aT leit? ui SUhiby Bll The Magazine You Can Play rh) reer pea Pe a CE enna 1 METALLICA — b Fe ereatai lira yA oa ae eS Geis CoS ae Hol for Teacher — a mins CEU em CsI ‘i Ff vg ia ete ee 4 Siam il id : Ge ee PAU yea aise See OUTST MEGADETH’s Peat a MUSTAINE pS ai aes SU md Ct PUNISHMENT DWEEZIL ZAPPA a LAC FEM ee en cnn Pas FeRSSSEE IT FTES (rs csi pene ae a Ge {See eef there was one word to describe the year 2000 as it per- tained to guitar players, itwould bs “diversity.” Forstarters, over those 366 days (it was a Leap Year), the ever-growing community of guitar enthusiasts witnessed a handful of trailblazing, detuned newcomers—like Papa Roach and ‘Staind—burst onto the scene, apairof quirky Los Angeles-based acts-like Incubus and ‘System ofa Down—emerge from theundet ground, and Korn continue thelr dominance inthe neo-metal arena with a pulverizing lowuptotheir 998 breakthrough, Follow the Leader. Mainst defied the 1m rock acts like Cre phomore jinx with their seven times platinum offering Human Clay, while arguable purists Carlos Santana and Kenny Wayne Shepherd used their guitars to sing toa the masses, Meanwhile, Fiter returned after lengthy hiatus with adisc that down: played their industrial strength, opting for a more accessible sound. And Pantera con. tinued doing what they do best: conjuring sp crushing riffs, while further refining the ‘no-frills’ metal they'e famous for. Allin all, 2000 was indeed, as farassix-stringersare concerned, a very diverse year, What's more, given the fact that the major ityofartists featured here arecurrently holed 1p in various studios across the country preparing for “the next round, it appears 01 will be full of even more surprises. EBAUARY 2001 + @4 The Magazne Yo “Falling Away from Me” Korn Kom continued their suecessin 2000 issuing the surprisingly psychedelic, neo-metal album isues immortal Epic) 38a follow-up to 1998's multi-platinum breakthrough, Follow the Leader sues depicted Korn Jonathan Davis (voeals), James “Munky Shaffer (guitar, Brian “Head” Welch (uta, Reggie “Heldy" Arviau, and David Silvera (drums)—breaking a mold they themselves created with their previous dis, eschewing requisiteguestappearances and hip-hop ele ments for moodier vocals, propelled by the band’s lobotomizing low end. In the end, IsuesspawneddtwoconsecuthveTop 10 tracks (Falling Away ftom Me" and"Make Me Bae and exceeded triple-platinum status. At this since November, are putting the finishing touches on their with fith album, this time nt, Korn, who have been inthe studio with producer Michael Beinhorn (Hole, Marilyn Manson) Anmedwithhistrustyseven-stingIbanez (tuned down one whole step, Head kicks off Follow Away from Me" with an eerie melody performed in 14th position, spr soundacrossa vacantsoundscape withacho ding his nusand delay effect. After thisriffs repetition, Munky springs to life with his own detuned seven stsing and both guitarists (with heavy ‘major. (All of the notes are from the E> ‘major scale). In the pick-up measure, an E> ‘major pentatonic (E-F-G-B+-C) line leads to the target note of the first measure: G, theroot ofthe G7 chord. Theline ascends to the 57th (Bb) of the next chord (Cm7), immediately jumping down tothe 3rd (E) to “nail” the change. The next target no (root ofthe Fm7 chord) is delayed until the last eighth noteof the frst beat, butthe last two changes are pegged immediately: the 3rd and 5th (D and F) of the B57 chord and the 7th, 5th, and 3rd (D, Bb, and G) of Esmaj7 Fig. 11 offers another approach to chord-tone targeting in a melodic-rock example over a I-V-vi- progression in E ‘major. Employing notes from the E major tive inon)allofthe phrasesare sequence- oriented and begin on a strong chord tone of each new change. {42 Gultar One FEBRUARY 2001 + wivaigutivoemag comLesson Lab 6 ty. A working knowledge of modes and Chord/Scale Relationships | chora/scate relationships (knovingwhich ‘Another way to add flavor to your solos | scales work for certain chords) is essential when playing over changes is to isolate | for this sophisticated style of playing, but a good ear and strong musical ‘each chord and treat it 18a separate ent | iA minor) supplies a pleasingly melodic, Intuition go a long way in the creativity department, too. Fig. 12isa typical i-V-i,jazz-stylepro- ‘gression in D minor. Flaborating on the key-center approach, the lines are derived from three separate and unrelated scales: E Loerian (the diatonic mode for the it ‘chord in D minor is used in the first ba the A altered scale (seventh mode of Bs melodic minor) is dispatched over the chord for maximum tension; and select ed notes from D Dorian mode nail the Dml3 chord. ‘The meladie-rock phrasing in Fig. 13 puts the focuson each chordina-4Vi progression in A minor. The first measure commits to neither Aeolian nor Dorian ‘modes with a “safe and melodic” A minor pentatonic add9 statement. The F Lydian onic mode for the VI chord mode (the ascending phrase in the second measure, ‘but instead of segueing to the expected D Dorian mode, the D blues scale is super- imposed over the iv chord (Dm). In the fourth measure a two-octave E79 arpeg ‘lo is draped over the V chord, supplying ‘added tension that is resolved on the root ‘of the final Am chord, ‘7 chord-Metody Soloing You don't have to be playing solo jazz gu tar to whip out a chord melody. With the proper voicings, chord melody lines can work in just about any style, not only for compingpurposes, but forbeefing-up your single-note lines. Fig. 14 uses common jazz chord voicings and substitutions to sup- porta simple melody over aii-V-i-4VI pro- gression in Cminor. Representing the first two measures of, 4 12-barblues in A, the example in Fig. 15 uses handful of 46,49, D7, nd D9 chord partials along with a couple of single eglissandos to fashion a blues-style chord melody Dont overiook the opportunities for chord melody'inockand R&B. The double- and tiple-sop lines in Fi, 16 pay homage to Curtis Mayfield and Jimi Hendrix—the masters ofthe syle, 8 Triads and Arpeggios Ifyou feel your solos have been sounding too predictable lately, maybe you're stuck 44. Gultar One FESFUARY 2001 » wa. gutaronemag com| Lesson Lab axpeaxion. With thalr Wide inervallicfor: | shifting F and Bs triads (Iand $VII chords | amen: 2 4 ean of F Mixolydian) provide aconstant feel: ing of motion. For losers, the final AmT5 arpeggio substitution serves up an F9) tonality before finally coming home othe F dnt-39) 9 Using Effects With all the attention given to notes and chords, don't overlook the dramatic properties that sound effects devices ‘can add to your solos. Here are a few tips for adding sonic punch to your lines with the help of a few common effects pedals. dom(3-7 3) + Usea tremolo pedal and play sustained, Iow-note melodies. You might also want to try varying the speed dial with your foot while sustaining a note or chord + Usea wah-wah pedal to enhance u son-bend melody. ‘Set a delay pedal to @ long echo slap (approx. 500-800ms) and swell Into notes with a volume pedal to create steel guitar, or violin-like lines (Fig. 19), Get a note co feed back and fluctuate the whammy bar or whammy pedal to create a melody, This can also be achieved using string bending, 10 Building a Solo Many guitarists work long, hard hours developing theirlcks and phrasesonlyto coma oh a 178 {46 Guitar One FEEPLUAFY 2001 + wn qultarenamag comolka Tunk Blues Band sounds lke a Fame for a jolly beer-garden ‘ensemble right? Actually, twas the st working ttle of Tony lommi's mar- his band, Black Sabbath, the same band at for decades terrified clergymen, par~ ins, eachers, and other authority figures ke. Tommi, Sabbath’ steadfast guitarist, is ero Hank Marvin. Among later inspira- ions were jazz guitarist Joe Pass and a ost of blues artists. During a two-week nt with Jethro Tull, Iommi learned the portance of intense rehearsing, which pn helped Sabbath refine their sound. spite numerous personnel changes threatened breakups, lommi has aged to keep the group alive, and in rejoined his band’s original iron- singer Ozzy Osbourne, bassist Butler, and drummer Bill Ward ‘awaited reunion tout. This past mni released his overdue solo ich includes 10 tracks sung by *DS Standard tuning Fig. 2 Pre-Chorus Chords J Jommi And Dave Grohl ° Goodbye lament ‘over the melodies and lyrics, resulting in unique and exciting collaborations. The lectronica-tinged "Goodbye Lament includes Foo Fighters’ Dave Grohl on vocals and drums, as well as a cameo appearance by Queen guitarist Brian May. THE SOUND Tommis main axe is a Gibson SG. Gibson hhas even manufactured a Tony lommi PAF (Patent Applied For) humbucking pickup, specially wound fora huge sound, Jommi’s pickups are fed through Laney tube amps: effects are normally eschewed. For playing Tommi, big is best; you'l definitely want to use a bridge-position humbucker. Set your amplifier gain such that at full guitar vol ‘ume, your tone is thick and nasty. Dont use an excessive amount of gain, though. You'll ‘want your sound to clean up as you lower your axes volume control; the main riff alternates between clean and distorted tones, as indicated in the tanseription’s Footnotes. THE MAIN RIFF Simple and heavy, the main riff occurs in the introduction, verses, and chorus. Although it only contains one actual power chord (F5), a sinister progression of D5-F5-D5-As5-G5 is implied, which is *ES/D goth derived from the D Locrian mode {Flg. 1), characterized by its tritone (A%). In old school church music, a tritone was labeled as the “devil in music,” and its appearance was strictly forbidden. Of course, metal ‘music encourages tritone usage. ‘The riff should be fairly easy to learn. ide into the F5 power chord with your Index and ring fingers on the Sth and 4th strings, respectively. Use your index finger to slide from the 6th string’s A>to G, picking, only the Ab. As for the open 6th string, be careful to avold letting it ring beyond its designated note values; when its not sounding, mute the string with the side of your pick hand, ‘THE PRE-CHORUS Rhy. Fig (Gtr) features power chords and a pedal tone: in this case, an open low D. in the harmonic analysis (chord symbols), ‘that notes indicated tothe right of slashes, [A pedal tone is a note, normally a bass pitch, which remains constant while the chords above it shift about. All pre-chorus chords are shown in Fig. 2. In playing Rhy. Fig.1, palm mute the open 6th string throughout, that i, muffle it with the side of your pick hand. The only parts of Rhy. Fig.1 that might prove tricky are the lst 1wo beats of the 4th measure, which require rapid shifting of power chords on the same set of strings. You'l want the sifting to be very smooth, so practice these two beats very slowiy, until your left and right hands are in perfect synchronization Gir. 2 featutes bluesy major and minor Sid double stops, as played by Brian May, who’ known for his overdubbed army of guitars. We've arranged bis multiple guitars for one instrument, which, in a band con. text, makes the most sense. On the record ing, another guitar doubles the highest notes an octave above. That part has been eliminated from the arrangement, as would be impractical to simultaneously play those three voices. If youre the sole guitarist in your band, during each four measure phrase, you might want to pay Jrst three measures of Rhye: then switch to Git. 2 ‘sure. Or just‘As Recorded by Tony lommi and Dave Grohl (Prom the Divine Prlrty Recaring MM) Transcribed by Adam Perimutter bby Tony lommi, Dave Groh, Bob Marlette ropD tuning, tne down 12 ep: (tow thigh) BeAbDe-GHBEP Intro Moderately slow Rock J = 88 ss FS Ds AsGs Ds Fs Ds Aisas 041 (kan) ag. Chord symbols refs impiol harmony. sr dit, 2 tine bs BS Ds Ass as Ds Fs Ds AS Gs SENG swims sums) Swine, truce Ds BS Ds abs Gs Ds Fs Ds Ais Gs ae GOODBYE LAMENT aoa ee ° 3 fee 8a i ey fon ee «me Ts, ae 3. Se dona rie ‘aot tne Ds rss NSGS os Fs Ds sos Ds Fs sss eae ———-* —— === A = sss == i < SS — tS oe i Sate ao = me oe Cae ot eg oh mee es bs sos AGS DS Acs s SS sas so. y. 1 will be——— the one who. cries when ty We'll spend some time and find the rest of FEBRLARY 2001 + @4 Tha Magazine You Can Pay 1045% Goodbye Lament | FSD as Fs ES DS ES DS CS Reel so 244s) “Mokipe gs a foro ESD 102 Guitar One FEBRUARY 2001 + wn gutaronemag.comGoodbye Lament Te Coda 1 ® FSD. os FS 4 Sing at 83 es oly, Chorus $Gic | w/RITA 2 umes) Ds Fs Ds Abs Gs bs Fs ps Abs as di Ist time, DS. al Coda 1 (omit repeat) 2nd time, To Coda 2 @ bs Fs Ds AsGs Ds Ps Ds ANS Gs FEBRUARY 2001 + @4 The Magacne You Can Play 108,© Coda 1 Chorus ‘Interlude Gc 1s! RTA C6 tines) is. 12 et DS OFS. (DS AiSGS Ds FS Ds sas — = ' Good-bye a ment good-bye Ia = ment Gowd-bye faith. bs FS DS AGS Ds FS ps AsGs ps Fs Ds AisGs TF swear 1 won't be = lieve Good-bye ls ment, — good-bye Ia Ge w/a ps Fs Ds AisGs Ds FS ODS Aisas Bs x ee ment Good = bye" faith swear I won't be = lieve Pre-Chorus. 1: Fig. 1 times) ESD FD Break = down,— break = dow Reel - jn’ in your ead 2: w/ BT | Gs FSESDS ESDSCS DS ED | ees ae Rain—— down, sin down DSS.al Coda? @Coda 2 (2: 0 Fa ous FSD Gs FSESDS ESDSCS (Gin, 12 act NC. (Brecroies) In = mo - cence is dead © Tepe 23500) Additional Lyrics 3. Pray for me. Faded memories. Give me time, and I'll fade into you. ‘Come and dance with me will always be sleepin’ behind the eyes ‘That I'm bleedin’ throughPapa Roach + Between Angels and Insects ormed nthe eats, Papa Roach FF sresstine naa or es ist Jerry Horton~sfegped In Indu tal rock and met etucandy folned Piet esieibe Baten ea gers tenon of Jin Henara’s Peng The band fit jammed keg pares in thelr hometown of Vaavl alfraa jpadualy bulding a base of young, loyal Flowers. wtin a couple of year, they Upeaded to playing gala cube By that time, the group ad developed tt Iepplag mss beckett of meme bers The band then began take moth bass, and Fig. 1 *D Natural Minor *Drop D tuning Fig. 2 Chorus Chords DS DS eooxx xxx ly trips to Los Angeles, where they accu: ‘mulated an even larger fan base. Tirelessly hhustling, hanging out, holding day jobs, and practicing, P-Roachis efforts finally paid off. infest, their DreamWorks debut, was released on April 25 5, 2000, and sold more than 30,000 units its frst week on record store shelves, And less than a year later, the album has reached triple-plat ‘THE EQUIPMENT AND TONE Horton's always played with an intense, heavy sound, At one time, he even ran through two BOSS Metal Zone pedals. simultaneously! For recording Infest, the guitarist plugged assorted Gibsons and a Fender Tele into a modified Marshall stack. On the road, Horton uses a hum: bucker-equipped Schechter guitar. To approximate Horton's thick sound, use a bridge-position humbucker and a heavy metal-type pedal, set for maximum dis. THE MAIN RIFF The main riff occurs in the intro and the bridge. Its in the key of D minor—"the saddest of all keys.” according to Spinal Tap’ Nigel Tufnel—and rooted in the D natural minor scale (Fig. 1). A choad pro= gression of Dm-Bs-F/A-Csust is implied, with all bass notes falling on the 6th string. In terms of your fret hand for all pitches at the 7th fret, use your iid f= ger; for all pitches at the 8th ffet Your ‘middle finger; and forall notes atthe 10th fret, use your pinky finger. To exeette the tricky syncopated rhythms, play along with the recording, paying cafeful atten= tion to Horton's placement of notes: And be sure to let all notes ring fora long as possible, ‘THE VERSE The verse's main riff (Rif B) featares an implied D5-F5-A5-B55 chard progression. ‘The highlight of this riffs Horton's use of octave shapes that ard/eommoniy used by jazz guitarists, buy also are: utilized 10 ‘great effect in rock#Rofinger these shapes, use your fret-hahdls index finger for all notes on the Sth string and your ring fin- ger for all nétes om the Srd string. The ‘mutes thavoecur on the ath string—indi- cated by an“ in tab—can be executed by lightly touching the string with the under- neat side of your index finger. ‘THE chorus “The chorus features cool rhythm figure, ‘which also appears in the intr. Thick, tee-note power chords—al played on the lowest three stngs-—are featured exclusive- Iv (Fg-2}.T play them, bar with your index finger, applying fll pressure tothe bottom thuee strings. And use the underneath side ‘of your index finger to mute the top three ‘tings—ike you did withthe octave shapes in the verse, That! keep things clean, Be ‘mindtal of rhythm, and make sure tha you ste o-each C5 chord on beat 24. Again, listen to the recording to help you execute these icky hythms. FEBRUARY 2001 © @4 The Magazine You Can Play 108| BETWEEN ANGELS AND INSECTS As Recorded by Papa Roach (From the DreamWorks Recording INFEST) Words and Music by Papa Roach ‘ rnemiptone fh on an 1 me ota ‘rom Papa Rom canoe nthe et sone (Gas0osie, $109) Tore eal use Depth st ‘4372482 ova wmmniednpten.com Drop wing: Goro hgDDAD-GRE Intro Moderate Rock J= 94 “Dm B re 1(dit) RATA ‘Chord symbol lec implied amor: FA oust ind RA 1: w RTA, Dm Bh Asst Then’s— no mon - ey, ther’ no pos ~ ses - sion, oy ob ses sions ote 2 (lean) mp ‘Pr ieagus gen atone maven emnta ase aoe ‘eras Pann oy ane Mae aayBetwe FEBRUARY 2001 © 4 The Magaine You Can Pay 107Between Angels and Insects as cs as Bis Loud and clear are my words 108 Guitar One FEBRUARY 2001 + wivnigutronemog.com Fs as rel cs Bd Ry. Fig fem what you bearBetween Angels and Insects As ry I's a-bout a ry-0- Iu tion in your eat and in. your mind, you cant find the con = clu-sion (Gi. 3! RAT (ts) Ds FS Life - style and. ob- see — sion, ia-mond rings get you noth-ing. but a life — long es > son as is You're 2 slave to the sys-tem, ——_work-ing jobs that_you hate Ds Fs foe tat sit you don't med Ws wo ted the world stud moped Scnorus Gm 1836 Fi Gen 183 6 RF 1 as BIS cs Ds cs Step back and see. ‘Slop think-ing “bout yourself, stat think-ing “bout, There’ 2od ime, Ge 2 ct Ds cs As as cs there's mo poe = ses - sion, on = Wy ob ses = som 1 don't need that shit Gm 183 FEBRUARY 2001 + @4 The Magazine You Can Pay 108 |id Insects cs Ds cs Between Angels a aS cs ees cs tke my ob os sion, 1 oot eed that. — Spoken: 2."Catse er "ey thing is End Ry Pe 2 Verse (in, 1 3: w/ RAETB 6 ines) oth = ing, and emp -ti- ness im ev = ‘ry-thing his eal i= ty ie really jut a fuckod-up dream, as . Bis ‘With the flesh and the Blood that you call your soul flip it im-side ou, its a. big Back hoe Ge 2 wi, Ds ee Take your money, bum it up’ tke an as - ter oid Pos-ses-sions, they are never gona fill the void 440 Guttar One FEBRLAFY 2000 + wyigitaenemag comBetween Angels and Insects mm 183 wi FN? ee As Bhs cs ‘Take it away and lea tbe best les-son The hear, the soul, the life, the pas - sion Bis FA aust Bridge (i. 1 8.3: RATA times) Db FA oust = SS ae Sans ae = = = © ———— ¥ You just can't win,Between Angels and Insects (Gt. 1.83: / Ry. FIL Gir 1.83 Rhy. gt bs DS 2 coast cs Ds cs aay ‘own— you Yeah! Take my mon = ey, — take my posses - sion (ie. 1 83: Ri. Fig? as cs AS cs Ds cs take my ob - ses — sion eed that— shit Fck— your mon = ey. Ds cs as cs as cs ck your pos - ses = sion fock— your ob - ses - sion 1 don't need that — shit (im. 1836 Ry. He 1 Ds cs Ds cs as cs Rhy FE Gmres‘THe WTR | Gis kicks the song off with Riff A. To play it Ae the, chord shapes shown in Fg. 1. Use OUR In finger to fret the Suh string Ds Gt fre, and let all notes ring as long as possible. Qyer Riff A, there’ an elecrc solo, Iwhich isbased onthe B natural minor scale, ‘Metallica + Fade to Black Fig. 2 Theres also a bit of triadic soloing with the Bm triad (B-D-F) in Gur 2 11th measure, beat 1, and the D major triad (D-FEA) on beat 2 Fight measures later, Gtr. plays a two- ‘measure series of colorful arpeggios (F6, E/G, and E/B), while Ger 2 plays a phrase based on the A natural minor scale (A-B-C-D-E-F-G). To play this scale, sim ply move the second fingering of the B nat tural minor scale found in Fig. 2 down one ‘whole step frets) and start atthe root (A). After the two-measure transitional phrase, Gtr. 1 plays Riff B, which is based fon the open chords shown in Fig. 3. This riffs also featured in the verses and should be fingerpicked throughout. Pluck the law- est notes with your thumb and the higher notes with @ combination of your index, ‘middle, and ring fingers. For your fret hhand, use your ring finger to execute the hhammer-on on beat 4 of the Ist measure and your middle finger for the hammer-on in the 2nd measure. For the double stop at the end of Riff, slide with your index and middle fingers. THE OUTRO-QUITAR SOLO Asa backdrop, the outro-guitar solo features, ceding interlude), played by Gus. 2 and 4 Note how the two parts alternate between uunisons (same notes) and harmonized major and minor 3rds. ‘A progression of BS-A5-G5-AS is implied, over which Guz 6 takes an extended solo, First featured is a B minor pentatonic phrase (Fig. 4). In measures 5-8, a B natural minor line is played, which leads to six more measures of B minor pentatonic. Beginning in the solos 33rd measure, theres some more twladic playing Measures 33.and 34 feature an E minor triad (E-G-B), with the addition of an Fé (ist string, 14th fret) over the BS chord. The next two measures contain a D triad (D-FEA) over the AS chord, followed by ‘an E minor triad—with the addition of an A (ist string, 17th fret)—over the G5 chord. And measures 38-40 feature an Ff minor triad (F#-A-C#) over an A5 chord. These various triads work wel, as they all fall within the solo’ B minor key signa- ture. Soloing with triads is an excellent way to bust out of the minor pentatonic box, upon which guitarists all too com: | BHOPOstons\of which ae demonstrated in ifs Cand C1 (rstencounteredin the pre. rwonly rely. Fit Fig.2 *Bm(6) oe Alct B Natural Minor B Natural Minor 1 * SENOS PTS ERGH un c 7 cree Te H 1H] Set TAS as + Oat pied chord Fie. Fo.4 c G Em B Minor Pentatonic ots ott ris +f SERGE 2 1 ete wee fo,FADE TO BLACK As Recorded by Metallica (rr te Bane Romeo se Tat Deon) Words and Music by James Hetffeld, Ts sa td sen oe meta rapt Lars Ulrich, Cliff Burton, and Kirk Hammett ‘Srguon ores, 0) Toy close Dae = TES03 72802 cr mrmmentaapetcn com: dianconibert by Adern Balanuther Intro ‘Moderate Rock 4 = 116 Bm Cher yma fest Parmer” Bmis) ct Ge 2 (tee) ew REA ies) Bmis) Bava amis)Fade to Black re] Brno) Ba Bats) a A Bmts) Bia FEBRUARY 2001 © @¥ The Magazine You Can Pay 118Fade to Black Matinee 2 (Ge: w/ BAB sis) 12 yYer (te RiP Ces) 2nd ie, G28 Aext Am © « Em 1. Life, it seems, wil fade a way ift-ing fur - ther ev “ry day 2Things not what” they wed — tote, ‘missing one in = side of ne Getting lost with-in my = ce, _— nothing mat — tem mone ele, Death-ly- lost, this cam te real ‘cannot sind this hel “Tech T have lost the will to lve, simply noth - ing more to give Emp-ti-ness is fill ing me fo the poit of apo - ay There i oth - ing mom forme Need the end {set Growing dark ness king awa, Twas me, but ow 146 Guttar One FEBRUARY 2001 + vrn.gutsenemag comtw! Intertnde Fade to Black re as cs As Ds me. free ie 3 tee) Fem wie ‘th ime, t0 Coda} © Bs cSGB AS cs As Gs AS es (te 1: w RUT ss) Ge ste ‘Xin ox 2 SY [FEBRUARY 2001 + @1 Tho Mogasne You Can Pay 447DS. al Coda 1 (ake repeat) @Codat es Faster J= 144 “oe Ds ES os As oe DS ES Ge Steer) (te 3 Ry. Fa eee sae ee os As 4148 Guitar One FEBRUARY 2001 + wiv gutaronemag.comFade to Black SBN wa mgt SEDGE Tela Ds ES Ds ES os AS Ds a 2nd time, To Coda 2 @ think why 1 should @© - ven ty. ‘me war, now Twill jast say good — bye DSS. al Coda? FEBRUARY 2001 © @4 The Magazne You Can Pay 199te Sac Ena Rie 120. Guitar One FEBRUARY 2001 + wan.guteronemag comFade to Black Outro - Gitar Slo Gin 284 HulsCACI i xd me ss as eee eRe ee FEBRUARY 2001 © @1 The Magazine You Can Poy 14122 Guitar One FEBRUARY 2001 woen.gutaronemag.comFEBRUARY 2001 « @4 The Magazin You Can Pay 128Fade to Black Begin fade fs SPO ng Pn TEI ae se PN As Pade out os Asnjazztalk, guitarsarecalled “boxes.” Charo (Cristian ist guitar was iterllyabox,fash- foned (cca 1928) from a discarded cigar ‘container. With that homemade instrument, (Christian first began to swing, emulating the styles of Louis Armstrong and other jazz lumi ‘aries Inhis early teens, Christian upgraded 10 afactory-madeinstrument and began jamming in Oklahoma City clubs. At one of those early ‘engagements, Christin fist encountered sx- ophonist Lester Young, whose influence was later apparent in the guitarists single-note improvisations In the mi '30s, Christian met trombonist Eddie Durham, whod been doubling on an amplified guitar With amplification, a guitarist could participate as a soloist in a large jazz ‘ensemble, whereas an acoustic guitars single ‘ote lines would have been obscured in this, context. Christian immediately realized the ‘excitingpossblites afforded by the electric gui tar, and he was swift to develop a unique jazz style based on horn lines In the late 30s, producer John Hammond, attemptedto turn bandleader/ clarinetist Benny Goodman on to Christian. Goodman was not immediately impressed by the guitarist. Hammond, undiscouraged, sneaked Christian ‘onstageduringaGoodman concert. Theleader, {infuriated by that surprise, called “Rose Room,” tune on which he was sure Christian would falter. However, the guitarist breezed through the number, wowing both the audience and Goodman. For the next two years, Christian, ‘recorded seminal sides with the Goodman sex- tet including‘Airmal Special!” and “Solo Fight ‘THE SOUND (Christians boxof choice was.a Gibson ES-150— ‘anarchtop acoustic with a doublemagnet pick ‘up. Introduced in 1936, it was one of the first ‘commercially available electric gultars, and for $150, one could purchase a package set that included the instrument, amplifier, and case. Christian had a warm, rich tone that he enhanced by plucking notes with is fet-hand thumb, as opposed toa pick You can approxi- ‘mate Cristiais sound by using aclean-toned neck postionhumbucker withthe tonecontrol 10 Solo Flight” its best to work: arlie Christian + Solo Flight to each 16-measure A section (rehearsal letters B,C, D,E and); Pg. 2 demonstrates B section (rehearsal letter F) boxes. First, analyze the function of each note—for ‘example, in a C6 chord, Cis the root; E the 3rd; G thesth, and the 6th. Nex playonly theroot ‘and rdofeach chord, then the root, rd and 5th ‘Keep building up, until youte familar with the sounds and fingerings forall arpeggios. ‘Also, spend some time analyzing the notes ‘common to diferent arpeggios: E isthe 9th of Dm9 and the 13th of G3, ete. This wil help you get fully acquaint: ed with the common tones shared by some of these arpeggios. Once you're comfort- able with these, try ‘mapping them out in alternate positions to help avoid large jumps when moving from. chord to chord. Fit C6 ‘THE CHROMATICISM Jazz relies heavily on. chromaticism, and Christians lines were replete with chromatic passing tones (Le., ‘otesthatconnectcon- sonant pitches). Let's ‘check out a couple of ‘examples. In measure 13ofrehearsal letter, the Ab bridges A, the 2nd (or 9th) and G, the root. sure of rehearsal leterD, the Be beat2 connects Band A, which: 2nd ofG7, respectively. Christian also employed seen in the guitar’ frst measure: to the A; Df leads to. Try inco ‘matics and leading tones in your o visations, using the arpeggios in F as guides. c#o7 Tow ct ESOLO FLIGHT iN As Recorded by Charlie Christian (From the Columbia Recording THE GENIUS OF THE ELECTRIC GUITAR) By Benny Goodman, For ntetocoot to vanscotions of 1 jaz iss, oer Jimny Mundy, and Charlie Chistian . {rw tar Stanaeas songbook (ODS08143, $3495) inte Cnt lar atrs Sen. Cal Mie Dipeth at ‘500697.2002 oF vet wimp con, Tansenibed by Adam Perimuttor | Fat Swing J 190(S9=J'9) am orien) 6 [B) Guitar soto cs an Dm? or cs on Dm? b ep Bm am 6 F Em Da ar = : | : Teas estas Sosa aca 4126 Guitar One FEBRUARY 2001 « vi.guitronemag.comSolo Flight FEBRUARY 2001 # 4 The Magaine You Can Pay 187Solo Flight 1nd) ce on Da? = ao 128 Guitar One FEBRUARY 2001 + wiv gutroremag comFEBRUARY 2001 « @4 Tho Magazine You Can Pay 429Solo Flight (Clarinet Solo os (ams) 4190 Guitar One FEBRUARY 2001 + wnw.guteronomag cmLifehouse * Hanging by a Moment dont have it all figured out,” says Lifehouse frontman/guitarist | Jason Wade. “Im starting to realize that each day isa different road and a different jour ney, and you dortt have to have it all figured ‘out; you dont have to have all the answers 0 everything right now.” Jason, along with bandmates Sergio Andrade (bass), Stuart Mathis (guitar), and Rick Woolstenhulme (drums), may be as dazed by their recent tour dates opening for earl Jam as by the twists and turns of every day life, but his honest examination of that bewilderment makes for great songwriting “Hanging by a Moment” from Lifehouse’ debut release, No Name Face, is an ‘unabashed love song depicting the conflict: ing emotional extremes ofa heady romance. Jasonis deep baritone voice and the tune’ Drop D tuning (tuned down an additional half step) could easily fool the lis believing “Hanging by a Moment" est offering by Creed or tour mates Pearl Jam; ‘thats, until the band injects a series of pure ‘pop moves that shift the sound from alterna: {grunge to pure pop & la Cheap Trick, the Knack, or even the Beatles. Lets take a Took at how they do it, DROP D DROPPED EVEN DEEPER “Hanging by a Moment” employs a tun- {ng that’s been around for decades, but ‘has been getting extremely high mileage inthe past 10 years oro: Drop D tuning, ‘a dark sonority made even darker when ‘tuned down an additional half step, as Lifehouse does. Beginning in standard ‘tuning, the recipe for this tuning sas fol- lows: Tune all of your strings down one half step ow to high: E=A-D:-G- BB). This can be done either with a chromatic tuner or by tuning your low E string to match the open A string atthe low Es 60h fet, then tuning your other five strings in the usual manner. Once youve achieved this "doven-a-halt ‘using a chromatic tuner, or by matching it 0 the open A (now an As atthe 7th fet. The end result should sound, low to high: D-A-D>— GBB. HANGING WITH THE TONES OF THE MOMENT ‘Once in tune, focus on Jason's clean guitar tone that opens the song. If your amp has separate ‘controls for gain and volume, setthe gain aslow ‘as you can and compensate by raising the vol- ‘ume. A touch of chorus effect on the opening ‘wont hur, either, but save a more pronounced ‘chorus effect for the line played by Gu. 2 during the chorus. This guitars tone has a shade more sit and compression than Gtr. 1, so try a neck pickup and a lightly overdriven amp tone in Conjunction with the aforementioned chorus flee, ‘Open-string harmonics chime in during the second verse, but the biggest tonal change ‘comes in atthe second chorus, when the gui tars shift into overdrive—literaly!—with a high-gain, distorted tone that helps to push ‘the needle on the “energy meter” into the red. If you've got a channel-switching amp, go for ‘a meltdown setting, and a good, hot overdrive Fig. 1D Major Scale or distortion pedal couldn't hurt, HANGING WITH THE MAJOR SC) Once your tones are sorted out, ll look at the Ideas behind the # “Hanging by a Moment The opent fs based on the D major scale, usi lowest strings as drones and the D) the changing melody notes, Fig. 1 fall D major scale played in this great way to get to know scales Contrast tothe usual “across-the- patterns that most players and ted Similarly, all of the song’ found within the D major sc these diatonic (ie. within Js shown in Fig.2. Out of theg bile chords, you can see thi Moment” uses only 1 5 (G),A5 (A), and BS (B catchy, major-ke materials of daHANGING BY A MOMENT As Recorded by Lifehouse (From the Dreamworks Recording NO NAME FACE) Transcribed by Adam Perlmutter Words and Music by Jason Wade Drop D tuning, tne down 12 ow to tig (Bean DeCe DEE Intro ‘Moderate Rock = 124 te 1 (ean) > af ring throughout * Chord mba fect ipid harmo nd RTA 132, uittar One FEBRUARY 2001 + wa. gutaronemag com(Ge 2 (ean) Hanging by a Moment 1m stand-ing bere un FEBRUARY 2001 + @4 The Magane You Can Pay 138Hanging by a Moment A Interlude Verse re Ri times) D ‘et = tng 4194 Guttar One FEBRUARY 2001 + w.gutrcnemag,com BmBenores Bs eee) Bs AS sostt Tet-ting. go of a plage FEBRUARY 2001 « @¥ The Magazine You Can Pay 498Hanging by a Bad Rhy. Fig 436 Guitar One FEBFUARY 2001 + wun.gutaronemag.comHanging by a Moment AS os Bs As DS T oe thing 1 know Tm rimoning and not quite | sue whee go Bs AS Ds ae And 1 don't know what = 'm div = ing im =f just hanging bya ‘time, Ge 2: wi FL ous: ther’s noth - ing ‘Ther’s noth - ing in the world that can change my [FEBRUARY 2001 © @4 The Magazine You Can Pay 437(tr. 2: w Ry Fig. 2 6a) Gs AS 4138 Guitar One FEBRUARY 2001 + www.guitxenemagcom ESVerse (As w/ RATAL 2 Hct D Hanging by a Moment 2 RFA os as i Interiude ew RTA aed ae Tm ces - er to whee 1 on a oh hy Fad ore ‘The Magazine You Can Play 130DS. al Coda @ Coda Outro-Chorus ‘te Ri Cs 6 meas) Ge 2: Ry. He 1st 6 meat) Bs AS DS 8 As DSF mo = meat Hanging by 8 mo - meat. Hang = ing by 8 mo = ment Hang - ing bya 4140 Guitar One FEBRUARY 2001 + wi.guteroneman comFreddie King * Reconsider Baby teady Rollin’ Bob Margolin tells this story about Freddie King: When Bob played with Muddy Waters in the 70s, Freddie would regularly show up at gigs to sit in, Often there would be other guitarists ‘onstageto amas well, butnomatterthenum- ber present, the routine was always the same; Freddie would insist on playing as, istening intentlyaseach man played beforehim. When histurn came, he would proceed te playasolo ina style completely different from anyone ‘else. Generous to a fault offstage, when in the spotlight Freddie was a ruthless head cuter, ‘with the chops and attitude to comeoutontop consistently. King enjoyed two distinct periods in his ‘career. From 1960-1965 he recordedaremark able stringofinstrumental and vocal tunes or King/ Federal Records in Cincinnati that have become classics of modern blues. Fortunate to be signed during the surf-music ea, King was encouraged to cut superlativeand twangy otig- inal instrumentals like his theme song "Hide Away." alongwith other futurestandards such as “Sa-Ho-Zay,” "The Stumble,” and “Side Tracked.” Atthe same time he was also releas- Ing expressive vocal tunes, including "You've Gotto Love Her with aFealing,”“HaveYou Ever Loved a Woman,” and “I'm Tore Down." The {impact these sensational recordings had on blues and rock guitarists cannot be overstat ed, Inthelate'60s,Kingchanged labelsand his stat dipped untilhewas red to Leon Russells ‘Shelter Records in 1971. Russel was extreme- ly sympathetic to his music and surrounded. him with backup ‘musicians, material, and recording tech ‘nology toupdate his sound without los- wghis special qual- ities as a master blues guitarist Fig. 14 Bb Composite Blues Scale (on The Texas Cannonball in 1972. In 1974 he Joined his new friend Eric Clapton at RSO Records, where he released three uneven albums. Tours with Clapton and others brought him to the attention ofthe crossover audience, providing him with a measure of commercial anderiticalsuccessthathad elud- fedhim during his bestartstc years in the 60s. Nonetheless, he wowed rock fans with his vaunted virwosity before suddenly dying of complications due to ulcers on December 23, 1976, atage 42 ‘THE FORM “Reconsider Baby” isan exquisitely slow, 12-bar blues with a one-chorus intro and solo, Throughout the three vocal verses, King plays ahostofpunchy fills that areso composed they function as mini-solos. Inthe intro and solos, ‘he mines the root position of the Bb compos- ite lues scale (Fig, 1A] and its extension (Fig. 1B] for his succession of single-note gems. (Note: The composite blues scale in com! nation of the minor and major pentatonic scales) THE INTRO ‘The pick-upmeasureandbars 1and2 contain the deceptively simple signature lick from Fulson’ original. n anticipation of the chord (@:7) in measure 1, King moves from the root (Bi) to the 57th (A¥) leading tone, so called because it “leads the ear to the next chord ‘change. Inanticipation of the V chord (E57) in ‘measure 2, he executes the same relative lick ‘onstring’3, moving from theroot (3) tothes7th “Reconsider Baby.” originally recorded by Lowell Fulson in 1954, was included Extension a.k.a. “Albert King box” (D)). The major-dominant tonality produced in these measures isthe essence ofthe blues. ike all great blues guitarists, King choos eshisnotescarefllyin order tonailthe chord changes. Mainly this involves regular resolu tion to the root (B) over the I chord in mea sure 4 and the root (E) and s7th (Ds) over the [Vchord in measuresSand6, Observehowhe bends the ath (&) up a whole step to the 5th in measure 8 (over the I chord) in anti pation ofthe Vchord (7) inmeasure9, where hh repeats the bend. ‘THE soLO King blasts into the extension of the Bs com- posite blues scale during thesolo, literally and figuratively lifting the song to another level. Hepacks so much sonic information into this solo tha itis hard to believe that its only 12, ‘measures long. Revel in the thrilling tension, he creates in measures 1-4 with the repeated bending of the E> note to varying “blues approved" pitches, finaly resolving the cool ‘7th (Ds) of the 1V chord (Es7) in measure 5. Fully capable of unleashing a torrent notes when needed, King peels offa ser ‘wiplesin the root position of the scale in sures? and, slyly inserting the tonality, ‘ng major 3rd (D) to good effect. Thef line rush, setting up the climag (F7) in measure 9 where he ong the 7th (5) upto the root Ing was unparalleled ciwma, RECONSIDER BABY As Recorded by Freddie King (From the EMI/Shelter Recording KING OF THE BLUES) Words and Music by Lowell Fulson (coeoeoss, 48.) too os hse ean Transcribed by Adam Perlmutter [e00e37 2852 vst mwmenedapten.com Intro ‘Slow Shuffle J. = 62 an By (te. 1 ih st) Chord yebolelet baihary Br 142 Gultar One FEBRUARY 2001 + vawn.gutronemag.coma Bi FEBRUARY 2001 @4 The Magaine You Can Poy 143Reconsider Baby BT By BT Bir 4144 Guitar One FEBFUAEY 2001 + wngataronemag comBr bh BabyReconsider Baby ra eos oS Tm 4 let you go bead on Br bi pry that you come tack home— some 148 Guitar One FEBRUASTY 2001 + wn.gutarosomag comReconsider Baby FEBRUARY 200 © @4 The Magazine You Can Pay 147Verse Bir BT ‘bat now T gues you changed your mind.Reconsider Baby Ff BT | Give yourself just a t= more— Free time Bi Fm Br BHT FEBRLARY 2001 » @4 The Magazne You Can Play 148in Halen » Hot for Teacher an Halen’ 1984 (Wamer Bros) was milestone in the career of the pio- neering hard-rock act. Not only did the album spawn a string of eyboard-based hits and only #1 hip and also marked the end of an era, a it was the last Van Halen album to feature the bands {founding frontman David Lee Roth. Of use, to many fans, 1984 wouldnt have ‘On the majority of Rth-era LPs, Eddie Hialen included track that show- 1d his terrifying tapping chops— ption” (Van Halen), “Spanish Fly" Halen ID, “Mean Street’ 1, among others. Without ques- pt for Teacher" was the cut on 1984 of his hand-assembled “Frankenstein” Strat—replete with the same red-and- white-stripes paint job (without a pick- ‘guard), a single Gibson PAF pickup with one volume knob, and a Floyd Rose tremolo sys- tem. Prior to Edwards co-design of the Peavey 5150 amp—which he used on the ‘majority of his releases during the '90s—in the early days, Edward ran his guitars through a modified Marshall ‘THE TAPPED INTRO Alex Van. Halen kicks off “Hot for Teacher" with an intense, shuffling drum groove, paving the way for his litle brother's entrance 26 seconds later. At this point, Edward, with his righthand’ index finger hhovering over the 12th fret of his th string, unloads a spiraling barrage of tapped triplets. In analysis of his opening note sequence, which is confined exclusively 10 the Sth string, Eddie uses his "tapping finger to kick off a one-octave Am arpeggio (A-C-B, tapping on the 12th fret A, then pulling ‘off to pitches along that same string—E (7h fret, 5th string), C (Gr fret, Sth string), and A (open, Sth string)—before ‘wing the passage around, performing the same note sequence in an ascending man ner using hammer-ons, Ed then moves his fret hand up a whole step o outline a D major triad (D-F#-A) and repeats the process. Once you master Eddies ‘tapped lick on the 5th string, simply transfer Fig. F# Minor Pentatonic SEEDER amen oH the same fretboard shape to the 4th sting to ‘outline Dm (D-F-A) and G (G-B-D) triads, and the 3rd string to outline Gm (G-Br-D) and C (C-E-G) triads. A fierce legato figure, structured ftom pitches found a frets 12,7, and 5 on each of Els top five strings, punct ates this tapped passage. ‘THE CHORDS AND RIFFS After the tapped portion of the intro, Edward ‘hips out an Fém7 chord (Fig 1), then sts on its root, interjecting different perfect 4th shapes along string set3-4to create a driving riff, Meanwhile, an Esus4-A chord change IFig. 2} is used to set up the forthcoming “classroom interlude” By consulting the transcription that fol- lows, youll notice that the “perfect 4th shapes Ed unloaded in the intro also play a key role in the structure of his riffs in suc- cessive sections; he’s merely presenting them in a different light (eg. in a semi lean-tone context in the laid-back class- oom interlude). ‘THE GUITAR SOLO After a quick legato furry borrowed from the tapped intro, Ed launches into his famous “Hot for Teacher” solo—alead replete with all ‘the flashy Van Halen trademarks used to soup up pitches from the F natural minor scale (F-GEA-B-CED-B). After ascending the 4rd string with a Berely remolo-picked line, {inimitable Edward pulls otal the stops with his patented pentatonic licks, frequently shifting between the lth and 2nd positions of the F minor pentatonic scale (Fig.3)- Ofcourse, Eddies ead- ‘work transcends analysis; its the guitaris’s flair for the unpredictable—whether it be Ils unusual pitch bends,