roy 5000’s Intergalactic Rock! 8) SONGS iy . The Magazine You Can Play aa) ‘N l oO es at ; & ee bs r | A STS | ( | e cy 4) DAY OF THE EAGLE a eae uate sp Tt Return of ~—s y Guitarists! theShred! ~ | | | erly pA Cea i Classic Rock all PlYOURQUESTIONSANSWERED Dear Guitardne: What are passing tones? And how do I now which ones to use or when to use Nicolas De Guzman via e-mail Dear Nicolas: st as English grammar uses labels h as “conjunction,” "preposition," and noun’ to indicate a part of speech or other functional classification, "nusic has its own terminology to identify positional and improvisational tech- es. By definition, passing tones are 2lewise notes that are not part of the harmony, but serve to connect two that are. For example, ifyou played joes C-D-E over aC chord, D would o> considered a passing tone. Fig. 1 is a phrase in the jaz lexicon that uses ng tones chromatially. Notice that ing tones themselves, which are fall on the upbeat, or the weak the beat. In general, this is the best place them into the fabric of your when passing tones are positioned ‘matically within a phrase, as in Fig. nes referred to as “chro: atc passing tones.” However, the term aticism is a much broader expres- hat describes the use of any notes de the song’s Key—not necessarily scoween two chord tones, le we're om the subject, you might want to get familiar with two more neighbor tones and surround == A neighbor tone is a nonharmonic weak beat that moves a half or whole step above (or below) another note n returns to that note. Surround notes that combine to circle id below a target note. They ate the resolution ofthe third note, establishing the color and har- z the ensuing chord. Check out 4 sample of neighbor tones and Jeff Schroed ‘Dear GultarOne: cd that boiling old strings can reathe new life into them and even make new strings sound better. fa the best way to boil guitar strings, send what exactly does this do? Michael Hwa via e-mail i Phrase 0 (Id) Passing Tones pep Dee Fig. 2 Phrase Using Neighbor Tones and Surround Tones (Jd) Doar Michael Even though more than one guitar idol hhas been quoted as saying that he or she engaged inthis practice in the past, this is really one of those “urba ly sound brighter, that effect quickly wears off, and the old strings sound dull again, Also, the strings will break much more easily, as boiling compromises their ten- silty (a property of metals that refers to their ability to stretch). At roughly $6 a pop (cheaper by the box), it’s best to ‘Ignore this largely apocryphal practice of ‘dunking your strings, and just spring for a new set instead. Ifyou really must try this to satisy your curiosity, though, arespect- ed luthier (who prefers to remain anony- mous because he heartily does not endorse this practice) advises that you need only submerge the strings for about 10 seconds—enough to loosen the crud. ‘Then just pull them out (please use spaghetti tongs), dry them off, and you're ready to go, Just dont try bending that G string up a major 3rd without a facemask and safety goggles. —Jon Chappell Doar GultarOne: Could you please print some WWF \wrestling themes in your next issue? I've been looking for these tablatures for awhile. Thanks, Petor via e-mail Doar Peter: Im the past couple of years, profes- sional wrestling has become one of the Diggest Juggernauts in the entertainment industry, with skyrocketing television rat ings, enormous pay-per-view revenues, and wrestlers now appearing in movies, MARCH 2000 * @4 The Magazine You Can Play 18TV commercials, and music videos. And surely, the wrestlers’ intro theme music has at least partially contributed to ‘wrestling’ wild popularity As the opening notes signal the arrival of their favorite ‘grappler, music drives the frenzied atmos phere. Two of the more popular wrestl recent years are the Undertaker and, of course, the rattlesnake himself: Stone Cold Steve Austin, The main riff from the Undertakers theme music [Fig.3) consists of'aminor-2nd alteration between D and Cénotes against alow E pedal note. One of the things that makes the riff so cool is that it’s played over the Em-C/E “funeral march" harmony, causing quite a bit of dissonant tension between the C# in the riff and the C/E chord in the harmony. It perfect forthe “dissonant” activities of the sinister Undertaker: “Meanwhile, Stone Colds theme music [Fig.41—like his personality—is a straight- forward, no-BS,, “can of whoop-ass" that kicks off with the sound of breaking glass. This is followed by the crushing E5-F5 (411) progression—a popular metal motif—punctuated with an upper-register G5 double stop. Simply stated: It rocks: and that’s because Stone Cold says so! For more music from the WWE, check out WWE: The Music, Vol. 3 from Cherry Lane Music Company, available through Musie Dispatch at 1-800-637-2 Michael Mueller Dear GuitarOne: Tm looking for a guitar, and I'm con: ing buying one off the Internet What's the best way to go about doing thist MaryAnn Dosemagen via e-mail Dear MaryAnn: Your question reminds me of an old Joke: How do you feed a hungry gorilla? The answer: Very carefully In this ease, the gorilla isthe Internet, which will entertain you (ike a gorilla), But may sit on you if you dont keep your guard up. There is ‘uch excitement about shopping on the Web, and sales are growing at a phenome- nal fate, But what you have to ask your sel is, “Do I really want to buy a guitar this way? There are several reasons why the answer may be yes, but also a compelling ‘numberof reasons not to go this route. On the positive side, there is the convenience of researching your purchase, and there is ‘comparison shopping,” For any guitar youlre interested in, you will probably find dozens if not hundreds of web pages oted to that particular brand or model. From the manufacturer’ site to music stores to fans’ personal pages to forums 18 Guitarone MARC Moseray =a == g and discussion groups, there is a massive amount of guitar information on the Web. You can even get brand info from major stars. Tom Petty has an entire section of his web site devoted to his favorite brand, Vox. Plus, you can get a solid idea of the price your coveted axe is going for in the real world, Web sites like Harmony Central (wuu-harmonycentral.com) offer pages where users who have bought the same guitar report the price they've paid for it and offer their own reviews of the Instrument. Wise shoppers have learned hat quality products are (0 be had at a substantial discount by direct mail—if you buy from a reputable company. And therein lies the rub. On the Net, you will find not only established compa: niles, many of whose names will be found in the pages of GuitarOne, but also less established companies and even individ- uals offering new or used guitars whose desire or ability to process your order may be limited. This applies to any purchase, of course. |, for example, tooka chanceon an out-of-print CD offered by an online store, and after a week of not receiving it and not being able to contact the store, 1 cancelled the order through my credit card company. That's one good thing about credit cards, Online transactions are safe these days, i you stick with estab- lished companies whom you can call to confirm details and check status, But buying a guitar raises all kinds of other issues. A guitar, like any musical instrument, is something you're going to personally interact with, an extension of yourself that you have to take care of and from which you will coax expressions of your own artistic sensibility for yourself and others to enjoy. Or, if you prefer a less heady analogy, a guitar is like a pair of ppants. You want to see them, feel them, try them on, wrap yourself around them, or vice versa, as it were. Now realy, would you buy a pair of pants on the Internet? Ifyou realy feel you must buy a guitar via the Net, bear these things in mind before you buy: 1) Check the online stores return policy. Many charge restocking fees should you decide to return the guitar and not exchange it. 2) 2000 + wawaitronemag com ‘Steve Austin’s Theme Music a =] Know where you're going to obtain repairs for the guitar should you need them. If there is no authorized repair center in your area, you will have to send the guitar back (o the seller or to the ‘manufacturer. Ifthe guitar comes dam- aged in the box, you won't be able to go down to the music store and pick out a replacement. 3) Check the online order form and make sure every detail you ‘want isavailableand selectable. You don't want to open that box and see metallic sparkle purple when you wanted sun. Durst. 4) Make sure you can contact someone at the online store by voice. 5) (Check the prices and policies of as many online stores as you can—the biggest as ‘wellas the least expensive. I'you let price ‘outweigh service, you're feeding the gorilla, and when the gorillas hungry, he doesnt care if your pants Mt — Rusty Cutchin aC into “Guitar Noise & Feedback, ee ce eae Cn ear) GuitarOne Magazine, 7777 W. CT ean FARO ee Cr Cn aay PS Cees ea a POR picnic GuitarOne, give us a eall and our staft Pete eek ee Roa Stee (CALL OUR TOLL FREE NUMBER10 Great Riffs from the ’70s f the ‘50s saw the birth of rock ‘n’ roll and the "60s the flowering of | psychedelic blues-rock, then the "70s would have to be the era of the iff. Everyone from pop rockers Elton John and Carole King to pop jazzers like Chuck Mangione had songs on the radio with memorable hooks. Rock guitarists ruled the roost with visceral, powerful riffs blast- ing over the airwaves and Strack tape players. Their sources were as rich and varied as the polyester “glad rags” prevalent at the time. The blues remained the number one fountain of inspiration, with folk, funk, country, ‘60s British rock, and classical music also providing creative impetuses. The following 10 riffs gleaned from the rock archives present a com- prehensive cross section. Some are quite basic, while others may chal- lenge your dexterity. All should prove to be instructive and enjoyable, so strap on your axe, shake the creases out of your old bell-bottoms, and rock on, NH Coreen ie) AIFF by Dave Rubin “Un Around the Bend” Greedence Clearwater Revival, 1970 CCR, led by the briliant John Fogerty ‘owned the Top 40 charts from 1968 to 1972, Fogertys raspy barrelhouse vocals, eclectic guitar chops, and deep roots in classic American folk music forms combined to produce arun of mini-masterpieees. “Proud Mary" "Bad Moon Rising," "Green River Down on the Comer” “Travelin’ Band; Wholll Stop the Rain.” “Lookin! Out My Back Door.” and "Up Around the Bend’ showeased Fogertys heady blend of blues, country, and 50s rock ‘roll ‘Up Around the Bend!” isa stone country rocker. The intro hook (Fig. 1) ceflects the melodic tonalities usually found in this genre by incorporating notes from the major scale, rather than from the blues or minot pentatonic sales, With a biting, ringing, tre bly tone, Fogerty picks parallel chords for the I (D) and V (A) changes, each fone beginning with the appropriate open string as the oot. Though a simple concept, Itisquite effective, leaving an indelible sonic stamp. Slide into the 3rd of each chor! with jour middle finger, and your hand will auto matically be in position to finger the remaining notes “Free Rice” Edgar Winter Group, 1973 hough often overshadowed by the supercharged, pyrotechnical blues of his older brother Johnny, Edgar Winter is a mul titalented individual with a fair for outra ous showmanship and a love of jazz, R&B, and rock. He made his major label debut in 1970, and after a change of personnel and two albums that gamered modest success, he formed the Edgar Winter Group in 1972. A year later, Winter enlisted guitarist Rick Derringer as producer and released They Only Come Out at Night. The album reached #3 and was a runaway smash, as much for the shocking cover featuring him in drag makeup as for the #1 hit "Frankenstein, Nevertheless, this would prove to be the high point ofa produetive, ongoing career ree Ride’ was the albums second sin gle and cruised up the charts to #14, Where Edgar had wielded his arsenal of keyboards fon most of the other cuts, here he allowed the awesome guitar duo of Ronnie Montrose and Derringer, augmented by Dan Hartman, to flaunt their funky chops. Pig. 2 contains the dual rhythm-guitar ‘head" that sent countless '70s aspirants scurrying to their instruments, Constructed from choice triple stops and triads, i takes a I-V (D-A) move and hhops it up with slides and hammer-ons to create a highly syncopated sf Note that the H 2000 * 61 The Magazhw You Can Pay 25RiffBox (Fig. “Up Around the Bond™| Sa 26 Guitarone o D quick-change isan R&B chordal lick also favored by Jimi Hendrix and Keith Richards, Use your index finger to make a partial barre for both the G and D forms. The 16th-note shythms in this if need tc be fast and clean, so try o be as efficient as possible in your left-hand fingerings “Rock and Roll Hoochie Koo” Rick Derringer, 1973 IF you think pubescent wunderkinds like Jonny Lang and Shannon Curtmnan are a modern phenomenon, then you should be aware that hack in 1965, Rick Derringer played lead guitar with the MeGoys on Hang On Sloopy” atage 17 In the late 60s, he hooked up with Columbia Records bonus baby Johnny Winter, and later released his first solo album, All American Bay, in 1973, Mixing teenybopper love songs, jazzy pop songs courtesy of Edgar's presence, and heavy rock numbers, it was the debut for his version of the future clas- sie "Rock and Roll Hoochie Koo.” Is abur dance of exuberant solos also proclaimed his status asa bona fide guitar hero Though the album was his high-water mark, Derringer is still active and has enjoyed @ long career producing, record- ing, and performing. Pig. 3 is the two-measure riff that pumps and bumps beneath the vocal verses. Measure 1 has a funky double- stop sequence of inverted Sths implying A, C, and D chords, Measure 2 is the “response” to the call” of measute 1, and uses all sic notes (root, 3rd, 4th, sth, 5th, and 7th) from the A blues scale. Use your index finger for the A5 and C5 double stops, and your ring finger for the DS, in ‘order co put your hand in position for the single-note lick “Takin’ Care of Business’ Bachman-Turner Overdrive, 1974 Formed in 1972 by ex-Guess Who gui tarist Randy Bachman, Bachman-Turer Overdrive recycled three- and four-chord progressions and roaring pentatonic riffs Into easily accessible AM singles, Besides “Takin’ Care of Business” from Bachman-Turner Overdrive Il, @ tongue In-cheek bit of braggadoclo about the rock-star lifestyle, BTO (as they were later known) also released the chart-topping "You Aint Seen Nothin’ Yet" from Not Fragile in 1974, Following wo more albums, Randy Bachman split in 1977 t0 form Ironhorse, The band slogged on with a replacement for Bachman before breaking down at the end of the '70s. In the ‘0s, Randy Bachman reformed Bachman-Turner Overdrive while his brother Robbie reformed BTO. The inevitable clash found Randy suing for the rights to the bane's logo. Takin’ Care of Business” utilizes com: mon FIV-V (E-A-B) boogie patterns thatem fresh due to the arrangement, which oss the V chord beginning and ending the cremental four-measure phrase, Fig. 4 splays how this i used forthe intro hook 2 appears later inthe song in an altered =m as part of the “breakdown.” Be sure sat each chord change is anticipated on and” of beat 4of the previous measure lp goose the momentum ofthe piece. “Ridin’ the Storm Out” ‘REO Speedwagon, 1974 Samed aftera 1811 fre truck, the pride Champaign, I. started rolling in 1971 h their self-titled debut, REO >eedwagon, but didnot hit high gear until “43 Ridin’ the Storm Out. They throttled ck im the mid '70s until original singer 1 Cronin rejoined guitarist. Gary rath for REO Speedwagon Live!¥ou Get car You Play For in 1977. More gold and num albums followed as. 1880'S Hi “olity sold more than nine million A change in style from bombastic rock to power ballads in the '30s did hamper their sales. In fact, they me So mainstream that Jane Fonda sed their music on her famous work: ‘ape in 1984, The "90s saw the band 1 (0 nun out of gas. They continue to -<“orm and record, however; Building the ge was released in 1996, Fig. 4 “Takin’ Care of gre . Bete On Mader Rack J=130 Saari aaa oreo a Fig. 8 “Ridin’ the Storm Out” lee ot = 1“Ridin’ the Storm Out” is typical of Speedwagon's 70s style. The main riff (lg. 51 is derived from the A Dorian scale. Similar phrases with major and minor ti ‘ads show up inthe Allman Brothers Band's “Whipping Post” and the Doos'“Riders on the Storm,” Richrath injects muted efghth notes on the open A string both as pedal tones and to add rhythmic drive to this anthemic rocker, Play the C triad using ‘your middle, ring, and pinky fingers. “Sweet Emotion” ‘Aerosmith, 1975 The bad boys from Boston have been rocking the house since their inception in 1970. Often called Amerieals answer to the Rolling Stones, their roots actually reach back to the Yardbirds (Jeff Beck is one of lead guitarist Joe Perry’ heroes), blues, andl funk. In essence, the sound of the band could be reduced to Perry and lead singer Steven Tyler—if you accept that the Stones Could likewise he slimmed down to Keith Richards and Mick Jagger. ‘The band rocked on through the '70s, ‘but by 1980, Perry and Whitford had left to full their own dreams. They returned in 1984 to begin a tour that saw Tyler collapse onstage due to the cumulative effect of chronic substance abuse. Ater a period of rehab for both Tyler and Perry, the band picked itself up with an amazing comebackchanges in personnel and controversy sur rounding the implied Nazi allusions in their early artwork Blue Oyster Cults sound was built around the literate lyrics of rock crities Sandy Peariman and Richard Meltzer and he frethoard fireworks of Donald "Buck Dharma’ Roeser. Roeser was regularly given free rein to improvise with abandon and was cited by Jimmy Page in the mid 70s as his favorite guitarist. Though bol stered by keyboards, the guts of the music was heavily guitar-driven, as BOC often eatured a three-guitar attack. Indeed, the climax ofthe Cult live shows used to con: sist of four guitars and the bass forming a phalanx and wailing away in front of the drum kit In 1976, “(Don't Fear) The Reaper reached the Top 40, Based around a classe Am-G-F progression (Fig. 7) (think “All and the solo from Along the Watchtower ‘Stairway t0 Heaven") from flamenco music originally derived the riff sets the somber tone of the piece, Note that the standard chord forms have been altered in order (0 uilize the open G string on top as, a common drone. Use your middle and ring fingers for the AS chord. As you if up ‘your ring finger to access the open G, move ito the G note on string 6 for the G chord Use your index and ring fingers for the 6/9, chord, on Wayward Son” Kansas, 1976 Formed in Topeka, Kan. in 1970, Kansas macle ther recording debut in 1974 in 19 their eclectic blend of classical, progressive, land basic boogie music coalesced with the release of Lefioverture, Selling, more than four million copies and peaking at 45, it launched the band into the ranks of one of the most popular groups ofthe decade, The combination of Robby Steinhardt’: violin and the double-threat guitars of Kerry ren and Richard Willams over a throb rhythm section tendered their complex arrangements accessible and exciting to ther growing audience. The fact that their ‘music bore a resemblance to the equally popular Yes did not seem to hurt thet appeal, ether ‘Carry on Wayward Son’ reached #11 in and quickly became a bar-band due to its abundance of cool licks nd stirring vocal harmonies. Point of Know followed the same year producing ‘Dustin the Wind. the even mote popular Despite their early success, Kansas called it quits in 198 Disie Dr only to reform in 1986 with ex irtuosa Steve Morse in tow Albums were released sporadically over the next 12 Samet 1998, Fig contains one ofthe main nif rom ‘Carry on Wayward Son.” A catchy bass ar: the last one was Always the 130 GuitarOne ARCH 2000 « wir gultarorems Fig. 9 “Barracuda” i. ages pe ee: Fe Fig. 10 “Don't Look Back" | ew poaas string phrase derived fro the A minor pen- tatonic scale, t provides a dynamic counter point to the vocals that precede it Be sure to hear how the addition ofthe F(t) in me sure 3 brings a melodie touch to the bluesy nif and helps to lead the ear back tothe top. Use your ring and index fingers exclusively sliding your index down from the D to C on beat 4 of measure 2, “Barracuda” Heart, 1977 Ann and NaneyWilson are rarity in the male-dominated world of hard rock omen who could lead a band to the top and back, surviving legal hassles, intra mural romances, and changing tends all while staying true to their artistic vision, As the band's "heart" and soul, the sisters hhave justified thelr longevity with an envi able catalog of hits Originally formed in Seattle in 1963 as with the The Army, Heart debuted in 19 platinuy selling Dreamboat nie, which Included the hits “Crazy on You" and Magic Man.” The equally robust Lie Queen followed in 1977 with the voracious arracuda” fighting its way t0 #1 Supporting the Wilson sisters’ undeniable charisma and vocal excellence was the Hendrixian guitar work of Roger Fisher Fans lamented his departure in 1979, though it would eventually lead to Nancy making her sisting presence felt Additional changes in personnel would follow over the next few years, By the early '8Os, Heart were experi fencing sagging sales and neglect in the music business. Amazingly, the Wilsons bounced back in 1985 with Hear, fol lowed by 1987's Bad Animals and 19908 Brigade, which sold a collective 10 million copies and produced several Top 10 hits (including two #1s), beginning a new, imprabably successful phase in heir The rampaging "Barracuda is one of the highlights from the Roger Fisher era ts intro and instrumental hook (Fig. 8) creates just the right mix of musical ten: sion and momentary release in the spanjour measures with growling power rds on the bass strings followed by nike harmonics dipped by the nimy bar, Notice that it bears a srik resemblance to the section that pre Jeff Beek’ second guitar soo in the birds! “The ‘Train Kept A-Rollin however, Fisher adds @ level of umic sophistication by employing a ging eighth/16th-note figure. Boston, 1978 master’s degree from M.LT, would seem to qualify as credentials for ng a major rock band, but Tom i applied his electronic experience ‘ape Boston's classic "70s gultar id based on extreme sustain and oression. Originally a keyboardist he joined a local Massachusetts he {urned his love for the power is of Cream and Zeppelin into @ ly acquired lead guitar style bined with his expertise ar home ding, Boston was unleashed in 1976. ould be the fastest-selling debut min history until eclipsed by .ey Houston in 1986. Fh the release of the 1978 top-sel jllow-up Dont Look Back, it ed that Boston was on its way {0 join the pantheon of rock legends. However, Scholz’s obsession with stu: dio perfection led to several changes in personnel, and he spent the better part of the next seven years in protracted legal battles with disgruntled ex-band members and his record company. In 1986, Scholz and original vocalist Bad Delp re-formed Boston and released Third Stage, which included thelr only #1 hit, “Amanda.” It was another eight years before Scholz would again revamp the lineup and release Wall: On in 1994 Inthe intervening years, he had. formed Scholz Research & Design, Ine., producing the revolutionary Rockman headphone amp and the Power Soak, The breakdown from “Dont Look Back" (Fig. 10] shows how 1, 1V, and V chords can be voiced to create a simple, catchy hook. You should know that sus pended triads were widely used in the "70s, most prominently by Keith Richards but also in songs. like saturday Night's Alright for Fighting” by Elton John and “Hot Blooded’ by Forelgner. Because the chords need to ring out, hold your pick hand clase to the strings, and apply short, accurate strokes generated from your wrist in order t0 avoid inadvertently striking any other strings. ee peeGUITARLICK-TIONARY CD ae hen you don’t know the spelling or the mean- Ing of a certain word, where do you turn? Of course, to the dictionary! But what if you are unfamiliar with soloing in a certain style, or are just looking for new guitar ideas—then where do you ‘tum? Of course, to the “Lick-tionary”! Whether you're interested in new styles of music, or just want to add to your growing bag of licks, this quick reference guide should help out. Alphabetized by style, it offers some classic examples inspired by the greats in each genre. In addition, the concepts behind each lick are explained in detail to help you create a “! of your own. As you work your way through the ples, remember that the tone and tempo markings re merely suggestions and that most of the licks can be “crossed over” to different styles, transposed to ferent keys, mixed and matched, or further embell- ished—but above all, have fun with them. i terenaetive Rock ws an angry lick that cypifies the alter we grunge scene of the early ‘90s andgatden, Pearl Jam, Nirvana). Based ne k blues seale (E-G-A-Bb-B-D). this mixes bluesy double stops with an sal triple-stop bend, Play this ick over red dominant 7th ar power chords, & cd_tiom the A blues scale EDLC, hs SMntuenced ek (Sua a well ver dominant th sively, and dont forget to ge the nigh Coote alg "dg a ‘minor pentatonic (A-C-D-F-G)lckis tout of the Clapton, Page/ Beck school ssc blues-rock guitar. Starting out in rntatonic box in Sth position, it climbs ber King box” at the Sth fret. Notice 1 of repetition, which results in a cool Sscnmie displacement of the main mot lized over a power chordBlues Turneacround The tumaround occurs inthe final tmeasures of a 12-bat bles. This class turnazound liek has been around sinc: Robert johnson and has been used in onc form or another by everyone from Mud Waters to Stevie Ray Vaughan, Play the descending, chromatie lie with the pie and the high A pedal wth your mide finger: Gounetry-Rock Heres a D major pentatonic (D-E-P2-A-B lick perfect for the happy stains of cour tey-rock The 6th intervals fll naturally ‘under the fingers, but the oblique, double stop bend can be a nasty move if you're nat tused to it Concentrate on Keeping yout Dinky “feed” on the B string as you bend the G string with your ring finger. Pay this lick over major chord types. Dowbetine Rel = 19818) Fast Counetry This jaw-dropping, high-tech, country barn-bumer fs classic Albert Lee. Derived from the C Mixolydian mode (C-D. F-G-A-Bs) and overlapped with the blues scale, Isa lesson in se on the combina tion of legato and alternate picking tech niques, The secret is to keep your right hand in alternate-pieking motion through the entre phrase. Pay this lek over dom nant 7th chord types. Funk This ultra fanky, minor pentatonie lick trois well ver both dominant 7h and trinot th chords~the two main chord ‘ppes found in funk Equally x mporant or the notes are the muled scratches, Doni be afi vo digi and play as many Innted stings as possible round te fet ted motes Ths wil add greatly tothe Tank factor 136 GuitarOne MARCH 2000 + www guaronemag com Funk-Rock Here’ ack for the mother ofall funk-rock ‘chords, £723 teonsists of an octave igure and a series of double stops derived from the E minor pentatonic scale (E-G- ‘A-B-D). Tis phrase is fashioned trom the sive of John Frusciante and Stevie Ray Vaughan. Make sure you mute the “in- between? string with the fleshy part of your fretchand index finger when execut- ingthe octaves.Be-sion [Sar superimposition isthe catalyst th Ses the “outside” quality of this lick. Sees the C minor pentatonic scale as @ seensstion, Grand Gre triads are superi- ‘pe: 10 provide “tension” to the C minor ‘Sony. This is @ popular technique in Seca and youll hear players from John ‘se soghlin to John Scofield employing i sex snot 7th chords. Hemmretes Gms emus Hm Fe ard Rock ssa speedy EAcolian lick that borrows c= George Lynch and Randy Rhoads, -=ssenced just ight for an E minor chord = = E minor chord progression, Stayin position, and use altemate picking o=2 vou reach measure 2. sweep pick he opening Em and then “2 waltemate picking forthe remaln- = ofthe lick. Jazz Beshop = ng phrase ses chromatcism mime soloing device in bebop) 10 cach the target” notes ofthe dom "th chord (B62) (0), 5th sth, Notice how the slides help «fren hand smoothly shift back {orth between St and 6h postions. Jazz Turneaeround set a lick to guide you through a ‘LV jazz turnaround (final two mea- ~2e3 ofa 12-bae form) in Beginning with ~romatelines thet outline an F7#9 tonal- = over the | chord, it moves (0 @ D9 eagio on the VI chord. The G blues scale ~ used over the i chord, and the C altered ale 7th mode of Ds melodie minor) sup- es te tension forthe V chord jan i-V-4 This IVel lick puts two popular jazz “ales 10 good use. For the it chord, D rian #2 (6th mode of F melodie minor) =rines the chord tones to perfection and < Galtered scale (7th mode of A>melod- ino fsusedon the asit contains all «alteration possibilities (5, 2559, 8, [MARCH 2000 + @1 The Magazine You Can Pay 37J-1.8m latein Rock Here’ a lick in the style of the undisputed king of Latin-rock guitar, Carlos Santana. It exploits the G Dorian mode (G-A-B>- C-D-E-F) and throws in a few choice bends and slides as well as hammer-ons and pull-ofls, Notice that its played over a Gm-C (HV) progression—the most com ‘mon progression in Latin rock music. Meteal This classic metal lick sequences the Pt Phrygian mode (#-G-A-B-CE-D-E} anda bit of the F# minor pentatonic scale (PEA-B-CE-B), over the crushing PIS-G5 (Ll) progression popularized by bands like Black Sabbath, Metalia, and Pantera Ne*oeclasesi+cal Roc Here’ an arpeggio/scale lick played over a Vi-i progression that calls to. mind Yngwie |. Malmsteen and the neoclassical rock of the ‘Als. Two economy-picked arpeggios (E749 and F*) begin the phrase, followed by @ sequenced A harmonic minor scale using alternate picking Returning to economy picking. the lick rave, Am (add) This one’s right out of the Custis Mayfield/Jimi Hendrix school of rhythm ‘n’blues soloing. and can be used for ether fan E major or Ct minor (relative minor) chord type. The notes are all from the E ‘major scale, and played in mostly double- stop form in 9th position, ‘98 GuitarOne ARCH 2000 + yo. gutaronemag.com Rock ‘n’ Roll Heres a Chuck Berry-meets-Brian Setzer lick that can be played in a straight-eighth feel as well as a rockabilly swing. The ‘major/minor tonality isthe result ofa con- stant mixing of A major and A minor pen: tatonie note choices. This type of lick can. be played over major, major bth, or do nant 7th chord types. -Lesson Lab Jess ie Rock Balelad Melody and phrasing ae the key in ents of this smooth lick in the sie Journey's Neal Schon, Bostois Tom Sc or Toto’ Steve Lukather, Following a meron run up the A major penta: scale, the entire A major sale i beni, « hammered-on, of pulled-off over == chord tones ofthe HIV progression Rock Gaetieneza Heres eadenca inthe se ofthe kin rock endings himsell, Eddie Van Ha Hovering around 12th postion and ‘uring plenty of legato, stays excas within the E bles scale until shifting Dorian on beat 4 and finally comine rest on a minortosmajor 3rd slow Use this lik over a power choc altered dominant 7th chord ype Shred Here an E minor shted lick that’s easier than It looks (or sounds! Its p= ing is entirely legato, withthe eight hs tapping each string at the 12th fre minor pentatonic notes) while the = pulls off" a descending, three-notes: sting pattern ‘Slow Blues ‘This dominant 7h (G7) licks perfect. siow blues inthe style of BB. King. Firm rooted in 8th position, it begins wie= short, G major pentatonic line in the pss Lup measure, moves to the G biues s (with an added 9th) in the first bar then mixes G major and minor penta phrases in the second. Notice how: pitches are “milked” from the 10th ire the B string ‘Southeem Rock ‘The D major pentatonic (add) scale ce workout with this. wiggly lick sc Southern rock sve of the Allman Brot Dickey Betts, and Lynyrd Skynvres = King. Use this type of lick over m= chords. 40. GuitarOne sAiCH 2000 + win gstaronsmag com Surf Rock rank up the reverb and tremolo for ‘minor pentatonie, double-stop fest. Us an aggressive dawnstroke attack, an poss ‘on the atitude. You can use this type of bok over minor, major, or dominant ~ chords.Vox Pathfinder Paths of 15-Watt Glory Ya A Tier ini o ratio aifrent tom Yox amp sore an yetso sina in oka thank Tpavund quality This To-watt wonder wo get soueard ere 75.00 screnning gi thea Siu but nasal pace he, is hp stl ch Patines thts wellmpl Frater epace Whew se oh Sttogialy close othe speaker thi bby ean rule much baer beter inthe sd tard erunh if fllng a bit shot of metal practice amps the Patbfinder® aby f ve Ahve outpaces teopeater a cabinet abit Shaken Used judlousy though the Paihindet ha he ably ound get #8 rast without breaking maybe without even bending your budget Everything to Gain The control layout of the Pathfinder could nit be simpler, with the basic controls on top and some extras on the back panel. On the top panel, a Gain Boost switch, accessible by a footswitch (not included), augments the units volume and gain controls, The Gain Boost switeh sends the amp into a qpical solid state-souinding extreme averdeive that I found too raw for most purposes, However, the inter play between the volume and gain controls results in a number of pleasing combinations with a very tube-like warmth and roundness. With volume up and gain around 9 o'clock, the amp begins to assert itself with enough drive for semi-clean blues and country leads like the lick below. A litle more gain, and the Pathfinder does a good job with harder rock Teads, adding a pleasantly surprising amount ‘of ow mid/bass to the mix Crank the gain con. trol and you get distortion that is warm. The beauty of the Pathfinder is that It sounds tasty at almost every setting, Some of this has to do with the 8° Blue Bulldog speaker, which eranks out a fair bit of grunge ‘when called on, without get ting muddy or sounding cvertaxed Tremolo to Go The basic bass and tre ble controls share a tral with the tremolo section, a | OF rarity these days in small amps: ll the controls seem to be limited to a musically ood es na 516-333-9100 Peery 45 auitarone. (Country uiek | (IIIB useful range, so don't Feel slighted ifyou can't send the amp into paroxysmns of tremolo fr hyper-bass. There is just enough of the Vox vibrato so that, even. when maxed out, it sounds. pleasing. Pleasing or not, 1 would prefer 10 see reverb ona small amp like this, because of the sheer number of recognizable guitar recordings using reverb as opposed to tremolo. But if you're into retro ballads or just want a built-in tremolo, the Pathifinder’s implementation is wery good. The back panel ofthe unit features a head phone jack (¢hankfully, nowa standard in prac tice amps), a 15-Wwatt, d-ohm extension speak erjack, and aline out. The line out suffers rom the usual solid-state amp problem of killing whatever warmth was created by the amps designers, so use an SMB57, at least, for record: ing oF stage work. You cant use the Pathfinder for live gigs beyond single-performer work in the smallest clubs, because no matter how well-designed, a 15-watt amp with an 8 speak er just won' fil up a room. Some players have reported success using the Pathfinder on stage with an external cabinet. But with the PathfinderS list price of $150, that’ not its pe mary intended use. It would certainly be at hhome in any practice setup, oF recording situ tion, provided you use the aforementioned close-mic technique Vox Economica Sometimes, if you're lucky, you get more than you pay for, and the Vox Pathfinder sts in this niche. For a litle over a hundred bucks sireet, you get the name, the classic Vox look with pointer knobs and the diamond-pat termed grille, and a serious, versatile sound that works in many different settings. Practice amp with recording capability D> 16-wat output ino & HO speaker, but sounds much louder > Tremolo controls are tasty and useful Dimensions: 15.5" W x vas Wx75D D List price: $150Danelectro 12-Siring Oh, Danny Boy! Ti niet itn st en Depening on our age and must Dyatfying hort ingest Wh ie eet wave of wd mas ean tren alidetothe rhythmic dng maelnesot ‘tte ape ore nl magi of abauoe Aid mow guitars wold he one ut ew have enough fs sty he cos. No anger Jangle All the Way Right out of the box, the Danelectro 12 string played like a dream—more easily than ‘many six-strings, The comfortable 25"-scae neck has a smooth satin finish and frets that are well polished. The wide, shallow neck and flat rosewood fingerboard make fingering and picking easy. Checking with @ tuner revealed that the guitar was a litle below concer. Tuning up to pitch raised the strings up a bit, butte guitar still payed very well. Iranything the slightly higher action resulted in more ring Making any 12-string play well can be a diff cult proposition due to the high sting tension making an inexpensive one play this wel is nothing short ofa mitate Ringand chime are what this baby is about, and the Danny gives out gobs of both even before plugging in. Its set up in the standard ‘manner with the octave strings on the bass side (one exception is Rickenbackers, which ae strung with their octave strings on the treble side). The Danelectro uses an 008-gauge string stretched tothe limit for an octave G (some 12- strings have unison G's). Perhaps this is why two octave G strings broke during tuning, but afer setting in, there was no more breakage. Jacked into a Fender Blues Junior, the Dano exhibited a wide variety of tones, from edgy arpeggio picking to warm strumming. Like is six-string cousins, the 12-string has its tw lip- stick pickups wired in series. Les Pauls and Tels are wited in parallel, resulting in adrop in output when using both pickups. The series-wired Danelectro, on the other hhand, evidences a significant boost in power when employing the neck and P.O. Box 2769 without sacrificing treble | FF PRMD sp. white the neck pick | | 449 GuitarOne peronamag.com they kick butt. Setting the amp so the guitar sounded bright and clear with both pickups engaged, and twisting their individual vol- lume and tone controls to vary the sound, produced an astonishing array of usable sounds. Adding a ‘compressor helped all the strings ring out equally and gave it that MeGuinn magic as in the riff below. ‘A Chorus of Sounds Lest we forget, the 12-sting isthe sound that the chorus pedal was invented to imitate. But pop jangle is ‘only one of the sounds that this wild ‘machine delivers. Play a Latin derived riff on the low strings, and you instantly join the Buena Vista Social Club, Drone the D string while ‘whipping off modal licks on the G string, and watch the belly dancers gather. Revelingin the richness of the ‘octave and doubled strings will make You realize that, some: times, a chorus pedal just doesnt cut it Those of us who have found itficult to justify the expense of adding an eleete 12 string to our tonal palette are in ck, Once again, the revived Danelectro com: pany has com: bined high qual cool check out those colors), and low cost in a jaw-dropping ‘mannet. This is an afford nor to buy! ae [Open-chord Riff | GIB Moderaaty J =12 pod a « D> Gotoh tuners are solid ‘but tghtweight fr good balance > Standard Danelectro ‘metal nut is 1.75" wide (chords don't erunch fingers) > Concentric knobs afer individual volume {outer) and tone (inner) antral > six sadates for 12 strings means that octave strings are not individually adjustable, but intonation up the neck was excelent oneteless D List price: $399What can be tracked by the delay effects. the sum is a valuable creative companion. & GRU Feed 16 [MARCH 2000 # @1 The Magazine You Gan Ply 84- a Gretsch Cherry Pie by Dominic Hilton lowing tne tend of reacted brands Fisietine ethics oaroent hapctnound sy ao the price tage The orginal tleomatie bran wasinroducedbyGrtch way bakin 0 aes very Hat ne of lc gitar st seta cn so tbe na sing Doin The 50s ectomats oer ago gular mint Bo Diddleybut the coe ofthe the opp of tos oa The design of the Jet Pro may not D> Set-neck design with 24.5"-seale maple neck, 22 rts, and crown inlays D> carvee-op body with highly figured, book ‘matched tlame maple veneer > classic twin-humbucker layout; volume and tone controls foreach pickup and three-way switch > auatity haraware, Including war-potted plkups and adjustable fixed bridge tailpiece > List price: $600 (case not included) exacily be unique, but this is one truly tried and tested formula for a classic rock guitar, One of the major draws of this single-cutaway solidbody isthe set neck, which is an impressive incl sion on a budget guitar. The maple neck oins the substantial body with a traditional mortise and-tenon joint, olfe ing a smooth hee! and hopefully some ext smooth sustain, too, The body is made from solid hard wood (the bizarrely named amar miniyak) and features ‘carved top, which is ted with richly famed, maple veneer laminate Although this may not have the tonal, effects, or snob value, of a thick {[Reck Rhythm /tead Figure | IIB AAA’ book-matched cap, it stil ‘My Sew J = looks drop-dead gorgeous under the | toa cate : footers Gomctin mio t tothe casi fvmala Tune at ' tgs a wing tiene twin Tiel humbuckers wah avo | inom reset esnaty| EE ii 4 the'nay soketor Unite tne far | By EE d Eastern bargain-bushel nasties that lague some budget gui. aaa hese parts really have some solid quality ay Extra cool points forthe ae natty rote! pickguard SRE The fe Pros ful rer) ted neck offers a comfort able. C-profile for i cwrangling alded by low Pn pettypassive tone knob (actually a teble rolkoff) as an essential part of your =) GD Sie theyre almost useless. Just get | eset Mek] GTR rid of them, and get on with the bus ness of rockin’ out, ek Van Hatentsm #3: Bolt REET down the pickups for lea? ‘maximum resonance and Meridian, ms 39001 Ea Cro feels that everything gen fax: 601-486-1108 Menace should be physical‘orns fourth major full-length release to date, Issues, continues to deliver on Same musical vision and provocative ude chat propelled their previous three ses to platinum stacus—a suecess that s earned the band a place as one of the isputed leaders in the modern metal ore. In fact the music is truly an amal- m of a number of stylistic elements, huding metal, hip-hop, funk, and alter ive. But perhaps the most significant Fig. 1 Main Rif Chord Volcings power chords octaves aa st Fig, 2 Major rds defining element of Korns sound is their trademark slack-tuned seven-sting guitars, James “Munky” Shaffer and Brian “Head” ‘Welch fully exploit the wider pitch range made available by the seven-string, creating unusual textures and strange transitions from super-low, grinding metal riffs to eerie, high pitched “ffecttype" melodies. ‘THE EERIE MELODY ‘The opening melody line Is a simple “issue” to play. The key to re-creating itsefectis primar. ily a matter of get ting the right sound, or patch, First of all, the pitch produced is actually an octave above the played kind of harmoniz- cr or pitch shifter for this effect, Second, an ethere: al chorus thickens things, along with a litte delay and reverb, as well And. third, the attacks on eachiof Gémaj7 the notes are decidedly “rounded off” use patch that does this automaticaly, or try using volume swells on each note, ‘THE GRIND The bottom-heavy main riff is actual- ly performed at the 12th fret and higher. But this splayed on a seven-string gutar tuned down one whole step, so it still sounds way low. To translate the pitches lover to a sixstring guitar, probably the best method isto tune dawn each string seven half steps and play at exactly the same frets. You'll ned to have some fair ly heavy-gauge strings to have any real tone here. Fig. 1 shows the shapes ofthe three chord voieings involved in this rain sill ‘THE CHORUS ‘To create a different intervalle texture inthe chorus, Gtr.3 mixes major 3rd inter vals into the mayhem. Fig. 2 shows the fretboard shapes of the two mafor 3rd Intervals. Meanwhile, Gur. 2 adds a coun: {ermelody using octaves to strengthen the overall sound of the section. The melody, based on E Acoli (E-FE-G-A-B-C-D), is played in the upper register ofthe guitar, eflecavely contrasting the major thitds and power chords played in the lower reg- ister. MARCH 2000 * @1 Tre Mapaare You Can Pay $48As Recorded by Korn (From the Eple/Immortal Recording ISSUES) Transcribed by Jeff Jacobson Words and music by Reginald Arvizu, Jonathan Davis, James ‘Shaffer, David Sitveria and Brian Wele? 2.suiag Gm Intro ‘Moderate Rock 4 = 110 NE. nd Fut mp wns & Yactaver Sarto proce notes one ote above feed ich, cs BS cs BS NCB) (Gti? cs Bs ra ina 12 lox. 2a) oe 3 ce Ry. Fig. 1 Pe et 4196 Guttarone NAFCH 2000» yoen.guteronemag. comMake Me Bad cs BS NCKBS) ——ObmaiT cs Bs cs BS NC(BS) Gta ills nd Why Fig 1 Rhy FN inere End Rhy. Fig 1A Rhy Verse ‘te. 1 WF mes an Gt 1 am watching the ise and far of y—— 2 See Addivomal Lyrice an salva ‘ShChord symbols fet imple oa. Bt Am Bat a round— me, = tion. Ther’s 50 uch shi MARCH 2000 « @4 The Magacine You Can Play 447Make Me Bad Am Bt Am 1 thought it would be fun and games nd Ria on PP ee ea Ty? od aay In = stead (Ot would be fun and games. (oe Isr? am Bt am BiG v 1 want some- thing oI 4148 GuitarOne MARCH 2000 + yas garonemag,comMake Me Bad S chorus rm 1st E F Nee cs Bs SF a fF Mot: Bs 1 feel the rea ton as its teaw ing me— No, not oe Ry Fig? hy Fig. 2 fi 1 ie wy. Fig? (ee w13 E Fo NCES) cs Bs EF OE F Nee) cS Bs Ps quite de - ceiv - ing as Tm eel ing ‘es make me ba — MARCH 2000 « @4 The Magazine You Can Fay 418mi Bkgd. Yoo w/e. ig 1 2adine Swng. 22 ines cs BS E F Nee) Gs Bs EF Bs Yoes w/e Fig | 2nd E F Ncw) cs Bs E F NCES) a+ gain Ws quite de eeiv To Coda @ cs Bs EE # F News) cs Bs ing me No, Vm feel = ing the flesh make me bad_— Interlude G2 Gt? css oe. Fig. (Does it make me— bal? 420 Guitarone MARCH 200 « wn gutrenemag.comMake Me Bad is. 243 Ry Figs 1414, Ui ies cS BS NCIBS) taj? coBS CSRS _NC(BS) Ghai? cs Bs DS. al Coda (ir. 2.8 3: why. il 1 & 1A are cs Bs NCB) tsi? SBS CSBS-NC(BS) Gina? Outro te 2 wR Bi ade Coda Ste 3. ie 2 cs Bs E F News cs Bs EF — me bal (Dees it make me Begin Fade E F Nee) cs Bs E F NCIES) bad? es it make me ad? cs Bs BRE F New) cs Bs 7 SSS — Dost make me baat Fade Out E F NEWS) cs Bs PRE F Noes) Does it “mike = mea) Additional Lyrics 2. AI do is look for you. Inced my fix. you need it t00, Just to get sonie sort of attention, attention, ‘What does it mean to you? (What does it mean to you?) For me, it’s something I just do. (1 just do.) want something, I need to feel the sickness in you. MARCH 2000 * @4 The Megsaine You Can Ply 424Got Me Went, te 964 Ks rook ‘chestnut "You Really Got Me" a major fovethaul when they recorded it for their breakout 1978 debut album, Van Halen Rock radio quickly picked up on the souped-up cover and placed it in heavy rotation, introducing the unknown Los Angeles group to the masses, nan album full of standout tracks, "You Really Got Me™ shines brightly and features all the spi, drive, and personality of the classic Van Halen lineup—Alex Van Halen and Michael Anthony's thunderous rhythm section sup- port, David Lee Roths inimitable vocal style, and of course, the always stunning Eddie Van Halen, Capturing the exuber ance of a live performance in front of a packed house, this timeless track is brim ming with | "Eddie-isms"—percussive muted string attacks, whammy-bar dives, pick scrapes, pinched harmonics, tapping licks, controlled feedback, and toggle switch flicking THE TUNING Like he did on all ofthe tracks on Vat Halen, Eddie tuned his guitar down 2 half step (low to high: E-Ab-Ds-G>B>-E5) for ‘You Really Got Me. ‘THE RIFF For all its fire-breathing glory and pri smal energy the main riff of "You Really Got 'Me'is really quite a simple one. The main Ingredients are merely an open position AS chord (Fig. 1] and a passing G note on the low E string. What lurks beneath the sur face, though, is the major attitude and ‘urgeney.of Eddie Van Halen. Dial in.a souped-up, crunchy tone and play this rift ‘aggressively with lots of muted string "scratches." For these necessary, percus- You Reall sive attacks, be sure to lay all of the fingers of the left hand across the strings so as not tolet unwanted harmonics ring out. Notice that Eddie starts with I6th-nate scratches ln the fist four measures, and settles down to eighth-note seratches in the next fou thus helping brother Alex drive th ‘groove.” When David Lee Roth comes in ‘on the fist verse, Eddie drops the seratch es entirely, allowing room for the beguiling lead singer to "do his thing” Once you've got the main riff down you'e almost halfway home. Nine mea sures into the verse, the figure moves ip @ Whole step on the neck, this time employ 1 wo ull chord voieings—BS [Fig.2 and AAS. The verse concludes with the same thythmic figuee transposed up a 4th to ES and Ds chords (Fig. 3) THE LICKS AND FILLS Eddie Van Halen's spontaneous fills between Rothis vocal lines are alone worth the price of admission. For starters, check ‘out the semi-harmonie (lightly brush the side of your thumb against the sting while picking) “laughing” licks inthe first verse “Move on co the second verse for an impos sibly high-pitched harmonte in the third measure, anda slick-as-ol hhammer/pull/tap-on lick in measures’ and 4, Then, for an "ending lick to end all ending leks,” take a look at the free time" passage at the end of the tune: Staying in 12th position, Eddie deftly moves from an E blues (E-G-A-BrsfD) phrase in the Ist measure to. a hammer-on/pull-off E Dorian (E-FE-G-A-B-C-D) sequence in the 2nd measure. The blistering passage concludes with an E Mixolydian (E-F#-G#-A-B-CE-D) slide down the A string, culminating ina slow, one-and-a. 4124: QuitarOne MARCH 2000 « wn gatecremag com half step bend, enhanced with controlled feedback, and a final [5 chord "button: THE SOLO EVH throws in everything but the kitchen sink in his brie, 12-bar solo for ‘You Really Got Me. Starting out with a ‘Chuck-Berry-on-steroids” double-stop ‘HT inthe fst two measures, he segues to 2 aciemark, chromatically descending, tap ping lick that resolves to a demented bend/tap/pull/release lick in the fourth ‘measure, The middle four measures of the solo fe array of one, one-and-a half, ewo, and two-and-a-half step bends. For the last four measures, Ede displays some economic flash with a prolonged one-and-a-half step bend on the G string and while gradually achieving feedback status rapidly licks his toggle switch back and-forth from the on to off positions.YOU REALLY GOT ME As Recorded by Van Halen (From the Warner Bros. Recording VAN HALEN) Transcribed by Troy Nelson Words and Music by Ray Davies Tune Don 12 Step @: » * O=tb Intro Moderately Fast Rock J = 140 Gin. Hast) G8 AS os ss | asi Gs As os AS GSAS Gs Ass AS os AS as as Loi you rally got me now, — your ge me so 1 dont Know what Tim do = ial MARCH 2000 @4 The Magazine YoYou Really Got Me ‘ As Gs as os AS Gs AS os you got_me sem-Ham, = ful as os As Ne BS AS BS As so 1 cant seep at night A as Bs AS ms AS Bs AS Bs AS BS os you got_me x0. dont know where Tm go - ia yeah 426 Guitarone MARCH 2000+ wav gutaronemag.comYou Really Got Me ES Ds BS Ds ES oS BS Ds ES oS ES Ds yesh you real ly got me now, yeah you got_me so 1 cant sleep at ight! You nd Ry. Fig Es Ds es Ds Bs ops Bs DS ES DS ES really got ae You real-ly got me, You really got me) Verse bs AS GSAS Gs AS GS AS os 2. Please Goat ever let me bean y aoe PM.roreeseeed PM. engYou Really Got Me As Gs as Ne AS Gs AS Gs dont ev- er ly wanna be by your side, (te I: wy. Fi. BS AS BS AS BS AS BS AS BS AS BS as Gin, you really got me Git you got_me so 1 dont know what Tm do = in, — Bs AS BSS BS ps Es Ds Ess ES bs ST — yeah, 0h, yeah you real- ly got me now ot me — on yeah FS ps Es Ds ES Ds ES 7 DS Bs Ds Sy + Ds so T cant sleep at night! Ant on You real- ly got_me You really got me. You Get rome *Hamoic fund Yetwoen 28 30 fe 4128. GuitarOne MAFICH 2000 + wngutnorema comYou Really Got M Bs bs Es bs ht real = ly got me) Ps, @ Guitar Solo as os As Gs as as as Gs a ft fat t fa : an been Tt it t ee ee Ne ~ : / > y) as os as Fs os AS GSAS GSYou Really Got Me AS GSAS Gs As - 1 T4 TTI FTE FT - Fk toggle swith ack & fort between 06 & of postons ‘nyt inate. Ryton tower poston oa Interlude ‘Wi oe next 1 mess Nc 3.Gin, you teal= ly got me now you got ome ST dont know whit Pm do = inh you really got me now, seria, (te wy. Fg BS AS _BS as ————_——*_ af SSSS————. so 1 cant sleep at night nite — 4130 GuitarOne MAAC 2000 + vow guiarenemac. camYou Really Got Me Bs AS Bs AS BS AS BS AS BS AS BSS you got_me so dont know where Tm go = fn yeah 0b yesh you real= ly got me now — got meso 1 cant slep at night! ah er You really got me You real = ly got me You real-Iy_got_me) p a, Ms Free Time En _NCAES) ich [MAFIH 2000 + @4 The Magazne You Can Play 134Hhen Powerman 5000 unleashed thei 13-song masterwork Tonight rhe Stars Revolt! to the hard rock masses back in uly 1999, the shock rockers’ quirky com: bination of snarling guitars, grinding grooves, and in-your-face vocals was wel fcomed with open arms, A huge step up from 1997's Mega! Kung Fu Radio in terms of performance, sonic quality, and compo sition, the now-platinum Tonight he Stars Revolt! marks the bands departure from ip-hop inflected metal, instead offering a ries of hook-laden tracks supported by 1¢ meticulously sculpted producti forts of Sylvia Massy, Ulrich Wild, and USK Fig. 1A Chorus Chords (Standard Tuning) ES Fig. 18 Chorus Chords (Orop D Tuning) ES cs As iE eye aH Ht Bs On the heels of PMSK’s landslide sue ‘cess with “When Worlds Collide.” the bands label (DreamWorks Records) issued a second single, “Nobody's Real” a track that was also featured on the soundtrack to the latest Schwarzenegger blockbuster, Edt of Days ‘THE TUNING AND ARRANGEMENT A plethora of guitars (Gtrs. 1-4) appear intermixtently throughout "Nobody's Real. Each plays @ unique role in conteibuting melodic parts (Gtrs. 1 and 4) and power chords (Gurs,2 and 2) Gers. 1, 2, and 4 use standard tuning, tuned down ane half step (low (0 high: E-A-D>G-Br-E>), Gte. 3 femploys Drop D tuning, tuned dovn fone half step flow (0 high: Ds-A-D=G-B=E9. This allows for easy fingering of the lower-register DS land F5 power chords in the interlide and bridge. If you are playing along with the album by accurately reproduce 2 combination of the ‘melodic riffs and chord-based fig from the beginning to the end of this, song, try using Gtr. 3's Drop D tuning fs it will accommodate all of the chord figures (with slight adjust ‘ments, as well discuss), and since al ff the melodic parts occur on strings ‘common to both tunings, the melodic figures can be played “as is THE MELODIC PARTS Guitarist M.23, though oft viewed as Powerman’ primary rhythm player, actually played the mélody lines that appear throughout this song, In fact, M.83 has often has to go out of his way to convince non. believers that the instrument heard: performing the odd-sounding melody at the song’ outset (RITA) is actually a guitar land not a synthesizer. As he explains it “Everybody thinks thar’ a synth, but its a guitar. Lused a Z. Vex Fuzz Factory—which is the craziest fuzz I've ever heard in my Ife—and an Electro-Harmonix Memory Man with the vibrato function tured on, \which gives it chat Leslie kind of tone. And [Twas using the neck pickup of my guitar. Riff A is essentially structured around pitehes that outline an E major triad GB), with chromatic passing tones B and A descending the 2nd string between iterations of a high E (12th fret, Ist string pedal tone, This melodic part is used ver batim to punctuate the first chorus, and appears in the songs outro, The line also pops up in the bridge, though it’s trans: posed down one whole step to outline an embellished D major triad (D-F#-A) Notice that Gtr, 1 interjects @ brand new melodie part at the commencement of the second verse (see Fill 1), this time using the E natural minor scale (E-F#-G-A-B-C-L asa means of ereating contrast from RIE AS ‘major leanings. THE CHORDS The chorus revolves around five posser chords: E5-G5-A5-B5-D5 (Fig. 1A], which are all located on the bottom theee stings, Essentially, these chords are arranged in a progression that, as far as each chord root ‘movement is concerned, strictly ascends the E minor pentatonic scale (E-G-A-B-D) along the 6th string. Now, if you plan on attacking this entire tune using Drop D tuning, you'll need to refinger these chords to account for the “dropped pitch of the 6th sting [Fig, 1B}. This turs.all of the pre: vious shapes into “one-finger" power chords! MARCH 2000 « @1 The Magazin You Can Pay 138NOBODY’S REAL As Recorded by Powerman 5000 (From the Dreamworks Recording TONIGHT THE STARS REVOLT!) Transcribed by Jeff Jacobson Ger 1,28 4: Tune Down 12 Sep: Lyrics by Spide ‘Music by Powerman 500 ‘ir 3: Drop D Ting, Tune Dow 12 Step O=E @=ps O-E O=D> rk: O-a O-B O-a Oc O-Eb O-c O-p, Intro Necwes) “Moderate Rock J a (ou effec) tr 1 it) (eats drums) Verse (Ge. 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No- bod y's real but they'll feel to ~ nigh, (eel it to ~ night, 1 Coda @§ Es Gs As Bs ps Es os AS but they're will-ing tet you go NNo- bod y's real but they" fel it Interlude i: wt NCES) 7 a No bod ys ra MascH 2000 + a4 1 Magazine You Can Pay 138Nobody’s Real Interlude Gir 2 tee 3st) e te (st) AL igh, al ~ sight. — Bridge Gir wR Fs FS DS Fs with the time 496 GuitarOne MARCH 2000 + yawn gstronerag.comNobody’s Real bs | se toto Ter tees mo db on [MARCH 2000 + @4 The Magarne You Can Pay 137Nobody's Real os DS. al Coie You cause ther’s noth ing eft Coda S| Now body's eal but they're will- ing to let you know ) 4138 GuitarOne MARCH 2000 + ww.guiarenema comNobody's Real Es os As Bs Es os as No- bod - y's real but they'll feel it 40 ~ ight Nobody's real but they're Cr willing to Het you go. No- bod y's eal bat they" feat i Outro Guu Gir 1 WRT NeuES) act ES No bod = y's real MARCH 2000 « @4 The Magazine You Can Pay 130en Swedish-born guitarist Yngwie ‘Malmsteen burst onto the scene in the mid ‘80s with his solo album Rising Force, he awed audiences around the world and sent guitarists back to the woodshed wth a whole new set of techniques to chew fon, Yngwie's well-honed mastery of guia echnique, replete with blazing scalar run and trademark arpeggio sweeps, quickly established his place as the world’s premier shredder, and stylistically, his blend of hard-hitting metal with elassically-derived cadences established the style of “neoclas- sical rack" “I'l See the Light Tonight” isthe ‘opening cut from Malmsteen's sophomore clfort, Marching Out THE Ri The main riff of “Tl See the Light Tonight" displays the blend of "metal" and ‘classical atthe heart of Yngwie’ style. For the most part, its straight-ahead "80s neta, Uptempo and in the key of A minor, ‘is based on an openstting A pedal tone nd employs palm-muted 16th notes. As is common with "80s metal, all the chor dyad “accents” appear on eighth-note sub. divisions only, sandwiched between clus ters of 16th notes. Play each group of four 1Gths with alternate picking, using a down/upidown/up sequence, and play teach chord with a downstroke. This picking format maintains a consistent motion and keeps the downstrokes on the downbeats ‘The first hint of classical element ‘comes at the end of the phrase with the fully picked scalar descents. This melodic snippet is drawn from the A nacueal minor scale and contoured in a fashion more classical than rock. But the real departure occurs when Yngwie switches gears and bullds on G7 arpeggio [Fig, 1), creating 4 strong harmonic tension that pulls (0 resolve to the tonic, Am, This classical cadence forms vir progression, ‘THE SOLO Yngwie is known mostly for his over the-top soloing style and amazing tech: nique. So as you approach this solo, be patient and keep in mind that this stuff i, years in the making. But since there's no time lke the present co get started, lets dig in and see what kind of anarchy lesb The solo opens with # Bach-inspired passage lifted right out ofthe 17th century, acting here as an instrumental interiude. Difficult but not unmanageable, it winds down and then back up again through a progression in Am. Use fingers 1, 3. and 4 inthe frst two beats (Dm), Then use fin eal) 2) andl di the next two beats (©), where there is an extra stretch required. Start each beat with a down, stroke of the pick And use strict alter rnate picking. In measure 7 of this again the building harmonic tension, and its final Fig. 2 Am Arpegato Patter the Light Jonight resolution back to Am. The Am arpeggio pattern [Fg. 2} beginning in measure 8 of the solo is @ good place to start your prac- Lice of sweep picking. The first three notes should be downstrokes, then catch the high A note with an upstroke, followed by 2 pull-off. When played slowly, the down stroke “sweep” should actually be three separate motions that each follow through to the nest string. At faster speeds these separate motions will begin to blend into fone another and ultimately become asin fle, sweeping motion, For the picked pyrotechniques that fol low, first learn the patterns and practice them to whatever rhythm iseasiest. Thats they appear to fall into groups of four, practice them as 16th notes. Then, when you have the notes down, the actual (and Complex) rhythmic groupings are a result of “cramming” the phrase in and coming ‘out by feel ac the end. Good luck! Fig. 1 GH°7 Arpegglo Shape MABIH 2000 * @4 The Magazine You Can Pay 144