you to phrase this piece authentically. Swing feel . 3 3 7‘J 3. . ‘ I Zjj-—: !jj ['17. -. :_‘'TI av-11:31: fl’ M 39
  41. 41. Here is the solo from “Gina Lola Breakdown, ” a bluegrass romp. Notice the constant flow of sixteenth-notes, a common device in bluegrass music. Steve also uses right-hand tapping in this solo. He holds the pick between his right hand thumb and middle finger, and taps with his index finger. gradual bend : -» g
  42. 42. 41
  43. 43. Here is a great bluegrass run in C. Swing feel . %'7"4‘ . . 3 : , B vvw 1-++ T x , .. , _—ss—7—s ~—l—&5 24 s7 5—-as-‘ 5-7 7 L #7 , *—t _-, _g Q‘ This lick employs a call—and-response motif. Swing feel . 4 J P4 4; I N. C. (C) 42
  44. 44. In this example, Steve uses pulloffs and bends t syncopate the rhhm. Notice that he adds the flatted third (EL) as a passing note in C major pentatonic. Swing feel ‘adj? i N. C. (C) Even if you’re playing steady sixteenth notes, you can create syncopation by “swallowing" (muting) certain notes while accenting others. 43
  45. 45. rctrt/ rig)/ (2 2?€9 Here is another variation on example 27. Swing feel 3 . . f. .3 3 NC. (C) CELTIC STYLE In Steve’s mind, Celtic music resembles bluegrass very closely. It also uses pulloffs and bends to create articulation and syncopation. eummk30 The middle section of “Gina Lola Breakdown” was originally written to be played with fiddle and guitar, reminiscent of the music of the great Celtic band the Chieftains. This example is transcribed from the band’s perfonnance. N-C (C) (F) (G) 44
  46. 46. j. F if flii EE I-Zjfinifini KInnI%; I.Tj§§. ..——_'—"éZZj ’ , . , _ ijzj%l-r‘lu_T? ‘**j: I*&: W'_—i ‘
  47. 47. excmzple 3/ In the analysis of the above example, Steve recreates the feel of a fiddle, using slides and bends. For example, bending up to an Eli and then hitting the Fli again on an adjacent string produces a syncopated, fiddle—like sound. N. C. (D) (G) V (A) 46
  48. 48. 47
  49. 49. The following is a list of selected books and videos which are available from DC] Video/ Manhattan Music that relate to many of the topics Steve has mentioned in this book: BOOKS / AUDIO JACO PAsroRIz/ S-Modern Electric Bass FRANK GAMBALE'TeChniqu€ Books I & 11 JOHN PA nrucc: -Electric Bass B. B. KING-Blues Master Vols. I, II, III & Complete STEVE MORSE°The Essential Steve Morse VIDEOS , lAco PASTORIUS'M0dern Electric Bass JOHN SCOFlEIJ)'0rz Improvisation ADRIAN BELEW‘El'€C! f'0fllC Guitar FRANK GAMBALE'MonSter Licks & Speed Picking-Modes: No More Mystery MARK EGAN-Bass Workshop JOHN PArm/ cc: -Electric Bass 1 & II TONY MA(‘.4LPINE'Guitar Lesson REH BEACH-Cutting Loose ABRAHAM LABORIEL‘Ne'w Bass Concepts ELLIOT RANDALL‘0n Guitar Part I STEVE MORSE°The Essential Steve Morse B. B. KING'BlLleS Masrerl, I1, 111 & Complete FOR A COMPLETE CATALOG OF MANHATTAN MUSIC, DCI MUSIC VIDEO AND REH PRODUCTS CONTACT CPP MEDIA GROUP, 15800 N. W. 48TH AVENUE MIAMI, FL 33014 (800) 628-1528 48
  50. 50. ‘I / . . / . ’ . T, 7’ M _ . r N. ._‘/ '1' _ . . 4"): vi ‘ f‘ i ‘r' / ._ K‘ é’ ‘r. .V, ‘‘. “ *5 4/ I‘ 3 / ._‘A ‘ 1; . 3/’ . /l o“_; ': The material in this book is derived from the video to The Complete Styles otpe Steve Morse available from CPP Media Group. teve was a founding member of the progressive rock * l band The Dregs. More recently, as leader of The Steve 1. Morse Band he has recorded two albums for MCA ~. . Records. He has earned five Gramm nominations for the Best Instrumental of the Year, an five Best Overall Guitarist awards in Guitar Player's readers’ poll. ; "'2. 1- . ‘ - , , "*1; THE co PLETE sT§i. ‘Es'oI= STEVE MORSE This book features complete, note for note transcriptions of all the techniques; exercises, and solo's on- T'he Complete Styles of Steve Morse video. All the proper fingerings and nuances of Chicken Pickin', Band Rolls, Doublé_Stops, and BI rass Runs are carefully notated and analyzed. There‘: also a delbifld analysis of Ice Cakes, featuring classical voice-leading. 21:’ When used in conjunction with 3'3‘ 7.“ its corresponding video, The ’ Complete Styles of Steve ‘Morse _ . _ . _ _ , g _ 3, is a perfect eaming too r gui- ‘ "' ' ‘ ' their versatility. wml CASS“-l '3 ' - : -,, ‘,l ‘s li»li°»li, 'llbill'A‘l§lil AMBKOOISCD (PP961) = ‘~ , .Z WITH co

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