100% found this document useful (3 votes)
723 views54 pagesGuitar One 2006-05 PDF
Uploaded by
Pierre ParentCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
100% found this document useful (3 votes)
723 views54 pagesGuitar One 2006-05 PDF
Uploaded by
Pierre ParentCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 54
Ie te ae
SONGS
WENGE Vea
MEAN STREET
EVANS BLUE
COLD (BUT I'M
STILL HERE)
yi
ee
Coreen
aa
Cn ies
)
fe}
rs Gt
Rata ome
COLT
Ae eae 7
aK
CK
eR Sy
a
CC ea
PM
THE MAGAZINE YOU CAN PLAY
DDIE’S STYLE!
(oe
B | oe b.
MASTERING
ce eS
Siam)
Sa
Ray
GELS
ay
Lia ae
ea a as
eT ERIN sto ae Co
Oey
Baa)
ass Rasy
terres
mi New Chords
by Dae Turner
his lesson is dovetd tothe tof chord betaion a8 domonatatd by az
1 Pas, en Hall Yed Gore, le Divo, ae John Stowol
+ wil enable yout
1) guitarist bath nyu composing nd onthe ly, Were assum
re area ania wth base 7t-hod fingerings and inversions
RU08's
Bea
ier
“Jazz ox Rocker" cover ston) Buti you not ip to these shapes, dn” eweat
Ate vary last youringer wil get a serous workout
For your eorveniance, the fallowing examples the orginal chord progres:
sions (what you'd normaly 808 ina lead
substations ar incicated between the ri
the auco-oniy portion of our CORON
roto (neat bas) esi
3 See
Se
Pee
iatonic Substitution
When faced with chords that change ata rate
of one per bar, instead of playing the same
voicing of, say, Cmaj? foran entire measure,a
jazzer might altemate between inversions of
thatchordandthediatonic7thchordonescale
step higher. When improvising chords over
Cia, then, try alternating between Cmaj7
(C-E-G-B) and Dm? (D-F-A-C) woicings
1}, This harmonizes the C seale with just two
chords, bothof which workover astatic Cbass
note. Fig.2 uses G7 and Am? inversions as
subs for G7.
The previous concept harmonizes melody
notes with rransparency—that is, uniformity
in sound and chord quality—which is unlike
playing a key’ diatonic 71h chords (Cmal7,
Dm?, Em7, Fmaj7, Gi
‘succession. Using this same idea
in chords over jaz’ ubiquitous -V-I change
lin Cy, requiring Em7 inversions over Din? in
measure 1. Think of these types of moves as
“cond fills"—melody notes on strings 1 or 2,
cupported by harmonic sounds. And again all
ofthis works overa single writen chord.
Quartal Voicings
Anoiertansparentharmonledevieonethat
daca ramatcalyaertesourd of eam
posers original chor inte sing quar
Totingsshuapes esling fom stacked
gs Charmouoethe seal stckingerery
fourth now oe diferent surg prov
HeeJoeDiriand Mk ter ue these shapes
asanothermeansoplyingdatonic Glee
ey) harmonio s that they dnt have ty
‘okt on inversions of te oil cord
Tnuaalvicingnamejory ofthe otesare
oftenconvenientyncatedacrossthesanete,
takngthemeasytogabin cheat impo
vison. Wats moral he gers eal
ing fom harmonizing a majorsele (ay)
wilwvkin ary mod etd oat See
Dotan G ican, et meaning they ca
be used as substues in alee om
Cina) change 51
Chromatic Concepts
AnytimeadominantrtachordisusedinaV7-1
comtes (G7-Cmaj?), that chord is knawn as a
functioning dominant. Is existence paves the
‘way for alison ofchord substitutions, particu:
laty rtone substitution. (A witomei the inter:
valbetween twonotesthatarethreewholesteps
apart, Other names fora tritone are 5/¢imin-
Ishedsthand#4 augmented 4th, In Figs.64-D,
the G7 chord (G-B-D-F) of a Dm?-Gi-Cmai?
change i replaced with a dominant 7th cord
auitone away, DHT (D>-F-AKC)
‘As Fig. 6 shows, superimposing DS7 (gui
1a) ver G7 (bass guitar o plano) supplies bip
altered tones like the‘ (D> against G7 and 38
(Ab against G7)—notesjazzers use to add ten:
MAY 2008» @1 The Magazine YouCan Play 35 sionto functioning dominantsTrtone substitu-
tion works because both dominantchordsshare
thesamedrdands7th—intheeaseofG7andD>?,
te notes (Ca) and Figs. 7A-D illustrate more
fingerings for these sounds. Note that some of
the Dim7, G7 (orDA7, and Cm)? chordsinclude
fextensions—9ths, 11ths and 13ths.
Diminished 7th Chords
Afunctioningdominant can alsobe replaced
with a diminished 7th chord constructed
from the 3rd, Sth, b7th, or 1th ofthe oigl-
nal dominant chord; in place of G7, you'd
play B°7 (B-D-P-Ay), D°7 (D-F-Ab-Ch), E'7
(P-Ab-C>-Bbb), or Ad
Figs. 8A-C, when these chords are sounded
‘over a G bass note they combine to imply a
(G79 chord (G-B-D-F-Ab). Since diminished
7th chords are symmetrical—each tone is a
‘minor 3rd apart—an inversion results every
three frets, using the same fingering.
Figs.9A-D depict ourii-V-I change in with
‘each G7 chord being teplaced by a diminished
‘th chord. Again, over G7 these chordsaddasin-
slechromaticnotetotheppicture:Al. Togetmore
innimate with these sounds, create your ownii-Vs
by following up each ofthe Dm? (Dm9, Dm)
fingerings ofthe previous figures witha dimin-
{shed 7thin place of G7; then resolve to Cmai7
One-Chord Vamps
Now lt look at ferent ways to combine the
aforementioned subsutons inosine chord
Tek you wil whichare great or dealing with
times when a single chord (agin ina chart of
ead set used for an entire esse. ign
TOA-B dress up a G7 chord (on two diferent
string sets) by wsng the jim chord concept
(hr long wi an "7 in passing fr cho-
ina anda ns eng when payed
Gera Glass note Figs, 11A-B feature similar
ina? move. thsi wth Dr i. and D7,
areleappedof th quart woiings
W2-Bar Jazz-Blues
Fig 12 plugs the previous chord-sub concepts
ina 12-bar jazz-blues (again, note the original
chords overhead), The figure begins with Fig.
10A8G7 move, whichis tansposed—shifted up
to the fthfretto outline C7 in measure 2. In
‘measure 3, a stock G7 shape appears on beat I,
followed by descending quartal wicings (from
G Mixolydian) that set up measure 4's D7.
Gi change. Here, sidstepping—approaching a
targeted chord from a half step above or below
(AV7#11 usedabeatbeforeG7}—andiritonesub-
stitution (049 for G7 impart hip chromatics.
‘Measure 6 features @ move similar to Fig.
108, only its been transposed—moved down
to the 3rd fet—to ourline C7. For measure 6
#7 chord, each inversion is approached from
ahalf step below, hincing a the C# whole/half
diminished scale (CH-D#-E-F#-G-A-At-B8,
Meanwhile, measure 7's G7 is colored with
36 GUITAR ONE « guitaronemag.com « MAY 2008
o
x,
Ce
ad
pea
EVI}
= EEEEEEEEEEE REEL
pei
‘Ban (again, lending G9 sound), F/G (akin to
(Gasust), andG7 inversions G/F) alongwith the
chord concept (Am/D). Measure alters E7 to
9 by way of F°7, B'7, and GF"? chords
‘Measures 9-10 feature a i-V (Am7-D7) in G.
The fist ar is modiied with ali? chord appli-
cation (Bm? subs for Am?) and diminished 7ths
(CF. The D7 measure opens with a tasty DS
shape, then morphs into diminished 7th shapes
(FF7 and A") and, finaly, an A’ (atone sub).
Measures 11-12 feature the G7-E7-Am?-D7
change of bars 7-10, only progressing at two
chords per bar. Highlights include sidestepping
(P7and E547, preceding7andD7 chords.respec-
tively), plus the A/G (or G5/98L1}, which antici-
‘pate the rerum of G7 atthe top ofthe form. 3) “HUTT PO
Playing the Blues With Pick a Fingers
By Chris Buono
HQ
UL
fi picking fala “pick nd fingers’ mvlves a combination of pick nd geste playing. Whie most comes associat with county and buagrass the
technique can b usd to make Icke and feof ary je sound move cle. An not anly tha, but hyd picking an open the door to paying hinge tht up nti
raw you may have conscered ou of your reach Fit hings fst, hough In this eson, youl lea hybrid pckng ae fire int the most fundamental ec
te ular sys: blues From Stevie Ray Vaughan to limy Page, most blues ard ives ock ayers have at lest a aw kl yb picked moves in thee sesena
‘whether smooth 7thcherd rs or bam-buring superbe icks. Now, e's werk on geting ths essential chnique under your agers
TEETER EEO
Fig. 1 is based on bars 1-4 of a blues pro-
gression in. Forthedyads (two-notechords)
In bars 1 and 2, use yous plectrum (*) to
sound each 4th-string note and your middle
finger(m) topickeach 3rd-stringnote.Besure
toformand hold ahook-like shape with your
‘middle finger, so thata portion of the nail, in
addition tothe fingertip, makes contact with
the 3rd string. In bar 3, add your pick hands
ring finger (a), to pick the three-note A? and
E7 chords. Andin bard, add yourpinky(e)for
the four-note AL chord,
MAY 2000» @1 The Magazine You Can Piay 29 ig. 2is reminiscent of the Allman Brothers!
take on T-Bone Walker’ "Stormy Monday” As
Indicated, pick all ofthe sliding chords with
your middle, ring, and pinky fingers. The sin-
gle-note lines, meanwhile, should be played
‘with thepickand middle finger. Play thisfigure
sloviy at frst, striving for smoothness, as well
‘as equal volume between the single not
the chord stabs. Then, try playing full
blues based on the partern. (For the V chord,
'DG, simply move all the notes in the first C9
barup two frets)
Some rif—such as the Texas-style boogie
moves of Figs. 3A-B—demand to be played
with hybrid picking. Here, each downbeat
requires a downstroke ofthe plectrum, while
the*and” ofeach beat—which should be given
lite emphasis, for a sassy groove—is best
picked by the middle finger. In Fig, 34, barre
‘your Ist finger across strings 5 and 4, so chat
yyourcan smoothly transition between the 2nd-
{et B and E notes on beat 3 of bars 1 and 2
‘Also, ook outfor the wicky position shiftarthe
beginning of Fig. 38.
For some single-note lickage, play through.
the ybrid-picked pentatonic scales ofFigs.4A—
B, adding slight emphasis to each note that’s
picked with a finger. Then, try playing the Og
Uuresusingstrictplectrum stylealterate picking
(down.up. down, etc)—you'lhearacooltextur-
aldiferenceberweenthetwo pickingapproach-
es. Next play Figs 4A and B with hybrid picking,
but swap each finger-picked note for a pick-
stoke, and vice-versa to increase your versatl-
ity Then, try hybrid-picking some of your awn,
favorite single-note lines and licks.
Bocause it positions your pick-hand fingers
{in an economical fashion, hybrid picking can
‘make an impossibly fast lick play lke butter.
Putsimply.your pick ean never travel faster to
location that finger already occupies. Take,
forinstance, the Danny Gatton-inspired lickin
Fig.5. In bar I (starting at te “uh of beats 1
and 2) your pick hand's middle finger should
be siting on the appropriate string, in hook
formation, in preparation for those pivoting
4ths, Also, for maximum efficiency, be sure to
apply rolling fet-hand 3rd finget.
Aer listening to players like Stevie Ray
‘Vaughaniand jimmy Page, youmightbe thinking,
‘youll neverhave chops ike that. Bury digging
into Figs. @4-B. Check out how Fig, 6A takes a
standard blues ickand applies your pickhand’s
‘mide and ring fingers. allowing forgreaterease
‘ofexecutionat highertempos. Have funwith the
Page-approvedlickin Fig, 6B.Asindicated, begin
the figure with your pick hanels middle finger,
and give some extra force to your downstroke
for that 7dr fretD.
Figs. 7A-B Incorporate all of this lesson’s
hybrid: picking techniques into two C minor
blues icks—the first beingan intro; the second,
‘a tumaround. The tonal differences beeween
the picked and hybrid-picked notesinFig. 7A—
40 GUITAR ONE « guttaronemag.com «MAY 2008
jf
ae
suchas the triplet on beat? of bar 1—makefor gers lets you blaze through Fig, 7B relentless
a compelling entrance. AC the same time, the _pitch-matchedbends, which providethedrama
‘economical positioning of your pick-hand fin- necessary fora memorable ending. 3 By Tom Kolb
Jor oar, gutarets of questing
rare have explo the dak ars
rysterous qualiis ofthe Phygan
trode. Vniage peychedeic bands
the Jellerson Aplane ard Cuicksiber
Messenger Senioe often uted iin thei
Mi Eastr-favered jams; ezuson
_gounreakers I Di Meola (pictured) and
John MeLauphin mapped out he mode tor
‘he logon ofectucse pliers who followed
‘he ead: and many of the uses i
cflbands such as Megadeth Metalica
‘Slayer, and Sapura ave Pheygian-based.
Inthe follwing mesial samp, wel
eramine thi exo sound na vanity of
styles. Ton we'ltop ita of witha
‘ming, tusery seeking accuse sole
CIEE Men ee ese)
te
Cad
CT
Ca
Ld
7
{ee
= —
The Basic Construction
Pihyglan Is the third mode of the major
scale I, for example, you play the notes
ofthe Cimajorscale starting fom the third
scale degree, E, and ascend an octave,
you've got the E Phrygian mode (E-F
A-B-C-D). The intervallic structure is I~
$2-49-4-5-56-47—essentilly the natural
minor scale (or Acolian mode: 1-243-4-
5-46-17) witha 2nd, Confused? Well then,
lets ay a hands-on example
The open-position C major scale (or
relative A minor sale) patten makes an
excellent standcin for E Phiygian. The
descending run in Fig. | provides a basie
example ofthisidea, Play an En chord just
before youperform the ran, and you'll hear
the distinctive sound of Phrygian. Fig 2.
meanwhile isa sizzling Fé Phrygian (2.
G-A-B-C#-D-F) lickin the style of AI Di
Meola, Use alternate picking dig in hard,
and don‘tforge to paim-mateyourstrings
hear the bridge.
Altered and Modal Applications
Phrygian finds its diatonie home ove the
ii chord in major Keys (for example, A
Phrygian over the Am? chordin the keyof
Fimajon) andthe vehord in minor keys(G
Phrygian over the Gm chord inthe key of
Cin). in such settings, the mode presents
litle, ifany, melodie surprise (see Modal
Mastery” Lesson Lab, UN/00) But drape
Phygian over the chord in a major key,
and you gt exciting altered results 9,
and #5), as evidenced in Fig.3, where
Phrygian (G-As-BY-C-D-Es-1 colors the
V chord (G79) in the key of C major
Like a dog anticipating a walk around
the block, the Phrygian mode lives for i=
Sil progressions tharmony of the 3st and
2nd degrees ofthe Phrygian mode). ig.
straps theleashon Phrygian (A-B-C-D~
E-F-G) fora legato-fuled cruise around
Am7-Brmaj7 changes (7th-chordhaemony
of the Ist and 2nd degrees ofA Phrygian)
Modal Metal Madness
Though the metal-approved Fig. 5 starts
on a DS chord, the progression clearly
revolves around ES, with the F5 chord
suggesting E Phrygian (E-F-G-A-B-C-
D). The legato-enianced phrases snake
back and forth between 12th-position E
‘minor pentatonic (E-G-A-B-D) and 10th-
position D minor pentatonic (D-E-F-G-
©) boxes. (Interestingly, when combined,
both scales spell out the entire E Phrygian
mode.) This passage may look dauntingat
first, but its very pattern-oriented, Work
through itslowly, using the suggested fin-
sgerings, and you should be able to get it
up to speed in no time.
MAY 2008 > @1 The Magazine You Can Piay 43 The Solo
The 24-bar solo [Fig.6] isan uptempo rock
samba inspited by the acoustic stylings of
AL Di Meola. It's based on a colorful i-s1I~
j-bvii-i-sIL (Em?-Fmaj9#11-Em7-Dm13—
Em7-Fmajg#11) chord eyele harmonized
from the E Phrygian mode (E-F-G-
CD), Emi and Dmit chords bridge the
sections in every seventh and eighth mea-
sure, The entire solo is based on E Phrygian
concepts.
The solo opens with a simple motif—
four Es played in a row, The reason for this
approach is twofold: first, it establishes the
ey center (2};and, second, it introduces an
easily navigable melodic idea, a sanctuary
you can return to during the frenzy of things
tocome. The second measure features afla
‘menco-style double pull-off (F-E-D) that
nails the #2nd (F), Use @ 4-3-1 fret-hand
fingering for these pull-offs, The next two
‘measures (3-4) respond with a variation on
the opening motif three Bs played ina row),
as well as another double pull-off (C-B-A),
to bring out the 46th (C)
(Quarter-note triplets add rhythmic inter
est to measures 5-6, where an Em arpeggio
(E-6-B) segues to a backward/forward line
that toys with the lower regions of Phrygian.
Arapid:-fie legatolickon the 6th string —start
‘the sequence with your 2nd finger—sets off
‘a series of ascending scale passages in mea-
sures 8-13. The second passage (measures
10-11) is triggered by another double pull-
off (G-F-E), this time on the A siting. Use a
4-2-1 finger pattern here, (Notice thatwe vis-
ited the three-note motif again n bars 9 {the
note Bj and 11 (the note Bl) Another double
pull-off (-E-D) actives the third ascending
passage (measures 12-13), which culminates
‘on strings 3-1 ina rhythmic dance along the
notes of an Em? arpeggio (E-G-B-D). The
Em? theme continues in measures 14-15,
‘where it Is enhanced with additional color
nates (Cand A) This section isall playable in
7th position: just slide up momentarily with,
‘your ath finger to hit the initial high E
‘The solo now bullds toa frenzy. Here are
some tips to get you through the hot spots.
Perform both of the hammer-ons in mea-
sure 16 with your Ist and 4th fingers. This
will ease the necessary shift from 9th to
Sth position, Measures 17-20 feature some
speedy legato passages, butthey all sit com-
fortably within 12th position. Things get
pretty seary, though, in measures 21-22,
wherea slippery Em? shape iscyeledon the
{op two strings. Follow the suggested fi
hhand fingerings carefully, and it should all
work out well, Picking direction is a matter
of personal preference here, but you might
want to use downstrokes for the notes Band
D, and upstrokes forthe Gs.
444 GUITAR ONE « guitaronemag.com «HAY 2008
The solo goes out in a blaze of pull-off
glory: an Emaj? (F-A-C-E) arpeggio spread
‘outon the top ow strings. Be careful here—
especially if you're attempting this on an
acoustic gultar—or you may send your
4th finger into a painful fit of spasms. Go
slowly. If your hand isn't used to such a
‘wide spread, it may take a litte time to get
your muscles in condition. As far as pick-
ing directions go, try downstrokes to inl-
date the pull-offs and upstrokes to cover
the isolated Fs.5) ee et ot
Mery Fat TI)
GUITAP SCHOOL
By Adam Perlmutter
or these Guitar School essons, we've boon
fortunate to getup close and personal with
some ofthe worlds greatest payers. And
it's always surpriing to 200 how they react
when we tun the cans.on thee ners.
‘Some ofthe gutarite we tak fo, while erthusiag
tic and congenial, havea dificult tie articulating
the technical aspect of thoi artistry; they pro
fer to “ue play? On the other hand, azz guitare
Mimi Fox-who chai ofthe guitar department
at the Jazzechool in Berkley, California, and an
adjunct professor at New York University-ws
both choerul and knowledgeable in fring her
towaan, even though it was feat hing in the morn
ing, and was ahatf hour ate, Over the course
‘of about an hour, Fox demonstrated some of hee
‘advanced harmonic concepts, in both il chords
and single-not nas.
First, tellus about your latest record, it's a
‘owo-dise set called Perpetually Hip [Favored
ations Cool, I wanted tado something dif-
ferent and show the two sides I have, so on
the first disc I played originals with a group,
and on the second I played standards as a
solo thing like my mentor Toe Pass. Favored
Nations CEO) SteveVaiwas really supportive
Of the two-disc idea; I was lucy to be on a
label where the CEO is also a gultar player
Anyway, the band—Xavier Davis on piano,
drummer Billy Hart, and bassist Harvie S—
just played together so well, it like we were
reading each other's minds.
How about showing us some chord stuff?
often like to play parallel voicings. Here
IFig. 1}, (or instance, I use the same fin-
sgering for all the minor 11th chords—my
2nd, Sd, 4th, and 1st fingers, lowest note
to highest. Parallel voicings not onty tend
hip, modern sound, they're also easy to
‘move around on guitar. Also, I like 10 use
voieings with open strings, lke the D7susé
chord: And, obviously, being a jazz gultar-
Ist, 1usealotof altered chords, ike the Bb13
chord with the flatted sth,
How do you keep things interesting in
‘a harmonicaity statle context? Lers say
you've got four or more measures of minor
harmony. In addition to playing 2 tegular
Cm? chord, you could mix in any of the
chords from the C Dorian mode {C-D-F>
ConMUED OW PAGE 120
MAY 2006 » @1 The Magazine You Can Play 81 GUITAR SCHOOL
F-G-A-Bi|: Div, Fomaj?, F7, Gm, Am75,
‘and Bbmaj7. Another thing you could do is
stack chords in 4ths, like MeCoy Tyner did
‘with John Coltrane in the 60s. That way you
‘get all these interesting voicings—Cmll,
mil, Esmaj7#11, and so on [Fig 2)
Do the same concepts apply to single-
note lines? Absolutely: Ifthebassistisplay
inglines fromaCm7 chord, mightoutlinea
Galtered-dominant chord (Fig.3, bar2], or
even notes from another ke, like Es minor
HOWCASE LIVE
The IMWS is giving away $250,000 in cash + prizes!
NOW ACCEPTING ENTRIES! The 2006 IMWS
eatures showcases in LOS ANGELES, CHICAGO,
ATLANTA, and PHILADELPHIA and will award 2
nammoth Grand Prize at each show. This is your
ance to play In front of music industry VIPS
1nd win prizes that include enough gear to build
/our own home studio, a killer CD manufacturing
ackage, showcases at major music conferences,
housands in cash, and more!
—pisc maxens
one em
independent Music World Series
Ithe lowest note in each double stop of bars
Sand 4), Taking things outside creates alot
of tension. { think that although the notes
arent ‘correct,’ you should letyour eat—as
opposed to theory—dietate what you play
Here's another outside-soundingline overa
G7 chord {Fig-4]. To practice these ideas,
you might wantto tape some basslines that
you can play over.
How about some arpeggio-based fines?
OnethingIlike doingisaltering theV chord
‘with the superLocrian mode [bars2and 4 of
ENTER NOW!
Deadline for entries
is May 3, 2006.
‘ALL STYLES WELCOME
For more Information, visit
‘wwrwadiscmakers.com/tuture
oF call 1-888-800-5796
Bex CO)
Fig,5)—theseventh mode ofthejazzmelod-
ic minor scale (1-2-43-4-5-6-7], For alter-
ing any V chord, the appropriate melodie
‘minor scale’s tonic will be a half sten above
the chords root; staying in C minor, the
V chord is G7, so the scale will be spelled
Ab-Bh-Cs-Ds-Eh-F-G. This gers all the col:
‘orful tones: the 52 (Ab), 89 (Bs/At, +5 (Dsl
and#13 (B}.And here's something learned
from Wes Montgomery: you can negotiate
V7 chord with a mina: Sth agpeggio a half
step above the root of the chord, So, over
G7 chord, I might play an Aim9 arpeg-
fo [Ay-Ch-B>-Gr-Bh], Interestingly, all of
the same notesare found in the As melodic
minorscale. Fy the way, you can learn more
‘about these types of things in my Arpeggio
Studies or Jaz2 Standards (Mel Bay! book,
‘as well as my Jazz Anatomy interactiv
ROM set.
‘Any other C minor ideas? The Charmonic
minor scale [C-D-E>-P-G-A-B] works great
in aC minor blues, even though the raised
‘7th {B] might conflict with the Cm? chord’
rth (Bs, Ie really adds a litde attinade [Fig.
6]. But keep in mind that with all this les-
son’ ideas, you want to internalize them, so
‘that even without even thinking you'll end
up freely mixing and matching the different
colors when improvising. BY =F AA)
a8 Ya ees
In this newly discovered vintage interview,
EDDIE VAN HALEN holds nothing back as he
discusses the album that many feel contains
his most brilliant guitar work. By Steven Rosen
in many ways, Fair Waming was the least
understood of all the Van Halen albums.
Even now, 25 years after its release, we
tend to regard it simply as “dark Yes, i
lacked a Big Single, and its often overtly
fanky sound was unorthodox for a rock recced
Buta simple wade into its rivers of gultars reveals
plenty: inteligemty orchestrated thythm parts,
battling arrays of melodic motifs, massive walls
of ‘brown’ sound, and solos both gloriously and.
passionately executed
‘Much has been vritten—espectally in guitar
‘magazines—about the invention and imagina-
tionof 19788 Van Halen, and aboutthekeyboards
and charisma of 1984. But sandwiched exactly
between the two is a largely overlooked miracle
‘ofelectric guitar, a savage and compeling vision
from the most important instrumentalist to
‘emerge in the last two and a half decades
Backin 1982, Ihadthechancetositdawnwith
Eddie immediately following the release of Diver
‘Down, For obvious reasons, he was eager to talk
‘about that album, but he fel that in order to
put it in perspective, he needed to look back
‘one year at is predecessor. So, hunkered down,
{in the ving 190m of his Coldwater Canyon home,
twit frosty beers and mixed drinks flowing nicely,
hhevevisited Fair Warning, cevealinghoth thesecrets
and the sacrifices surrounding whats perhaps his
‘most brilliant work. Cutching an unplugged elec-
‘rieguitarthroughoutourconversation, Eddieoften
punctuatedhisresponses by playingthe various
weweredlscussing. Even acoustically thesebitsand
pieces sounded as bigas heaven crashing to earth.
‘Fair Warning was diferent from the earlor Van
Halen albums, On the firs three records, you tond-
edo minimize overdubs, while on this one seems
{YU were intent on creating multiple guitar parts.
Oh, yeah—that’ the most overdubbing I've ever
done. But it came out real good, I think Its just a
different approach, from my standpoint, and Im
very happy witht Talso love te solos tat played
‘on that record. In act, 'm not in the slightest way
‘unhappy with even one of them.
‘What was the reason behind all the overdubbing?
Did the songs seem to demand this sort of
rate treatment? I gota say tat, OK, Falr Warning,
‘moresothanany other ofourfivealbums,wasdone
MAY 2008 »G1 The Magazine You Can Play 53 Puna
mostly in the studio. In that way isthe com- litle countermelodies.
plete opposite of Diver Down, Another thing about Fair
‘Warnings that isthe most
‘You mean that the songs on Fair Warning expensivealbumwe'vedone
were worked up in the studlo? Yes. Well, | s0 far. Thats because it took
hhad some basi ideas. But we had just come longer finish—blame that,
off tous, and everyone was lke, “Whadda ya know is my fact
ot, Eddie?” So I showed them my ideas and ranted to approach it
‘we went from there. And instead of working differently: { wanted to do
them up before we went into the studio, ‘more verdubbing. and that
‘worked them out in the studio. That ma suff takes time. Al the par
the reason why some of my best soloing is fit, though,
on that recor.
T dont kn junds egoed out, but The way you start the solo
kind of amaze myself sametimes when [look In “Push Comes to Shove”
Dackat the muscTve written. thinkso much with those simple hamme
ofitis good. And with FairWarning, [came up ons and that minor feo, just
witheverythingonthealbum injusttwoweeks. sends shivers up the spine.
weighed only 125 pounds by the time it was I think that’s because it's a
one; | lost alot of weight and alot of sleep, break; everything ese stops.
because I knew it had tobe done. That’ the only solo everin my lfe—eacept for “Push Comes to Shove” was 2 very diferent
Take a song lke “Sinner Swing”"~thatwas “Secrets” [Diver Down|—that I semi-worked sound forthe band-sor of a Stones-y combi-
spontaneous, a fist take. To me,itsounds ike out I planned out the beginning of “Secrets” nation of RAB, funk, and reggae. I's almost as
themusicalequivalentoffallingdownthestai. _some,andespeciallythelastpart.Imighthave that song was a stepping-stone to creating
Tals like the sols in "Push Comes to Shove” done afew'takesofi and maybe one wasbet- “Seerets” Yeah, | know what you mean. What
and “Unchained, as well the one in“Hear ter than the others, but they were all basicaly {think about the band is that you cannot label
[About it Later” with those thesame, us you cannot call usheavy metal, you cannot
«qe.
Eddie’s Latest -
ETE ni
Cea uet toed
eer)
Palate ne
Cee)
154 GUITAR ONE « gutaronemagicom «AY 2008 Squier
caus progressive, you cannot call us mellow
youcannotcallus whatever you want. call
us, We do whatever we want to do, and thats
it—take itor leave i. Ifyou dont like t, you
dont ke it Ifyou do, you do, But we do what
‘wewant to do Period
How would you rate David Lee Roth's vocals
(on Fair Warning? The truth is, dont think
he sang as good as [ played. He took off
for two weeks after the tour, and again it
‘was "Whadda ya got, Eddie?” Like I said, I
had basic ideas for pretty much everything
that’s on the record, I worked my ass off on
that one, But I love it, is my life. Whereas
Dave, well. won'trag too much on Dave; he
pullshis weight. Mike [Anthony] doesn't He
doesnt do anything: he has no input what-
soever. But he has remodeled his whole
house and bought himselfa [Porschel Turbo
Carrera withthe money he's made off of us.
Whatever,
How, exacty, do you and Dave work together
‘na track? Do you present him with place of
music and then suggest melodies, and point
‘out places in the song where you hear a verse
‘orchorus? Here what happens:Icomeup with
the music—orat least 98 percent ofit. Ihave
every part and then Alex [Van Halen] usually
hears everything | come up with before any-
oneedse does. And then sometimes [producer]
Ted [Templeman}.Sothemusiccomes first the
rmusicis danefirst Then themelody is applied,
then the lyrics.
But where does that melody come from?
‘Depends. Dave writes 99.9 percent of the Ir
ies. Alotoftimes we dont lke a word here and
there, and we'll change it 1d say the melody
‘comes from Daveaiot, comes from Alexa lot—
NEY
A Step-by-Step Guide to Van Halen’s Jaw-Dropping Techniques Byle liner
1 1078, with th lease of ter set tod de
Me
Van Halon broke ut ofthe Los Angles cub cul onto the mansteam, While the Tap 40 it "You Rely Got
an explosie ake on he Keke clastc~contaned same of Eda Van Halen's radomark moves, twas the albus second cu, “Ezypon’ tha had the emer
gence of rack’ neweat guitar hero Ping vp where imvators ike J Hendrix Jy Paps, an Je ecko of, EVH used some unconventional tactriques-most
notably taping-to create a wid se tht woud foxever raise the bar on rock guar pag Infact his work an the ely VH recordings sl sounds fresh today and
hese emaine an essen study fray serious rock quits La’ bxeak down EVH's awesome sie
Tapping Techniques
Tapping ("2 in notation, “T” In tab) involves
using a pick-hand finger to sound a note by
yhammering con. When EVH tps, he uses his
Indes finget, keeping it straight for maximum
control. (You could also use your middle igen)
Ande palms his plectrum,sothathecan easily
switch between tapped passages and conven:
tlonally picked lines. Figs. 1A-B are inspired by
“Eruption” To play Fig. LA keep your frethand’s
Istfinger depressed ontheth-fret throughout
Aftercach 12h-Fettap sound theEbypullingof!
‘oitwith an upward lickingmotion ol your pick
hand, then hammer-on the 8h-fres G with your
4h Ginger. Repeat Based ona Buriad (B-DERS,
Fig, 1Bs played the same way
“Another EVE cappingapproach involves ped
ling in Fig, 2, he fet-hand pitch, G, zemains
constant (the pedal), while the tapping finger
playsanassortmentofnotes Fig.3demonstrates
anopposite approach: The tapped note remains
stationary while thefrethand’snoteschange Fig.
‘follows suit witha descending line similar to
156 GUITAR ONE « gutaronemagcom «MAY 2008
Pere ek) VHS finaltapsin“Eruption “Youtalsohear this
‘move in “You Really Got Mo" and “Tm the One;
‘where each in-position triplet is played rice,
then ina descending fashion ike Fig. 4
FVH also plays slides and bends with his tap
ping finger. Fig. 5 illustrates some tapped slides,
similar to those heard in “ice Cream Man." On
Fire and” You Really Got Me." Begin bypre-tret-
tingthe th-fret Ewith yourfrethands Istfinger
Next, tap the 2nd strings 13th-fet C with your
pick-handindexfingerslideup tothe 17th-fetE,
pallofftosound the sh-fretE then hammer-on
‘heath. ret Gwith your frethand’s athfinger. Fig,
6 demonstrates EVHsbend-and-tap technique,
asheardin"You Really Got Me," “Panama and
other songs. Begin by bendingthe ih-fret 8 with
your fret hand's 3rd finger. Then, keeping the
‘bend held, ap the Stet E(Soundsas Fs), and
palloffto the 4h-fret B tnow sounds as C4). For
Athelastnote,tap the 12th ret with your istfinger
asyourfrethand bends from the th fret, ibrato
‘with your ret-hand, Als, instead of picking the
fist note of Fig, 6, you might try sounding it by
flicking the string with your tapping finget.
On the acoustic solo piece “Spanish Fly.” EVH
played tapped harmonies, but ic wasn until
Fair Warning that he used ths technique with
his trademark eleere sound, most notably on
“MeanSizoot (see sidebar) InFig,7,afterplaying
thesth-fetC lightly tapthestring—donitpushie
tothe fretboard like you would:
12 fretsabove (de fet in pares
ingapitchan octaveighv. Asthelickcontinues,
repeat the process, seven frets above (the pitch
Is an ceva plus a Sth higher), five frets above
{oo octaves higher), and then four frets above
{two octaves plus a 3d higher). Fig.8 combines
tapped harmonies with bends, Here, youl need
to quickly touch and remove your pick hand’.
fingertip co generate each harmonic; the bends,
_meanihile will be executed with conventional
fretchand technique.
When tapping, EVH offen uses symmetical
patterns between strings. In Fig. 9 simiarto the
“Hot for Teacher” into, the fist note on each
stringisplayed witha 12th-frettap. Asyou ham
‘mer-on/pull-offthenotesatthe hand 7dhfres
(useyour Ist and ah fingers, respectively), make
sureyourfingersdontaccidentallyhittheneigh-
boring strings. Inspired by "Youre No Good,”
Fig. 10 uses this approach within a Sth-position
‘Arminor pentatonic (A-C-D-E-G) box. To play
the las not, simultaneously tap the 2nd string
(5th feo as your fret hand bends the string a
hole step,
‘58 GUITAR ONE « gutaronemag.com « MAY 2008,
The EVH Scale
The Eddie Van Halen scale, if you wil, Is a
symmettical,three-notes-per-stringpattern
that the guitarist uses for both major and
‘minor keys, Fig. 11 depicts the EVH scale in
E, (Aword of warning: Due to the inclusion
of contlicting degrees—#3 [G) and 3 [Gt], +7
ID) and 7 [D#|—its best to reserve this scale
for speedy passages in your own playing.)
Within the seale, EVH often uses six-note
fragments [Figs. 12A-D), either in passing
‘or repeated in position. Follow the indicated
pickstrokes, and consider slightly palm-mut-
ingeach grouping. ylelda tighter, punchier
sound. To see how these types of moves might
be stretched outinto longer lines—like EVH
often does at the end of songs, while bassist
Michael Anthony holdsdownalowE—check
out Figs. 13-14, You can also hear the EVH
scale in E on “I'm the One,” “On Fite,” and
“Ice Cream Man,” amongother songs; Eddie
|G TRACKS 37-44 ON THE CD ALL EXAMPLES ON VIDEO
| ee eS plays the scale in Bmon “Somebody Get Mea
Doctor." Am on "Spanish Fly.” A+on “Jump,
‘and C#m on "Source of Infection.”
| Quintuplets and Pull-Offs
EVH somelimesuses quintuplets—five evenly
spaced notes per beat—to transform fixed:
position licks into unorthodox-sounding
lines. Fig. 15, forinstance, depicts tapping
passage om the“Jump" solo, while Fig. 15Bis
modeled after “Spanish
Fy.” Practice these fig-
ures slowly along with
‘metronome, counting
‘one-two-three-four-
five, one-two-three-
four-five,” etc. to get
the proper feel. Once
you're comfortable
with the timing, grad~
ually increase your
speed until you reach
the suggested tem-
pos, Fig. 16 depicts the
scariest quintuplets
of “Hot for Teacher”
(beforetheband enters,
and in the lead break
before the solo)
‘Other classic EVH
solos featuring quinta-
plets include Eruption’
Fig. 17Al and “I'm
the One” (Fig. 17B]
Meanwhile, oneofEVHS
wildest quintuple licks—an open-string pull-
off passage fom" Eruption’ —isapproximated
in Fig. 18A. Again. follow the indicated pick-
strokes. Also, pay the Sth-fret E with your Ist
finger, and use your 4th finger for the &dh-fret
notes. Hg. 18B shifts this ick up two frets for
use in B-based keys (check out "Ti the One
and "5150"
‘Speakingofopen-stringpulloff,letsclose out
with some moves inspired by"Iim the One" Fig.
19| and another passage of Eruption’ [Fig.20)
Notice thatthe Ist-and-3rd finger pull-off pat
{em (to open stings) in Fig. 19isnealyidentical
to Fig.20, which stars the same move from the
Sa pre, geome
8rd stringthen climbs the neck, pullingoffto the ‘
‘open strings. Ako, note the assorted chromatic 5
notes—asthellickclimbs, the uppermost fretted 5
notes on strings 2-3 are E, FF, G, Gt, etc. 2
660 GUITAR OWE « guitaronemog.com “WAY 2008 Panini
[im snore involved inthe musi itself than any:
thing else
CCortainy, when you wore working on these
arrangements you must have heard melodies
running through them, ight? Infact manyofyour
guitar overdubs sound like they could have been
vocal lines. Yeah, but then, were coming t0 a
point cant alk about-which is Dave’ range.
When tm listening to Fair Warming, there aro
times when the only instrument can hear com-
ing out one side ofthe speaker isa rhythm gut
tar, or maybe drums. The bass Is almost nonex-
istent Right, i guitar, and nothingon the ther
side, Why dont I play you some ofthe stuf for
the album that] did a ome? And you'll be able
to hea, right cere, that just a bass straight
‘nev my goddamn TEAC four-track—and it tll
sounds better (than what’ on the album.
‘The guitar parts on the album are so structured
that it must make it infinitely more dificult to
perform them without the support of the bass.
Tedoesnit make it harder to play, because—and
Vell you the honest-f0-God uth—since day
one] never liked Mike sound and could never
hhearhim. Ican never even hear him when were
playing, In fact, tive, all havein my monitors is
Al.alite bit of Dave's vocals alte bit of mine,
lite bit of Mike’s—and al [hears myself and
‘my brother Is the same in the studio
‘Does it help, then, when tying to pul off these
partswithoutthe benefitotabass track, tohavea
highly developed sense of rhythm? I oritknow
But Iam absolutely a rhythinie player ! work
more off of rhythins than off of anything else
Naw, im not saying Ti not melodic; I ean be if
want tobe. But most of my spontaneous
stuf not melodic although I'M have an
‘dea where its going: high, low, or some-
‘wherein between. That’ why like "Push
Comes to Shove"—is very melodic. And
Secrots'isthesame way,andmaybeeven,
the solo on ‘Dancing in he Streets"
The other night, actualy, [ went over
to Frank Zappa's house [Eddie spent a
fair amount of time ther while working
‘on music with Frank’ son Dueezlt—Ed)
and played him Fair Warning all the way
through. And Franktripped, He toldme,"L
thought you guys were just another fsck
inv AC/DC." When I talked to him on the
phone a while back, you know what the
fist thing he said to me was? He sald, “Thank
‘you very much for reinventing the electric gui
‘ar” I dontt know if you should prin that, but
thatis what he sad.
‘ell me about “Hear About It Latec” There are
tons of guitars on that track. Yeah, That was a
heavy problem when it came to the mix. Ted
[Templeman) and lengineer! Donn iLandee}
were freaking out—T did so much guitar stuf
thattheydiintknowwhattouse or where touse
1k. And Dave did so much screaming and yelling
ONE
FIVE BEST,
MUSIC.
~ PROGRAMS |
INTHE COUNTRY
Or Be Er
ill
Pr
Cra)
SE
190 GUITAR ONE « gutaronemag.com « MAY 2008 ‘ower some parts oft that they didnt know what
‘touseof whatever.
‘The Intro of that song Is a pertect example
of those mountains of guitars. It segues
{rom dark arpegglated chords into a hellish
‘explosion of strings. In the beginning its a
clean Fender Stat. The whole basic tack was
played with a clean Strat with a flanger on it,
plus my regular red-and-white main guitar,
‘hich I used forall the other stuf, like the
twemolo-bardive bombs, And at the very end
T didn't know what to do, because Dave was
yelling and screaming aver i. So what they
‘ended up doing, | think, was taking out the
background vocals and the rhythm guitar,
so that it was just bass and drums, And then
they slowly faded inthe rhythm trackand the
background vocals and that last bit on the
high strings. [did alot of overdubbing on it
‘andthad a great time. Butanyway, compared
to Diver Down, Fair Warning was a very .. I
donitknow howtosay t—the two recordsjust
dont seem to fit together.
SE QNuaen
‘Youmean there's nocontinulty botwoon them?
Right. [listened to Fair Warning again the
other night and was blown away. Im going,
Wow, its alot fucking better than | thought
it was, But Diver Down seemed to have more
band atitude, more Ted and Donn and the
‘group, whereas with Fair Warming we were
‘more—what's the word I mlooking for?—sep-
arated from each other. Put it this way: We
‘werent really together asa band for that one.
Tome, personally, itwassitasimich ofaband
thing as Diver Down,
“Sunday Afternoon in the Park" was the sort
of next step ur, keyboard-wise, from "And
the Cradle Will Rock” Yeah. [do alot of weird
things. On “Dirty Movies" I even pulled out
my slide, which T hardly ever use. And the
band is kind of a democracy. What I want
{is not necessarily what the rest want. [am
only one out of ... OK, there's me, Dave, Al,
Mike, and Ted mainly. Aland Imostly agree on
things. Oh, and please let me mention Donn,
Just quote me saying, “Donn isthe best fuck-
DOWN ON MEAN STREET
How to Play Eddie Van Halen’s Wickedest Tap-fest
majors of Van Halen's David Lee Rth-era (1978-1984) albumen aqui showease tack
Van Halen ihad “Espn Van Halo I “Sparish Fy" Diver Down, “Lite Guta” and “Cathedral”
and 1984, “Hot fr Teacher Though al of these gems vce around EVH' tap techni, none
invted the token of Fai Wang's "Mean Steet” tanscrved in fllon page 96. Dalinaconsen-
tv gin ievet-arund 8, with sighty scooped mide and boosted highlowe-and have ti.
Figs. A-Cshow theintro$ tapped doublestops (LA late yourindexfingoracrossstrings 1-2),
thumb-tappeel bass notes (1B: tap withthe side of your thumb), and fre-hand-muted slap (IC;
slap the neck using clapping motion) portion, Practice alternating between the double- stop.
taps and thumb-tapped bass note (Fig. 1D), then plug them into Fig. 2 16th-note rhythms.
Final Fig 2 16dh-note rests are filled in with fret-hand slaps in Fig 3.
eS
resule g
To
Rae AU aN eet
MAY 2008» @1 The Magazine You Can Play. 139, ng engineer alive." And also:"Ted isthe best
producer.” But Donn is just amazing.
‘You played me basic four-track recordings
‘of some of these songs in thelr early stages,
‘and your sound was already there. What Is.
itvexactly, that Donn does to shape the track
further? He believes in me, put it chat way.
He likes what like. Donn isthe interpreter.
All Ted does is say, “Cut outa few bars here
and there,” and that’s it. Which is impor
tant. But when you read reviews and stuf,
and they're saying that "Ted is the band’s
sound,” Ted had nothing to do with mixing
this record, In fact, Donn has mixed every
fucking record so far. And I was in on Fair
Waring and Diver Down,
‘You obviously feel very strongly about your
work on Fair Warning. What has been the
response from fans and everyone else?
What bates me is that everyone’ opinions
are all weirdly different from each other.
T've heard that this album is “hard to relate
SP UNLEN
to" compared to anything else we've done.
dont see that. To me, it was more like the
first album than like Van Halen Il or Women
‘and Children First. was mote steaightfor
‘ward rock. Like“Unchained—e'™mon, that’s
2 blazer! The only different things, to me,
‘were “Sunday Afternoon in the Park’ and
"Push Comes to Shove." Everything else
sounded a Jot like “I'm the One'—a quick
boogle. "Hear About It Later” had the same
beatas"Ain' Talkin’’Bout Love.” Ifanything,
Women and Children First was the albu 1
thought would strike people as an example
‘ofus steppingout, because of" Could ThisBe
Magic’ and“In Simple Rhyme” and things
like that. Bu everybody is going, "Wow, Fair
‘Warning’ kind of a weird album.” And I'm
thinking, What the fuck? Ate you looking
at the album cover [designed by Alex Van
Halen—Ed) oF listening to the album? 1
think maybe the cover had a subconscious
influence on people's minds, ust because it
‘was so bizarre. But the music, think, was
very straightforward. 3>
igs. 4A-D isolate the intros tapped harmonics, ea
ch followed by a hammer-on from out of
nowhere onthesame tring Foreachhammer-on, slam your fret hand’ 1sfingerontotheind-
cated fret Fig 5 puts these bits together, while Fig. 6 presents the variation used at each repeat
(replacing beats 2-3 of Fig. 5). The into closes with slurred double stops paired with tapped
harmonics [Fig 7) For the opening double stop, hammer your Istfingeracrossthe Sth fet, and
hammerthe7th-fet double stop witha d-ngerbarre. These double:
opsarethen pulled-off
hhammered-onin alternation aftera double-stop touch harmonic. Angle your tapping fingerin
manner similar to Fig, IAand use to slap the harmonics across the indicated frets. —or
pe
64
:
= sae
Teele
Trt eto
fs 8 Stas
WWW.PLANETWAVES.COM
AY 2008 » @1 The Magazine You Can Play 135 ALINE BLUEPRINT
Coheed & Cambria
By Michael Ross
orocklives,thanksinpartto
1 upstate New York quartet
ziovm as Coheed & Cambria
‘Tho good news for guitar fans is.
that Coheed replaces prog’ ts
al noodling keyboards with the
guitars of Claudio Sanchez and
Travis Stevee. And what guitars
they are—throughout their Int
est album, which bears the aptly
ver-the-toptilecoadApoitor'n:
Burning Star i Vol.1: Fram Fear
Through ihe Byesof Madress, the
dino skernately add acoustic and
lectric textures and set off rag,
ing storm of power chords end
pyrotechacs, The enviably tight
playing on their 2005 DVD Live
{21 fhe Stavland Ballroom proves
thar this band is no mere suo
Travis and Claudio use kden-
tical amp cigs, consisting. of
Bogner Uberschall 100W heads
and Mesa/Boogie 412 cabinets
loaded with Celestion Vintage
30%. The cabinets are covered in
white felt, onto which pictures
are projected during the show
rdi's guitars include Gibson
Explorer, Exploeee £2, and EDS:
1275 doubleneck models and
age: asc 100 het
Meaeage 2 sat
4 prototype of Taylors 7S olec-
twic/acoustic. Tavis wields :wo
Gibson Les Paul Standaris—e
tobacco aunburst and a cherry
sunburst—and a Rickenbacker
Jap steel (tuned to open F).
(id-sehool cables eonneesthe
guitarists wo thot: pedalbaards
Claudio’ consists of Line 6 FMA
Fier,D14DelayandCrnchrone
pedals; a Dunlop Dimebag wah)
‘overdrive; an Blecto-Harmonis
Holy Grail pedal: Toss NS-2
joise Suppressor and TU-2
(Chromatic Tuner pedals; and a
Bogner amp channel switcher.
Tavis’ board features Boss NS:
2Noise Suppressor, RV-1 Digital
Reverb, PS-5 Super Shifter, and
TU-2 Chromatic Tuner pedals:
a Dunlop Cry Baby wal; a Heil
Sound Talk Box; a Line 6 ap
Tremolo; a Whislwind A/B se=
lector (to switch from Les Pauls
to lap steel); an EBS DynaVerb;
and a channel switcher for the
Bognet. A Voodoo Labs Pedal
Power unit powers the appro-
priate pedals, Hoth guitarists
lise EMG ls in the neck post
tion and EMG asin the bridge
position Strings are exclusively
ay
‘80 GUITAR ONE « guitaronemag.com «KAY 2008
oue
Cheney
ce
Cores
conor
Trav’ tl
a “Going Down” Freddie King
HEY NOTES -coing Dow i
a textbook of classic blues
phrasing, employing the ven-
erable minor pentatonic
scale—in this case, the 10th-
position D-minor box, with
4 13th-position extension on
thetopstrings. Asshown inthe
accompanying figure, Freddie
King roams the upper half of
the scale, exploiting the sting
and bendabitity of the skinny
strings. Three of King’ favor
ite techniques are shown here
as well: the opening hammer-
fn (from C to D); the bend to
the high A; andthe final
pullotthomDioGat [3m
the end. Scan the tran-
scription for the many
places where two 16th
notes are followed by a
BEM
timate
staccato eighth—one
{or his subtle bends, many of
‘which are virtually impossible
to transcribe. Some are mere
quarter-step tweaks,
while others (asinmea-
sure 5) are emotional
fover-bends that practi-
cally choke the neck of
his guitar. On the gear
tip, dig how his hum-
oof King’s trademarks —¢aiectin __Ducker-equipped temi-
onthistune.Alsolisten @tjpORecorés) hollow guitarand tight-
sounding yet overdriven amp
combine to create an almost
‘metallic resonance whenever
he goes for that high A.
BIG PICTURE king was at the
top of his game when young
white audiences in the mid-
"60s rediscovered his play-
Ing. He had been working on
a long string of instrumen-
tals (including “Hide Away,”
appropriated by Exic Clapton
when he was with John
Mayall’s Buesbreakers), and
hhe wasnt averse to the relent-
less straight-eighths rhythm
of “Going Down,” supplied
by pianist and producer Leon
Russell and two drummers.
King's ability to play memora-
ble melodies isa lesson every
guitaristcan leara from,
“Cold (But Fm Still Here)” Evans Blue
KEY NOTES rinyttim guitarist
Parker Lauzon kicks the song
off with Rif A. Use the fnger-
ings indicated in Fig. 1, and
play the rif’ next two bars
in a similar fashion; doing
so will keep your hand in a
comfortable span of one fin
ger per fret. Also take note of
the tuning: DADGAD, down a
half step. The major 2nd inter
val beeween the 2nd and 3rd
strings allows for some shim-
ering chord voicings, such
as the three-note Gm(add9)
cluster (G-A-B») in
measure 4. The rest
of the rhythm parts
are on the lowest four
strings, aad might feel
and sound familiar if
Center oee be
Pa amo
7S
ere? Es :
BIGPICTURE Lead guitar-
{st Vlad Tanaskovic uses
effects for both extreme
and subtiecoloringhere.
Hispartsduringtheinto
andverses are drenched
you've had some expe- __AIBOM in reverb and allow very
ence playing in drop- The Melodyend ictle unaffected signal
D (strings 6-3 of which
the Energetic i
nerpete | to come through, with
are also tuned DADG). "“(Hatywood) the result that each note
becomes a distant-sounding
wal. For the pl-muted ris
ineach verse, a dotted-eighth-
note (643 ms) delay with asin
fle repeat will help to fill some
Space without taking over the
sound, With so many parts lay-
ered throughout the song, It
‘would be tough to cover every=
thinglivewithlessthaa tree or
{our guitarists. Consider going
for the reverb atmosphere in.
fone verse and the clean, muted.
part in another. To condense
the harmonized riffin the see=
fond verse to a single part, try
shifting the higher part up one
string, and then combining it
with the lower notes, as shown,
in Fig.2. ‘JORDAN BAKER
MAY 2008 @1 The Magazine You Can Play £3, “Mean Street"
KEY NOTES air warning
belongs right beside Van
Halen and 1984 as a must-
have album from the band’s
David Lee Roth years, and
“Mean Street’ is one of Eadie
Van Halen's greatest accom-
plishments. The intro finds
the guitarist usinga faux-slap
technique forthe syncopated
16th notes. To simplify things
here, try splitting the one-bar
sequenceintoacoupleoftwo-
beat phrases. Also, makesure plus a Marshall-style high-
youkeepyourpickhandnice gai
andloose—youneedtoreally for
fet i ly when playing
this at tempo. To come
Close to EVH'slegend-
ary tone, you'll want
to have « bumbucker-
equipped solidbody
‘wth aTocking tremolo
inamp, cranked up. Finally,
the exaggerated dips and
dives throughout the
solo and in the outro
sections, don't be shy
about laying hard on
the whammy bar.
(NG PICTURE vis rurnea
system (preferably set pairwaming the electric guitar Sato
up with light strings), (WamerBros) a sonic weapon
his
Teads, but what often goes
overlooked is his command
of rhythm playing—in par-
ticular, his ability to com-
pose inventive parts simply
by manipulating two- and
three-note triads. The fig.
ure above shows some ways
in which EVE might shift in
and out of octaves and triad
fragments. For bar I's sliding
octaves, use your 3rd finger
for the lower note and your
1st finger for the higher one;
after the slide, quickly add
your 2nd finger to the 3rd
string’s 11th-fret F4, which
implies a D major triad (D-
FLA). Next, roll your 3rd fin-
geronto the 12th fret to barre
theD, G, and B strings for the
sgrace-note slide up to the A/
E triad (E-A-CB).
“Rock & Roll Band” Boston
NEYNOTES -nockanott Bana”
Isbuiltonseveralbasicchords
that have been interspersed
with bass-like single-note
lines; the resulting figures.can
beplayed with your frst three
fret-hand fingers. Far more
critical is your pick-hand
technique, which requires
hitting only the appropri-
ate strings or string sets and
attacking the numerous syn-
copations and anticipations
ee Set ee ee ee See oe
— i}
——————
correctly. Guitarist/master- above figure demonstrates
mindTomScholzoverlayshis this approach in E major, the
trademark harmonizedJeads primary key of "Rock & Roll
in Riff A, and again
‘toward the end of the
Solo {1:52}. One simple
way to build your own
harmonized leads is to
play a scale on a sin-
Lge
Boston
ro)
ale string while adding.
parallel harmony on
the string above. The
Band.” Once you're
comfortable with the
soundandnotenames,
‘get yourself a picking
partner and coordi
nate your bends, ham-
‘mer-ons, and pull-offs;
beforelong, you too will
have people dancin’ in
‘84 UTTAR ONE‘ gutaronemag.com « MAY 2008
the streets of Hyannis.
BIG PICTURE raicty years
after Boston's debut release,
Scholz’ sonic vision remains
‘a benchmark of classic rock.
Checkouthis use ofmajarkeys
and ability to move effortless-
ly from one key to another
(Rock & Roll Band! is primar-
ily in E major, yet the solo is in
4 major). And dig that tone,
most easily copped by plug-
ging a solidbody with a hum-
bucker into a Rockman head-
phone amp (currently distrib
uted by Dunlop). For a more
homemade recipe, tryusingan
octave-adding distortion pedal
lke the Foxx Tone Machine
(or, for those on a budget, a
Danelectro French Toast) and
feed it into a ght chorusing
effect. —nouelas aupwin Cac
remem
ata
164d the Tone!
As Recorded by Freddie King
(From the Hip-O Recording ULTIMATE COLLECTION)
Transcribed by Jordan Baker Words and Music by Don Nix
Intro
Moderately J= 84°
oy as
4 Iss.
Gre 1 (le) J
mbH
u
ez
A
ra eee
et
ior er ui, ne a erWaDD WE
er rg Reais Udo aon
ret a oa concen
May 2008» @1 The Magazine You Can Play 85 iho. ir
Verse 2
a m
ys “
i i i
} f
el
0
8
e
wn ”
ep
Sr
Se i
=
S—— ; eos Going Down
Lee Oe Do igrpe Bae LE
ee She SS ES {SS
AigF iy yt nog) omen Ps Py
ani A ® + 2.35, sur
02
2 “ ae,
1
. MAY 2006% @1 The Magazine You Can Piay 87 power
104 1 “i a
ae
SNS AS Hy
ee 6p ke ep phe 9 On,
———— ee
pnd aed eh th ited pe eed ify ole
188 GUITAR ONE « gutaronemag.com « MAY 2008, . Begin Fade
Lot
ate +
we — ate tw
1 =
Lyries
Verses 1.83
{Em goin’ down, I'm goin’ down, down, down, down, down,
Yes. I'm goin down, 'm goin down, down, down, down, down,
Yes, I got my ig fet inthe Window, got my head Ox the ground,
Verse?
Let me dows, and close that box car door,
‘Yes, letme down, and close that box ear door.
‘Weil, I'm going back to Chattanooga, and sweep up so sory's foot.
"MAY 2006> G1 The Magazine You Can Play 89 COLD (BUT I'M STILL HERE)
As Recorded by Evans Blue
{From the Holpwood Recording THE MELODY AND THE ENERGETIC NATURE OF VOLUME)
Transcribed by Adam Perlmutter
DADGAD unig, own 1/2 ep:
(Go 19g) Dea DFO ADS
Words and Music by Evans Blue
Intro
‘Stow Rock J =70
Dm
G2 (ist avy reverb)
4+
Coe z ¥
Gad)
(3 (lean)
40 1§ a0
crore ma nmrreaerny ees enmeenovenan
(90 GUITAR OME « gularonemag.com < MAY 2008
“0 (o14)
Verse t
ie |: 0 RIA ime)
Gu dimer
ua
‘clay RAT
a
i
- ee
tt SS = AS a eae
v SSS a —
= — 421 42—12—10- [10 — + =
be Dried) ap Ds Bs css Bie? Ds os Sos
7 1 rn ‘i
rors r= ra =
——t a= ut 1915 — 16 ai ee er
lowe
as
mp
x —— 2 ot a 0 ot
eo 4 z 10-1 ee
oes Rey Fiat nd Rhy Fle
a
\
— 5
—
ee
t Ry SEY i
(Gen. 5 & 7: w/ Ry. Fig. & RUD tines)
bs Fs Ds cS ps Biewa Dsos FS Gs os Ss cs ps
r
To Coda @
Bhsus2 Ds as Boos bs Fs ps cS Ds Bias Dsos FS as
ed RUT
r 4 =
= 2 10 oe 10-12 = —_s
a a fei pee z fre 1 ae — 15-15}
(92 GUTTAR ONE « gutaronemag.com «MAY 2008 105)
Verse 2
rw) Rifs AB Cine)
Gin. 68 Facet 7
ps
ous Qo ——~ >
fro
ow?
fone
(cise) RITE,
cl mp
—
3 ; -
= a
a
: on or
loco
Rd RINE
2 -
a aA oop» pp ep 6
Cag agg
DS. alCoda
» Dm Gadi) Faces Gold (But im Stil Here Seem each
Coda
(=
Interlude
Weisel i effec (en meas)
ser GaSe
»s ps Bis bs
= Se
t =F £ PEERS
(96 GUTTAR ONE « guitaronemag.com Om
oe
: ~
Bn aes =~ ~ =~
ie . ws ty - Ny £. i *
Se ies Ss
fe : t t t ;
seanannnane —— f j
= ; SO eS
112 GUITAR ONE « gutaronemeg.com « MAY 2008, ieee Rock And Roll Band
DS. alCoda
(take 2nd ending)
Bs Bs AS BS Est
—~/ / | » IT TIT 1-
ate
et ee ig Sr next 3 bass
Coda
1
$ ——4
MAY 2008> G1 The Magazine You Can Play 113, Rock And Roll Band
GNX4 powered
Premera peer)
Verse 1
Well, we were just another band out of Boston
On the road to try to make ends met.
Playin’ all the bars, sleepin’ in our cars,
‘And we practiced right out in the street
[No, we didn’t have mich money,
‘We barely made enough to survive.
But when we got up onstage and got ready t play,
eople.cume alive
Everybody's wal
Gettin" crazy, anticipating
Love and music
Pay, pay, pl
Yeah, yeah, yeab, yeah,
1114 GUITAR ONE « guitaronemeg.com «MAY 2008
Verse2
Dancin the srets of Hyannis
We were geting pretty good athe game
People stood init ad dit Seem to mind
You'know everybody knew ou ane
Livin’ on rock oll music,
Never womy ‘bout the things we were missin’
‘Whcn we go up onthe stage and got ready to play
Everybody istved
Verse 3
Playin’ for # week in Rhode Island
‘Aman came Wo the stage one night.
He smoked a big cigar and drove a Cadillac car
{And said, Boys, Think this band's outa sight.
Signed « ecord company contract,
You know I've got great expectations
When Tear you on the car radio
‘You're gonnd be a sensation, Olin Fahey
The Resurrection of
the Takoma Grump
cine te 9s rl ey 197 ees
Pees nmi ge
mss tetsng gtr gern
prominent onthe ese Wht um snd te
xen ofp une eames ayn Ca
sens rd rosy St Sash andor, But mre
SSrenumnsgataeenoplorng epost
Sveti nla nape rumen me.
Sephessecirne cand poorer May
someone
‘uyone who tok his rhe picking seus
tackthen apron ch uarnteto ont
Imporans enw orn op ays
Te Tansiartion ft ow Deh
Spinto the clo of
|. Taneyshomerownibet
{a0 SATA Takowna Recor Torna
farpsbertee | introduced Leo Kote
abrowehe, | and George Winaton
sx Gretmas dees. | to the world; it was the
ec mmas ‘model for Windham Hill
woh Fay,
Pooncceevah | and; Indeed, the entire
fe t2rindetnger | "NewAge musicalmove
Pekngtowrdefore | ment, But unlike that
Terra Foy} | monements eelsly
aoa calm and prttfied med
tatians Fey eae
muse was en coarse,
had ving rust plain wend
Fahey ws capa of wring sone that sound
ed genney ange, sacha he rgtime- ven
“Sipe Rver Blues which is a simple thee rate
rmelody with an alaingY off ker smeopaion
ina brlaentn The ie anag
song that ws enue ance, suchas Bele
Bul ro andes insomethingon sd poor
Shasoundedte Care Patnathismostose
{Fg2}. ste yout pegged himassomeknd of
‘malar, hed movetoaa cers of
blues and anenco Fig, whuesplcig and mi
ing tapes of backward eonveration, od ereh
mp ong, and istnnents rom the Indian
Stes ration.
Tater inf, Fahey deliberately dodged the
adulation of ponytaed, pot-belied hippies
by playing electric guitar and opening shows
for noise merents like Sone Youth and Cul
de Sac: Hin live performances could also be
svlly uneven ste to his aeoholim,diabe-
{es and recurring Epstein Barr syndrome. tle
passed away at age 61 on February 22, 2001
St his work lives on in an extensive catalog
Of eins stare with the smthology Return
afte Represe on Rhino) and an eclete and
fppropretely un-teverential tribute, 1 Am
the Resurrection: Tribute John Fae, just
released on Vanguard
ry
ay
i
F's
eS a a eer
eee eee)
a
= See GUITAR ARCHIVES