HANCE TO WIN THE BIG FENDER GIVEAWAY! U1 S! D WINNERS « $15,090 IN PRIZES ee NERY TORU Chop Suey! Matters Mary Hada Little Lamb The People That We Love St. Thomas Praise as The Best'Lessons! Oe ass DIMINISHED SCALE: THE 4-1-1 UNDERSTANDING ODD METER eS aa |HUTTE EE JANUARY 2002 aed 7> GUITAR SCHOOL 1 . | 7SONGS! 7 Chop Suey! SO srearturouch arrist 118 META st famous expr since ob and Doug Nice ad... Nickelbac . Nothing Else Matters 5 84 ce 4 ee ‘The People That Ne ‘We Love 90 EXCLUSIVE COVER STORY! 100 oun 137 St. Thomas Praise 0 Mary Had a Little Lamb Piano Man “Ta18 FIRST NOTE 23 NOISE & FEEDBACK our getont aed 27 OPENING AXE 27 Sevendust Breaking Point Billy Sheetan UNDER THE INFLUENCE ke Stem 30 BLUES NEWS Tay taste 31 4azz JOINT be MeLean 32. FRETSCAPE Gitar new on TAB & TUTORIAL ol ne strc paws 33 SOUNDCHECK Recais in ee 39 RIFF BOX Oe ht woeder LESSON LAB is et 59 GEAR BOX ult es andreews 59 Peavey Triple XX 60 Fernandes Native Pro 62 BOSS RC-20 Loop Station 64 TECH TALK Cetn 12 entry (68 WEAR & NOW Extn ne eqdpment ‘0. BACK LINE BLUEPRINT Sve Sens 159 CLASSIFIEDS 168 ADVERTISER INDEX 171 TECH TIPS/MR. GEARHEAD 170 ACOUSTIC CAFE Hat ees 172 GUITAR ARCHIVES tof ck 174 CHOPS SHOP 176 BASIC TRAINING 178 FRET BUZZFirst Note Mark of Growth — Qs aa Gultar One covers? Ai Creed guitarist Mark Tremonti is true, With the issue you nov hold inyour hands, Tremont (HEE makes his third cover appearance in a short bbut immensely successful eareer spanning litle aver four yeas, Tremonti fistadorned our cover in December 1988, ack hen, Creed was enjoying rock prosperity for the first time: Thee debut album, My Ou Prison, was exploding across the country on the strength ofits ike"My Own Prison” “Torn,” and “Whats This Life For.” At the time of his rst conversation with Gultar One, everthing was fresh and nev tothe wide eyed guitarist:"We got thrown into this. We were four litle riends playing ina band, and the nex thing you know. we were in New York City playing for 20 record labels. And now it seems ike playing fr record labels is nothing, You ust grow” And grow they i. My Qu Prison went on to produce four #1 hits and sell more than five million copies levers monthslater Tremonti found himselfbackon the cover of Guitar One(NOVI) «lscussing the release of Crees second alum, Human Clay. “Life now fs much diferent than it used tobe.” he state at that time. "We've al grow tpl these past couple of years, and that’s reflected on this album.” The {guitarist talked openly about the enormous success of Aly Own eoyrRenans Teqgca goon ots Satna To ka, Prison, what fans couldexpect rom Human Clayandhistong-term goal for Creed: "The only thing missing from my life the level respect that ‘super’ rock band woul get—ke Metallica, But you gotta earn it frst. And I donit think we'll ear that respect until prove our longevity” Of course, Tremonti had no idea atthe time {hat Human Clay woul sel over 10 milion copies and spawn the ‘megahits “Higher” and "With Arms Wide Open, Creed that much closer to the rarfied airofbandslke Led Zeppe and Metallica, and Tremont closer to the respect he so desired Fastforward tothe present 'm pleased to present our read he dise brought Pano cerswith the third—and1 believe the best—instllment ofthe Mark Tremonti trilogy. On the eve of the release of Creed's third album, Weathered, the gut ‘Sargae Rts tarist sat down with Executive Editor Bob Gulla to talk about everything from his new i Stone found admiration for the blues of Stevie Ray Vaughan and Buddy Guy (se p. 100) to his Pnooucrion cooRomaTon bass-playing duties in the studio and what lies ahead for Creed—ane of rock’ big But grow isthe key word here. We feel that the growth of Creed has coincided wit the growth of Guitar One. Each of Tremonti’ frst two cover appearances marked a hug milestone for the magazine, Our December 1998 ise say Our f six to nine issues per year. And Guitar One oficially became a monthly magazine with ‘our November 1999 issue. Since then, we have continued to evolve into one ofthe most diverse and educationally minded music magazines on the marke, And, with the help of s7ea guitar players ike Mark Tremonti, we eel weve become one ofthe freshest and most Friis wel Digi Fe ae Feitor issn Bale ‘CONTEST WINNER & Sto he winner ofthe OCT Whois Gand Giana, Allon Kendlof Greensboro, NC: $10,600 pre packag ‘utare drome ampa, merophores spe dimontors~couroey of Anat, Aoeg, Crate, Aiea and Gul” OreNoise & Feedback. psnlophimees Canyoushowmesomeother | diverse hard rockers to come out ofthat | halt-raising elements of Bettencourt style intervals chat lean se to open up my Lines? Jerry Hetcher iae-mai Most excellent question’ Since youtealready sng dhs in your leads, you Tikely have & prety modern sound happening, You may have also noticed tharjazz geniuses ranging om Joe Diorio so Mike teen excel at this proach! For yar purposes, le’ look toward expanding your interval arsenal by turing into wider terriiory—interals of Sts and Gt, for instance A it relates (0 the C major scale, the interval ofa si can he most easily ration ined by counting seale steps irom the nic(C)uptothesth scale tone (G),Allthe Sths shat occur naturally inthe C scale AVE-UFHC,G-U.and At ese are referred to as petect Shs (P). Meanie, the note pair B-F isrefered 1 sthvor diminishedth (aka. titone an, take a crack at analyzing Fig. I i reminisceat of Steve Vai and John erucelsleadwork—andsee ifyoucan find where each of the aforementioned Sths cur across the leetboard Dirgrapingfor the nexthigher ses tone er the note Gin elation tothe Cseale, we aera eve aninterval called a6th—inthiscase, PE = Soong, Due te aig tena ie fentofthe majorscate 6thsoceurin two aa jes when used to harmonize the scale: ors YA) and minoe 6s). The ic ypesofésinherentto the major Sisto ae indicated in Fig. 2 Other means of achieving interest alc pater result from intpratng 8 of efferent intervals into a specific dshape,thenusingitiooutine other that occur nat sa ey nF ible pattern—acombinationofSths. Saeed and this used .oimplyan.Am beats 1 und 2 and is hen restated Sai in higher rgions of de fretboard wand Ferd. you feeling Soverurous try crating some of your oom posers by ming up interval types as You point. Ato poiex—or from the (Is sting. And Temember: The ofines you eeate, Good luck. ear Guitar One: gt fa of "80s hard ruck, and my jearist {ram that era is Nuno (out fot Extreme. Can you sbowme ature Hicks? Honald Pintabone Cyst City Missouri he ee “uany 2002 G1 The Magesine You Con Ply 23,fs his ability to create insane two-han tapping passages—free ofthe typical ple. Dasedlichés. lisdeep understandingofthe guitar’ fethoard enabled him to play the «hanges with his tappingshapes—asingdit ferent arpeggios to outline each chord ‘change ina partculac song's solo seetion. A prime example of this occurs in the ely moments af Hettencoutts staggering "Get the Funk Out” solo (2:35-3:04). (See Guitar ‘OneDECIO| fora complete transcription) To get deeper understanding of the rmechanies behind Nuno's tapping tech: Noise & Feedback niques, take a gander at the Nuno-esque tapping lick presented in Fig. 4—a spiral: {ng tapped phrase fearuringdilferent nver sionsofaCmajortriad (> 1-G)vallof whieh tre arranged in a three-notes-per.string format along strings 1-3. In the second measure, a similar pattern Is used, only tefingered in a mance thar outlines a D ‘minor triad (D-F-A), Another element of Hettencourt’s lead style thars not so frequenty explored Is his use of digital delay to generate staggering single-note lines, lathe intzo co "He-Man Woman Hater” (a.k.a. “Flight of the Wounded Humblebee"i, Nuno would also often utilize this approach in his unaccom: panied guitar solo segment in live Extreme shows. In Fig, 5, adelayis eto deliver asin ple repeat eedhnack’ set to"U") very 875, mnilseconds. The outpatof the delay should lsu be setat 100 percent,sothe echo repeats ‘match your guitars wolume. Ata tempo of 120 beats per minute, this delay configu tion generatesanecho three L6thnutesaler the inivial atack, meaning fyouplay some thing on beat 1, an echo will occur at ‘one-ee-and-h.” If you play wsingle-note phrase in steady eighth notes using this delay setting, these echoes sil Hiterally fil inthe geps of vou ines, eransformingthem into ultea-cpeedy t6th-nnte licks! esr Guitar One: 1ve had my guitar for about a year now, ad blackresidueisstartngtoaccurmlate near the fies How can gecridofthisgunk.anddovou have any tps on fretboard maintenancet Bryee Miller Shenandoah, Pennsyleania Dear Bryce! That gunkisprabablya melange ot body ul sweat, dit, and whatever sticky heverages you may have nearby whenever you play The good news is that its a snap to clean, Feeiboards are most commonly made of rosewood (which ean range in color from chocolate to reddish brown), maple (pale yellow), of ebony franging from choedlate to black), Maple frerboards always have a shulny Iaequer finish, and they're the easiese to clean. Any ight guitar polish will simul taneously dissolve the gunkand leavea thin protective coat of waxon the finish. Puta tle on a elean cloth and wipe firmly across the fretboard and your gunk will be histor: Rosewood aiid ebony Lretboards are almost always unlisted: the one excep: tion to the rule is found on Rickenbacker ‘guitars, which feature lacquezed rosewood Jnfinished wood requitesadit ferent approach, In fact, guitar polish Is something you don't want on eaw wood, a5 the wax wil clog the wood pores and tend Lacolleet more gunk-The appropriate treat. rt is lemon oil, aailable in any guitar shop oF your local hardvsare store. ewwon't take much lemon ol to dn the job a small drop per fret is more than enough. Use a clean rag to wipe it off and simultaneously femove the accumulated gunk, Lemon oll wil dissolve the dir and soak into the ras svond, keeping other isis out ofthe wood pores. (his will tend to stabilize the Ie board in extreme weather conditions since the lemon oll won't evaporate as wacer would For esteme cases of encrusted gunk on ingwithafarpieceofplastcsuch asan expiredoccasionally say to each other in the studio, ‘Man, what Seen nn can re SU ener re cna pete ees sieve Ree Ne snoty the other half ofthe quintet’ brutal guitar tag team. “There pee presen EST cera a *oached differently, We weren't quite as good at what we were seen ORT aarti ent Dent RS et serene emetic Fanart eee eer Seto eee cette ae ener The Ben Grosse-produced Animasityleaturesfeto cous rhythmic attacks and pile-drivingrifs.on tracks eerie eartr benre ea pomeeererent ret eres pape nee Ctr ee pentane ree ce Perret etc ccs ire cos Pen Pete ent) Perna eu reece arn ere reny lose bond with Snot during ers peers eine toe es rere en an eT ca) area a ‘think people were understanding eet ray ery kee nero ny peer at restr ee ere es TS eens retr rt crs ceareee eeetne recy ery and Connollyassure they Halways maar eT + the meantime, they have no plans Speer a meen te Cie cna cane Peer nen RCC Tg o want that edge to our Says Lowery, “But wee big fans of that more ieee none eee ees acme ere pone eRe s TU ol eee eet aS eer oneOpening Axe BILLY SHEEHAN Having played bass alongside verienily hecom some of the greatest guitar uniquein hat my approach to players on the planet over the i teComoression hismewrolease You've worked with countess ‘onwhichhemakes his debuts guitar legends. Telus about them, 2 guitarist, ‘ell ue abou ily Sheehan te nothing he couldn't do on RichieKotzen-Richi After fronting separate death metal most bands in high school in influenced my play ‘Memphis, Tenn, trash Ing—I was a speed master lustinRimer and player. It still shines Zeppelin disciple Brett through, even thou note—justalitle pe ~ Erickson didn't cross what we do fs n sonal projeet forse > paths again until eight heavy. Now, I just tr discipline years later, when 2 for tultous encounter at 8 local music store sparked a string of jam sessions. Despite their that fuses moshable riffing and heartfelt ‘melodie tensibility ‘men you fist get Int the guitar? chords, hell ifleren Hendler that saved alli high schoo! unch money You guys dwt seem ata 0 soo Jidniteat forthe irs'semester— | Brett Ifit'stasteful and needs to buy my first guitar, It was | bethere,then one ofuswillsolo ony that wouldnt | but you cant Justin: | starced playing when 1 tan bane? Roadstae we are your biggest guitar Justin ett, James another way to snOpening Axe SONG: “Maiden Voyage,’ from Herbie Hancock's Maiden Voyage (Blue Note)Opening Uy = e. hen San Francisco guitarist Tommy Castroran into John Lee Hooker a couple of years ago, the fe legend greeted him with “Everywhere | go they're talkin’ about you” Without question, more mere mortals should, too, From 1985's Exception tothe Rule (lind Pig) to his latest blast of fatback R&B, Guilty of Love (on which John Lee guests), Castro hes been copping deep grooves, Squeezing out funky blues licks that really count, and singing like ‘hip Memphis soul man. His play Ing is devoid of flash, bursting with power, emation, and his die Linctive tone. A camplete must ‘ian, Castrois emerging as one of {he finest songwriters in the genre, Your sling is rhythmically a strong asthe vera band sound lumighthavesamethingt dowith thesmall sizeof the group. the the drums and the oer instruments so well that ike to have ute notes lack in Your playing seems tobe evohving. 122.8. Kingon ourplayafewnotes hw say, "Why ean’ Ido that oundsso good tojustlet the ir 1s Youtegoingto have those ie trying to get over and ngand you end up playing Axe oA a7 \(- nsaidonce that when he got nervous he just started Playing relly as. No esrespect, ut he must have been nervous 2 a Langs How as this teen reflected on ‘he record? think my playingon this recondis, closer 1o my personality | had @ tendency to go too far over tothe rock side on previous recordings, thinking its what people want Another thing that has influenced iny playing is that 1 have become friends with Carlos Santana, and have been hanging out and jam ming with him. thave been a fan of his for «Tong time, and Te noticed that | some mes sound litle ike him onaminor-key blues. Hereminded me that a Latin guy boeing of Portuguese descent and he even played some soulful Portuguese music with AMrican rhythms for me, We had actualy ‘metafew years back andheistheonewho suggested I do a cover of “Chairman ofthe Board” on Right as Rain [Bind Pig grat choice. Tat tue sounds ke you mote it Some people think did! They call me"The Chairman.” If Frank Sinatra was still und and heard that, Fd probably be in trouble aug. ave uy HOT LICKS New Blues Releases Joe “Guitar” Hughes. Stuff Like That (Blues Express) Tough Texas blues from a Lone Sta legend BB. King A Christmas Celebration of ‘Hope (NCA) The King’s fist dsc of bluesy and traditional Christmas classics, Rab McCullough Belfast Blues (Iie Storm) Big blues from Ireland by way ofthe American South Kid Ramos Greasy Kid's Stuff (Evidence) Axeman James Harmon gets Jiggy with guest harpists Various Artists Biue Xmas (ividence) Cool Christmas elassies performed as instrumentals by Son Seals, Otis Rush, Tommy Castro, Rusty Zinn, Michael Burks, and others Various Artists Get the Blues! (ARM) Blues sampler from the Blues Music Assocation, including Stevie Ray Vaughan, Robert Cray Ru Burnside, Walter Trout and Otis Taylor. Various Artists Rhythm Room Blues {ightone) Selection ohot tacks recorded ata Phoenix blues elu, LIVE! Lonnie Shields Terra Blues, New York City It asa night fr bes guitarists unafraid tooperate outside the couboy-hatted Strat- slinger box. Local bluesman Irving Lous Latien opened with solo set of striking, ‘mostly original contemporary RAB material ‘on his chorused electri guitar. Singing with conviction and authority he was the perfect Prelude to contemporary Mississippian Lonnie Shields and his quartet, featuring guitarist Billy Batterea, bassist Jimmy Pritchard, and drummer Chris Sherlock ‘Shields commanded the stage with his charismatic presence, impassioned vocals, and thumb-powered syncopated rhythm gu tar that at times was reminiscent of Jimmy Nolen. He began with the minorkey Latin rove of Fistul of Dollars the stat sev- fetal numbers trom his Rooster Blues album Portrait. alternating between an Ibanez [Artist anda black Les Paul Custom, Shields Claimed his tur a funky sou! man with ‘deep blues roots az Hil Johnny Taylor, 4nd Tyrone Davis. The highlight was an extended, “sancti” version of “The Trl Gone! where hestoled int the audience, stopping to serenade the lovely laces while ‘working ahanatul choice bives scale notos Into riveting emotional statement. Dk ‘i FR BRABUREERERL BELAEELSVELE BaReceeEn ini weeuff Like That ues froma a Frankenstein” says John McLean, fedration of Jescribinghisone- off semi-hollewbod sco osy itar—a Gibson ES-835 body mated sis, 1 a 356 neck. “It wasnt just slapped acther, though; somebody custom 4 Blues (Blue fered it from the factory I've enjoyed by way ofthe ingthis guitar for 20 years:i"sgotsueh nusual vibe.” MeLean’s moder jazz tion, with its carefully conjoined kid's Stuft ‘onentsof nimble lecttie ebopping - Harmon gets Steet acoustic rhapsodizing evinces (Lean cecallshisfirstencounterwith nas (Fvidence) ‘fy earliest lessons were witha Long, performed as 72 guitars Jus listening to hit Dis Rush me excited about jaz. Iwas about a, Michael he time—way too young to be ing the Village Vanguard—so I got theough recordings. Fusion ves! (NARMD heavy kind of muse, was happen Blues Music «il got started by listening to guys ay Vaughan, an MeLaughlin Trout.and graduated from the venerable eof Music, MeLean migrated herein 1988 hereceiveda Master of m Room Blues Music degree from the University of Mian seconded ited guitarist enlightened univer 1 hereafter Living in the Nort, igh. MeLean began to feel udents were of Jrums), MeLean deftly renders quali butiherewasno LT Standards Blue In Green Miter thre years of Ticvasoraseeerane | SWING SETS needed to go cise srinalcompostions conn” | Mew Jazz Releases oy nated Stat i aive int playing . at Chancee among others man ing Lous relocated to Chica \wivulltheacclanedgutaris [| Jean Paul Bourelly Jungle Cowboy 0 set ot sik ished himself a8 for wait so long t step ito te {Wver a: Winter) Exqusitely pack ary RAB Mat ideman,accompanying fround?"Asaleaderthethingllove f)-aged fresh fusion dise from the intre tar. Singing with tricia Barber and Terry nest fs playing in live situations, [pid global six-stringer me was the perfec «thorn players such as rather than the removed processof ry Mississippian roman Randy Brecke ocumentinga physiealact inthe | Fred Frith/Massacre Meftdown cuarte, featuring Me later McLeanhas Studio Forme. recording sstaie, |) (Teadik)Ablisteringlive performance bassist Jimmy nore than 20 record ikeposingioraphoto. hope that [J by the improvising superstrio of Frit, "Chris Sherlock Vly revently released his, in listening to my CD people will sense | [Bill Laswell, and Charles Hayward. se stage with his vondicader Fasy'Go, With the | more Walker Evans than Annie Liebowitz.” | [| Recorded at Robert Wyatt's Meltdown reasoned vor aE a Nase ea fine image eptred bythe former, | fl Fesval 200 in London Saco ot a9 ron ean Shlomi anys aarmmates |) Bucky Pearl Swing Live Chest miners maser datated crepe arth tattser from the logan old-school maste reuse came AT THE IMPROV -