
Itās not easy. But itās worth the work.
Advanced
Intermediate
- Demonstrate a variety of Frank Zappa-esque guitar licks.
- Examine Zappaās chord progressions and use of modes.
- Discuss Zappaās guitar tone and rhythm sections.
This lesson simplifies Zappaās ideas to make them more approachable and playable. Almost all of the examples begin on the downbeat, making them a bit stiff compared to Frankās unpredictability, but easier to comprehend. I also repeated them several times, which Frank rarely did unless stating a theme or melody. This is the irony of Frankās compositions versus his solos: The composed pieces are exacting and played meticulously, the solos are loose and performed with wild abandon.
That Olā Dorian, Santana, Zappa Thing
Before we get to the licks, weāre obliged to discuss the chord progressions and audio examples used in this lesson. Most of the time Frank would solo over a two-chord vamp and occasionally over one chord, or a one-note pedal. Check out āCosmik Debrisā below for an āoccasionalā 12-bar framework.
In the first few examples, the Dm7 to G7 chord progression implies the key of D Dorian (DāEāFāGāAāBāC), which is minor, yet more laidback than Aeolian. This is a mode Carlos Santana frequently solos in, so Zappaās āVariations on the Carlos Santana Secret Chord Progressionā is a pretty accurate name. My exampleās vamp is based on Zappaās āSon of Mr. Green Genesā and āPo-Jama People,ā slightly slower.
Ex. 1 is common in Frankās playing. Here, I use pull-offs to open-strings with a combination of triplet-based rhythms. You should also hear that I am subtly moving a wah-wah pedal. Nothing dramatic, just enough to highlight certain frequencies. A touch of wah is a key element of Zappaās tone throughout his career.
Variation is key when dealing with repeated motifs. In Ex. 2 I moved the idea from Ex. 1 down an octave and tweaked the rhythm a bit. There is a triplet followed by four 16th-notes, then another triplet followed by two more 16th-notes. This grouping of different rhythmic figures is textbook Zappa.
Tremolo picking is a great technique that you can use to build energy and tension, while also adding a new melodic texture. In Ex. 3 I take a stab at something that Frank might play on the amazing live album, The Best Band You Never Heard in Your Life.
One of Zappaās most adventurous solos is on the title track of the Apostrophe (') album. In Ex. 4 you can see how I emulated the off-kilter rhythms and combined them with open strings.
As you can tell by now, mixing rhythms is a hallmark of Zappaās style. In Ex. 5 I leaned on both 16th-note and eighth-note triplets to give the lick an uneasy, frantic feeling. (Donāt forget to tremolo pick on beat 2 of the last measure.)
Ex. 6 is one of the most challenging licks in this solo. It features a combination of rhythms as well as tremolo picking. Use the slow-down feature to get this one right.
Ex. 7 introduces Zappaās two-handed pick-tapping move. Several years before Eddie Van Halenās two-handed tapping changed the world of guitar, Zappa was performing his own version of the technique. He would tap the frets with the round side of his pick, typically staying on one note for an extended period of time, while holding down a second note, or trilling (alternating between two notes) with his left hand. Full disclosure, I had to use a considerable amount of compression and gain to recreate this sound.
Finally, you can hear all these phrases in context in the complete solo below.
Two-Chord Mixolydian Vamp
These next examples emulate the solo section of what many consider to be one of the exemplary Zappa songs, āInca Roads.ā I might suggest that this could be the quintessential Zappa solo except for the fact that there are many versions of Frank improvising over this two-chord, IVāV Mixolydian vamp (this example features the chords D to E in the key of A major thus E Mixolydian). Note: I hate to contradict the master, as Zappa referred to this solo as being in the Lydian mode, but, at the risk of nitpicking, I hear this solo resolving to the V chord, thus Mixolydian, not Lydian.
In addition to several officially released versions of āInca Roads,ā this vamp, out of context, constitutes all three variations of āShut Up ān Play Yer Guitarā as well as āGee, I Like Your Pants,ā āA Cold Dark Matter,ā and āSystems of Edges.ā A similar vamp is also used in āSon of Orange County.ā It might not be the definitive Zappa solo but itās the definitive Zappa vamp. Letās see what we can do with it.
Ex. 8 is another open-string lick, with a fast, grace-note slide thatās similar to the opening lick of āSon of Orange Countyā from Roxy & Elsewhere.
Just like we did in the Dorian examples, I took the motif in Ex. 8 and moved it up an octave for Ex. 9.
Ex. 10 is another pick-tapping lick, with more movement than the first one we played. You can hear this influence in Joe Satrianiās playing.
Ex. 11 features more unusual rhythmic groupings, alternating eighth-notes and eighth-note triplets. Though relatively manageable to play on their own, this combination of rhythms can be tricky to perform if youāre not used to interspersing them. One thought to keep in mind while working on these seemingly uncommon rhythms (Iām paraphrasing Zappa here): People donāt speak in 4/4 time or in straight eighths. The rhythms of human speech, in one way sound weird, but they also sound totally natural. If you keep this in mind in general, your solos could become more rhythmically imaginative.
One of the most intriguing parts of Zappaās playing and musicianship is the use of dynamics. Rather than solo at a continuous, steady volume, he would play from very quiet to extremely loud and all points in between. He would do this both throughout his solos and also in short, discreet phrases such as Ex. 12.
Ex. 13 is our first example of low-string playing. Many players find this range too muddy for solos, but Frank spent considerable time improvising at the low end of his register.
Lydian Arpeggio Vamp
This final set of examples exhibit three different Zappa tendencies:
- Odd-metered progressions. Frank composed too many of these to count them all. This example is in 7/4.
- An arpeggio vamp. You can hear this in āTreacherous Cretins,ā āThe Deathless Horsie,ā and āWatermelon in Easter Hay.ā
- The Lydian mode. As mentioned earlier, the Mixolydian sound emphasizes the V chord in a IVāV progression.
The Lydian sound conversely emphasizes the IV or the 4th degree of the scale in the bass, as demonstrated in Ex. 14. These two chords, Add9 and Badd11/A are the IV and the V in the key of E, however, as the bass continues to drone the note A throughout, the tonal center of A Lydian is firmly established.
Ex. 15 provides more open-strings and bursts of notes. This particular lick shows how you can move around the fretboard, sustaining certain notes over others, all the while continuing to use the same phrasing and open-string ideas.
Ex. 16 is similar to a phrase heard in āWatermelon in Easter Hay,ā with another dynamic, tremolo note to finish the line.
Ex. 17 is harder than it looks. It appears to run straight up the minor pentatonic scale at the 9th fret, but the double-picked notes, the added A(creating a hexatonic scale), and the unusual rhythmic groupings produce an unexpected challenge.
Ex. 18 has a combination of numerous approaches weāve already covered: low-note playing, open-string pull-offs, and quintupletsā¦not to mention the slides to end.
Ex. 19 proves that Zappa wasnāt one to neglect classic blues-rock cliches. This example is like countless pentatonic blues licks yet with the added dimension of starting in an unexpected place, the second note of an eighth-note triplet figure, followed by unusual rhythmic groupings. For as Zappa-esque as this lick is, it would not be unusual to hear Jimi Hendrix to play such a phrase.
Zappaās Rhythm Section
To faithfully imitate Zappa, you need a world-class rhythm section. Throughout his career, Frankās various band lineups included outstanding bass players and drummers. So, while a drum loop and rudimentary vamp might serve the purposes of practice and a lesson, to recreate the Zappa sound, find yourself a like-minded bass player and drummer who are as committed to Zappa as you areāit will make all the difference.
Zappa Recommendations for the Newcomer
For those of you that are new to Zappa, here are a list of tracks that highlight his guitar playing within the context of unique songs and instrumental compositions.
āSon of Mr. Green Genesā Hot Rats (1969)
āThe Grand Wazooā The Grand Wazoo (1972)
āIām the Slimeā Over-Nite Sensation (1973)
āStink Foot,ā āUncle Remus,ā āCosmik Debrisā Apostrophe (ā) (1974)
āSon of Orange Countyā Roxy & Elsewhere (1974)
āInca Roads,ā āPo-Jama Peopleā One Size Fits All (1975)
āBlack Napkinsā Zoot Allures (1976)
āInca Roads,ā āPygmy Twylyteā You Canāt Do That on Stage Anymore, Vol. 2 (Recorded 1974, Released 1988)
āWatermelon in Easter Hayā Joeās Garage (1979)
āHeavy Duty Judy,ā āAndy,ā āInca Roads,ā āZomby Woofā The Best Band You Never Heard In Your Life (1991)
- Zappa's Big Muff Reborn! - Premier Guitar āŗ
- Gibson Releases Frank Zappa "Roxy" SG - Premier Guitar āŗ
- An Introduction to Weird Guitar - Premier Guitar āŗ
- The Zappa Effect: Blame for Jam Bands Revealed - Premier Guitar āŗ
- Scott Thunesā Bass Journey from Zappa to the Classroom - Premier Guitar āŗ
- Discover Frank Zappa's Iconic Guitar Journey - Premier Guitar āŗ
Ernie Ball, the worldās leading manufacturer of premium guitar strings and accessories, proudly announces the launch of the all-new Earthwood Bell Bronze acoustic guitar strings. Developed in close collaboration with Grammy Award-winning guitarist JohnMayer, Bell Bronze strings are engineered to meet Mayerās exacting performance standards, offering players a bold new voice for their acoustic guitars.Crafted using a proprietary alloy inspired by the metals traditionally found in bells and cymbals, Earthwood Bell Bronze strings deliver a uniquely rich, full-bodied tone with enhanced clarity, harmonic content, and projectionāmaking them the most sonically complex acoustic strings in the Ernie Ball lineup to date.
āEarthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. Theyāre great in any musical setting but really shine when played solo. Thereās an orchestral quality to them.ā -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
Milkmanās Jerry Garcia-style JG-40 combo.
Grateful Dead-inspired gear from Milkman and Scarlet Fire helps to keep the guitaristās sound alive.
Guitar players wanting to catch the Grateful Deadās particular lightning in a bottle exist along a spectrum. Some are content to take inspiration from Jerry Garciaās playing but make their own way regarding guitar choice and signal path. Others strive to emulate Garciaās sonic decisions down to the most minor details and create signal paths as close to Jerryās as possible. In recent years, an ecosystem of gear has developed around fostering Jerry Garciaās electric tone, including everything from guitars, amps, and stompboxes to on-board preamps and speakers.
Entire books about the Grateful Deadās gear have been written, so we canāt cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loopāan innovation he developed to control how much signal reached his effectsāwas dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fireās recreation of Garciaās Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, thereās a wide range of Garcia-esque instrumentsāwith just as wide a range of pricesāout there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo ElliottāsScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. Heās outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, āIām a self-taught luthier; I didnāt really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwinās Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didnāt know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garciaās Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. Thereās one guy who helps me around the shop, but otherwise, I am building these guitars on my own. Iām collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.ā Thatās one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garciaās choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garciaās amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
Itās hard to find vintage JBL speakers todayāat least ones in good shape. San Franciscoās Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-120. Theyāre coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. āI think 75 percent of Jerryās tone is in the JBL speakers,ā Milkmanās founder says. āBut when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editorās Note: Rich was the guitar player in Buck Owensā band, pioneers of the Bakersfield Sound.] Thatās Jerryās tone, too, but the difference is Garciaās midrange was a bit throatier. It sounds clean, but really, itās not clean at the same time. Especially his tone in the late ā70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.ā
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, youād hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garciaās as he can. āSome folks get too hung up on small things, like what kind of cable to use and things like that, and I donāt go that far. But itās important for Dark Star Orchestra to get Jerryās sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Deadās famous Europe ā72 tour, so you have to pay close attention to what kind of gear they were using to do that right.ā
Hamilton works differently. Heās always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) āIāve always approached it like, āWhatās the new information we can put into this thing?āā he says. āNot just recreate but pushing in a forward direction. And anytime Iāve played with the guys who played with Garcia back in the day, they always said to me, āYouāre here because youāre here. Donāt try and do what we did back in 1978 or do it because Garcia did it that way.ā Theyāve always encouraged me to be myself.ā
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. āBesides Jerry, Iām influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,ā she explains. āIām generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didnāt know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.ā
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ā90s country superstars. So, whether you know it or not, youāve likely heard Masonās playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Masonās hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Masonās solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ā90s country superstars. So, whether you know it or not, youāve likely heard Masonās playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Masonās playing.
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
āThe distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether youāre exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,ā said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitarās tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/āsingleā/hum setup, bringing PRSās Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT āSā pickups in the bass and treble positions and a PRS Narrowfield DD āSā in the middle.
SE Studio
The PRS SE Studioās āsingleā/āsingleā/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD āSā bass and middle pickups with a PRS 58/15 LT āSā treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT āSā humbucker in the treble position with two Narrowfield DD āSā pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.