Editing George Harrison (section)

===Guitar work===
[[File:Harrison - guitare.jpg|thumb|left|Harrison's burgundy Les Paul]]
Harrison's guitar work with the Beatles was varied and flexible. Although not fast or flashy, his lead guitar playing was solid and typified the more subdued lead guitar style of the early 1960s. His rhythm guitar playing was innovative, for example when he used a [[Capo (musical device)|capo]] to shorten the strings on an acoustic guitar, as on the ''[[Rubber Soul]]'' (1965) album and "[[Here Comes the Sun]]", to create a bright, sweet sound.<ref>{{cite magazine|url=http://www.acousticguitar.com/issues/ag122/feature122.html |archive-url=https://web.archive.org/web/20071010121901/http://www.acousticguitar.com/issues/ag122/feature122.html
|title=The Unsung Beatle: George Harrison's behind-the-scenes contributions to the world's greatest band|first=David|last=Simons|date=February 2003|magazine=[[Acoustic Guitar (magazine)|Acoustic Guitar]]|page=60 |archive-date=10 October 2007|access-date=11 December 2015}}</ref>{{sfn|Womack|Davis|2012|p=[https://books.google.com/books?id=_8Ob1bL_ongC&pg=PA80 80]}} Eric Clapton felt that Harrison was "clearly an innovator" as he was "taking certain elements of R&B and rock and rockabilly and creating something unique".{{sfn|Harrison|2011|p=194}} ''Rolling Stone'' founder [[Jann Wenner]] described Harrison as "a guitarist who was never showy but who had an innate, eloquent melodic sense. He played exquisitely in the service of the song".{{sfn|Harrison|2002|p=15}} The [[guitar picking]] style of [[Chet Atkins]] and Carl Perkins influenced Harrison, giving a [[country music]] feel to many of the Beatles' recordings.{{sfn|Kitts|2002|p=17}} He identified [[Chuck Berry]] as another early influence.<ref>{{harvnb|Harry|2003|pp=294–95}}: Perkins; {{harvnb|Harry|2000|pp=140–41}}: Berry.</ref>

In 1961, the Beatles recorded "[[Cry for a Shadow]]", a blues-inspired instrumental co-written by Lennon and Harrison, who is credited with composing the song's lead guitar part, building on unusual chord voicings and imitating the style of other English groups such as [[the Shadows]].{{sfn|Leng|2006|pp=4–5}} Harrison's liberal use of the [[diatonic scale]] in his guitar playing reveals the influence of [[Buddy Holly]], and his interest in Berry inspired him to compose songs based on the [[blues scale]] while incorporating a [[rockabilly]] feel in the style of Perkins.{{sfn|Everett|1999|p=13}}{{refn|group=nb|Within this framework he often used [[syncopation]], as during his guitar solos for the Beatles' covers of Berry's "[[Roll Over Beethoven]]" and "[[Too Much Monkey Business]]".{{sfn|Everett|2001|pp=62–63, 136}}}} Another of Harrison's musical techniques was the use of guitar lines written in [[octave]]s, as on "[[I'll Be on My Way]]".{{sfn|Everett|2001|pp=134–135}}

By 1964, he had begun to develop a distinctive personal style as a guitarist, writing parts that featured the use of nonresolving tones, as with the ending chord arpeggios on "[[A Hard Day's Night (song)|A Hard Day's Night]]".{{sfn|Everett|1999|p=13}} On this and other songs from the period, he used a [[Rickenbacker 360/12]] – an electric guitar with twelve strings, the low eight of which are tuned in pairs, one octave apart, with the higher four being pairs tuned in unison.{{sfn|Everett|2001|pp=134–135}} His use of the Rickenbacker on ''[[A Hard Day's Night (album)|A Hard Day's Night]]'' helped to popularise the model, and the jangly sound became so prominent that ''[[Melody Maker]]'' termed it the Beatles' "secret weapon".<ref>{{harvnb|Babiuk|2002|p=120}}: "secret weapon"; {{harvnb|Leng|2006|p=14}}: Harrison helped to popularise the model.</ref>{{refn|group=nb|[[Roger McGuinn]] liked the effect so much that it became his signature guitar sound with the Byrds.{{sfn|Doggett|Hodgson|2004|p=82}}}} In 1965, Harrison used an [[Expression pedal#Guitars and digital effects|expression pedal]] to control his guitar's volume on "[[I Need You (The Beatles song)|I Need You]]", creating a syncopated [[String instrument#Contact points along the string|flautando]] effect with the melody resolving its [[Consonance and dissonance#Dissonance|dissonance]] through tonal displacements.{{sfn|Everett|2001|pp=284–285}} He used the same volume-swell technique on "[[Yes It Is]]", applying what Everett described as "ghostly articulation" to the song's [[Harmonic|natural harmonics]].{{sfn|Everett|1999|p=13}}

In 1966, Harrison contributed innovative musical ideas to ''Revolver''. He played [[Backmasking|backwards]] guitar on Lennon's composition "[[I'm Only Sleeping]]" and a guitar [[counter-melody]] on "[[And Your Bird Can Sing]]" that moved in parallel octaves above McCartney's bass downbeats.{{sfn|Everett|1999|pp=47, 49–51}} His guitar playing on "[[I Want to Tell You]]" exemplified the pairing of altered chordal colours with descending chromatic lines and his guitar part for ''Sgt Pepper''{{'}}s "[[Lucy in the Sky with Diamonds]]" mirrors Lennon's vocal line in much the same way that a [[sarangi]] player accompanies a [[khyal]] singer in a Hindu [[bhajan|devotional song]].<ref>{{harvnb|Everett|1999|p=58}}: "I Want to Tell You"; {{harvnb|Lavezzoli|2006|pp=179–180}}: Harrison's guitar part for "Lucy in the Sky with Diamonds",</ref>

{{Listen
|type=music
|filename=George Harrison's guitar solo from "Old Brown Shoe", April 1969.ogg
|title="Old Brown Shoe"
|description=Harrison's guitar solo from "Old Brown Shoe", April 1969
|filename2=George Harrison's guitar solo from "Something" by the Beatles, 2 May 1969.ogg
|title2="Something"
|description2=An excerpt from Harrison's guitar solo to "Something", May 1969
|filename3=George Harrison's guitar solo from "How Do You Sleep?" by John Lennon, 1971.ogg
|title3="How Do You Sleep?"
|description3=An excerpt from Harrison's slide guitar solo from Lennon's "How Do You Sleep?", 1971
}}
Everett described Harrison's guitar solo from "[[Old Brown Shoe]]" as "stinging [and] highly Claptonesque".{{sfn|Everett|1999|p=243}} He identified two of the composition's significant [[Motif (music)|motifs]]: a bluesy [[trichord]] and a [[diminished triad]] with roots in A and E.{{sfn|Everett|1999|p=244}} Huntley called the song "a sizzling rocker with a ferocious&nbsp;... solo".{{sfn|Huntley|2006|p=35}} In Greene's opinion, Harrison's demo for "Old Brown Shoe" contains "one of the most complex lead guitar solos on any Beatles song".{{sfn|Greene|2006|p=140}}

Harrison's playing on ''Abbey Road'', and in particular on "Something", marked a significant moment in his development as a guitarist. The song's guitar solo shows a varied range of influences, incorporating the blues guitar style of Clapton and the styles of Indian [[Gamaka (music)|gamakas]].{{sfn|Leng|2006|p=42}} According to author and musicologist [[Kenneth Womack]]: {{"'}}Something' meanders toward the most unforgettable of Harrison's guitar solos&nbsp;... A masterpiece in simplicity, [it] reaches toward the sublime".{{sfn|Womack|2006|p=189}}

After [[Delaney Bramlett]] inspired him to learn slide guitar, Harrison began to incorporate it into his solo work, which allowed him to mimic many traditional Indian instruments, including the sarangi and the [[Esraj|dilruba]].{{sfn|Leng|2006|pp=84–85}} Leng described Harrison's slide guitar solo on Lennon's "[[How Do You Sleep? (John Lennon song)|How Do You Sleep?"]] as a departure for "the sweet soloist of 'Something{{'"}}, calling his playing "rightly famed&nbsp;... one of Harrison's greatest guitar statements".{{sfn|Leng|2006|p=109}} Lennon commented: "That's the best he's ever fucking played in his life."{{sfn|Leng|2006|p=109}}

A [[Music of Hawaii|Hawaiian]] influence is notable in much of Harrison's music, ranging from his slide guitar work on ''Gone Troppo'' (1982) to his televised performance of the [[Cab Calloway]] standard "[[Between the Devil and the Deep Blue Sea (song)|Between the Devil and the Deep Blue Sea]]" on [[ukulele]] in 1992.<ref>{{harvnb|Harry|2003|pp=29–30}}: Performing "Between the Devil and the Deep Blue Sea" with Holland; {{harvnb|Leng|2006|p=232}}: Hawaiian influence on ''Gone Troppo''.</ref> Lavezzoli described Harrison's slide playing on the Grammy-winning instrumental "Marwa Blues" (2002) as demonstrating Hawaiian influences while comparing the melody to an Indian [[sarod]] or [[veena]], calling it "yet another demonstration of Harrison's unique slide approach".{{sfn|Lavezzoli|2006|p=198}} Harrison was an admirer of [[George Formby]] and a member of the Ukulele Society of Great Britain, and played a ukulele solo in the style of Formby at the end of "[[Free as a Bird]]".{{sfn|Leng|2006|p=279}} He performed at a Formby convention in 1991, and served as the honorary president of the George Formby Appreciation Society.{{sfn|Huntley|2006|pp=149, 232}} Harrison played bass guitar on a few tracks, including the Beatles songs "[[She Said She Said]]", "[[Golden Slumbers]]", "[[Birthday (The Beatles song)|Birthday]]" and "[[Honey Pie]]".<ref>{{harvnb|Everett|1999|pp=65: "She Said She Said", 268: "Golden Slumbers", 196: "Birthday", 190: "Honey Pie"}}</ref> He also played bass on several solo recordings, including "[[Faster (George Harrison song)|Faster]]", "[[Wake Up My Love]]" and "[[Bye Bye Love (The Everly Brothers song)#George Harrison's version|Bye Bye Love]]".{{sfn|Leng|2006|p=205: "Faster", 230: "Wake Up My Love", 152: "Bye Bye Love"}}