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Guitar Edge 2010-07
Citation preview
The Jury is in.Even a “BAD” guitar
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We’re all players here at Naperville Music and welive, eat, breathe, and sleep guitars.We have prided ourselves in providing the bestquality of unique, boutique, collectable, and high endguitars and amplifiers since 1974
Guitars we carry:
Amplifiers we carry:
70%
ALSO…Lessons, interviews and gear profiles from: Thousand Foot Krutch, Renegade Creation (Robben Ford, Michael Landau), Nuno Bettencourt, Johnny Moeller, Duke Robillard, John 5, Greg Koch, The Black Crowes, & more!
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TRAINHey, Soul Sister
jeff LOOmiS
DEF LEPPARDBringin’ on the Heartbreak
GODSMACK Cryin’ Like a Bitch!
THE DEREK TRUCKS BAND I’ll Find My Way
THE BEATLESNorwegian Wood
JASON MRAZ (FEAT. COLBIE CAILLAT)Lucky
THE BLACK CROWESHard to Handle
MERLE TRAVISSixteen Tons
THE ALLMAN BROTHERS BANDJessica
PEARL JAMJeremy
SONGS
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GeAR!PRS SE Torero, Fender G-DEC 3, Orange Crush PiX CR20LDX, Dunlop Jerry Cantrell Wah
Nevermore’s Jeff Loomis talks about his approach to 7-string guitar and how an open mind can keep the musical ideas flowing. DeRek TRuckS
Derek Trucks talks about his new live album, Roadsongs and gives us an inside look at his slide technique, playing with Eric Clapton and why he has become so attached to his Gibson SG.
JULY/AUgUst 2010 guitaredge.com
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5 Questions with Johnny Moeller
DEREK TRUCKSTRUCKS
ALSO WITHNuno Bettencourt Thousand Foot Krutch Dethklok
Reviews Dunlop Jerry Cantrell Wah
Fender G-Dec 3 AmpPRS SE Torero
Orange Crush PiX CR20LDX Amp
Jeff Loomis Nevermore’s Ace Shredder
Robben FordRockin’ with Michael Landau
Sneak peek — Schecter hellraiSer Special
train “Hey, Soul Sister”
Godsmack “Cryin’ Like a Bitch!”
Pearl jam “Jeremy”
merle travis “Sixteen Tons”
jason mraz (Feat. colbie caillat)
“Lucky”
allman brothers band “Jessica”
derek trucks band “I’ll Find My Way”
the beatles “Norwegian Wood (This Bird Has Flown)”
the black crowes “Hard to Handle”
deF lePPard “Bringin’ on the Heartbreak”
00526 Gus G 210x297.indd 1 12/3/10 09:44:04
EMG_Guitar-Edge_GenX.pdf 1 4/26/10 8:50 PM
w w w . g u i t a r e d g e . c o m2 J U LY / A U G U S T 2 0 1 0
Guitar EdGE, LLCHal Leonard Chairman & CEO KeithMardakHal Leonard President LarryMortonHal Leonard VP Pop & Standard Publications JeffSchroedlPremier Guitar CEO PeterF.SpraguePremier Guitar COO PatriciaA.Sprague
EditOriaLEditorial Director JeffSchroedl [email protected] Director JoeCoffey [email protected] Editor AdamMoore [email protected] ElliottPolitte [email protected] JasonShadrick [email protected] Art Editor SaraLegore [email protected] Editor MeghanMolumby [email protected] Editor JimSchustedt [email protected] Engraver CharlieJarvisMusic Engraver JohnRoseContributing Editor ShawnHammond [email protected] Editor RebeccaDirks [email protected] Art Editor LoriKeehner [email protected]
CONtriButOrSJohn5,JasonAllwood,JeffArnold,JoeCharupakorn,ChadJohnson,ChrisKies,GregKoch,AdamLovinus,MichaelMueller,ChristopherOwyoung,KurtPlahna,DukeRobillard,EricWills
advErtiSiNGDirector of Advertising GaryCiocci [email protected] of Business Development Jessica“Jess”Sullivan [email protected] Account ExecutivesJonLevy,[email protected];DaveWestin,[email protected];BrettPertrusek,[email protected]
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PrOduCtiON & OPEratiONSOperations Manager ShannonBritcher [email protected] Manager LoisStodola [email protected] Coordinator HayleeZlatohlavek [email protected]
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Theinformationandadvertisingsetforthhereinhasbeenobtainedfromsourcesbelievedtobereliableandcompiledwithgreatcare.GuitarEdge,L.L.C.,however,doesnotwarrantcompleteaccuracyofsuchinformationandassumesnoresponsibilityforanyconsequenc-esarisingfromtheusethereoforreliancethereon.Publisherreservestherighttorejectorcancelanyadvertisementorspacereservationatanytimewithoutnotice.Publishershallnotbeliableforanycostsordamagesifforanyreasonitfailstopublishanadvertisement.Thispublicationmaynotbereproduced,inwholeorinpart,storedinaretrievalsystem,ortransmitted,inanyformorbyanymeans,electronic,mechanical,photocopied,recorded,orotherwise,withoutthepriorwrittenpermissionofthepublisher.
Copyright©2010.AllRightsReserved.Reproductioninwholeorinpartwithoutwrittenpermissionisprohibited.Guitar EdgeisapublicationofGuitarEdge,L.L.C.
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JULY/ AUGUST 2010
Whenitcomestoup-and-comingguitarheroes,fewmusicianscancomparetoDerekTrucks’alreadyimpressiveresume.WecaughtupwithhimduringtheAllmanBrothers’annualNewYorkCityresidency.WhilesittinginthenewSoHolocationofRudy’sMusic,Trucksdiscussesjusthowfarhe’scomeinsuchashorttime,andgivesusthescooponhisnewlivealbum,Roadsongs.Wealsohaveanin-depthlessonandtranscriptionoftheDerekTrucksBand’s“I’llFindMyWay”andtheAllmanBrothers’classicinstrumental,“Jessica.”
JeffLoomisofNevermoreisanotherguitarheroforanewgeneration.Wetalkwithhimabouthisnewalbumwiththebandandhegivesussomecoolinsightsintohistechnique(twowords:gypsy-jazz)andwhatit’sliketohaveyourownsignaturemodelSchecter.Wealsotouchbasewithup-and-comersThousandFootKrutch,BrendanSmallfromDethklokandtheNadas.
That’snottosaywe’veforgottenabouttheguyswhohaveathingortwototeachthenextgeneration.AprimeexampleisNunoBettencourt,whodominatedairwavesinthe‘90swithhisBoston-areaband,Extreme.InadditiontoBettencourt’snewgigwithR&Bsuperstar,Rihanna,Extremeisbackandreadytorockonceagain,andwe’vegotthelowdown.WealsotalktobluesmanRobbenFordandstudiolegendMichaelLandauaboutsharingguitardutiesintheirnewest“supergroup,”RenegadeCreation,whichpromisestodishoutmorelicksthatyoucancount.
Eachmonthwegiveyoutensongsfromawidevarietyofgenresandthismonthisnodifferent.WehaveJasonMraz’shitsongwithColbieCaillat,“Lucky,”MerleTravis’“SixteenTons,”theBeatles’“NorwegianWood(ThisBirdHasFlown),”Train’s“Hey,SoulSister,”thenewGodsmacksingle“Cryin’LikeaBitch!,”andmuchmore.Alongwiththetranscriptionswehavelessonsaboutdouble-timesoloingwithDukeRobillard,hybridpickingmadnesswithJohn5,whileGregKochtriestoreasonoutwhoisreallythebestgui-tarslingeraround.
Forallyougearheadsoutthere,thismonth’sreviewswillgiveyoutheinsidetrackonsomecoolnewgear.FirstupwecheckoutthenewlyreleasedFenderG-DEC3ampandthePaulReedSmithTorero.WealsoputtheOrangeCrushPiXCR20LDXandthenewDunlopJerryCantrellSignatureWahthroughthepaces.WealsotakealookinsidehowtogetthetonefortheBlackCrowes’soulclassic,“HardtoHandle.”
Wepackasmuchaswecanabouttheartists,gearandsongsthatyoucareaboutintoeveryissue.Don’tforget,youcanalwaysreadourmagazineforfreeonlineatdigital.guitaredge.com.Stopby,checkitoutandletusknowwhoyouwanttoseecoveredinthenextissue.—GE–
he’s such short
JULY/AUGUST 2010
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5 Questions with Johnny Moeller
DEREKTRUCKSTRUCKS
ALSO WITHNuno BettencourtThousand Foot KrutchDethklok
ReviewsDunlop Jerry Cantrell Wah Fender G-Dec 3 AmpPRS SE ToreroOrange Crush PiX CR20LDX Amp
Jeff LoomisNevermore’s Ace Shredder
Robben FordRockin’ with Michael Landau
SNEAK PEEK — SCHECTER HELLRAISER SPECIAL
TRAIN “Hey, Soul Sister” GODSMACK
“Cryin’ Like a Bitch!”PEARL JAM
“Jeremy” MERLE TRAVIS
“Sixteen Tons” JASON MRAZ(FEAT. COLBIE CAILLAT)
“Lucky” ALLMAN BROTHERS BAND“Jessica”
DEREK TRUCKS BAND“I’ll Find My Way”
THE BEATLES “Norwegian Wood (This Bird Has Flown)” THE BLACK CROWES
“Hard to Handle” DEF LEPPARD “Bringin’ on the Heartbreak”
On the COver — Derek trucks of the Derek trucks BandPhotographer: Chris OwyoungCover Design: Meghan Molumby
w w w . g u i t a r e d g e . c o m4 J U LY / A U G U S T 2 0 1 0
STYLE FILEWho’s Hot ThousandFootKrutch’sTyDietzler 6RenegadeCreation 7NunoBettencourt 85 Questions With… JohnnyMoeller 8
SoundcheckAcoustic Multi-Effects Units 12Workin’ Band TheNadas 14Sights & Sounds CD,DVD,andWebReviews 20Studio Edge Harmonic Clarity 114
GEAR HEREdial toneTheBlackCrowes 30
PrS SE torero 138Fender G-dEC 3 140Orange Crush PiX Cr20LdX 141Jerry Cantrell Wah 141New Products 142
Backstage Pass BrendonSmall 152
LESSONS tip Jar The CAGED System 10zen GuitarRepeatasDesired 146Guitar GumboWho’stheBestGuitarPlayer? 148Stretchin’ the Blues It’sAboutTime 150
SONGS 33 TrAiN Hey, Soul Sister 40 GOdSmAck cryin’ Like a Bitch! 51 def LeppArd Bringin’ on the Heartbreak 59 THe derek TrUckS BANd i’ll find my Way 70 THe BeATLeS Norwegian Wood 78 JASON mrAz (feAT. cOLBie cAiLLAT) Lucky 86 merLe TrAviS Sixteen Tons 94 THe BLAck crOWeS Hard to Handle 103 THe ALLmAN BrOTHerS BANd Jessica 119 peArL JAm Jeremy
feATUre: Jeff LoomisWiththereleaseofThe Obsidian Conspiracy,Nevermore’sJeffLoomistalksabouthisapproachto7-stringguitarandhowanopenmindcankeepthemusicalideasflowing.
iN THiS iSSUe
24cOver STOrY: derek TrucksDerekTruckstalksabouthisnewlivealbum,Roadsongsandgivesusaninsidelookathisslidetechnique,playingwithEricClaptonandwhyhehasbecomesoattachedtohisGibsonSG.
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w w w . g u i t a r e d g e . c o m
Modern rock outfit, Thousand Foot Krutch, made some significant changes this year following the release of their hit album, Welcome to the Masquerade, in late 2009. One of the biggest was the decision to part with their previous guitarist, Nick Baumhardt, and bring Ty Dietzler into the fold.
Dietzler, a former musician-for-hire working everywhere from smaller-capacity venues to arena-sized world tours, immediately brought both a well-honed sense of musicianship and an even stronger stage persona to the band. What’s even more impressive than his seemingly endless fretboard talents is his ability to maintain complete composure in the midst of all the madness, making Dietzler one of the most unique talents on tour today.
What was it like being the hired gun for so many projects before joining TFK? There are pros and cons to it. It can be such a high stress situation since most times you have a couple days (or less) to learn the entire set and get comfortable with it before being thrown into the mix in front of 4,000 people. Entertaining is very important but it shouldn’t ever be at the cost of your playing.
Tell me about how you landed the gig in Thousand Foot Krutch.
I was actually over in Germany playing with The Letter Black on a show that TFK was headlining. We ended up staying in the same hotel, so after the show we ended up going to a little pub and just hanging out. Shortly after that, I received a call from them asking me if I wanted to
fly to Toronto for a private audition. I was really interested so they gave me 14 or 15 tracks with three days to learn them [laughs].
So tell me the story behind the wild makeup.
Well I absolutely love art; I just was never good enough to do it full time [laughs]. I see it as another opportunity to integrate a different creative outlet into what I do live. It also gives some time before the show to clear my mind and get centered before going out and throwing down hard.
When we saw you last, you were playing some Michael Kelly guitars, but recently you’ve been endorsed by PRS. Are you still playing the Michael Kellys live?
Oh, the Valor Customs! Well, I still break them out every now and then, but since my endorsement I’m pretty much rocking PRS full time.
There’s something custom going on with your guitar right?
Well it was a secret, but I suppose I can let the cat out of the bag [laughs]. On my Paul Reed Smith Custom 22 I have a Dragon II pickup in the neck and a HFS pickup in the bridge. I also put a three-way push pull knob with a three-way toggle instead of the five way rotary. They are making me a new one with an ebony neck right now that I’ll be using live very soon.
Any other secret weapons?
It would have to be my Mesa/Boogie Roadster with matching 4x12 cab. It was actually the first one that they did with matching wine-colored Taurus and a black diamond plate grill on the amp. It looks sexy. That amp will do anything from clean jazz to thrash metal once you really dial it in.
Any tips for players?
If you’re a hired gun like me, you have to work as hard as you can to stay at the top of your game. If you’re not, then there is always going to someone out there that is practicing and working harder than you so you should always strive to be the best guitarist you can be. Otherwise you don’t eat [laughs]. —Elliott Politte
STYLE FiLE
Who’s Hot? Thousand Foot Krutch’s Ty Dietzler
Dietzler’s Gearbox GuiTars: Paul Reed Smith Custom 22, Strings: GHS .013 –.070, Paul Reed Smith SE Mike Mushok Baritone, Strings: GHS .013 – .070, Michael Kelly Valor Custom T MKVCT (2), Strings: GHS .010 – .060 PiCKs: Dunlop Nylon Standard .73sTraPs: Planet WavesaMPs: Mesa/Boogie Roadster CaBs: Mesa/Boogie 4x12 Cab with Celestion Vintage 30 speakersCaBLEs: Mogami EFFECTs: Rocktron Hush Super C (tours), Rocktron Guitar Silencer (fly dates), Boss TU-2 Chromatic Tuner, Ernie Ball VP Jr. Volume Pedal, Ibanez WD7 Weeping Demon Wah, Line 6 Echo Park Delay
6 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m
Photo by Shane Summers
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 7
When it comes to creating a band, it is all about the chemistry betweenthemusicians.WhenapproachedbyproducerMikeVarneytocreateanotheralbumwithJingChi—thefusiongroupwithbassistJimmyHaslipandüberdrummerVinnieColaiuta—RobbenFordwasallforit.HaslipandFordhadbeenplayingtogethersincethelateseventies,developingarapportthatfewguitar/basscomboshaveachieved.
Unfortunetly,duetoColaiuta’sintenseschedule,hewasunavailableandtheduobroughtindrummerGaryNovak.AccordingtoFord,thatpersonnelmoveledtothedecisiontocreateacompletelynewband.GuitarlegendMichaelLandauwasalsobroughtinandRenegadeCreationwasborn.
“ThishasbeenalongtimecomingforMikeandme.Heplayedinmybandforalittlewhile—actually,itwastheYellowjackets”saysFordwhenaskedaboutfirstmeetingLandau.“TheYellowjacketshadevolvedoutofmybandandhehadplayedafewshowswithusintheearlyeighties.Ialwayslovedthewayheplayedandlookedforawayforustoworktogether;thisgroupseemedaperfectfit.”
Theformationofthegroupwasveryorganic,withNovakplayingrecentlywithbothFordandLandau’ssolobands.Itseemedobvioustoeveryoneinvolvedthatitwastimetogetintothestudioandmakearecord.
Aswithmanygroupsthathavetwomajor-leagueguitarists,itcanbeeasytomakeanalbumfullofpyrotechnics.Thatwasn’tthecaseforthesetwolong-timefriends.“ThereisarealnaturalgiveandtakebetweenMikeandme,”saysFord.“IwanthimtoplayandIwanttohearhimplay.Hefeelsthesameaboutme.Youdon’twanttodotoomuch
ofthe“backandforth”thingonanalbum.UsuallyonMike’stunesIamthefeaturedsoloistandhesolosmoreonmytunes.”
Thematerialonthealbumrangesfromlaid-backswamprock(Landau’s“What’sUp”)tojazzyinstrumentals(Ford’s“Peace”).Bothguitaristsbroughtmaterialfortherecordintothesessions.DrummerNovakcontributedtheclosingtrack“Brothers”andthegroupcollaboratedonthebluesy“TheDarkness,”whichaccordingtoLandaubeganwithanideafromFordandthenfinishedduringthesessions.
“Iwrotethreetunesbeforethesessions,”saysLandau.“Weknewfromthebeginningthatwewantedtomakearock'n'rollrecord.Imadedemosformytunesandweendedupusingsomeofmydemopartsontherecord.Mysolofor‘What’sUp’camefromthosedemos.”
Theself-titledalbumwasrecordedatLandau’shomestudioinLosAngeles.AccordingtoFord,oncethebandwassetupinthestudio,itwasjustamatterofhittingrecordandlettingthingshappen.Haslipproducedthesession,andalongwithNovak,broughtsomerealenergytothealbum.“Jimmyputthewholeprojecttogether.He’snotabadbassplayereither[laughs],”Landaurecalledaboutthesessions.“IthinkGarybringsanincredibleamountoffiretothesongs.Inmyopinion,Ithinkthisissomeofthebestdrumminghehasdoneinarock'n'rollvein.”
Consideringeveryone’sbusyschedules,touringcansometimesbedifficult.RenegadeCreationjustwrappedupashortWestCoasttourandaccordingtoLandau,thegroupwillhittheroadlaterthisyearwithshowsontheEastCoastandinJapan.—JasonShadrick
RENEGADE CREATIONROCK
RENEGADE CREATION’s GEARbOX
RObbEN FORDGuITARS: ’55 Gibson Les Paul, ’60 Fender Telecaster, ’63 Epiphone Riviera, ’68 Gibson ES-335AMPS: Dumble Overdrive SpecialCABS: Dumble 2x12 with Celestion Super 65sEFFECTS:Hermida AudioZendrive OverdriveSTRINGS:D’Addario .010–.046PICKS:D’Addario 1mm
MICHAEl lANDAuGuITARS:’63 fiesta red Fender Strat, ’68 Gibson Les Paul goldtop, ’63 Gibson SG AMPS:Shur Badger 18 headCABS:Kerry Wright 4x12 open-back cab with Celestion Heritage Series G12-65 speakersEFFECTS: Lovepedal COT 50, Lovepedal Eternity Fuse, Maxon SD-9STRINGS: D’Addario .010-.046 or .011–.049PICKS:Dunlop Nylon 1mmCABLES:Belden 9778
(L to R) Michael Landau, Gary Novak, Robben Ford, Jimmy Haslip. Photo by Glen LaFerman
w w w . g u i t a r e d g e . c o m8 J U LY / A U G U S T 2 0 1 0
1 You’re from texas but you don’t sound like albert Collins, Stevie ray vaughan, or others from the
Lone Star State. What’s the genesis of your guitar style? Ilovethoseguys,andlistenedtobothAlbertCollinsandStevieinthepast.
Asfarasmystylegoes,IgrabbedalotfromotherTexasguyslikeFrankie
LeeSims,Lightnin’Hopkins,LongJohnHunter,andJukeBoyBonner.We
usedtogoandseethisguyU.P.Wilsonwhenweweregrowingup.He
wasthewildest!Also,whenImovedtoAustin,JimmieVaughan,Denny
Freeman,andDerekO’BrienwereatAntone’s[Nightclub]everyothernight!
2 When touring with the Fabulous thunderbirds, do you use a capo like Jimmie vaughan or emulate his
parts another way? IrarelyuseacapowiththeT-Birds.IuseitalittlemorewhenI’mdoingmy
ownthing,butintheThunderbirdsInevertrytoemulateJimmie’sparts.
HewassuchabigpartoftheT-Birds’soundearlyon;youhavetoknow
thatstyleofplaying,butIalwayswanttoputmyownstamponit.
3 Your new solo album, BlooGaLoo, captures a distinctive blues vibe. How do you describe your sound?
Ireallylovethebluesstuffthatcameoutinthe’60s!Iwantedtohave
thatvibe.I’mintoallthosewild’60sbluesguys.Youhearalotof
shufflesbutalsoalotoffunkygrooves,too.
4 What is your current gear setup?MymainguitarwiththeT-BirdshasbeenaNash’50s-styleStrat.BillNash
makesagreatgeetar!LatelyI’vebeenplayingareissueEpiphoneRiviera.Ithas
themini-humbuckersjustliketheonesinthe’60s.WhenI’mhomeinAustinI
playinalotofdifferentkindsofbands,soIuseavarietyofguitarsandamps.I
haveaJapaneseMemphisTelecasterDeluxecopyfromthe’70sthatIlove,and
anEpiphoneCrestwoodfromthe’70sthatwasalsomadeinJapan.Foramps,
myfavoriteisaKayGalaxy.Itlooksreallycoolandsoundsevercooler!Idon’t
useanyeffectslive,butIhavebeenusingaKlonCentaurinthestudio.
5 How did your gig as Severn records’ ‘house guitarist’ come about?
IstartedrecordingforSevernover10yearsagowithsingerDarrellNulisch.
Afterthat,Iwasluckyenoughtogetthecalltoplayonalbumsofotherartists
DavidEarlwasbringingtothelabel.Weallplayandworkreallywellwithone
anothersoit’salwaysagoodthingwhenwegettogether!—JeffSchroedl
5With…
QuestionsAfterdefiningagenerationwithhitslike“MoreThanWords”and“HoleHearted,”ExtremeguitaristNunoBettencourtcontinuestomakebigwavesinthemusicindustry.NotonlyishestillrockingcrowdswithExtreme,butheisalsochangingitupbybeingapivotalpartofR&BartistRihanna’snewliveshow.
“Atfirst,IwasreallyworriedaboutdoingitbecausewhenIhadlistenedtohermusicIdidn’thearmuchguitar,“saysBettencourt.“Aftertalkingtoher,shesaidshewantedtoaddsomeheavyguitarstoreallymaketheshowrock.“TheshownowrevolvesaroundBettencourt’sriffinginawaythatgivesnewaudiencesalookathisphenomenalplayingchops.
BettencourthasalsokeptbusywithExtremebyrecordinganewliveCDandDVDpackage,whichwillmarkthefirstDVDinExtreme’shistory.HesaysthebandheldofffromdoingaDVDbecause“theliveenergynevergetscapturedproperly,”buttheupcomingreleaseshouldpleaseguitarconnoisseurseverywhere,asBettencourt’smind-bogglingtechniqueandsmooth,articulatetonearebothondisplay.
Whenitcomestothattrademarktone,Bettencourtreallytakestimetohoneinonhowhecomesacrosstoeveryaudience,everynight,constantlyexperimentingwithhistone.“Anyonethatsaysthey’rehappywiththeirtoneistotallylying,”hesays.“Ithinkthatthat’showit’ssupposedtobe,though.You’realwayssupposedtobesearchingforthisthingthatdoesn’treallyexist,butyoucanalwayshearitinyourhead.”
AndwhileExtremehavegonethroughtheirhardships,thebandhasreturnedwithanewoutlookandthesamekickassshow.
“Theproblemwiththebandbeforewasthatwenevertookbreaksfromeachother.NowthatweallhavedifferentprojectslikeRihannaforme,theband’shealthierthanever,”hesays.“Extreme’sbackandreadytorock!”—ElliottPolitte
ROCK
NuNO bETTENCOuRT
JOHNNY MOELLER
bettencourt’s GearboxGuITARS: WashburnN4NunoBettencourtSignaturePICKuPS:Neck:SeymourDuncan’59;Bridge:L500BillLawrence(bothstock)STRINGS:DeanMarkleyNunoBettencourtElectric(.010-.052)AMPS:RandallNBKing100NunoBettencourtSignatureCABS: RandallNB412NunoBettencourtSignature(CelestionGreenbacks)EFFECTS:BossGT-8GuitarEffectsProcessor,BossOC-1Octave,BossTU-2TunerSTRAPS:DunlopPICKS: Custom-made
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• True bypass
• Huge, easy-to-read display
• Meter, Strobe, Half-Strobe, and Mirror modes
• Cascade output for powering other effects
www.korg.com/pitchblack
Check out Slash’s new self-titled album!www.slashonline.com
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Slash photo by PR Brown
w w w . g u i t a r e d g e . c o m10 J U LY / A U G U S T 2 0 1 0
There are about as many ways to learn the notes on the fretboard as there are ways to play them. To this day, I remember my first guitar teacher tell-ing me that I had to learn all the notes on the fretboard. I proceeded to think, “There goes the next three years of my life.” Becoming comfortable with the fretboard is a hurdle that guitarists must tackle in their own way. The CAGED system is a method for dividing up the fretboard into sections based on some basic open chords. Used at many colleges and universities, CAGED gets its name from the five open chords that are used to create the five fingerings.
In this lesson, I am going to walk you through each fingering and give you the associated chord shape. To make things easier, all the examples will be in the key of C major. One thing to remember is that the name of the shape doesn’t relate to the key of the scale. For example, the “C” shape means that the fingering is based on the open C chord and isn’t an indicator of what key the scale is in.
A good way to help visualize these scales is to play the chord first and then play a fingering that lies within that chord. This will also help you learn arpeggios as well. The key to unlocking the fretboard using the CAGED system is developing the ability to see these patterns all over the neck.
In Fig. 1 you can see how to play a one-octave scale in the open position using a typical C major chord shape—thus the “C” shape. Both your first and third fingers are playing the root, and that makes this scale fall under the fingers very easily. As with anything you play in the open position, be sure to learn this in the twelfth position, too.
The “A” shape in Fig. 2 comes from the C major barre chord in third posi-tion. This is usually the first scale fingering many guitarists learn and are most comfortable with.
The “G” shape falls in the fifth position and is shown in Fig. 3. Be sure to stretch your pinky finger for the B on the 4th string at the ninth fret. The octaves in this fingering fall on the 6th, 3rd, and 1st strings.
Probably the most popular fingering for the major scale (the first one I learned) is the “E” shape given in Fig. 4. This scale comes from the standard 6th string major barre chord. Keep to the one-finger-per-fret rule and this one should come together pretty quickly.
Finally, Fig. 5 shows the “D” shape that begins in the ninth position. I only notated one octave of the scale to help you visualize the relationships of the root notes. Shift up to the tenth position for the A on the 2nd string.
The CAGED system is just a way to organize and help visualize patterns on the fretboard. This system won’t make you a better player overnight, but it will put a method to the madness of learning the notes on the fretboard better. Experiment with these fingerings in as many keys as possible. For example, take one shape and play it through all 12 keys around the circle of fifths. Another exercise is to connect patterns through a random order of key centers. If you stick with this method and make it a part of your daily practice, it will not only help your technique but open your eyes to how the fretboard works.
Take the Fear out of the Fretboard: The CAGED System
by Jason Shadrick
Click here to see full-size music notation
Fig. 1
32 1
30 2 3
0 20 1
Fig. 2
3fr
1333
3 52 3 5
2 4 5
Fig. 3
5fr
43111
85 7 8
5 7 95 7
5 6 85 7 8
Fig. 4
8fr
134211
8 107 8 10
7 9 107 9 10
8 107 8
Fig. 5
12fr
132
10 129 10 12
10 12 13
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Fig. 5
w w w . g u i t a r e d g e . c o m12 J U LY / A U G U S T 2 0 1 0
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SOUND CHECKby Jason Shadrick
Street Price is the price you’re most likely to find if you buy it from your local or online music retailer. It is not the manufacturer’s suggested retail price (MSRP).
PRICE
PREAMPMODELS
PRESETS
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BuILT-INTuNER
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Acoustic Multi-Effects UnitsWhyshouldelectricplayersbetheonlyoneswithcoolall-in-oneeffectsunits?ThismonthwetakealookatseveraldifferentoptionsforacousticplayerswhowantmorethanaDItorockthehouse.
w w w . g u i t a r e d g e . c o m14 J U LY / A U G U S T 2 0 1 0
Theprocessofmakinganalbumisdifferentforeveryartist.Somebandsliketotestouttheirmaterialontheroadbeforecommittingtoastudioversion,whileothersfeelthestudioistheplacetowrite,record,andproducetheirmusic.Overtheyears,TheNadashaveexploreddifferentwaystocreateanalbum,andwithAlmanac,theirlatestrelease,theychosetoreallytaketheirtime.
HistoryFormedasacollegebandin1995whilefoundingmembersJasonWalsmithandMikeButterworthwereattendingIowaStateUniversity,TheNadashavereleasedsevenalbumsandtouredalloverthecountry.ThebandbeganasanacousticduowithjustWalsmithandButterworth.“Mygirlfriendatthetimegavemeamixtapeandwejustlearnedallofthosesongs,”recallsWalsmith.Sincethen,theyhaveplayedSXSW,openedforBonJoviandwerenamed“BestCollegeBandYouHaveNeverHeardOf”byPlayboymagazinein2001.BothWalsmithandButterworthshareguitarandvocaldutiesandarejoinedbyJonLockeronbass,JasonSmithondrums,andBeccaSmithonviolinandkeyboards.
Bright ideasWithAlmanac,TheNadastookadecidedlymoreinteractiveapproachtodevelopingthematerialbyincludingtheirfansintheentireprocess.“Itwastimeforustodoanewrecord.Wemayhaveevenwaitedalittlebittoolong,”saidWalsmithbeforearecentsold-outgig.“Thesedays,itisreallyhardtokeeppeople’sinterestandattention.Ithinkthatthemorecontentyouputoutthere,thebetterchanceyouhavetokeeptheirattention.Soweopeneduptheprocessofcreatingarecordtoourfans.”Theprojectrequiredthebandtowriteandrecord
onesong—andonlyonesong—eachmonthin2009andthenreleasethecollectionofsongsasanalbum.“Duringtheprocess,wemadeourownrules.Therewasonerulewherewecouldn’tcarryasongoverfromonemonthtothenext.Weonlyworkedonthatonesongduringthatmonth,”hesaid.
Booking adviceLikemostbands,TheNadaswereentirelyDIYinthebeginning.“Earlyon,wedideverythingourselves.Incollegeweplayedeveryparty,festival,mall,ornursinghomewewereaskedtoplay,”hesays.Developingrelationshipswiththevenueswasextremelyimportantaswell.“Assoonaswestartedtoplayoutsideofourtown,wesetupanofficeandbuiltadatabaseofcontactsandvenues.Itwasallaboutpersistenceandlearninghowthevenueswantedtobecontacted.Forexample,onevenueonlytookbookingcallsat3a.m.onTuesdays.Learningthoselittlethingswentalongway.”
Essential GearBothButterworthandWalsmithkeepitprettysimplewhenitcomestothegeartheyuseinthestudioandontheroad.Walsmith’sgo-toguitarisa’74FenderCustomTelecasterthatheplugsintoa’74FenderDeluxeReverb.HealsousesacustomBilTGuitarwithabuilt-intremolocircuit.Butterworthhasa’77GibsonLesPaulGoldtopandaVoxAC30thatformthefoundationofhissound.Butterworthdescribestheampasprettymuchstock,withtheexceptionofafewmods.“TheVoxisfromtheearly‘80sandIswitchedoutthespeakertoaCelestionVintage30.IalsoaddedaspeakeroutjackforanextensioncabifIeverfeellikegoingforsome‘bigrock!’”
Best GigsAlthoughTheNadashavehadseveral“breakthrough”gigs,Walsmiththinkstherealturningpointforthebandwaswhentheyhittheroad.“Thereisalwaysthisquestioninthebackofyourmindaboutifyouarearealbandorisitjustyourfriendsshowinguptothegigs.Whenwefirsthittheroadandplayedinfrontofnewaudiences,itwasverymotivatingtolearnthatotherpeoplewereintous.”Manycollegebandsalsostrugglewithwhattodowheneveryonegraduates,butWalsmithpoweredthroughit.“WhenIgraduatedfromcollege,I thoughtIwasjustsupposedtogooutintotherealworldandgetarealjob.IwonderedifIcouldcallmyselfaprofessionalmusician.Togetthroughthatphaseandbecomeamusicianwasaprettybigwin.”
Other tipsWhenitcametimetotakethenextstepandhireamanager,publicist,andanagent,Walsmithsaidtheearlydaysreallyhelpedhimmaketherightchoices.“Ithinkwitheverypieceofthepuzzleitisimportanttodoityourselffirstsoyouunderstandwhatthatjobisandwhatyourexpectationsforthepersondoingthatjobare.”Networkingwithotherbandsyouemulateisagreatwaytomakeconnectionsaswell.“Findbandsyoulikeandseewhotheyworkwith.Itismuchharderinthisnewenvironment,sincethereareamillionbands,butdoingthelegworkwillpayoffinthelongrun.”
If you would like your band featured in this column, email Jason Shadrick at [email protected]
by Jason Shadrick
The Nadas
Hometown: Des Moines, IA Gigs/Year: 120 Income: Varies, usually based on a percentage of ticket sales. Tickets are usually $10-$20.
Style: Alt-rock Website: thenadas.com Contact: [email protected]
SET LIST:Bitter Love, Long Goodbye, Feel Like Home, Blue Lights, Crystal Clear, River, Dancing Lucinda, Carve, Cry, Drink It ‘Till It’s Gone, Dodged a Bullet, All I Want Is You, Walking Home Alone, New Start, Good Night Girl
Guitar Edge’smonthlyconversationwithalocalbandwillingtosharetheirexperiences,tips,andstories*
(L to R) Jason Walsmith, Jason Smith, Becca Smith, Mike Butterworth, Jon Locker Photo by Joe Crimmings
The Nadas
SET LIST:Bitter Love, Long Goodbye, Feel Like Home, Blue Lights, Crystal Clear, River, Dancing Lucinda, Carve, Cry, Drink It ‘Till It’s Gone, Dodged a Bullet, All I Want Is You, Walking Home Alone, New Start, Good Night Girl
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 17
Jeff Loomis Back in Black
Metal fans have been yearning for the next installment of brutality from guitarist Jeff Loomis and Nevermore for five longyears.Butcanthelong-awaitedreleaseofthegroup’sseventhalbum,The Obsidian Conspiracy,liveuptoallthehype?
Fordiehardswhohavefollowedthebandsincetheirself-titledrelease,thenewrecordwillbeadeparturefromwhatthey’reaccustomedto.Loomishasfocusedonwritingwithamorestraightforwardstylethistimearound,keepingmosttracksaroundthethree-tofour-minutemark,asopposedtotheepictenminutesongsofNevermore’spast.Butdon’tletthetracktimesfoolyou—thisisstillaguitar-driven,fullthrottlejourneythatwillhaveyoucontinuallyrackingyourbrainoverLoomis’intricate,powerfulcreations.
Whetherornotyou’retunedintometal,Loomis’playinghasaccountedforsomeofthedecade’sbestriffs,fromtheheavyploddingof“BittersweetFeast”tothemelodicdepthof“NoMoreWill,”andhecontinuestobetherecognizedasatruevisionaryofthegenre.Ofcoursehe’sblazinglyfast,butasmanyplayersagree,it’snotallaboutspeed.Loomishasthechopstomatchthetechnique,andthat’swherehetrulydefineshimself—bycontinuingtopushhimselftonewheightsoneveryalbum,allwhilestayingunique,currentandcompletelyauthentic.
Interview by Elliott Politte Photography by Stephanie Cabral
w w w . g u i t a r e d g e . c o m18 J U LY / A U G U S T 2 0 1 0
With the new album being more straightfor-ward, have you scaled back your playing at all?
Notreally.There’sbeensomuchstuffinthepastthatwe’vedonethathadreallyguitar-orientedthingsgoingonwithinthesongs.Onthisone,therearemorechordsthansingle-noteruns.Thewholestructuresofthesongshavebeensimplified.
What was the reason for the new approach on this record?
I’mnotsurewhywetookthisapproach,otherthanwewantedittobeeasierforthelistenertocatchonto.Itcouldbeagoodthingforus,oritcouldreallybiteusintheass,butitwillbeinterestingandhasmadetheanticipationveryhighforusonthisrecord.
You’ve been an icon on the seven-string. What was it like when you first started playing them?
Istartedplayingsevensabouttenyearsagoandthefirsttimewasveryweird.PeoplegavemealotofflackforitatfirstbecausetheythoughtIwasgoingtostartsoundinglikeKornorsome-thing.[Laughs]Inreality,itopenedupalotof
doorsformemusically.Itdidtakemequitealongtimetogetusedtoitbecauseit’sanobvi-ouschange,butIreallylikedtheoveralltoneandtheheavinessofthem.IjustkeptrecordingdemoswithituntilIgotreallycomfortable.
What was the first album that you inte-grated the seven-string into?
ThefirstoneIusedthemonwasDead Heart in a Dead World.
Your playing combines an eclectic amount of influences. Where do all of these come from?
Iwasfortunateenoughtogrowuparoundalotofinterestingmusic.Myfatherhadahugerecordcollectionofallsortsofdifferentstuff.IwasalwayslisteningtobandslikeQueen,ELO[ElectricLightOrchestra]withJeffLynne,andtheDoobieBrothersifyoucanbelieveit.LatelyI’vebeenreallyintogypsy-jazzguitarplayers.Areyoufamiliarwiththatatall?
i’m not too familiar; fill me in.
Dude,theseguysarethefastestguitarplay-ersoutthere—guyslikeDjangoReinhardt
andStocheloRosenbergfromHolland.[Ed. note: Reinhardt passed away in 1953.]Theyarephenomenalguitarpickersandusetheseawe-some-soundingscalesandgreattechniques.Ireallyfeellikeyoushouldalwayskeepanopenmindwhenapproachingtheguitarbecausetherearesomanydirectionsyoucangoin.Ialwaystryandkeepmyoptionsopen.
Besides Nevermore, are we going to see a new Jeff Loomis record anytime soon?
Absolutely!I’msignedonfortwomorerecords[withCenturyMedia]andI’mworkingonthenextonerightnow.ThefirstonewasputtogetherveryquicklyandIimprov’edalot,whereasthisoneismoreorchestratedandworkedout.I’mreallyexcitedaboutit.Ifevery-thingpansout,you’llseeitoutinearlyfall.So with all of these ideas you’re putting togeth-er, do you have a portable recording rig?
Yeah,Ido,butit’sprettysimple.IhavealaptopwithGarageBandequippedwithToontrack’sDrumkitfromHell,whichisadrumprogramthatletsyouarrangethedrumpartsbyhand.SoanydowntimeIget,whetherit’sonthebusorinthehotel,I’llputtogethersimpleideas,nothingtoo
Jeff Loomis Back in Black
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 19
Jeff Loomis’ GearboxGuitars
SchecterFR-7JeffLoomisSignatures
PickupsEMG707
StringsErnieBall,.009-.046and.064onthebottom
ampsENGLSavage120
CabinetsENGLXXL4x12withGreenbacks
EffectsFractalAudioAxe-Fx
StrapsDiMarzio
PicksJimDunlop2mmSharpies
serious.ThenItaketheideasandgivethemtomydrummerandstartworkingthemout.
How does it feel having your own signa-ture model guitar?
[Laughs]I’msooverwhelmedbecauseIstillcan’tbelieveIhavemyownguitar.IstartedusingSchecteraboutfiveyearsagoandIwasusingtheHellraiserSeries.That’swhatmyguitarisbasedon.OnedayIgotacallfromSchecter’svicepresidentaskingifIwantedtodomyown,andhowwouldyouwanttodoit?
What specifics did you request?
IdefinitelyknewIwantedamapleneckbecauseIlikethelooksandIthinkithasabrightersoundoverall.It’sreallyjustasimplifiedversionoftheHellraiserexceptithasonevol-umeknobbecauseIlikeasimpleon-off,insteadofmessingaroundwithtoneknobs.ItalsocomeswithEMG707pickupsandeitheraFloydRoseorstandardbridge.ThenewthingisthatitwillnowcomeinablacksatinfinishalongwiththeoriginalVampyreRedSatin.
are there any changes from the model con-sumers buy versus the one you use on stage?
No.TheoneyoubuyfromstoresisexactlywhatIuseonstage.Nomodifications.
i heard that you’re currently using Fractal audio’s axe-Fx live now.
AtthemomentIonlyusethatathome,notlive.IuseanENGLSavage120headthroughENGLcabs.I’mthinkingofworkingtheAxe-Fxintomylivegearforeffectsthough.
Being a seven-string guy, a lot of artists in those lower registers have been finding their tone with ENGL.
Ohabsolutely!Theyaresuchamazingampsthatdon’thavejustonesound,butmanytopickfrom.Youcanhitachordwithcompletesaturationanddistortiononit,butstillheareverystringbecausetheseparationissophe-nomenal.Simplybrilliant!
technique-wise, is there anything new you’re working on?
I’mstilltryingtomastertheartofpicking.I’malwaysworkingonmixingindifferentstylesofpickingintomyplaying.Iwon’tjustuseup-downpicking,soIintroduceeconomypicking,
alternatepicking,andlegatostylesintomyplaying.IhavetomixitupasmuchasIcan.
How important is pick selection to you?
Tome,it’sextremelyimportant.I’musingtheJimDunlop2mmSharpiepick,whichhasthereallypointyedgeonit.Withthatpickyoucan’treallymaketoomanyerrorsinyourtech-niquebecauseifyoudigtoodeepthepickgetscaughtup.SoIreallyhavetofocusonusingtheveryedgeofthepicktogetthetonegoing.That’swhyit’ssoimportant—you’repickingtogettoneoutofthestrings,nomat-terhowsoftorhardyoupick.
What’s your “gear that got away” story?
It’skindofafunnystory.TheveryfirstguitarIhadwassocool.ItwascalledthePVT15anditwasasmallerguitarforakid.Thecoolestthingaboutitwasthatthecaseforitactuallyhadanamplifierbuiltinsidetheguitarcase.Moreguitarcompaniesshouldtrydoingthatagainbecausethatwassuchagreatidea.IsoldittooneofmyfriendsandIwishIwouldn’thavebecausethatwassuchaconversationpiece.
w w w . g u i t a r e d g e . c o m20 J U LY / A U G U S T 2 0 1 0
STEVE HACKETT OutoftheTunnel’sMouth(MagnaCarta)
Itsimplydoesn’tgetmuchmore“prog”thanopeningyouralbumwithmusicbox/toypianoplunkingfollowedbyagargantuanlyric-less
chorus,doesit?Well,howaboutifyouhadsoaringguitarmelodiesbook-matchedwithmonstertone,mixinbitsofclassicalandflamencoguitar,andwrapitallindramaticflair?Well,thenyou’dbedescribingthenewalbumbyprogressiverockguitarlegendSteveHackett.Interestingly,thealbum’sbesttrack,“LastTraintoIstanbul,”istheleastprog-rocksongoftheset.TheMiddleEastern–inspiredcomposition,featuringstellarpercussionaswellasaviolinsolofromFerencKovacs(Djabe)andaflutesolofromJohnHackett(Steve’sbrother),isaByzantinejourneyyou’llwanttorepeatagainandagain.–MMHighlights:“FireontheMoon,”“Sleepers,”“LastTraintoIstanbul”
MOESmashHits,Volume1(Fatboy)
For20years,guitaristsChuckGarveyandAlSchnierhavebeenprovidingsomeofthemostfunk-aliciousgroovesonthejam
scene,lettingimprovisationrulethedaywithapremiumnotonlyonchopsbutalsoonmakingsureeveryone’shavingagoodtime.Andwhileit’sdifficulttocapturethemagicofjambandsinthestudio,moe.doesjustthatonSmash Hits,acompilationofbandandfanfavoritesspanningfromtheir1992debutalbumFatboytothe2010-releasedsong“SeatofMyPants,”alongtimelivestaplebutmakingitsfirstappearanceonastudioalbum.Throughout,theguitartonesarerich,crisp,andorganic,withGarveyandSchnier(asusual)drawingfromabroadpaletteofmusicalinfluences.–MMHighlights:“Yodelittle,”“Mexico,”“SeatofMyPants”
PETER PARCEK TheMathematicsofLove(Redstar)
OnhisnewalbumPeterParcekservesuppropulsive,fuzz-tonedbluesandslideexcursionsthatvisitparcelsofrock,
jazz,country,andfolkwhilekeepinghomesteadintheswampandsurroundinghillcountry.Theplayfulslapbackshred-billyinstrumental“Rollin’WithZah”willmakechopsfanstakenotice,aswill“GetRightWithGod”andParcek’sversionoftheRayCharlestune“Busted.”Meanwhile“KokomoMeBaby”offersoccasionalflashesofDjango-inspiredjazzphrasesnestledintodown-homeblues,whiletheslowspiritual“LordHelpthePoorandNeedy”isamasterclassintastyrestraint.–MMHighlights:“ShowbizBlues,”“Rollin’WithZah,”“Busted”
PERIPHERY Periphery[DeluxeEdition](Sumerian)MMMMM
ExpectationswereveryhighforthefirstofficialreleasefromPeriphery,thethree-guitarprogressivemetalbandthatisknownforitshuge
onlinefollowinganditssoundthatisdefiningwhathasbecomeknownasthe“Djent”movement.Chugga-chuggametalthisisnot,butratherawell-composed,fistpumpingjourneyintoguitar-drivengenius.Thetriple-axeassaultofMisha“Bulb”Mansoor,AlexBoisandJakeBowenismust-listen-tostuffthat,onatechnicallevel,isbestappreciatedontheDeluxeEdition’sbonusdiscofinstrumentalversions.WhenfusedwithSpencerSotelo’spowerfulvocals,theband’sresultingsoundisgame-changing—brutalandbrilliant.–EPHighlights:“LetterExperiment,”“TheWalk,”“IcarusLives,”“JetpacksWasYes”and“Racecar”(Feat.JeffLoomis)
ALEX MACHACHEK 24 Tales (Abstract Logix)Whereas many guitarists think the drum solo is a great time to fetch a beverage, Austrian-bornjazz-fusionmonsterAlexMachachekinsteaddecidedtocomposehisentirenewalbumbasedona51-minuteone-takeskin-bashingsessionbydrummerMarcoMinnemann.Theresultisastunningdisplayofcompositionandvirtuosity,anda’70s-stylefusionvibeinthebesttraditionofReturnto
Forever,MahavishnuOrchestra,andAllanHoldsworth.Throughout24 Tales,Machachekseamlesslyalternatesbetweenclean-tonedstaccatomachine-gunattacks,soaringoverdrivenlongtones,andgymnasticintervallicplay—andalloversomeofthecraziestrhythmsandtimesignaturesaguitaristwilleverencounter,including15/16,9/16,andsuperimposedpartstocreatebrain-meltingpolyrhythms.Ifthisallsoundsscary,itis.Whichiswhyeventhoughheisajazzboatheart,Machachekengagedinverylittleimprovisationonthisrecord,insteadcarefullycomposingnearlyallofthepartsforthisadventureincontrolledchaos.Still,theguitaristsomehowachievesawittyspontaneitythatcomplementstheoeuvre,andthat’sthegrandachievementof24 Tales.Its51minutesseeminglyflyby,muchlikeagreatbook.Thematerialonthisalbumisnoteasylistening,butasawhole,itsureisaneasyread.Bestofall,it’ssocomplexthatyou’resuretofindsomethingnewandexcitingoneachlisten.–MM
Highlights:“OnYourMarks…”“SweetTorture,”“AttheClub,”“EaudeConlon”
photo: Ash Newell
FUS
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BLU
ES
ME
TAL
PR
OG
-RO
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JAM
CDs
INSTRUCTIONALMIKE STERN SignatureLicks[HalLeonard]HalLeonard’sSignatureLicksserieshaslongofferedguitaristsinfor-mativeandinsightfullessonsonthestylesandtechniquesoftheirfavoriteplayers,butthenewMike SternSignatureLicksbooktakesit
upanotch,actuallyenlistingSternhimselfasacon-sultantthusmakingitatrulyspeciallessonbookforfansoftheprodigiousguitarist.
WrittenbyJoeCharupakorn,aNewYork–basedgui-tarist,authorandformerstudentofStern,thisbook/CDexamines14ofStern’sbesttunes,focusingontheheadandguitarsolo(s)ineach.Titlesincludethegentleballad“AfterYou”;thefunktune“Jigsaw,”whichexploitsthecompositionalpoweroftheminor2ndinterval;“OneLiners,”whichisacontrafactofthestandard“SoftlyasinaMorningSunrise,”whichinturnhasbeenaliveSternfavoriteforyears;and“Swunk,”withits16th-notesyncopationgivingtherhythmicallychallengedfitswhiletryingtoplayit.
Inadditiontothe14songlessons,Charupakornalsoincludedaguitar-intensiveinterviewwithSternplusasix-pageone-on-onelessoncalled“Bop’n’Roll”thatcoversimprovisationaltopicssuchastheuseofchordtones,passingtones,lower-andupper-neighborlead-ingtones,andmore.Thereisalsoadetailedbreak-downofStern’sgear,adiscography,andanin-depthintroduction/mini-biography.
Igotmyhandsonthisbookfourweeksbeforethisreviewwenttoprint,andithasn’tleftmymusicstandyet.–MM
CD, DVD, Book & web Reviews by Michael Mueller & Elliott Politte
&SIGHTS SOUNDS
DVDsPORCuPINE TREE Anesthetize(TKTK)MMMM
PorcupineTreefansoftenspeculateaboutwhetherStevenWilsonhasanobses-sionwithtrains.(There’sevenaFacebookpagededicatedtothis,Ikidyounot!)Butoneobsessionthatrequires
nospeculationisWilson’sdesiretopresenthisbandvisuallyandsonicallyinthehighestqualitypossible.RecordedliveinTilburg,TheNetherlands,inOctober2008,attheendoftheFear of a Blank Planettour,Anesthetizeisallyou’dexpectfromtheperfection-istWilson.FilmedinhighdefinitionbylongtimePorcupineTreecollaboratorLasseHoile,forbothstandardandBlu-Rayreleaseandwithanavailable5.1surroundmix,thisDVDreachestechnologicalheightsnotoftenassociatedwithliveconcertvideos.
Butmakenomistake:thesubstancematchesthestyle.Thesetkicksoffwithaperformanceoftheband’sthen-newalbumFear of a Blank Planetinitsentirety.It’srefreshinginthisageofdigitaldownloadsandsinglessalestoseenotonlyanartistwhostillembracesthealbumconceptbutalsoafanbasethateatsitup;indeed,Wilsonholds“thealbum”insuchhighregardthatheemployedthesametacticonlastyear’stourbehindThe Incident.
PR
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photo: Ash Newell
THE DIGITAL EDGE ByJasonShadrick
MuSICIANwAGES.COMWhenitcomestobeingafreelancemusician,develop-ingsomebusinesschopsareessential.Musicianwages.comisawebsitethatisspecificallyaimedatworkingmusicians.Thereisadifferencebetweenthemusicbusinessandthemusicianbusiness.Thiswebsiteisallaboutmakingalivingasamusician.Everythingfromtheessentialpianobarsongstobookingatouriscov-eredinamazingdetail.
ThewebsitewasstartedbytwoworkingmusiciansfromNewYorkCity,guitaristCameronMizellandpianistDavidJ.Hahn.Combinedwithcontributionsfromastableoffreelancewriters,theyhavecreatedadeepwellofarticlesthatanymusiciancangetsomethingoutof.OneofthecornerstonesofthewebsiteisHahn’sblogaboutbeingacruiseshipmusician.Thisblogtouchesonnearlyeveryaspectofbeingonacruiseshipandshouldbeessentialreadingforanyonetakingthetrekonthehighseasandwantingtokeeptheirsanity.
Oneespeciallyinterestingseriesofarticlesisacollectionofprofilesofmusicjobsthattendtobealittle“undertheradar.”Amusiceditorwroteoneofthemoreinterestingprofiles.HewasfromChicagoandgavearealworldperspectiveonhowhegothisjobandthingshelearnedalongtheway.Oneofhisfirstbreakswaswritingascoreforadocumentarymoviethathissister-in-lawwasmaking.Theexperienceofworkinginthefilmindustrygavehimanentirelynewperspectiveonhowcomposersanddirectorscollaborate.Abigthemerunningthroughthewebsiteisnetworking.Therehavebeenseveralmeetupsorganizedbythewebsitedesignedtoconnectmusiciansandtradeknowledge.
Ifyouareouttheresluggingitoutinthetrenchesandhavingatoughtimehandlingthebusinesssideofthings,thiswebsitewillkeepyoufromwaitingtablesanddeliveringpizza.
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BANDCAMPThegoalofnearlyeveryindependentmusicianistobeabletomakealivingoffofyourmusic.Nomatterwhatyourartisticviewsare,thatprettymuchmeansyouneedtosellyourmusictopeoplewhowanttohearit.Bandcampmakesiteasytogetyourmusiconline(with-outgoingtoMySpace)andisspecificallyaimedatartistswholiketheDIYapproach.Essentially,Bandcampwantstobethemusicareaofyourwebsiteandgivesyouthetoolstointegratetheirfeaturesintoyourwebsite.
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CD, DVD, Book & web Reviews
&SIGHTS SOUNDS
Thebonusdocumentaryisasentertainingasthemusicitself,whichcouldbeinterpretedtomeanthemusic’snotthatgood.Notthecasehere;rather,thedocumentaryisjustthatfunny.DrummerChadSmithplaysuphisuncannyresemblancetocomedianWillFerrelltogreateffect,show-ingthatheevenpossessessomeofFerrell’scomedictiming.HumoroussegmentswithBobWeir,AdamCarolla,andChristopherGuest(infull-onNigelTufnelcharacter)makeitwellworthwatching.–MMHighlights:“DowntheDrain,”“OhYeah,”“BadMotorScooter”
Sixsongsand51minuteslater,Wilsondelvesdeepintotheband’sbackcatalogforanadditional11songs,including“DarkMatter”and“Sever”from1996’sSignify,andseveral“non-album”tracksyetfanfavoritesnonethelesslike“Normal”(fromtheFear of a Blank Planetsessions)and“DrownWithMe”(fromtheInAbsentiasessions).Conspicuouslymissing,however,is“Trains,”whichsinceits2002releaseonIn Absentiahasbecomeanencorestapleandfanfavorite.Perhapsthatlocomotiveobses-sionisn’taskeenaswesuspect.–MMHighlights:“Anesthetize,”“WayOutofHere,”“Normal,”“Sever,”
ANNIHILATOR LiveatMastersofRock(SPV)MMM
Despitenumerouspersonnelchangesandafewmusical-changes-of-direction-gone-awry,CanadianthrashmetalactAnnihilatorshowsonthisnewDVD/CDsetthatevenafter25years,theystillrockharderthanyou.Filmedliveinthesummerof2008infrontof30,000head-bangersattheMastersofRockfestival
intheCzechRepublic,theshowisano-frillsmetalonslaught.Accordingly,that’sallyou’llfindontheDVD—nodocumentaries,nohiddenbonusfeatures,nothin’—justmetal,pureandsimple.
AfterintrofootageandphotosofthousandsofEasternEuropeanmetalfansfilingintothevenueanddoingtheirbesttocoolthemselvesfromthescorchingCzechheatthatblanketedthefestivalthatday,thesetkicksoffwith“KingoftheKill,”thetitletrackoftheirimpressive1995release.Butit’snotuntil“OperationAnnihilation”and“ClownParade”thatthebandtrulyhitsitsstride.Fromthere,theintensitykeepsrisinguntilthebandclimaxeswithatriooftunes(“W.T.Y.D.,”“WickedMystic,”“AlisonHell”)fromtheirhighlyacclaimed1989debutAlice in Hell.
Perhapsthebiggesthighlight,though,ishearingJeffWaters,whoisthesingularmainstayofthebandthroughalltheyears,expresshisappreciationforthecrowdandhisgratitudefortheopportunitytostillbedoingwhathelovestodoafterallthistime.Whosaysyoucan’tbeaniceguyandinspiremoshpitsatthesametime?–MMHighlights:“OperationAnnihilation,”“Never,Neverland,”“WickedMystic,”“AlisonHell”
CHICKENFOOTGetYourBuzzOnLive(DC3)MMM
Therearen’tmanybandsthatcanreleasejustonealbum,headlineaworldtour,andthenmakeaDVDtocommemorateitall,butthenChickenfootisn’tjustanyband.Asupergroupcomprisingenoughindividualhistoryandpersonalitytoappealtoamassiverockaudience,“the
Foot”showsonthisDVDthatmorethananythingelse,theyareallaboutmakingsureboththeyandtheiraudiencehasagoodtime.
TheDVDfeatures10ofthe11tracksfromtheband’sself-titleddebutalbum,plus“BittenbytheWolf”fromthedeluxeedition(inplaceof“Runnin’Out”),aswellastheMontroserocker“BadMotorScooter”andtheWho’s“MyGeneration.”Foragroupcomprisingrelative“geezers,”theband’sliveenergyisthroughtheroof.It’sparticularlyinterestingtowatchguitaristJoeSatriani,whoforthisprojectreinventedhimself,focusingmuchmoreonrhythmguitarandfillingthespacewhileatthesametimepullingbackontheleadguitarthrottleenoughthattheband’s“party-rock”fansdon’tfallintoanoodle-sessioncoma.WhileacomparisontoEddieVanHalenmayseemuncomfortablegiventhegroup’smembership,athispeakEddiewasthebestrockrhythmguitaristofthepast30yearsorso,andSatchissimplyfollowingthatexample.
RO
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SCHECTER HELLRAISER SPECIALWicked Guitar Lineage Spawns a New Generation
Formorethan35yearsSchecterhascreatedgroundbreakingguitars,basses,acousticsandhandcraftedUS-madecustominstruments.Throughout,Schecterhasbeenguidedbyagut-levelinstinct:tocreateguitarswithanunparal-leledcombinationofqualityandaffordability.
ThebrandnewHellraiserSpecialseriescontinuesthisplayer-friendlyapproach…withavengeance.Asthenameimplies,Schecter’sHellraiserguitarsareprizedfortheirtake-no-prisonersattitudeandbattletestedreliability.Schecternowupstheante.BrandishingEMGActive81X&85Xpickups,Schecter’sUltraAccessNeckandaFloydRosetremolo,thenew
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EverysingleguitarandbassundergoesarigorousprofessionalsetupbyoneofSchecter’scertified
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SCHECTER HELLRAISER SPECIALWicked Guitar Lineage Spawns a New Generation
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WhileVH1hascreatedanindustryoutofexploitingformerchildstarslookingfortheirsecondshotatthelimelightorsomeextrabeermoneyfortheweek,theonepersonthatyouwon’tseeonacelebrealityshowisguitarphenomDerekTrucks.TrucksburstontothesceneasachildprodigyovertwodecadesagoandmadehismarkbysittinginwiththelikesofBuddyGuy,BobDylan,andtheAllmanBrothers,withwhomhesharesstrongfamilyties(hisuncle,drummerButchTrucks,isafoundingmemberoftheAllmans).However,unliketheDannyBonaduceandDanaPlatosoftheworld,Trucks’careercontinuestoflourishwellintoadulthood.
TrucksformedtheDerekTrucksBandatage14andsimultaneouslyspentagoodpartofhisteenyearsappearingasaguestwiththeAllmans.Atage20,hewasa“mademan”—officiallybecomingamemberoftheAllmans.Whenhewas27,hespenttheyeartouringwithEricClapton.Now,havingrecentlyturned30,Trucksisperhapstheleadingguitarvoiceofhisgeneration.TheDerekTrucksBandrecentlywonaGrammyAwardforBestContemporaryBluesAlbum,andheavyweightplayerslikeMikeLandauopenlycitehimasaninfluence.Norehabneededforthisguy,justanSGandaslide.Roadsongs,Trucks’newliverelease,featurestellingexamplesofwhyhisplayingissorevered.Fieryyetaccessibleimprovisationsmarktheouting,andTrucks’uniqueamalga-mationofrootsmusic,blues,andjazzinfluencesissummonedtobringeachsmolderingsolofromoneclimaxtoanother.
WhileinNYCfortheAllmanBrothers’annual,perpetuallysold-outMarchresidency,TrucksrecentlytooktimeoutfromapackedscheduletochatwithusatthecolossalnewlocationofRudy’sMusicinSoHo.EventhoughTruckshadbeenup’tiltheweehoursofthemorningcheckingoutaCubanbandinMidtown,hearrivedbrightandearlytodiscussgear,hislat-estrelease,hisuniqueapproachtoplayingguitar,theAllmans,andwhetherwe’lleverhearhimgetbehindthemic.
Veteran slide master derek trucks sits down with Guitar EdGE to talk
about improVising, playing with some of the biggest names in the guitar uniVerse, and his band’s new liVe album, roadsonGs
Interview by Joe Charupakorn Photography by Chris Owyoung
Long Haul Trucker
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tell us about your new live Cd, Roadsongs.
Ourcoreaudiencehasbeenaskingforaliverecordforawhile.Roadsongsencompasses16yearsofnon-stoptouring,circlingtheglobe,andmakingrecords.ItwasrecordedatParkWestinChicago;thesameplacewedidtheSonglines LiveDVD.Forsomereasonwehavealwayshadgreatshowsthere.Chicagohasthatbubblingenergyandtheaudienceiswellversedandlistens.They’requietattherighttimesoyoucangetsubtle,andthenwhenit’stimetogo,they’rerightthere.
Thisbandhasgottenbetterandbetteratmakingstudiorecords,butliveisacom-pletelydifferentsideofwhatwedo,andwe’vedonethousandsandthousandsofshowstogether.Werecordeveryshow,andwhenwetalkedaboutreleasingalivealbumthatwasthefirstshowthatcametomind.Weweren’tpreparingtodoalivealbum.Wejustcapturedagreatnight—themostexploratorythingswedohappenliveinthemoment.Whenwefinishedthesecondshoweveryonejustfeltreallygood,whichisunusualbecauseyoualwaysfeellikethere’ssomethingelseyouwantedtodo.
do you discuss the good and bad moments of a show with the band afterward?Youalwaystrytobetteryourself.There’salwayssomethingthathappensduringashowthatwetalkthroughbriefly.Orwetalkabouthowthenightfeltoverall.ThatwasoneoftheveryfewshowsthatIcanrememberwhereeveryonefeltgreatafterward.
Were there any fixes?
Noguitarorinstrumentfixes.Somelittlecol-oration,likemaybeanextrabackgroundvocalhereandthere.Wespentalotmoretimewiththisinproductionthananythingelse,mixingitthewaywewanttohearit.ChrisShawdidanamazingjobofmakingitfeellikealiveshow,protectingtheambience,andmakingsureitdidn’tfeeltooclinical.
What are some highlights of the album?
Usually,thereareoneortwosongsanightwherewe’relike,“Thatmightbethebestwe’veplayedit.”Thatnightitwasoneafteranother.Theshowhadsomeofthebestversionsweplayedoftheseindividualsongs.Noonewasbeingconservative;everyonewasthrowingitoutthere,yetitdidn’tgooverthecliff.
There’sagreatversionof“AfroBlue”andagreatversionof“RastamanChant.”Thosesongsfeltamazing.Thehornarrangementsforsomeofthesetunesarereallynice.WewantedtomaketheChicagoshowsunique,soweflewthehornplayersupforthosetwoshowsandrehearsedthemeveryday.Alotofthosetunesweonlyplayedoncewiththem,sowecap-turedafreshnesswiththat,too.
You seem to play and record a lot of 6/8-type tunes.
Ihaveanaffinityforcertaingrooves,timesignatures,andthatmodalapproach.Certainthingsjustfeelgoodtosolooverandare
alotoffuntoplay.Iappreciatetunesthatstretchtheboundariesalittlebit.Anythingyoucandotogetthemusicoutofthestocknormthateveryoneisusedto,evenifit’sasubtleshiftlikethat.Aslongasyoucanmakeitfeellikeit’shomeforpeoplebutstilladdadifferentcolor.
Sometimesyouheargreatrecordingsanditwidensyourconceptofmusic.IheardtheColtraneversionof“AfroBlue”earlyonandthat’swhenthedoorwasopened.
On “afro Blue” from Roadsongs, it sounded like you were shifting blues-scale shapes in and out of key. Can you explain that?
Long Haul Trucker
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A lot of time it’s just feeling free enough tomoveoutofthescale.James“Blood”UlmersatinwiththeAllmanBrotherstheothernight,andit’ssoliberatingplayingwithaguylikethat.Whenhewantsto,hecanbetraditionalandinthepocket,butmostofthetimehe’sjust“outtolunch.”Ithinkwhentheintentionisrightandyouknowwhereyouwanttoendup,youcanroamanywhere,aslongasyoudoitwithenoughconviction.Ifit’stentativeitsoundswrong.
are you approaching it analytically, like super-imposing alternate scales to generate specific tensions or are you doing it instinctively?
SometimesI’mthinkingpatternsandmovingthemaround,knowingthatI’mgoingtoendupbackatthekeycenter.OrmaybeI’lljustgoupinfourthsuntilImakeitbackhome.Alotofitisintentionallyputtingthattensionoutthere;youholdthetensionaslongasyoufeelcom-fortableormaybealittlepastthat[laughs],andthenyouworkyourwayback.Youhavetohaveenoughfaiththatyoucangetoutthereontheplankandyou’regonnabeallright.It’swhenyougetoutthereandstartsecond-guessingyourself,that’swhenitfallsflat.
is your legato playing inspired by horn players?
Yeah.JohnGilmore,WayneShorter,JohnColtrane.ThoseareguysthatIthinkaboutalotwhenI’mplaying.
a couple of years ago, you played on pianist McCoy tyner’s Guitars album. Considering McCoy’s historic association with Coltrane, that must have been really special.Itwassuchanhonortobepartofsomethinglikethat.McCoyissuchasweetguyandisstillplayinghisassoff.He’sreallythelastdirectlinktoColtrane.Thoseweremomentsthat,whiletheyweregoingon,yourealizehowfortunateyouaretodowhatyoudo,andyourealizethatthisisamomentthatyou’regoingtorememberfortherestofyourlife.
Sometimesyoumeetoneofyourheroesandit’salittlebitofaletdown.WithMcCoy,Ileftfeelingevenbetteraboutit.It’sgreatwhenyouridealofsomethingactuallyexists.That’sararething.
What tuning do you use?OpenE.WhenIplayedinFrogwingswithJimmyHerringduringmyteenyears,hewouldsitdownandshowmesomeofthevoicingsheused.WewouldthenfindtheminopenEanddrawouttheneckoftheguitarandwriteouteveryscalewecouldfindinthistuning.Ifindthattobeareallyeasywaytoseethings.
Would a guitar in standard tuning throw you off?Idon’tplaystandardmuch.It’sfunthough.IenjoypickingupguitarsinalternatetuningsthatIdon’tknowandjustfindingthings.Youplaypatternsthatyounormallyplayandit’sabsolutelydifferent.Iwritealotoftunesthatway.
Can you explain your right-hand technique?
MostofthenotesarecleanlypickedandIusemyindexfingeralmostlikeapicktogoupanddown,kindoflikethewayWes[Montgomery]wouldusehisthumb.OrsometimesIgobetweenthethumbandfirstfinger.Fromayoungage,myrighthandwasalwaysfairlyconsistent,andasIwentalongIwouldaddthingslikeflamenco-esquetech-niquesorarhythmthing.
When you practice technical things like scales, is it very methodical?
Photo by Ken Settle
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It’smuchmoremethodicalinthelefthand.Ijustlettherighthanddoitsthing;alotofitisintuitive.ThelasttimeIwasinJapan,theywerefilmingaguitarlessonandtheyweretry-ingtogetmetobreakdownmyrighthand.InoticedthatwheneverIwouldpayattentiontoit,itwouldjustfallapart.Ihavenoideawhatthatmotherfuckerisdoing[laughs].
You also do a lot of single-string pull-off figures.
SomeofthatisfromlisteningtoIndianclas-sicalplayers,especiallythismandolinplayernamedU.Srinivas,whohasplayedwithJohnMcLaughlinforawhile.Hewasachildprodi-gy.Therearerecordsofhimat11or12yearsoldthatarejustdevastating.Hedoesalotofthesesingle-stringrunsthatarejustinsane.Thatinfluencedmequiteabit,alongwithlis-teningtoIndianclassicalsingersandAliAkbarKahn[Ed. Note—Kahn passed away last year].Forme,AliAkbarwasoneoftheveryfewtotal
heavyweightsthatwereleft—therealdeal,likeRayCharles.
What tips do you have for aspiring slide players?
Firstthingsfirst,musicissupposedtosoundandfeelgood,sointonationisoneofthemostimportantthingstothinkabout.Whenyou’replayingmusic,you’redealingwithsoundandtone.Havingthenoteswhereyouwantthemissuchahugepartofthat.Ithinksomepeoplegetlazythewaytheyhearorthewaytheyapproachintonationanditbecomesmoreaboutpatternsthanactualsounds.Ifyourunscalesalldaybuttheintonationissquirrellyorthetoneisterrible,thennobodywantstohearit.
Also,onceyoureallygetthenotesrighton,youcanplaywithit.Forexample,sometimesyouwantittobeahairflatorfortensionyouwanttobenditalittlesharp.That’swherealotofthefunisandthat’swhatmakesmusic
suchanendlesssearch.Youcanhearonesongplayedbyahundreddifferentpeopleandit’sahundreddifferentsongs.
What was it like when you joined the allmans?Iwas20yearsold,goingintoabandthatjustturned30.Yougointoitwithalotofconfi-denceinwhatyoudo,youdoyourhomeworkandlearnthecatalog,youjumpintoitwithbothfeetbutyouhavetocomeintoitwithtotalrespectforthehistoryandthemusic.Youwanttobringyourownthingtothetable,butthefirstfewyearsareaboutfeelingoutthesituation.Youhavecomeintoitfromadef-erentialpositionandittakesawhiletogaineveryone’srespect,personallyandmusically.First,Ilearnedthepartsfromtheoriginalrecordings,especiallyfortheguitarharmo-nies.Alotofthesongshavemorphedovertheyearsandtheoriginalpartsweren’tbeingplayed.Dickey[Betts,formerAllmanBrothersguitarist]wouldplayadifferentpart,which
Caption here
Long Haul Trucker
Trucks with his ‘61 Gibson SG Reissue at Rudy’s in SoHo, NYC.
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made Warren [Haynes, co-guitarist] play a dif-ferentharmony.Iwentbacktotheoriginalrecordingsandwaslike,“Waitaminute…”Andoftentimesitwouldchangeforthebetter,butsometimesnotnecessarily.Meand[bassist]OteilBurbridgesatdownandreallydugintowhattheoriginalbandwasdoingontheorigi-nalversionsofthosetunes,andalotoftimesweresurrectedthem.Atleastbacktotheorig-inalform,whichisgreatbecauseyou’restart-ingfromgroundzeroagainandyoucanbuilduponthatwithyourownvocabularyinsteadofbuildingonsomebody’sinterpretationofit.Itwasnicegoingbacktotheblueprint.
did going on the road with Clapton a few years back create any weirdness with the allmans?
Theywerehugelysupportiveofit,andIwasn’tsuretheywouldbe.Iwasreallysurprised.Iwenttothemandsaid,“Look,IgotthisoffertodoafullyearwithClapton.It’skindahardtonotdoit.”Theywerehugelyinmycornerandworkedaroundhistour.Itworkedoutreally
well,andprobablybecauseofhowwellthatwentdown,EriccametotheBeaconTheatrelastyearandsatinwiththeAllmanBrothersforthefirsttime.
IthinkthefactthatDuanehadplayedwithEricandthattheyhaddonethatgreatrecordtogetherrightattheendofDuane’slife,therewassomuchmutualrespectbetweenEricandDuaneandviceversa.Theyfeltlikeitwasagoodthingandalmostclosure,inaway.
in Rolling Stone magazine, Eric Clapton said that he thought you should sing. is that going to happen anytime soon?Whoknowsman?[Laughs]We’vegotallkindsoftime.
You’ve primarily played an SG throughout your career. What is it about the SG that attracts you?
Comfort.I’vebeenplayingtheSGsinceIwas10or11.It’sbalancedright.Forslide,havingaccess
wayuptheneckisahugepartofit.It’sjustcleanallthewayuptothetop.IalsoliketheedgethattheSGhas.It’sstillthatwarmGibsonsound,butitbitesalittlemorethanaLesPaul.
if you had to play through a replacement rig, would you have any difficulty adjusting?
Sometimesyou’reforcedto.Ireallydopre-fertohavetherightgear.Yourgeariswhatsoundsgoodtoyou—it’syourvoice.Ifyou’rehandedadifferentvoice,youhavetoadjustthewayyouplay.Evenifit’sareallysimplechangefromaguitarthatyou’recomfortablewithoracordandampthatyou’recomfort-ablewith,thatcanmakeallthedifference.Forme,onceyougetthegearoutoftheway—whenyou’renotthinkingaboutitandhowyouneedtotweakit—that’swhenthemostinspiredplayinghappens.Whentheactualsoundcomingfromyourampinspiresyou,that’swhenitgetsgood.
Trucks‘ GearboxGuitarS’61GibsonSGReissuewithoriginalPAFhumbuckersandreplacementKlusontuners;GibsonDerekTrucksSignatureModelprototypewithreplacementstopbarMaestrotailpiece,SheptonePAFs,andKlusontuners.Allguitarsaresetupto1/16"at12thfret
aMPSWith the allman Brothers:PRSDallasampswithCelestionVintage30speakers,Phillips6L6powertubes,Mullard12AX7preamptubes,aMullardCV2042drivetubeandatransformermodeledafter100-wattMarshalltransformers(PRScallstheamps“SuperDallases”)andcantakeeither6L6orEL34powertubes.
With the derek trucks Band: Vintage‘64SuperReverbswithPyleDriverMH1020speakers,Phillips6L6powertubes,Mullard12AX7preamptubes,andMullardCV2042drivetube.
in the Studio:FuchsOverdriveSupreme-50
EFFECtSMoollonCompressor;PlanetWavestuner
StriNGSDRPureBlues.011–.014–.017–.026–.036–.046
CaBLESPlanetWaves
PiCkSNopicks,onlyblisters
SLidEDunlopBluesBottle
Pho
to b
y Ke
n S
ettle
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by Chad Johnson
The Black CrowesHow to Achieve the Tone on “Hard to Handle”
In1990,hairmetalwasstillreigningthekingdomofrock,theterm“grunge”wasprobablyonlybeingusedbyafewhundredpeopleinSeattle,andrapwasstillconsideredtooedgytobecompletelyembracedbythemainstream.Nevertheless,theBlackCrowesarrivedwithShake Your Money Maker,whichsounded(forgivingtheproduction)morelikesomethingoutof1970than1990.Theyenjoyedmodesthitsin“JealousAgain”and“SheTalkstoAngels,”butitwastheirspiritedcoverofOtis
Redding’s“HardtoHandle”thatsentthealbumtotripleplatinumsuccess.
THE BAND’S GuITAR SOuNDOntheirfirstalbum,theCrowes’guitardutieswerehandledbyRichRobinsonandJeffCease.ThesoundoftheBlackCroweshasalwaysbeenaboutguitars,andRichRobinsonhasamassedanenviouscollectionofvintagetonemachinesofboththestrungandtubedvariety.Formanytone-fiends,
itdoesn’tgetmuchbetterthantheearlyCrowesalbums—particularlytheirsophomoreeffort,Southern Harmony Musical Companion.JeffCeasereliedonLesPaulsandMarshallsalmostexclusivelyduringthosedays.Hepluggedstraightinandtendedtoremainonthebridgepickupmostofthetime,asisdefinitelythecaseforthesolosin“HardtoHandle.”ThoughRich’smosticonicguitarishisblondeTelecaster,he’salmostequallyknownforhisGibsoncollection.Hemakesgeneroususeofhischerry335onjustabouteveryalbum,buthestrummedhisGibsonLesPaulSpecialinTVyellowwithP-90pickupsforthistune.HemostlikelypluggedintooneofhisvintageFenders—atweedTwinorBassmanorablondeTremolux—againbypassinganyeffectsandgoingforpureampgrit.
HOw TO MIMIC THE SOuNDThebasicsofthistonearefairlysimple.GrabaGibson-styleguitarwithhumbuckers(oraLesPaulJr.),plugintoavintage(orvintage-styled)tubeamp,andturnup.ThistoneismoreontheBritishsideofthings,whichtranslatesintoMarshallsortweedFenders.(JimMarshall’soriginalampdesignisnearlyidenticaltothatofatweedBassman.)Thedistortionheardontherecordingiscreatedbyoverdrivingthepowerstageoftheamp.Ifyourampdoesnothaveamastervolume,justturnitupuntiltheproperamountofgainisreached.Thelouderitgetsand/orthemoreyoudigin,themoreitwillbreakup.Lower-wattageampsareniceifnoiselevelisaconcern(asitisformany).TheTweedDeluxe(12watts),whichFenderhasreissued,orthe1974x(18watts),whichMarshallhasreissued,wouldbenicechoicesinthisregard.
Ifyourampdoeshaveamastervolumeand/orgainknob(suchasaFenderBluesDeluxeorPeaveyClassic30),thenyou’llcomeclosesttothesoundbycrankingupthemastervolumeandkeepingthechannelvolumeand/orgainknoblow.Thismaysoundcounterintuitiveforsomeonewho’sstartingout.Butyouhavetorememberthatthetoneyouhearonthesongisn’treallythatdistorted.Infact,ifRobinsonorCeaseweretopicklightlywiththesetupstheyused,thetonewouldsoundalmostclean!
(L to R) Jeff Cease, Rich Robinson. Photo by Ken Settle
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 31
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 33
At the center of Train’s sound is vocalist Pat Monahan, guitarist Jimmy Stafford, and drummer Scott Underwood. Together, they have released five albums and sold millions of records. Since forming in San Francisco in the mid ’90s, Train has established a sound that is equal parts alternative and country, with a roots rock feel.
Their self-titled debut was released in 1998 and was a huge success, with the second single, “Meet Virginia,” becoming a Top 20 hit. In addition to the core trio, the band at the time included bassist Charlie Colin and guitarist Rob Hotchkiss. While most bands fall short when it comes to following up a hit album, Train released Drops of Jupiter in 2001 to critical and commercial acclaim.
After their third album, My Private Nation, Hotchkiss and Colin left the band and Train decided to bring in bassist Johnny Colt and keyboardist Brandon Bush to help with the next record. Following eight years of recording and non-stop touring, the band announced in November of 2006 that they would be going on hiatus. Monahan took this time to release a solo album that was met with some critical praise despite being commercially unsuccessful.
“Hey, Soul Sister” was released in August of 2009 and marked the reformation of the band. It soon landed in the Top 10 on the Billboard charts and became a huge single for the band.
CAPO + GUITAR = UKULELE As you can easily tell from the recording, Gtr. 1 is actually a ukulele arranged for guitar. A uke is tuned G – C – E – A, with the 4th string (G) tuned a whole step below the 1st string, so the lowest note is actually C. If we place a capo at the fifth fret of a standard-tuned guitar the top four strings match the uke (except for the octave transposition of the G). The Gtr. 1 part is written in the key of B major (five sharps) and the chord symbols in the parentheses reflect the transposition due to the capo. If you have a
uke, you can disregard the tab and play the chords shown in Fig. 1.
Guitarist Jimmy Stafford altered the tuning of his uke a little bit to make some chords easier for him to play. He tuned the 4th string up a whole step to A and lowered the 1st string a whole step to G. Stafford’s tuning from low to high would be A – C – E – G.
INTRO AND VERSETo give the tune a little more interest, the sixteenth notes are played with a swing feeling,
as indicated by the marking next to the tempo. After the muted strums in the first measure, Gtr. 1 plays a simple four-chord progression that goes B5 – F# – G#m – E and is marked Rhy. Fig. 1. For the G#m chord in the third measure, use your ring finger to barre over the top three strings and then use your index finger for the E chord. Notice the accents above the notation; in the second measure you will see sim, which means to continue the accents in a similar manner.
Monahan enters at the end of the Intro while Gtr. 1 continues with Rhy. Fig. 1. This figure is
“Hey, Soul Sister” Train
RIFF NOTES
By Jason Shadrick
Fig. 1Fig. 1
23 1 234121
4fr
21113211
(L to R) Jimmy Stafford, Patrick Monahan, Scott Underwood. Photo by Mark Holthusen
w w w . g u i t a r e d g e . c o m34 J U LY / A U G U S T 2 0 1 0
identical to the first Chorus, so keep an eye out to make sure you don’t mistakenly end up on the first Chorus.
Gtr. 2 enters with a clean, sparkling tone and plays some sus chords. A sus chord is neither major nor minor due to the missing third, which is usually replaced by a second or fourth. The chords that aren’t in parentheses refer to Gtr. 2’s chord voicings.
played one and a half times before Rhy. Fig. 2 comes in with a two-measure variation on the original progression.
CHORUSThe Chorus comes in strong after the second Verse and adds a variation on both the progression and strumming rhythm. Fig. 2 shows how to count the rhythm for the progression. We are using the “1 – e – & – a” method for counting each beat, where the “1” is the number of the beat in the measure. Any rhythm names in parentheses are counted but not played.
In the second measure of the Chorus, there is a quick change to a B chord for beat 3 before changing back to F# for beat 4. Be sure to follow the accent markings over the notation as they become more pronounced during the Chorus.
After the Chorus, there is a short Interlude where Gtr. 1 continues the progression marked Rhy. Fig. 1. After the Interlude, follow the D.S. al Coda label back for the third Verse. At the end of the fourth Verse, skip to the Coda on the third page. Both the lyrics and uke part are
Dial TOneWhat They UsedOn the recording, guitarist Jimmy Stafford uses a ’63 Relic Fender Telecaster for the guitar parts, in addition to his ukulele. For amps, he usually plugs into a Vox AC30.
How to Get the Sound If you don’t have a uke handy, you can simulate the effect with an acoustic guitar capoed at the fifth fret. When the band per-forms live, it basically becomes a drum/uke duet. This is a great strum-along song that would work with nearly any type of setup.
• DownloadmoreTraintabatguitarinstructor.com• GetcoolTraingearfromoldglory.com• Get“TheBestofTrain”guitartabfrommusicdispatch.com• Download“Hey,SoulSister”oniTunes• VisitTrainonlineattrainline.com
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Fig. 2
count: 1 (e) & a 2 e & a 3 (e) & a 4 e & (a)
Fig. 2
Get Cool Traingear at
oldglory.com!
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 35
Intro Moderately q = 98
© 2009 EMI APRIL MUSIC INC., BLUE LAMP MUSIC and STELLAR SONGS LTD.All Rights for BLUE LAMP MUSIC Controlled and Administered by EMI APRIL MUSIC INC.
All Rights for STELLAR SONGS LTD. in the U.S. and Canada Controlled and Administered by EMI BLACKWOOD MUSIC INC.All Rights Reserved International Copyright Secured Used by Permission
Reprinted by Permission of Hal Leonard Corporation
Hey, Soul SisterWords and Music by Pat Monahan, Espen Lind and Amund Bjorkland
from Train - Save Me, San FranciscoTranscribed by Pete Billmann
= 3 Gtr. 1: Capo V
**
E5[B5]
Hey,
B[F#]
hey,
*Gtr. 1
mf
Rhy. Fig. 1
sim.
*Ukulele arr. for gtr.
XXXX
XXXX
XXXX
XXXX
XXXX
XXXX
**Symbols in parentheses represent chord names respective to capoed guitar. Symbols above reflect actual sounding chords. Capoed fret is “0” in tab.
402
402
402
402
402
402
402
402
402
402
402
402
402
402
322
322
322
322
322
322
322
322
322
322
322
322
322
322
C#m[G#m]
hey.
A
[E]
Your1.
End Rhy. Fig. 1
444
444
444
444
444
444
444
444
444
444
444
444
444
444
100
100
100
100
100
100
100
100
100
100
100
100
100
100
lipJust3.
Gtr. 1: w/ Rhy. Fig. 1 (1 1/2 times)
Verse
E5[B5]
stickin
- stainstime,
B
[F#]
onI’m
theso
frontglad
lobeyou
ofhave
mya
leftone
C#m[G#m]
sidetrack
--
brains.mind
like me.
A[E]
I knew
You gave
Imywould
life
n’t-di
forrec-
get
E5[B5]
- ya,tion,-
anda
sogame
Ishow-
wentlove
andcon nec-
let
B[F#]
tion
-you blow
we can’t
my
demind.
-
This song is sponsored by emginc.com
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w w w . g u i t a r e d g e . c o m36 J U LY / A U G U S T 2 0 1 0
ny.
C#m[G#m]
I,
I,
A[E]
B[F#]
YourI’m
2.4.
Gtr. 1Rhy. Fig. 2
End Rhy. Fig. 2
444
444
444
444
444
444
444
444
444
444
444
444
444
100
100
100
100
100
100
100
322
322
322
322
322
322
322
sweetso
VerseGtr. 1: w/ Rhy. Fig. 1 (1 1/2 times)
E5[B5]
moonob
beam,sessed,
-
-
B[F#]
themy
smellheart
of
isyou
bound
into
evbeat
’ryright
- sinout
C#m[G#m]
glemy
- dreamun
Itrimmed-
dream.chest.
A[E]
I knew
I
when
be lieve-we
incol lid
you.-
E5[B5]
ed,- you’reLike
thea
onevir
Igin,-
haveyou’re
deMa don-
--
CTo oda
cidna
B[F#]
ed-and
I’mwho’s
alone
ofways-
mygon
na-kind.
wan
Gtr. 1: w/ Rhy. Fig. 2
C#m[G#m]
na- blow
your mind.
A[E]
B[F#]
Hey,
ChorusA
[E]
soul sis
ter,-
ain’t
B[F#]
that Mis ter- Mis
E[B]
ter- on
B[F#]
the
Gtr. 1Rhy. Fig. 3
End Rhy. Fig. 3
100
100
100
100
100
100
100
100
100
100
100
100
100
322
322
322
322
322
322
322
442
442
442
322
322
322
ra
Gtr. 1: w/ Rhy. Fig. 3 (1 1/2 times)
A[E]
di- o,-
ster e- o?-
The
way
B
[F#]
you
move
ain’t
fair,
E
[B]
you know.
B[F#]
Hey,
A[E]
soul sis
ter,-
I
HEY, SOUL SISTER
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 37
B[F#]
don’t wan na- miss
E[B]
a sin
B[F#]
gle- thing
A[E]
you do
B[F#]
to night.-
Gtr. 1
322
322
322
322
322
322
322
442
442
442
322
322
322
100
100
100
100
100
100
100
100
100
100
100
100
100
322
322
322
322
322
322
322
D.S. al Coda
InterludeGtr. 1: w/ Rhy. Fig. 1
E5[B5]
Hey,
B[F#]
hey,
C#m
[G#m]
hey.
A
[E]
Coda
Hey,
ChorusGtr. 1: w/ Rhy. Fig. 3 (2 1/2 times)Asus2
[E]
soul sis
ter,-
ain’t
Bsus4[F#]
that Mis ter- Mis
E5[B]
ter- on
Bsus4[F#]
the
Gtr. 2 (clean)Rhy. Fig. 4
mf
End Rhy. Fig. 4
02200
24400
79
09
0
24400
ra
Gtr. 2: w/ Rhy. Fig. 4 (1 1/2 times)
Asus2[E]
di- o,-
ster e- o?-
The
way
Bsus4
[F#]
you
move
ain’t
fair,
E5[B]
you know.
Bsus4[F#]
Hey,
Asus2[E]
soul sis
ter,-
I
Bsus4[F#]
don’t wan na- miss
E5[B]
a sin
Bsus4[F#]
gle- thing
Asus2[E]
you do
Bsus4[F#]
to night.-
Gtr. 1
Rhy. Fig. 5
End Rhy. Fig. 5
322
322
322
322
322
322
322
442
442
442
322
322
322
100
100
100
100
100
100
100
100
100
100
100
100
100
322
322
322
322
322
322
322
322
322
322
322
322
322
322
Gtr. 2
Rhy. Fig. 5A
End Rhy. Fig. 5A
24400
79
09
0
24400
02200
24400
HEY, SOUL SISTER
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w w w . g u i t a r e d g e . c o m38 J U LY / A U G U S T 2 0 1 0
VerseGtr. 1: w/ Rhy. Fig. 1 (1 1/2 times)
E5[B5]
The5. way you
can cut
a rug,
watch
B5[F#]
ing- you’s
the on
ly- drug
I need.
C#m7[G#m]
Some
gang
sta,- I’m
so thug.
You’re the
Gtr. 2
let ring
let ring
79
09
0
79
09
0
79
09
0
79
09
0
79
09
0
79
09
0
79
09
0
79
09
0
2440
440
440
2440
2440
46
06
6
06
46
06
46
06
on
Asus2[E]
ly- one
I’m dream
in’- of.
You see,
E5[B5]
I can be
my self
- now, fi
nal- ly.-
B5[F#]
In fact,
there’s noth
in’- I
can’t be.
let ring
let ring
let ring
0
200
200
200
0
200
200
200
7
0
99
0
99
0
99
0
99
0
99
0
99
2440
440
440
440
440
440
Gtr. 1: w/ Rhy. Fig. 2
C#m7[G#m]
I want the world
to see
you’ll be
Asus2[E]
with
Bsus4[F#]
me.
let ring
let ring
4
400
400
400
400
400
400
400
0
200
200
200 0
40
40
40
Hey,
ChorusGtr. 1: w/ Rhy. Fig. 3 (5 times)
A[E]
soul sis
ter,-
ain’t
B[F#]
that Mis ter- Mis
E[B]
ter- on
B[F#]
the ra
A[E]
di- o,-
ster e- o?-
The
way
B
[F#]
you
move
ain’t
fair,
E5[B]
you know.
Bsus4[F#]
79
09
0
24400
HEY, SOUL SISTER
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 39
Hey,
Gtr. 2: w/ Rhy. Fig. 4 (3 times)
Asus2[E]
soul sis
ter,-
I
Bsus4[F#]
don’t wan na- miss
E5[B]
a sin
Bsus4[F#]
gle- thing
Asus2[E]
you do
to
night.-
Bsus4[F#]
E5[B]
Bsus4[F#]
Hey,
Asus2[E]
soul sis
ter,-
I
Bsus4[F#]
don’t wan na- miss
E5[B]
a sin
Bsus4[F#]
gle- thing
Gtrs. 1 & 2: w/ Rhy. Figs. 5 & 5A
Asus2[E]
you do
Bsus4[F#]
to night.-
1.
OutroGtr. 1: w/ Rhy. Fig. 1 (1 3/4 times)
E5[B5]
Hey,
Bsus4[F#]
hey,
C#m7[G#m]
hey.
Asus2
[E]
[F#]Bsus4
to night-
Gtr. 2
79
09
0
24400
46
06
0
02200
24400
2.
Asus2[E]
B[F#]
to night.-
E5[B5]
Gtr. 1
100
100
100
100
100
100
100
322
402
Gtr. 2
02200
HEY, SOUL SISTER
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w w w . g u i t a r e d g e . c o m40 J U LY / A U G U S T 2 0 1 0
Formed in 1995, Godsmack has sold nearly 20 million albums worldwide and has been nominated for four Grammy awards. Their self-titled debut album was released in 1998 to critical acclaim and led to the band playing the Woodstock ‘99 festival and the Ozzfest tour. The second album released by the band, Awake, didn’t quite live up to the success of the previous album but gave them their first Grammy nomination for “Vampires,” an instrumental track from the album.
By 2003, Godsmack debuted at number one on the Billboard 200 with their album Faceless. This album led to opening slots for Metallica and yet another Grammy nomination. In 2006, after the release of a greatest hits album, the band took a hiatus, which led to rumors of them breaking up. In the summer of 2009, they supported Mötley Crüe’s Crüe Fest 2 and shortly thereafter began planning for the next record.
“Cryin’ Like a Bitch!” is the first single from the band’s recently released album, The Oracle, which was produced by Dave Fortman and recorded at Serenity Studios in Hollywood, California. After several personnel changes, the current lineup for the band includes vocalist Sully Erna, guitarist Tony Rombola, bassist Robbie Merrill, and drummer Shannon Larkin.
THE TUNING Guitarists Tony Rombola and Sully Erna tune their low E strings down a whole step to D for this song. The tuning from low to high is D – A – D – G – B – E.
INTRO AND VERSEThe tune begins with Gtr. 1 and Gtr. 2 playing a syncopated riff on the low two strings. The 6th and 5th strings, when played as open strings, form a D5 power chord. The
chord symbols used here reflect the overall harmony of the song, so we’ve placed B%5 and C5 chord symbols over the octaves at the end of the main riff. Since neither major nor minor harmonies are implied, we default to 5th chords. We’ve added chord symbols for the single-note line at the end of the fourth measure for this reason as well.
The rhythm for the riff from the Intro can be tricky to count. In Fig. 1, the rhythm is notated using the “1-e-&-a” method. Any
rhythm notations in parentheses are counted, but not heard. Use the fingers of your left hand to mute the strings during the sixteenth-note rests. During the first few measures of the Intro, you can hear some harmonics due to the left-hand muting. Both guitars play the exact same part until the last system of the first page. If you are the only guitar player, stick with the Gtr. 1 part.
Erna comes in with the vocals at the Verse, while the riff from the Intro continues. In
“Cryin’ Like a Bitch!” Godsmack
RIFF NOTES
By Jason Shadrick
Godsmack guitarist Tony Rombola throws down with his David Thomas McNaught guitar. Photo by Wayne Dennon
Fig. 2
Fig. 1
count: 1 e & (a) 2 e (&) a (3) e (&) a 4 e & a
Fig. 2
Drop D tuning:(low to high) D-A-D-G-B-E
9 9 9
15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15
Fig. 1
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 41
This same technique appears again in the Bridge, but this time with a sixteenth-note pattern. Fig. 3 shows this picking pattern. In the tab, the harmonic is notated as 2.6, which is partially between the second and third frets on the 6th string. Along with the high C harmonics, the low open D can also be heard.
this transcription, Gtr. 1 and Gtr. 2 are notated as a composite arrangement. This means that the parts are nearly identical, but arranged as one.
CHORUS AND INTERLUDEGtr. 3 comes in at the Chorus and plays a sliding octave riff that compliments Gtr. 1 and Gtr. 2’s crunchy rhythm part. In the first measure, use your index and middle fingers for the D5 chord (Gtr. 1 and Gtr. 2), and then reach your middle finger over to fret the bottom three strings to play the F5 chord at the third fret.
The Interlude on the fifth page adds some cool effects to the mix. Gtr. 4 uses a tremolo effect that is set to repeat a note nine times per beat. The note is marked “w/amp tremolo” to differentiate from the use of the tremolo bar. If you don’t have a tremolo pedal (or the effect built into the amp), then you can use tremolo picking to achieve the same sound. Fig. 2 shows how to pick the note using this technique.
DIAL TONEWhat They UsedBoth Erna and Rombola have similar tastes in guitars. Gibson Les Paul Standards became go-to guitars for the sessions, with Rombola also using a Les Paul Custom and a McNaught guitar with Rio Grande pick-ups. Rombola relied on a Bogner Uberschall, Splawn Nitro and an ENGL Ritchie Blackmore amp for his distortion tones. For clean sounds, he plugged into a Roland JC-120 while Erna used the Uberschall.
How to Get the Sound When it comes to the hard rock crunch that Godsmack is known for, all it takes is a gui-tar with high output humbuckers matched with a modern high-gain amp. If you can’t grab a Gibson Les Paul, try an Epiphone model plugged into a Mesa/Boogie or Bogner amp.
• Gettabfor“Cryin’LikeaBitch!”atguitarinstructor.com• Get“Godsmack”guitartabbooksatmusicdispatch.com• Download“Cryin’LikeaBitch!”fromiTunes• VisitGodsmackonlineatgodsmack.com• GetcoolGodsmackgearatoldglory.com
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“Cryin’ Like a Bitch!” Godsmack
Fig. 3Fig. 3
Drop D tuning:(low to high) D-A-D-G-B-E
2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6
Harm.
2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6
Harm.
Pitch: C
2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6
Harm.
2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6
Harm.
Get Cool Godsmack
gear at oldglory.com!
w w w . g u i t a r e d g e . c o m42 J U LY / A U G U S T 2 0 1 0
Intro Moderately q = 95
Words and Music by Sully Erna, Tony Rombola, Rob Merrill and Shannon Larkin
Cryin’ Like a Bitch!
Copyright © 2010 UNIVERSAL MUSIC CORP., MEEENGYA MUSIC, HAMMERCLAW, MICK DOG and SHANNON LARKINAll Rights Controlled and Administered by UNIVERSAL MUSIC CORP.
All Rights Reserved Used by PermissionReprinted by Permission of Hal Leonard Corporation
from Godsmack - The Oracle
Guitars: Tony Rombola & Sully ErnaTranscribed by David Stocker
Gtrs. 1 & 2 (dist.)
Drop D tuning:(low to high) D-A-D-G-B-E
* D5
f
P.M.
Bb5
C5 D5
P.M.
Bb5
C5
*Chord symbols reflect overall implied harmony.
00
00
00
00
00
00
00
00 1
X3
3
5
3X5
00
00
00
00
00
00
00
00 1
X3
3
5
3X5
3X5
D5
P.M.
Bb5
C5 D5
P.M.
A5 Bb5 C5
Bb5 G5 A5
00
00
00
00
00
00
00
00 1
X3
3
5
3X5
00
00
00
00
00
00
0 7 8 10 8 5 7
Gtr. 2
Rhy. Fig. 1A
D5
P.M.
Bb5
C5 D5
P.M.
A5 Bb5 C5
Bb5 G5 A5
00
00
00
00
00
00
00
3 0133
355
355
355
00
00
00
77
00
00
00
1010
0 7 8 10 8 5 7
Gtr. 1
Rhy. Fig. 1
P.M.
P.M.
00
00
00
00
00
00
00
0133
355
355
355
00
00
00
00
00
00
0 7 8 10 8 5 7
This song is sponsored by jimdunlop.com
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 43
D5
P.M.
Bb5
C5 A5 F5
G5 F5 G5
F5 G5
F5 G5
F5End Rhy. Fig. 1A
Fsus4 D5
00
00
00
00
00
00
00
3 0133
355
355
022
022
33
55
55
33
55
55
33
55
55
33
55
55
555
333
0333
0002
P.M.
End Rhy. Fig. 1
00
00
00
00
00
00
00
0133
355
355
022
33
55
55
33
55
55
33
55
55
33
55
55
555
333
333
002
Strut1.
VerseD5
on
by like
Bb5
C5
a king
D5
Bb5 C5
*Gtrs. 1 & 2
Rhy. Fig. 2
P.M.
P.M.
*Composite arrangement00
00
00
00
00
00
00
3 0133
355
355
00
00
00
00
00
00
00
3 0133
355
355
355
tell
D5
in’- ev
’ry- bod-
y- that
Bb5
C5
you’re noth
D5
ing.-
A5 Bb5 C5
Bb5
And
G5 A5
P.M.
P.M.
End Rhy. Fig. 2
00
00
00
00
00
00
00
3 0133
355
355
00
00
00
300
00
00
5 0 7 8 10 8 5 7
long
Gtrs. 1 & 2: w/ Rhy. Fig. 2
D5
live
what you thought
Bb5 C5
you
D5
were,
Bb5
C5
and time
D5
ain’t
on
your side
Bb5
C5
CRYIN’ LIKE A BITCH!
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w w w . g u i t a r e d g e . c o m44 J U LY / A U G U S T 2 0 1 0
an
D5
y- more,-
A5
an
Bb5 C5
Bb5
y
G5
-
A5
more.
Gtrs. 1 & 2: w/ Rhy. Figs. 1 & 1A (last meas.)
F5
-
G5
F5 G5 F5
G5
F5 G5
F5
And
D5
Gtr. 3 (dist.)
mp
5 5
1 1
so
ChorusD5
F5
you tell
me
D5
I
F5
can take
my
Gtr. 3
mf
Riff A
5X7
5X7
5X7
X8
10X8
10X8
10X8
10X8
10X8
10
5X7
5X7
5X7
5X7
X8
10X8
10X8
10X8
10X8
10X8
10X8
10
Gtrs.1 & 2
Rhy. Fig. 3
00023
00023
00023
333
333
333
333
333
333
000
00023
00023
00023
333
333
333
333
333
333
333
chanc
D5
es,-
F5
and I told
you one
G5
too man
y- times,
Bb5
and you were cry
in’- like a
End Riff A
X8
10
5X7
5X7
5X7
5X7
X8
10X8
10X8
10X8
10X8
10X8
10X8
10X10
12X10
12X10
12X13
15X13
15X13
15X13
15X13
15X13
15X13
15
End Rhy. Fig. 3
333
000
000
00023
00023
333
333
333
333
333
333
333
555
555
555
888
888
888
888
888
888
888
0
CRYIN’ LIKE A BITCH!
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 45
bitch.
InterludeGtrs. 1 & 2: w/ Rhy. Figs. 1 & 1AGtr. 3 tacet
D5 Bb5 C5 D5
A5 Bb5 C5 Bb5 G5 A5
D5
Bb5 C5 A5 F5
G5 F5 G5 F5 G5
F5 G5
2. Well,
F5
I’m
Fsus4 D5
tough
Gtrs. 1 & 2: w/ Rhy. Fig. 2 (1 1/2 times)
Verse
D5
er- than nails,
I
can prom
Bb5
ise
C5
- you that.
D5
Bb5
C5
You
step
D5
out
of line
and you’ll
Bb5 C5
get bitch
D5 slapped
back.
And
A5 Bb5
you
C5
Bb5
can
G5 A5
run
D5
oh,
your lit tle- mouth
Bb5
C5
all day,
D5
but
Bb5
C5
the
hand
F5
G5
of
F5 G5
God
F5
G5
just
F5 G5
smacked
F5
G5
you
D5
back
F5
G5
in
F5 G5
to
F5
-
G5
yes
F5
ter
G5
- day.
F5
-
G5
And
Gtrs. 1 & 2
33
55
55
33
55
55
33
55
55
33
55
55
33
55
55
00
1515
1717
1717
1515
1717
1717
1515
1717
1717
1515
1717
1717
1515
1717
1717
1717
so
ChorusGtrs. 1 & 2: w/ Rhy. Fig. 3 (1 1/2 times)Gtr. 3: w/ Riff A (1 1/2 times)
D5
F5
you tell
me
D5
I
F5
can take
my
chanc
D5
es,-
F5
but I’ve told
you one
G5
too man
y- times,
Bb5
and you were cry
in’- like a
bitch.
D5
F5
And you won
der-
D5
why
F5
no one
can
CRYIN’ LIKE A BITCH!
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w w w . g u i t a r e d g e . c o m46 J U LY / A U G U S T 2 0 1 0
stand
D5
you,
F5
and there’s no
de
CTo oda
ny
G5
- ing-
you
Bb5
were cry
in’- like a
A5
Gtr. 3
X8
10
5X7
5X7
5X7
5X7
X8
10X8
10X8
10X8
10X8
10X8
10X8
10X10
12X10
12X10
12X13
15X13
15X13
15X13
15X13
15X13
15X13
15X12
14
Gtrs.1 & 2
333
000
000
00023
00023
333
333
333
333
333
333
333
555
555
555
888
888
888
888
888
888
888
777
bitch.
You were cry
in’- like a bitch.
Gtr. 3 tacet
Interlude
D5
µ
Gtr. 4 (dist.)
*w/ amp tremolo
mf
*Set for nine repeats per beat.
15
Gtr. 3
Gtr. 5 (dist.)
f
Riff B
P.M.
P.M. P.M.
P.M.
X12
14X12
14X12
14X12
14X12
14X12
14
50 0 5
3
53 5
0 0 0 5
3 33 3
Gtrs. 1 & 2
Rhy. Fig. 4
P.M.
777
777
777
777
777
777
00
00
00
00
00
00
00
00
CRYIN’ LIKE A BITCH!
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 47
D5
µ
Gtr. 5: w/ Riff B
D5
µ
let ring
1515
15
P.M.
P.M. P.M.
P.M.
End Riff B
50 0 5
3
53 5
0 0 0 5
3 33 3
P.M.
P.M.
00
00
00
00
00
00
00
00
00
00
00
00
00
00
00
Gtr. 4 tacet
D5
A5 Bb5 C5 Bb5 G5 A5
Blind
BridgeGtrs. 1 & 2: w/ Rhy. Fig. 4 (2 times)
D5
ed-
by
your
µ
sa
cred-
Gtr. 2
P.M.
Gtr. 6 (dist.)
**Harm.*w/ amp tremolo
Riff C
mf
00
00
00
00
00
00
07 8
Pitch:
**Harmonic located six-tenths the distance between the 2nd & 3rd frets. Harmonic & open string sound simultaneously.
*Set for sixteenth-note regeneration.C
2.610 8 5 7
Gtr. 1
P.M.
End Rhy. Fig. 4
00
00
00
00
00
00
0 7 8 10 8 5 7
CRYIN’ LIKE A BITCH!
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w w w . g u i t a r e d g e . c o m48 J U LY / A U G U S T 2 0 1 0
fad
D5
ed-
pass
times- on
µ
ly- time
D5
is
your en
e-
µ
my.-
D5
A5 Bb5 C5
Bb5
If
G5 A5
Harm.
Harm.
Harm.
End Riff C
C2.6
C2.6
C2.6
grant
Gtr. 6: w/ Riff C
D5
ed-
a sec
ond-
µ
chance
to prove
D5
that
your ar
ro- gance-
µ
is
strong
D5
er- than you’ll ev
er-
µ
be,
D5
it’s strong
er- than
A5 Bb5
you
C5
Bb5
can
G5 A5
be.
InterludeGtrs. 1 & 2: w/ Riff B (4 times)
D5
F5
G5
Gtr. 4
w/ wah-wah & flanger
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10
8X10
10
12
Bb5
Oh,
strong
er- than
A5
you
can be.
*
D5
F5
X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12
10X12
13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15
13
15X
12
14
*w/ echo set for quarter-note regeneration w/ 6 repeats.
X12
14X12
14X12
14
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
5X7
8
10
CRYIN’ LIKE A BITCH!
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 49
*
Ah.
G5
Bb5
Oh,
strong
er- than you
can
Gtr. 4
X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10X8
10
8X10
10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12X10
12
10X12
13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15
Gtr. 6
P.S.
*w/ echo set for half-note regeneration w/ 3 repeats.
XX
XX
InterludeGtrs. 4 & 6 tacet
D5
Bb5 C5 D5
A5 Bb5
be.
**
C5
Bb5 G5 A5
Gtrs. 1 & 2
P.M.
P.M.
00
00
00
00
00
00
00
00 1
X3
3
5
3X5
00
00
00
00
00
00
**w/ echo set for quarter-note regeneration w/ 3 repeats.
0 7 8 10 8 5 7
D.S. al Coda
D5
Bb5 C5 F5
G5 F5 G5 F5 G5
F5 G5
F5
And
D5
P.M.
00
00
00
00
00
00
00
4 01X3
3
5
3X5
XXX
33
55
55
33
55
55
33
55
55
33
55
555
555
333
333
000
CRYIN’ LIKE A BITCH!
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w w w . g u i t a r e d g e . c o m50 J U LY / A U G U S T 2 0 1 0
Coda
ny
G5
in’
- you
Bb5
were cry
in’- like a
Outro
bitch.
Gtrs. 1 & 2: w/ Rhy. Fig. 2 (1st 3 meas.)Gtr. 3 tacet
D5
You were cry
Bb5
in’
C5
- like a
X
10
12X10
12X10
12X10
12
10
12X13
15X13
15X13
15X13
15X13
15X13
15X13
15X13
15
555
555
555
555
555
888
888
888
888
888
888
888
888
bitch.
D5
You were cry
Bb5
in’
C5
- like a bitch.
D5
You were cry
Bb5
in’
C5
- like a
bitch.
F5
G5
F5 G5
F5 G5
F5 G5
Oh,
F5 Fsus4 D5
bitch.
µ
Gtrs. 1 & 2
P.M.
33
55
55
33
55
55
33
55
55
33
55
55
555
333
0333
0002
00
00
00
00
00
00
00
00
CRYIN’ LIKE A BITCH!
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 51
With the appearance of MTV in the early ‘80s, music videos became an important way for bands to broadcast their music to the masses. One of the first heavy metal videos in rotation on the station was Def Leppard’s “Bringin’ on the Heartbreak,” from their 1981 album High ’n’ Dry.
This album was the first time the band worked with producer “Mutt” Lange, who was integral to their polished sound. Guitarists Steve Clark and Pete Willis shared lead duties and together were responsible for some of the most memorable riffs from the first few Def Leppard albums. Willis was fired during the recording of Pyromania and replaced by Phil Collen. Clark continued with the band until his death in 1991 due to drug overdose.
INTRO The tune begins with Gtr. 1 and Gtr. 2 playing a line in harmony. Although the parts shift through different intervals, there are some fingering considerations that work for both parts. Start the phrase with your index finger and play the bends in the third measure with your ring finger, supported by your middle and index fingers. On the “and” of beat 3, play each note with your pinky finger.
After the dual guitars, Gtr. 3 comes in with a clean tone and plays arpeggios from the chords shown in Fig. 1. In the second measure
of Riff A, keep your index finger on the E at the second fret on the 4th string while you reach for the G on the 6th string with your middle finger. Although the chord symbols may look intimidating, they are quite easy to play.
PRE-CHORUS AND CHORUSAs with many power ballads of the time, the Pre-Chorus is a perfect set-up for the Chorus. It begins with Gtr. 4 playing a C5 chord with a sliding double-stop lick. Use your index, ring, and pinky finger for the C5 and then lift your index and slide both your ring and pinky fingers on beat 2. For the double-stop slide in
the next measure, use your index and middle fingers. The second measure of the Pre-Chorus shifts to a 5/4 time signature. Aim for the C5 chord on beat 5—that will keep things together for the shift back to 4/4 in the next measure.
Crank up the distortion in the Chorus to thicken up the sound so that Riff C will have some weight to it. In the last measure of the Chorus before the Interlude there is a pre-bent note at the second fret. This will be difficult to play unless you have ultra-light strings since it is so close to the nut. Another option here is to play this bend at the seventh fret on the 4th string.
“Bringin’ on the Heartbreak” Def Leppard
RIFF NOTES
By Jason Shadrick
(L to R) Steve Clark, Rick Savage and Pete Willis - August 1 1980 at the Palladium, New York CIty. Photo by Bob Leafe / Frank White Photo Agency
Fig. 1Fig. 1
12 321 242 1414
3fr
24
E7(no3rd)
w w w . g u i t a r e d g e . c o m52 J U LY / A U G U S T 2 0 1 0
before the Pre-Chorus comes around again. Fig. 2 shows fingerings for the A minor pentatonic scale in the fifth and twelfth position.
FINAL CHORUSIn the final Chorus, Clark fills behind Joe Elliot’s vocals. After the oblique bends, Gtr. 2 plays a phrase out of the 17th position based on the A minor pentatonic scale. Use your third finger for the bends on the 1st and 2nd strings, along with your middle and index fingers for added strength. The final Chorus ends with a tempo change that acts as a segue to “Switch 625,” the next track on the album.
Either way, use a couple of fingers for added strength and pull the string towards the floor.
INTERLUDE AND GUITAR SOLOClark used oblique bends in several places. An oblique bend is when you strike two strings and bend the lower-pitched string up to match the other string. Beginning in the Interlude, he uses some ambient delay and bends the G on the twelfth fret of the 3rd string to match the fretted A at the tenth fret of the 2nd string; this also appears at the beginning of the Guitar Solo and at the very end of the final Chorus.
For the bend, use your index finger on the 2nd string and your ring finger for the 3rd string; make sure to use vibrato only on the ring finger notes. For the bend in the final Chorus, use your ring finger on the 3rd string and your pinky on the 2nd string.
After the oblique bends at the beginning of the solo, Gtr. 2 plays a lick straight out of A minor pentatonic (A – C – D – E – G) in the fifth position and lands on the fifth (B) of the E5 chord. The solo continues in this position until two measures before the Pre-Chorus, where it shifts to the twelfth position. The time signature goes to 5/4 for the measure
DIAL TONEWhat They UsedDuring this time, Steve Clark was seen on stage most with his white Hamer Standard. The guitar resembled a Gibson Explorer and was likely made out of Honduran mahogany. Clark plugged into Marshall JCM series amps for the first three Def Leppard albums.
Pete Willis had a very similar approach to gear. For the High ’n’ Dry sessions, he used
Hamer and Gibson Les Paul guitars with Marshall amps.
How to Get the Sound For guitars, use a mahogany-bodied axe with high-output pickups. Pair that with a high-gain tube amp such as a Marshall or Mesa/Boogie and throw a distortion box on the floor for a boost during the solos.
• Get“Bringin’ontheHeartbreak”guitartabandmoreatguitarinstructor.com• CheckoutDefLeppardonlineatdefleppard.com• GetcoolDefLeppardgearatoldglory.com• Get“BestofDefLeppard”guitartabonmusicdispatch.com
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Fig. 2
Fig. 2
fret-handfingerings:
1 4 1 3 1 3 1 3 1 4 1 4
1 4 1 4 1 3 1 3 2 4 1 4
5 85 7
5 75 7
5 85 8
12 1512 15
12 1412 14
13 1512 15
Get Cool Def Leppard
gear at oldglory.com!
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 53
Intro Moderately slow q = 76
Transcribed by Steve Gorenberg
Guitars: Steve Clark & Pete Willis
Bringin’ on the HeartbreakWords and Music by Joe Elliott, Richard Savage, Richard Allen, Steve Clark and Peter Willis
from Def Leppard - High ’n’ Dry
Copyright © 1981 Sony/ATV Music Publishing UK Ltd. and Deff Lepp MusicAll Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203
International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation
Gtr. 2 (dist.)
f
* Am
F
C
Dm
Em
9
10 12
9 9
1012
10 9 710 12 12
hold bend
7
1
78
77 5
7
5
4 5 4
5
1 1
Gtr. 1 (dist.)
f
5
*Chord symbols reflect implied harmony.
75
5 5 75
75
87
5
hold bend
8
1
88
8 5 8 6 57
57 4
1
Gtr. 2
Am
F(#11)/A
Gtrs. 1 & 2 tacet
Am
G6 Fmaj13
Bm(,7)b5
E7(no3rd)
7 7
Gtr. 1
5 5
Gtr. 3 (clean)
w/ chorus
Riff A
mf
let ring
let ring
let ring
let ring
End Riff A
let ring
02 2
2 02 3
50
5
02
52
3
42
3 1
23
2
03
20
13
33
3 43
03
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w w w . g u i t a r e d g e . c o m54 J U LY / A U G U S T 2 0 1 0
Gyp
Verse
1.
1st time, Gtr. 3: w/ Riff A (3 times)
Am
sy,-
sit
F(#11)/A
ting- look
ing- pret
Am
ty,-
a bro
G6
ken- rose
with laugh
Fmaj13
ing- eyes.
Bm(,7)b5
E7(no3rd)
You’re a mys
-
2nd time, Gtr. 3: w/ Riff B (2 times)
Am
t’ry,cret,
-
al
mist
F(#11)/A
waysy
-- eyed
run
ningand
- wildshad
Am
y.-
likeLa
G6
ady,-
childhow
withyou
-
outhold
Fmaj13
a home.
the
key.
Bm(,7)b5
Oh,
E7(no3rd)
You’reyou’re
allike
waysa can
- search
Am
ing,dle-
-you’re
flamesearch
F(#11)/A
ing-is
forslow
aly- fad
feel
--
Am
ing,ing,
--
but it’s eas
burn
G6
ying
--
comeout
andand
easburn
Fmaj13
ying
--
go.me.
Can’t
Oh,
you see?
Bm(,7)b5
I’mJust
sortry’n’
E7(no3rd)
ry,-
tobutsay
it’sto you,
true,
Pre-ChorusC5
you’re bring
G5
in’- on
the heart
D5
- ache,
tak
B5
in’- all
the best
C5
of me.
G5
Oh, can’t
C5
you
*Gtr. 4 (dist.)
Riff B
f
let ring
let ring
let ring
End Riff B
let ring
P.M.
*Doubled throughout
35 5
577
55
35
55
02 2
345
23
24
44
355
35
35
35
35
35
35
35
35
35 3
55
see?
G5
You got the best
C5
of me.
G5
Oh, can’t
C5
you see?
G5
You’re bring
in’- on
the heart
-
P.M.
slight P.M.
35
35
35
35
35
35
35
35
35 3
55
35
35
35
35
35
35
35
35
35 3
55
35
35
35
35
35
35
35
BRINGIN’ ON THE HEARTBREAK
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 55
ChorusA5
- break,
F5
*Voc. Fig. 1
G5
bring(Bring
in’in’
--
onon
thethe
heartheart
--
Riff C
End Riff C
let ring
5 5 1*Applies to downstemmed vocs. only.
1 3 3 3 3 3 3 3 3 3
5
3
CoT oda
Gtr. 4: w/ Riff C (2 times)
A5
- ache.ache.
-
F5
G5
You’re bringBring
in’in’
--
onon
thethe
heartheart
A5
- break,break.)
-
F5
End Voc. Fig. 1
G5
bring in’ on
the heart
-
A5
- ache.
F5
Can’t you see?
G5
Oh.
InterludeGtr. 3: w/ Riff AGtr. 4 tacet
Am
F(#11)/A
Gtr. 4
Gtr. 2
w/ ambient delay
5 5 1 1 35
Steve Clark
1210
12 12
10
1 1
Gtr. 1
2
1
2
1 1/2
D.S. al Coda
Gtr. 1 tacet
Am
G6 Fmaj13
Bm(,7)b5
E7(no3rd)
You’re2. such
a se
-
Gtr. 2
12 12 12
712 7
7
1 33
3 53
55
3 75 4 4
4
1 1 1
BRINGIN’ ON THE HEARTBREAK
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w w w . g u i t a r e d g e . c o m56 J U LY / A U G U S T 2 0 1 0
Coda
A5
ache.
-
F5
Can’t you see?
G5
Can’t you see?
No,
Gtr. 4
dim.
5 5 1 1 35
Guitar SoloA5
no,
F5
no.
G5
E5
Gtr. 2
12
1
1210 10
12 12 12
10 10
12
55 8 7 5
65
8 55 4 4
2
1 1 1 1/2
Gtr. 4
let ring
let ring
let ring let ring
57
7 7
5 13
3 3
1 35
5 5
3 02 2
2 22
C5
P.H.
A5
G5
F5
3
3
0 0 5
7
75 7
5 7 57
7 7
5 5 5 5 8 8 8 8
9
10
9
15
11
let ring let ring
let ring
let ring
35
5 5
35
77 7
5 35
5 5
3 13
3 3
1
BRINGIN’ ON THE HEARTBREAK
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 57
Gtr. 4: w/ Riff B
C5
G5 D5
B5
You got the best
C5
of
Gtr. 2
8va
3 33
15 15 12 15 1215
1215
13 12
14 14 4 5 75 6
5 87 7 20 19 17
1717 16
17 17
1
me.
Pre-ChorusGtr. 2 tacet
G5
Oh, can’t
C5
you see?
G5
You got the best
C5
of
Gtr. 4
35
35
35
35
35
35
35
35
35 3
55
35
35
35
35
35
35
35
35
35 3
55
me.
G5
Oh, can’t
C5
you see?
G5
You’re bring
in’- on
the heart
-
35
35
35
35
35
35
35
35
35
35
35
35 3
55
35
35
35
35
35
35
35
35
ChorusBkgd. Voc: w/ Voc. Fig. 1 (2 1/2 times)Gtr. 4: w/ Riff C (6 times)
A5
- break,
F5
G5
bring in’- on
the heart
A5
- ache.
F5
G5
You’re bring
in’- on
the heart
A5
- break,
F5
G5
bring in’- on
the heart
-
BRINGIN’ ON THE HEARTBREAK
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w w w . g u i t a r e d g e . c o m58 J U LY / A U G U S T 2 0 1 0
A5
- ache.
F5
G5
You’re bring
in’- on
the heart
A5
break,
-
F5
Gtr. 2
3
2019
2019
2019
2019
2019 19 19 17
19
19 1917
1917
1917
19
hold bend
17 19
1 1 1 1 1 1
G5
bring in’- on
the heart
A5
- ache.
F5
G5
You’re bring
in’- on
the heart
-
8va
loco
steady gliss.
192020
19 172020
2020
20
2020
17 2020
2020
2020
20
20 19 17
20 20
1717
1717
1 1 1 1 11 1 1 1 1
1
rit.
rit.
rit.
Faster q = 138
A5
ache.
-
Segue to “Switch 625”
F5
G5
Gtr. 2
w/ bar
grad. dive
fdbk.
grad. release
2
4 5
35 4 0 0
-1 -1 1/2 -2 1/2-3
-3 1/2-3 -2 1/2
Gtr. 4
5 5 1 35
BRINGIN’ ON THE HEARTBREAK
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 59
Although Derek Trucks became a guitar hero by spending the better part of his teenage years playing as a featured guest with the Allman Brothers—eventually becoming a full-time member in 1999 at the age of 20—his main musical outlet outside of the Allmans has been The Derek Trucks Band. Joining Trucks in the sextet is bassist Todd Smallie, drummer Yonrico Scott, keyboardist Kofi Burbridge, vocalist Mike Mattison, and percussionist Count M’Butu.
The band’s debut album, The Derek Trucks Band, was released in 1997 and featured everything from straight-up blues to covers of tunes by jazz musicians John Coltrane and Miles Davis. Since then, the group’s sound has incorporated more world influences into both their studio albums and live concerts. “I’ll Find My Way” came from the band’s 2006 album, Songlines, and offered fans a mix of jazz, blues, and world music that the DTB has become known for.
THE TUNING One of the most unique things about Trucks’ style is that he plays predominantly in open E tuning (E – B – E – G# – B – E), even without a slide. This came from when he was younger and it was difficult to get his hands around the guitar neck. He picked up the slide, set his guitar up for open tuning, and began forming his view of the fretboard from there.
INTRO AND VERSESThe progression in the Intro follows a descending pattern using the voicings in Fig. 1. It begins with a C7 chord and descends down to G%7 before moving up to a C13 voicing and repeating the progression. Since this progression doesn’t point specifically to a key center, it is written in the key of C major. Vibrato markings are usually written above single notes but here they apply to all the notes in the chord.
Vocalist Mike Mattison takes some liberties with the vocals as well. To create a more bluesy sound, he often lands on minor thirds, minor sixths, and dominant sevenths over major chords. This creates some tension in the Verse and makes the key change in the Chorus a little smoother.
Gtr. 3 enters in the second Verse playing quarter notes. The double stops are played with heavy reverb. In the second measure, the sim. abbreviation means to continue the staccato pattern in a similar manner until the last note in the eighth measure. For the double stop at the second fret, you want the notes to ring during the slide that leads back to Rhy. Fig. 3.
THE CHORUSThe key changes to C minor (which has three flats) for the Chorus. Some of the voicings used
are unusual due to the open tuning. Fig. 2 shows the voicings for the Chorus. When the V chord first appears (on the “and” of beat 2 in the first measure), it is minor and then in the third measure switches to a dominant 7th.
In the sixth measure, begin by barring your index finger over the top four strings at the third fret. Use your pinky finger for the B% on the high E string and the pull off to the G while letting the A%maj7 chord ring.
THE INTERLUDE AND GUITAR SOLOIn the first Coda, there is a short, five-measure Interlude that combines a few different time signatures. It begins with a measure of 4/4 before going into a measure of 2/4, a measure of 5/4, and ending with a measure of 4/4 and 2/4 before going into the Guitar Solo.
“I’ll Find My Way” The Derek Trucks Band
RIFF NOTES
By Jason Shadrick
Derek Trucks performing with his ‘61 Gibson SG. Photo by Ken Settle
w w w . g u i t a r e d g e . c o m60 J U LY / A U G U S T 2 0 1 0
Fig. 2Open E tuning:(low to high) E-B-E-G#-B-E
3 143 14
6fr
123
3fr
1223412
6fr
3412
Fig. 1Open E tuning:(low to high) E-B-E-G#-B-E
5fr
1234
7fr
1234
8fr
1234
9fr
1234
10fr
1234
11fr
12342 3
6fr
3 14
2fr
3 14
4fr
3 14
Fig. 1
ALL ABOUT THE TREMOLOFive measures before the end of the tune, Gtr. 1 plays two notes using a variation on tremolo picking. For this section, pick the low F on the 6th string with your thumb and the A on the 3rd string with your index finger. The three short lines underneath the tab indicate that you should pick between these notes rapidly for the length of the note.
Trucks begins the Guitar Solo in the eleventh position with some blues licks based out of C minor pentatonic (C – E% – F – G – B%). In the third measure of the solo, remain in eleventh position for the first three notes and then quickly move to eighth position for the huge two-step bend. There is a footnote that indicates that the bend is played behind the beat. This shows that Derek is not in a hurry to make the position change. Another stylistic element is the use of microtone or quarter-step bends. The first one shows up near the end of the third measure. The goal with these bends is to land somewhere between the original note and the note a half-step above.
The fifth measure begins with a rake into a high E on the 1st string. Use your ring finger for the E and then hammer on the F with your pinky. This will set you up for the legato phrase that follows.
Near the end of the Guitar Solo, there is a short Interlude that changes things up a bit. Trucks breaks out the slide (Gtr. 4) and plays a very ambient, ethereal solo phrase before going into an octave passage à la Wes Montgomery.
DiAL TOnEWhat He UsedFor the Songlines sessions, Trucks kept it simple by plugging his workhorse Gibson SG directly into his Fender Super Reverb. Derek’s main SG is a ’61 reissue from the late ‘90s. It has the original Maestro-style tailpiece but the Maestro itself is not functional and all mechanical aspects have been removed to make room for a standard stop tailpiece. The pickups are Gibson ’57 Classics and this guitar is one of the few that Trucks has covered with
signatures of musicians he has played with and respects highly. The amp is a pre-CBS ’64 Super Reverb with JAN-Phillips 6L6 power tubes.
How to Get the Sound When it comes to copping Trucks’ tone, get a guitar with vintage-sounding humbuck-ers and an amp that you can push hard enough to get it to break up. Any guitar with vintage-voiced humbuckers and plugged into a Fender amp will work nicely.
• Get“I’llFindMyWay”guitartabandmoreatguitarinstructor.com• GetDerek Trucks - Already Freeguitartabfrommusicdispatch.com• Download“I’llFindMyWay”oniTunes• CheckouttheDerekTrucksBandonlineatderektrucks.com
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Fig. 2
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 61
Intro Moderately q = 98
Words and Music by Jay Joyce and Derek Trucks
I’ll Find My Way
Copyright © 2006 Sony/ATV Music Publishing LLC, Joyjayce Music Publishing and Younkin MusicAll Rights for Sony/ATV Music Publishing LLC and Joyjayce Music Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203
International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation
from The Derek Trucks Band - Songlines
Guitars: Derek TrucksTranscribed by Pete Billman
Gtr. 1 (clean)
Open E tuning:(low to high) E-B-E-G#-B-E
mpw/ fingers
C7
= 3
let ring
Bb7
let ring
Ab7
let ring
Gb7
let ring
6
8
7 86
86
8
68
6
46
46
4
6
46
4
24
24
2
4
24
2
let ring
C13
let ring
B13 Bb13
let ring
A13
3 3
20
20 X
X
011121313
12
13
111213
121313
101112
91011
10
11
91011
101111
910
Ab13
let ring
Gb13
let ring
B7
let ring
3
789
789 9
9
789
99
678
567 7
7
5677
67
7
VerseC7
1.
There comes
a time
Bb7
in each
man’s
life
Ab7
to find
your
way
Gb7
Gtr. 1
Rhy. Fig. 1
let ring
let ring
let ring let ring
7
57
8
68
8
86
8
6
46
6
64
6
4
24
4
24
2 24
2
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w w w . g u i t a r e d g e . c o m62 J U LY / A U G U S T 2 0 1 0
or fall
be hind.-
B7
C7
Who you are
Bb7
is the path
you’ll
take,
Ab7
let ring
let ring
let ring let ring
02
0
20
2
7 7
57
8
68
68
6 68
6
46 6
46
4
6
46
4
and I’ll find
my
way,
Gb7
uh, through your
mis take.-
B7
let ring
let ring
End Rhy. Fig. 1
let ring
24
24
2 24
2
02
02
0
2
02
7
C7
Some times
- your
tears
B7 Bb7
are your bridge
to the sky,
A7 Ab7
but you can’t
trust
souls
Gb7
let ring
let ring
let ring let ring
3 3
7
7
8
86
86
86
8
68
57
46
4
6
64
6
46
35
24
2
4
42
4
24
2
with no truth
in their
eyes.
B7 C7
Who you are
B7 Bb7
is the path
you’ll
take,
A7
let ring
let ring
let ring
let ring
3 3
02
0
2
20 5
7
2
2
7
68
68
6
8
68
57
46
4
6
64
6
46
35
I’LL FIND MY WAY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 63
Ab7
and I’ll find
my
way,
Gb7
through your
mis take.-
Rhy. Fig. 2
let ring
End Rhy. Fig. 2
let ring
24
2
4
24
4
24
2
20
2
2
ChorusCm7
Time will
Gm7
heal,
and all
Abmaj7
we know,
Eb
if noth
ing’s-
G7
learned,
ba
by,- noth
-
Gtr. 1
mf
8867
8867
3312
344
44
567
678
78
3
13
Gtr. 2 (dist.)
mf
8867
3312
344
678
678
3X13
ing
Ab7
grows.
Cm7
Time will
Gm7
heal,
and all
Abmaj7
we know,
ev ’ry-
Eb
-
let ring
4
24
8867
8867
3312
344
3 6 34
4
6
4X24
8867
3312
344
I’LL FIND MY WAY
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w w w . g u i t a r e d g e . c o m64 J U LY / A U G U S T 2 0 1 0
1CTo oda 2CTo oda
thing.
stays the
G7
same,
noth in’- chang
Ab7
es,-
Bb7
noth in’-
let ring
let ring
let ring
678
78
3
13
3
3
4
24
4
4
6
64
6
6
678
3X13
44
44
66
(Oo.)change
Interlude
C7Voc. Fig. 1
es.-
Bb7
Gtr.2 tacet
Ab7
G7
End Voc. Fig. 1
B7
let ring
let ring
let ring
let ring let ring
3
3
3
6
6
8
8 98 8
6
64
76 6
4
42
5
4
4 4
3
31
3
3
7
6 8
Gtr. 1: w/Rhy. Fig. 1 (1 1/4 times)
Verse
C7
2. A man’s
not a
man
Bb7
when
he takes
the low
er- road,
Ab7
drag gin’- his
tail
Gb7
Gtr. 3 (clean)
Rhy. Fig. 3
w/ heavy reverb
mp
sim.
88
88
88
88
44
44
I’LL FIND MY WAY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 65
to cov
er- his
tracks.
B7 C7
When you plant
the
seeds
Bb7
of doubt
in my
mind,
Ab7
End Rhy. Fig. 3
22
22
88
88
66
66
you know you run
the
risk
Gb7
of be in’- left
be hind.-
B7
Gtr. 3: w/ Rhy. Fig. 3
C7
When I turn
the mir
ror,-
Bb7
44
44
22
22
D.S. al Coda 1
I turn
it back on
my self.-
Ab7
Gtr. 1: w/ Rhy. Fig. 2
I can see
your
way
Gb7
was a cry
for
help.
1 Coda
chang
Gtr. 2 tacetInterlude
C13
es.
Bb13
-
C13
Bb13
Gtr. 1
11121313
9101111
11121313
9101111
I’LL FIND MY WAY
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w w w . g u i t a r e d g e . c o m66 J U LY / A U G U S T 2 0 1 0
Gtr. 4 (slight dist.)
C13
Bb13
G7#5Guitar Solo
C7
w/ fingersmf
(13)13
13
1/2
1313 11 13
1 1/2
Gtr. 1
let ring
11121313
9101111
6778
8
68 8
6
7
57
Bb7
A7 Ab7
*
A7 Bb7
B7
13 1113
11
11 13
*Played behind the beat.
1111 13
11 11 8
911 8
9 78
7 9 78
7
2 1/41 1/4
let ring
let ring
let ring let ring
6
46
46
4
5
35
4
24
24
5
35
6
46
46
46
7 7
57
C7
rake
B7 Bb7
A7
33
3
XX
12 13 13 12 11
9
1011 13
10 9 7 97 8
10 9 8 7 98 8
7
1/4
let ring
let ring
8
68
68
6
7
57
6
46
46
4 46
5
35
I’LL FIND MY WAY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 67
Ab7
*
A7
Bb7
**w/ delay
*Upstroke
7
8
9 78
7 7
8
9
8
7 98
7 11 78
7
6
**Set for quarter-note regeneration w/ 4 repeats.
86 4
8
1/4 1 1/2 1/4 1/2
let ring
4
24
24
24
5
35
6
46
Gtr. 1 tacetInterlude
C7
Bb13 Eb13
Db9#11 C9
Hey,
***Bb13
F9
Eb9
hey,
Gtr. 4
**
w/ slidew/ ambient delay
p
mp
8va
**Vol. swell
8 18 20 20
***w/ echo set for quarter-note regeneration w/ multiple repeats, next 4 meas.
17 18 18
18 14
C7
hey,
Bb13
hey.
Eb13
Db9#11
C9
Bb13 F9
Eb9
loco
w/o slide
11 13 11 8
4
4
7
6
9
4
7
6
9
5
8
1
4
4
7
6
9
4
7
1
4
D.S. al Coda 2
Gtr. 4 tacetVerse Tag
C7
There comes
a chance
Bb7
in
your
life
Ab7
to find
your
way
Gb9
µ
or fall
be hind.-
Gtr. 3
899
I’LL FIND MY WAY
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w w w . g u i t a r e d g e . c o m68 J U LY / A U G U S T 2 0 1 0
2 Coda
chang
Bkgd. Voc.: w/ Voc. Fig. 1 (7 times)
C7
es.-
Bb7
Ab7
G7
Gtr. 1: w/ Riff A (6 times)
C7
Bb7
Time
will
Gtr. 4
13
16 16
1413 13 13
14
1 1/4
Gtr. 1
Riff A
End Riff A
3 3 3
8
86
98 8
6
64
76 6
4
42
54 4
3
31
3
heal,
Ab7
G7
time
C7
will
heal
Bb7
it.
Ab7
G7
Gtr. 4
3
119 7 9 7
87 9 7
87
8
11 13 1311
13 13
9
1111 9 7
8 897 7
1 1/41/4
1/2 1
C7
Time,
* Bb7
Ab7
time,
G7
rake
98 8
*w/ echo as before, next 3 meas.
7X
X13
11 13 13 11 13
1/41/4 1
I’LL FIND MY WAY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 69
C7
time,
Bb7
Ab7
time will
G7
heal,
C7
Bb7
time
8va loco
3 3
11 1113 13
20 20
9 9 77
8
9 78 8 8 8
68
8
9 10 9 7
8
9 78
11/2 1/2
will
Ab7
heal.
G7
C7
Bb7 Ab7
G7
3 3
9 10 7
8
9 78
78
9
8
10 77
8
9
8
78
8
98 8 6 8 6 4 4 4 6 4 3
(Oo.)
F
*
D9
B7
Ab
Gtr. 4
**w/ delaydon’t pick
w/ slidemp
**Set for quarter-note regeneration w/ multiple repeats.
101010101010
101010101010
777777
777777
161616161616
Gtr. 1
p
1
1
1
1
*Segue into “Crow Jane.” Chords transitioning to the key of Ab.
1
I’LL FIND MY WAY
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w w w . g u i t a r e d g e . c o m70 J U LY / A U G U S T 2 0 1 0
You would be hard pressed to find a band more influential than the Beatles. Formed in 1960 in Liverpool, England, the Beatles combined pop sensibilities with a hunger for experimentation. Rubber Soul was released in 1965 and pushed the boundaries of rock music. The album was produced by George Martin and featured songwriting contributions from each member of the group. Vocalist/guitarist John Lennon and bassist/vocalist Paul McCartney contributed a majority of the tracks, with guitarist George Harrison offering “Think for Yourself.”
“Norwegian Wood (This Bird Has Flown)” is one of the tracks on the album that best shows the group’s desire to incorporate different instruments into their music. Harrison plays a sitar for the main melody. During this time the sitar’s sound was foreign to many radio audiences. This influence likely came from Harrison spending time in India and learning about music from that region.
As with many Beatles tunes, several generations of artists have covered “Norwegian Wood.” Some of the more notable (and interesting) versions are by bassist Victor Wooten, jazz pianist Herbie Hancock, and Frank Zappa’s satirical version about televangelist Jimmy Swaggart.
Fig. 1
count: 1 (&) 2 & 3 & 4 & 5 (&) 6 (&) 1 (&) 2 & 3 (&) 4 (&) 5 (&) 6 (&) 1 (&) 2 & 3 (&) 4 (&) 5 (&) 6 (&) 1 & 2 & 3 & 4 (&) 5 & 6 &
THE CAPO The Beatles were big fans of using capos to make standard chord shapes more interesting. For “Norwegian Wood,” Gtr. 1, Gtr. 2, and Gtr. 3 are capoed at the second fret. Although the song sounds like it is in the key of E, these guitars are played in the key of D due to the whole step transposition of the capo. Gtr. 4 uses a capo on the seventh fret. The chord symbols
for Gtr. 4 are shown in double parentheses at the bottom of the stack, beginning at the top of the third page.
THE INTRO AND VERSE
The song begins with Gtr. 1—played by John Lennon—strumming a pattern in 6/8. Although the rhythm might look a bit complicated, Fig. 1
shows you how to easily count it out. In 6/8 time, there are six beats per measure and each eighth note gets one beat. The pulse is comprised of three beats. A dotted quarter note is equal to three eighth notes, so this means that there are two pulses in each measure. The tempo marking isn’t determined by beats per minute, but rather by the pulse. The tempo is marked as dotted quarter note = 60. Set your metronome to 60
“Norwegian Wood (This Bird Has Flown)” The Beatles
RIFF NOTES
By Jason Shadrick
Fig. 1
Fig. 2
fret-handfingerings:
1 4 1 4 1 4 2 1
2 4 2 04 2
04 0
3
0
2 0
Fig. 2
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 71
beats per minute and practice strumming three beats per click. The click of the metronome should line up with beats 1 and 4.
Both the Intro and Outro match the chord progression found in the Verse. This makes the form of the song unique because there is no Chorus, only a Verse and Bridge. Normally, you would see an indication for let ring and then a dashed line that shows where to change the chord shapes. Here, all of the notes throughout the song ring together, as indicated by the let ring throughout marking at the beginning of the Intro.
Start the song by holding down the standard three-finger open D chord. For any of the notes on the fourth fret, use your pinky finger. Anchor your ring finger on the D note (2nd string, third fret) through the entire Intro and Verse.
Gtr. 2 is actually a sitar—played by George Harrison—arranged here for guitar capoed at the second fret. Gtr. 3 is a 12-string acoustic that is placed in the left channel of the stereo mix. If you listen closely, you will hear several high A notes that sound like they are played on the 1st string at the fifth fret, but are actually coming from the higher-octave 3rd string.
Lennon begins the vocal in the Verse. Fig. 2 shows how to play the vocal melody on the guitar to better understand how the basic melody is integrated into the Gtr. 1 part. The Verse is short—only eight measures—but a prime example of Lennon and Paul McCartney’s efficient songwriting style.
THE BRIDGEThe Bridge is where all the guitars come together to create a cohesive, jangly sound. McCartney joins in with harmony vocals that appear in cue-sized notes above Lennon’s part. In the Gtr. 3 part there is a wavy line that points down next to some chords. This means that you should strum the chord slightly slower in the direction of the arrow. For example, the Dm chord in the first measure of the Bridge should be strummed with a downstroke. After that, pay attention to the staccato marking underneath the chords. To play these, release a little pressure from your fret after each strum to keep the notes from ringing.
Gtr. 4 is slightly hidden in the right channel of the stereo mix. The Beatles were well known for using the studio as an instrument, and this is a great example. The chords used for this section are shown in Fig. 3. The tonic chord is changed to minor (Dm) in the Bridge, while the other chords remain in the key of D major. Pay attention to the accidentals in the first, second, fifth, and sixth measures.
DIal TonEWhat They UsedDuring this period, the Beatles were known to favor Gibson acoustic guitars. The model most likely used on the sessions was a Gibson J-160E. Lennon also owned a Framus 12-string guitar that was used on “You’ve Got to Hide Your Love Away,” in addition to other songs from the Rubber Soul sessions.
How to Get the Sound A good dreadnought acoustic will work for the acoustic parts. If you don’t have a 12-string, try setting up a guitar for Nashville tuning. For this tuning, the lower four strings are tuned up an octave. Since the tension would be considerably different, use the following string gauges: .010, .014, .009, .012, .018, .027 from high to low.
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“Norwegian Wood (This Bird Has Flown)” The Beatles
Fig. 3
Fig. 3
231 12323 421 3
Get Cool Beatles gear at
oldglory.com!
w w w . g u i t a r e d g e . c o m72 J U LY / A U G U S T 2 0 1 0
Intro Moderately q. = 60
Norwegian Wood
Words and Music by John Lennon and Paul McCartney
Copyright © 1965 Sony/ATV Music Publishing LLCCopyright Renewed
All Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation
from The Beatles - Rubber Soul
(This Bird Has Flown)
*Gtr. 1 (acous.)
Gtrs. 1, 2 & 3: Capo IIGtr. 4: Capo VII
**
mflet ring throughout
E[D]
E'4[D'4]
E[D]
D'9[C'9]
A/C#[G/B]
E[D]
*John Lennon
**Symbols in parentheses represent chord names respective to capoed guitars. Symbols above reflect actual sounding chords. Capoed fret is “0” in tab. Chord symbols reflect basic harmony.
002 2
3 32
232
32 4 2
32
003
403
40
32
04032
203
403
02 2
3 32
0 30030
200
00
30
0
2
2
00232
00232
232
00232
0023
0032
00232
0232
***Gtr. 2
f
E'4
[D'4]
E[D]
D'9[C'9]
A/C#[G/B]
E[D]
***George Harrison Sitar arr. for gtr.
5 5 7 5 3 2 0
2
1/2
23
4
1/2
30
2
Gtr. 3 (12-str. acous.)
mplet ring throughout
232
32
2 4 2 04
232
232
232
232
20
4 0232
232
232
3
0
2 0
232
232
232
0
23
2
23
2
Gtr. 1Rhy. Fig. 1
End Rhy. Fig. 1
0023
002 2
32
00232
232
0
32 4
023
003
40
40
3
4 203
4 02
023
232
0 3
030
200
00030
2
2
0
232
00232
023
0
0
00
32
2
00232
032
00232
32
This song is sponsored by fishman.com
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 73
I
Verse
John Lennon:1.
E[D]
once
had a girl,
E'4[D'4]
or should I say
E[D]
she
D'9[C'9]
once had
A/C#[G/B]
me.
E[D]
4
30
1/2
Rhy. Fig. 2A
023
23
023
2
232
0232
232
0232
232
0232
232
23
23
0232
232
3
0
2
Rhy. Fig. 2
3
00232
002 2
32
0002
0
32 4
023
0030
403
403
04
032
0403
032
203
4002
00232
00232
300
2 00 0
2 032
00232
00
00 0
232
00232
She
showed me her room,
E'4[D'4]
is n’t- it good,
E[D]
Nor
D'9[C'9]
we- gian
A/C#[G/B]
- wood.
E[D]
She
2
4
1/2
3
4 4
End Rhy. Fig. 2A
0232
232
0232
232
0232
232
0232
232
0232
232
0232
232
0232
232
0232
232
End Rhy. Fig. 2
3 3
0023
00
232
00232
0
32 4
0232
003
403
40 0
32
04032
203
4 02
00
232
002
3
030
200
00030
2
2
00
002 0
32
00232
232
00232
002 0
32
0023
000
NORWEGIAN WOOD (THIS BIRD HAS FLOWN)
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w w w . g u i t a r e d g e . c o m74 J U LY / A U G U S T 2 0 1 0
askedtold
Bridge
*
2nd time, Gtr. 2 tacet
**
[[Am))
Em[Dm]
meme
toshe
stay,worked
andin
shethe morn
told
Gtr. 2 tacet
meing-
toand
sitstart
aned-
yto
- where.laugh.
-
A[G]
[[Dsus2]]
SoI
Gtr. 2
2
Gtr. 3
mf
0231
0231
0231
0231
0231
0231
023
320003
320003
320003
320003
320003
320003
320003
320003
Gtr. 1
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
000
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
320033
0000
Gtr. 4 (12-str. acous.)
mf
*Symbols in double parentheses represent chord names respective to capoed Gtr. 4.
**Paul McCartney, harmony vocals
02210
02210
02210
02210
02210
02210
02210
02210
02210
02210
02210
02210
0230
0230
0230
0230
0230
0230
0230
0230
0230
0230
0230
0230
0230
NORWEGIAN WOOD (THIS BIRD HAS FLOWN)
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 75
Itold
Em[Dm]
[[Am]]
lookedher
aI
rounddid
-
n’t-and I
andno
crawled
ticedoff
- thereto
wassleep
n’tin
- athe
chair.bath.
Gtr. 3
0231
0231
0231
0231
0231
0231
0233
2
Gtr. 1
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
0323
030
Gtr. 4
02210
02210
02210
02210
02210
02210
02210
02210
02210
02210
02210
02210
XXX
F#m7[Em7]
[[Bm7]]
B[A]
[[E]]
let ring
022030
022030
022030
022030
02220
222
23
0
022030
022030
022030
022030
022030
022030
022030
022030
022030
022030
0000
02220
02220
02220
02220
02220
02220
02220
02220
00000
2020
2020
2020
2022 0
2020
2020
022100
022100
022100
022100
022100
022100
022100
NORWEGIAN WOOD (THIS BIRD HAS FLOWN)
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w w w . g u i t a r e d g e . c o m76 J U LY / A U G U S T 2 0 1 0
IAnd
VerseGtrs. 1 & 3: w/ Rhy. Figs. 2 & 2AGtr. 4 tacet
2.3.
E[D]
satwhen
onI
aa
rugwoke
E'4[D'4]
-
bidI
ingwas
- mya
time,lone,
E[D]
-
drinkthis
D'9[C'9]
ingbird
- herhad
A/C#[G/B]
wine.flown.
E[D]
Gtr. 2
0 0
CTo oda
WeSo
talkedI
unlit
tila
- two,fire,
E'4[D'4]
andis
thenn’t-
sheit
said,good,
E[D]
“It’sNor
D'9[C'9]
timewe-
forgian
A/C#[G/B]
-bed.”
wood.
E[D]
0 0
Gtr. 2
InterludeGtr. 1: w/ Rhy. Fig. 1 (2 times)
E[D]
E'4[D'4]
E[D]
D'9[C'9]
A/C#[G/B]
E[D]
5 5 7 5 3 2 0
2
1/2
23
4
1/2
30
2
2
Gtr. 3
232
232
2 4 2 04
232
232
20
4 0232
232
3
0
2 0
232
232
0
232
232
NORWEGIAN WOOD (THIS BIRD HAS FLOWN)
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 77
D.S. al Coda
[D'4]E'4
[D]
E
[C'9]
D'9[G/B]A/C#
[D]E
She
5 5 7 5 3 2 0
2
1/2
23
4
1/2
30
2
0232
232
2 4 2 04
232
232
20
4 0232
232
3
0
2 0
232
232
0
232
003
Coda
Gtr. 2
Outro
[[A5]]
E[D]
E'4[D'4]
E[D]
D'9[C'9]
[[G'9]]
A/C#[G/B]
E[D]
[[A5]]
5 5 7 5 3 2 0
2
1/2
23
4
1/2
30
2
Gtr. 3
0232
232
2 4 2 04
232
232
20
4 0232
232
3
0
2 0
Gtr. 1
000
3
002
32
02 4 2 0
3
4
32
40
32
40
40
02
032
4032
002
002 2
32
00
3
030
200
00030
2
2
Gtr. 4
00
22
022
22
0
22 2
2
02
2
02
22
3
02
02
NORWEGIAN WOOD (THIS BIRD HAS FLOWN)
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w w w . g u i t a r e d g e . c o m78 J U LY / A U G U S T 2 0 1 0
In 2002, Jason Mraz released his debut album on Elektra Records, Waiting for My Rocket to Come; since then, his brand of quirky pop music has earned him fans all over the world. Originally from Virginia, Mraz’s style is equal parts folk, rock, and soul, with a healthy dose of beach-party vibe. After the monster success of his first album, he continued with Mr. A-Z, an infectious dose of clever lyrics and acoustic funk that proved to everyone he was not a one-hit-wonder.
Once the tour for Mr. A-Z ended, Mraz decided to take an entire year off from recording and touring. It was during this time that he wrote and developed material for this third album, We Sing, We Dance, We Steal Things. “Lucky” was the second single released and features singer Colbie Caillat. Mraz heard that Caillat was a fan and, after meeting her, sent over part of a tune he was working on.
“I decided to email it to her and say ‘Hey, this is my idea.’” Mraz recalled. “Then she, along with [guitarist] Tim Fagan did a great job of adding more lyrics, things that she would sing back to me, tweaking the arrangement. The whole thing was an email collaboration. Then when it came time to get it recorded, it ended up being a completely underground recording because, at first, neither of our labels were really into the idea.”
Despite the labels’ initial hesitance, “Lucky” became so successful that two versions were recorded. In addition to the version with Caillat, Mraz teamed up with Mexican singer-songwriter Ximena Sariñana to record a version in Spanish.
THE INTRO AND VERSE The Intro begins with Gtr. 1 playing a standard open C chord and using palm muting to make each attack staccato. You will want to use a combination of right-and left-hand muting to make this work. Right after you pluck the strings with your fingers, release your fret hand just enough to stop the strings from ringing. This, combined with placing your picking hand
over the strings right at the bridge, will create the right effect.
Mraz’s vocals come in during the two-measure Intro. Another thing to keep in mind is that male vocals are transposed an octave above the sounding pitch (just like guitar) while female vocals are written as they sound. This is important because, later in the song,
Caillat sings higher notes than Mraz, but her part is written lower on the staff. The names and initials of who is singing are indicated before each part.
A cool part about this song is that the chords are relatively easy, which makes this a great song for beginners. The basic chord shapes for the Verse are shown in Fig. 1. In the measure
“Lucky” Jason Mraz (featuring Colbie Caillat)
RIFF NOTES
By Jason Shadrick
Jason Mraz playing his signature Taylor nylon-string guitar. Photo courtesty of Taylor Guitars
Fig. 1
32 1
4fr
1234
3fr
13121
3fr
13124234
5fr
1341321
5fr
3241
3fr
1342
5fr
1312
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 79
leading into the Chorus, the accented chords on beats 2 and 4 are strummed with your fingers. This happens again on the sixth page right before the D.S. al Coda.
THE CHORUS AND INTERLUDEAt the Chorus, Mraz and the band go into a half-time feel. Rhy. Fig. 2 presents a variation on the progression from the Verse, but this time allows for the chords to ring instead of being muted. There are two new chords in this section that are shown in Fig. 2. The Gadd4/B chord acts as a transition from the C to the Am in the fourth measure. The fingering for Gsus4 in the seventh measure can be tricky. Keep your index finger on the G at the third fret of the 6th string. Barre your third finger over the 5th, 4th, and 3rd strings, and then slightly lift up your third finger to play the B on the 3rd string on the fourth fret.
On the third page, there is a four measure Interlude that cycles through a I (C), vi (Am), iii (Em), V (G) progression while Mraz and Caillat sing a melodic figure. The shapes that are used here are standard open-position voicings.
In the Chorus on the fourth page, Gtr. 2 plays the same progression but uses slightly different voicings. The voicings for the Chorus are shown in Fig. 3. For this section the chords use more open strings, which makes it easier to let the notes ring.
THE BRIDGEAfter the Interlude, the Bridge begins with a return to the staccato chords that first appeared in the Verse. The difference here is that they are not palm muted. The first chord, Dm9, is played with your middle finger on the D at the fifth fret on the 5th string. Place your index finger on the F at the third fret on the 4th string and barre the 3rd and 2nd strings at the fifth fret with your ring finger. The rest of the chords used in the Bridge are the same voicings used in the Verse. At the end of the Bridge, Gtr. 2 (a piano arranged here for guitar) enters and plays the chords shown in Fig. 4.
DIAL TONEWhat He UsedIt’s no secret that Jason Mraz is a big fan of Taylor guitars. They are made in his back-yard and have been a key to his sound since his days in coffee shops around San Diego. For “Lucky,” Mraz likely used either his Taylor NS72ce or his Signature JMSM model. Both feature nylon strings and ES-N electronics.
How to Get the Sound Mraz likes a fairly straight-ahead sound for this tune. Either a nylon or steel-string guitar will work. If you are plugging in, tweak the EQ to emphasize the mids and add a small touch of reverb.
• Getthetabfor“Lucky”atguitarinstructor.com• Download“Lucky”fromiTunes• GetWe Sing, We Dance, We Steal Thingsguitartabbook
frommusicdispatch.com• VisitJasonMrazonlineatjasonmraz.com
Want more? Check out these cool links at guitaredge.com
“Lucky” Jason Mraz (featuring Colbie Caillat)
Fig. 2
Fig. 2
3fr
13332 1
Fig. 3
214 211 3 1 3 1 2 1Fig. 4
3 1 2 1
Fig. 3
Fig. 4
w w w . g u i t a r e d g e . c o m80 J U LY / A U G U S T 2 0 1 0
Intro Moderately fast q = 131
LuckyWords and Music by Jason Mraz, Colbie Caillat and Timothy Fagan
Copyright © 2008 Sony/ATV Music Publishing LLC, Wrunch Time Music, Goo Eyed Music and Cocomarie MusicAll Rights on behalf of Sony/ATV Music Publishing LLC and Wrunch Time Music Administered by
Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation
from Jason Mraz - We Sing, We Dance, We Steal Things
Transcribed by Jeff Jacobson
Guitar: Jason Mraz
____
= 3
C
’N’Jason Mraz: 1. do you
Verse
hear
C
me
talk ing- to
3
Gtr. 1 (acous.)
w/ fingers
mp
Rhy. Fig. 1
P.M.
3201
3201
3201
3201
3201
3201
3201
3201
3201
3201
3201
3201
you?
Am
A cross- the wa
Dm7
ter,
- a cross- the deep
G
blue
o
E7
cean,
- un der
- the
P.M.
0221
0221
0221
0221
5756
5756
5756
5756
3554
3554
3554
3554
7675
7675
7675
7675
o
Am
pen
- sky.
Oh, my,
Dm7
’n’ ba
by,- I’m try
G
ing.
-
Mm,Colbie Caillat: boy, I hear
C
you
in
my
End Rhy. Fig. 1
P.M.
5775
5775
5775
5775
5756
5756
5756
5756
3554
3554
3554
3554
3201
3201
3201
3201
This song is sponsored by carvin.com
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 81
dreams.
Asus4
Am
I feel your whis
Dm7
per
-
a cross- the sea.
G13
* G7/F
I keep you
P.M.
0223
0223
0221
0221
5756
5756
5756
5756
35345
35345
*Bass plays F.35343
35343
with
E7
me
in
my heart.
Am
You make it eas
Dm7
i- er
- when
P.M.
7675
7675
7675
7675
5775
5775
5775
5775
5756
life
G
gets
hard.
G#(b5)
Chorus Half-time feel
*Am
Luck
**
y- I’m in
Dm7
love
with my
best friend,
Rhy. Fig. 2
let ring
let ring
3554
3554
04
*Chord symbols reflect implied harmony, next 12 meas.
4567
0
**Jason Mraz: lead vocals Colbie Caillat: harmony cues
57
75
55
7
0
57
56
5
5
0
G
luck y- to have
C
been
where I
Gadd4/B
have
been.
Am
Luck y- to be
let ring
let ring
35
5
33
5
0
32
01
20
01
02
2
01
0
0
LUCKY
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w w w . g u i t a r e d g e . c o m82 J U LY / A U G U S T 2 0 1 0
com
Dm7
ing
- home
a
Gsus4
gain.
-
G
let ring
End Rhy. Fig. 2
let ring
57
56
5
5
0
35
55
55
45
5
3
Oo,
Interlude
C
Am
oo.
Em
G
let ring
let ring
let ring
let ring
32
01
0
3
0
02
21
2
0
0
02
2
00
2
0
32
0
0
TheyC.C.:
BridgeDm9
don’t
knowTheyJ.M.:
howdon’t
longknow
Am7
ithow
takes,
long
it
takes,
G
waitwait
inging
--
forfor
aa
lovelove
Dm7
likelike
this.this.
5355
5355
5355
5
555
5
555
5
555
5
555
3
543
3
543
3
543
3
543
5356
5356
5356
5356
Ev
’ry
Dm9
- time
Ev
Dm7
we’ry
Dm9
- time
Am7
goodwe
bye,
say
-good
bye,
G
-
II
wishwish
wewe
hadhad
oneone
Dm7
moremore
kiss.kiss.
I’llI’ll
5356
5355
5356
5355
5
555
5
555
5
555
5
555
3
543
3
543
3
543
3
543
5356
5356
5356
5356
LUCKY
Sorry, the free period for viewing/printing this tab has expired.
If you want this tab, click here to buy it online at GuitarInstructor.com for
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Check out this month’s free tab in the current digital
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 83
waitwait
Dm9
forfor
you,you,
II
promprom
Am7
iseise
--
youyou
II
will.will
G
Am7
G7/B
I’m
Gtr. 1
let ring
5355
5355
5355
5355
5
555
5
555
5
555
5
555
3
543
43
3
*Gtr. 2
w/ fingers
mf
*Piano arr. for gtr.3
000
0
010
2
001
ChorusGtr. 1: w/ Rhy. Fig. 2 (1st 4 meas.)
**
Am7
luck
***
y- I’m in
Dm7
love
with my
best
friend,
G7
luck y- to have
C
been
where I
C/B
have
been.
Gtr. 2
Rhy. Fig. 3
let ring
let ring
let ring
let ring
**2nd time, Voc. tacet on beats 1 and 2.
***J.M.: lead vocals C.C.: harmony cues
0
21
3
02
11
3
00
1
3
01
0
2
Am7
Luck y- to be com
Dm7
ing
- home
a
Gsus4
gain.
-
G
µ
Gtr. 1
let ring
let ring
let ring
02
2
01
0
0
57
56
5
5
0
35
55
55
45
3
3
4
Gtr. 2
let ring
End Rhy. Fig. 3
let ring
0
21
3
02
11
LUCKY
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Check out this month’s free tab in the current digital
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w w w . g u i t a r e d g e . c o m84 J U LY / A U G U S T 2 0 1 0
1st time, Gtr. 1: w/ Rhy. Fig. 22nd time, Gtr. 1: w/ Rhy. Fig. 2 (1st 7 meas.)Gtr. 2: w/ Rhy. Fig. 3
Am7
Luck y- we’re in
Dm7
love
in ev
’ry
- way,
G7
luck y- to have
C
stayed
where we
C/B
have
stayed.
CTo oda End half-time feel
Am7
Luck y- to be com
Dm7
ing
- home
some
Gsus4
day.
-
G
AndJ.M. 2. so I’m
sail
VerseGtr. 1: w/ Rhy. Fig. 1 (1st 6 meas.)
C
ing
-
through the
Am
sea
to an is
Dm7
land
- where
we’ll
meet.
G
You’ll hear the mu
E7
sic
-
fill the air;
Am
I’ll put a
flow
Dm7
er
-
in
G
your
hair.
ThoughC.C. the breez
C
es
-
through the
Gtr. 1
P.M. let ring
5756
5756
5756
5756
3554
3554
3554
3554
32
01
0
3
0
trees
Asus4
move so pret
Dm7
ty,
-
you’re all I see.
G
* G/F
As the
let ring
let ring
let ring
02
23
2
0
0
57
56
5
5
0
*Bass plays F.3
55
45
3
0
LUCKY
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Check out this month’s free tab in the current digital
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 85
D.S. al Coda
world
E7
keeps
spin
ning- ’round,
Am
you hold
Dm7
me
right here,
G
right
now.
G#(b5)
3
let ring
let ring
let ring
76
75
7
7
0
57
7
55
7
0
57
56
5
5
0
3554
3554
4 4567
Coda
G
Outro
Oo,
C
Am
Gtr. 1
let ring
let ring
let ring
45
5
3
32
01
0
3
0
02
21
2
0
0
oo.
Em
G
Oo,
C
let ring
let ring
let ring
02
2
00
2
0
32
0
00
2
0
32
01
0
3
0
Am
oo.
Em
Oo.
G
C
let ring
let ring
let ring w/ thumb
02
21
2
0
0
02
2
00
2
0
32
0
00
2
0
32010
LUCKY
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(issue is current for 30 days).
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w w w . g u i t a r e d g e . c o m86 J U LY / A U G U S T 2 0 1 0
Fig. 2
0
0
20
0
0
2
0
00
20
0
0
20
Born in 1917, Merle Travis was a huge influence on generations of guitar players. While growing up in Kentucky, Travis developed a playing style that would bear his name. “Travis picking” now refers to playing an alternating bass line with your thumb while playing a syncopated melody with your fingers. One of Travis’ biggest followers was Chet Atkins, who first heard Travis on the radio as a young boy in Georgia.
“Sixteen Tons” is a song written about the life of a coal miner—a popular topic for several of Travis’ tunes—and was first recorded in 1946.
THE INTRO As indicated next to the tempo, the eighth notes have a strong shuffle feel. This adds to the “galloping” feeling that was popular in country music at the time. Sometimes Travis plays straight eighth notes to create tension in the rhythm. These sections are notated below the tab. The N.C. indication tells us a few things. The first is that there shouldn’t be a chord strummed during this section. The other is that the parenthetical chord symbols indicate the implied harmony of the riff. In the measure right after the 2/4 bar, the chord symbols return to normal.
Throughout this song, you want to have a “let it ring” sensibility. Use the chord symbols as a guide to where to place your fingers and hold the notes to those chords in those beats. (The palm mutes indicate when to omit ringing.) When Travis palm mutes, most of the strings are muted with the exception of the first two.
Travis begins the song with a lick that comes from the last vocal phrase of the Chorus, but he alters it slightly as shown by the measure of 2/4. The next four measures reflect an Em6 (E – G – B – C#) sound. Hold down the Em6 voicing shown in Fig. 1 to allow the strings to ring.
TRAVIS PICKINGOne of the defining elements of Travis’ style is the unique fingerstyle pattern that bears his name. The basic idea of Travis picking is to keep your thumb playing a steady alternating bass while adding melody notes with your other fingers. This became a popular way for country musicians to accompany themselves on guitar and keep the feel of having a band.
The basic Travis picking pattern is shown in Fig. 2. There are a few key things to remember. First, you want to slightly mute the down-stemmed notes played by your thumb in order
“Sixteen Tons” Merle Travis
RIFF NOTES
By Jason Shadrick
Fig. 1
Fig. 1
23 4 2133332 123
Fig. 2
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 87
to emulate the sound of a bass. Next, you want to let the melody notes ring as long as possible. This gives a flowing feeling to the phrase and really emphasizes the two independent parts.
Also shown in the example are suggested right-hand fingerings. Essentially, play the bass notes with your thumb and the other notes with your index finger. Travis anchored his middle, ring and pinky fingers to his pickguard. This made it easier to play the other strings.
THE VERSEDuring the Verse, Travis uses a descending progression using the chords shown in Fig. 1. As you will notice from the recording, Travis uses a lot of dynamics when he performs. This makes some notes inaudible while others are very prominent. If we were to notate every change in dynamics, the music would be cluttered and difficult to read. Don’t be afraid to experiment with your pick attack in order to better emulate the dynamics on the recording.
THE GUITAR SOLOTravis begins his guitar solo by playing some open string licks based out of the E minor pentatonic scale (E – G – A – B – D). On the “and” of beat 4 in the third measure of the solo, play the G with your ring finger
to set up for the slide from C7 to B7 in the next measure.
The fingerings for the next section of the solo can be tricky. This is a variation on the traditional Travis picking pattern and is shown in Fig. 3. The right-hand fingerings are indicated between the note and tab staff. The p represents your thumb and the i represents your index finger. Travis had a unique approach to picking—using his thumb and index finger. For the Em(add9)/B chord, play the B on the 5th string with your index finger and the F# on the 1st string with your pinky. Play the Am6/E chord as a standard Am voicing, but keep your pinky on the F# on the 1st string. A measure of 2/4 follows before Travis goes back to holding an Em6 chord for four measures and then going into the next Verse.
DIAL TOnEWhat He UsedMerle Travis was known for playing his cus-tomized Gibson Super 400 and likely used it for this recording. In videos, he is also shown performing this tune on a Martin D-28 with a thumbpick.
How to Get the Sound For this tune, you need a sparkly, clean sound with a touch of reverb. A big archtop guitar with thick strings and a Fender amp will get you there.
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“Sixteen Tons” Merle Travis
Fig. 3Fig. 3
P.M.
p ip
i ip
i p i p ip
i ip
i p ip
ip
ip
i p
02
2
20
2
2 0
22
00
2
21
0
2 0
222
3
2
0
2
0 33
3
w w w . g u i t a r e d g e . c o m88 J U LY / A U G U S T 2 0 1 0
Intro Moderately q = 132
Copyright © 1947 by Unichappell Music Inc. and Elvis Presley MusicCopyright Renewed
All Rights Administered by Unichappell Music Inc.International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation
Sixteen TonsWords and Music by Merle Travis
from Merle Travis - The Merle Travis StoryTranscribed by Dave Whitehill
____
= 3
Gtr. 1 (clean)
mfw/ pick & fingers
µ (Em)
let ring
*
(B7)
(Em) ** Em6
let ring
0 4 5
00
0
*Played as even eighth notes.
2 22 2
1
**Chord symbols reflect inplied harmony.
2
02
20
2 20
Some1.
peo
VerseEm
ple- say
a man
Em7/D
is
made
C
out of mud.
B9
But, a
3
***
3
let ring †
P.M.
0***Played as even eighth notes.
22
0
02
0
22
20
†6th - 3rd strings only throughout
0
02
0
03
0
2
2
12
2
poor
Em
man’s
made
Em7/D
out of mus
C9
cle- and blood.
B9/F#
Mus
Em
cle- and blood,
Em7/D
Am7
skin and
bones,
3
they got a
3
P.M.
mp
P.M.
0
0
2
0
00
0
3
33
2
12
0
0
00
0
0
0
10
01
2
This song is sponsored by ernieball.com
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 89
mind
Em/B
µ (Em)
that’s weak
and a back
that’s strong.
You load
six
ChorusEm
teen
- tons
Em7/D
and what
C9
do you get?
B9/F#
Ya get
an
3
-
P.M.
P.M.
22
00
20
0
00
32
33
22
2
12
0
oth
Em
er- day
old
Em/B
er-
and deep
C9
er- in debt.
B9/F#
Saint
Pe
Em
ter- don’t ya
call me
Em7/D
’cause I
C/A
can’t
go.
I
3 3
P.M. P.M.
P.M.
P.M.
3
2 20
2
00
3
3
0 12
22
0
0
0
0
00
3
1
2
01
01
owe
Em/B
µ (Em)
my
soul
3
to the com
(B7)
pa- ny- store.
(Em)
Interludeµ (Em)
(B7)
P.M.
mf
let ring
P.M.
22
0 2 4 50
02 0
2 22 2
1
Em6
Well,2. I was
let ring P.M.
*
let ring
3
02
20
20
0
20
22
0
*Played as even eighth notes.
20
20
20
SIXTEEN TONS
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w w w . g u i t a r e d g e . c o m90 J U LY / A U G U S T 2 0 1 0
born
VerseEm
one morn
Em7/D
ing- when the sun
C
did n’t- shine.
B9/F#
Em
Picked up my shov
Em7/D
el- and I walked
C9
to the mines,
B9/F#
I load ed-
mp
P.M.
20
00
0 3
02
22
2
12
0
02
0
00
23
3
2
22
2
1
six
Bm
teen-
tons
Em7/D
of num
C/A
ber- nine
coal.
The straw
Em/B
boss
µ (Em)
said,
“Well, bless
my
soul!
3
He load
ed-
3
P.M.
0
2 00
3
1
2
01
20
22
six
ChorusEm
teen-
tons...”
Em7/D
And what
C9
do you get?
B9/F#
Ya get
an oth
Em
- er- day
old
Em7/D
er- and
deep
C9
er- in debt.
B9/F#
Saint
3
p
P.M.
200
000
3
33
22
2
12
X
20
00
3
3
23
2
22
X
Pe
Em
ter- don’t ya call
me
Em7/D
’cause I
C/A
can’t
go.
I owe
Em/B
my
µ (Em)
soul
to the com
(B7)
pa- ny- store.
(Em)
P.M.
let ring
P.M.
mf
0
0
00
0
0
0
0
3
1
2
01
22
22
0 2 4
SIXTEEN TONS
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 91
Guitar Solo
µ (Em)
C7
B7
let ring
let ring
50
0 2 4 50
00
2 5 02 0
2
3 50
0 5 00
53
535
424
XXX
00
Em('9)/B
Am6/E
Em
P.M.
C9 C9/G
B7/F#
Em
02
2
20
2
2 0
22
00
2
21
0
2 0
222
3
2
0
2
0 33
3 2
2 02
01 2 1 2
Em6
Was3.
let ring
let ring
02
00
20 0
02
00
20
born
VerseEm6
one morn in’,-
Em7/D
it was
a
3
driz
C
zlin’- rain.
B9/F#
See fight
Em
in’- an’ trou ble
Em7/D
- is my mid
C
dle- name.
B9/F#
3
mp
P.M.
0
202
00
3
0
22
22
02
0
000
3
02
22
2
12
Raised
Em
in the cane
Em7/B
break by an ol’
Am
ma ma- li on.
- There can’t no high
Em/B
µ (Em)
tone
wom an- make me walk
the line.
You load
P.M.
200
20
0
0
21
01
22
SIXTEEN TONS
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w w w . g u i t a r e d g e . c o m92 J U LY / A U G U S T 2 0 1 0
six
ChorusEm
teen
- tons
Em7/D
and
what
C9
do ya get?
B9/F#
Ya get
an oth
Em
- er- day
old
Em7/D
er- an’
deep
C9
er- in debt.
B9/F#
Saint
3
P.M.
0
0
00
3
3
2 12
22
0
0
2
0
03 3
33
22
Pe
Em
ter- don’t ya
call me
Em7/D
’cause
I
Am/E
can’t
go,
I owe
Em/B
my
µ (Em)
soul
to the com
(B7)
pa- ny- store.
(Em)
3
P.M.
mf
let ring
0X2
00
00
00
21
0
22
22
0 2 4 5
Interlude
µ (Em)
(B7)
(Em) Em6
let ring
P.M.
*
let ring
00
2 02 2
2 21 2
02
20
20
20
1 20
*Played as even eighth-notes.
22
0
0
Well,4. if ya see
VerseEm
me
com
Em7/D
in’,- bet
ter
-
3
step
C
a
side.-
B9
A lot
Em
ta- men
did n’t-
Em7/D
and a
3 3 3
3
let ring mp
P.M.
022
020
20
20
0
0
0
0X
X 32
2
2
12
0
0
0
0
0
0
SIXTEEN TONS
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 93
lot
C9
ta- men died.
B9/F#
A one
Em
fist of iron
Em7/D
and the oth
Am
er- one of
steel.
If the right
Em/B
one
µ (Em)
don’t
get cha- then the
3
3
P.M.
3
33
22
2
0
00
0
1
2
01
2 2
left
one will.
You load
six
Outro-ChorusEm
teen
- tons
Em7/D
and what
C9
do ya’ get?
B9/F#
Ya get
an oth
Em
- er- day
old
Em7/D
er- an’ deep
3
-
*
P.M.
*Slap the muted strings w/ pick hand.
0
00
3 3
3
23
2
12
0
0
2
0
00 0
er
C9
in debt.
B9/F#
Saint
Pe
Em
ter- don’t you
call me
Em7/D
’cause I
Am
can’t
go,
µ (Em)
I
3 3
P.M.
3
3
1
2
1
0
0
0
0
0
0
0
0
02
1
owe
Free time
my
soul
to Ten
(B7)
nes- see- Er
nie- Ford.
(Em)
Em6
3
let ring
3
02
20
20
SIXTEEN TONS
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w w w . g u i t a r e d g e . c o m94 J U LY / A U G U S T 2 0 1 0
The Black Crowes formed in Atlanta, Georgia, in the mid ’80s around brothers Chris and Rich Robinson. Vocalist Chris and guitarist Rich are the driving force behind the songwriting, even though there have been several incarnations of the band. Their first album, Shake Your Money Maker, was released in 1990 and contained six singles. This was the only album to feature guitarist Jeff Cease, who was replaced by Marc Ford shortly after its recording.
Since their debut album, the Black Crowes have released eight studio albums and shared the stage with everyone from the Grateful Dead to Jimmy Page—who also toured and recorded an album with the group. Their latest album, Before the Frost…Until the Freeze, was released in August of 2009 and was recorded at Levon Helm’s studio in Woodstock, New York. In April of 2010, the band announced the release of Croweology, an all-acoustic album, along with a lengthy tour that, according to the band, will be their last.
INTRO AND VERSE This tune is in the key of B major (which has five sharps) and contains some exceptionally bluesy elements. In both the vocals and the Gtr. 1 part, there are some D naturals (dominant seventh) and A naturals (minor third). The struggle between the major key and the minor third give a real dissonant feeling to the song and creates that “blue note” sound.
The key is solidified by Gtr. 2’s part with the B major triads. To play the B major chord, barre your index finger at the fourth fret. For the B6sus4 chord, keep your index finger barred and then place your middle finger on the E
(2nd string, fifth fret) and your ring finger on the G# (4th string, sixth fret). At the end of the second measure, the x’s represent fret-hand mutes. To play these, lift your fingers slightly off the fretboard and strike the strings to create a percussive effect. The chord symbols are a direct reflection of this part.
Gtr. 1 plays more of a Chuck Berry-type rhythm that is found in more traditional blues and R&B tunes. Take your index finger and barre across all the strings for the entire Verse. When the double stop comes in on the “a” of beat 3, your index finger will already be in place. Flatten your pinky finger at the eleventh fret to play the C# and G#
in beat 4. Gtr. 2 jumps to the rhythm slashes on the second page while Gtr. 1 plays a variation of the original boogie-woogie part. Notice the footnote about the chord diagrams. Anytime there is a part notated in rhythm slashes, the chord diagrams are given at the beginning of the transcription. The very last note before the Chorus in the Gtr. 1 part is played with your index finger to prepare for the F# chord.
CHORUS AND INTERLUDEOverall, the form of this song is rather unique. The Verse stays on the I chord (B major) the entire time. When the Chorus comes around, it moves to F#. In this transcription, we have
“Hard to Handle” The Black Crowes
RIFF NOTES
By Jason Shadrick
(L to R) Steve Gorman, Rich Robinson, Chris Robinson (seated), Jeff Cease, Johnny Colt - circa 1990. Photo by Ken Settle
Fig. 1Fig. 1
10fr
211
11fr
132
5fr
211
12fr
211
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 95
notated them separately, but you could easily think of them as a 12-bar Verse. The separation is helpful when you come out of the Guitar Solo back into the Chorus.
After the break in the Chorus, there is an Interlude that combines a few triads on the top strings. The voicings are shown in Fig. 1. Begin with a D triad (in first inversion) at the tenth fret and then slide that shape up two frets to E. That same shape slides down to the fifth fret for the A chord and then finishes up at the eleventh fret with a B major chord in second inversion.
GUITAR SOLOLead guitarist Jeff Cease begins his short but sweet solo in the seventh position using the B minor pentatonic (B – D – E – F# – A) fingering shown in Fig. 2. Begin by bending the G# on the 2nd string up a half step to A before descending down the scale. For the F$ in beat 4, use your pinky finger to pull off onto the E. At the end of the second measure of the solo, he shifts down to the B major pentatonic scale with minor 3rd passing tones in fourth position shown in Fig. 3. After a brief move back to the seventh position, he moves to the twelfth position before ending the solo with some oblique bends at the seventeenth fret.
For the Outro-Guitar Solo, Cease continues with some oblique bends at the seventeenth fret before quickly shifting back down to seventh position. The chord progression of this section follows the Verse for eight measures before switching to the chords from the Interlude. For the double stops in the fourth measure, use your flattened ring finger to hammer-on both notes. In the ninth measure, there is a double stop bend on the 2nd and 3rd strings. Focus on bending the G# up a half step and the E will automatically bend a quarter step. This happens several times before the end of the tune.
DIAL TOneWhat He UsedGuitarist Rich Robinson is no stranger to collecting cool gear. Rich’s website outlines his extensive collection, but at the time he was seen playing a TV Yellow single cut-away Les Paul Special with P-90 pickups. For amps, he prefers tweed Fender amps from the ’50s, such as a Tremolux and a Vibrolux. On the floor, he uses a Fulltone Full-Drive 2, Voodoo Lab Micro Vibe, DOD
EchoFX 96, Hughes & Kettner Rotosphere, Moogerfooger 12-stage phaser and two Fulltone Tube Tape Echos. How to Get the Sound Either a Strat or Les Paul will work to cop the vintage vibe that Robinson gets. Plug into a Fender amp that you can push hard enough to get some overdrive and combine that with an overdrive pedal for an extra push.
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“Hard to Handle” The Black Crowes
Fig. 2Fig. 2
fret-handfingering:
1 4 1 3 1 3 1 3 1 4 1 47 10
7 97 9
7 97 10
7 10
Fig. 3
fret-handfingerings:
4 1 2 3 1 3 1 3 4 1 4 1 47
4 5 64 6
4 6 74 7
4 7
Fig. 3
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gear at oldglory.com!
w w w . g u i t a r e d g e . c o m96 J U LY / A U G U S T 2 0 1 0
Intro Moderately q = 102
Words and Music by Allen Jones, Alvertis Bell and Otis Redding
Hard to Handle
Copyright © 1968 IRVING MUSIC, INC.Copyright Renewed
All Rights Reserved Used by PermissionReprinted by Permission of Hal Leonard Corporation
from The Black Crowes - Shake Your Money Maker
Guitars: Rich Robinson & Jeff Cease
(Drums)
µ
*Gtr. 1 (slight dist.)
mf
4fr
111
B
** F#
4fr
312
B6sus4
2fr
1342
F#
2fr
1333
B
B
F#
*Rich Robinson
7 7
**Chord symbols reflect basic harmony.
6 74
7 5 7 57 7 7
6 74
7 5 7 5
BaAcBa
2.1.
3.
VerseB
tion-by,
by,
-
-speaks loud
here
here
IerI
- than words,am,
am,
B6sus4
andI’mI’m
aa
the
manmanman
B
o’on
greaton
theex
scene.peyour
- r’ence.scene.
-
B6sus4
***Gtr. 2 (dist.)
mf
Rhy. Fig. 2
***Jeff Cease
444
444
444
645
444
444
444
645
XXX
Gtr. 1Rhy. Fig. 1
P.M.
P.M.
P.M.
P.M.
P.M.
End Rhy. Fig. 1
P.M.
79
79
79
711
79
79
79
79
79
77
1111
79
79
79
79
79
711
79
79
79
79
79
77
1111
79
79
This song is sponsored by playlaguna.com
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 97
III
Gtr. 1: w/ Rhy. Fig. 1
B
canknowcan
yougivegotgive
youanyou
oth-what
what
er-you
you
want,man,want
B6sus4
butbutbut
youI
you
gotcangot
love
B
to
to
comeyou
come, uh,
homebet
home
ter-withthanwith
me.him.me.
B6sus4
Take
Gtr. 2
(cont. in slashes)
444
444
444
444
444
645
645
XXX
444
444
444
645
645
XXX
Gtr. 2
* B
B6sus4 B
B6sus4
I’ve
I’vemy
uh,
gothand,got
some
some
gooddon’tgood
oldbeold
alovfraid.
lov-
in’I’min’
-
-
andgonand
InaI
-got
provegot
some
evsome
’ry-morewordmore
inI
in
store.say.store.
Uh,I’m
Gtr. 1
P.M.
P.M.
P.M.
*See top of first page of song for chord diagrams pertaining to rhythm slashes.
79
79
79
711
79
79
79
79
79
77
1111
79
79
79
79
79
711
79
79
79
XX
77
77
79
B
B6sus4
B
End Rhy. Fig. 2
when
When
IadI
getverget
- tis
-through
throughin’-
throwlove
throw
in’forin’
-
- it
it
on
onfree,
you,
ya,so
you
youyougot
gotcanta-
placecome
to
a,
comeyourrun nin’-
backad
back
for
withfor
more.me.more.
P.M.
Rhy. Fill 1
End Rhy. Fill 1
79
77
77
1111
79
79
79
79
79
77
1111
79
79
79
79
711
XX
79
797
797
797
797
797
XXX
9
HARD TO HANDLE
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w w w . g u i t a r e d g e . c o m98 J U LY / A U G U S T 2 0 1 0
Chorus
Rhy. Fig. 3A
F#
BoysBoysBoys
that’ll-
havecomerun
aa
thingslong,long,
--
thataa
comedimedime
by the doz
en.-
That ain’t noth
in’- but drugten
drug
storecentstore
-
-
lovlovlov
- in’.in’.-
in’.-
Rhy. Fig. 3
911
9119
9119
9119
9119
9119
9 911
911
9119
9119
9 9119
0 0
CTo oda B
(cont. in motation)
End Rhy. Fig. 3A
Pret ty- lit tle- thing,
let me light
your can dle
- ’cause, uh, ma
ma,- I’m sure
hard to han
dle- now, yes,
a round.-
End Rhy. Fig. 3
7998
1.
Gtr. 2
InterludeD
E
A
E
B
111010
111010
111010
111010
111010
131212
131212
131212
131212
131212
131212
655
655
131212
111211
111211
Gtr. 1
5777
5777
5777
5777
5777
5777
7999
7999
7999
7999
7999
7999
XXXX
0222
XXXX
02210
XXX
2444
2444
2444
0
HARD TO HANDLE
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 99
2.
InterludeA
E B
Yeah.
A
E
Hard
B
to han
dle- now.
Gtr. 2Rhy. Fig. 4A
655
655
131212
111211
111211
111211
655
655
131212
XXX
111211
111211
Gtr. 1Rhy. Fig. 4
022
XXX
0221
XXX
244
2444
2444
2444
0 0 022
XXX
0221
XXX
244
2444
2444
2444
0 0
D.S. al Coda
A
E B
Oh, ba by.
-
A
E B
End Rhy. Fig. 4A
655
655
131212
111211
111211
655
655
131212
111211
111211
End Rhy. Fig. 4
022
XXX
0221
XXX
244
2444
2444
2444
0 0 022
XXX
0221
XXX
244
244
244
0 00
Coda
InterludeGtrs. 1 & 2: w/ Rhy. Figs. 4 & 4A
A
E B
Hard,
A
E B
hard to han
dle- now.
HARD TO HANDLE
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w w w . g u i t a r e d g e . c o m100 J U LY / A U G U S T 2 0 1 0
A
E B
Oh, yeah,
yeah,
A
hey,
E
yeah,
B
oo, yeah.
*Gtr. 3 (dist.)
f
*Jeff Cease
9
1/2
Guitar SoloGtr. 1: w/ Rhy. Fig. 1 (3 1/2 times)Gtr. 2: w/ Rhy. Fig. 2
B
B6sus4 B
B6sus4
9
1/2
9
1/2
9 9 79
710 9 7 9
97 8
9 9 9
49 6
B
P.H.
B6sus4
B
B6sus4
B
B6sus4
4 4 7 46
4 4
4 5 64 7 6 4
64
9
XX
109 7 10
11
1013
1/2 1 1
B
B6sus4
B
B6sus4
Gtr. 1: w/ Rhy. Fill 1
B
8va
3
12 14 1213
15 1214
12
hold bend
XX
17
1
1717
1717
hold bend
1717
1
17 1717 17
17 1517
1 17
Boys
ChorusGtrs. 1 & 2: w/ Rhy. Figs. 3 & 3AGtr. 3 tacet
F#
that run a long,
- a dime
by the doz
en.-
That ain’t noth
in’- but ten
cent lov
in’.-
Pret
B
ty- lit
µ
tle- dame,
let me light
your can dle
- ’cause, uh, ma
ma,- I’m sure
hard to han
dle- now, yes,
a round.-
HARD TO HANDLE
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 101
InterludeGtrs. 1 & 2: w/ Rhy. Figs. 4 & 4A
A
E B
Yeah.
A
E B
So
hard to han
A
dle- now.
E
B
Oh,
yeah.
A E
B
Gtr. 3
rake
8va
XX
X1717
1
Ba
Outro-Guitar SoloGtr. 1: w/ Rhy. Fig. 1 (3 1/2 times)Gtr. 2: w/ Rhy. Fig. 2
B
by.-
Uh,
B6sus4
good lov
B
in’.
-
B6sus4
Ba
B
by.
-
B6sus4
3
8va
3 3 3
1717
1717
1
1717
1 hold bend
1717
1
17 1717 17
1717
1717 17
1717
17 17 15 17 15 1516
Ba
B
by,
- oh,
oh,
B6sus4
good lov
B
in’.-
I need
B6sus4
good
8valoco
8va
6
16
79 9 7 9 7
9
77
99
77
99
0
14 1516
14 1516
14 1516
14 1516
15 14 1213
12
lov
B
in’.-
B6sus4 B
B6sus4
I got to
( )
8va
14 1516
14 1516
14 15
16
15 14 X
17
12 XX
1
1717
17 16 14
1714
15 14 12
HARD TO HANDLE
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w w w . g u i t a r e d g e . c o m102 J U LY / A U G U S T 2 0 1 0
have
Gtr. 1: w/ Rhy. Fill 1
B
it.
Oh,
yeah.
Gtrs. 1 & 2: w/ Rhy. Figs. 4 & 4A (1st 3 meas.)
A
E
B
Yeah.
loco
77
710 9 7
9 9
9
9 09 9
99 7 9 7
9
9
1/2
1/4
A
E B
So hard
to han
A
dle- now.
E
B
Yeah.
3
99 9
97 9
9 100
10
9
00
00 9 9
97 9
97
9
00
00
1/2
1/4 11/2
1/4
Begin fade Fade out
A
E B
Free time
Mm, mm.
Gtr. 3
99 9
97
9
10
7 00
10 10
1/2
1/4 1
Gtr. 2
655
655
131212
111211
Gtr. 1
022
XXX
0221
XXX
244
HARD TO HANDLE
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 103
When it comes to southern rock, there is Lynyrd Skynyrd, the Allman Brothers Band, and everyone else. The Allman Brothers Band essentially defined the genre with harmonized lead guitars, country influences, and long, improvisational jams. “Jessica” is from the 1973 album, Brothers and Sisters, which was the first album after the deaths of guitarist Duane Allman and bassist Berry Oakley. This marked a new era for the band. Dickey Betts wrote the song in tribute to his daughter Jessica.
MAIN MELODY AND BRIDGE The tune opens with a strummed acoustic guitar—played by Les Dudek—and follows a simple progression in the key of A major. After the 12-measure Intro, Dickey Betts—who plays both parts—comes in with the signature theme played in harmony. If you are the only guitarist in the band, play the Gtr. 2 part and try using a harmonizer set for diatonic thirds.
For Gtr. 2, begin in ninth position and visualize an open D shape for the first three notes. Use the tips of your fingers and then slide down to seventh position on beat 3 of the second measure and then to sixth position on the “and” of beat 3. Remain in sixth position until you play a variation of the main motif beginning in the fourth measure.
After the A section Gtr. 1 and Gtr. 3 tacet and Gtr. 2 plays a simple melody that is based out
of A Dorian (A – B – C – D – E – F#– G). Begin with your index finger on the B at the fourth fret of the 3rd string. In the second measure, shift up to seventh position. Over the last four measures Gtr. 2 walks up an A Mixolydian scale (A – B – C# – D – E – F# – G) before heading back into the main theme at letter D.
BREAKDOWNLetter E begins with Gtr. 1 playing the rhythm figure from the Intro. Gtr. 2 joins in with a simple riff. As this section builds, more and more instruments are added to the mix. Gtr. 5 is a piano arranged here for guitar and comes in with a repeating figure marked Riff B. For this riff, barre your index finger on the 2nd and 3rd strings at the second fret for the pickup notes and then jump to fourth position and use your index finger to hold the B (3rd string, fourth fret) and your middle finger for the E note (2nd string, fifth fret). While holding down the E, hammer on
to the C# on the 3rd string and play the notes at the seventh fret with your barred pinky finger. Underneath the notation you will see a cresc. poco a poco marking. This means that you should slowly get louder as you are playing through the pattern. After the first time through, disregard the p marking and continue to crescendo. By the end of the fourth measure, you should be at mf (medium loud).
At letter F, the piano takes a solo while Gtr. 1 plays a rhythm part that is similar to the Intro. After you repeat the four-measure accompaniment 16 times, an ascending A Dorian scale (A – B – C – D – E – F# – G) is played. This time it’s played with eighth and quarter notes, as opposed to half notes like in section D. To make this section easier, make them into groupings of three eighth notes and accent every third note. Things settle down in the fourth measure, where the key changes to D major and the guitar solo begins.
“Jessica” The Allman Brothers Band
RIFF NOTES
By Jason Shadrick
Dickey Betts playing his trusty Les Paul in Holland circa 1974. Photo by Laurens Van Houten / Frank White Photo Agency
Fig. 1Fig. 1
fret-handfingerings:
4 1 3 1 3 1 2 1 3 110
7 97 9
7 9 1110 12
10
w w w . g u i t a r e d g e . c o m104 J U LY / A U G U S T 2 0 1 0
Gtr. 3 and Gtr. 6 (which is a 12-string acoustic) join in six measures before letter H. At letter H, Gtr. 6 drops out and Gtr. 2 plays the melody from section C. The key also changes to A major from D major.
CODAAfter letter H, you take the D.S. al Coda back to letter B for the main theme. Be sure to jump down to the fill box for measure 5 and take the second ending. Before you get to letter C, follow the Coda sign to the 13th page. There isn’t a strict tempo during the Outro, therefore the measure lines are dotted.
THE GUITAR SOLOThe solo is a complete master class on how to use the major pentatonic scale. Throughout the solo, Betts uses a D major pentatonic scale (D – E – F# – A – B). Fig. 1 presents a fingering for this scale that begins in seventh position and then shifts to tenth position.
There are several areas of the solo where Dickey plays some of his signature licks. One of the more recognizable aspects of Betts’ style is the use of repeating figures. Starting at measure 32, Betts begins a lick that contains a six-note figure that is shown in Fig. 2. The figure begins on the “and” of beat 2 and repeats four times. The real secret to this type of lick is that it begins in different parts of the measure each time it comes around.
Another example of this is shown in Fig. 3. Betts uses a six-note pattern and starts the pattern on beat one. Since the pattern is 3 beats long, each time it comes around it starts one beat earlier in the measure. This builds tension by mixing up the accents and attacks of the phrase.
The solo continues with a repeating bending figure that gives an unmistakable “southern rock” vibe. For the most part, Betts keeps the solo between a few positions. Another unique aspect of this solo is that there are large sections where he plays on one string.
DIAL TOnEWhat He UsedDickey Betts has long been associated with two pieces of gear that have been staples of rock guitar—Gibson Les Paul guitars and Marshall amps. Betts prefers 50-watt Marshall heads and is known for using “Goldie,” a ‘57 Les Paul that he later painted red.
How to Get the Sound The key to copping the tone is in the sustain of the guitar and the smooth overdrive. A solidbody guitar with vintage humbuckers should give you the tone you need. Match that with a tube amp and a good overdrive pedal, such as a Boss Blues Driver BD-2, for a boost during the solos.
• Downloadtabfor“Jessica”atguitarinstructor.com• GetAllmanBrothersGearatoldglory.com• GetThe Allman Brothers Band – Definitive Collection Vol. 2guitartabbook
atmusicdispatch.com• Download“Jessica”fromiTunes• VisittheAllmanBrothersBandatallmanbrothersband.com
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Fig. 2
Fig. 2
six-note repeating figure
7 7 97 9 7
99
97 9 7
99
97 9 7
99
97 9 7
99
97 9
7
Fig. 3
six-note pattern
10 12 1012
1212
10 12 1012
1212
10 12 1012
1212
10 12 1012
1212
Fig. 3
Get Cool Allman Brothers
gear at oldglory.com!
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 105
A
Intro Fast q = 208
Written by Dickey Betts
Jessica
Copyright © 1973 by Unichappell Music Inc. and F.R. Betts Music Co.Copyright Renewed
All Rights Administered by Unichappell Music Inc.International Copyright Secured All Rights ReservedReprinted by Permision of Hal Leonard Corporation
from The Allman Brothers Band - Brothers and Sisters
Gtr. 1 (acous.)
mfw/ slap-back delay
A
D/A
A G/A A
D/A
A G/A
0 0222
0222
30 0 0
423
0423
0423
0423
222
000
0 0222
0222
30 0 0
423
0423
0423
0423
222
000
Rhy. Fig. 1
A
G/A
A
D/A A
G/A A
G/A
A
D/A A
G/AEnd Rhy. Fig. 1
0 0222
000
30 0 0
423
0423
0423
222
000
000
0 0222
000
30 0 0
423
0423
0423
222
000
000
Gtr. 3 (elec.)
Gtr. 1: w/ Rhy. Fig. 1
A
G/A A D/A
A G/A A
G/A A D/A
mf
A
G/A
14 14
12 14
Gtr. 2 (elec.)
mf
910
9 10
This song is sponsored by guitarfetish.com
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w w w . g u i t a r e d g e . c o m106 J U LY / A U G U S T 2 0 1 0
B
1st time, Gtr. 1: w/ Rhy. Fig. 1 (3 1/2 times)2nd & 3rd times, Gtr. 1: w/ Rhy. Fig. 1 (4 times)
A
G/A
A D/A
A
G/A
A
G/A A D/A
A
G/A
17 14 1214
14
11 9 11
10
14
1412 14
10 10 10 910
9
7 6 7 9
9
109 10
1
3rd time, Gtr. 2: w/ Fill 1
A G/A A
D/A
A
G/A
A
G/A A D/A
A
G/A
14
1214
14 11 11
9 11
109
14
1412 14
10
910
9 7
6 7 9
7
9
109 10
1.
A
G/A
A D/A
A
G/A
A
G/A A D/A
A
G/A
17 14 1214
14
11 9 11
10
14
1412
14
10 10 10 910
9
7 6 7 9
9
109
10
1
Fill 1Gtr. 2
10 9 10
9
109
7
JESSICA
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 107
A
G/A A
D/A
A
G/A
A
G/A A
14 12
1414 11
11 9 11
109
6 7 6 7
5 7
10 9
109 7
7 6 7 9
7
7 9 7 96 7
2.
D
A
G/A
A
75 7
5
5 7 5 7 9 10 9
14
12 1410 12 10
7 97
6
9 11 9 11
10 12 10
10
9 105 7 5
CTo oda
D/A
A
G/A A
G/A A
D/A
A
G/A
A
G/A A D/A
A
G/A
10
14
1412 14 12
14
14 11 11 9
11
109
3
5
9
109 10 9 10 9
10
9 7 6
7 9
7 7
4 5
C
Gtr. 2
Gtrs. 1 & 3 tacet
G
A
3
G
3
4 4 5 7 7
7 9 6
7
7 7
4 5 5 5
7
JESSICA
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w w w . g u i t a r e d g e . c o m108 J U LY / A U G U S T 2 0 1 0
A
G
3
47 5 4
7 4
5 74 5
74 4
5 7 7
9
A
G
E
9 6 7
9
7
8
10
12
10 12 12
1
12 12
D
Gtr. 3
Gtr. 1: w/ Rhy. Fig. 1 (3 1/2 times)
A
G/A
A D/A
A
G/A
A
G/A A D/A
A
G/A
1414
12 14 17 17 14 1214
14
11 9 11
10
14
1412 14
Gtr. 2
12
910
9 10 10
1
10 10 910
9
7 6 7 9
9
109 10
A
G/A A
D/A
A
G/A
A
G/A A D/A
A
G/A
A
G/A
A
14 12
1414 11 11 9
11
109
14
1412 14 17 14 12
14
10 9 10 9
109 7 6
7 9
7
9
109 10 10
1
10 10 910
JESSICA
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 109
D/A
A
G/A
A
G/A
A D/A
A
G/A
3
A
3
G/A
A
3
D/A
3
A
G/A
3
1414
11 9 11
10 12 10
14
1412 14 12
14 1011 9 11 9 11
1011 9
3
3
3
3
3
109
7 6 7
5 7 5 7 5
9
109 10 9
109 7 6 7 6 7
57 6
Gtr. 2
Gtrs. 1 & 3 tacet
µ
7
4
5
7
5
7
8
10
7
8
10
10 15 12
*Gtr. 4
w/ fingers
mf
*Gtr. & piano arr. for one gtr.
5
7
7
9
8
10
10
127
9
9
11
10
12
12
149
12
10
13
12
159
12
12
15
9
12
E
Gtr. 1
Rhy. Fig. 2
Gtr. 4 tacet
A
D/A
A G A
D/A
AEnd Rhy. Fig. 2
G
0 0222
0222
30 0 0
423
0423
0423
0423
222
00
0 0222
0222
30 0 0
423
0423
0423
0423
222
00
Gtr. 2
5
2 2 5
2
1/4 1/4
JESSICA
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w w w . g u i t a r e d g e . c o m110 J U LY / A U G U S T 2 0 1 0
Gtr. 2
Riff A
Gtr. 1: w/ Rhy. Fig. 2 (9 times)
A
D/A
A
G A
D/A
A
End Riff AG
235
5
2 2 5
2
1/4 1/4
*Gtr. 5
Gtr. 2: w/ Riff A (6 times)
A
D/A
A G A
D/A
A G
*Piano arr. for gtr.
2 42
Play 5 times
Riff BA
D/A
A
let ring
G A
D/A
A
let ring
End Riff BG
0
45
6 45
7 77
2 42
0
45
6 45
7 77
2 42
Gtr. 2
Gtr. 5: w/ Riff B (2 times)
A
p cresc. poco a poco*
D/A
A
G A
D/A
A
G
*Next 8 meas. to mf.
25
25
25
25
25
25
35
35
35
35
35
35
25
25
25
25
25
25
35
35
35
35
35
35
F
Play 16 times
Gtr. 1
Gtr. 2 tacet
A
D/A
A
D/A
0 0222
0222
0222
0222
0423
0423
0423
0423
0423
0 0222
0222
0222
0222
0423
0423
0423
0423
0423
Gtr. 2
Gtr. 1 tacet
µ
5 5 52 2 3 3 5 5 5 7 7
4 4 5 5 5 7 7 74 5 7 9
JESSICA
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 111
G
Gtr. 2
f
D
G
D
A7sus4
D
G
D
A7sus4
10
10 12 12 12 12 12
12 10 12 12 12 12
1 1
Gtr. 1Rhy. Fig. 3
End Rhy. Fig. 3
5777
777
777
978
978
777
575
575
5777
777
777
978
978
777
575
575
Gtr. 2
Gtr. 1: w/ Rhy. Fig. 3 (24 times)
D
G
D
A7sus4 D
G
D
A7sus4
D
12 10 10 10
10
10 1210 12 10
1210 12 12 10
10 10
12
10 10 10
10 1210
G
D A7sus4 D
G
D
A7sus4
D
10 1210 12
10 10 10
10 1210 12 12
10 12
10 12 12 12 10 1210
12
1
G D
A7sus4 D
G
D
A7sus4 D
G
D
A7sus4
10 12 1012
1012 10
1112
1110 12 10
1112
1110
11 9 79 7
79 7
9 7 97 7 7
7 97 9 9
7 9
D
G
D
A7sus4 D
G
D
A7sus4 D
7 7 7
7 97 9
7 9 9
7 97 7 7
7 97 9 9
7 97 9
79
7 9 79
99
7 9
JESSICA
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w w w . g u i t a r e d g e . c o m112 J U LY / A U G U S T 2 0 1 0
G D
A7sus4
D
G
D A7sus4
D
G
D
A7sus4
7 8 79
79
7 7
7 8 8 10 10
1
10 10 10 10 10 7 10 7 7 7
8
D
G
D
A7sus4
D
G
D
A7sus4 D
8 7 7
8 7
97
7 7
7 9
7 7 97 9 7
99
97 9 7
99
9
G D
A7sus4 D
G
D
A7sus4
D
G
D
A7sus4
7 9 79
99
7 9 79
99
7 97 8 10 12
10 12 12
1
12 12 10 10 10 1010
12
D
G
D
A7sus4 D
G
D
A7sus4
10 10 10 1010
12
10 10 12
1210 12
10 10 10 10 10 10
10 12
D
G
D
A7sus4
D
G
D
A7sus4
3
10 10 10 10
12 12 1210
10 10 10 10 10 10
10 12
1
D
G
D
A7sus4 D
G
D
A7sus4
10 12 1012
1212
10 12 1012
1212
10 12 1012
1212
10 12 1012
1212
10 12 1012
1212
10 12
JESSICA
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 113
D
G
D
A7sus4
D
G
D
A7sus4
1012
1212
10 12 1012
1212
10 12 1012
10 12
1
1212 1212 12 12 12 12
1
1212
1 1 1 1
D
G
D A7sus4
D
G
D
A7sus4
1212 12 12 12 12
1
1212 1212 12 12 12 12 12
12 12
1 1 1 1 1 1 1 1
D
G
D
A7sus4
D
G
D
A7sus4
12 12 12
1
1212 1212 12 10 12 10 10 10 10 10
10 12
10 12 10
1 1 1
D
G
D A7sus4
D
G
D
A7sus4
D
10 12
1410
10 12 10 10 12
14 1414 15 15 14 14 14
14 15 14
G
D
A7sus4
D
G
D
A7sus4 D
G
D
A7sus4
8va
14 14
14 15 15
1
15 15
15 15 15 14 14 14
15 14 15 14 14 15
D
G
D
A7sus4
D
G
D
A7sus4
8va
15
1
15
15 15 14
14 15 15 14 14 12
12
14 15 17
JESSICA
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w w w . g u i t a r e d g e . c o m114 J U LY / A U G U S T 2 0 1 0
D
G
D
A7sus4
D
G
D
A7sus4
8va
17 17 17 17 17
1
17 17
17 17 17 15 17 17 15 15
1
D
G
D
A7sus4
8va
loco
D
G
D
A7sus4
15 14 14 14 14 14 15 12 14 10 12 10 1012 12
12 10 10
11
11
11
12
D
G
D
A7sus4
D
G
D
A7sus4
1011
10
012 10
1112
11
010 10
10
1110 12 10
11
1012 10
1110 12 12
12
11 11
D
G
D
A7sus4 D
G
D
A7sus4
10 12 1011
1012 10
1112
11
1012 10
1112
11
1012 10
1112
11
1012 10
1112
11
1012 10
11
D
G
D
A7sus4 D
G
D
A7sus4
1012 10
1112
1110 12 10
1112
1110
11 9 1110
1112
11
1012 10
11
1012 10
11
1012 10
11
D
G
D
A7sus4 D
G
D
A7sus4
1012 10
11
1012 10
11
1012 10
1112
1110
11 9 79 7
79 7
9 7 97
99
97 9
JESSICA
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 115
Gtr. 2D
G
D
G
7
7 9 97
7 9
9
7
7 8 8 10 10 12 12
10 10 12 12 14 14
Gtr. 1
5777
777
777
777
978
978
978
5777
777
777
978
978
978
D G
D
A7sus4
10 1012
10
11 9 77 9
7 7 7
9
97 9 7
9 7 97
Rhy. Fig. 4
End Rhy. Fig. 4
5777
777
777
777
777
978
978
777
575
Gtr. 2
Gtr. 1 tacet
D
Gtr. 1: w/ Rhy. Fig. 4
G
D
A7sus4
1012
10
11 9 7
7 97 7 7
9 7
79 7
9 7 97
Gtr. 1 tacet
D
1012
10
11 9 7
1012
10
11 9 7
JESSICA
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w w w . g u i t a r e d g e . c o m116 J U LY / A U G U S T 2 0 1 0
Gtr. 3
µ (D)
3
3
3
3
3
3
3
3
7 97 10 10 12
10 17 15 14 12 1012
10 1212
1012 10 12 10
11 9 77 10
7 97 8 10
Gtr. 2
3
3
3
3
3
3
3
3
7 97 9 9 11
1010
12 1011 9 7 9
77 9 7
97
9 79 7 5 7
4 5 74 5
Gtr. 6 (12-str. acous.)
mf
3
3
3
3
3
3
3
10 710 7 10
77 10 7 10
710 7
7 7 7 9 9 9 10 10 10
H
Gtr. 3
Gtr. 6 tacet
G
Gtr. 3 tacet
A
G
8 8
8 8 8 8 8
Gtr. 2
3
4 4 4
7 7 7
9 6
7
7 7
4 5 5
5 7 47 5
A
G
3
A
47 4
5 74 5
74 4
7 7 7
9 6 9 6 7
9
7
JESSICA
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 117
D.S. al Coda(take 2nd ending)
Gtr. 3
G
E
1414
12 14
Gtr. 2
8
10
12
10 12 12 12
910
9 10
1
Coda
D/A
A
G/A
Gtr. 1: w/ Rhy. Fig. 1 (4 times)
A
G/A
A D/A
A
G/A
A
G/A A
9
14
1412 14 17 14 12
1414
11 9 11
10
7
9
109 10 10 10 10 9
109
7 6 7 9
1
D/A
A
G/A
A
G/A A
D/A
A
G/A
A
G/A A
10
14
1412 14
12
1414 11 11
9 11
109
9
9
109 10 9 10
9
109 7
6 7 9
7
JESSICA
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w w w . g u i t a r e d g e . c o m118 J U LY / A U G U S T 2 0 1 0
D/A
A
G/A
A
G/A
A D/A
A
G/A
A
G/A
A
9
14
1412 14 17 14 12
1414
11 9 11
10 12 10
7
9
109 10 10 10 10 9
109
7 6 7 9 11 9
1
D/A
A
G/A A
G/A A
D/A
A
G/A
A
G/A A D/A
A
G/A
10
14
1412 14 12
14
14 11 11 9 1110
9
3
9
9
109 10 9
10
9 7 6 7 97 7
4 5
Gtr. 2
Outro Free time
Gtr. 1 tacet
G
A
3
4 4
5 7 7 4 4
5 5 7 76 7 6
5 7 5 7 5
10 12 10
9
10 9 12
14 12
f
8va
17 19 17 19 1719
17 19 17 19 17 19 17 19 17 19 17 19 17 19 17 19 17
JESSICA
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 119
Few bands are as closely associated with a city and sound as Pearl Jam is with Seattle and grunge. During the early ’90s, along with Soundgarden and Nirvana, Pearl Jam made everyone take notice of the Pacific Northwest and start to load up their closets with flannel. Ten was released in August of 1991, and combined a classic rock feel with dark lyrics about depression and loneliness. Since its release, it has become one of the highest-selling rock records of all time with over 13 million copies sold.
TUNING All the guitars and basses in this song are in standard tuning except for Gtr. 6, which is a 12-string acoustic in Drop-D tuning. From low to high this is D – A – D – G – B – E.
INTRO AND VERSESThe song begins with bassist Jeff Ament playing Riff A on his 12-string bass. In this transcription, the part is arranged for guitar along with an octave pedal set for one octave below. Ament’s 12-string bass consisted of four groups of three strings. Each group of strings is tuned as a standard bass (E – A – D – G), but within each group two strings are tuned an octave above the standard pitch. The added octave pedal will give you the sound of the three notes being plucked. Gtr. 2, which is also a 12-string bass arranged for guitar, plays some overdubbed harmonics that are drenched with reverb.
Riff A continues throughout the Intro while Gtr. 3 enters in the measure before the Verse
with a clean tone enhanced with a Uni-Vibe and compressor. The tempo picks up at the Verse and vocalist Eddie Vedder enters with somewhat dark lyrics. Gtr. 3 takes over the main riff duties with Riff B and Riff C. Both of these riffs are based on the bass riff from the Intro.
In the second Verse on the fifth page, Gtr. 7 comes in with a clean tone and a touch of chorus. In between some single-note and double-stop riffs, it plays a few barre chords on the sixth page shown in Fig. 1 that sound like they come straight out of the Who’s “Pinball Wizard.”
PRE-CHORUS AND CHORUSAt the Pre-Chorus, Gtr. 4 comes in with some power chords played on strings 4, 3, and 2, and are shown in Fig. 2. In the fourth measure of the Pre-Chorus Gtr. 4 plays a lick that outlines an Asus2 chord. To play this lick, barre your index finger across the top two strings at the twelfth fret and hold down the A note on the 3rd string, fourteenth fret. Use your
pinky finger to play the C# on the 2nd string, fourteenth fret, causing the sus2 to resolve to the major third. The key here is to let all the notes ring for the first three beats of the measure as indicated by the let ring marking.
At the beginning of the Chorus, Gtr. 4 plays an A minor triad (A – C – E) on the top three strings while the bass plays an F. This creates an overall harmony of Fmaj7. Gtr. 6 enters playing some heavily accented strums with the Drop-D tuning. At the end of the Chorus, both Gtr. 6 and Gtr. 3 are written in divisi, which means more than one part on a single staff.
BRIDGEGtr. 4 and Gtr. 5 come in with Riff D at the beginning of the Bridge. The pickup notes for this riff happen in the measure before with a few additions. First, there is vibrato on beat 1 and the “and” of beat 2. In the second measure, the lick makes an early entrance on the “and” of beat 1. The bass plays an ascending line in the tenth
“Jeremy” Pearl Jam
RIFF NOTES
By Jason Shadrick
Left to right: Mike McCready, Matt Cameron, Eddie Vedder, Jeff Ament, and Stone Gossard. Photo by Glen E. Friedman
w w w . g u i t a r e d g e . c o m120 J U LY / A U G U S T 2 0 1 0
measure, walking up the first three notes of a D minor scale (D – E – F). The bass continues its ascent up the first four notes of the A minor scale (A – B – C – D) in the next measure.
As the song nears the end, layer upon layer of guitar is added. Pay attention to the vibrato-bar dips throughout the last Chorus. After striking the strings, quickly tap the bar to drop the pitch a whole step and then let the bar return on its own. Dip the bar in steady eighth notes as written and notice the ritard five bars from the end of the tune.
Dial ToneWhat They UsedGuitarist Stone Gossard relies on a few tried-and-true axes for his tone. For the Ten ses-sion, he likely used one of his two goldtop Les Pauls (a ’54 and a ’72) plugged into a Matchless HC-30 head powering a Marshall 1960 100-watt 4x12 cabinet. For effects, he prefers floor pedals as opposed to rack-mounted gear. During that time, he used a DOD graphic EQ pedal, Boss FZ-2 Hyper Fuzz, and an Ibanez TS-9 Tube Screamer.
If you looked up “classic mid-’70s rock rig,” you would probably find a picture of Mike McCready’s setup. McCready favors Fender Strats (his main axes include a hardtail ’56, a ’58, and a ’59) through Marshalls. Usually
the amps include a 50-watt ’68 Marshall “plexi” or a 100-watt Marshall Super Tremolo that has the tremolo disabled. Like Gossard, he plugs into an Ibanez TS-9 Tube Screamer in addition to an original Uni-Vibe, a Crybaby wah and a Boss DM-2 analog delay.
How to Get the Sound Considering the straight-ahead nature of McCready’s and Gossard’s rigs, getting the right tone isn’t too tough. Start with either a Strat or Les Paul and plug into an all-tube (preferably non-master volume) amp. For ped-als, use something like a Uni-Vibe, Boss CH-1 Super Chorus, and an Ibanez Tube Screamer.
• Get“Jeremy”guitartabandmoreatguitarInstructor.com• GetcoolPearlJamgearatoldglory.com• CheckoutPearlJamonlineatpearljam.com• Download“Jeremy”oniTunes• GetPearl Jam – Tenguitartabonmusicdispatch.com
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Fig. 1Fig. 1
5fr
3411
5fr
3211
Fig. 2
7fr
134
5fr
134
Fig. 2
Get Cool Pearl Jam
gear at oldglory.com!
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 121
Intro Moderately q = 94
Music by Jeff AmentLyric by Eddie Vedder
Jeremy
Copyright © 1991 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC., SCRIBING C-MENT SONGS and INNOCENT BYSTANDERAll Rights for SCRIBING C-MENT SONGS Controlled and Administered by UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.
All Rights Reserved Used by PermissionReprinted by Permission of Hal Leonard Corporation
from Pearl Jam - Ten
Guitars: Stone Gossard & Mike McCreadyTranscribed by David Stocker
Gtr. 6: Drop D tuning:(low to high) D-A-D-G-B-E
*** A5
G5/A†Gtr. 2
††w/ heavy reverb & octaver
f
A5
Harm.
Pitch:
†12-string bass arr. for gtr.††Octaver set for 1 octave below.
D
5
G
5
*Gtr. 1
**w/ octaver
mp
Riff A
let ring
End Riff A
*12-string bass arr. for gtr.
***Chord symbols reflect overall implied harmony.**Set for 1 octave below.
0 5 7 07
05
0 5 7 0
Gtr. 2
Gtr. 1: w/ Riff A (3 times)
G5/A
A5
G5/A
Harm.
5
Pitch: D
5
A
5
A5
Harm.
G5/A
A5
Pitch: D
5
G
5
A
5
Gtr. 3 (elec.)
w/ clean tonew/ Uni-Vibe & compressor
mp
54
54
54
0 5 7 0
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w w w . g u i t a r e d g e . c o m122 J U LY / A U G U S T 2 0 1 0
Faster q = 104
Verse
Gtr. 2 tacet
A5
1.
At
home
G5/A
draw
in’- pic
tures-
of
moun
A5
tain- tops
with
A
him on
Gtr. 3
Riff B
let ring
let ring
70
50 5 7 0
70
76
top,
lem on-
A5
yel low
- sun.
Arms
G5/A
raised
in a V,
A5
let ring
End Riff B Riff C
let ring
76
0 5 7 07
05
0 5 7 0
and the dead
lay
A
in
pools
of ma roon
- be low.
-
Gtr. 3 tacet
Pre-Chorus
A5
Dad
G5/A
dy-
did n’t-
Gtrs. 4 & 5 (elec.)
w/ dist.(Gtr. 5 cont. in lower staff)
f
Rhy. Fig. 1 Gtr. 4
let ring
0 5 7 079
10
00 5
78
0 0 00
Gtr. 3
End Riff C
let ring
Rhy. Fig. 1 AGtr. 5
70
76
79
10
0 0 578
0 0
JEREMY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 123
give
Dadd4/A
at ten- tion-
A5
Gsus2/A
oh,
A5
to the fact
A
that
mom my-
A5
did n’t-
let ring
0407
0 0 5 7 0 007
0 079
121212 14 12
1414 12
14
000
000
000
0
477
0 5 7 0 0578
0 079
10
0 5 7 0
care.
G5/A
King
Dadd4/A
Jer e- my,-
A5
the
wick ed-
Gsus2/A
A5
oh,
let ring
79
10
0 0 578
578
00
00
0407
0 5 7 0 007
0 079
1214
79
10
0578
0 0477
0 5 7 0 0 0578
0 079
10
JEREMY
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w w w . g u i t a r e d g e . c o m124 J U LY / A U G U S T 2 0 1 0
ruled
A
his
world.
A5
Chorus
Jer
Fmaj7
e- my
- spoke
in
Dm
class
Dm(add9)/E
Dm/F
to
-
Gtr. 4
End Rhy. Fig. 1
let ring
121212 14 12
1414 12
14 14 1413
1213
14 1412
Gtr. 5
End Rhy. Fig. 1A
079
10
0 5 7 0 81010
81010
08
10
8X10
Gtr. 6 (12-str. acous.)
Rhy. Fig. 2
f
00320
00321
0002
2002
3002
day.
A
Jer
Fmaj7
e- my
- spoke
in
let ring
121212 14 12
1414 12
14 14
121212 14 12
1414 12
14 1413
1213
14
022
022
0 5 7 0 81010
81010
sim.
022
022
00320
00321
JEREMY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 125
Dm
class
Dm(add9)/E
Dm/F
to day.
A
-
let ring
14
1213
14
121212 14 12
1414 12
141412
string noise
81010
08
10
X8
10022
5
XX
Gtr. 6
Gtr. 3divisi
End Rhy. Fig. 2
0002
2002
3002
022
0 5 7 0
VerseGtr. 3: w/ Riff B (3 times)Gtrs. 4, 5 & 6 tacet
A5
2. Clear
G5/A
ly
- I
re mem-
ber
-
pick in’-
A5
on
the boy,
A
seemed a harm
less-
lit tle- f**k.
A5
Mm,
G5/A
but we
un leashed-
a li
on.-
A5
Gnashed
his teeth and
bit the
A
re
cess- la dy’s
- breast,
how
A5
could I
for get?
-
G5/A
And he hit
me with a
3
Gtr. 7 (elec.)
w/ chorusw/ clean tone
mf
0 5 7 07 7
05
JEREMY
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w w w . g u i t a r e d g e . c o m126 J U LY / A U G U S T 2 0 1 0
sur prise-
left.
A5
My
A
jaw
left hurt in’,-
Asus4
oo,
A
dropped
A5
right o
pen,-
let ring
let ring
3
978 10 8
0 5 7 07
65 5
5
7655
77755
7755
7655
0 5 7 0
Gtr. 3: w/ Riff C
G5/A
just like
the day,
A5
oh,
like
the
A
day
I
heard
let ring
7 700 5 9
78
0 5 7 07
655
655
655
Asus4 A
Gtrs. 4 & 5: w/ Rhy. Figs. 1 & 1AGtr. 7 tacet
Pre-Chorus
A5
dad
G5/A
dy-
did n’t- give
Dadd4/A
af fec- tion,
-
A5
no.
Gtr. 7
Gtrs. 4 & 5divisi
let ring
7655
77755
7755
7655
0 5 7 0
Gsus2/A
And
A5
the boy
was some
A
thin’-
that mom
my-
A5
would
n’t- wear.
G5/A
King
Dadd4/A
Jer e- my,-
A5
the wick ed
Gsus2/A
-
A5
oh,
ruled
A
his world.
A5
JEREMY
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(issue is current for 30 days).
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 127
Jer
ChorusGtr. 6: w/ Rhy. Fig. 2
Fmaj7
e- my
- spoke
in
Dm
class
Dm(add9)/E
Dm/F
to day.
A
-
Gtr. 4
let ring
1413
1213
14 1413
1413
1412 14 12
141412
1214
Gtr. 5
0 8 8
002
22
3 0 022
Jer
Fmaj7
e- my
- spoke
in
Dm
class
Dm(add9)/E
Dm/F
to
-
let ring
12 14 1214
1412
1214 14
1212
1312
1314 14
131413
1412
022
0 5 7 0 0 10 10
002
22
3
JEREMY
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w w w . g u i t a r e d g e . c o m128 J U LY / A U G U S T 2 0 1 0
day.
A
Jer
Fmaj7
e- my
- spoke
in
Gtr. 4
let ring
121212 14 12
1414 12
14 14
121212 14 12
1414 12
14 14 1413
1213
14
Gtr. 5
0 0 5 7 0 0 8 8
0 0
Gtr. 6
let ring
00320
00321
321
321
00
Dm
class
Dm(add9)/E
Dm/F
A
to day.
-
A5
let ring
1413
12
14
121212 14 12
1414 12
14 14
121212 14 12
1414 12
14
002
224
335
0 022
024
024 2
0 0 022
024
0 5 7 0
0002
2002
3002
0002
0222
0222
JEREMY
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artist-approved tab from the current issue of
(issue is current for 30 days).
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 129
BridgeGtr. 6 tacet
A5
Hoo, hoo,
G5
hoo,
A5
hoo,
hoo, hoo,
G5
hoo,
A5
hoo,
Gtrs. 4 & 5: w/ Riff D (2 times)
hoo, hoo,
G5
hoo,
A5
hoo,
*Gtrs. 4 & 5 Riff D
End Riff D
*Composite arrangement
7
00 5
0 5 7 00
7
0 0 5 75
0 5 7 00
hoo hoo.
G5
Try
A5
to for get-
this.
(Try
G5
A5
to
for get- this.
Try
G5
A5
to
e rase-
this
Try
G5
A5
to
e rase
- this.)
from
the black board.
Fmaj7
3
Gtr. 4
P.M.
let ring
7
00 5
0 5 7 00 7
0 02
02
022
022
022
0
12
141312
1314
Gtr. 5
P.M.
7
00 5
0 5 7 00 7
0 02
02
022
0 5 7 0 0X8
10
8
10
Dm7
Dm(add9)/E
Dm/F
(Oh.)
Am
Am(add9)/B
Am/C
Am(add9)/D
Am/E A5
(
**
) (
)
1314
13
**4th string is not muted and vibrates sympathetically with the other strings.
0141312
0141312
1413
let ring
002
224
3X5
022
2X4
3X5
5X7
7X9
5 7 0
JEREMY
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w w w . g u i t a r e d g e . c o m130 J U LY / A U G U S T 2 0 1 0
Jer
ChorusFmaj7/G
e- my
- spoke
in
Dm
class
Dm(add9)/E
Dm/F
to day.
A
-
Gtr. 4
let ring
let ring
1213
1213
14 141312
14 14
121212 14 12
1414 12
14 14
Gtr. 5
Rhy. Fig. 3
0X10
12
10
12
0 002
224
3X5
022
022
Gtr. 6
let ring
00320
00321
0002
2002
3002
0222 0
2
Jer
Fmaj7
e- my
- spoke
in
Dm
class
Dm(add9)/E
Dm/F
to
-
let ring 121212 14 12
1414 12
14 14
1213
1213
14 1413
14
022
0 5 7 0 0X8
10
8
10
0 002
224
3X5
0
let ring
0222 3
2
00320
00321
0002
2002
3002
JEREMY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 131
day.
A
Jer
Gtr. 6 tacet
Fmaj7
e- my
- spoke
in,
let ring
121212 14 12
1414 12
14 14
121212 14 12
1414 12
14 14
12
14
1213
14
End Rhy. Fig. 3
022
022
0 5 7 0 0X10
12
10
12
let ring
0222
0222 3
2
Am(add4)
spoke
Am(add9)
in.
Am
Jer e- my
- spoke
in,
spoke
in.
Gtr. 4
let ring
141312
1314
121312 12
141312
1312
141312
1312
14
12
1413
1413 13
12
Gtr. 5
002
224
3X5
0 022
022
022
022
JEREMY
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w w w . g u i t a r e d g e . c o m132 J U LY / A U G U S T 2 0 1 0
Jer
Fmaj7
e- my
- spoke
in,
G
class
Am
to day.
-
let ring *
*
Harm.
1312
1312
1413 13
121312
1413 13
121312
1413 13
12
1413 13
12
1413 13
12
12141312
12141312
12141312
12141312
12141312
12141312
12141312
*4th string only.
0X8
10
0 002
2X4
3X5
0 022
022
022
Gtr. 5: w/ Rhy. Fig. 3 (4 times)
Fmaj7
Hoo,
hoo,(Spoke
hoo, hoo,in,
G
hoo, hoo,spoke
hoo, hoo,in.
Harm.
let ring
12141312
12141312
12141312
12141312
12141312
12141312
12141312
12141312
12141312
12141312
12141312
12141312
12141312
1312
1413 13
12
1413 13
12
1413 13
12
1413 13
12
1413
chorus off
Riff EGtr. 7
let ring
022
022
022
022
0
05
0
05
JEREMY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 133
Am
Voc. Fig. 1
hoo, hoo,Spoke
hoo,in,
hoo,
hoo,spoke
hoo,in.
hoo,End Voc. Fig. 1
hoo,
Gtr. 4: w/ Rhy. Fig. 4 (2 times)Gtr. 7: w/ Riff E
Fmaj7
hoo, hoo,Spoke
hoo,in.
hoo,
Rhy. Fig. 4 End Rhy. Fig. 4
let ring
1312
1413 13
12
1413 13
12
1413 13
12
1413 13
12
1413 13
12
1413 13
12
1413 13
12
1413
End Riff E
0
G
hoo, hoo,
hoo, hoo,
Am
hoo, hoo,Spoke
hoo,in,
hoo,
hoo.
spoke
in.)
(Ah.)
Oh.
F
G
Bkgd. Voc.: w/ Voc. Fig. 1Gtr. 4: w/ w/ Riff F (11 times)
A
Gtr. 4
Riff F
End Riff F Gtr. 8 (elec.)
w/ dist.
f
_1 _1
_1
w/ bar
_1
_1
w/ bar
0
X7
10
0
X7
10
0
X7
10
0
X7
10
0
X7
10
0
X7
10
0
X7
10
0
X7
10
_1
_1 _1
5X7
5
7
5
7
5
7
_1
_1
5X7
5
7
5
7
Gtr. 7
w/ dist.
Riff G
f
5X7
7X9
X8
10
5X7
JEREMY
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134 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m
Gtr. 7: w/ Riff G ( 5 times)
F
G
_1
w/ bar
_1
_1 _1
_1
w/ bar
_1
_1 _1
_1
_1
_1 _1
w/ bar
_1
_1 _1
_1
_1
_1
w/ bar
_1
5
7
_1
5X7
_1
_1 _1
5
7
5
7
5
7
5
7
_1
_1 _1
_1
3X5
3
5
3
5
3
5
_1
_1 _1
3
5
3
5
3
5
3
5
_1
_1 _1
_1
2X4
2
4
2
4
2
4
_1
_1
2
4
2
4
2
4
5X7
End Riff G
5
7
Am
(Spoke
in,
spoke
in.
oh.
F
Spoke
in.
Gtr. 8
_1
_1 _1
_1
_1
_1 _1
w/ bar
5
7
_1
_1 _1
_1
5X7
5
7
5
7
5
7
_1
_1 _1
5
7
5
7
5
7
5
7
G
A
Oh.
Spoke
in.
_1 _1
_1 _1
_1
_1
_1 _1
_1
_1
_1 _1
_1
_1
_1 _1
_1
_1
_1 _1
_1
_1
_1 _1
w/ bar
_1
_1 _1
_1 _1
5
7
5
7
5
7
5
7
_1
_1 _1
_1
5
7
5
7
5
7
5
7
_1
_1 _1
_1
5
7
5
7
5
7
5
7
_1
_1 _1
_1
5
7
5
7
5
7
5
7
_1
_1 _1
_1
5
7
5
7
5
7
5
7
_1
_1 _1
5
7
5
7
5
7
5
7
JEREMY
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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 135
F
Spoke
in,
G
spoke
in.)
Ah.
A5
_1 _1
_1 _1
_1
_1 _1
w/ bar
_1
_1 _1
_1
_1
_1
w/ bar
_1
_1 _1
_1
_1
_1 _1
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JEREMY
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w w w . g u i t a r e d g e . c o m136 J U LY / A U G U S T 2 0 1 0
OutroAm7
Ah,
D
Bm7
ah.
Am
Gadd9
Ah,
Am
Gtr. 2
w/ Uni-Vibelet ring
let ring
let ring
let ring
let ring
let ring
014
12
012
1112
09
7
010
910
05
4
07
57
Gtr. 8
_1 _1
_1 _1
_1
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_1
_1 _1
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_1
w/ bar
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5
7
5
7
5
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5
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5
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7
5
7
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7
5
7
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_1
5
7
5
7
5
7
3X5
_1
_1 _1
3X5
3
5
3
5
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_1 _1
3
5
3
5
3
5
3
5
rit.
Gadd9
ah.
Am
Am7
Ah.
D
Bm7
Am
let ring
let ring rit.
let ring
let ring
let ring
let ring
05
4
07
57
014
12
012
1112
09
7
010
910
_1 _1
_1 _1
_1
_1
_1
w/ bar rit.
_1
_1 _1
_1
_1
_1 _1
_1
w/ bar _1
_1 _1
_1 _1
3
5
3
5
3
5
3
5
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_1
3
5
3
5
3
5
XXX
5X7
_1
_1 _1
_1
5
7
5
7
5
7
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_1 _1
_1
5
7
5
7
5
7
5
7
5
7
Gadd9
let ring
Am
let ring
Gadd9
A5
let ring
A7sus4
Harm. let ring
05
4
07
57
05
4
0
Pitch: DA
55
G
5
5
7
JEREMY
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TORONTO, ONTARIO | SESSION 1: JULY 18-23 | SESSION 2: JULY 25-30VANCOUVER, B.C. | AUGUST 8-13, 2010
For a free brochure or more informationCall 905.567.8000 or visit us online: www.guitarworkshopplus.com
ON OR OFF CAMPUS TUITION
CLASSES FOR ALL LEVELS & ALL AGES!
SUMMER 2010ONE AND TWO WEEK SESSIONS AVAILABLE
Robben Ford
Stuart Hamm Tony McManusTony MacAlpine
Rock � Blues � Jazz � Acoustic � Classical � Songwriting
Special
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Artists
John Petrucci Andy Timmons Greg Howe
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Robben Ford
Stuart Hamm Tony McManusTony MacAlpine
John Petrucci Andy Timmons Greg Howe
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PLUS: Lorne Lofsky, Dave Martone, Jon Finn, Robert Godin, and more!!
138 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m
PRSSE Toreroby Adam Lovinus
The newesT guiTar in The Prs se lineuP feaTures a couPle of exciTing new firsTs for The bouTique manufacTurer, coming wiTh a Pair of hoT-as-hell emg acTive PickuPs and a floyd rose Tremolo sys-Tem. These new addiTions, when Paired wiTh The Prs Pedigree of ulTra fasT necks and ToP-qualiTy crafTsmanshiP, creaTe a monsTer of an axe caPable of fasT, soaring leads and solar Plexus-raT-Tling dive-bombs. The Torero is a shred-masTer’s dream come True.
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 139
feaTuresThe story here is in the hardware: the SE Torero features two EMG active pickups, an EMG-81 at the bridge and an EMG-85 at the neck. The Floyd Rose tremolo features its signature double-lock design that braces the strings both behind the bridge and at the nut to ensure you remain in tune after the most brutal of bar dives. The Torero also includes a three-way toggle, a volume and a tone control.
The 24-fret maple neck is constructed through the body—another first for PRS. A low cutaway allows easy access to the high frets. The fretboard is bound ebony without inlays, and it gives the neck an undeniable black metal aesthetic when compared to the traditional PRS “bird” inlays. The neck has jumbo-sized frets and a 25½-inch scale length, giv-ing the guitar added flexibility when bending strings, and a low, speedy action. The body is fashioned from mahogany and includes a flamed black cherry or grey-black veneer.
sound and PlayabiliTyAs is the case with all PRS SE models, the Torero is built for quick fingers and crushing rhythms; that explains why the SE line is now the line of choice for shredders like Mikael Åkerfeldt, Nick Catanese of Black Label Society, and Cradle
of Filth’s Paul Allender. True to form, the Torero accommo-dates fast and furious guitar work. The EMG pickups allow shred-style players to push the envelope even further over the top, providing massive output and maximum sensitiv-ity. The EMG-85 offers crunchy warmth while the EMG-81 cuts like a razor without a hint of shrillness. This makes the Torero a very forgiving guitar; even notes played less than clean resonate with metallic clarity. Harmonics and pinched notes howl like werewolves, opening up countless sonic possibilities. Even the clean tone is nothing to scoff at; jazz players will love the robust, natural sound, and the wide neck comfortably accommodates four-finger chord shapes.
Players wanting the lowest possible action will want to tweak the truss whenever switching tunings. The lock-style tremolo system requires some patience when tuning, and God help you if you break a string on stage, but once it’s locked in, it’s in for good, no matter what kind of dive bar abuse you inflict. is iT for you?If you like overdrive and enjoy playing at 140 bpm or faster, then hell yes. This is everything a shredder could possibly want from a technical standpoint. The fact that it looks as sexy as it plays is just a bonus.
SE Torero
REVIEWS
• Floyd Rose tremolo • EMG-81 and 85 pickups • Neck-through design• 24-fret maple wide/thin neck• Mahogany body with a flamed gray-black or cherry veneer
Street Price $995.00prsguitars.com
IN A NUTSHELL
Click here to hear soundclips!
140 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m
Today’s practice amp isn’t just for quietly hon-ing one’s technique in the living room any-more. The Fender G-DEC 3 provides a perfect example of how a little solid-state amp can be transformed into one of the most useful cre-ative tools a guitarist can own.
feaTuresAn all-in-one practice amp and recording station, the G-Dec 3 Thirty is a 30-watt unit that comes with 100 factory digital guitar tones and a vast assortment of backing tracks to jam with. The amp features two instrument inputs, a single Tone knob and two Volume knobs—one controls guitar volume, the other the playback volume. There is a Headphones jack that bypasses the speaker, an auxiliary input for MP3 devices, and two stereo Line Out jacks for additional speakers. The main LCD info screen is controlled by a sim-ple start/stop/record/select configuration with an oversized wheel-knob to cycle through settings.
The factory tones and backing tracks range in style from Nashville blues, to Latin grooves, to ultra-heavy metal, and all spaces in between. Many were contributed by Eric Johnson, Hatebreed, John 5, Brad Paisley and other artists. Classic Fender amps (Blackface, Tweed, Deluxe, Jazzmaster, Sunn) and otherwise (British amps, modern metal, etc.) are emulated and can be altered with digital effects (Tremolo, Chorus, Flange, Reverb, Delay). Settings can be tweaked using either the amp’s front controls, or by using Fender FUSE software installed on your home computer that interfaces with the amp via USB. (An included disc contains a free copy of Ableton Live Lite.) The G-DEC 3 can also play .WAV, mp3 and MIDI files. New settings can be saved and accessed using an SD memory card that’s then plugged into a built-in reader. Memory is virtu-ally unlimited. The Thirty’s backing track play-back fidelity is impressive—the woofer/tweeter arrangement is set up so that your guitar signal does not go through the tweeter. Very cool.
Fender FUSE lets players build tones from the ground up and facilitates recording and import-ing new backing tracks. It includes a simplified version of Ableton Live, a professional-grade pro-duction program that allows you to build drum beats and add MIDI accompaniment, which can then all be incorporated into the amplifier. Tones and backing tracks are also shared online at http://fuse.fender.com. Guitarists can download
new tone presets and backing tracks offered by Fender, as well as by other G-DEC 3 users.
sound and ease of useThe built-in interface is set up intuitively enough so that basically any guitarist can figure out how to use tones and presets right out of the box. The Fender FUSE interface is fairly self-explana-tory—anyone with a rudimentary understand-ing of how to use a personal computer should have no trouble creating with this program.
The amp replications are respectable enough in a practice setting, but the tones won’t be mistaken for vintage equipment. At the end of the day, it’s still a practice amp in terms of push and clarity. But for songwriting and sonic experimentation, it’s perfect. When building tones, the “less is more” rule applies; you’ll see how the “Blackface Clean” setting captures the signature Fender tube clean tone righteously with some lightly-applied Reverb added after the amp. The “Modern Metal” sound clip (accompanying this review at guitaredge.com) is a decent Mesa/Boogie replicator, heard straight-up with an Overdrive stomp box out front. The “Alien Delay” is the result of a bizarre experiment involving a Pitch Modulator, sim-ple Reverb and a Ping-Pong Delay rack played through a Tweed replicator.
Using this amp in a live setting isn’t out of the question, though the footswitch (sold separately) is an absolute necessity for playing the one-man-band style made feasible by the G-DEC 3. The stereo Line Out feature makes it possible to route either or both the guitar and backing tracks to additional speakers, which gives the amp the nec-essary sonic separation and projection for playing small venues, like a coffeehouse or outdoor patio.
Let’s make one thing clear: using Ableton Live takes practice. The instructional DVD covers its operation, but do not expect to be a pro right away. It’s a professional-grade program, and thus very sophisticated. It offers a great deal of possi-bilities, but takes a while to operate effectively. is iT for you?The G-DEC 3 Thirty is an excellent tool for prac-ticing soloing technique against playback, for “jotting” down musical ideas, and for experi-menting with tone. It is the crème deluxe of the living room practice amp, and it’s useful for guitarists of every level of musicianship. Most importantly, it’s a piece of equipment that not only facilitates musical growth, but also grows with you as your aptitude progresses.
—Adam Lovinus
G-DEC 3 Thirty Fender
• 30-watt feature-packed amp • Digital amp and effects models• Includes Fender FUSE software• Great presets built-in and online • Onboard mp3 and wave file storage/playback• Multi-function SD card slot
Street Price $399fender.com
IN A NUTSHELL
Click here to hear soundclips!
REVIEWS
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 141
Although the original version of Dunlop’s Crybaby wah is indeed a clas-sic and will most certainly continue to be widely used for its great tones and rugged dependability, many players are enjoying the various itera-tions of the pedal that the company has released more recently. These signature versions get you as close as possible to the custom, tricked-out wahs that players like Zakk Wylde, Kirk Hammett, Jimi Hendrix, Dimebag Darrell and others have relied on for stage and studio use.
This time around, the Dunlop folks have collaborated with Alice in Chains axeman Jerry Cantrell for their newest offering, the JC95 Jerry Cantrell Signature Crybaby Wah.
feaTures The JC95 Crybaby is at its heart a modified Crybaby, but adds true bypass, an aged finish, a custom tread, a fine tune knob which adjusts the brightness of the ‘toe down’ position and customized tone shap-ing. Oh, and it has the lyrics to “Black Gives Way to Blue,” printed underneath the pedal—significant, as the song was written for the late Alice in Chains frontman, Layne Staley (on a lighter note, the singer in your Alice in Chains cover bands may want to use the pedal as a ‘cheat sheet’ when it comes up on the set list).
sound and ease of use When it comes to ease of use, the JC95 Crybaby couldn’t be simpler: plug it in, set the treadle and use the fine tune knob to adjust the unit’s toe down treble response. Using it with a Strat, Les Paul and a Marshall JCM900, the sound was all Cantrell. Of course, I had to cue up “Rooster,” “Dirt,” and “Man in the Box,” but I also enjoyed the ability to tweak the highs and literally make notes cry and scream. In short, it’s a very cool take on the same ol’, same ol’.
is iT for you?If you’re looking for a modern take on a classic, or just want to get one step closer to what your idol plays live, the new Dunlop JC95 Jerry Cantrell Crybaby will give your tone the ‘facelift’ it deserves.
—Jason Allwood
Orange has always been a musician’s company. While not a household name like Fender or Marshall, great acts from Sabbath to T. Rex to Prince have continuously sought the company out for their signa-ture tones and reliability. This month we’ll check out the new Crush PiX CR20LDX amp, which promises a load of digital effects and features, all with that unique Orange twist. feaTuresAt first glance, the Crush PiX CR20LDX is loaded. The unit features 16 studio-quiet digital effects, an auxillary input for your iPod or mp3 player, a headphone out, overdrive channel, 3-band EQ and an onboard chromatic tuner and 16 studio-quiet digital effects. Now, when I say 16 digital effects, I don’t mean they give you 16 and only two or three sound decent—the CR20LDX includes 16 usable effects. That includes surprisingly great reverb, delay, chorus, flange, tremolo, and vibrato settings (the Reverb Chapel, Vibrato and Delay 650ms settings are especially notable). Unfortunately, you don’t have control over the effect’s depth or speed, but the engineers at Orange have programmed them at what I would consider optimal settings. sound and ease of use I plugged in my favorite guitar, a Fender Custom Shop 1965 Relic Strat, and was quickly lost in sonic nirvana—after 30 minutes of rocking, I real-ized I still had 12 settings to explore. While many modern digital amps fall short on their promises, the CR20LDX dished out consistently great tones that instantly sparked new ideas from my fingers. At 20-watts, it would definitely make for a great songwriting tool or sonic sketchpad.
The overdrive was sufficient, but after plugging in my favorite dirt box, I was beyond satisfied. Actually, my only complaint about the amp was the fact that the onboard chromatic tuner could easily spoil me forever. is iT for you? If you want a small, reliable amp with amazing features at an equally amazing price, the new Orange Crush PiX CR20LDX is definitely worth checking out. —Jason Allwood
Orange Crush PiX CR20LDX
• True Bypass • Adjustable Fine Tune knob• Cantrell-approved A.I.C tread• ‘Aged’ finish • “Black Gives Way to Blue” lyrics on underside of pedal
Street Price $159jimdunlop.com
• Controls for: Volume, Low, Mid, High, Overdrive, Gain, FX Mode, and FX Level • Onboard chromatic tuner • 16 quiet, useable effects• Aux in for mp3 or iPod
Street Price $159orangeamps.com
IN A NUTSHELL IN A NUTSHELL
DunlopJC95 Jerry CantrellSignature Crybaby Wah
Click here to hear soundclips!
Click here to hear soundclips!
142 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m
BlackstarHT-Delay
British amp company’s newest addition to its high-per-formance line of pedals. Combines real tube electron-ics with innovative circuitry for eight different delay effects, including multihead tape delays and classic analog. It also includes tap tempo, two loop modes, stereo outputs and lots more. Power supply included.
Street Price $299blackstaramps.com
NEW PRODUCTS
WashburnBlack Knight Series New line of affordable acoustics fea-tures gloss piano black finishes, solid spruce tops, mahogany backs and sides, and mahogany necks. Available in four different body styles: dread-nought, mini jumbo, petite jumbo, and grand auditorium. The cutaway mini-jumbo acoustic/electric shown here features an MET-A07 tuner/preamp system.MSRP $354.90washburn.com
SKB 1SKB-62 Molded to fit your Fender Jaguar or Jazzmaster, the 1SKB-62 offers Hardshell protection with a plush-lined interior to securely hold either model. It also includes a TSA latch so you can lock your case with inspector-friendly access for airline security and comes with a lifetime warranty. Street Price $129.99skbcases.com
RandallRT 100 The flagship of Randall’s new line of all-tube amps, rugged, affordable 100-watt head with spring reverb, effects loop, and three footswitchable channels: one clean and two for distortion. The RT line features power-tube bias test points that allow you to replace, bias, and match tubes on your own. No need to purchase matched tube sets—you can do it yourself with the aid of a simple volt meter.MSRP $1499.98 randallamplifiers.com
Levy’s LeathersSkulls & Crosses StrapsHeads up! Levy’s new printed-cotton series feature six chillingly original designs.MSRP $37.88levysleathers.com
Hearos High Fidelity Earplugs
Specially designed to pro-tect your hearing while
offering natural, full spec-trum sound—perfect for
concerts and jam ses-sions. Now available in
new smaller size. MSRP $19.99
hearos.com
144 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m
While mixing a project, have you ever had trouble getting your instruments to really pop out of the mix like the big budget record-ings do? Well, don’t get your dobber down, because in this month’s Studio Edge I’m going to walk you through frequency painting, a surefire way to un-muddy any mix as well as train your ears while you do it.
What exactly is frequency painting?Think of your mix like a piece of art, literally. Each instrument’s frequency range will be a color in your masterpiece. Each color needs its proper place and also needs to blend well with other colors that you’re working with, but if you have two colors that aren’t blending properly, then the picture loses its focus. Make sense?
Understanding frequenciesFor those of you who are not completely familiar with frequencies, a baseline under-standing is highly recommended. Without going into a thoroughly scientific (and bor-ing) explanation, the easiest way to under-stand frequencies is this: the human hearing range goes from the extremely low pitch of 20Hz (hertz) to the extremely high pitch of 20,000Hz. Everything in between those fre-quencies is on your palate to work with.
The colors on your palateWhen we talk about painting frequencies we have to look at what we have to work with, which in most sessions are guitars, bass, vocals, and drums. Each instrument has its place in the
mix, frequency-wise. The first goal is to figure out what frequencies each instrument is sitting at. These individual ranges for each instrument will be the “colors” that we will work with.
What if I don’t know where the frequencies are?
The easiest way to map out the frequencies of an instrument is to use an analyzing equalizer. With a soloed track running through the EQ, you will see a graphic display of the instrument’s frequency on a grid that spans 20-20,000Hz (very nifty). You will also be able to make the adjustments we’ll discuss in the next step.
Where do I start?The first thing you want to do is close your eyes and listen to the mix. Can you hear every instrument and vocal? This will determine what instruments are conflicting with each other and where to start.
I personally always start with the lower fre-quencies because if the lows have no defini-tion it drives me bonkers. So let’s paint our lower frequencies to give you an idea how the process works.
If we look at guitar frequencies, which start around 80-120Hz generally, and at the bass frequencies, which can start as low as 20-80Hz, you’ll notice that we have a conflict at 80Hz. These low, overlapping frequencies can sometimes get muddy, so use your EQ
and gradually cut 80Hz out of the guitar until you start hearing the bass compliment the guitar. Once they compliment each other, turn your attention to the other instrument that impacts the lower frequencies: the kick drum.
The kick and bass guitar are always going to be battling, since they both reside in the same range. But now that we know where the bass sits, we can mold the bass’s lows around the low punch of the kick. So use the EQ on the bass and take out the frequency that conflicts with where the kick impact resides. You’ll tend to feel when the kick impact and the bass’s low attack separate and become articulate, so be patient as you work on them. Continue to follow these steps for all the instruments through the mid and high ranges, and you’ll soon find that every-thing has its proper place in the picture.
Be prepared for butt numbnessGet nice and comfy because this method takes a lot of time to go through if you haven’t done it before, but the more you do it the more your ears will learn how to imme-diately fix frequencies without an analyzer. Frequency painting isn’t easy, but once you get it, you get it, and it will eventually become a major tool in getting your mixes dialed in. Just remember to be thorough and trust your ears because practice makes perfect. GE
Elliott Politte is a recording engineer whose experience includes a wide range of different genres and artists, including Black Label Society and Willie Nelson.He currently owns and operates J Sound Studios.
Finding Harmonic Clarity with Frequency Painting
by Elliott Politte
STUDIO EDGE
Illustration by Lori Keehner
w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 145
Finding Harmonic Clarity with Frequency Painting
146 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m
w/ pick & fingers &slight P.M. throughout
6 6 6 6
m
7 9 9
7 0
9
m
7 9 9
7 0
9
m
10 12 12
10 0
12
m
5 7 7
5 0
7
6 6 6 6
m
7 9 9
7 0
9
m
7 9 9
7 0
9
m
10 12 12
10 0
12
m
12 14 14
12 0
14
6 6 6 6
m
7 9 9
7 0
9
m
7 9 9
7 0
9
m
10 12 12
10 0
12
m
5 7 7
5 0
7
6 6 6 6
m
7 9 9
7 0
9
m
10 12 12
10 0
12
m
12 14 14
12 0
14
m
14 16 16
14 0
16
19
One of the ways I like to create licks and musi-cal ideas on guitar is to take a shape or pat-tern that I like and repeat it in different places around the neck. This might sound kind of vague or obvious, so allow me to demonstrate its power with a killer repeating lick.
This is a frantic, tension-building lick in the key of B minor that includes some of the concepts discussed in my previous Zen Guitar columns—namely, hybrid picking and the Phrygian mode. Hybrid picking means to pluck the strings with your pick and fingers. Hold the pick between your thumb and index finger as usual, but keep your middle and ring fingers ready to pluck strings as well. In this lick, you’ll simply be picking the D string with your pick and the B string with your middle finger.
The repeating pattern cycles through six notes in a sextuplet rhythm, but it’s probably easier to think of this in groups of three. The first group begins with a picked note on the D string (a downstroke with your pick), followed by a hammer on, and then another picked repeat of the hammered note. The next group of three starts with a fingerpicked note on the B string (picked with an upward motion of the middle finger, m), followed by a pull off to the open B string, and then a repeat of the earlier picked note on the D string. To add more clarity and speed, use a slight palm mute to dampen the strings.
You can fret all of this with just your index and ring fingers. The index will bounce back and forth from the D string to the B string to assist
with the hammer on and pull off, while your ring finger stays anchored on the D string as sort of a pivot point. Study the music carefully and take it slow at first.
This same picking pattern and fret-hand shape continues up and down the fret-board through notes of the B minor scale. Technically, this could be called the Phrygian mode because of the C natural (the flat sec-ond interval that defines the Phrygian sound), which lends an even darker quality than the minor scale (or Aeolian mode). Also, notice how the unison notes, octaves, hammers, and pulls create the illusion of complexity, while the basic idea is relatively simple. Once you crank up the speed, however, things can get pretty gnarly! GE
John 5 is the lead guitarist for Rob Zombie. Learn more wicked techniques in his instructional DVD The Devil Knows My Name. Also be sure to check out his newest solo album The Art of Malice and its accompanying tab book. Get more at john5.com.
Repeat as DesiredA Hybrid-Picked Repeating Lick
by John 5
ZEN GUITAR
Click here to hear sound clips and see the entire music notation!
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A clever use of Neodymium
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A clever use of Neodymium A clever use of Neodymium
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I felt the need to take a pause from our usual buffet of lickery and riffery to address the question that is the title of this month’s mis-sive, as it has been asked of me in clinics and discussions with other guitar enthusiasts time and time again. I immediately begin to wonder aloud when asked this why it is that guitarists and guitar enthusiasts are so obsessed with an imagined hierarchy of musicianship—a pseudo Mt. Olympus of guitar wielders replete with corresponding myths and legends all based on hearsay and conjecture. They then seek to reinforce these opinions by asking supposed people in the know. Well, rest assured, as a youngster I was caught in this strange quandary, but I would like to explain how I came to realize that this question (to me) is pointless and, furthermore, what I came to believe makes a guitarist (or any musician) great.
I can vividly remember entering the bedroom that I shared with my older brother of 14 years on a summer afternoon; he was sitting on the floor, studying an album cover while listening to its savage contents. Upon inquiring as to who we were listening to, I was informed that it was the best guitarist in the world, the best bass player in the world and the best drummer in the world, all in the form of the group Cream.
I was perplexed by this, because I clearly remember hearing in previous discussions that Jimi Hendrix was the best guitarist. When I called my brother on this, he informed me that Hendrix being the best goes without saying. I then had to assume that Hendrix was Zeus and Clapton was Apollo, with everyone else in the electric guitar realm inhabiting some lesser place on Mt. Olympus. As I began playing the guitar, this magical para-digm was challenged time and again by people and magazines stating that Jimmy Page or Jeff Beck were the best, or Steve Howe was overall the best, or that Steve Morse was clearly the best. What about Allan Holdsworth? And then came the shredders from Randy Rhoads, Ed Van
Halen, Yngwie, Steve Vai—surely one of those guys had to be the best.
Then I started hearing jazz players thrown into the mix; having so much more har-monic knowledge, they had to be the best. What about Chet Atkins and Lenny Breau…you’ve got to be kidding me. Then the mys-terious Tele manglers entered into the fray: Jimmy Bryant, James Burton, Albert Lee, Roy Buchanan and Danny Gatton. They can’t all be the best, right?
So then came the great categorization of the best. Hendrix was best rock-blues innovator/artist guitarist, Clapton was best of the British blues guys—but then there’s Peter Green. Duane Allman was best electric slide guitar-ist—but what about Ry Cooder? And now you have Sonny Landreth and Derek Trucks!
You get the idea of how pointless this track is. For one, playing guitar is not a competition, it’s about expressing artistry. Even though someone’s playing may speak to you on a visceral level more than someone else’s, I guarantee you that there are other people on the scene that you haven’t heard of that may speak to you even more. That’s not to mention the legions of extraordinary guitarists play-ing in little dives all over the world or even in their basements who would blow your mind but that you will never hear of because they are not willing or able to overcome the gaunt-let of skullduggery that exists between a musician and a larger audience. When some-one says, “I think so-and-so is the best,” they are really saying that so-and-so is their favor-ite, and that is all well and good, but there are no ultimate superlatives in music—there are just those who you like, those you don’t, and those you’ll never hear of. Now, I know that there are people out there who possess unbelievable skills in a variety of styles and what they do just doesn’t seem humanely possible. They have cult follow-ings that defend them vigilantly (usually on
the internet) as the best. You will also note that these folks are usually not very well known because their music sometimes is too advanced for the general public to digest or even hear because the powers that be would never take a chance pushing anything remotely unpalatable to the masses.
This further invigorates the followers and gives them a sense of righteous indignation that greatness is not getting its due. I’m sure if you actually talked to the musicians in question, they would say that being a great musician is not a means to an end, it’s an end unto itself. The ability to create music and have the drive to continue to improve is a gift, and to be able to do it is reward enough. If you can make a living doing it, you’ll never really work a day in your life! So, the venom at the general public’s ignorance is pointless. The point is, music is the best for those who take the time to listen!
To me, a great musician is someone who makes everyone else around them sound better as a result of their playing, and then when it is their turn to express themselves via a solo, they are able to do so in a way that is unique to them while still making the whole ensemble shine. This requires listen-ing intently to what everyone is doing, being aware of your surroundings, and doing what is appropriate. Such people may or may not be identified as the best in their field, but rest assured, if they have personalities that match their musical sensitivity, they will always work and will be happy doing it.
This is just my opinion of course...
See ya next time.
Greg Koch is one of the most in-demand guitar clinicians in the world for Fender Musical Instruments and Hal Leonard Corporation. Learn more savage licks and techniques in his instructional DVD Guitar Gristle. Check out his latest CD, Nation Sack, available at gregkoch.com.
by Greg Koch
Who do you think is the best guitar player in the world?
GUITAR GUMBO
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In case I haven’t mentioned it before in my column, playing a great solo is all about mas-tering the art of phrasing. It’s about mixing together the right concoction of timing and melody to create something lyrical, expressive, and, hopefully, memorable to the listener. With that in mind, let’s take a look at the first four measures of a slow blues in B%, concentrating on a few different phrasing tools: the use of space, rhythm variations, and imitation.
We open with a Lester Young-inspired phrase that nicely outlines the B% dominant harmony by nicking the A% (%7th) during the descent. Measure 2 begins by imitating beat 1 of mea-sure 1, using the same half-step grace-note slide into a repeated note. The difference is that, this time, we’re sliding into the fifth (F) of B%7 instead of the root, as in measure 1. This device (imitation) can really lend cohesion to your solos and make them more memorable
to the listener. (People generally enjoy it when they recognize things!) Measure 2 finishes off with a classic jazz-blues line from the B% major scale (notice that the major seventh, A, is used, even though the chord is B%7). This line is dressed to the nines, however, with grace-note slides from both directions, lending a very vocal, fluid sound.
We lay out for pretty much all of measure 3, just sustaining the tonic B% note. The emphasis here is on using space and letting the music breathe. It’s a nice way to contrast a quicker line that follows. At the end of measure 3, we illustrate this point with a double-time lick (sixteenth notes played over a swing eighth-note groove) that begins with a chromatic B%–B$ line, targeting the C on the downbeat of measure 4. What I’m doing in measure 4 is superimposing a ii–V progression of the IV chord, E%. Even though the chord is still B%7,
I’m thinking Fm7 (ii of E%) for the first two beats and B%7 (V of E%) for the last two. This is extremely common in jazzier blues styles. Notice that the first three notes on beat 1 out-line an Fm triad (C–A%–F), and the first three notes on beat 3 outline a B% triad (F–D–B%). The three-note chromatic legato run up to the fifth (F) in beat 2 is very saxophone-like and keeps with the Lester Young vibe. Measure 4 ends with another staple of jazz-blues: a chromatic descent from the tonic (B%–A–A%) that resolves to the third (G) of the IV chord, E%. Most jazz players have a huge repertoire of ii–V licks. If you know some, you can try plug-ging them into measure 4 of a blues to shake things up a bit. Remember, though, that it’s a ii–V of IV—not a ii–V of the tonic. Enjoy! GE
Slowly
____
= 3
Bb7
3
33
56 8
56 68 9 8 6
8
5
89
6 68 6 7
588
7 8
*
Eb9
let ring 3
8
*Played as even sixteenth notes.
6 7 89 6
88
87 8 9
67
8 7 6 6 5666
It’s About TimeContrasting Space with Well-Placed Double-Time Licks
Four- time W. C. Handy Award winner and Grammy-nominated guitarist Duke Robillard is a legend of blues, jazz and roots music. Check out his latest album, A Swingin’ Session, or find out more at dukerobillard.com.
STRETCHIN’ THE BLUESby Duke Robillard
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Brendon Small has a dry distorted rhythm tone and he keeps his Marshall head’s built-in noise gate on, using effects only on his lead tones. Small sets up his effects on a SKB PS-55 Stagefive Professional Pedalboard Management System, which houses a Boss TU-2 Chromatic Tuner, an Ernie Ball VP Junior 25K Active Volume Pedal, a DigiTech Whammy, an MXR Phase 90—script logo—a Boss GE-7 Equalizer, and a Dunlop DB-01 Dimebag Crybaby from Hell wah. He doesn’t use the MXR Phase 90 on any of the Dethklok albums, but described it as a necessary live tool because “it is one of those things that sharpens your sound, compresses it a little more, and makes it punch out a bit in the mix.” His newest tone secret in live settings is the Rivera RM-1 Routmeister Pedal Effects Controller. “When I’m barking out guttural sounds and playing guitar while trying to stomp off an effects box while downbeating a note on the guitar… it is nearly impossible for me to keep it together,” says Small. “So I was looking for a solution that would kick my phaser, wah, and Whammy on and off at the same time. I came across the Rivera RM-1—I just figured out how to work it, so that is really good news [laughs]. It also does MIDI switching when I’m doing octave jumps on solos… it’s a great tool because all I do up there is make tons of mistakes, so I’m just trying to make it as simple as possible.”
“If you have an okay amp and an okay guitar… the rest is probably your fault,” says Small. For the third season of Metalocalypse, which is twice as long and has a running time of half an hour, Small switched from the standard Dethklok setup of a Krank Krankenstein + to a Marshall 2203 Kerry King JCM800. “I love the frown curve EQ setup on it, with a strong, solid midrange feel,” says Small. His most recent amp settings during Dethklok’s tour with Mastodon were Presence–6, Bass–6, Middle–4, Treble–3, Master Volume–3, Preamp Volume–8, Gate Threshold–5, and Assault Intensity–10. During that tour, he ran everything through a Randall 4x12 loaded with Celestion Vintage 30s. The endorsement deal with Marshall was so new before the tour that Marshall couldn’t get Small a backline cabinet in time, so he just used one of his own Randall cabs.
Brendon SmallPhotos and captions by Chris Kies
EFFECTS
AMPLIFIERS & SPEAKER CABINETS
GUITARS
Small uses primarily one guitar during the entire Dethklok set: a com-pletely stock 1982 Gibson E/2 CMT Explorer with a tobacco sunburst finish. “I really enjoy playing Explorers because I feel there’s a great, punchy sound you can only get from them,” says Small. “This one in particular has a really great, fat baseball-bat neck. The longer and more I play guitar, the fatter and bigger I like the neck to be, with big, thick strings.” He uses various brands of strings but generally plays .013–.056 gauge strings with a wound G because he’s tuned all the way down to C. He does this because he prefers tight tension—sometimes strings can become floppy with such low tunings.
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