Gretsch honors the late AC/DC co-founder, guitarist, and songwriter with an all-new signature guitar, Limited Edition Malcolm Young “Red Beast” Signature Jet.
Malcolm and Gretsch have a storied relationship and this new Signature Jet pays tribute to Malcolm’s famous 1963 Gretsch Jet Firebird 6131, aka “The Beast”. Designed in consultation with Malcolm’s nephew, Stevie Young, this Signature Jet reflects the earliest iteration of Malcolm’s famed guitar used in early AC/DC performances and music videos, including “It’s a Long Way to The Top,” before eventually making his own mods and stripping the top.
For over forty years, Malcolm’s riffs have inspired generations of rock and metal guitarists. Today, Gretsch honors the late AC/DC co-founder, guitarist, and songwriter with an all-new signature guitar: the G6131G-MY-RB Limited Edition Malcolm Young “Red Beast” Signature Jet.
- 2”-deep double-cutaway chambered mahogany body with maple top
- TV Jones® Ray Butts Ful-Fidelity bridge, TV Jones® Starwood humbucker middle and TV Jones® Ray Butts Ful-Fidelity neck pickups
- Individual pickup volume controls, master volume, three-position pickup toggle switch, three-position tone switch and three-position standby switch
- Harmonica-style Adjusto-MaticTM bridge with pinned ebony base
- Available in an aged Vintage Firebird Red finish with black pickguard and aged gold hardware
The Gretsch Limited Malcolm Young Signature "The Beast" Jet | Gretsch Presents | Gretsch Guitars
MSRP: $3399.99. For more information, please visit gretschguitars.com.
Introducing the new Boogie Cabinet Series, comprised of new guitar cabinet offerings and long-time Mesa player favorites.
The Boogie Cabinet Series dates back to the early 1970s when Randall Smith set out to fulfill player requests for extension cabinets matching their Mark I 1x12 and 1x15 open-back combos. The compact size was originally determined by the combo’s dimensions, however as the Mark Series evolved and expanded, so did the extensions. Now players have more options than ever before. Designed with portability in mind, all Mesa cabinet enclosures are crafted from the finest void-free marine-grade Baltic birch ply and loaded with premium Celestion speakers. Super strong rabbet corners are glued and nailed, and speaker baffles are fitted with superior dado joint construction and braced. Grilles are wrapped around a separate grille board, not the baffle board. Grille material is made of strong twisted jute dipped in a special coating that filters top end for a sweeter response. Each lends its unique character to your tone as a standalone cabinet or an extension for your combo amp.
Mesa/Boogie has remained the original boutique Home of Tone, hand-crafting amplifiers of uncompromising quality from the world’s finest materials in California, USA. Founder Randall Smith instilled basic principles into Mesa such as passion, drive, integrity, and excellence, and his insistence on making the best amplifiers has guided half a century of breakthrough innovations, elevating the amplifier into an instrument in its own right--one with the power to shape and create musical genres. Mesa/Boogie is proud to announce the new Boogie Cabinet Series is available now at authorized Mesa/Boogie dealers.
For more information, please visit mesaboogie.com.
What happens when you mix major, minor, and the blues?
- Develop a better understanding of the blues scale.
- Create lines that move between major and minor.
- Understand the intervallic makeup of various scales.
What is a Parallel Blues Scale?
It’s simpler than you think. When you have a major and minor scale that shares the same root it creates a parallel relationship between them. Whether you’re integrating the two scales within the same phrase, or playing one right after the other, this approach will allow you to “say” more than if you only used one scale.
Each scale, chord, and arpeggio can be boiled down to a numerical formula that tells you how to alter a major scale to get a specific sound. A major blues scale formula is 1–2–b3–3–5–6. You could also think of this as a major pentatonic scale with a b3.
The minor version of the blues scale is 1–b3–4–b5–5–b7. Here, we are taking our standard minor pentatonic shape and adding a b5.
Here’s the General Rule
When the key is major, we can use major and minor blues scales based off the same root. For example, over a G7 chord we could bust out both the G major blues scale (G–A–Bb–B–D–E) and the G minor blues scale (G–Bb–C–Db–D–F).
As a guitarist, it’s imperative to know both forms intimately. If you listen to the greats such as Jeff Beck, Jimmy Page, Eric Clapton, Pat Martino, George Benson, or Grant Green, you’ll hear that they weave in and out of both tonalities seamlessly.
The Parallel Approach
In Ex. 1 I outline both scales starting with the major and then the minor. Let’s break this down a bit more. Both scales share three common notes (G, Bb, and D). That leaves six notes that are unique to each scale. The 2, 3, and 6 really solidify the sound of a major tonality. On the other hand, the b5 and b7 are defining notes in the minor blues scale. These notes are what shapes the music that is built upon these scales.
The following examples use only major and minor blues scales, unadorned with outside notes or other scales, played over G7. As you’ll see, with good phrasing and rhythm there’s a lot you can do with just the two scales. In Ex. 2 I start nice and easy with a major-sounding blues run. Even by staying entirely within the scale you can take liberties and emphasize colorful chord tones on strong beats. For example, I kick it off with the 9 (A) on beat 1. In the next measure I start on the 13 (E) before drilling that b3–2 sound on beat 2.
Ex. 3 contains a fragment of the minor blues scale. I’ve been working on playing repeated four-note patterns through different rhythmic ideas. Here, I’m doing a four-note shape through sextuplets, or 16th-note triplets. As you work up the speed it can become very shreddy.
Next, let’s look at how you can blend the scales together. In Ex. 4 I primarily use the minor version, but a few notes from the major blues scale creep in, notably A and E. It definitely gives the line a Dorian vibe.
Just playing endless eighth- or 16th-notes can be tiresome, so adding more interest in the phrasing helps a lot. Ex. 5 starts in major but descends the minor pattern. Plus, the syncopation and rhythm make it pop a bit more.
There’s still a place for chromaticism—when used right.In Ex. 6 chromatic elements of both scales are combined so much that the tonality is a bit obscured. You can totally hear the blurred line between major and minor here.
Ex. 7 is a sweet country-style lick. This example sounds major overall, but there are colors of the minor blues scale with the addition of F and Db.
You can cover quite a bit of ground with Ex. 8. The line begins with an ascending major blues scale run, followed by hybrid chromatic notes within the quintuplets. The chromatic elements of both scales combined add color and again obscures the tonality, making for an exciting line!
Ex. 9 begins in major, then switches to minor on beat 2. Notice the extended chromatic line which is a popular melodic blues phrase. It starts from the b3 and moves chromatically up to the 5.
Our final example (Ex. 10) starts with a major blues idea followed by minor blues phrase with the entrance of the quintuplets. The opening chromatic line, sweeps, and the quintuplets make it pretty challenging.
It’s imperative to have the blues scales in your arsenal, both intellectually and technically. As guitarists, we keep adding new concepts to material we already know. The saying rings true: “What’s old is new again.” Until next time, happy shredding and enjoy the journey!