[COLUMNS]

IN DEEP
by ANDY ALEDORT
BECKOLOGY
A LOOK AT THE PLAYING STYLE OF THE
LEGENDARY JEFF BECK
ON DISC!

FIGURE 1a FIGURE 1b FIGURE 1c FIGURE 2a

N.C.(B)

0 5
+1

+2 +1 w/bar (use
w/bar

w/bar w/bar

N.H. thumb to pick)
w/bar w/bar w/bar
COMBINING A FEARLESS, adventurous

-1

9
spirit, hell-bent musical aggressiveness, 7
a sneering attitude and pure technical
0 0 0 0 0 5 5
79
79 9 7
9 7
975 9 7
brilliance, British rock guitar legend Jeff 7
Beck speaks the language of music in a

-1
voice that is all his own. In this edition of FIGURE 2b FIGURE 2c FIGURE 2d

In Deep, well examine the key elements N.C.(B)

11 9 7 9
N.C.(B) N.C.(B) w/bar

that make up Becks signature sound and w/bar
w/bar w/bar w/bar -1/2
w/bar w/bar w/bar
-1/2 -1/2 -1 -1/2 -1/2 -1
9 7 7 7 10 10
playing style, starting with his distinct -1

7
articulation techniques and moving on to 9 9 7 7
9 9 7 9 7
a look at two of his most enduring com- 9 9 7 5 9 9 7 5
7 5 7 5 5 2
positions: the challenging whammy-bar
workout Where Were You from 1989s
Jeff Becks Guitar Shop, and the jazz/ FIGURE 3a
N.C.(B)
fusion masterpiece Scatterbrain from
his seminal 1975 album, Blow by Blow.
1 *w/bar 1 w/bar
w/bar w/bar

In his early years as a solo artist, Becks 9 9 9 9 9 9 9 7 9 9 9 9 7 9 9 9 7
primary guitar was a Gibson Les Paul, but 9 7 7 7 7
since 1976s Wired album his ax of choice
has been a Fender Stratocaster. The Jeff *Flick bar by quickly pulling 3 3 3 3 3
upwards and letting go.
Beck Signature model Strat today func-
FIGURE 3b
tions as his main guitar, and it is set up in
N.C.(B)
a very specific way to accommodate many
1 w/bar 1 1 w/bar w/bar
of the techniques he employs.
An essential element is the tremolo sys-
109

10 10 10 10 10 10 10 10 10 10 10
tem (whammy bar), which is set so that 9 9 9 9 9 9 7 9 9 9 9 9 9 9 7 9 7
9 7
Beck can easily pull up on the bar to raise 9 7 5 7 5 5 5

the pitch of a given note (or notes), as well 3

as depress the bar to lower the pitch. The
FIGURE 4a q = 72

tension of the tremolo system is set very

N.C.(Bm)

soft, so that it does not require much hand w/bar w/bar w/bar w/bar

-1 -1/2 -1/2 -1 (slack)
pressure to move the bar. For the accom-


7
panying video to this lesson featured on
this months CD-ROM, I set up the trem- 9
7 9
7 7 9 9 7
9
9 9 7 7
9 7 7
9 7 5 4

7 0
olo system with three springs, and the
3 3
claw (the clamp that holds the springs)
FIGURE 4b
is screwed out so that the bridge is lifted
N.C.(Bm7)
off the guitars body.

*
As shown in FIGURE 1a, I can raise the

9 9 9 9 9 7 7 7 7 9 11 11 11 11 11 9 7 9 9

pitch of the open G string a major third, or 97 7 9 7 9 7

9875 5 79 9 6 8 5 0 0 0
two whole steps, by pulling up on the bar. X
This enables me to add vibrato with the *Flick bar upwards 3 3 3 3 3 3
arm while raising the pitch a minor third, FIGURE 4c
or one and a half steps, as shown in FIG- N.C.(Bm7)
URE 1b. Beck often uses this technique in 1 ** 1

conjunction with natural harmonics (N.H.),

10 10 10 10 10 10 10 10
as in FIGURE 1c. 9 9 9 9 9 7 9 9 7 9 9 7 7 7 7 7 7 7 7 7 7 6
9 9 7
Another key element of Becks style is 9 7 5 7 5
that he picks with his fingersprimarily
3 3 3 3 3 3
his thumb. He will often keep the rest of **push down on tremolo systems w/edge of palm
his pick-hand fingers wrapped around the FIGURE 4d
tremolo arm, with the index finger posi- N.C.(Bm7)
tioned close to the tip of the arm so he 1 hold bend 1

109
can easily alter the pitch of any given note. *

10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 7
As shown in FIGURE 2a, I begin the 9 9 9 9 9 9 7 9 7 9 9 9 7 9 7 9 7 9 10

phrase by simultaneously picking a note
and dipping, or swooping, with the arm, *repeat
prev. beat
5

FIGURE 5 q = 68

94 GU I TA R WOR L D A NMNAYI V E2 R0 S1 0A R G
Y 2U0 1I0TA RWO
G UI TA RR
WLOD
R .LD
CO. CM
OM Cm7 Amaj7 Fm7 Csus4 C

1

1 1

47
1
1 1 1/2

13
1

7 7 4
13 13 9 9 9 9 6 6 6 6 5 5

10 10 5
X 5 3 2
X
 FIGURE 4d
N.C.(Bm7)
1 hold bend 1

10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 7
9 9 9 9 9 9 9 7 9 7 9 9 9 7 9 7 9 7 9 10

[COLUMNS] *repeat
prev. beat
5

meaning that I quickly depress and release FIGURE 5 q = 68

the bar with the note attack. Through the Cm7 Amaj7 Fm7 Csus4 C

1

1 1

47 1
1 1 1/2

13
rest of the phrase, I accentuate some notes 1
by adding vibrato with the bar. FIGURE 2b

7 7 13 13 9 9 9 9 6 6 6 6 5 5
4



illustrates a similar melodic phrase. 10 10 5
X 5 3 2

Beck will also use the arm to sound X
17
specific pitches in the midst of a melodic trem. pick trem. pick while
*(off) (off) f (off) f (off) f (off) f sim. 3 3
(w/thumb and sliding shape down f
phrase, as I demonstrate in FIGURE 2c. index finger) and up fretboard *swell w/vol. control
FIGURE 2d offers another example of this
technique.

FIGURE
FIGURE 6 Where Were
6 Where Were You
You qqq =
= ca.
ca. 56
56

With the tremolo system set up this way, FIGURE 6 Where
FIGURE 6 Were
Were You
You q = = ca. 56

Where
A ca. 56Gsus2
D/F# Em7 Bm7

A D/F# Gsus2 Em7 Bm7

one can flick the barquickly pull up on

w/bar

A w/bar D/F# Gsus2 Em7 w/bar w/bar Bm7

w/bar

A w/bar D/F# Gsus2 Em7 w/bar Bm7

w/bar w/bar

+1 -1/2 1

w/bar w/bar w/bar +1 -1/2 -1/2 1

N.H.
N.H. w/bar
17 18
the end of it and let goto achieve a flut- -1
-1 -1/2 2
18
w/bar w/bar w/bar N.H. +1 -1/2 2 1

-1/2 -1 -1/2 2 1
N.H. +1 -1/2

19 19 19 19 18
17 17 19 -1 2
18 17
tering sound. Examples of this technique 17 17 17
17 19

17 19
19 19 19
19 19
19 16
16 18
18 19
19 19
19 19
19 19
19 19
19 19
19 19 19 19 (( 19 ))
19 19
19 19
19 19
19 19
19 19 ( 19

17 17 19 17 19

are shown in FIGURES 3a and 3b. 18 19 16 18 19 19 19 ) 18

19 19 19 19 19 ( 19 )

18 19 19 19 16 18 19 19 19 19 19 18

FIGURES 4a-c exemplify a variety of
ways in which Beck will incorporate the 3
3 3
3
3 3
3 3
tremolo arm into his improvised solos. FIGURE
FIGURE
FIGURE 7a
7a FIGURE 7b
FIGURE 7b
FIGURE
FIGURE 7a FIGURE 7b

In FIGURE 4a, I begin with a swoop,

7a 7b w/bar

333
w/bar

55
w/bar

+1

w/bar -1 w/bar +1

followed by a series of bar vibratos; in w/bar -1 -2
-2 w/bar +1
+1 +1

-1 -2 -3
-3 -3
-3 -1/2
w/bar +1 +1


-1 -1/2

-2 -3 -3 -1/2 +1
FIGURE 4b, the majority of the notes are -3 -3 -1/2

accentuated with tremolo arm flicks; and 5
5 5
5 5
5 5
5 5
5 3 3
3 3
3 3
3 3
3 3

3
5 5 5 5 3 3 3 3 3
in FIGURE 4c, I alter the pitch of sustained 5 5 5 5 3 3 3 3 3

notes by pushing or banging the pick-hand

palm against the back edge of the bridge,
FIGURE 8

which serves to create rhythmic accents of FIGURE 8

FIGURE 8

FIGURE let
8 ring

let
let ring

eighth- and 16th-note triplets. ring w/bar
w/bar w/bar
w/bar w/bar
w/bar

let ring
N.H.
N.H. w/bar w/bar N.H.
N.H. w/bar

Another signature technique of Becks is N.H. w/bar w/bar N.H. w/bar

N.H. 12
12 12
12 N.H. 12
12 7

7 12 7 7 12 12 12 12

fast fingerpicking between two notes. As 7 7 7 12 12 12 7

5
5 7 12 7
7 7 5
5 7 12 12 5
5 12
12 12 7
7 7 5
5

5 7 7 7 5 7 12 5 12 7
12 7 12 7 7 5

shown in FIGURE 4d, an oblique bend (a 5 7 5 5 12 7
12 7 12 7 7 5
7 12 7 7

bent note sounded in conjunction with an 7
7 7
7
unbent note on another string) is followed

by notes that are half-steps apart and are FIGURE
FIGURE 9 qqq =
9 = 84
84
q== 84

FIGURE
FIGURE 9
9C 84
slid down, and then back up, the fretboard. C Cm7
Cm7
Beck also makes great use of the volume
C
w/slide
C
w/slide


Cm7
Cm7
32
32
33
*33 33 2299 29 29 32 32 31
w/slide*
*
*w/slide

33 29 32 32
swell, executed by sounding a note with

32 31
33 29 29

33 31
31 29 31 29 31 32 31 29 29
31 29 31 29 31 32 32
32 31
31 29 31 29

the guitars volume off, after which the vol- 29 31 29 29 29 32 31 29 29

33 33 31 29 31 29 29 29 32 29 32 31 32 32 31 29 31 29
ume is gradually increased. This technique
can be used to emulate the human voice

3
3 3
3
*Tap slide on strings beyond fretboard (tab numbers represent frets if fretboard were to continue)
*Tap 3 3
*Tap slide
slide on
on strings
3 beyond
beyond fretboard
fretboard (tab
(tab numbers
numbers represent
represent frets
frets if
if fretboard
fretboard were to
to continue)

as well as the sound of a bowed violin. strings 3
were continue)
*Tap slide on strings beyond fretboard (tab numbers represent frets if fretboard were to continue)
FIGURE 5 illustrates a phrase articulate F/C
F/C
F/C

C5
C5
C5
Csus2

Csus2
Csus2
C7

C7
C7
29


33
29
F/C 3 C5 Csus2 C7

in this way. Guitarist Roy Buchanan is also 3

29 27 29 27 31 29 33 34
3

29 29
29 29 27 29
2929
29 29
27 29 27 31 31
29 27
31 29 33 33
31 29
33 31 3334
3
29 27
29 27 27 2929 29
associated with this technique. 29 29 27 31
31 31 31
31 31 29 33
33 3333 31 31 33 34
29 29 27 27 29 29 29 27 29 31 31 33 34

29 27 27 27

A great example of Beck utilizing all of 29 27 27 29
29 27 27

these techniques together is Where Were
3

3
You. FIGURE 6 shows the first four bars of 3
Fm/C
Fm/C

34
33 35
C
C




3

34 34 3355 35
the tunes melody: at the end of bar 3 and Fm/C C
34 33 32 31 33 32 32 32
Fm/C C

34

34 5
5 35 34
34 32
32 34
34 3232 31
31 33
33 32
32 31
31 33
33 32
32 32
32 32
32 30
30 29
29
into bar 4, a natural harmonic is sounded, 33 34 34 32 34 32 31 30 29

33
33 34
34 34 35 34 32 34 32 31 33 32 31 33 32 32 32 30 29

and the arm is used to delineate very spe- 34 33 34
cific pitches. This challenging technique
requires a delicate touch and keen atten-
3
3
3
3
3
3
3
3
3
3
3
3

3 3 3 3
tion to pitch accuracy. FIGURES 7a-b and
FIGURE 10 Scatterbrain
FIGURE 10 Scatterbrain qqq =
= 130
130
8 offer other examples of this technique. FIGURE
FIGURE 10 Scatterbrain
10 Scatterbrain q =
N.C.(B) = 130
130 (Bmaj7)
N.C.(B) (Bmaj7)

A truly mind-boggling technique of N.C.(B) (Bmaj7)

N.C.(B) (Bmaj7)

Becks is his ability to play melodies by

touching a slide on the strings far beyond 8
8 8
8 9
9 8
8 9
9 11
11 9
9 8
8
8
8 9
9 8
8 9
9 11
11 9
9 11
11 8 11
11 8 9 8 9 11 9 8 11
11 9
9
8 9 8 9 11 9 11 8 11 8 9 8 9 11 9 8 11 9
the end of the fretboard, as he does on the 8 9 8 9 11 9 11 11 11 9
track Angel (Footsteps). See FIGURE 9.
Lets wrap up with a look at Scatter- (C)
(C) (D)
(D)
(C) (D)
(C) (D)
brain, This instrumental tour de force
was inspired by a fretboard exercise Beck 9 10 11 12 11 12 14 12 14 11
999 10 11
9 9 10 9 10 12 10 9 11 12 11 12 14 12 11
9
9 10 12 12 9
12 10 12 9 12 9
9 10
10 9
9 10
10 12
12 10
10 9
9 12 10 11
11 14 11
11 12
12 11
11 12
12 14
14 12
12 11
11 14 12
devised, as a specific fingering pattern uti- 10 9 10
10 12 10
10 12 9 12
12 9 10 9 10 12 10 9 12
12 10
10 11 12
12 11
11 12
12 14
14 12
12 14
14 11 14
14 11 12 11 12 14 12 11 14
14 12
12
10 9 10 12 10 12 12 12 10 11 12 11 12 14 12 14 14 14 12
lizing hammer/pull combinations is repeat-
ed and then moved up the board. FIGURE

(G)
(G) B/A
B/A G/F
G/F E/D
E/D D/B
D/B
15
10 depicts the tunes entire five-bar mel- (G) B/A G/F E/D D/B

15
15
(G) B/A G/F E/D D/B

12 9 6

ody, culminating with chord voicings that 12 9 6

9 9 11 9 11
11 12
12 11 9 15 12 9 6
X
9 9 11 9 11 9 12 9 6
15
descend within the framework of a dimin- 9
9 11
11 9
9 11
11 12
12 11
11 12
12 9 12
12 9 11 9 11 12 11 9 12
12 11
11 15
15 12
12 9
9 6
6
9 9 11 9 11 12 11 9
16
9 11 9 11 12 11 12 12 12 11 X X
12
X X
9
X X
6
X
9 11 9 11 12 11 12 12 12 11 15
16
X
16 12
13
X
13 9
10
X
10 6
7
X
7
ished seven arpeggio (in one-and-one-half X X
13 X
10 X
7
16 13 10 7
step intervals).
Jeff Beck remains as vital today as ever,
WHERE WERE YOU by JEFF BECK, TERRY BOZZIO and TONY HYMAS 1989 WB MUSIC CORP. Used by Permission of ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved
as evidenced by his incredible 2008 DVD, SCATTERBRAIN by JEFF BECK and MAX MIDDLETON 1975 (Renewed) EQUATOR MUSIC PUBLISHING (c/o Beldock, Levine & Hoffman LLP, 99 Park Avenue, Suite 1600, New
Live at Ronnie Scotts. Check it out. York, NY 10016) Used by Permission of ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved

96 gu i ta r wor l d a nMnAYi v e2 r0 s1 0a r g
y 2u0 1i0ta rwo
g ui ta rr
wlod
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co. cm
om