‘octaves are similar to single note lines in that each note is doubled eight scale tones high- cer. The resulting sound adds fullness to the baste line. As we'll seo, guitarist Jeery Horton uses this technique later in the song as well. To play the actave phrases, use the fingering in Fig. 1. Note the muted string between the two fretted nates, Another musical surprise appears afew measures laterin the chorus. Instead of continu: ing with cookie-cutter “five chords, Horton inteoduces an Asuis2 chord, Suspended 21d ‘hords contaits dhe so0c ane the Sth, just as"five™ chords do, But instead of adding the expected rd (CH, the sus? chord “sus pends" the 3d, substituting the 2nd (B) in its place, in the case good deal of fet buzz. and into. | of Asus2 (Fig-2) these notes are ion problems when tuned | A (root), B (2nd), and E (Sth) Papa Roach rie oad saeet eee eae “She Loves Me Not” peer anges oy te in this tuning, you'll find that | distortion down a bit when you ‘By Daugins Baldwin reterences plenty of hip-hop mostofthe"five" chordsin She _ play these chords, as the favor Pp: Roach has heen -gmnves, bit Havnrs af garage | aves Me Not” are easly played | of sts? chords can be easily doingprettywell Formed punk, power nop, rack, and, of with the First Finger across the washed ont with excessive Im 1993. Jacoby Shaddix course, surging nti metal emerge hottam three strings, munch. Ser the Tne Zane for faka, Coby Dick, vocals) erty. aswell.LookforPapaRoachontie By analyzing the notes in a | suggested settings Horton (guitar, Dave Anger Management | series of chords, akey can often Both surprises—octaves and Bruckner (drums) Tourthissummerwith be deduced. In “She Loves Me | sus2 chords—reappear in the ‘xd Tobin Esperance Eminem, Ludacris, | Not,” the chords of the verse outro, along with yet another (Qu) hadestablisied lund dieXecutloners, are BS (B-F2), GS (G-D), ES _ musical slelghtof hand, As "She solid ack e001 as (1-8), F25,F4-Ch, ue DS(D-A). | Loves Me Not’ rages to its con analt-rap-metal band THE TUNING, THE When wearrange these notesin clusion, the new octave-fueled when their debut CHORDS, AND THEKEY — “alphia-musical” order, we have melody inserts a D# over the album, infest, went "She Loves Me Not” 0-C4-D-E-F#-G-A. Alhough | Bsus? chotd, effectively tats ‘hough the oof with is played in drop | the key signature of ewo sharps | forming it into a B major chord Iriple-platinum (MMMELIMMM D Curing, down a | mightlead one to guessat the | withanadded 2nd-The sung, sales. When their [AURA whole step. To get | key of D major, the preponder- | sonority adds a special color to Gace Tato thts tuning eat | anes ofB wotcs andthe paucley | Shadi whine: B Se tregean al pte sapere, tank eet mags | S10 osles aver ike hoy of grew into multinational audi- down a whole step {D-G-C- minor. This minor tonality is TONE ZONE fences and yearlong stadium | F-A-D, low to high). Then une | transgressed but once in the | GUITAR: Solidbody tours, the inevitable tension | yourloweststringdowm an addi- | composition, PlexuPs/PosirioN: drove the band to each other’ | tional whole step to C, Fyou've Humbuckers/Neck and throats, Time off found thelr been using light-gauge steings | THE ELEMENT OF SURPRISE Bridge home ives equally askew (009-042, or"nines,"asthey’te | At the pre-ehorus, an octave | BAI ‘ettencan behead on Ceti fstab vehateragst) ich va rea mas aparoachsintancousy| ee Gey ‘purging their demons and mov- Asus2 ‘Dsus2 Bree Cainer ap sd ee Ley fs Aldhoughi “ste Loved Me 7 ere va | ritf emerges, Lines played in | EQ: Bass/Mia/Te Not Tana ier te bay of the song (andl the abun, for tH 86 that matter) finds lead vocalist Lo Corer Shaddix actually singingmelodies. rr re ret Insteumentally, the band still Drop D ting *Daop D waning ‘AUGUST 20021) G1 The Magazine You Can Pay 109SHE LOVES ME NOT ‘As Recorded by Papa Roach (From the DreamWorks Recording LOVEHATETRAGEDY) Words and Mueic by Papa Roach Transcribed by Adam Perlmuttor <= ae sl Wwags my way Se 440. GUTIAR ONE « autroneman.com « AUGUST 2002She Loves Me Not Ob eet | BR Sle ig ke ee a ae oe ee —j———- z —=.: a “Fi fit ta foe = =a = = = Wii she cut me off will this Wea a= pu sion? Bitte ladon = ships want om fooday. thie RD ve Pre-Chorus, ae ‘AUQUuST 20021 The Magazine You Can Play 111She Loves Me Not sue. Fig’ ing all ToCoda @ Do you ee + at be. 1 n'y fom = pra = ae? She toves me mat 4142 GUITAR ONE \ guitaronemag.com « AUGUST 2002She Loves Me Not Dex as Rois? DS. al Coda as as Be Coan Outro ‘AUGUST 2002 G1 The Magazine You Can Play 119 eeShe Loves Me Not Wifes nol fair (or 24408) 444 GUITAR ONE « gutronemog.com « AUGUST 2002(i e/a FAS She Loves Me Not Ges ait) AAAAYNYASLYANAEN aes Adtonal Lyrics 3, Line foe ine. thyme for mye, Sometimes we'll be Fighting all the goddamn tire. It's making me sick. Relationship i getting il piss drunk stupid. Moa on the real. could you feel what I feel? What's the del, et, eae up east oer's would? ‘We should be in harmony, and be boy ad gil, Thal iw promise wo made back inte day ‘We tok each oer things wouldn't be this way. 1 hink we should work this ou, W's alight, maybe we can scream and shout, ‘AUGUST 2002» @1 The Magasine You Gan Play 148Tes Pace the Lines By Chris O'Byrne ‘Audiovent axeman Ben Binziger. “For some reason I'll wake up at three in tho morning with a song, in my head. ll grab a ‘guitar and my fingers willjuststartplaying” Many of these som- nambulistienondlings have evolved inta the high-voltage rifs and tasty melodies that light up Audioven’s debut disc, Diry Sexy rights in Paris, ‘Though the Cala vasas, Califoruia, fouisoine shaves a familial bond with Incubus and grew up alongside members of Linkin Park and Hoobastank, they're bent on making their own de in the moder rock scene with theis explosive first single, “The Energy" Fueled by Binzige synergy of throttling power ‘chords and ringing open-string voicings, the tune is primed to join the uncanny influx of | SoCal hits TH UERSE After single-note melody’ ‘minor and a swell of feedhack, Einziger pours it on with single finger barre chords in drop Dun: Ing. Use a downstroke on each beat, and an upstroke on the ‘and of each beat. lay each of the barre chords atthe second, fifth, and soventh frets with your nelex Fingor, and wee the fingor ngin Fg. 1A for the Csus2 choca. In case drop D tun- ingism your bag, this common chord is ‘depicted in standard tuning in Fig. 1 In measure # of the verse, Einzigs picks and bends the ‘th-fret “E" before repeating Rhy. Fig. Attheendofmeasure 7, play the AS barre chord with your fndex Ginger and fet this E with your ring finger Pull the G string downward (toward your feet) to bend the note up ahalf step, | | THe Pre-cuonus ‘Takinga break from pummel | power chords, | GB +padad 90 igor moves rep B tain the shape in Fig, 2A dowa in ‘whole steps to craft ome color- ful harmonies over the static ‘open E and B strings. The “add’ in the Badds and Aadd9 chords ‘denotes that a 4th (open E) and a 9th (open B) are added to the rospective Band A triads. Ae the ‘suggested fingering may cause | finger cramping ac the Sth fret, you may want to lose the pinky; ‘keeping your index finger on the Srdsteing tet the uh string with your middle tinger and 4th String with you ring finger. Use the underside of your middle jomute the unfretted ath as youleteach chord ring, Toplay these chords instandard tuning. use che familiar “lifted” barre chord shape in Fig. 2B, ‘Te cHonus. Similar (o the verse, the chorus capitalizes on quick-shifting barre ‘chords, As the ehythm is slightly different from that of the chorus, go slowly and count eighth notes to sce where the chord changes fall before attempting the tempo of the recording, ince you're fretting the BS at the second fret with your index finger, use your pinky for the G5 at the fifth fret. After alternating between these two chords, shift tothe AS atthe sev- tenth tretwith your ringtinger In the fourth measure, alternate between the E55 and G5 with your index and middle fingers before returning to the ES. During thssection. Guz 3enters wy *Csus2 Drop D ting *Baddd Standard msing with a riff that pedals on the ‘open high E string, la" Wasted Years.” Asthisriffis barely audi- ble, don't worry about copying the transcription exactly. Simply alternate between the open | string and the fifth and seventh fete, maintaining steady 16th note pulee, sineine soLo | Taking a page from the Kurt Cobain book of soloing (think “Come as You Are"), Einzige playson the vocal melody ofthe 80 for his sparse phrases ‘Drawing from the F: minor pen. tatonic seale shown in Fig. 3, he adds a bluesy B> nove with a half-step bend on the 4th string’ seventh fret. Using the vocal melody as a guide, try bellishing your own phicases ‘with different bends and shyth: TONE ZONE UTTAR 1: Solidbody electric PICKUP/PasiTION: Humbucker/Beidge cai: 2 4 FQ: Bass/Mid/ Treble: 474/6 BUITAR 2: Solidbody electric PICKUP/POSITION: Humbucker/Bridge AMM: 8-10 FQ: Hase/Mid/Treble: 6/816 BBUITAR 3: Solidbndy electric ;UPIPUSITION: bucker/ Bridge FFECTS: Flanget. wan. delay am *Csus2 | @ | "Standac ning = | E Minor Pentatonic 416 GUITAR ONE « puitronemag.com # AUGUST 2002THE ENERGY As Recorded by Audiovent (From the Atlantic Recording DIRTY SEXY KNIGHTS IN PARIS) Transcribed by Adam Perlmutter ‘Music by Audiovent Drop D ning Aaah DADC Intro “Moderate Rock d= 134 Fade In tet Gaghe as) Em © “ply rime of dine, ais 2 ty wm, dc em ce Ay dot le Lolly Lol Bs bs is DS as "ps Gs) Ds as ‘AUGUST 2002” G1 The Magazine You Can Play 117 = eee | eee eee eee eeeThe Energy bs AS DS AS) DS Cad (Gs 1 2: Ry Fig. Bs Ds ES Ds GS Ds Gs Ds Gs bs as fake Took at what you do tomy, 0%, when yom Tea DS AS DS Cows? ES Ds ES Ds in Mim breath = tote am Yoel [GUITAR ONE « gultaronemag com < AUGUST 2002The Energy é 2 se Pre-Chorus as Ds os sas ae lou mgs n/p tering hgh low 2 by. ad Rhy FAUAD Rhy Fig 2 Aa ce Fajr ‘AUGUST 2002 G1 The Maganine You Can Play 119The Energy Gin, 1 RETA Ch 3 mean Bast Benorus See / RD = OS rs * Rhy. Fig.3 ow bs Ds Es Gs Es Ds As y= thi arn 3 ceER ER EE | 4120, GUITAR ONE « gutaronemag.com « ALGUST 2002 Bs te you pees —The Energy a Dsws2 Ge: 34 f. £ pf ne aay nd Ry. Feed Gi 1 2 6/Bhy Fig 3 Gratact Si eu 3 9 5 os ES ps 2 = we to en eat os ES bs 1 meow y ns Pet ee seating w/o ToCoda 1 S Daw To Coda 20 ona ~ Yoo. Fat Cause Tet ‘AUGUST 2002 > G1 The Magazine You Can Play 121The Energy Verse Gin. 1 & 2 weet ES as = would ner = a5 AS GS as Gs AS GAS oD: (Gan. 12: Rh Fie. i os. ES Ds Gs Ds as Ds bs as —— : SSS ff —— : tt} f if 1122 GUTTAK ONE « guitaronomag.com < AUGUST 20Ds AS DS cn Pa os ts ee * * f= — as = 3 = - SS ae a 5 eee = Se ie, 1 2 wf Wy F A& 1D ae peas bs_as bs Pre-Chorus hr: RATA (1 ties) (e242 iawie ato & 7 ° = SS = i fet —S Now a i ate ae jh aaa a = SS Se S a f ¥ SS a re ou Mei ee ae a Gus 182 w/my. 2 DS. alCode1 3 ms say ve (he 18 2: of Ry a3 Es Ds DS GS DS GS _DS GS awaaee ps as DS AS DS Cus Bobs obs bs AUGUST 2002 » @1 The Magazine You Can Play 123The Energy 16.2 RF GS GS DIeht De AS DSA Ce Pa eens ihe ie oe hs NAS DRO bets te Gi. 182: w/ Ry. Fe. ES Ds. ES Gs Ds as ps as bs Ds AS DS Cana Bs bs ps bs ‘m1 82: my. o DS os Ds As bs iy Fy Guile? hy Fil § Onis? 124 GUITAR ONE «gutaronemag.com « AUGUST 2002| The Energy © Coda2 ‘Outro sud Dausd BS | ‘AUGUST 2002 » G1 The Magazine You Gan Pay 128 aIron Maiden “Wasted Years” by Bate Turner on Maiden Dave Murray [ores ger Steve Harris (base), Nicko MeBirain (drums), and Brace Dickinson (vocals) is ungues: tionably one of the most influ- ential heavy metal bands ofall time, immeasurably impacting ‘Os metal bands such as Queensrfche and Spinal Tap as well as some of today's most ceting-edge heavy acts. System of a Down guitarist Daro Malakian openly credits Iro Maiden forhis gravitation towai ‘Middle Eastern” melodies, And hart toppers Uke Creed’s Mak. Tremonti frequently cite Maiden fs ab inspltation for theit si ‘writing, “love thacsingle-string iff in Wasted Years, states remont. "That riff on the high B string—that’s one of the coolest, good old-fashioned mola iff ever “THE SIGNATURE RFs Wasted Years" opens with blistering figure (Riff A) played solely along the high E string, comprising pitches from the natural minor seale (E-T¢-G- A-B-C-D) alternate picked in steady 16th notes To those familiar with Iron Maiden’s work, this composi tonal approach —riffs revolving around anopen sting, played in alternation with fretted notes along that same string —isnoth. complete scales Ingnew:the band capitalized on thistypeoftitngon Powerslave tracks like "Losfer Words (Big “orray"and" lash of he Blade," among others, To yet a deeper understanding of hhow these types of ed, it's helpful to explore playing along one string— ideally with the scale's tonic relating directly to your ‘chosen open string v4» an E scale on the & string, a B scale on the B string). For our purposes, and sinee it relates | from a traditional one-acrave fAngering for he E natural minor scale [Plg. 1A) so thar they may. be executed along the high E string [g. 1B}, itbevoines pos- sible 1 altersiace—vr pedal between fretted notes and the scale’ tonic, using the open dtringasa"Maiden-style" pedal point. A word to the wise: Ax Sou run your fingers up and dlown the neck, try your best to actually “think” this scale through, memoriing the notes fontheneck ortheirmames sake a8 opposed to their tab num- bers This wil makeiemucheas-| fer in the long run to improvies | — EE * ops | note tthe seale's filth degre unpredictable pull-off licks, ala Figs. 28-8, SIMTH'S SIZZLING SOLO Immediately following the reprisal uf this songs signature riff (see interlude), Adrian Smith unloads a e- ative variation on this song's single-string ‘motif in his solo, engaging in pull-offs along the B string, while sticking to the songs key of This merely Smith is pedaling between various notes from the E natural minor seale and the Interestingly, bars, he opts for another pedal point approach: Hammering on and pulling off pitches from the E natural minor scale along the first string in alternation, with a fretied B nowe (12th fret 2ud scring) in 12th position, Eadie (not VH, but dhe bunds spooky mascot) was undoubt cally in awe! 3 TONE ZONE UITARS 1-2: Tremolo-equipped solidbodies| PICKUP/POSITION: Humbucker! 9: Rats/Mid/Teeble: 6/66 EFFECTS: Delay, possiblewah-wah used as atone fier in intro 126 GUITAR ONE « gultaonomag.com « ALGUST 2002WASTED YEARS As Recorded by Iron Maiden (From the Capitol Recording SOMEWHERE IN TIME) Transcribed by Adam Perhnutter Whitten by Adrian Smith Intro Moderately Fast Rock J~ 152 En irs 1 (se) ind nut (ie. wf RAE ste) On iwrt 2 se) van Gut Pra ine 40) —__ = ct ores ‘AUGUST 2002» G1 The Magazine You Can Play 127 SEWasted Years ens oe > Ds ts os ) ft ee) — | Ee = e 1. Frou the cow of gold — ‘&- cross the: Ay. Figs ‘as plays. 120, UTTAR ONE « guteronemag.com s AUGUST 2002Wasted Years Cait D Em ES ‘AUGUST 2002 @1 The Magasine You Can Play 129 IWasted Years Dead cma? Aint it fm my tow ot Petes os bs p-;—t_? ie» » 9s — tf 9 —9 9 ra==== ==; 2 Omics ll We gone a way— and my heat sty = ing ‘there, ws Col? and will be cll omy dy ~ ing ya End Re Fa 4190. GUAR ONE « puteronamag.com AUGUST 2009| Wasted Years 5 Ds cowed ste your time— al. ways 1d Rhy ig? 2: wR. ig? cs as bs cs as ——— —— —F " Face oo make — your ‘stand, ———_ ‘And: ‘atime, Gr. 2: w/ Rhy. ill 2 mace) ES Ds Ca ToCoda2 © pt Fits 9 fof #: # 3 ro eee ie you veg mee Verse (te 2: w/ Rhy Fe Ds ES os bs — 2.00 much time on my 1 pt you nom in = Cat ease this pin — fo te Devel Coa D> as i's hard wo When you cant fink te wants wy ‘AJGUST 2002» G1 The Magazine You Gan Play 191Wasted Years ath das os bs oe ft» —————— Set —— =} | ean lee age fad es ES ares ie 2. FL © Cai? DS. a1Codat a o amd tow my ands up OCodat Taterinde (te 1:0 RATA mes) a ee eat et wir at © ES Ry Fig 8 492 GurTaR ome « qutroneman.com «AUGUST 2002 ty aWasted Years ie 1 W/L Ds cs bs PM-4 or, pais eMd rd Guitar Solo (Gi 2: w/ Rhy. ie, 32 mes) oni ES AIS MAMA e000 0 0 70 AUGUST 2002% G1 The Magasine You Can Play 133Wasted Years st 1M veftar MUA a Ds AMWAAAMAMAAMAMIAMA MAA 134 GUITAR OME «gularonamag com « AUGUST 2002 IWasted Years Chorus iw Ri, 2s) os as AAAAAMAA AA AAA 1 verter AMAA AAA tr ce 5 bs causa wate you time ways natch ing fr those w= YR Pies ie make yur 3 x cs as ts get — _+ f— +. 3 = ¥ et in a peer And Pe a you're be ae DS.alCoda 2 gt = £— tp ee 4—r- ¢ cf — f ¥ = © tiv ~ ing o— tho ‘gold : en. years. 0Coda2 OME, RH AC te) Saat Ta m0 10 cS a e ae poe = eS — -—- = = ® aS ee 2. ‘AUGUST 2002 G1 The Magesine You Can May 136What’s Between the Lines Charlie Parker “Donna Lee” I nals of jazz, no figure | transposed to Din secentremas- Joomslaagerthansaxophonist | ters) for the most part, there isan Charlie “Bird” Parker Vitwally | qscortmont of secondary domi- living legend! by his mid-206, he almost single-handedly changod the ace ofjaz (credit must also go fo trumpeter Dizzy Gillespie) spearheading the hehop mave- ‘ment in the ‘as and laying the round rules for maciern jazz. Whether blowing a ferocious stream of head in unison, after nots over a burning which Parker solos op tune, or playing {or two choruses 4 slow Iyeallinesovers bars) Miles and ful ‘beautiful ballad, every Powell then split a note that lowed fiom chorus 1ebarseach) Parker's horn vas at before the tune goes once inspired, intense, vvut om the second beautiful, and erucal. hhalfof the head. Living life with the same intensity with which he played his musi, his self-destruct, which almost overshadowed his musical prowoss—finally caught Uupwithhim in 1955, hen hedied, tragically at age 34, Recondedin 1947, "Donna Lc" represents Charlie Parker in tip- features avirtal chords) temporary mo. and modal interchange (borrow ingharmony fromthe parallel key Lee" Charlie Parker and Miles Davis play the 32-bar ‘Te WeAD 's been sald that Jeatninga Parker “head!” isakin © learning a jazz slo in itself, andl ‘isnoexception, Here aresome"visualiatior” tipsio get youthrough the mostchallengin For the opening line, position yourself in the top half of an Ab ajorscale (A~B5-C-D>-E-F-G) patter in th position, andthen dropdown toa Bs minoe seal in eh position [Hg 1]. A variety of arpeggios |Fig. 2) tuel the phrases in meaguerss-16 ani osluon Bem (B-D>-F-Ab-C) measure 5:a 7th-position Cam(maj (C-t-G-B) inmeasure 6; an Bth-posttion asmajy top form ‘who’ who ofjazz virtuosos: Miles ‘Davis on trumpet, Hd Howe plano, Max Roach on drums, ‘Tornmy Potter on bass. THE Form ke many jazz standards, "Donna, ee follows 32-bar som form, Constructed fin four 8-bar sec tions Although the cane stays it 128 GUITAR ONE < quitaronemag.com «AUGUST 200 ee (A+C-E-G-By ntmeasure Zand aan 1dh-postion Ghat? (Gs-B— D-H} im measure 8. A 13th-post- Unfortunately anentireanalysis Js well beyond the scope of tis lesson, solerstakealookata few ‘of the highlights. Fest and fore- most, cake special notice of his ‘melody, which drops down to an | super-melodic approwch to AvaddS arpeggio (AC-E~-Bo) in | arpeggiated figures (measures, measure 13. The "Honeysuckle | 5,0-10, 10-19, and 21 in sev Row lick in measure 15 is based | B81; and measures 3, 5, 7-0, 1, ‘on an Sth-position Fin? arpeggio | 21-22, 25-26, and 30-31 in sec: (-ARC-ED, tion B2). Also noteworthyarethe ‘The first 4X measures of see- | smooth chromaticlines that link tion 3isfamiliartenizonyasitmir- the chord tones af the changes rors the opening measures of tho (measures 5-6, 17, nd 24 26 of ‘tne,themelody thenseguestoC section Bl; and measures 1-3, Mixolyatuan (C 8-9, 11-13, and 29-20 of ection 12). As you pick your way through the solo, pay special attention to how Parker allows pieces of the main melady to creep into the Dont ave mastery of ths azz genius. Step back and gaze atthe entire solo as if i were a large picture or painting. Notice the steady © of rests? Besides spaces evalso help toaccentuate the unique shape of Parker's highly influential rhythmic phrasing. 3 TONE ZONE SUITAR: Hollowbody electric THE soto LeKuPrposiTio Charlie Parker treats us to wo | Humbucker/ Neck fullehoruseson hissaxsoloout- GAIN: (rehearsal leters B1 and B2) HMA} Major Scale tion opens with a nvo-measure sequennceatchromatle passagethat played along the high E sting wid one postion silt. This Teads to an F Avolian (F-G-As- Di-C-D=-t5) melody over the Fas? chord, followed by a7 arpesio (B-D-L-A)overthe 7 chord. The Ihoad concludes with a savvy line that ridesalongthe chord tones of the it. VI7 ii VI changes. (The Final wobarshostthepickup notes ‘of Parkors solo break) 9: Bass/Mid/ Treble: 8/5/5 Bb Minor Scale | eH ae TEA Thor = i | ea] Bbm9 = Cm(maj7) Abmaj9 — Gbmaj7 Far 4 u tae DONNA LEE B As Recorded by Charlie Parker ‘From the Rhino/Atlantc Recording YARDBIRD SUITE: THE ULTIMATE CHARLIE PARKER COLLECTION) 2 Stier cect oaar ie he State eee ‘nie Gapacno se B00 Szr 90% moncansaea Allo saa ranged for guia. Dhow? me Almost Dh? ar Dhaai? or \ om ‘orwsne re ona rs are ae CoD ‘AUGUST 2002" G1 The Mapazine You Cen Play 197 SSDonna Lee Ba? Br os Fat ° Fn? o = Be nae % ae Sit a8 = a To Coda 0 Dix? ea ‘Asai? bin Br 4138. GUTTAR ONE quteronamag.com «AUGUST 2002Donna Lee [BL] Saxophone Solo ‘bmi? " Bi —- i086 ¥ | oe 4 w if Bir ha Br | | a Pa oo a AUGUST 29002 G1 The Magazine You Can Play 139 _ De UEEEEnEEemseeeDonna Lee Fm a Fn? By om? n Bing, Br Avmai? Dim? 7 Bhar ~ Aba? Bm? ar Dama? on ‘Aba? Fr Bhat tr 140 GUITAR ONE «quteronemsc.com < AUSUST 2002 ee EYDonna Lee ‘Asai? ” wr cr ~ Tet ° Fn? a Frnt? a7 cz " Bla? Br [E] Trumpet Soto Abeai? Bot Br Aba? bem 0 Coda Ami? |. Alena [D] Piano soto ‘AUGUST 20029 G1 The Magazine YoU Can Play 141 eeeThe Rolling Stones “Love in Vain” InRchurd the eal bas Posters Disegarcng for a moment the tact wiearisas horn in Igas—tive yours etter Johtsons demise ihe Dela tnd way before aril cone Cention pracloes~—the similar. lived bodily ple suet oe well Eidos and baker the grace of God, “Reef would have gene (o join Hobart fynow “oven Vale was lenced in 1068 on Let 1 Bleed. The_| strangement differ from the orignal 187 version harmonically and kar more of bines fel. in adatom Jogger altered Janson icin vere from ‘the blue light was my blues tothe iu igh sy baby” Ry Cooder claimed 10 have played the orginal slide Het ony to have them erased and then duplicated by Rid an offense nor war ‘ong punistunentby poison ing crit but indigent ot rage nonetheless, ‘ALBUM FTG) etn hiringot ick Taylor, resulting in Keith handling both suitar parts, The ase of a capo THEFORM “Love in Vain’ isa slow change 12-bar blues, The V (F) chord is substituted for the IV (E}) chord In measure 6, and the i7 (Gan?) shares measure 10 with the IV chord. In the original, Johnson. played a Il chord in measure 9 and aVehord in moasiero 1D, ere ating a hip t1-v-1 sequence when com. bined with the reso: lution co the tonie chord inmeasure 11 npuuecen “Love in Vain" was recorded in be«weest Drian Jones sacking at the 3rd fret for the acow guitar part allowed Richards to employ simple folk chord fingerings to play in the clunky Key of Bs "UWE To OPF G AWD GIMME FIVE! Somewhere around the time of ‘Beggars Hanquet in 1968, Keith started using open G tuning to produce his patented rhythm gular style, Ithas since been in ‘more hands than Madonna and is part of the required curricu: 142 GUITAR ONE < autaronemae.com « AUGUST 9002 lum for aspiring rockers. Realizing that the 6th string (cane oD) was interfering with hisaccess to the woot (Sting | tuned to G), he removed tle | offender from his guitars, even- | tually having custom live-string ‘axes made specifically for this Purpose. In measures 5 and Gof the first verse, Keith plays the the and triads that are the sg nature sound ofthe tune. E5/G. | (root and 38rd) glissed to G/B land 5th) in measure 5 cre tos a bluesy tension that re solves to an implied E> major (On beat 4 4 2nd-inversion Fb uta is struck and glissed up (0 \d-inversion F triad in mea. sure 6. Fig-1 shows the location of the I, 1¥, and V chords, ex: pressed both in 6ths and thelr ed trials In the key of Bb These shapes are especially valuable when playing slide i ‘open G, as itis critical 19 follow the changes with the appropri- ate harmony. Be aware that you ‘ean accomplish exactly the same thing in standard tuning, 3s strings 2 4 are identical to open, ‘0 soLo ME-OH? While Cooder picks the man dolin like a long-haired, latter: day Sleepy ohn Estes in the solo Keith accompanies him with iplomh, Resides caressing 6ths vitha honking tenor saxophone tone, healso nails choice single notes like the F/and 1) (th and 3td of By), as well as the Fs and CG7mmand5th of Fin measure 7. In measure 9 of the V (F) ‘chor, he makes a rare foray 10 string 1 (cuned down to D) for the toot (F), followed by the 6h D) and some tangy suspended 44th (D>) notes on suing 3 at fret 15. 30 TONE ZONE GUITAR 1: Flat-top acoustic GUITAR 2: Solidbody electric NCKUP/POSITION: Huinbucke Neck ‘CAI: 9-9 on a small tube amp Lvithout preamp distortion) FQ: Bass! 6thLOVE IN VAIN ‘As Recorded by the Rolling Stones ‘From tho Abkco Recording LET IT BLEED) . so | ‘cox ov a 200087, $886 nu Nn veto cates Words and Music by Robert Johneon ‘enn sane bane ew 60 ore muse am eee iran le Bupa on (000007 082 oucedapatnseoh Transcribed by Adam Perlmutter Gtr. 1, Capo Seelpesono Intro Stowty J. = 60 & Gm ¥ rs 0) ny, © 6 1 coun) eae 2 feet ‘gyms in premeses repent ton ames spe epee ‘Symbss shoe mpc snnang conde Capa it Verse F Be ©, o Fi & pppoe Ses * r = a — oa a | oo —___ with a suit - case in my hand — AUGUST £000) G1 The Magasine You Can Play 143Love in Vain eb oO followed ner tthe st on. 2(ateainy sp) seats gs sted a wise wk Fingers —+~———s Fm F om © o wim a sie 144 GUITAR ONE «puttaronamag.com ¢ AUGUST 2002 rn RR ET| Love in Vain | Bsus rs E FA. (Gout) © 1) or) tell, WS hard 10 ell, — | ste cm Ps Bir r Em) © co oy when all— your love's ‘AUGUST 2002» Gt The Magazine You Can Play 145 BNLove in Vain iy Aewf Rhy. Pig. (iil) re Be “ Hey tnd Hooked her if abe eye SS 4146 GUrTaR OWE « gutaroneman.com < AUGUST 202Love in Vain F FA Gm B o om enn © —- =z = faa 1 ould noe Bip vt — = ize = t ss = =| E =| air F “ ” Mandolin Sto na Pu la & eS ae Sere eh % A Se — _ = | | 1 loge eae SSS SSS = © aos == | ‘AVOUST 200271 The Magatine You Can Play 147Love in Vain Bb F Bhat Bi F a o © (Gauss) o oy rh Gat & wr r (Em?) o @ © Verse ‘ie ee Rhy. ip. ile) Bh © 148, QUTTAR ONE « guteronemagicom « AUGUST 2002 a A |oh Fm oO om two lights Bb F Blouss Bb o o (Gast) & e PA ont B o) wry enn © and he red light ws. ‘AUGUST 2002» G1 The Magazine You Can Play 149Love in Vain bit F @ o Ouro ie e/a. Flt 10 meas) se) B o wre on. i vain Lo ria omy 160 UTTAR ONE « guleronetnay.com x AUGUST 2002Love in Vain bb F Bhaasa 8 @. o (Got) © F BA, Gm & oe on) tem) © ~ se wi " Bit « o «) a eat. So AUGUST 2002» G1 The Magasine You Can Play 184 Teen een nn enn aatitEEEIEEEEEIEEEREEEEEEEEeeSheryl Crow “Soak Up the Sun” nee ‘NDING THE ANGERINGS ‘Togotstrummingon”SoakUp the Sun," you'll need to familiarize youself with some unusual chord ypes. First, there's a bevy of dynes chon conesting of jst two notes, The most common dyads are power chords or “ive chords, and "Soak" uses several: .BS. D5, G5. and AS, Por more ‘on power chords, see Basic “Training, JUN/02.) The B/E and AIC# (ype?) chondsarealsoeffec- Livelydyads.sinceonly wostings ‘ve played, Doni let that type 2° ‘designation fool you into thinking theres some new harmonic con- struction to learn: is justa way of nnamingtwo different fingerings of single chore in the same song Then there are the “slash” or altematebasschords suchas NICH and Pm (Ge. In these chords, the {ullmajororminor tiad splayed. alongwithalowestnoteotherthan, ‘therootofthechord es imporant to get to know the basslines cre ated by using eve chords ay de rosult will sound much more ke the song than that ofthe plain, ‘chords alone, Yout woul think that the re maining ehorl—E, #8, Hm, and ‘A—would he simple enough, and forthemostpartyourt beright. But pay dose attention to the "x" (mutedsting)and0 Copensiring) symbols us chords. Letting 1g when they're not partofthe chords sure way to sound ragged. “The success of strumming “Soak Upthe Sun’ relies onexecitingthe ‘muscularyetsparserhythmofthe vores, shown in ig. 1A. IFyoulre playing with a percussionist oF Grummer, let them carry the rhythm dating the rests. I yourTe playing by yourself, rry adding Iiited "scratch strum during ‘erosts (Fig. 1]. Fitherway, keep this tight. syncopated rhythm fig tre going throughout the verse. Then. open up wide with even elghth-note strumming for the sing-along chorus. Ifthe pesky Fém/G# provestoo pee oT substituting a Gm chord in its place. Likewise, the AICS can he jettisoned and replaced with her a simple A or Cém chord, Just Keep in mind thatthe result vwll be a bit whitewashed com- pated to the original Sherylachlevesan eresting tension in Dtidge by strut same eighth-note rhythm ofthe ehorus, This can be a chal- lenge to perform, 0s youthavotostram with ‘authority, yer allow only ta strings to ring. Check out tipe for mating strings in dhis month's Noise & | Feedbackon page 19. ‘SUSSING THE SIGNATURE RFF ‘Thecatchy signature riff makesfor {8 good addition to your perfor: mance. An arrangement sshown in Fig.2.f yon have trouble play- IngtheCiFandopen Enotesin this figure, try the fingering in Fig. 3 Useyourringfingertoformabarre across the notes on the ninth fret. for the ES chord. Simply lit the barre for the E7susé chord, aud ‘Sp it back down fr dhe Echiowd, followed by the GE @rd) and E (2000 notes. ‘nue gta, you ca fudge it by 462 GUITAR ONE « gutarenemag.com « A/GUST 2002SOAK UP THE SUN As Recorded by Sheryl Crow (From the A&M Recording CMON, CMON) 300-62 Sho Gy na, Cm Ot Sra en OT S198 By Sheryl Grow and Jeff Trott Shura Man Chi So Easy» Over You" tly Ke» Daren as *| SE'Sny Lae Aare He My ocean Choa Arranged by Adam Pesimutior BS BS AmB Bm Gt EEE RRR AG Esme? BOE Ach re Gs Bees Intro amit _ 8 ‘Moderate Roek ¢ = 120 Verse ES Bs ass? Bs Bs Asn, es Bs LMy fad the com 20 iba"! nave aig Bs sued ES BS = olds met ings nin 1 cate a fori 1 Govt ne dS ley Suan We moe av ing what ks asf Asis? is > Anu? J Fh Fh Vn gon-na souk up the sun — oo ev gonna toll om thal ye got no one 19 ame — Flin AA B = For ev'ry me 1 feel Lame, Fm gon-na soak up the sin Wm gon-ne soak up the su 58 verse : *% Es bs ‘vod BS hy asea 3uve gots crummy Dome tive 800 mas” = te don't may near e+ sonal sit tie Ring ote AUGUST 2002 61 The Magazine You Gan Play 183 aSoak Up the Sun 5 3s Avwd Bs Bs swt — = = to bay the thing kos fo win me some of your— love You hive 'h fan’ > ey de. but ma Fin ihe one who asthe ey e hs ye ty. Eset ny bs acai Esoped Bn Bre iy LA ean apd Anois yo kk - np Goons My beeing omg wl jou ta tocoda1 0 SB Chorus e os As ya idkesyou at he way you dao Mm gon on sak up the sn ee) = Ss Jee ae TALS a a ev ev 7 Vingoa-na tell ey-'ry-one— 0 ie - Him gon-au tll ‘em that Fin FimiGh AA Tye———— got noone ame — For evry ime T feet tame, im ok = Be ToCoda2 Bs Bs Asn Es Bs ° = 5 —— Tm gon-m sk op te. sun wi DS. a1 Cota 1 ane B bs ss 8 Bs ame pitts ===>: SS v a ost os fer errata eee schon foo Coda t DSS. at Coda 2 OCoda2 rc May-he 1 am ori-zy, oo Pm goa-aa soakup the sun Fin Flt Trmgou-oe tell ov-‘ry-one— light = Fm gona el fmm that F R Fm Hint Ne gu no ome to tame Foe ev-"ry time 1 feet lame, tm = look gon-ma soak up the sun— He Hitt a act 8 | We got_my for-ty-tve on © ' can ok — on 4154 GUITAR ONE « guiteronamag.com “AUGUST 2002 a