
It’s not easy. But it’s worth the work.
Advanced
Intermediate
- Demonstrate a variety of Frank Zappa-esque guitar licks.
- Examine Zappa’s chord progressions and use of modes.
- Discuss Zappa’s guitar tone and rhythm sections.
This lesson simplifies Zappa’s ideas to make them more approachable and playable. Almost all of the examples begin on the downbeat, making them a bit stiff compared to Frank’s 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 Frank’s compositions versus his solos: The composed pieces are exacting and played meticulously, the solos are loose and performed with wild abandon.
That Ol’ Dorian, Santana, Zappa Thing
Before we get to the licks, we’re 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 “Cosmik Debris” below for an “occasional” 12-bar framework.
In the first few examples, the Dm7 to G7 chord progression implies the key of D Dorian (D–E–F–G–A–B–C), which is minor, yet more laidback than Aeolian. This is a mode Carlos Santana frequently solos in, so Zappa’s “Variations on the Carlos Santana Secret Chord Progression” is a pretty accurate name. My example’s vamp is based on Zappa’s “Son of Mr. Green Genes” and “Po-Jama People,” slightly slower.
Ex. 1 is common in Frank’s 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 Zappa’s 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 Zappa’s 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 Zappa’s style. In Ex. 5 I leaned on both 16th-note and eighth-note triplets to give the lick an uneasy, frantic feeling. (Don’t 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 Zappa’s two-handed pick-tapping move. Several years before Eddie Van Halen’s 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, “Inca Roads.” 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, IV–V 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 “Inca Roads,” this vamp, out of context, constitutes all three variations of “Shut Up ’n Play Yer Guitar” as well as “Gee, I Like Your Pants,” “A Cold Dark Matter,” and “Systems of Edges.” A similar vamp is also used in “Son of Orange County.” It might not be the definitive Zappa solo but it’s the definitive Zappa vamp. Let’s see what we can do with it.
Ex. 8 is another open-string lick, with a fast, grace-note slide that’s similar to the opening lick of “Son of Orange County” 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 Satriani’s 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 you’re not used to interspersing them. One thought to keep in mind while working on these seemingly uncommon rhythms (I’m paraphrasing Zappa here): People don’t 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 Zappa’s 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 “Treacherous Cretins,” “The Deathless Horsie,” and “Watermelon in Easter Hay.”
- The Lydian mode. As mentioned earlier, the Mixolydian sound emphasizes the V chord in a IV–V 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 “Watermelon in Easter Hay,” 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 we’ve already covered: low-note playing, open-string pull-offs, and quintuplets…not to mention the slides to end.
Ex. 19 proves that Zappa wasn’t 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.
Zappa’s Rhythm Section
To faithfully imitate Zappa, you need a world-class rhythm section. Throughout his career, Frank’s 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 are—it 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.
“Son of Mr. Green Genes” Hot Rats (1969)
“The Grand Wazoo” The Grand Wazoo (1972)
“I’m the Slime” Over-Nite Sensation (1973)
“Stink Foot,” “Uncle Remus,” “Cosmik Debris” Apostrophe (’) (1974)
“Son of Orange County” Roxy & Elsewhere (1974)
“Inca Roads,” “Po-Jama People” One Size Fits All (1975)
“Black Napkins” Zoot Allures (1976)
“Inca Roads,” “Pygmy Twylyte” You Can’t Do That on Stage Anymore, Vol. 2 (Recorded 1974, Released 1988)
“Watermelon in Easter Hay” Joe’s Garage (1979)
“Heavy Duty Judy,” “Andy,” “Inca Roads,” “Zomby Woof” The Best Band You Never Heard In Your Life (1991)
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Small spring, big splash—a pedal reverb that oozes surfy ambience and authenticity.
A vintage-cool sonic alternative to bigger tube-driven tanks and digital springs that emulate them.
Susceptible to vibration.
$199
Danelectro Spring King Junior
danelectro.com
Few pedal effects were transformed, enhanced, and reimagined by fast digital processors quite like reverb. This humble effect—readily available in your local parking garage or empty basketball gymnasium for free—evolved from organic sound phenomena to a very unnatural one. But while digital processing yields excellent reverb sounds of every type and style, I’d argue that the humble spring reverb still rules in its mechanical form.
Danelectro’s Spring King Junior, an evolution of the company’s Spring King from the ’aughts, is as mechanical as they come. It doesn’t feature a dwell control or the huge, haunted personality of a Fender Reverb unit. But the Spring King Junior has a vintage accent and personality and doesn’t cost as much as a whole amplifier like a Fender Reverb or reverb-equipped combo does. But it’s easy to imagine making awesome records and setting deep stage moods with this unit, especially if 1950s and 1960s atmospheres are the aim.
Looking Past Little
Size factors significantly into the way a spring reverb sounds. And while certain small spring tanks sound cool—the Roland RE-201 Space Echo’s small spring reverb for one—it’s plain hard to reproduce the clank and splash from a 17" Fender tank with springs a fraction of that length. Using three springs less than 3 1/2" long, the Accutronics/Belton BMN3AB3E module that powers the Spring King Junior is probably not what you want in a knife fight with Dick Dale. Even so, it imparts real character that splits the difference between lo-fi and garage-y and long-tank expansiveness.
In very practical and objective terms, the Danelectro can’t approach a Fender Reverb’s size and cavernousness. Matching the intensity of the Spring King Junior’s maximum reverb and tone settings to my own Fender Reverb’s means keeping dwell, mix, and tone controls between 25 to 30 percent of their max. Depending on your tastes, that might be a useful limitation. If you’ve used a Fender Reverb unit before, you know they can sound fantastically extreme. It’s overkill for a lot of folks, and the Spring King Junior inhabits spaces that don’t overpower a guitar or amplifier’s essence. Many players will find the Spring King Junior simply easier to manage and control.
There are ways to add size to the Spring King Junior’s output. An upstream, edgy clean boost will do much to puff up the Danelectro’s profile next to a Fender. The approach comes with risk: Too much drive excites certain frequencies to the point of feedback. But the Junior’s mellower sounds are abundant and interesting. Darker reverb tones sound awesome, and combined with modest reverb mixes they add a spooky aura to melancholy soul and spartan semi-hollow jazz phrasings—all in shades mostly distinct from Fender units.
Watch Your Step!
Spring reverbs come with operational challenges that you won’t experience in a digital emulation. And though the Spring King Junior is well built, its relative slightness compounds some of those challenges. The spring module, for instance, is affixed to the Spring King Junior’s back panel with two pieces of foam tape. And while kicking a spring reverb to punctuate a dub mix or surf epic is a gas, the Spring King Junior can be susceptible to less intentional applications of this effect. At extra-loud volumes, the unit picks up vibrations from the amplifier’s output when amp and effect are in tight proximity. And sometimes, merely clicking the bypass switch elicits an echo-y “clank”. This doesn’t happen in every performance setting. But it’s worth considering settings where you’ll use the Spring King Junior and how loud and vibration-resistant those spaces will be.
Though the Spring King Junior’s size makes it susceptible to vibration, many related ghost tones—taken in the right measure—are a cool and essential part of its voice. It’s an idiosyncratic effect, so evaluating its compatibility with specific instruments, amps, studio environments, and performance settings is a good idea. But for those that do find a place for the Spring King Junior, its combination of tone color, compact size, and hazy 1960s ambience could be a deep well of inspiration.
Blackstar Amplification unveils its new AIRWIRE i58 wireless instrument system for guitar and bass.
The AIRWIRE i58 enables wireless connection for guitars, basses and other musical instruments with ¼” audio outputs and delivers low noise and less dropouts. The majority of wireless systems on the market operate within the 2.4 GHz range whereas the AIRWIRE i58 operates within the 5.8 GHz which is a less crowded frequency band that is immune to WiFi interference.
The AIRWIRE i58 also has an optimised antenna design and anti-interference algorithm – this gives players a robust, reliable and most importantly worry-free performance. The low latency and accurate frequency response ensures authentic tone and feel without the need for cables.
Never worry about running out of battery or losing your signal; AIRWIRE i58 offers up to 9 hours play time at full charge and features a transmission distance of 35 metres. Up to four AIRWIRE i58s can be used simultaneously for a full band setup without interference.
AIRWIRE i58 offers wireless high-res signal transfer, so there is no treble loss which can occur when using a long cable. However, the system offers a switchable CABLE TONE feature to simulate the tonal effects of a traditional instrument cable if players desire that sound.
AIRWIRE i58 is the ideal wireless system for every musician – for cable-clutter-free home use or freely roaming on stage.
AIRWIRE i58 Wireless Instrument System
- Wireless Instrument System
- Frequency Band: 5.8GHz
- Transmission Channels: 4 independent channels
- Transmission Distance: Up to 35 metres (100 feet)
- Latency: <6ms
- Frequency Response: 20Hz~20kHz
- Output Impedance: 1kΩm
- Connectors: ¼” mono
- Power: Rechargeable lithium-ion battery
- Charging: USB-C 5V input (cable included)
- Charging Time: <2.5 hours
- Operation Time: 9 hours when fully charged
- Illuminated star logo
- Dimensions: L 67.0mm, W 37.2mm, H 20.5mm
- Weight: 45g (each transmitter or receiver, single unit)
Blackstar’s AIRWIRE i58 carries a street price of $169.99.
PG’sJohn Bohlinger caught up with Moak at his Nashville studio known affectionately as the Smoakstack.
Grammy-nominated session guitarist, producer, mixer, and engineer Paul Moak stays busy on multiple fronts. Over the years he’s written, played, produced and more for TV sessions (Pretty Little Liars, One Tree Hill) and artists including Third Day, Leeland, and the Blind Boys of Alabama. But most recently he’s worked with Heart and Ann Wilson and Tripsitter.
Time Traveler
Moak is most loyal to a 1963 Stratocaster body that’s mated to a 1980s-vintage, 3-bolt, maple, bullet-truss-rod, 1969-style Fender Japan neck. The bridge has been swapped as many as four times and the bridge and neck pickups are Lindy Fralins.
Cool Cat
If there’s one guitar Moak would grab in a fire, it’s the Jaguar he’s had since age 20 and used in his band DC Talk. When Moak bought the guitar at Music Go Round in Minneapolis, the olympic white finish was almost perfect. He remains impressed with the breadth of tones. He likes the low-output single-coils for use with more expansive reverb effects.
Mystery Message Les Paul
Moak’s 1970 L.P. Custom has a number of 1969 parts. It was traded to Moak by the band Feel. Interestingly, the back is carved with the words “cheat” and “liar,” telling a tale we can only speculate about.
Dad Rocker
Almost equally near and dear to Moak’s heart is this 1968 Vox Folk Twelve that belonged to his father. It has the original magnetic pickup at the neck as well as a piezo installed by Moak.
Flexi Plexis
This rare and precious trio of plexis can be routed in mix-and-match fashion to any of Moak’s extensive selection of cabs—all of which are miked and ready to roll.
Vintage Voices
Moak’s amps skew British, but ’60s Fender tone is here in plentitude courtesy of a blonde-and-oxblood Bassman and 1965 Bandmaster as well as a 2x6L6 Slivertone 1484 Twin Twelve.
Guess What?
The H-Zog, which is the second version of Canadian amp builder Garnet’s Herzog tube-driven overdrive, can work as an overdrive or an amp head, but it’s probably most famous for Randy Bachman’s fuzzy-as-heck “American Woman” tone.
Stomp Staff
While the Eventide H90 that helps anchor Moak’s pedalboard can handle the job of many pedals, he may have more amp heads on hand than stompboxes. But essentials include a JHS Pulp ‘N’ Peel compressor/preamp, a DigiTech Whammy II, DigiTech FreqOut natural feedback generator, a Pete Cornish SS-3 drive, Klon Centaur, and Electro-Harmonix Deluxe Memory Man.
PG Contributor Tom Butwin dives into three standout baritone guitars, each with its own approach to low-end power and playability. From PRS, Reverend, and Airline, these guitars offer different scale lengths, pickup configurations, and unique tonal options. Which one fits your style best? Watch and find out!