Acoustic Fingerstyle PAT METHENY 'A MAP OF THE WORLD'

GT RATING MODERATE /ADVANCED

IIIII I Helps improve your: • Fin&er stretches • Unusual chord vok lngt • Fin&erpoclclnc

"This piece is Rubato, which

means the tempo slows

down and quickens

throughout.''

YOUR OTTUTOR 8 EIUCROCHE See p16 feN' mo"' Info on all the GT tuton

0 TRACK RECORD 'A MAP OF THE WORLD' IS FROM THE 1999 ALBUM OF THE SAME NAME

W TH A RECORDING CAREER stretch ng near!) 30 year> and over 35 albums. Pat Methel-y s wr><~lo oty IS

wei documented 'A Map OfThe World. almough a fne tune. IS from ~ no·-~<y-representi!Th.-e album, so •' you're partJcularly nterestcd .., more of Methenys a;oustJc pla:-'ng. try '1\ew CN ta qua' ( 19 79) a~ ~ The Mo:.so<m Sky ( 1997 w th C.,..Oe Haoen) I NOUid abo hislh!Y recommend ~Story' (1992) Lener From .-,orne· (1989) and'Bnght Sze Ue (1976).1f you want ~o learn more abou'. tvs musoc. get nold of Sot-goook' (published by Hal Leonard see m.JS~Croom.com) • ....n en features !.-anstnptlons (lead sheetS no solos.? of al Me·~vs •unes :o elate. bar ms mo~ recent ab.m. For more onformatJOn VISit www patmethen)'g"'~p.com.

American jazz legend Pat MPI ht>ny marl I' his name in the mid '70s, since when he has turned experimentalism

Into a high art, recording in numrrous di ffr rcnt genres while mmniAinmg Ius signal lin' sty)(' along th(' way Whether 11 1s with h1s own group (wah mus1c panner Lyle Mays) or 0 11 myriad solo projects, ~1etheny <:outinue~ to IJUSh the t'twclopc of jazz. Although probably hrtl rr known as an !'lectrir guitarist, ~1eth!'ny is a rornudable acoustic fUI!:t!t'litylc ,!!uitarisL This month's transcription is from his soundtrack for I !l9!l's 'i\ Map Of The World'.

Thf' ongmnl r.,rording ff'arures olCOUSill' gmlar, stnng orchf'stra, bass and piano. Yet for the most

part, the acoustic guitar carries the mel<><b and chord changes so it presents itself as a potential solo mstnrmf'ntal pil'<'l'. In one or two

places, I used the surroundmg ham10n1 to create a more suitable guitar pan. The left-hand ftngenng has hl'<'n mdudcd throughout (apart from mslanrPs whe-re a measure has appeared pre,~ously) to help you play the piece more

precrsely. It is marked Ruba!O. whrch suggests that the t<'t1li>O slows down and quickens throughout The piece also varies in dynan\ics, with some notes being barely audible but still highly effective. In a world where so many guitarists arc obsesse-d "~th speed ron I rol (sc>t 10

fast!), this piece wi.U help you appreciate two far more important aspt!(;ts: lone and ,jymllllics.

There are some particular tE'chnical points to look nt. In BAR 17 Metheny plays an artll\c1al harmonic during the Gsus4 bar. To play this. simply touch the B string lightly at the 15th fret \\1th the

. : SOUND ADVICE METHENY ME I ISMA

AL '10ST ALL THE accx:stJc guurs Metheny plays arc ,.,...aoe bt Ca'lacfoan lt.1hoer lmda Manzer (see WWVoo

manzer.com) 'Par t of the reason I ve beg,n to play acoust•c gu1t.ll' tS

because of thrs ncrcd ble gu1tar rvc been play ng the last few year5;· res sa d.' Her gurt.ars are SorT'ply amazu'S- ·

40 GuitarThimiques MARCH 2003

1~ht-hand index, while holding down thl! chord. Pluck the same string \\;th the middle or ring finger of the right hand. The touch and the plurk shoulrl happE'n simultaneously, and you'll hear a high D harmonic note. This bar \\ill require practice as the harmonic should happen \\ithin the rhythm of the phrase.

In BAR 25 the lingering may seem difficult, but the crucial fin,11erinl( is moving the index from the C to the F note (5 to 6 in the tab sUlve). Take some time to practise g~mng this move smoothly.

In BAR 43 thl' F' maJor 7 chord reqUires a bass F note to be held for the dural ion of the measure, by flattening the index finger on tl\e ·nnd' of BE.AT 2. Similarly m BAR 48 the F note nl'cds to he held over the whole measure. By flattening the index finger at a 45° angle on BEAT l , the low F and high E can be held down. Again, a tricky technique but wrll worth pra<'tising.

BAR SO has a similar artificial hannonic technique to bar l 7. Touch the E string lightly with the right-hand index finger at the 17th fret while simultaneously plucking it WJth thE' minniE' linger. You should try to let the hamtoruc ring out while you play the remaining notes in the bar. Ill

sa~ Pat For th s recorong I aeout~ my new Benart'on OM custom g .. ntar. Thos sr'lall-bo<J;ed I '1-fret neck tnstrume~t tS fitted "th a B-Sand s-.ereo pock •P system and .vas recO<'ded direct to a Tascam 788 hard dtSo< I e<:order. The S!1111~S are D'Add!no .013 .017 .026 032 .042 .056 gauge The fonge'Tiar s were real Fo• more onforrnat.oon abo.Jt the gurtar, VISit wwwbenJamongo1ars.co.uk.

THIS TUNE RELIES very much on dynam1cs. By expenmenting wrth vary>ng dynam1c:s, you can bnng a phrase. a whole sol"g or e\len a whole g1g to life. Use dynamiCs for dramabc and subtle effect

MARCH 2003 GuitarTedmiques 41

Acoustic Fingerstyle PAT METHENY 'A MAP OF THE WORLD'

© Copynght 1999 Pat Meth MuSIC Corpora~on 8MG MuSIC PubliSh ng umrted Used by permossoon of Musoc Sales umoted AI Rights ~.-..ed lmematoonal Copynght Secured

PAT METHENY 'A MAP OFTHEWORLO'

E B G 0 A E

E B G 0 A E

E B G 0 A E

E B G 0 A E

E B G 0 A E

" ll

t)

5

" ll

t)

g

1\ ~

t)

12

" ll

t)

16

Gadd9 Rubato lf2 By __ ________________ ____ ____________ _____ _________ _ _______ _

0 A

·J .J 21 J--J J I J-n -J j 1 J j 1 1":'1

" ll I I 0

.. . t) I I

shght ran II I ~ I ~

5 5 8 8 8

7 7 7 7 7 5 5

1

--------- ------------------ --------- -------------------------- , f:\

·J J .I J~ J I ·J J J 1 j - - - 11~ I J J T J j 1 l J j 1

I ~ I II I ~ I II I II I pp lJ p p p -=:::::::::::. rail

5 7 8 8 8 8 8

7 7 7 7 7 7 7 7 5 -5 5 4-

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r-oo-, 1":'1 ,.._, .n r-, ~ - -.,

.y~ • - o• --· • I r i of 'i oj <#)0 pppp f 3

3-4 4

4-o-3 3

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5 5-s 5 5-s-s s-s-4 4 4 4 4 4 4 4 4 4 4 4 4 4

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5 3 0 3 3 5 7-~8 7 1o-

1 3 :.: 8 4 4 5 7

-v 7

4 2 Gui1ar TOChniques MARCH 2003

0 TRACKS 16- 17

PAT METHENY 'A MAP OF THE WORLD' .•. CONTINUED

E B G D A E

E 6 G 0 A E

E B G D A E

E 6 G 0 A E

E B G D A E

c Cmaj7 c Cmaj7 - - - ·} • J~l J = T - o I " II = I Tl o I I I o I~ I I I I - " tl! -

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v v

v

1 1 1

19 8 8 8 8 8

m G~ m 'hBX-------------, BVII----- ----- ---.

1

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v v

8 8

G/D

see performance notes 'h Blll .

p~r i 12-

10-

8 8-

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T~ TJ .J I I .J~J J1 • I J- I j - -

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27

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31

r r F F ~~r r 12 12 7- - 8 8

1G- -8 8 1 1 1 7

10 , 7 7

7 7 8 8

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ou

12-~10 7 10 8 10-f-12 8 2

4

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1

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7 7-Q-8 7-8

Aadd9

7 10 10

1 8

Dadd9 (Fmaj7)

BY-------------- ·

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- 5 5 5 7- - 8 7 5 3 7 ~ 3

7 5 4 7 7

5

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10-

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1

3

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3 3-3 3

5 5 5

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1 10-f-1 1

8 8

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3

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12- - 1 7 1Q-8 10- - 12 8 1 7 1Q-1 1

4 1Q-10 1Q-10 1

35

MARCH 20o3 Guitar Techniques 43

Acoustic Fingerstyle PAT METHENY 'A MAP OFTHEWORLD'

PAT METHENY 'A MAP OF THE WORLD' ... CONTINUED

Em7 Fmaj7 Em11 Dadd9

E 8 G 0 A E

E B G 0 A

E

E B G 0 A E

E 8 G 0 A E

E B G 0 A E

39

43

47

51

55

BV------------- , ~BV-------------- ·

1 J 1 I D J T l J T ~ I .BJJ T ~ - I ~ " ~ Ud l o I I T 1 ., .,

~ - •'I I - - 0 ' ·'

u r r ~ ~

7 7-Q-8 7- - 5 5 5 5 7 5 B 5 a- - 7 B 3 J -

5 5 7 7 7 2 7 7 5 5 5

B 8

Fmaj7 G A add9 8 !11 ---------, rr:1

see performance notes L£J 0 ~ tJ I I J 1~ ~cH>~ F

3

II ll o I I r , I I I 1 -- -

t) q~ " ou ~ ~r 1 1...1 I

I

3 3 12- - 14 1 1 3 3 2 1

o-2 4 0 5 1Q-10

1 3 8

Aadd9 Fmaj7 Aadd9 B~maj7/A 1h BV-- --- -~~ - , ~ performance

t ~ C#)t F -

~,. - notes ~ C# )t F - "j nl es II U T , = L'I ~ T 1 -

see

1 j performance

~ .. t'l ....J ,. r:H 17 -

9-12- ~15 12 0 0 9 12- 4 2-1 2 10 5-4 14 4 7 5

2 15 15 15 2 8

13

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of~ 2 2 5 4 3 5- 7- - 8 B- 1 10- - 13 13-15- 15-

3 5 7 5 5 8 11 2 7

7 7 12 3 5 8 1 13 15 15-

D D E c 0 I r~2-~-B-Il ____ 'h BIV- -, 8111-----. BV ------ ·

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~~ 17 2 2-5 4 3 5 7-

15 15 15 15 15 3 5 7 5 14 14 14 14 14 14 2 7

7 5

44 Guitar 1ochniques MARCH 2oo3

Acoustic Fingerstyle PAT METHENY 'A MAP OFTHE WORLD'

PAT METHENY 'A MAP OF THE WORLD' ... CONTINUED

F G B~ Am9 B~ Am7 D

~------~ ~---~sxn

l\n.i 11

2qn J n~ [l J. " I! ~ ---

E 6 G 0 A E

E 6 G 0 A E

E 6 G 0 A E

~

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8 10- 12-1 12

1 10 12

8 1

59

@] Gadd9 0 -1 ., J~J J T " I!

~ I V I

8 8 7 7

5 5

53

" ll J j I J----J J ~ I v I

5 5 8 8

7 5 5

67

46 GuitarThclmiques MARCH 2oo3

12

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13 12-10 13 12 15 12- - 17 13 12 13 13 15

12 14

13 13

n , -J j I J~J J T 1 f.'\ I 9- '

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5 5 5 8 8 8

7 7 7 5 5 5 5- 1-5

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5 5 8 8 8

7 7 7 5- 1-5 5 5 5

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FINE