As lead guitarist and singer with British supergroup Dire Straits, Mark Knopfler has been one of the world’s most high-profile artists since Sultans Of Swing captivated listeners back in 1977. A few years later in 1985 the group’s album Brothers In Arms became a colossal hit, coinciding with its release on the new music format, CD. The iconic song Money For Nothing with its reference to MTV, and a video featuring computer-generated animation, caught the wave of enthusiasm for music television featuring artist videos. Knopfler’s approach is based around a rootsy fingerpicked way of playing (mostly thumb, first finger and second finger). This gives a varied texture and warm tone to solos, comping and riffs. Some of his parts would be much more difficult to execute without at least using hybrid picking, where the pick and fingers are used together. This approach is particularly appropriate for country, folk and roots styles. I once did a session with Straits’ bassist John Illsley who told me that Little Feat were a big influence on the band’s sound. If you listen to the grooves they were purveying at the time, you might hear some kinship with that great American group, despite the fact that Mark’s guitar style is quite different. Knopfler has been working as a solo artist since Dire Straits stopped working, and has amassed a fine body of work that capitalises on his playing, songwriting and singing. In addition to his work as a solo artist Mark has lent his talents to recordings by Bob Dylan, Emmylou Harris and others. He famously recorded an album called Neck And Neck with Nashville guitar legend Chet Atkins. It’s well worth a listen is you’re a fan of classy fingerpicking and country solos. Our examples all feature in the final solo. The chord sequence is a four-bar loop, which I envisaged as a contrast section for a tune based in D Major, which you should see as still being within that key centre, despite the fact that it starts on chord IV. I was struck when transcribing some of Mark’s recent solos that he’s a master of making solos on Major key sequences sound exceptionally moody and atmospheric, almost as though he’s playing in a Minor key. The trick over the sequence that underpins our solo, is to lean into the Bm7 chord, as B Minor and D Major Pentatonics contain the same notes (B-C#-D-E-F#-G-A, start from the D note for D Major), being relative Minor and Major respectively. You can even extend this way of thinking by playing or implying the B Minor Blues scale (B-D-E-F-F#-A; F is the blues note) over some of the D Major sequences. This is useful where the tonic Blues scale (in this case, D Major) doesn’t fit well as the b7th degree (in this case, Bb) would clash.

MARK KNOPFLER

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