Steve Morse - Power Lines download. Voted five- time winner of Guitar Player magazine’s “Best Overall Guitarist,” and a member of the prestigious Gallery of the Greats, Steve Morse continues to be one of the world’s most inventive guitar players. Steve Morse-Power Lines - Download as PDF File (.pdf), Text File (.txt) or read online.
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Morse first established his reputation via the Dixie Dregs, a rock-inspired jazz group that he formed shortly after graduating from the University of Miami with bassist Andy West. The band released several critically acclaimed albums, and then disbanded following 1982’s Industry Standard. During the ’80s, Morse recorded a string of solo albums, and then joined the prog-rock band Kansas in 1986. In 1994, Morse joined Deep Purple after original guitarist Ritchie Blackmore departed. (Joe Satriani replaced Blackmore for a portion of The Battle Rages On tour.) After recording five studio albums, seven live albums, and performing countless shows, Morse has now occupied Deep Purple’s guitar chair longer than Blackmore.
A master technician, Steve Morse is lauded for his impressive picking chops, ability to create flowing lines, and playing arpeggios at blistering speed—check out this video of “Tumeni Notes.”. Morse also makes use of artificial harmonics, open chord voicings, synth-like tones, and pad-like swells. One of the best examples of his country influences is “The Bash,” a two-beat country jam from the 1979 Dixie Dregs album, Night of the Living Dregs. His unique approach also crossed over to the construction of his instrument. In his search for an instrument to cover rock and country tones, Morse configured a Tele with two humbuckers and two single-coils. This instrument served as the inspiration for his current Ernie Ball signature model axe. For our lesson track I was inspired by “Take It Off the Top,” “User Friendly,” and “Stressfest.” Throughout this example I’ll demonstrate picking sequences, triad-based riffs, and a bluesy solo that incorporates chromatic picking lines and country-inspired bends.
The example kicks off with a 16th-note picking sequence over D5 and E5 chords. The sequence outlines D Lydian (D–E–F#–G#–A–B–C#) over the D5 chord and E Mixolydian (E–F#–G#–A–B–C#–D) over the E5 chord. I’ve also doubled the picking figure with a piano, as Morse often blends a synth sound with his guitar signal. Notice that every note is picked—a hallmark of Morse’s style—but if the tempo is too challenging it could help to include some pull-offs. The verse riff is almost entirely based around a series of triads similar to what you might hear on Morse’s “Take It Off the Top.” It starts with the V, IV, and I triads in the key of A (E, D, and A, respectively) before borrowing a pair of chords from the key of F (F/A and C/G). The verse concludes with a descending unison lick that flows through the E minor pentatonic (E–G–A–B–D) scale.
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