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Guitar World - Petrucci + Canon Rock PDF
Guitar World - Petrucci + Canon Rock PDF
Guitar World - Petrucci + Canon Rock PDF
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RIIIE
THE
TIliHTI{I]{li
GOODRIDDANCE, ofopportunitiesto stretchout in a levelofcolor anddramato whatwas
Ninetiesgrungerockl blazeofvirtuosity. But today,thanks becomingbodngandpredictable.
To hell with your to bandslike Trivium, Dragonforce Alrd speakingofcolor anddrama,
snobbyantishred and Lamb ofcod, soloingis backwith we hopeyoudigGuirdrttorld's new
ding attitude!And a sweetvengeance. And nobodyis and excitinglook.To help ushcrin a
nuts to you, nu-met- celebratingthis turn ofeventslouder thrilling new era of pla]'ing, we thought
al!We neverwanted lnatT Gultar wof |d. we'd tahethe opportunityto adda
your bottom-hea\,f', rap-influenced, Inthis specialissue,we present Iittle extrapizzazzto our pages-ln our
detunedrhlthm guitarsan!.wayl closeto a dozenoftoday'smightiest upcomingissues, ]'ou'11be seeingan
Yes,myftiends,goodbyeto 15 mastersofthe almightywiddly-wooand entirelydifferentpresentationof the
bleakyearsofwanderingin the desert gptthem to spillthebeanson how to latestandgreatestguitarinformation.
lookingfor..just one(g-aspl)...fucking playthis lightning quickthrashmetal. More impoftant,u'e'11 be includingnew
(rvfieeze!)...guitar
solo(1r,ater, pleaseD
... It's allhere-how to playrippingarpeg- depaitmentsandcolumns$raranteed
trorgivemy melodrama,but the gios,tightly controlled gallop rhlthms to makeyou a betterandmore interest-
ext€ndedguitar solohasbeenan andabadassassortmentoflicks. ingplayer no matterwhat styleyou
endangeredspeciesfor far too long. But don'tget us wrong;we'renot playor music'sprevailingtrends.
Ever sincethe rise ofalt-rock and the into techniquefor the sale oftechnique.
earlyNinetiesSeattlescene,gxitarists We believethat this newwayoflooking
havebeenbemoaningthe dearth at the fietboardwilladd a whole new
GUITAR WORLD
$Bm
EENDIJTIERS TC I1IE SOt NDINCBOIRD.GIITARWOaLD.l,l9FIFTIIIVENUEglltELOOi&NEWYOB&NYl(nlo,OREMIILITSArSOUNDINCBOAID@GUITIRWORID.COII
$,r
surehe's an inspira- I wasdisappointednot to seeany men-
tion to the creative tion of a few of the criminally overlooked
guitar albumsthat shouldhavebeen
Thatbeingsaid,I deemedworthy ofyour 100Greatest
totally disagreewith Albums of All Time aschosenby your
his independent readers-articleinthe December2006
thinking in regard to issue.I still don't think enoughofGuifdr
the Beatles.To call I{orld's readershipr*1ize the seminal
the Beatles"over- power ofMichael schenkels early
rated" indicates that work with UFo and Ulrich Roth's mid-
Tom isn't awareofall Seventiesstint with the Scorpions(Iorce
the Beatles'cont butionsto the world It, No Heary Petting,In Trance,Virgin
EIBTY
CIIRISTMAS ofmusic andbeyond.Besidecrafting Killer ot TakenBy Forceeasilycould
When I first sawthe Decemberissue greattunes,the Beatlesalsopioneered havebeenincluded). But I was at least
on the standsI couldn'tbelievewhat a ton ofbrand-newrecordingtech heartenedto seethe letter fiom Kirk
I was seeing:a huge story on Tom niquesthat are still in usetoday.Ids Hammett in the following issuegiving
Morello and almostfivepagesoflost time for a reality check,Morello-give props to later live and solowork, respec
RandyRhoadslessons!Howcould this the Fablour thei due! tively, ofthese Europeanguitar maste.s
get anybetter?And then I sawit...tab- Qman,via email in his own all-time favorites.
lature ofChildren ofBbdom's"Are You -Ldnce Abbring,Brdilenton,FL
DeadYet?"Myband playsBodom,and TIIEBH||ADS
l|I{EFl|R
we were cudouisto seehow closewe Thank you so much for the lost 8rs[{G
F0RCE
were to playingit correcdy.Man,we Randy RhoadsGuitar Method [Dec. I'm sureyou guls arc goingto get a ton of
were nowhereclose!Asabassplayer, 2006]. There was many a day when hate mail from religiousfolks aboutthe
it's sometimeshard to hearHenkkas' I would traverse the halls ofmy article in the Holiday issue.
aucfer -Risirl8.
bassoverAlexi andRoope'scrushing school listening to the great solos of I or me,an l8-year-old Christian current
guitars.Thanksagainfor a greatissue. Randy and worder, What is the his- ly studyingto be ayouth pastor,I found it
-Brenilenn, Haney Haward, CA to.y of this awe-inspiring guitarist? very insightful. I nevernew much about
My answer was solved the minute AleisterCrowleyor occultpracticesin
Tt|M
CAPSUIE I openedGuitar world and looked generaluntil I readit, and asa Christian
Thanksforyour article on I think ics important
Tom Morello. It answereda to haveat leasta basic
long-standingquestionI have understanding ofother
had foryears.Backin 1990, religionsordoctrines.
I went to a local metalbar I respectthe fact that
and saw aband calledLock your magazinecon-
Up that GeffenRecordswas sistentlypublishes
promoting.I was absolutely unbiasedarticlesinvolv
'blown awayby the band and, ingguitaristswho
especially,the guitar player.I follow different types
immediatelypurchasedtheir of spirituality. Lots of
cassette,entitled Something Christianscould learn
BitchingThis wa! Come.l from such a nonjudg-
alwayswonderedwhat hap- mental mindset.
penedto them, especiallythe BlakeDaile!
guitar player.Thanksfor the Pottder Sprir€s, GA
28 currAR woRLD
lJ{$lll[rwqunrnS2 snrusrS4 RisvIEwE40 PROFILES& MOREII!
liET
c'M0ll, HAPPY
The CaliJornia acreamers lighten ult on their third release.
,'d , ,, ^"* o, are still reall,vpoppy.It seems
1+ ""*"o
ry XxvIN sCAxLoN like the most naturalalbum
"fiofo
o heartheUsed's The first singlelion the
QuinnAllmantell newa1bun1 \{,illbe "Handsome
it, the angst ridden Awkward," which Allmar
screamo genrehisgroup says"soundslike -
helpedoriginate is asendan- Aerosmithgot into a
geredascheapunleaded. "So fight with somebodl I
much haschangedfor bandsin haveno ideawho,but
rhis past)'ear,with the intemet it soundslike Stephen
andMyspace,"saysthe guitar Tyler'sgonnahavea
ist."Eve4'bod_v just wants to seizure.It's definitely
get out, shate it up and have bluesyandbasedoffa
fun.No onewantsto wallowin really goodgritar
someone else'smiseryarrdtry Definitelya heavier
to makeit their orvn." riilierZeppelin
Not surprisingl,v, the kind ofsq.1e."
Lsed'ssoon-to be-released In the stu-
rhird dbum reffectsthis at- dio,Allman prt
ritude.?roducedb-vJolm
Feldmanat the producer's througha mixture
homestudioin upscaleBel of orange,Soidano
Air,the as-yet-untitledre- and Fenderamps.
.ord is a surprisinglyupbeat He alsoplal,eda
:urn from the melodramaof Danelectrobaritone
:heir2004sophomore hit,In guitar "It's reall-vcool,"
i-oredndDedtl "Eveq'thing saysAllman."It makes
r3s a lot morefull in it," says all theseul1expected creaks
\llman. "It's definitelya a n d f a r t s .Y o u c i l n t c s t e i t . ' l k
:essier,hear.iersound,but
::le\-ocalsand arrangements
.''.;
II SEEMS IIKE
IIIEMllSI
IIATUBAt
AIBUM WE'VE
EVEBlltlIlE."
Two new Satriani
STAGE
MIGIIT
releases cnltture the gruita;rist in his onstage plory.
lp|'i ayar,er or rr:me ster Plal.er,and it's fantastic mentary ofthe
!o haveanothersoloistin the guitarist's 2005
bandwho knorvshowto rock."
Jti:l'Itii#:".i+iii"::{llr'
tour oflndia, shot
The Anaheimsho*' is also byfilmmakers
the focusofdisc oneofthe Hamesh Haridas
Sdfrianirivel doubleDVD andits SatrianiLtue!DVD and Koushik
companiontwo-CDset,the set.Filmedfrom Sarkar. "It was
chrome-domed shreddercasts numerousangles such a different
his best knolr'ntunes-andlim- uslngntne catn- take on the band,"
self-in a bland-ne*'Iight. eras,it ranksasthe he says.
The CD packagespotlights most lavishSatri It's also one
a recentAnahein show fiom ani live film yet. reason whv the
Satriani'sS per Colossd?tour. B-vcompari- Satrini Live! DYD
Performingrvith lhlthm gui- son,disctrvo of js, in the guitarisfs
tarist calen Henson,drummer Jeff the DVD packageis a decided- words, "unlike t
CampitelliandnewbassistDavelarlre, ly home bre{,eddistillationofSatch's anything"he'sreleasedbefore."Th€re
Satdanipresentsa setpackedwith life on the road,comprisingbackstage are a lot of percpectives
here.Together,
favoritesfrom his career."We wanted and rehearsalfootageshotfor podcasts the_v makeup the total pictureofour
to do lots ofjammingand extendsome by his son,ZZ, duringthe tour''sEuo- life outthere on the road.";*
songs,"saysSatch,lvhocreditsCamp- peanleg."We got a little crazier,"says
itelli's skinsmanshipand staminafor Satriani,"a little more experimental."
the lengthierversions."Jeffis amon- The realgemhereis an unofficialdocu-
JACK
wilTES
UNEARTH we covercd"seatonsin th€ Abyst."I took (are
of all the leadwork. lt wat reallyfu.kln'funny.
I t h i n k l w a 5 l i k e , f lo r i 2 .
.BI RANDY HARWARD ooyo! r.|ll mLryolrfiut
t0[T00ilEnY Ilusrrddon by STEVEN CIANCANELLI
Ct?
m.GtAtH My old band played. rhow at a high Wh.t hrt b..n you 6on.nb.tr
utn0fi8HltE tchool in the next town ovei we DECti<edfor
rlnt
"l got il from a Why mrd. you f,rt pk& uf . gunrrt a weekstnlght and playedin th€ palkhg lot. m<CtAlti The fi6t Ozzfert thowthiryear.
aull licclAlH lwer rummagingthrcugh Theo€anizel' askedlfthere wat anything we We came onstage,and I waln't on the rame
my uncle'r doset back in the day taure I wat wanted. wE taid, "we walt a box of pate as ereryoneehe and rta*edplayinga
bored.He had someno-nam€eunburt guit.r, FruityPebblerand romemilkand \
and I gEbbed it. l etoodon hitwateted In L\ sohe bdk.' \ tt 3r In rooo or 50,we Played
theoblivianr. He frcnt ofhb mirbrandthought,Thir k awe- a rhow in NewJersey,We
had it b.*'tage
ata tig In De. Ili rutr My brotherwae in. hatr netatband jumpingaround and the
when I wai youn8er.When lwat.bout nlne, I
jurtfgured olt lw.nted to be llke him.
lull It ed leanhg/'ClazyT6in."
Th€ 6ret dfiwar definitelyridlcu-
lo|/t at thetime, butar long n<ctAl Juetplaywhatyou
as you t.ke anything tlow,
you'llgetit. J U i tB e o r l g i n a l .
3 2 c L r t r A Ru o R L D
'Dhtlple' tin.e
"we had beenoPeningwith
cod Hdta Ut AI <ame ourlin 2oo'1, but we like
to keepthingtf€th so it was time to change
It. '9outh of Heaven'ir a dassk slayerct/t,to
it was an obviouschoketo leadthinStoffthie
timearcund. Plur,it maker a theatftal way
to openthe thow, be.auseI have mybackto
theaudienceuntilthe oPeningrili it done,and
then Iturntofacethem,"
-
9
"A Dunlop zakk wylde wah. lt's got a really "lhe A/B rwit.h tekes me from my
dirty, low-end tweepthat a rcgularwah (un.h tound to mycleantone. Basi(ally, 9
doern't have,a nd it! got zakkt vib€ wlthoui itswit(hetfrom ny MaBh.ll22oI to a
having his eolnd. Plusitl ftih to Playwith." di.ed'injected sitnal. Needle$ to tay,
lhardly ever ttep on thatone."
King!"
KerryFucking
34 crrlcR \oBLr'
dear Sudtar hero!
OFKISS
He plays in one oJ roekts mlost successJuI acts and has iust
released' his Jirst soln albun in ahnost 3O years.
But what Guitar World readers teally want to knoas is...
What proftpted you to record3 ntw tolo . playeN wbo were very in tune oo you.ver f€€l.ompetitiv€wllh oth€r
albwn, LIeeto Win, aow \dhen you hadn't L wj th what I was doing and gull.r playerror feelyouhavetomething
re(ord€done for 28 year!? who could give me what
I wanted.A11the players -OonCtut(hield
aretop-notch guys,but
You answeredthe questionyourself I didrlt want pedection Do I feel competitive?Ohgosh,no.
in the studio;I wanted I've spentthe better part of40 years
flaughs]For a long time I felt like I was playing guitar, really honing what I
the gatekeeperto Kiss.Therewere creativity and greatfeel.
times,during lineup shiftsor when do. Are there people who play faster?
peoplewent off to try other Projects, H6u, differe *at lt Sure.Are therepeoplel'ho know more
when I thought Kisswasin jeopardy.I maklnga rc(ord whGreyou chords?Sure,butthat's neverbeen
felt somebodyhad to be thereto either didn't hav6to hav€Gene what I've been about. My goal is to be
mind the storeor bail water,and I felt Slnmonr' Inpul lor 5o PCF a guitar player who can pretty much
that somebodyhadto be me.But G.ni o{ the tlmet 13lt bcttcr handle anything-someone who can
everybodyreachesa point where lo bc the bo$, or do you 6nd hold down the fort. To me, that's a gui-
they feel they have to satisi' their your€lf te(ond guetting your tar playe/s mostimportantrole.There
own creative challengesand asPi- de.irions? are somereally flashy lead guys around
rations,and this wasreallyjust -Arthurclabll who couldn't play a solid rh,'thm with
the right time for me. a gln to their head.[dughs]But no, I
Actuallt it wasmuch more neverfeel competitive.I'dfeeltotally t :
liberating not to wdte with a comfortable getting up and playing :;
Ar€.lt th€ionti onihe album
n€w(ompo.itions,or didYoucull fixed goup ofpeople in mind. with anybody. ::
frolnthlngtyouhadlyingaround Making Lire to I/in was like
beinga film's directordnd ll youtouldplayonlyon€guitarfor therert
casting agent:foi each song, of yourlife,whatwouldlt be? 2
--4randonl urPhY E
I knew exactly what I was -8.C.Bones
Everlthing's totally new. I'm lookingfor, soI was ableto
not somebodywho believes cast whomever I wanted to wow. Thafs a tough one,My rootsare
in savingor recyclingsongs. play it. with Kiss, it's more in vintageglitars, and atthis point I al
I've alwaysbelieved that if a like knowing who's in the want a guitarthat hasa vintagefeelbut : ,
songwasgoodenoughwhen film and then writingthe alsofeelslike it's alwaysbeenmine.
I wrote it, it would'vebeen paits for them. Actually,washburn and I are cur_
recorded.I alsolike the idea rently finishingthe prototypefor a
that when you buysome- reallygreatguitarthat embodiesall
thing that I've had a hand the classicfeaturesofthe guitarsI
a
in, iCstodays news;it's grew up playing. l've always thought
not somethingthat'sbeen that guitarplayers,at leastrockplay-
$
lying around.Ics a reflec- ers,are pretty much dividedbetween
tion of wherethings are the Fenderand the Gibsonschools.In
at for me right now. that sense,I'vealwaysbeena Gibson
man,but my guitar doesn'thavetobe
Forth€ album,did you
a Gibson,aslongasit embodiesthe
workwith restion guyr rr
Flayerryou wete fri€nr,
with?
It wasn't a matter of
goingout and get-
tingthe hired guns.
Most ofthe players
were recommended
to meby other
players.Iwas
really fortunate
that I +dckly
wound up with
abunchof
36 cw
same features. whewlThatwas a long But havingsaidthat,under not great.There havedefinitgly
answer to a short question. the right conditions,I would beenperiodswhere Kiss' music
probablydo it. Withtive to haslost someofits directionor
you haveetatcdin the patt that th€ {it, win,I've madean albumthat focus.Someofour songsfrom
guitarso||ndir bari.ally two 8! itari that soundsexactlythe u.ayI think the Eightiesdon'thold up. An
soundlikeone bigone.Canyou expandon an albumshouldsound.I albumlike Cdrnivdlofsouls,to
thntl can't imaginegoingbackwaid me,is a mistakeofat ieastthe
from there,soifeveryonewas magnltuoe or [Nrusrc ]roml lne
agreeablewith the ideaofme Elder.That'sbecauseCd,"nrrdl
I remembergoingtoseeHumble Pie producingthe albumflaughs], o/Soulswas not ofmy design,
andloving how the guitarwork of then therewould be some- mindyou-an attenpt to be cur-
SteveMarriott and PeterFrampton, thing to talk about.But the rent or competitivewith a style
andlater,clem Clempson,meldedinto ideaofgoingin and having ofmusic that we weren't a part
onebig guitar sound.It doesn'tmean too many"cooks"isjust not of. It fell flat for thatreason.
playingin unisonor playingthesame appealingto me. That'snot to saythat it wasn't
chordformationiit's morelike having a goodalbum,justthat it had
t,vo differentvoicingsplayingagainst what arcyourthoughk on Peter nothingto do with Kiss.Some
one anotherand creatingachord that crirs' ex-wile,Mia,wrlting a ofoul songsfrom the Eighties
couldn'tbeproducedby oneguitarist tell.illbook ls€aledwith a Kirs; were shallow.Theyjust don't
alone. Iyd i acit t..o ml about the havethe depth orthe founda-
€arlyday. of Kis!?Haveyou rpoken tion ofour other songs-
l've heardthat the long-term to Peteraboul itl
planlor Kisrir to get to a point -S€th Myers Have you wat(h€d 6ete Srrnnont Fdmily
t? where evenyou and cene don't You'remuchmore privatethan
-rewerr?
|ore haveto be onstag€anymoie.It No, I haven't andI really cen€. Couldyou €verr€e aamera.in your
there any truih to that,.nd can couldn'tcareless.when people ' houre following you afound?
write tell-all books,they write .t:jl -(hadsmithfield
be Kl$ exist without eny ofthe
four original memb€n? them from their perspective.It's ,.-ta'
h
-rohn Estep like peoplelookingat a car acci
$ No, I haven't watched it. It has no appeal
I
gui- dent:thingslook very differentdepend- s0ilE0F to me, i{'hatsoever. Any attempt to film a
l€te well, the onlypartl takeexception ingon whereyou'restanding.Also, |lURSOIIGSreality progr:lln whether ids a pseudo-
|Ind to in your questionis the ideathatwe
wouldn't "have"to be onstage.Ithink
we tend to male ourselvesmuch more
importantin the story than we actually
FRO]UITHE goingto male the situation itselfunreal,
reality show or an actual reality show is
dth
it's more that we might not belong were-You know, the paperis probably EI|iIIIIS justby nature ofhaving cameraspresent.
tI
ly
1;
t. onstage.we may reacha pointwhere too hard to usefortoilet paper,but... WEBE And no, I couldn't imagine it for myself
I
tr Kissmaybebetter off, andthe fansmay fldugis] No,I'm not a fan ofany ofthose sHAll0tt." I'd rather have bamboo slivers put under
my]rails. To me, yoursanilvcomes ftom
be better served,without us.The goal, typesofbooks,whetherthey'remem-
-1 or whatever. yolrr privacy. If s something sacred and
astime goeson, is to be ableto separate oirs or autobiographies
i: ourselvesfrom whatwe createdand I think itwas GeorgeOrwellwho said allyourown.
still haveit live on.Practicallyspeak it best,lthdt] the autobiographyisthe
ing, eventuallyourchoicewillbe to do mostoutrageousform offiction. In the er y days6f Kirs,beforeyou hit it
that or callit quits.I think thatKiss, big,what ta.ti(r helpedyougeltbrough the
lovedor hated,hasbeena sourceof You'vewritteBro manyclasrkeon8r-Can rosgh ipctrl
I inspirationor irritation for asiongasI youpi(kon€that youfelt neverlivedupto
but ;i canremember.And I'm proud ofit. therestofthe re(ordand6xplainwhy?
Believingthat I was right. You have to
Areyouplannirgtore(ofda n€walbum believe in yourself, because ifyou don't,
a of|(ite?
wlththecufientm€rnbert I neverfelt that atthe time I wrote a who else will? Andyou always gotta
all song.But in hindsight,there are some meet the oppositionwith twice the
I songsthat I listento and think, This is force that they meet you. llk
I don't know.It's somethingthatcer-
tainly comesup from time to time,but I
haveconcerns.one concernis thatthe *Lowe Gunt'intro!
songson which we'vebasedour career
havegrown largerthan life. They've Tune dolyn one half step oow to high: Eb At Dt GbBt Et).
becomemorethan music:they'resnap
shotsofpeople'slives,ofwhat was Gbs.I dd 2 (ele. w/dis!.)
goingonwhen thesepeoplcfirst heard
e songor cameto a concert.There's
no way \(recan competewith that.I
canwrite a songlike"PsychoCircus,"
which I would put up againstalotof
my eariiersongs,and know thatpeo-
plewill listen to it andsay,"oh, that's
good.Now play'Love Gun."'
And I understandthat sentiment,
Gli,2
becausewhat is attachedto thoseearly
songsis huge.Sothe ideaofgoinginto
the studioto do a Kiss album,know-
ingthat writing anythingshort of
Beethovenor "HeyJude" is notgonna
cut it...it'sthe kind ofreality checkthat
maystopapersonfrom giviq it his all.
G U I T C R \ \ O R L D3 7
cdn't play thdsl
BETCHA PTAY
CAil'T THIS!
-o@ This montht Guitar World Senior Musie Dditor Jimmn Brotsn
dares you to play '(Hopak"
"Hopak"
E
G DG
1
repeat @ twtce,
then skip ahead tog
rcpeatg, then\
Eendine
D GB
17
-1.0-fr10
P l r o i o g r a p hb y J U S T I NP H L L I P S
38 currAR woRLD
HOBSE
PTAY
NeilYoung and Craxy Horse hit their stride in this first-ever
release of their historic 797O Fill,more East concert.
t{Ert
Y0u1{c
& After the tersc little electric folkie
palettecleanser "Wonderin',"they're
grarled passagesof porver stnirnming,
g D a s h i n gb e n t s t r i n g s r n d , o f c o u r s e ,
||ORSE
GRAZY backat it again,chiselingthrough ii-6."i:.lti V)ung's distinctive sticky-fi ngered
Live at the Fillmore East a siabofcourtry gar-age rock called impro\.isational approach, fuli of notes
REPRISE "Comeon BabvLet's Go Dorvntown." TIIEPAUSES that secrn to hesitate, ther stagger out
the unsuspectingcrowd,taggingthe
PHBASES phrases ar-ebig enough to ridc a rabid
Clydesdalc through.
HE sonic stampede starts end of Whitten'svocalphraseswith ARE BI|i Theseblistcring,beautiful p€r-
three songs into this historic briefsin-string ad libs,biding their EIIOUGHTO forn,anceshclpedput the "classic"in
1970 concert. After nice, re-
spectableve.sionsof "Ever-ybodv
tine until Youngchurns irto a restless BIIIE
ABABIIIclassicrock. For decades,theseprevi-
Knows Th;s Is Nowhere,"the title
versionof"Cowgirlinthc Sand."
TherYoungandthe HoIScrrn
CTYllESllATE
ouslyunrelcascdtracks,outtakesfrom
the N,larch6 and 7 NewYork City con-
tune from NeilYoung'sthen new looseagain.Young'sfrl.stsolo is prob- THROUGH." certs ($'hose billing u'as
first albumwith his best e1'erbacking ing,lull ofu,orried and lightly bent shared *,ith the Steve
gro p CrazyHorse,and the knotty notesthat seemto be raisirrgunan- N{illerBand and Mii€s
ballad "Winterlong,"Youngand Horse srverablepsychicquestionsaboutlove D a v i s ) ,r v e r e a m o n g t h e
guitarist Dannywhitten beginspar- and life. whitten, who hasa smoother fsv nonbootieg recor-d-
ring. Twclve minuteslater,they stop lone than Youn€i'scoarsegrit sanclpa- ings ofYoung and the
theirunhurried ps,vchedelic barragc per snarl,pitchesin,layingdorvnsomc originil Cfaz\'' Horse.
of stebbillgtrvo-notephrases,slippery jazzy chordsto pavethe way back into ,\. \uch thev $,ere the
little melodies,dollopsor feedback the \.erse.And when Young'sdone H0l\ Crxil of Youngfans.
ard just aboutanythingelsethat a singing,he and whirten spill their \o( drc\''rc the first of
Fenderrlnp crankedup to t0 will spit i nstruments'gtts for anothernine r l s e f i c so f l i v e r e l e a s e s
out if it's tortured enough. minutes.Theirjammingis flushwith ihrt \\ ill \isit Young's
L ' r r k f x g c s ,j u s t i n t i m e
ffiffiWru
t o b i o u e t : r l r h r ' : r . r l ei i f o f h i s s t o d g y
P / d i | i c l i n r , i : 1 n J( h f h u b r i s o f t i v i n g
x|lY.lf
1!&14 rqq-{ie qt the Fillnorc Eatt
I.fiitu O-l* Pkk ol Deniry
Mr, C ,..ro..-Any oJAnyone
t0Y.?l
xaxar, 44+At DoylightDiet
ao<Ill-*iffi.-Suoemovd
tetu--<iU AtQdet
Iho.tappinghk ror.2l
Dtilt-' oh ttland ICDIDVOI
ET
ffi!G.dily
40 currARwoRLD
profrles
Gf,rulRocr
Cruitarist JerryC tells the story befuind the song that becqme
a YouT\tbe sensation.
rr{:*:*
namedJerry chang. betweenplalng TnAtI nJEnnYC.
I
JcLLJv,drLrrrr "calt0il
n0c[," clEct
known,is a devoutshred- ||UITHB ||IIIH'S
head,who performsin c0-n0l
and aroundTaiwan with
his band,C Band,and you first start playing
teachesguitar.Guitdr guitar, and what
incnirerl wn,r2
Itorld recentlyconducted
an email interview with
the formerly unknown
guitaristresponsiblefor
the musical arrangement
behindthis internet
sensation.
GUITARWORLD How
doesit feel to havecaused
sucha stir in the online
guitar community? How
hasit changedyou?
IERRYCI'm happy
that most peoplelike
mymusic. The biggest
changeis that now I have
more sfudents.
cw Did it everbother
you thattruntwo's
Youtube Yideo caused
all the commotion,even
though it was your track
'o[[t$[lfi,]f,o'
he was playing along to?
JERRYG Not at all.
He creditedme in his
video for the original
rock arralgement,
and the more popular
he became,the more
42 currAR woRLD
Alex Skolniak, Al Pitrelli andJortner mernbers oJ Testanrent
are unrong the unlikely costars in the
and. Sansa,ta;ge
annual Christtnds corl,cert tour of the Tra ns-Siberian Orchestra,
ez:eryholiday lotser's tantorite mu.sica,lJruitcake.
'$;: ,, Scorpions,AC/DC and Def Leppard, my dayswith big rock bands,when
"ot "o".o among others, laughswhen he recalls sometimeswe'd have one crew setting
tl'lITELJTdrumTers drumming? a rel'rew ofthe first performance: "It up a show in Clevelandwhile the band
UnecK. Lleven prpersprprngg read:'Phantomo{the operameetsthe sEE TiltSttt0ltfl's would be performing in Boston.with
I c0-R0t{ F||n
L Check.Ten Iordsa'leaping? who meetsPink Floyd'slight show,"' big productions, it's the only way to
ChecLanddoublecheck.Two heavy he recalls. "Everybody thought I was G||]ITTTTE GUITN make it work."
' metal shred
guitarists? Check.Hey, going to be depressedwhen I saw that Tn scn|nt0lts Surprisingly,TSO'sgrandioseholi-
wait a second...two heary metalshred review, but I said, 'Thank you!' I'll take 0tlso's'YtEAn!$ day albums,which includeCh smds
guitadsts? what kind of Chdstmas 4ny oneofthose references," IilWtXIIn"N! Eve dnd Other Stories,The Christmds
show is this? And with plro, no less? In the decadesinceTSo debuted, "rusT[.tust0lt.' Attic a'ld TheLost ChristmasEve,
Try to imagineCecilB. DeMille the group hassold more than five mil- Pr.usYrIE0nss0ts didn'tflowfrom the pensofBrcadway
st€ingA Cfiristmas Cdrol in the lion albums and performed before Ytrr .Etsl0tc( composers.Rather, they're the prcd-
Seventies while on acidandyottill more than two million fans.Their lat- uct of the remnants of the prog-rock
est winter trek, which beganin early
! r[ P|TREu.tlband Savatage,with whom o'Neill had
havea pretty goodideaofwhat Paul
O'Neillhad in mind with me dreamed November,tales them to 117arenasin worked witl du ng the early Nineties.
up Trans-siberian Orchestra (TSO). just under eight weeks.To hit all the "Savatagewere way into rock operas,"
O'Neill,a musicbusinessvet who has
worked with the likes ofAerosmith, the
dates,two full scaleproductions-each
including t4 vocalists,two narlators,
14musicians,an orchestral
st ing section,and enough
#ffi
lT'sfltE
saysO'Neill."Their albumswere filled
with theseincrediblestodes.OnedayI
thought to myself, whafs abetter story
than Christmas, particularly Cbristmas
specialeffects to make Eve?Think aboutit no mat-
C,€reSimmorls'vrhiteface BI||GEST ter whafs going on in the
turn green with enly-tra- sil|ltv world, everything stops
verse the country simulta-
neously.'ryou can't make
ITEEYER on ChristmasEve.
;
=
44 currAR woRLD
that idea in mind, we built the frilne approachcd tojoin TSO, Sl(olrick was arena. "I thought !o m-vscll well, that's
$'ork for TSO." keepinga low profrle, studyingjazz at :r ncw trick.It *,asn'ttoo longbefbre
The "wc" O'Neill is referrilg the New School in NewYork. "But I was rvc lealized that the foghad set offthc
to is Jon Olivia and Robert Kinkel, rcadyto getback into rock, and TSO smoke alarms in thc arena. They had
sa\.atage'snaln sinEierand ke),boadist, u-asthc perfectvehicle. Thc onlvthjng to cvacLLate17,000 people. UIe waitcct
d respectivcly. "We were or the seme I had to do differentl-vwas applt' nore aroul1d foI an ]rour orstage until c\-
pa€iefrom day one," says O'Neill, "and rock crerf-v to m]' playing which is very cr-,vbod;could corne back in, at \r'hich
: thatwas to fonn a newtype ofrock diffcr-cnt from the ieelyou nced to play poin ve picked up right s'here rvc lcft
d group that $,ould push the fluid 1az,z." off." Well, $hat u <-ruldChristmns or
IT envclope and go furthcr than sh redding aloDgside for that mriier a Christmrs shott bc
r_\r any other rock band had S k o l n i c ki s j o u n t e l ' m a n $ ilhout its sr.rrprises?J(
<Is bcfofe. I wxnted a full hea\'T gritnrist Al Pitrelli, anothcr
metal band, a full orchestrn, Savatagealumnus, \tho has
a nassiveamount ofkey- pla"vedrvith acts langingfron OlIT||UB
ORGIIESTBA
boardphyers and 15lead Mcgadeth to Taylor- Dayre. 16 .. D ! . . 9 . . . . . . s a l t L a k eC i t y ,U T
singers. \l_hat we wouncl LLp "To be part ofsomething D E c r o. . , . . c E n d R a p i d i , M l
D E c . r o. . . . . . . . . l a s v e 8 a t ,N v
with $.l1San amazing mclt so successful is a Sift at mY
o E c . 1 2, . . - . . . . . . . - D e n v e .C, O
ingpot. You go to see TSo age," sa-vsPih-elli. "One of
-: DEc.rl ..cololado sp/ngs,co
r n d v o u ' 1 1s e es o m e b o d y the gfeat things abortTSo is D € c . 1 3. . . . . . . . . - c o l u m b i a , S C
; tho played in T(ool and the that ifs notgcnre restricted; DEc.14.....Albuqueque,NM
g the albunrs werc written !1,ith
cang playing right ai lg- D [ c 1 4 . . . . . - . . . . , . R a l e i g hN,c
side sonebod,vnfio played n o m u s i c a lb o u n d a r i e si n D E c D . . . O k l . h o m ac i t t o K
; Dtc.t5 . . . . . . . . . Richmond,VA
in Testament, who's playing tnind. Also, thc shorv is two
a DEc,16,.,,...,......Dallas,Tx
next to sonebod-Ywho $'as hours and 40 minutes long
D E c1, 6 . . . . - . - P h i l a d e l p h P i.A
,
in Asie or Blue O,vsterCult, and there nrc plenty ofg-tritar
- oEc,u,..,,.-.... Houtton,Tx
staDdirgr'ight next to somc s o l o s . I t r , vn o t t o c h a n g eu p oEc.U .........Provjden.e R,l
body \l,ho just sang for the too much from nigtt to night
Io Metropolitan Opera. We've because ofthc irltricacies of
Drc,20 . , . . , . ,Birmingham,AL
D € c2 0 . . , , . . , , l r n i o n d . l e , N Y
gotpeople in their t\r'cnties the arrangen1cnts,but occa- Drc.21 .., ca{ Ruthe.ford,Nl
D E c2. r , . , . , , . . , L i t t l eR o c k , A R
plal,ingwitlr peoplc in their sionall,v I gct.rwa)' \\'ith one or
DEc.22 . . . - . . - . , . , , - A l b a n yN, Y
frfties. We've got rlrck, pop, r&b, b1ucs, D E c1,2 , , . . . , , . . - . .A. u 5 t i n , T x
classicalj it's this incredible crosspolli Both guita sts admit thar\r'orking o E c , 2 t. . . . - . . . , . . . B u f f a l oN, Y
nization ofstylcs, and what happels is, rvitlr a sho*.this loaded wirh speci: D E ( , 2 t. , . , . . . 5 a nA n t o n i o , l x
each person inspir'es rhe other pcrsorr, effects has had its moments ofunin DEc.!6..-.,..,.,,Hartfotd,cT
itnd we arrir.c at sonething urrique." tended comcdy. "There's a son€icallcd D E c . : 5 . . - . . . . . ( a n r a c5j t y , ( 5
a
'First Snow,' u.hich fealures snow fall D E c2. t . . . . . , , , . . . 5 t L o u i sM , o
"It's thcbiggestshow I've ever been
D t c , 2 t , . . - . . . . w o r c e t t e rM , A
x partoi" saysguitaristAlex Skohick, ing from thc roofofthe arena onto the
D E c2, 8 . . . , . . , A t l a n t i cc i t , N J
who, iD additionto his renlrrc ir the Bay audicncc," says Skolnick. "one night, it oEc.28.......,Milu/aulee,Wl
- lrea thrash band Testament, rvasbliell-v didn't uork end there wns no srowlWe D E c , 2 9 , , . , , . .B - altimore,Mo
r membcr ofSavatage and has played n'er-call looking around u.aiting for it D € c 2 9 . . - . . . . - . . , , , . M o l li L ne,
on albumsby Lanrb ofGod, Michrel alrd it [c\.er came. For some rcaso[, it D E c . 3 0 . , . . . , . .5. t. .P a u l , M N
; \{.ashila ous !o Lrsonstage." D t c .t o . . . - . . w a r h l n g t o n , o c
\'Iinningal]d Dave Egger. whcn not
pefformiig \\.ith rhe Dast Coast ver Pctrelli recalls rnother night $'hen,
Visit trotickets..om
sion ofTso, he leads his orvnbard, the \,r4rilcperfbrming the sonli "Chdstmas/ for more info
= 1lex skolnick Trio. Atthe tine he was sarajcvo," sirens srrrted going offin the
CUIT'\R \\ ORLt] {5
wKffiqffigprofites
GONBA
AtBUt[r--
dttr, gut-burting,
TAIKE0I,ow
poritiEthinhnt
Ailll0utlcEl{lEtlT!
:l:f$11f;
::i:*".:l:::"?,
haibeen rcbuitl and
'tnN
--
ff*m:,*$},
les
b: , ry nr-el or rrme
.lO Piorosraph
r b) TRAVISSHtNN album?itle ofRecordbeingmine. everythingwas in-house."
I've playedair glitar to that somany Because?atdck hasa fairlysophis-
Tl OR StoneTemplePilot fans. times-fucking rockedout to that-and ticatedhomestudjo,the fledglingArmy
H Scottweiland s resurgenceas said,'Wow' I wish I wrote thatsong... ofAnyone were ableto put together
L VelvetRevolver'sleadsinger and that song,and thatsong..."' highly realizeddemosofabout 30 songs
wasa little bitte$weet. On the one Not surpdsingly,Army ofAnyone's beforetheyjoined forceswith cel-
-i#
hand,youweregladto seehis trouble- debutcontainsechoesoftrilter's ebratedrock producerBobEz n. Once
plaguedcareerget a boost.On the other melodicsensibility,and ithas pienty of Ezrin signedon, artistsand producer
hand,you couldn'thelp feelingrather that powerfullypreciseDeleo brothers gotdown to work at L.A.'shistoricrock
sory for his former STPbandmates. riffing that anchoredSTP.But for the studio,the Village.Deanoptedto craft
They were the oneswho stuckit out most part,Pat ck andthe Deleos have an expansive,heavilylayeredguitar
over the years,wheneverWeiland's
drugproblemslandedhim in rehabor
tal<enwhat is forthem a freshslanton rYEPI.IYEII soundforthe album,*'ith six-string
jail and preventedSTPfrom building
rock andro11, with a soundthat'sbased
squarelyin that riff-happyplacewhere
AIR OUITAR contributionsfiom brother Robert-
On the new album,Deanexploresall
upontheir early successes. Suddenly, Ninetiesgrungeand classicSeventies TOFILTEB'S the main resourcesfor wrestingvaried
Weilandwas{ionting a hugelysuccess- hard rock converge.Luzier'sstadium- TINE||F tonesfrom an electricguitar,includ
ful all-starrock and rollband, and they
were...well,where exactlywere they?
sizedbashingcompletes the picture. RECOBDAIBUMing doubletracking alternatetunings,
48 currAR woRLD
prof,les
included"the basicfour
food groups,"he says-
"I had a fewlate-Sixties
Telecasters, including
onethatl like to string
up in Nashvilletuning *
lusing the octave strings
from d 12 string setfor
&
the thr eelowest-tuneiL
stringsl;I had some
Strats,someLesPauls
and somehollowbod-
ies,includingsome
cibson l.0s]295s.I also
useda Danelectrowith
lipstickpickupsand a
rea1lybeautifulPaul
ReedSmith hollowbody
McCafty model."
The acousticguitar
that fig!res promi-
nently on severaltracks
is a 1950cibson J-so.
"I cameupon that gui-
tar a while back,"says
Dean."No matter what
micrcphoneyouget up
in front ofit, it sounds
Sreatall the time."
And on the album's
fi rst single,"Goodbye,"
DeanemployedRichard
Patrick'sFenderBass\aI baiitone waslike,'Thatwasgeat. Youplayedit and eight iDchspeakers, half a dozen
electric. beautifully.Nowdoubleit.'And I,m like, Magnatones,Silvertones,Univoxes,
"tuch had a few ofthose from his 'whatl? Doublethad?,But
we nailedit Ampegs,and a lot ofsmallerFender
daysin Filter," saysDean.,'He used in acoupleoftakes,and it createsthis ampslike the FenderPro.It wasall
abaritoneto write the song.Father greatstereoeffect.It soundslike cho vintagetriftiesand Sixtiesstuff,, One
trigure'on our new album.The $itar rusingbutit's actuallydoubled.My exceptionwasa ClassAclosed-back
waslayingaround,soI usedit for Strat'son the left andmy,57Les?aul
'Goodbye,'which waswritten combon'Hdeby his friend JeffSnider.
really Special,which hasa P-90pickup, "Yon canswitch it to t8 or 30 watts,
quickly."As Deanexplains,the song is on the right." Ezrin had the same and it is particulariy gorgeouswith
cameaboutat ?atrick'surging..,Rich ideaforthe soloin "Doesn,tSeemto a Strat.You backoff the gain on the
wasreally after me andRobertto get a Matter,"only he wanteditdoubled guitar andyou getthis tone that,sway
songon the albumwith that pafticular in octaves,"So,"saysDean,,'Ihad beyondanAC30.You know that real
tempo.Sowe satdown and I wrote the to relearnthe whole solooneoctave bell like chincl'ou get liom a Strat?
verse,Robeftwrote the pre-chorus,
This amp is bestfor that."
I wrote the chorusand the songwas Deanemployedalternatetun
donein a matterofminutes.,' ings on the rhlthlr guitar tracks for ssEltTtAt tror beefiertones,asoDthe afore-
mentioned"Fathertrigure,"oneof
Deanusedthebaritonefor the
song'ssoloand trackedit in tandem
"Disappear"oow to high,D AD G A D)
xnd "It Doesn'tReallyMattei' (low to
ilsTE1flilG Dean'ssecretweaponswasaBossOC-2
,roxl ttil?LE Octaver'- "It killd ofhugs the track,',he
with the PRSMcCartyinthe choruses. high,D AE AA Cf), buthe playedthe PttolS says."On the secondhalfofthe second
Togetherthey createa distinctivetone solosin standardtuning.In doingso, "Sexlyp€ Thlng" andthird chorusesof'ceDeratiolL,you
that recallsthe soundofan electric he createda dilemmaforhimself:how canhearanotherguitaacomein. It,s
sitar,asitweavesa tunefulcounter to perform the songslive.His solution the Octaverco irlg up und€rneathand
melodybeneaththevocal."I double wasto havethe tr'enderCuston Shop reallygrabbingthcbottorn."
trackedthe baritone,,'Deanexplains, createsomedoubled-neched Stratsfor 5ong" Deanlooksforward to hitting the
"and the PRShasadoubleoutputthat him. The lowerneck,which Deanuses roadwith Anny ofAnyone.Alongwith
I ran in stereo."The PRShasapiezo for alternatetunings,hasfull- and split- their own n-.r-material,the guyswill
pickup systemwith its own output, humbuckingoptions;the top neck, Ftlfin
alsobe dippinginto the Filter ard STp
allowingDeanto printthe piezo and usedfor soloingin standardtuning has shot,' backcatalogsin a true spirit of,.alt for
mailpickup signalsto separatetracks. humbuckerswith no spliroption. -thoft 4ut,1995 oneand one for all."
"Soyougetboth thosesounds,but it,s Dean'sdecisionto layerguitar "Richcane from a dictatorshipin
one performance.Also the pRSis iD tracksmeanthewoldd haveto rely ATIIY OF
a1{YOf,t Filter,"Dearsays."Itwas his band:he
Nashvilletudrg, andtogetherwith rhe mainly on smallerampsin the studio. madethe decisions;he paidguysto play
baritone,it makesa really niceblend.,, "A big4xl2, 100-wattamp would chew in his band.Butwhen u'egot togethe.,
Doublingwasa keystrategyfor sev up too manyofthe frequenciesand he said,'I want this ro bc all ofus mal<-
e.al ofthe album'sguitar-solos.'.That's there'dbe no room for anythingelseto ing democreticdecisionson evertthing,,
an exampleofhow Ezrin reallychal- breathe,"he explains.',SoI had a real which is how Deanandr atwaysdid
Ienged s,"saysDean."t laid down the assortmentofsmaller ampsfor this thingsin STP.Thar riglt thereshows
soloto the song'Disappcar,, andBob album:halfa dozenSuproswith six you what kind ofgul' Richis.',{t
5 0 c u r T A Rw o R L D
MFIAItIC
TIIECEIISADE -0R E[SE.
AYBE YOU'VE READ the press and heard sound Iike a lotofbluster. But lhe Crusddeis that special kind
r h e i n t e r n e rb L z z r \ J t . J \ . f _ i \ i I ' n r e r h p oialbum that altels a band's career and enlarges its fanbase.
new lop cats ofnetal- That thcir new album, Asmartshotoflucid record making, it cuts to the chase faster
?hc Cr&sdde(Roadrunner) a splawling, than its predecessor,Asc€nddncy.Theglitars s[ortfiom the
ambitious melodrama ofhigh passion, tri l.ery start andbuild into a permanent uproar ofcauterizilg
umph and traged_v-is the best Metallica riff.s,u.hiz bang solos, sheets ofdissonance and grand themes.
album Nletallica never made. And thatthese But Trir.iurn bling moIe to the proceedings thanjust garden
four titanic talentsar-ebum rushingthemusic$,orldin a rva,v vadety fcrocityt they perform \i-ith rrue avidio and heart, and
not secnsincethe earlyda,vsof, u,ell,Metallica. thc fusillades ofsound they create feel like poetic acts of$-i11,
Unlessyou'rcamongtheTri\.ium faithful,it night all u,hich nakcs them all the more transfixing
"We try to make each cu! nore
i n t e n s ea n d s u r p r i s i n g t h a n t h e l a s t
one," sa)IsNIatt Heafi7,Trivium's 20
] ..:
t ,vear old singcr and co-gllitarist. "Our
artistic goals are exceedingly high. We
strir.c for originality on all fronts.Ior
us t0 makc a record u,ith one or two
w
good tracks u,ould be a terrible let
down, to us and our fans."
Admittcd $'orshippers at the throne
ofMctallica, Trivium, Iike most art
ists, honcd their craftbv stealingfrom
their hcrocs, takingany and evervthing
that wasrl't nailed doun. But Tdvium
reimagine their sourcc material in ways
that feel startlingly fresh. They ratchet
up each nuance, finding new shadows
and light inthc original photograph.In
doingso, thet\.e managed to pull off
-_<--.--+-*- an exhilarating syDthcsis ofthc classic
and the modern thatwill lcar.c listeners
praying for more.
The gui!ar interpla,v betweeD Heair
and 23-year-old fel lorv guita rist Corey
Beaulier.rreached hurricane force
onAscenddnc.,,'s"Pull Ilarder on the
Strings ofYour N{arq'r." On Crusdde
c u t s i i k e " D e t o n c r i o n "a n d t h e n i n e
minute title cut thrt closes the albun,
the duo have their sights seton nothing
less than an apocalypse.They're rvell
support€d b\, TriYium's rh!1hm sec-
tion: clrulnmcf Travis Smith and bassist
Paolo Clcgolctto near.e intense, synco-
pated, knottl'patterns thataccentuate
the guitar crunch. And Heabr's singing,
rvhich for vears resembled the screech
i n g o f a c a t \ r . i r hi t s t a i l c a u g h ! i n a c a r
door, has nratur-ed;his vocals come
at,vou in scc'thing, melodic bursts.
{ffiff
c0t{
0ff F#,[[
(Ironically,he nowsoundsmore like JamesHetfieldthan 2o05,its personnelshiftedagain,result
JamesHetfield everdid.) You can'tcallTrivium's musiclnet ing in the presentlineup.Ascendancy
alcoreorthrash, nor is it progressivemetaljit's a remarkable madebigwavesin the States,but in GUIIARS(Heafy)
hybrid,one that increasinglydefiesdescription. Englanditcauseda sensation,and ulti
formed in orlando. Floridain 2000.when the then matelywentGold.Trivium put the suc-
l3-year-oldHeaE hookedup with then u year-oldTravis cessto strongadvantage by tou ng con-
Smith,Tdvium quicklysecureda dealwith the ce.man stantly."You namethem,we've opened
imprint Lifeforce,and in 2003issuedtheir debutalbum, up for them,"saysHeafu."Three tjmes."
Emberto Inferna.I.ora while, Heafr and Smithwent through Alongthe way,Trivium madeno EFFI(TS(Heafy)
bandmemberslike ParisHilton goesthroughfianc€s.After bonesabouttheir intentionto dominate
theband signedto Roadrunnerand releasedAscenddncJ in metai.The]' immodestlyreleasedtheir
own scorchingver-
sion of Metallica's
"Master of
p,,nnpiq,. A ''(HeatlMaEharl
-:.-::-,-'r c -,':-
a cindte
: :' lcMroooDsr.roo-
watthead;(Eeaulieu)
wassuosequenlly MaBhall.tMPr,
addedto pressings MaBhall €l341oo/1oo-
ofAscenilancy. wanpoweramp,
(both)1960Maish'll
More to the point,
in inteIview after
interuiew,Healy srRlrcs(both)DR
wentonrecord Pl(xt(bothlDunlop
statingTrivium's
eminence,goingsofar asto claimthey
were goingtobe "the next Metallica."
while suchpronouncements canbe
chalkedup to youthful insouciance,
manyfanswere not amused,"I don't
takebackthingsI've said,"Heafy
says,"But moreandmore,Ijustwant
Metallicato be Metallica, andwe'llbe
Trivium. On the other hand,l0 years
from now, I wouldn't mind reading
interviewswithbaDdswhere they say
they want to be'the next Trivium."'
Not surprisingll',when Heafoand
Beauli€ustrut irlto the GuitarWorld
offices,they arethe cooiestofcuston
ers.Tall andtattooed,dressedinblack,
they are a commandingpresence.
Heaft's insightand eloquencearepre-
ternatural,the wheelsofhis intellect
spinningsmoothlybehindhis confident
mien,Beaulieucones offmore asa
"regularJoe,"the kind ofguywho, if
he smoked,would stashhis cigarettes
in an upturnedT shirt sleeve.As they
takeseatsin the conferenceroom,
Beaulieutearsinto a pre-interview
sandwich.HeaE wavesofflunch; he's
hereto talk, and he doessowith laser-
beamfocus.
--*a*+{--
GUTTAR wonlD You guysarelike
rap starsitl that you boastaboutyour
trwesomeskills andplansforworld
dominatior.
ttATTHEAFY We're confident,and
we're fine with sayingso,From avery
earlyage,I knew I wantedto be in a
really,really bigband and playin front
oftholrsandsofpeopleeveryday.why
elsewould you stert e band?
(oREYBIAULTEU We're all fairly
accomplishedmusicians,andwe have
bigdreams.I (cantnued onpage96)
HE MREa \,€Iy much alivesndkicking assin 2007 Beaulieuto teachyou the essential
time of gloriouslyunashamed In fact it is the very reasonDave ofmodem shred.Usingtheirown exam-
soloingandshreddingexcess. MustainespawnedGigantour. ples,we'll show you eve4thing from
The metal world was domi- "This tour is first and foremost rhlthm and lead playing to speedpick-
natedby playerswho were aboutmusicianship,"saysMustai$e. ing and sweeparpeggios.Sograbyour
only too happy to shetch out "onmostofthe rocl packagesout guitar and get ready for the ultimate les-
in virtuoso efforts dlat not there, the guys in the bands are aftaid sonin shedding-2lst centurystyle.
only took guitar playing to new realms to playguitar solos.?alt ofthat hasto lNote:Due to anunforeseenissue,
but alsoinspired others to reach for a do with the fact that they can,t.,, thereare gdps in thefgure numbersin
higherlevelof musicianship Gigantou!he sa!s,is for a difrerent thefollowing lesson Restd'ssured,holr-
Then camethe Nineties,a decade breedofguitadst "It's abouthavingaspiri! ever,no content is missingf,
that was,for the mostpait, a lead- atalmL And iCsaboutbandsthat arecen-
deprivedwasteland.While the likes teredarounddle guitarandthe leadguitar.,, 0IIAPTEB
| "SP0RT
METlli':
ltl0DEnll
ofKirk Hammett,Zalk Wylde,Joe Ifthat soundslike your Lind ofgig RIIYTIIIYI
METIIODS
Satriani,SteveVai,Marryf riedman, you're ilr luck. In this Guitdr World All the guitarists involved in this
DaveMustaineand Zalk Wylde were exclusivg we've gatheredtogether lessonhaveonething in common:they
fightingto keepthe sacredart ofshred Mustaine and his Megadethcoguitar- arepassionate and dedicatedplayem
alive,mosteveryoneelsewas doing ist clen Drovet Lamb of God'sMark who write great ffs, many ofwhich are
their bestto bury it. Not playinglead Morton and Willie Adler, Arch Enemy,s quite challengiig to play.In fact, Arch
guitarbecamea badgeofhonor Michael Amott and Fredrik Akesson, Enemy'sMichaelAmott describedthis
In truth, the Ninetieswere sucha and Trivium's Matt Heafi and Corey t ?e ofplayingas"sport metal."
bad time for guitar solosthat just one
tlue metalguitar heroemergedin that
decade:DimebagDaIIell.At artOzzfest 1J Mark Morton ,.TheHangoverriff, playedold-schoolstyle
FIGURE
severalyears ago,Zakk Wylde surveyed drop-D tudng (low to high: D A D G B E)
the namesofbandson the tour and,
turning to his pal Dime,said,"It lools F5 D5 BbsA5 G5 G'5A5Abs
like you aod me arethe onlyoneson ? , M . __ .
this bill that can safelygo fom the low
E stringto the high E andback again,
bro." His commentspeaksvoluries
.6-6 5 5-8-8-7-7-5-5-4-4-7-7-6-6
FIGURE
1;4 DaveMustaine
Freely
B5/F{ Cs/G Bs/F{ C5/c B5/Fl C5/G Bs/FlCsiG F$5c5 F{5c5F{5c5Fls cs
t-- I 3 t/'l
FIGURE
1:5 DayeMustaine
aboutthestateofshred in the posF Es c5 D{5 cf5
Eightiesmlrsicworld.
Rhlthm chopssufferedin the
Nineti€s,aswell asmanybandsopted
for the one-fingeredsimplicity ofdrop-
D tunings.W1ile simpleriffs makeup
the majority ofmetal's most mernorablg
.Egule'3333
crushingmotifs from "Smole on the
fingeriigllll
Water" and "Paranoid' to '"\ryalk'and
"Maninthe Box" it's niceto comeacross FIGURE
2l Willie Adler
a challengingrifffiom time to time. But drop-D tuning (low to high: D A D G B E)
neverhavewe hadto wait solong. --
--||]'l
Well,my fiends, we aregladto say
that the wait is over.Thanks to a new
P.M.----, , M P.M.,----------,. p.M,-,
breed of bands-includingArch Enem$ dp.M.__r
64 GUITARwoRLD
metal,"
'Holy busl,,and than having to move
there'ssodruchstuff in therethat you've your entirehandback ar,dforth Lsee the
- sayswi1lie a real finesse
to a lotofthe riffs, andthey'rephysi- really got to be on top of -vourgame." "regular"fingeringunderthetablaturef.
callychallengingeverytime you play
them.with the newsongswe'replaying
ln addjtionto his ultraprecise
picking and knackfor writing riffs,
**ilw lfyou haveto mo\€ your hand,your
timing is gonnabeoff andtherewill be
from Sacrdment, l've got to u'arm up for Mustaineis the masterof rhlthmic I stringnoise.Plus,you'll be relyingtoo
ffi
at leastan hourbeforewego onstage." nuance."Onethingl'll oftendo with much on guesswork,"
we askedAdler'sco-axman,the my rhythm playingis slideinto a Like all metal masters,Mustaine
alwayseloquentMark Morton, to chord,"saysMustaineashe plays usespdlmmufing(?.M.)to greateffect
explainsomeofthe rhlthm playingdif- FlcuRE1!a. "That makesthe chords Palmmuting is the techniqueofroll-
ingthe fleshypartofyour palm [PHoro
W
ferencesbetweenmetal's"old-school" reallygrowl, like in Ashesin My
and "nu-school."Despiteabrutal hang- Mouth." Another must know Mustaine cl forward ftomthe bridgeto damPen
ovet Morton not only steppedup to the techniqueis his "spiderfinger"chord- the st ngs.But asMustarnepointsout,
platebut alsocameup with "the hang- grabbingtechnique,which he demon- thereis anotherway to stopnotesfrom
overriff" to illustratehis Point. stratesin rrGUnE &5 andPHoTos a andB. ringing,andyou can do it with your
'Alternatingpairs offingers like this is pick. "Somanypeoplethink picking
"Here'san exampleofwhat I would
considermoreofa iate-Eighties,Bay
Area thrashtale on the riff And here's 2:2aWillie Adler
FIGUBE 2:2bWillie Adler
FIGURE
a morecontemporaryst!.leofdoingthe drop-D tuning (low to high: D ^ D G B E) drop-D tuning (low to high: D A D G B Ei
samefiff," Morton saysashe Performs
1r2.'As you can PM. P.M. -_----_
rrcURE 1!l then IIGURE
see,they'rethe samepattern,the same
note choices,but with a differentand
faster ght-handcadence, giving it a
moremodern,'deathy'feel."
2:3 willie Adler
FIGURE
drop-D tuning (low to high: D A D G B E)
P . M- - -- ,
-6-5-
-.F
5r 7 -!--- : - - : - - = --T---T
- in-6-i 8-10-12-10-8 1o-ez-p-r+p-
v-v-v v T
l3J
6 6 c U I T A Rw o R L D
is just aboutmovingthe pick up and string jumping and wide-stretchriffs minor exampleof "gettinga picking
down," he says."Butyou'vealsogot lPHoto f dnd flcutE 213l." pattem going and then throwing in a
to think abouthowto killthe string's MichaelAmott hasa similar and same-key,scale-typerun to makeit
vibrationto givethe line articulation. equally lengthy pre gig warm up. T\vo more interesting,"a ploy endorsed
ffi
On a rifflike the onefrom'Hanger 18,' Arch Enemyriffs he often usesin this by Dragonforce.
I'm not reallypalm-mutingtheD ritualare ftom "IAm Legend"(FrcurE This sectioncloseswith a riff
string with my right hand; I do it all z!5) and "Nemesis" (acuRr 2!6).flcuRE offeredby Fredrik AkessonofArch
with pick articulation." 2!7is a cool,off kilter offeringfrom Enemy."This is a rhl'thm riff I came
Mustaineexplainsthat this involves Trivium's Matt Heafy that uses all six
ffi
up with [FrcurE 2!9].It's gotgallops
playingin astrictstaccatofashion."The strings,'gets all your fingersworking inthe firstpart and l6th notesand
[ote dieswhen the pick touchesthe and alsogetsa galloppick going" octavesin the secondpart, I alsouse
sffing again,"he says.Furthermole, it llcunr 2r8is from Heary'sband- mysecondfinger to fret the bassnotes
requiresusinglessof the guitarpick's mate,CoreyBeaulieu,and is a greatf# on the bottom string lPfloro{."
point.'nvhen I'm reallypedaling,
the amountofpick stickingout liom
my fingers is minute [PHdo D]," says
Mustaine."But when I'm doingpercus- C(adds) Dfm(adds) Fm(addg)
nv nvn nv
sivestuff,like 'Train ofConsequences'
P.M.
I slide my fingers awayfrom the tip of
the pick lPtoroE]."
In conclusion,Mustaineoffersthis
advice:"I thinkthe secretto accumte
picking is slowlyspeedingup.It's really
FIGUBE
2:8 CoieyBeaulieu
G5F{s
ttutL-.t LJI
llt I lt I
|2.
A5 G5 F*5G5 G5 F 5
!rtlt4\4\4-14 4-\4 I
1'\ 1\- l-l I l\l
FIGURE
2:9 Fredrik Akesson
Gtr. tuned do$n two whol€ sa€psoow to hiehr C F Bb El G C)
P.M.--__-. P.M.,____,
68 cUITAR woRLD
t: irg iechnique,sa],sYngg,ic,"Youha1,e notesfi om 'bleeding'iuto oneallother
to let the pick'fall'fl.om
strirgto stfing, and soundingliken strunmed chord."
There's only one way to mastcr this: asif )'_ouu,ereshulnmirga chord. HeedingYn$vie's\\.ords,work on
"Practice...a lot of fucking practicc," It's importantthat you doD'tseparate FlcuRE4:4, a three-stdngAninor rrpeg
says Megadeth's Glen Dro\er. "It t*es thc pick strokes.when executingan gio from Tfivilln]'sMatt Hea6'.Orlce
dedication end a sensethat]'ou'fe upward sweep,dngthe pick upu.ald you'vemasteredthat,checkout the
never totally colllfortable with your' overthe stringsin one fluid motion. morechallengingfive-string\€rsion hc
skill level. That's ebsollrtely a healthJ Again,it's imperativethat you don't use offersin flcurE4!5.As Heas says,"It',sall
attitude for glo\l-th as a guitarist." individualupstrokes." a malterofstartingthemoffreally slow
Drover then procccds to show us three The ftet-h:lndcomponentis equally andworkingyouru,ayup."When you
simple "st tolrt slowly andbuild up impor-tant."Youleed to muteeach havethoseLnderyoffbelt, try ttcuRt
speed scnsibly" alternate (dorvn-up) string$-ith the lret handimmediately .r10,f redrikAkesson's slipperyBm7i5
pick ing excrcises in E nlinor, FtcuRE 3{ afterpicking itby lightiy liftingor'r'o1l- diminishedaryeggio(B D FA) that con-
.{, that enable you to focus on-vour ing'your frettingfinger to keepthe tinuallygoesbackon itselfandrepeats.
pickingtechlique and "really get the
blood pumpitg."
once you'vepaidyour duespractic-
ing theseessentialchopbuilders,1'ou're
rcadyfor the bigleaguesandrtcuRE t!5,
a blistering,exotic-soundingE minor'
| :l 2 L I 2 I 3 2 l\l 2
basedworkout ftom Akessonthat
involvesthe "HungarianscalelrrcuR! 3:6 Fredrik Akesson
FIGURE
t36lcombinedwith somechromatic Gtr. tuned two whole stepsdown
stuff and elternatepickingall the wa-v." (low to hish: C F Bt Et C C)
FrcuRES3? is a simplerbut equallyeffec- lllermre pickine throughont
tivc E inor, Hungarian-spiced lick.
4 IEAD
CIIAPTEi II:
W|}R(OUT
SWEEPPICI(IIIG
ABPEGCIOS
S$.eeppickingis probably the nost
famous shred technique out thcrc.
YngwieMalmsteenis its undisputed as
ter andthe gu-vwho put it on the rnetal
But ashe explains,most players
l11ap.
don'tknowor employthenecessary rules.
2:l 32t32l32ll2ll
I I I I 2 I 2(+l) (21 I 3 2 1 :l 2
t12t21t12t2.1
4:10Fredrik Akesson
FIGURE
Gtr. tuned down two whole st€ps
(low to high: C F Bt trb G C)
"Ntost EiLritaristshav€ agelcral idca
ofho\r to appr.oxilnato thc tcchnique,
but on11'aferv do it cor-rcct1y,"hc sa"vs.
"The rest ofthem lct thc notcs ring too
longor tr,\' to playtoo fast and sacriflce
precision and clariq'. Eithcf \r:\', it
sounds like shit." As hc cxplairs, the t 24
70 currAR \\'oRLD
offt"sJi. -J.e." Ashepoints J||URlIEY
"*"-pl"
out, his wide-stretch,six-barchromatic
"Legato"is a fancyItalian musical climb is madeevenmorecljmacticbl' For everyseriousguitarist,plalting
term for "smooth."For shredglitarists, the factthatthere'san "almostsub- the gl.litaris alifetime achievement.
As
playinglegatorequiresusingnumerous liminal overtonefrom the high E striig Mark Morton wisel,vnotes,"There's
hammer-ol and pull-off combinations becausethat st ng is alsofrettedwhile no time spentpla-vingguitarthat's
to makelinessoundassmoothaspos I'm fretting the G andB strings." wast€dtime." r
sible.once again,thereis no magic
shortcut.Masteringthis rvayof playing
willtake practicc,and lots ofit. 5:5 GIenDrover
FIGUBE
when pullingoff, pullthe string
slighrl,vin towardthe pa1m.This u'ill
help keepthe stringvibratingand
preventthe note from dying.when
you'reready,checkout the moltenlava
l3 2121], 24 2 | 3
examplefrom GlenDroverin the key 'ha,,rer.n l'.tn wthJrtl hant
ofF# minor shownin FrcuRE 5!5andthe ".\$.rc
prro,o,@
demented,diminished-flavoredrtcunt
t:t, a lick iNpired bywhat Glencalls
the "RandyRloads diminishedrun" +6-7-9-7-6:
(FrcuRE 536)And don'tbe afraidto break
thesephrasesinto "bite-sizechunks"
\t 2,1 12.1 2t2421121\l 212l\l . 13 2 1 3 . 1 I1\l/l
and chew then slow\'.
FIGUFE5:6Glen Drover"Randy Rhoads diminished run"
6 TEAI|
CHAPTEI W||BI(|IUT
IV:
POIYEB
PEIITATOIIIC
with sweeparpeggios, diminished 15-12_12+
+14]_14_11_14_11 11 _4
licks andHungarianscalesbeingtossed
about,let'snot forgetthe almighty
minor pentatonicandbluesscales. 312 13 t312131 31213I3121l
FIGURE
5:7 Glen Drover
7-9 10t13-12-1
72 cul'fAR q,oRLD
CAST
Kirk
Hammett
Mi(hael
Amott
Stephen
Caipentel
HermanLi
SamTotman
Matt Tuck
Padge
Devin
Town9enaI
Corev
Eeaflieu
Matt Heafy
lerryCantrell
ffi
v.
*
{f
**i ,:!
PR0G
tEss0ll,
tltAl{ilGt|JslvE VIRTU0S|I
GUITAR
ioltnprrnucu PlGKll{c
THE
bttrtottsTnATEs
TECHI{I0UE THE
BEllll{I| MEUilllERi
tlcKsT0"PULL
lislGBIrtctD MASTERPIEOES
s0ils"Al{tl0THEB
FROM IIREAMTHEATERA1{llHIS CAREER.
SOII|
irlllil'r
iilJi ,:li,;i!l!l;i.
HETHER SCORCHINC
stagesell ovcr-the u'olld
asa nember ofprog_metal
masters Drcan Theater or
bumingup the lretboarLl
as ihe fiontman in his own
po\\'cr trio, John Pctrlrcci
consistently continnes to blir\! minds as
one of toda]"s most brilli ant pl ayefs. In
this exclLrsivelesson, the liuitarist unveils
the key ele cnts to his Phenomenal
tecirnique and demonstratcs the silin!
tute ljcks to such ciassic DT songs es
"Pull N{c Ul}der," "Sacrificed Sons' atld
" l \ t e t r o p o l i s ,P t . 1 , " a s w e l l a s h i s s o l o m a s
te.piece, "Damage Control "
"When i! conesto aitefnate picking,"
Itetrucci explaits, ",vol1can make an anal
ogl b drumming: a drunJneruses niJ{)
handsto playpatterns, but might choose
to have all ofthe accents soundcd \r'iththe
right hand. Gldtarists use do\4'nstrokes
and upstrokes to play fast patterns, btlt
doublingup on dorvn- or upstrokes might
be essefltial to the sound ofa specific mel-
ody. So as apla-ver,you've gotto sharPen
' u c l :r s I o u c r n '
y o u r f i ( k i n g ' k i l l . am
I
FIGURE Ia sDspended2ndl9th chords 2 "Metropolis,ft.1"
FIGURE
Petrucciepitomizesthe idealofhaving
c5 csusZG
one'spicking skills together just checkout 1rl=4 -T1n ,=104
suchtimelessDreamTheatertracksas"tratal ffi m
Tragedy"and "Erotomania,"aswell asthe
aforementionedsongs.The 39-year-oldg!itar_
ist hasseenhisstaturerise steadilysince1989
andthe releaseofDream Theater'sfirst album,
when DreamandDay Unife.BI the time of
lg9 4'sImdgesdnd words,Petrucci'stechnical
skillsplacedhim at the forefront of the metal/
prog-rock/shredworld. Recentstintsasthe
third guitaristin JoeSatrianiand SteveVai's Fsus2
c3 guitar summittourshaveonlygarnered
Petruccimoreacclaimworldwide."Our
fan baseis bigger now than ever," saysthe Csus2
gujtarist. "It's incredible how the fans have
,.\
P,M. J
FIGURE pedaltones
4 open-string
)=104
85 85/E (111)
FIGURE6 "SacrificedSons"
'l=E4
N.C.(E5)
cUITAR w0f,LDDreamTheater'smusic
rangesfrom the thmsh metalheavinessof FIGURE
8
Metallicato the technicallychallenginginten-
'iq ofcomple:'orog 'ocl. what band.or gui
tar playershaveinfluencedyou the most?
,olrt{ PErnuC(lRushandguitaristAlex
Lifesonare amongmy biggestinfluences.
I11fact,ifl had to namemy favoriteband,it
would be Rush.Oneofthe essentialthingsI
pickedup fromAlex is how to makethe guitar
82 cuITAn \ URLD
exampleFlcurr l],I'm usingthe openB string anotherexample\{herein all of the chordvorc
soundreallybig, especiallyI'ithin the context
asap;daltone thatsustainsthroughthe entire ingsincludethe top two openstringslflcun! 5].
ofat o.Thishasbeenusefulwhenplayingon cw A stapleof the DreamTheatersound,as
myownwith mYsideProject. chord orogression,whichhelps to createa
-elodic cJnnectionbetweenall of the chords well asofyour solowork, is the useof airtight
cw How do you go aboutmakingaBuitar lines,suchasthose
part soundbigger? aswell ascreatean ominouskind offeeling Euitar/bassoctave_unison
I think thesetechniquesalsohelp to makea L the hearryinterluderiff in "sacrificedSons."
PErRU((lWhen playingrh)'thm guitar' Prriuccl That'sanotherexampleof the
oneway is to add ninths-or seconds to the rhvthm part more interesting,andifyou add
chorusand delayeffectsyou canend up with Rushinfluence.Alex and Geddy[Lee],espe-
chords,or addthe fifth on the bottom ofa cially on their early records,playedsomeincred_
voicing,and tryto useall six stringswhen a guitar soundthat'sasbigasahouse!Here's
plaving
' 'Heie chords.
. anexampleLrtcur:tal: in-readof
Dlavinsa strriqhtC5chord,I likero dddI\e 9 arpeggios
FIGURE
'usoetided .".ond lo. secand sving thirdlrerl
bybarringairos'rl' rhe.lringsal l\e thifd n
'10-
84 GUITARWORLD
ibly complexand kind ofbluesy riffs togethertn shouldbeplayedin. Agood exampleis the riff Oneof us might think a riff soundsgood sta]'rng
irr the ]asttrvobarsof the pteviousexample. in 4/4, andsomeoneelse thinksitsoundsbetter
octaves,and we asabajld like to take that sarne
We knew we neededa riffin Fl, and itjust alternating with another meter, sowe'll figure
approachto get a really thick soulld.
Here'sthe "sacrificedSons"rifflFlquft 6]: cameoutthe way it didwithoutus thinking out a way to do both. That way, we end up get-
in Lhekeyof E andis ba'edaround specificallyaboutodd meters.Butthere.rre ting all ofthe differentvariationsjn there.
it s Dlayed
scale,E C A B' B Dl u irh a momentswhenwe will want to makethi[gs 1w You'rewell known and respectedfor
the E minorblLres
that arehalfsteps' moreinteresting,andwe'llstaftto think about your incredibleprecisionwhenjt comesto
lot ol chromaticismlnotes
or onefl'et, dpartl added.This riff is palm- how to takethingsevenfurther in termsof altematepicking.Canyoudemonstratesome
andic pla]ed with rlrcl changingthe meter.We'll sey,"Is this phrase waysfor playersto developand improvetherr
muredlhroughour
nateldown-up]pickingexclusively,which tn b c n e ri f i r ' sa l 'i n a 8 . o r - h o u l d irrl t e f n a r e alternate-pickingtechnique?
between9/8 and a different n]eter?"we'll PEltu<(l There are acouple ofdifferent
this caseis essentialin order to achievethe
sometimestryeveryvariationand permuta- u a ) s r o p l a y l i c l t . l i k c t h e p r e r i o u s o n c :o n e
machinelike executionthat I'm lookingfor.
many tion untilwe get somethingthat soundsdght v a y i s d o w L r u p - d o w n _ t l p .a n d t h e o l h e r i s
cw The riffalso encompasses
to all five ofus. startingon an upstroke and playingup down-
metershifts.
prrrucctThaLs righr.The llfst phraseis A lol of times it's a malter ofcompromise up down. When playingin en odd meter, it
only onebar iong,but it's a bar of6/4.It's fol-
lowedby a bar of4/4 with a little 3/8-bartag
that finishesoff the phrase.Thesefirst three "DamageControl"
barscanbe thought ofin groupsofnotes,the ,i=69
fifstbeingsix.followedb1 iwo groupsoffiv.
FlGUREllbnelody
and then two groupsofthree. Next comesthe
1ta rh''thm
fIGURE
2 P.M. P.M. P.M. P.M.
86 cUITAR woRLD
,.-
can get confusing becausethe phrasc might rvillhelp to work out anykinks inyourpick
feel better starlingon a dowlstroke, and when ingexecution.It pretty much soundsthe same
the riffcomes back around you find that t-ou're when playingit eitherway,but it elablesyou
on an upstroke because ofthe odd number of to get usedto accentillgeither a downstrokeor
notes inthe phrase. You have to get used to an upstrokewith equalfacili!y.
being able to accent notes with either a dou'n- This skillprovesinvaluable whenyou're
stroke or anupstaoke as necessary. playingsomethingthat changesmetersand
\ 4 h a L I d i d e a r l y o n a 5p r r r o ' r r y p ' e c r i c i r g alternate picking constantly;vou
onsranrLy;vou won
won'tr be
De
rouunewasto pLaysome- thrown offor tempted to
thing-be it a riff, scale, play consecutive down-
arpeggioor whate\.er-with strokes in the tricky spots.
alternatepicking,fi rst Double downstrokes can
beginningon a doi{'nstroke sound cool for certain riffs,
and then beginningon an but ifyou're looking for a
upstroke.Thiswas p mar- consistent, "clock€d" type
ilybecauseof the influence ofexecution, you have to
ofsteve Morse,who is both be able to alternate pick
an amazingtechniciaras both lvays.
well asa brilliant guitar Here's another great
playeroverall.IfI had to exercise for getting your
pick my ail-timefavorite alteInate-picking technique
guitarist,it would be Steve. together lFrcuRE8]. I drove
He's saidtha! vou should a lot ofpeople crazywhen I
be preparedto alternate was growing up; my family
pick anlthing startingwith would yell atme, "Why are
either a downstrokeor an you playing the srme thing
upstroke.Theyboth feel over and over?" and I'd say,
different, so *'hatever -voupractice, you should "I'm not itjust soundsthat way!"
do it both ways. cw Canyou give an exanple ofusing
cw What's agoodwayto getstarted with r h i sa p p f o a c h" h e np l a y i n ga c r o . .a d j a
this approach? cetlt strit,Igs?
PETRU((IYou can start \r'ith the sinplest PETRU((l Sure.Agood exampleis playing
thing like a scale fragment [FtGURt7]: this is arpeggiosFtcuRt 9, bdrll: here'sa G major
an octave and a halfof a G major scale, and arpeggio,startingwith a downstroke.You
I like to practice this phrase ascending and havea little problemspotbetweenthe c and B
descending repeatedly, starting fillstwith a \r-:ngbecru\erhedown.r_oLe or lhp B .rring
downstroke and then playingit again starting is followedbl' an upstrokeon the G string,
with an upstroke. This is agreatwarmup that meaningthatyou haveto crossthe B stdng on
88 currAR u,oRLD
the wayto the c, andthen-vouhaveto cross cw In the firsi bar ofthe melody,you allorv to makcthe guitar soundbigger;tl, e sameis
the c to getbeckfor the next downstrokeon all of the notesto ring togetherthroughbeats true in bar 4, so,when playingtheseriffs, be
the B. It's a lot easierto play lhis figurestar!- threeand four. sureto allorvall ofthe rotes to sustaininto
ing with a downstrokeon the lorveststrin!, PEllu<(lThrt s anolhereren_ple of t1'ng eachother and fili up the space.
lflcuRE9,bdr2].The nextlogicalstep is to add
pull-offslFrcuRE e, bdr3l, which u-ill feel the
most natural.Butyou haveto practicethe hard FIGURE 13 solo
onessoyorfll neverget stuckon atricky pick- double-timefeel
rng patterr E'
cw Did you learnany specificpickingexer-
cisesfrom SteveMorse?
PITRU(CI Yes;this llextthi[gis something
I learnedfrom one ofSteve'sclinics,and I still
useitto \\-armup lttcuREt0]:the exercisecon
,isr-ofalterncrep.ckinga longsefie.oibarre
chordshapes,andthose"problem"elements
ofconsistentalternatepicking areaddressed
ircross muchofrher-elboard. Eachshape'.six
noteslong,playingdo\1'n-up-down, up-down-
up, with palm muting throughout.
cw A $eat exampleofalternatepick-
ingthlough shifringmetersis the melodyof
"DamageContro1,"from your solorelease,
Suspended Animation.
PEriu((| Rigfit.Duringthe first eightbafs
ofthe melody.the metershiftsbackandforth,
onebar at a time,between7/3 and 4/4. Here's
the rhlthn part [FrcuRE 11a],and here'sthe
melodylflcuRr rlb]. My pickingapproachrs
norrharsrricton rhisprrl, howeve-: some-
timesI'll useconsecutivedorvnstrokes, and in
other instancesI alternatepick consistently.
90 currAR $,oRLD
'*
Gw Ho\r-do you plx) rhe chorus rnelodv? onedo that befirrelAndthen, nro barslrtc P E ! t u ( ( i T h e M e t a l l i c a i n f l u e n c el s
F r T R u c c r L i k ct h i s l F r c u R E
1 2 1 :v o u c a n s e e I'll think Uror', i vc ncvcr heard anlole do a p p a r c n to n t h e n r a i n r i f f l F t c u R El a l . I
that the l1lelodic shapes here are bascd on the r h d f L r e f o r eIl h a v e l i t t l e p i c t u f e s o f S t e v € i n r n \ . oflen describe Drern Theirter es a malriage
r " i r | . e o i l ) . L ' ui .r r l i , . e c r . ur . h c r . r " r : . n,.orrlerlrrr r;ncodie. iker r.c. bet*ecn thc soundofYes and Metallica,
7/8 for three bers. folbrved br befs of9/8. 4/a c w T h e s o l o s c c t i o no f " D n n r a g eC o r t r o l " meaning ir's the instrunentation ofYes bLrt
ancl6/8. sl'itchcs to a doubLe tirnc feel, and voLrcrenk with a hcavior sound in terns ofthe glitar ar.
c w I n o t i c e f i a t y o u c h a n g el h e t o r c up thc shled machine. t h e c l o u b i eb a s sd r u m m i n g .
o l l r . . - r ' t . . . | \ e c o | . , , , l p t .\ i n g r h ( , P E T R U (I( lr F r e . , r e o c op r, , , f ' r . r i c k . i r This fiff is comprised ofdifferent slidirr3
meloclic figulcs. therejhere s a four-barlick I play ovelthe Er n{o-note power chorlls pla}'ed agdnst a lo\\
PIIRU(CT l hcle is somethiigtobe said section [FrcUREtt], e)iecured eitircl"vwith fast opcn E pedaltone [FrcuRE 1 4 ] .E a c h o f t h e s e
for changing !'our t rc ns ]'ou pla!; I thinir it alternate picking. po\rcr-chords is eithcr a root-fifth or a fifth-
adds to ihe expression. This is somcthin[i that cw Let's go back into the pasl for a mo- foot voicing.
dcr.elops u.ith rimetyou rnal heer sonle young r r c r r . I ) r e o f D f . r r - T \ e x r e . . b i J J c , rr J . l e .: . When playingriffs like these the sound oi
c r p l a y e r sw l t h g r c a t t c c h n i c a l a b i l i n , b u t "Pull NIeUnder." the ilnp becomes a verv imporlant factor: \ o!:
attention to shapi[gthe tone rakes a degr.eeof
matlr t]'and expericncc. Joe Satrieni has been
a hugc influence for-mc in this fegrrdi Dot onh'
r r p o , r i r, l \ , r d L e c lr-i . : l r . ' - : n r o n . : o r r
FIGUBE
14 "Pull NIeUnder"main ff
i s j u s t u n b c l i e v a b l e - b u t h c c h a n g e sh i s t o n c . = lt)2
b r i l l i a n t h : r s h e p l a , v sH
. e'll usethe$'ah nar, N . C . ( E 5A)5 G 5 E 5 Fl5 c5 E5
of just pick ilong the length ofthe string et dif-
I g e n e r a l l l l i k e t o p l i y h i g h e l m e l o t l i e so n
the ncclc pickurp, and ifI {.nnt a specific note
to jump out,I'llsrvitch ro rhe bridgepickup for
that one note. Tlris nclodv combines a chordal
outlinc along s ith an inhcrent melody. and
F5
the articul:rtion choiccs I make in terns of
"speaking" the melody r-cvcalthe influence of
-i.ltere.t:ng
S . s \r V J i . S r e l e . L h ek i n L o Frr'.rf.
ever-\rthiighe does grabs yon. l'1lbe listering
to hlnl and think, \\'o\\,,l vc nc\'er heard anv-
ri|j
92 cr:rTAR tvoRLD
d o n ' t w a n t t o o m u c h d i s t o r t i o' rn b e c a u s ct h e is that tbe riffrnusrbe paln-nutcd, and when intefprcted a nuruber ofdiffefent wx"vsl
pla"vingthe chords -voushould dragthc pick one is as t\{'o brrs of l2/8, s bdi\,ided as 5i I
lo" ror.. ne.d . , ber:l'r. \ " rdof ri r,
across the strirgs in a staggered, deliberale p l u s 7 , / 8 ,f b l l o w c d b y . r b a r o f 1 0 / 8 a n d t h e r
c l e s c r i b e ist a s t h e s o u n d o f a s t e e lp i p c b c i n g
s m a s h e di n t o a b r i c k b r L i l d i n g . . . manner, as opposed to stflrl11nringthcn1in t2ls subdn,ided as 7/8 plus 5/8 Through
cw Tsthis a pafticLrlarly Yiolent flicl1d quick s!ccession. t h e l a s t t h r e e b a r s o l r h i s f i t + 1 r e ,I s \ r ' i t c h
cw Another Eireatexemple ofco1npleri f r o l n s t r a i g h t a l t e r n a L ep i c k i n g t o L r s i n e i
pETru(cr |/-dughfe,] A litlle bit! So the Lcy . i r g l ,- n u r el , r e c p i - e d o \ e ' . h i f t i r r l ' ' n r, , 1 5i . d o u b l e d o \ r ' n s t r o k e s\ { h c n n o v i n g f r o m o n .
is rollirg offihe gainon the a p,asu'ellasthe the slow interlude section ol"N{etropolis, Pt. subdivided gfoup to another.
l," from Drean Theate r's lrldges dnd ll-ords. The easiest\ra]' to p1a),fxst moling metri.
bass; on sonre ofn) older_x'lcsa/Boogics, I'll _'
h a r , et h e b a s so n z e r o . o f L o r 2 . r \ l s o i n p o r t a n t P E r n u ( ( rT h i s p e r i l r l c u R E1 5 ] c a r b e n o d uL r : o r s l i \ e r r . . c i - r o l r L r r e n u l i '
smallerbitsi for exinple, the firsl riffcan L.
t h o u E i h io f a s 1 - 2 - 3 ,l - 2 , t h e n 1 - 2 3 , I 2 , 1 - 2 B L r i
ifI tr) to count ir and p1a\,it at the same tin1c.
FlGllBE15 "Nletropolis.Pt. l" I get lostl r
t=120
NC
nri . y'nntnVnVn
b y r o t s NP E r R r a c [ r . t s a L L
t o n r q : W E ! s c c o R Pa i J i l :
DM5 NC A P ChtsAr fl i nmd bIt\B trlLrsa aoRP uf d bJ'Pari'
Na r R 3tr lnfl!ftI
94 currAR \\ oRLD
lelvlurlf, kontinuedfron page60) and I wasway into GunsN'Roses,but when Metallica" Pantera,Maiden, Megadeth are just
theard Master ofPuppets, it was like hearing better.End of story.But it all started
don t know why peopleact lile thafs a crime. the kind ofmusic that I wanted to play one with Metallica.
We'reproud of ourselves. day.From Master ofPury€fs I went back to cw Matt, your singing style has recently
HEAFY Here'swhere I'm supposedto say their earlier stufl changed. Youvegonefromall-outlcreaming
we're going to be "the next Metallica." HEAIYFor me, I went forward to Lodd and to spitfirevocals.
leverybodylaughsl -Relo@d, and then I \rent backward. I know HEAFY I know where you're going with this...
cw ObviouslyMetallicaare a greatband, thaCsprobablyweird.butic\aorked forme. cw Which, to me, has only madeyou sound
but what was it about their music that spoke to cW Takingyour agesinto accountone morelike a youngJamesHetfield.Do you take
you in such a profound way when you would assumeyouwouldhavebeeninflu- offenseat the compa son?
were younger? encedby grun€e. HEA]YNo, I don'ttale offense.He,smy
HEAIYHardto say.A friend of mine loaned BEAULTEU It wasn'tinterestingto me.Guns favorite singer; there are worse guysyou could
me a copyofthe BlackAlbum,and Iwas like, N'Rosesdid it forme.Andthen Metallica compareme to. Let's face it Hetfield hasthe
"Holy shitlThis is what musiccan soundlike?,, really did it for me. most recognizablevoice in metal. Ifyou sing
Eve44hing about it mealt something impor- NEAfYI've beenthrough every musical the kind of musicthat I do,you'regoingto
tant to me. phase:emo,hardcore,blackmetal,sym- be comparedto him; ids inevitable. But the
BEAUUTU I \ras alreadyplayingthe guitar phonicdeathmetal,country,folk...And to 1!e, reasonwhy I sound diffetelrt on The Crusade
is becauseI've grown up. when this band
started, I was 13years old. Problem was,I was
going through puberty and shit, and every
time I tried to sing normally, my voice would
crack-not cool for metal. Then I hied sin8-
ing really low; my voice wouldn't crack, but it
soundedvery awkward. However, I discoveted
that when I screamedI could cut through the
bald and my voice wouldn't crack. I was faced
with a decision:do I singlow and soundsort
ofstupid,or do I screamandsoundokay?SoI
developedthe screamingthing. It feelsgood to
be singing more now. Ifit comesout sounding
like JamesHetfield, what can I tell you?
cw You guys have met Metallica. Do you
know what they think ofyour music?
HEA;YWe've met all four ofthem, and tley
approveofwhat we do.we got to opensome
shows for them, got to play songswith them.
All I wanted from that band was to hear thcn
say,'You're doing okay," but they gaveus so
muchmore.
clv Triviumis doingquicenicelyin the
States,but you guys are freakin' stars in
Engiand. Whaes up with that?
HEAfYI don't know' We just got word
that in one day, the fi$t day lhe Crusddewas
released,wesold10,000copiesandwe're
alreadyNumberFiveon the charts.Thatjust
blows my mind. If we knew what we were
doing right over there, vre \irould try the same
thing around the rest of the world.
cW I would assumeyour parents are pretty
proud ofyou?
BEAUI,IEU My parentsaretotally stoked.My
dad goeson the internet and reads all about us,
buys tour posters from around the world. Just
recently, I got an email and it was a picture of
him with a Trivium tattoo. ladgfis]
ttEAIYMy dad'sbeen managingthe band
sinceIjoined, when I was13yearsold lfteno,
co-mdndgesthegroup with Justin Arcangefl.
He's alwayshelpedme,encouragedme-my
mom,too, They evenencouragedme to drop
out ofcollegebecausesomuch sruff washap-
pening,I wasstart;ngclasses at a communiry
collegeright when we got our first recorddeal.
I thought to myself, Maybe I shouldn't do the
recorddeal;I shouldfinish school.But my
father was like, "No, no, you might never get
this chanceagain.co for iL"
cw Norv,the two ofyou hookedup in
Orlando,Ilorida, but neitheroneofyou is
originallyfrom there,am I right?
HEAFY Thadsight.I wasborn in Iwaluni,
Japan.My fatherwasin the Marines,sowe
96 GUITAR woRLD
,
mo\.edarounda lot when I wesa kid. From arts at full Sail.Onc night I went io this club 6oinlingshit all these effects boxes and
Japanwe movedto SallDiego,CaJifolnia,then calledrheHavena.ldI qau rl'i. brndc.rlle. everything. But\l'ejamned, and it sounded
to coral Springs,Florida,for a liitle while. Trivium.I thougtt they were outstandirg! cool, and that was that.
Then \l'e u-entto Arlington Heights,Illinois, Thenr\e1 plarcd a shou .rrFullsai . rrrdrh"i. c w l ^ l - a t l i n d o f g u i r x r l e s s o n sd i d 1 o u
ard finall,v,toAhanont Springs,r'lorida,jmt when Matt and I startedhangingout.A year take as kids?
outsideofOrlando,whereI've beenliving later,I poppedon their \I-ebsiteand I sawthe-v HEAFYJust general guilar-pl aying stuff. I
sincema1-be fifth grade. rverelookingfor aguitar player.-. can'i read music for shit. Everl'thing I kno*-
BEAULTEU I {.as born in Brunss.ick, Maine, cw Wait aminute. You gu),s were friends, is byear and feel. But I did prnctice my ass off
and I lived there for a few years when I was but Corcy, you discovered thatthe band was when I was in school.I'd come home, do my
reallyyoung. Thenrve moved to southern lookingfor aglitarist on theh web site? hornework, then I'd pick up the guitar and
N,laine,to a town called Dover Foxcroft, BEAullEulvell, we u.ollld hangout...*'e shred for hours. I can read tabs, but I can't
.,illich is {'here I lived allthrough high school didn't really get into deep conversations about read music. One day I'd liketo learn.
andunrilthe time I picked up andwent n1ebeing a guitarist or anlthing.I didn't SEAUlltu I took lessolls for a fe['years. I
down to Flo da. n nd. I went o\.er and auditioned, iust likc had agreatteacher, Bill Pierce. He taughtme
cw How soon after"vou moved to Flo da anybodyelse. scales and patterns, holrr to transpose. A very
did it takeyou tojoirthe band? HEAFYldughsl He showed up at my ho[sc inspiring guy, verymusical. Anythingl wanted
BEAur.rEu I went doNn to study recording with this Peavey road case,$'ith allthis to learn, he showed me ho\,t,to play i!.
HEAFY My guitarteachergaveme a chart
with all the differert modes,andI haveto sat''
it's beenvery helpful.If I canfigureout what
key a songisin,I canusuallyfi$ue out ho*- to
play the solo.
cw Let's get into someofthe songson the
new record.On "Ig:nition"and "Detonation"
you speakolrt againsthomophobiaand
ceorgeBush.
HEAFY We're not aimingdirectl-vat Bush
but more atgovernmentasawhole,
cw Lyrically,from what kinds ofplacesdo
y,oudra*. your ilspiration?
HEAFY Alot ofplaces."And Sadness
willsear" is aboutMatther-Shepardlrhe
Ilnirersit! ofwlaming sfudentl'ho wds
murdered in 1998becausehe wasgay]. That
incidentreally affectedme."Entranccofthe
Conflagration"is aboutAndr€aYatcslrhe
Te\asnrctherwhomurdered he.fiv, hil&en:
20011.I know a lot ofpeoplewill disagTee, but
I seeher asa \'ictim.
cw And theAmadouDiallo killinginspired
"ContemptBreedsContanination,"is that
tight? lDidllo,e 23-year-oldMuslim Guinean
ltuingin Ne\\,York City waskilledunder
contro\lersialcircumstances byfour police
offcers in 1999.)
HEAFY Again,I thought it wasa casethat
peopleshouldrefamiliarizethemselveswith.
tr like rhrr k ird ofsirulrionhappe.r\
"eemq
time and time again,all overthe world.
cw In an intelviewyou did u'ith another
publication,you describedthe song"Anthem
(we Are the Iire)" ls havinga bit of a "Miitler
Criie feel."Aren't the words "N{dtleyCdie"ar
abominationto your audie[ce?
HEAFY I hearwhat,vou'resaying.You kno$
I'm the worstat tryingtodesc beourmusic.
thinkwe'reonlygoodatmakingit.Ifit sound
like that, then I guesswhat I saidwascorreci.
I nevergotthat much il1toMddey Criie.
BEAULTEU And I101'ethatshit. Dokken,
w i n g e r .\ h i r eL i , , r ' . S l ,R
i do $ .M d r l e \C - i c . .
lMdtt \\'incesat the soundofthe bandnamesl
cw Matt, you look like you'rereadyto
crawl under the table.
HEArY[chucAles] I just rememberbeingon
the tourbus, tr]'ingto sleepandhearingthese
guyscrankingfuckingLynch Mob at,like,
three o'clockin the noming. Talk aboutabso
lute hell. [st'ghs]
cw Let's talk aboursomeofthe guitar plai
ing on thesesongs."Detonation"featuresa
real tempestofshrieksand shredruns.Hol{
do you two plot out $,hat]'ou'redoingto do?
98 currARwoRLD
HEAFYWe had all the rhlthm Parts dot!n, the song"A,1d sadness will sear" u.ho's
so it\l-as n1ore ofn matter of"Hcy, Corey, playing that?
what pert do ]'ou want to solo or?" Ilwasn't HEAFY Thntwould be n1e.I alwa"vsliked
really worked-out or anything.I did ihe first vibrato. People liLe Dimebag Darrell the way
solo, and basically my thouglltprocess was, Do he could make one rote sound like 10 wasjustsc)
I shred like hell or do some Dime squeals?So I cool- I was tryingto chalnel a littlc Dime there.
opicd for the Dime squeals. cw'fhe soios ol1 "Unrepentatt" really
StAULIEUThe really fast paft ofil is my jurnp out. Are the]' double trackcd?
solo. And then there's a mclodic solo latcl on BEAULTEU I harmodzed one little run, did
r kind of la-vmy head bncL and lel it flo\l'. somc octale 5hit- I don't reallr- double things
cw Do yor.rguys tradc solos in "Entrance like Randy Rhoads or anything. God, jt's
ofthe Conflagration"? so hard io rememberthis stxffsometimesl
HlatY Yes. Coreyplays the first solo llaughsl
and then I comewith thatbluesy, heavy cw "B€comiogthe Dragol" has a verylar
metal-lvpe solo. ringbreak that recalls the machine gun section
BEAULTEU Usually, u.here's there's along of Melall;ca's "One" - intcntiLrnal?
partwherc there's gonnabe a solo, we split BEAULTEU It's got a diFfcrcntpattem to it,I
it up so that each guy cxn do something cool think. I never even thought ofNlerallica when
w i t h i t . A l o t o f t i m e s , w e h a v e n oi d e a ' h a t we did that part.
the other gxy is goingto do, so it's always a HraFY I guess the timc signature is soft of
neat surpnse, the same, but the onl,vband I was thirkingof
c w T l e f e a r c f . r r l s o f y o u r . . r l o i n go 'hen we recorded that r\.asDrerm Theater.
"Antheln (\Ve Are the Fire)" that recall They're totally insnnc.
someofthe shredding from the Shraprel cw Speaking ofinsane, thc nit1e-minute
r c l e e s e . o r r r ' r cL i g h r i e . . \ \ e " c r o L rg u r ' L r i g title cut is hellacious.
fans of people likc Mar!-v F edl1]an and HEATYIt took a year to wdte.I did all
the riffs, and the band gave me a hand with
HEAFYI'n1 a huge Jason Becker fan. Th" arrangirg it.I trjed to write ly cs for it, but rt
shit hc plal's is so impossible to learn just$-anted !o be ar instrumental.
EiAUl,lEuI love all thoseEightiesshreddcr BEAUUEU The funny thin€i is, Matt 'as
guys.They playedtheir assesoff Ifsjustcool working on that sorg for a ,ve , but 1verecord-
guitar music,thc kind of stuff I can reall),8et ed it ir a dayl
offor, you know? HEAFYBetter-tha[ the otherway around.
cw There'ssomepretty coolvibratoon flaughs]*
D ] R E C T S A 8L 0E0S. 8 5242 3 5. F R EC
EA T A L O GFFEEDVD"CARVN 60 YEABSINTHE
I 0 O L I U1 A R \ 4 ' n R L D
don'tget it.It's no ftrn \r'hen.lbandstardsstill like that. You can play,like, polka rnusic for
SUPERHEROES(contin edJiam pdse78)
onstagedoingfuck all. me, and ifii's cuttingcdge and has a real atti
Ll We don't havea musicgenrekrytonite tude, I night like jt.
but I edo-1'just about eveq'thirgelse
TU<( HoLrse. It's bullshit. It's j ust not my If$-e comeacrossa st-vleofmusic wc don't
tnlng- like,itjustgoesin oDeearandoutthcother- HAVE
MtlSISUPEBIIERllTS SEEREI
( A N I R E I LP l e n r yo f s r t r f l . f h e r e J f , a l o l Ii's that simple.
TorMAl{For me,it's probablybooze.The
WHAT
IIIEIIIITIES. V{llULl| BE?
YI|URS
ofdcdv:rtive bands whose rnusic doesn't
right amountwill hclp rneplaybetter,but rucK I'd like to be ableto pull my Jipover
retain th€ fire oftheir inspirations The.e's no
r,urrnuchandit c"uld tu.n ou! fuc\:rrgho- m\.head.I'dbe like abiglip, sono oncwould
need to name names-there's awhole genre
rible.Actually,jazz sucks...and anlthingthat know it was me.And my namewould be
o f n ' u . i c l i l e r \ a t . I l l - i r k r h e \ \ h o l en u ' i .
Hermanplays. DustyFields,'causewe spendmostofthe
industr-v needs to be turned on its head lt
seems to me that evelvthing is driven by the HAMMETT tror me, itwould haveto be really
.impy adult contemporaryj azz.You know PADGEKieranConsumption,becauseI drtn
single, and there's less interest in longevity,
the Kenny G kind ofcrap? Not fusionjjust like fuck afterthe showl
in giving aband enough support and love to
reallybodngjazz musicwith really dumb row tE D Mine *'ould be Devin.The De!
develop into a killer act.
P A D G lEd s r t i n d i r r s m y l _ I p t o n ' r t l L \ chordprogre..ions no
r\rl hate no artirLrde is the onethatgetsonstageandgoesmad;
gry a' fucl. and ir . b i g " t r h ( I n o - n e r r rT'
'u-l irggrp'sion,n'' crle-g].I nateall rypesof mu'ic Devin is the onewith the hat and the glasses
"o that watches?'uturdmdand drinks a little red
wine. That'smy ClarkKent
(ARPEITET l'd be a charitylvorker'That\\'r
it',vouldbe no surprisefor me to be a superhe
ro'causeI coulddobothjobs sirnultaneousl
BEAULIEU I'd definitelyneeda mask,'calrs
m.r,k.arebdoa.s.l d bequjrpJ drfk super
hero,someone whomyouthinkis avillainbu
$.homyou later realizeis good,it'sjust that
he'sgot abadassedgeto him
ToTIA l d bna fuc\i.lgfailcorl qear-
ingflasher,but insteadofflashingmy knob,
I'd flashmy guitar.Bet l'd still get arrested,
though.
u Well,I g essI'djust be a computer
nerd. What can I say?I guesslln not as
creepyassam,
IFYl|U
CIIUTIIACHIEYE fully I do that. |rS1969 JlillHEll||RlX
Al{D
0l{ETlllllcwlrHY0uRMUSIC, BEAULIEU fd like to succeed like Metallica JIMMY
AIIll PAGEIIAVE
have. They're celebratingthe 20th anniversary UIIS?
WHATWIIUT|| II BE? o l M a s t ? ro f P u p p e r c , a n de v e r y o n e \ p f r i s i n g
AGUITAR WH||
IIUEL,
them. Thacs whatl want for ollr music: to HAMTiETT Thai's a tough one l would think
HAiuiErr I think we alreadyachievedthat
s ith _ore. {crually,$ewannaplayerery- stand the test oftime, to stillbe relevant 20 Hendrix,becausehe wassocutting edgeand
years from now and to still have thatpower took so manychances,
wherein the world. We just playedAfrica.we
HEATY I don'tknow enoughabouteithergu-
wannaDlavChina.lndia,Antarctica...I want and strength.
TUGKYeal,longevity iswhat I want;longev- tar Dlaver,Thosetwo arewaybeforemytime,
us to go inio outer spaceandbe the {irstband
itv like Iron Maiden and Metallicahave l'd rt liendrix hasgot that magicthatenables
to play in zerogravitY
(aRPETEROur musichasaheadyachieved liie to write anthems thatkids born todaywill himto be more outrageousand originalwlth
still dig in 20 years'time. his playing.Sohe would win. Plus,he could
morethan I everimagineditwould l've been bybundnghis guitar'
havea sideshowonstage
row SrI|DMusically,Jimmy Pagewou]d
kill him. The song"Friends"[fom Led
Zeppelrnll | | \\ e' suchan influenceon me
with Page'suseofwhole tonesand suspen_
sions.Hewould bringthe soundofthe coun_
trysideinto his stuff.lf Zeppelindidn'thave
RobertPlent I'n1not afan ofhis voice-they
would be the ultimatebandfor me.
on the other hand,ifit camedown to their
improvisationalpowers,Jimi He[drix wolrld
sla) Page.qcrurlly.I rhink DavidGiln'our's
benerth:n bothofrhern.I rerll] I ikehi5laste-
tul style.
TU(|(l'd go for Page.He'sjustgotmore
ofa classicrock and roll thing, rather than a
bluesstyle.
tIl|OI{E
ISMAKIIIG
|lRIGIl{AI.
GUITAB
MUSIC A]{YMllRE,
DISCUSS,
cARpE TERIt,s trire, but it,s srill fun to play
and be unoriginalat the same lin1e.
B!AULtEUEveq.thing has prettvmuch been
dolcbefor'e, so norvit's twice as har:d!o putvour
ovntiristorthingsto make it sound original.
ToraA lfyou think about it, there are
o n l " ve i g h t c h o r d s o n t h e g u i t a r a n d o n l v a
certain nunber of combitations in.ivhiclL
y o u c a n p l a Yt h e n 1 .
Lr There's not so mlrch room for making
Deltn
Serie
GOTOH
AVAILAEIE
INA VAfiiTIY OTI|NISHE$
& STYtiS
l'
GUITAR WORLD
I love Kirk's plal'ing, and I think he does some PADGEI !ryto go over every solo I knou, there's no structure in our nusic thnt I feel I
s\{'eet-assshit. but it's reallv been Janes \\'ho's justto get m,v fingers goin€i. have to stick to. I tr,v to be constructive with
i n s p i r e Lm
l e. HAMrtrTr Whcn I'm at home,I try lo prac- song design rather than fit into the same for_
ru(K Hetfield and Hammett. r ; c . i o r a c o u t r u i h o u - . . r r o u r .I r i g \ r p l a r mat as everyone else. So \1.hybust to practice
forthree hours inmyhotel roo . Sometimcs ever!'day? Quite often, when I'm wxtchingTV
I just don'! have tin1e,especiallv rvhenwe're I'llpick up myglitar and play aroundu'ith it,
lll AltaY?
00YouPBACTICE
[0wMuclt makirgan a1bumT . he Lastthingl wanna do but I'm not followjng any tuali it's more like
TUC(An hour rday at least.l 'hen I \\'as in when I've been in the studio all da,r'is come n1y right hand neets ml' left.I'm makingsure
rnycarl) teens and didn't have muchto do,I'd home and playguitar. the,v're sti11comn1unicatirg and notworking
practice five or-six hor.ns a day. As soon as I got aMorr It's hlfd !o sxy. I hrve a guitar in on separare pages.
home from school, T'd plug in tilll rventto bed." every room at home.I pla,vt'hen T check my HEAFYI try to practice each day, even when
P A o c EI f l v e ' r e o n i h c b u s a i l d a ! , I ' 1 1 g e t m v emails, 'hen I'm eating breakfast... I practice I'm on the road.I usually shoot for around one
laptop and do a feu' hours, just jamming alorg a couplc ofhours every day, not becauseI'\'e to two hours a da,v,or ifit's bcfore a show I'll
to songs. hearrl you should butbecause I just love play- u . r f m u p f o - l 5 n i n J r e s .L J r e l J .l \ e b e e r u ' : r L
TU(KFor \rarmingup I play our stuff the i n g g u i t a r . I f I d o n ' t p l a " vS u i t a r f o r 4 8 h o u r s , i t the John Petruc ci Rocl ,iscrpline book and
fir'stcoupleofsongsfrom thc set-to gei into will drir.e n1emBd. video. I just go through it co\.er to cover \r.llh a
thegroove.Idon'tdo scales- (ARPE TERNever. l don't practice because
T o T M A xW e l l , I n e v e r p r a c t i c e .I m e a n , I ' n 1
not gonnagct anybelter thar I am now, which
isn't thatgrcat an].way, so s.hat's the point?
LrI don't rea11ypractice, blrt I used to quite a
l o r . L i k c \ 4 a R - a d . $ l r e n\ u u r e I o u - ' r g ) n l i J .
don'thave thetime. There's someone around
vou distractingyou and it'sjust impossible.
EEAULTEu I don't get much time duringthc
dat', so I usually just play the first song on the
set to warm up-
ISTHERE Y|lU
AIIYTHIlIG
IIIVEII'T
YETMASTEBE|I
WllUTl|
BUT
|lIIGUITAB T||?
IIKE
a M o r r O v e r a l l l ' d l i k e t o b e a l o i b e t t e r - .l l n
ahvays tryingto improve my playin€t.l al\l'a\s
-This'guitar'si
pieceof $#@%
It keepsbreakinq
stridgiil
s^#fup
TIIEGUITAS
II{OUSTSY'S sales@graphtech.co
IIUT& SADDLIGXPESTS Phone(604)940-5353
Entightuswtte&t
ing one or two skills is pointless;rhythm
pl;yers just play rhythm and lead playersjust
D l a \l e r d ,b u t I o u w e n n am i \ i f u p a n dp l a y
u p .b e h i n dv o u rh e a d .
i i r r i n g d o rn . . r a n d i n g
back to front...
HEAIYI'd like to play the overheadguitar solo
to Drag)nforce's"Tlrough the Fire and trlames"
BEAULIlu My goalis simplyto bebetter at
with RainSongthe
of graphiteguitars
imperviousto the
vagariesof climate'
GraphiLeGuitars
l.aoo.78a.5a2a
Unique soundi Carefree playing; Road tough stability www.ralniong.com
112 cuIr,ARwoRLD
WE OOTTA OET OUTTA DISPTACE
Incorporatin{ octave ilisplncement
and urpe$fi,os into melodic ddeas
In my lastcolumn,I demonstateda 1 A NaturalMinor (A Aeolianmode)
FIGURE
few ways to add chromatic Passing'
notesto scale-based licks in order to
createimprovisedmelodiesthat roll
smoothlyover a chord progression.
This month, I'd like to show You a
way to spiceup licks that are playedover 4516 1t 2 2t I
a one-chordvampbyincorporaring ocla!e
displacementand arpeggios FIGURE2 n = d.||hsiake V = upn/ak
This molltl's examp]esare in the keY CF
GCDM
ofA minor and fit into the diatonicchords
of the A naturalminor scale,alsoknown as nvnvrtv nvnvnv
the AAeolian mode.The notesofthis scale
areAB C D EFG the samesetofnotes
thatcomprisethe C major scale.The only
difference is that we're starting fiom the sixth
degreeofC major,whichis A. andcontinuing
uo the note sequenceone octave.Itis for this
reasonthat the Aeolian mode is referred to as
the sixth modeofthe major scale.FIGURI I
illustratesrhe A nanrralminor scale/Aeoliar
modeplayedin 12thPosition
Getting a graspofthe modescan seema
bit overwhelmingat frrst,especiallywhen
dealingwith scalesthat havemany sharps afull
line that incorporatesoctavedisplacementto naturalminor scaleascendingacross
or flats.I choserhe A naturalminorscale
ouiline a Drogression of impJiedarpeggios. octave.The higher notesare intentionally
for this month'slessonbecauseit doesn't
Noticehou riuch the linejumpsaroundand mixed up a bit in order to avoidoutliningthe
containany sharpsor flats it's just the white
the useof intervalswider than an octaveln samearpeggiatedchord shaperepeatedly.
kevson a Diano,from A to A I think this
somecases,a chord is impliedwith only two This preventsthe line from soundingtoo
heips stre;mline things a bit and makesit predicableandgivesit a morevaried,
easierto think aboutthe notesand seethem notesthat form the intervalofa major or
minorlotfr-an octavePlusa third interestingmelodiccontour.
on the fretboard.once you understandthe
As you can see,this involvesa greatdeal AlthoughI play this lick over an A minor
theoreticalconceptwe'regoing to explore,
ofstrlngskipping. The lick 'houldbe played one-chordvamp,it's very worthwhile to take
it's simply a matter oftransposingit to the
wirh brrictalrernatepickingbeginningwilh the time to analyzeit in regard to the way the
other 11keys. l ve indicaledrheoutlined
is a technique a downstroke.It will definitelytakeabit melodvfuncrions.
octale displocement
a notein a melodic ofDracticeto get lhe shapeofthe melodic or imoiiedtriads abovethe tab For the sakeof
u hereby1outrarspose
progression,nder 'o,lr fingerr and be ablero swle ;d musicality, I end the phrase with an
line up or down an octaveto createa wrder
playlhe lineclean\.Proceed slowll ac6rst Aminor pentatoDiclick, and,just tobe weird,
Eaoor intervalbetweentwo notesthatwere note.
and graduallybuildup speedonceyou've throw in a high D asthe second-to-last
ireviously closertogetlterThis devicecanbe Next month,I'll talk aboutthe useof 16th-
ir.edto makea scale-based linesoundlikea memorizedthe note Pattern
Ifyou concentrateonly on the lower notes note triplets inthe building ofimprovised
progressionof arpeggiatedchords
asthe line progresses,you canhearthe A licks.Seeyou then.{6
FIGURJ 2 is an A naruralmrnorscale
G U I T A R W O R L D1 1 5
:60@i
TheTunes!
Behind
TheTones
A Guideto the Perfecclone
rE
off
ofi
off
0n 0 50
a
nt
No6{Gate 0n 5il*" l0 0
Choru!/Modoff
trT
Reved off
One of the coolest features is the MP3
ErpAriign bPl 0 99
player, which les me dorvnload all the
great lesson clips from the nagazine at:
oK Go "Here lt Goes Again"
>>r{! R rt ot{uxE wwr tGuraRv,oirD.coM Load
these or your favorite arost MP3s on rhe comPact
flash card and you have your own portxble tutor EQ 0n
Chanone 0.0 150 2600 5000 5
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those creativejuices flowing long into the night' o^lffi hnrnl hnml hnnl hntn4 lbnm5
Check out ww1v.g{itarwork$ation com for
off
rhe latest updated applicarion tips and tuiotirk
otr
that can help you get the most out of yor1l GNX4 off
Guier[/o*sradon. otf
See you on stage NoiltGate 0n Silencer t5 0
ftorus/Mod off
'lone aIthe ttdre
Gltu Billf CIeffinLsk 4 20'y. off
"eteta
and stediodfld ir 4 pnlifu tEdtorof to et head ii esntle$
Reved off
ftndings afldpdJorndttztdtoundth. wo d
hpAlsiBn Erpl 0 99
=:ilJgiI_ec".S
OFTHECONFIAGRATION"
"ENTRANCE Trivium
As heardon The Crusade(ROADRUNNER)
Words K' Heafy' Transcribed
byMatlhew
andMLlsic byJelfPerrin
l
#1-HT
l:|]T
T-n-]
itlfi
l4
nl|rr
rl1-rn r-FT-n
trr-in
Ft+]+
Efl
ffi
l-TT11 f.rTl
Fl-fi n
TI-.1 rf-Tl] lrrrn
l4
l]'#l
n-Trn
E rnho (o:oe)
Fast , = 184
I E5
(e1ec. w/disl.)
es cs ofs E5
Ct6. 1 dd2
1
I
i
lI l
IL
li + repeat p/eeious chord
1l
tl
1t
tl
I
l1
I
I
il
I
lr +Gtr. 1pl.ls bottom notes: G*
L]
85 C5 o*s
i,
wedlocked a
Trying suioide
l Ctr.2
E5
12
BassEig. 2
lying dead
ieneath lhe waters to Ir0wn to destroy
ordering to abide
B 85 D5 D{5E5
Am B5
P.M.. -
- n,:or
[Fl
)=2oo
c$ 2 Rhy. Fig 1
PM.
47
G5 Df5
Gir.2
12
E Bridge (1:461
ol lhe c0nllagration
Enirance Dfi5
E4
-itrs. TlrC
t and 2 repeat Rhv Fis l (see bat 47)
55 Barr ri8. J
Enlrance ol lhe
-*-
E5
Gtr.2 pl.rs RhY.Fii. I (seebar 47) P.M,.- --- -- -- -- -
PM-- -- -- --
?M'- -- ' r
63Gtr.1 :::
(0h)
Gr. I
rrol
@ I"t "ma"1z,os,
Go (tst tine)
(Oltl (2nd and 4th tines)
E(b5) N.C.(Cm) (Dfim)
E5
Grr. 5 plays Fill I thir.l tine (seepace I 19)
71 PM r
33
tubstitute BassFill I secon.l and fourthnnes
seebar 35)
E t"'t
D5/A cs/A c5/G
Rh\.FiR.2
5
5
B a s st ' i B . 4
i ,il
| 3 3 3r3 ? 3 3 ? 3 3 o-
c5/G c5/A
c5/E
86
C5/E
cstA
115 --
Moderately Slow .l = 90
DA Bm F*m
Bm FSm
Fast J = 200
D F{ nl
P.M.,.- P.M.- P.M. P.M. -
11. 12.
P.H. D
I 2 4 G UI T A R W O R L D
..GANONROCK'
pnch:E
-, n - - - - - - -. ^ V
'+ s-i2d7l2- t7 -14-15-17 -14-15- -17
Bm
58 at* t4
14- 14-15-
14-16- 16-14- rU------r-1-
-;:;:--;:17;i--l--+--F -17 I | 17_15_14_ -t---'t--
tt
D F{ Bm Fflm
63 -15-17 t4-14-
,j-15-17-17- 17-14-15-17 -1/-l .r'15-r+--rrr- ----::
14-15-17
14- 1A-17
68,."..-
-14-15-17-15-14-15-::-14-
i6-P=i6-14- -14-',14-15 | | 16------f--T---t-- -15- f---f----1- --t----l-l-r o -r-
-i-17-16-17--t---l---l-
E5 FSs G
P.M.-. P.M. P.M. P.M. P.M.
17-t5.14-141517
i
I
I
'
F{ rn
.li P,M, P,M, P.M. P.M. P,H, P,M,
ii. 2-0-3-0-7-0-+10' 7-10-+12-0-10-0-A-0-12-0-
I
7,29-r.=6-7-9-:--+- 12
I
GA Bm
102 v_,r.r_,,_-. V_.-___,,. v_. v_, - P.M. P.M. P.M. P.M,
D
'|12
1*
|7-14-'|5_17-14_15117-14_15T14-
F{
117
-17-'t4-15-17 -17 -(14 15-14-
Bm F{m
122 e
1 5 - ' 1 41 5 - 15 14.- ': 14-15- 15_14_1s-14-
-----f-----!5-f-f
* -r-17-16-17
(of)-"<nf "<.
;;:
| = 2OO
D
F{m
P,M. P.M, P.M. P.M. P.M. P.M.
+1rNlO- 12121012.A-12I 1O-A-7- -10108 10,7-10- A--
i--o_/-l'|
1 tz14 -16\14_ 1F-F+_ffig-7
u ' ";,,i
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e1o12.e.1o12rrao
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v
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7
v . u--. v,,
..........._52---
, - \ V _ _ .- - - ^ , - . v _ _ .- - ,
_
r ----r 7-7-7-7# r7-3--= -3-7 3-10-7 7
G
^ v--. a v..- a
-11540- 1 0 _ 1 4 . 1 0 _ 1 5 - 1 0
V _ - _r ,-- V -. ---. ^ ,-. V--. - - -
1?-
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Bb
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15-t7
15-17 i' i" ;' i? f'-f-T-T--
Gnr
11_15_13_11
jglrlqE:lq-rz-11-1sl5;: ffi
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P-M.,-----.
FSm
tu1l
-in s -
fftll.-17 -1s-12 -ii
iz - i+-tt--t+-ta-
(o:58,2:05)
[D-llstand3rd verses way all acrosslhe land
He makeshis
ioker is a wanted man
1.I said the
Nnow Youqetthe leelingcomin'attertheglow
3.WhatYousee wellYou miqhtnol
D5
171
Gtr. t pln\: Rh. ft-. I Ih'." ttd^ .5.' bar
tj 2 r1'^\ Fill I stt\1d ltrt (\tt netont
Seehimsitlinq
The vagabond is
throuohlhe sand
m0vin' llow
sol'll
sol'll l:iiisr:iilffi:lsfli3[:l:ll lffilli:iil lffili![l
,Hllll:
tine (seebar 13)
t;ne tseffar D) ana nrr'-Filt t second
Etr. t plars
RN Fis.2fir'st
(seebor 19)
F i g .I
_l
n EI 2ndatrd4th verses(1162 24)
- alwayslaughing - in the midstol power always livinq in lhe linal nour
light
-2.He's holdlheir dreamsup to the
i.lii rfrepeo-plethatyou seein the niqht
D5
Gt. I ptarsRhJ.Fig.I ttrice(seebat 13)
Zt, z 'ui'tit'rt"' r ilt z sec''ndtiltrc(seeh?Lo||)
efilcrs) entl Riff B
Ctr.2 (clec.$/lightdisl - fasl lrcmolo and sub octale
l
l
rl
l
-f I t d s sp k r y rB n s sF i g i t l t t e e t i n e s ( s e e b a r 2 l )
- 15 l'
/15
- 12 -
I
1
I
,=E-+=---*-,-,-=;-.==".-==,=--=
-17igj{1p=17;a-lli--11--
Bassplals BassFi?.2 (seebar l9)
n0me
n0me (c5)
(D5) (rcpeatprelbus Dar)
iw/slow sweepinsfixer ctreco
JJ
(seebat 5)
Bassplors frst foul bars of BassFis l
@ clo."' 11:35,2:42)
0ver
you see the loker flyiIg
Can the tield ol clovet
as she's standing in
(c5)
(05)
4s
33
Plq's BassFis l (seebt 5)
Bass (2ndtine) ski1aheadtu@Inte ude
-
'.
ir-1d 12 l4 f
+j,12t4+ff
+- l-f F 1
so back tu @
D5
Gtr. I (filter effec! oft)
I
iF lp-1F-18
=
=
)
Ba$ (w^ub-octave eff@t)
Bass Fig.4
=
=
l
L3- ]
(F5)
@ ts,ast
Whalf-timefeel(,rJ= '|:) c5
D5
Gtr- 1
79
--l]
3J
- Bass plaJs Bass Fis S t\9ice (see bar 79)
- 7 12-
|! 16r 1
'ft l L lL
r lt
-T
l
t:1" I
r-T
(end half-tine Ieel)
N C( 0 5 ) . , Jlick pickup toqqLe switch back and forth
CIJ I
, 1 c n , e d l t r s " n e e Ap r A u p n t u n e r o 0 '
91 2.,,----'1.-.
14 0
J
Bassplays BassFis. 3 r\|ice (seebar 2l)
(F5) (G5)
--
95
Eloutro (4r4)
I saidlheioker tsa Makeshiswayall acrosslhe land
D5
,
17 18tZi8 1?i
B.1ssplays Bass Fig. 3 three tines (se. bar 2l)
Seehimsitling throughthe sand So l'll lell you all thesloryaboultheioker ald lhe t h i e l s a i d l ' l l
lell you all thestoryaboullheioker andlhe thielI said
'103 F5 G5
F _ I-
r,
tl L -
1 23 lt 8 t l g 't 11 77
10 12 lt
't 1 2 i 12-
12
12 1 1t1R
9 1
1 29 1
O 12
1 p8 1
I
i5
l'll tell you all aboul the ioker and the lhief in the nighl
F5 G5
n
c5cGBfEEmAir&BlEtB
*;.'*
ffiffiffiffiwq#jjffiffiffiffiffi
E] fntro O,oot
Morterately fast J = 1il8
E kt Ye$e (or1)
It couldbe len bul lhenagaln csn'tremembef hall an hour slnc€a qu br lo loul
throryon vourclothes ol SurGt Ro€a and you leave
tho secondside msYtilhmYiav on lhe lloof Hey
F
Gtr.2
end.My. Fis. ta
^ Nry. Fig. ]a
ott t
P.M.---------, PM.-----. ,.a.-----,"**t
Bess Fig. 2
rol)
@ o,zs,
c
12 Gtrs.r and2
Copy8ht@2005OKGoPublls
All Riej.lsReseded,U*d by Permis
I35 GUlTAR WORLD
..HERE
IT GOESAGAIN''
E Pre-chorus (o:zs,
lros)
Juslwhenyou
think thatyoulein contlol jusl vrhen
you think you've
g0l a hold iuslwhenyougel 0n a rcll
Gf2 Em Am Enl G
14
I
(1.,3.,6.) 0h here it goes here il goes here il goes again 0h here it goes again
(2.,1..i.) | have known
should shouldhave known have Knol]vnagaln
should But here it qoes again
(s.,8.) Ah here it goes Ah herc it goes Ah herc it goes again
(9.-12.),/ddlibvalt
G
+ jg ctrs. I and
+
l
P.M.
fl
t2nd !me) Bo back tan
@ zttav".r" 1o,sr1
ll starlsouteasy somethingsimplesomething inching pastlhe edgeof €serue
sleazy something
2
.n
II
.tr @ t,,zst oh here it goes again
Bb
ll. ll2.
goes y3sh oh herc it goesagsln
gocs all right
A'
Am
I3E GUITARWORID
"MYAsGENERATION" TheWho
heard on The Who Sings My Geneation (McA)
Words and N4usicbv Peter Townshend' Transcrbed by Andy Aledort
Bb7 Bb F5 F5(6)
A Asus4 Bb5 Bb6
ffi,,. ffi'- FFtrIh ffi'", ffi,'. fiTrfr", i+-n""
ffTr]
r1-1]]
ff+r
Er::IE
ffiF l-+-itst-H
t]::@
nff
i-i:i
ffi
' i!"- H+ff
n t"r'ar,,
Mod€rately Fast WtriPlet feel ( f: =:']) J =18e
' G5
G5/F
Grr. I (cleanclec ) (rep.a1pre\tots ^'o ]n asurcs)
I
t:r c ho ]a
+Th " I ep?dt Pr I aus
iIrct @whhunb
'bout my generation)
justbecause we get around {Talkin'
Gs (F)
Ch. I plq-s Rh)^.Fig. I three tin s (see bar 5)
I said mY generation
get old 'boul my generalion)
I Fig. I
,_l
G6 G5
33 Gb.2 Glighdy diny elec.)
==
f-
Gtr. 1 plals Rhy- Fig. 3 two and
one half tines (see bar 31)
- l-
T 39 cff.2
dion
F
- 5=
f--t
T
GUITAR WOR],D I4I
'MY GENERATION'
G6 G6 Gsus4
Gtr. 1 plqs Rhy. Fis.2
(seebar 22) bri,s-"
fiill
E 3rd Verse(lre)
don't youall f hde av6y 'boul
lwhy (Ialtln' my generation)
don't by and d dig whal we all s ss s9 I Say
(Ialhn' 'boul my generation)
Not tryin' to cause a big s€rlsalion Jusl
(Ialkln' 'bod my g€|leratlon)
'bout my g generallon 899. tY generation
blkin' 'boul qen9|aron,
(Talkln' mY
.A7tG .A6/G
A5 A5 A6
Gf. I
end Rhy.FiB.4
52 My. Fie.4
w ry se gen€ration My my
F
=
=
----tl
a
@ oot"o 1z,zl1
c
g0 cirs. I dd 2 (composite mdgement) bt nng
=
=i=
I
.=
--r----l
r
CUITAR WOR]-D I43
'MY GENERATION'
*with n;ck pickrp votwe au the wat do-n, Jtip toesle s||itcn bek and Jonh lrM btidEe pickup to reck PictuP in rhtthtu indicat.d
(2:49)
( lead vocal ad lib neri 15 bars)
'boul (Talkin' 'boul my
(Talkin' ml, generation)
F5{6) c F5(6) c
Gi 1 plaJs Rhy. Fi8. 5
rwo andone haff mtes (see bat 100)
Thisis my generalion
generation) fialkin' my generation)
F5(6) c F5(6) c
(plat 4 tines) E\
1 0 7G t . I
E Intro (oro0)
ModeratelyJ = 116
L-l
A5 G5
Synth-plays Riff A thrce times (seebar 2)
enll Rhr. Fiq. l
Gtr. I ?H.-,,- ------ .
1. When lhere's
Let/h8,-----
p r c Ks c r a p c - - - - - -1
I ttll
ll
RhJ. Fi8.2
1-
B a s sF i l - - " - - - - - - - - - - - - - - - - - - - B a s sF i g . 2
-.t-1-1-3-1
trll
(2nd tine) skh aheai. to@2rl cltor4s lpl 1st Chorus (1:00)
a lainbow in lhedad(
like a rainbow inlh€dark
A5 A5
G5
end Rht. Fig. 2 Sthth Plays RlffA twice (see bar2)
end BassFig.2
'|
uer
sr
n you
[F
@ Goit .Solo 1t,sz;
A5
Gtt. I plats Rhr. Fie.1fow nnes (seebar 2)
Gtr' 2 --- w/btu
F P.M. P.H
.
P.M.
1-
-
34tr-
A5
l own
-t -l
:i-
J
40@
1 7_ 1 7 _17 _17 _17
1-17--1-17-17- 17 | 17 17
42 tF5G5
........_17-19-20-19-17.-m 17 fl -17-m-17-19-17-fl-m-17 1S17-'_17 m- t7.19-17-.._17-m-17 -19-17-17 -zJ.17-19-17-m.fl -2-17 -m-17
-9- 1
-3J
I
fl m 17 2.17m fl 19 fl m-O-17-m-fl-19-17- 17
Bass substitutes B6s Fill I (seebar 18) Bassplays BassFis.2 (seebar 19)
1312-12-13-15-13-
E] rnterlude (2i8)
A5
51 Gtr. I
so back to B verse
3, We nevet see
A5 Lt riig-,--- --- - - - - - - - - -
53 Gt.1
p i c k 3 q a p e r- - - - - - - - - - - - - - - ----- -.
Bassplals BassFiI 1 (seebar 18) Bassplits BassFi8. 1 three and one hartines (see bar 2)
61
64 Le'nns, -,
ttl
-.t-1-1 3 1
tttl
You'vebeonIelt on your like a rainbow
tut1
:
=,__l 1 1 1-1-3-1
t_l-l_-l trl
[:.a cno.us p,eoy
Iike a rainbow in thedark
yeah Youtea rainbow in lhedark
-l
A5 A5
St 1th. plals RiffA.four tines (see bdr 2 ) P.lt.
Bvqse
..-' :
Bdss?ldrs BdssFiU 2 four theh Bass FiE. 3 (see
n the
---f-'1
-I 1
o -f., I
J @ outro Chorus 1s,+ry
(1,) Jusl a rainbow the
'll hear (2,) Youle a lainbow
(3.) ho
tl rll
Bass plat\ Bass FiE. I simile untilfade (see bdr2)
plar 3 times a dfade
(1.) da.k NO sign ol lhe mohing
(2.) in theda* Whoa