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MAG+6D EVERY MONTH! ONLY £3.99) ‘We have the power to do whatever we want” kark Hammett in the TG interview The ultimate summer guide BVO On ett we ey me Mo a oars fog De CMC UNA a ea oY Oasis at Maine Road Your,own complete COPY aE} hes eM easy hs Oe -3 smd Slash’s Marshall st@ag Men eyo peta ioo. Sci buvilegmesteeeeagiles fic) '771355'5040241 | (above) nnd TWO great compos! ML KENDRE ~ THE PX SESSIONS Page 10 “The story behind Hendrix’ unkown recordings STEPHEN BRUTON PAGE 12 “Teaass true master of country blues aM ToRA Loony and loopy MSHS LIVE AT MAINE RD ‘The feeding ofthe 80,000 METALLICA The world’s higgest rock band talks to'TG the millennium 1st ett i Fe aman Irish popters with number one LP is, ts exiting to see ed t-gorde guitar hat the world of modem Ei 2 guitar owsie hat never ESP GMM-60 HAMIME fhoen healthier. This is Kirk Hammett’ budget signature model Jown to the willingness of ue caiSeal ntemporary artists to adapt their musical style and approach tothe ‘Ovation’ jangle machine SESSION ANARD SPTS PRE-AMP Beretantly chang oocety Beef up your sound the Sessionette way scound them. This months MARSHALL 258. ceaver stars are a case in Slash’s new signature stack point. With their early rmeyonesn caaes) brand of thrash metal = representing a potentially = rechindant anachronism, Metallica have proved that they ean move forward. In Sa Toad, they've produced an album that represents a ‘CLASSIC TRACK - CHUCK BERRY PAGE 82 = marked advance in their Johnny 8 Goode i tab and on CD Edis Van Halen's new signature combo ‘SHALL PA ROUND-UP PAGE 45 How to buy ale sig for small gies Emo, Whats more, is ‘oouSTC MASTER - LED ZEPPELIN clear from our interview Bron-Y-Aur Stomp: Page's picked masterplec ting np 3 St eae wei eae mi aes Paton your blue suede shoes bolton In plan and _HTTHN - BLE SouLProRNG Paget simple terms, they make Smooth and sufi blues styles bloody good, vibrant guitar ROCK - THRASH RHYTHMS P aaa music, and for that alone, Pantera, Slayer & Anthrax — learn the tricks Ces STO mimes men {we thank them. Lats hope 208s - PRASAD ETS GE op ETERS Deno hat pi ie cued oak wen caiisar F guitarsts to do the same a : 14S - GET PRACTISING! PAGE ToT ak mies, : The essential tps to get tothe top (anes aes a a ‘ACOUSTIC - GORDON GITRAP Win Van Halen's amp EAMERADE hin. A Harping back to Nursery Chines AND «£1,300 PAI OORMORTS AGE 22 oe irfaal ‘TIM TUCKER, EDITOR, IssUR 28 AUCUST 1996 5 Trak 1 ‘CURTIS GH WITH at HENRI ota Have A Nw Bross ii) An exclave 1966 nt Hendhix recomting Brom Cet That F The uthentie PPX Studio i Vol © CBI Recols& SPV PABE WD | ‘Tmax 2 STEPHEN BRUTON ‘Lonesome Bes (01) Ace connty bs gua stealght fiom Tens, USA. Taken from LP. Might On Time ©1985 dos Recon PAB TR TRACK 3 1st ‘antna Bandon wars) | A tongue-inchnek cover ofthe Wars Prom Ab’ Girt From Mare sng, © Infections Records PABE 72 TRUCK avo TORK | exch prince, Hs Kingdon, ust Inbar Tha Sterne exponen of ou ge experimesal gia bingy Joan exclishe tack rom Tew LP, What Means Sol Trnveller2<© CMP Records PAGE 4 Ere er) TMK 5 PoP: | 1 nty Wat Yow) | ‘Wide open soundscapes from this Bovieesque quartet PANE TE TRAOK 8 tupey vealed sres'sene) Seong gitar atmoapheris, anda powerful female vocal, PAGE TRAGK 7 TM TUCKER Welcome tothe Te cD | TRACK 8 ESP GMM-50 HAMMETT GUTTAR ‘The Captaln- same "TG cork spelt Jn Savage gts 1s meta pas on afordable signature mode, PE 22 Ca CD Contents HARRY WYLIE takes you through the many wonders of this month's TG coverdisc. TRACK 9 VATION LEGEND ‘2-STRING ELECTRO-ACOUSTIC. Mcbmash- deme Aout stat Gordon Gta ges hing ashe demoes this asi romnd-backed eleto-acostc TRAGK 10 SESSION AWARD 'SP7S PRE-AMP he sound ofa Richard ey Page 26 MARSHALL 2558. ‘SLASH SIENATURE STACK ‘ck’ on Sass Door emo Slash Marshal 255581 isthe st ‘ver signatre model from the legendary UK company. PABE 20 TRA 12 PEAVEY 5160 212 EDDIE VAN HALEN COME at Te Balance = ee Peavey’ 5150 combo is modelled on Eee stick —heat itn yn, Sesion TmiCK TL Jeanandlead modes, PAME 30 TRACK AIFF OF THE MONTH ‘Money - Pak Foyt (Gimeurtte) Fronky mek ier, PARE TRAGKS 1118 ETLLGRS GREATEST RIFFS ne aro (nytumead guitar) (tai) ‘aster Of Puppets ivan (tas) ‘othing Ee Matters tro (eames) ‘ne backing rack with ck ‘Master Of Puppets backing “Three cool Metalic taks for you to Tea ana love PAGE 63 ‘TMK 19 ‘TUNING GUIDE EEE, kw to high ‘TRAGKS 20-24 CLASSIC TRAGK = CHUCK BERRY nang Goode 12-30 re ‘TRAGKS 7-12 siewiat ack (ter and ore and boris Son fall Nowe verson of tro Fall tacking track ery As cases i gets — Chuck Bemis pal 1968 rocker. PABE 2 TRACKS 95-26 ACOUSTIC MASTER: LED ZEPPELIN Bron1-ur Stomp sow Brrr Stomp played fast (Pentre! Sones) The picked wonder from Lest Zepplin’ 1970 album. PAGE 0 TRAGKS 27-29 Nace: OK ROLL Four Rn eke ‘eatng Boop dome Backing track Be-bop-tula PuGE 95 ‘TRAGKS 30-32 RTM: BLUE SOUL PICKING (herd stabs and arpogglos mboiished version Backing tack in © Spandaa Benn PAGE 11 TRACKS 33-35 ck: THRASH RIYTH ‘we ryt examples “wo moe exemple Backing track in E Grol rock il, Ge 103, ‘TRACKS 38-37 BLUES: RASING AND RESTS Compete solo Backing tack a 8 The real secret of slong — when NOT to pay PAGE 105 TRAOKS 38-41 BASS: PRACTICE ROUTINES ‘octave sal of @ major Seat staggred de Domo track Baoig tack in Take Smet practi, PAME 0? TRACKS 42-44 NooUSTI: GORDON GUTRAP arin tecbrquoe Marsory Cotnes sow mrsory Chimes int anmonis and picked notes ~the fal word ot hae. PAE 11 A ‘sn womount star, ox 981 200 ‘asorzs xz rc 0225 ae08 ‘Wee crores {Wn STE ipso ari kr eer er Dept ate Hy Wie “Tote ern emt emer ay Se, Sut, ‘on Pter Son ars ee atm or. Sink oy ‘Sina Ge ap Sen Yg ec ge Si Sem rn tary St es uc ‘Meets He, st Ris ts ny aa Manassa ‘lean averting manager Gir Posy sna Sas Ese nb retin ornare) redcon ap iss ue apt peecon meg fel ‘sgn ass ya care Wk cate dear Si ey aretng maapr boro Ret etme mang Sin Ce ‘prea Tomtom ome elmo Ore tat tabi “rn ea ctr ia amt fhe ‘Anat Erte of rites “ny tb Wes: 29008 AUGUST 1996 ISSUE 21 ay bles JClapton was one med to his Che The top floor METALLICA GIVE FREE CONCERT Aa ctside Tower Records, The area came toa standstill, with traffic snarled for hours, The band surprised many by pl four early songs, and only to full from the new alban. set list rani So What, Creeping Death, Whiplash, Sad But True ef and Until It Sleeps MARLEY LOST TAPES yend Bob Marley is to have un ietenemiarc nie crn A Fire in 1972, Marley, who died in 1981 recorded some 200 songs during this period. “What was left on the tapes was said Danny Sims, Marley manager atthe time, “So we knew that they had to be res bee able to hear them agua, red, or no-one would CROWDED HOUSE NOW EMPTY atipodean songsmiths Crowded House, the a oe rem Cn ene eee Neer eae Hanover Grand on Pere pares eee errata con informed the oe orn ene have been gutted, but Clapton did manage to recover his peloved instruments, He told a reporters “The first ehing I did was grab my guitars, None o them was damaged, thank Go« Police report that the ire as started by an electrical ful aR from the inna time ‘sguature, tere’: nothing too ‘complicated about this rif 1s based on the B minor pentatone see, and ne Bm ee ‘Toplay this oo cmortas you my Ha aster {uses pasa barren the forth rt ove the Pea ee ee Fa {s played in swing time (hence the broken ‘ripletin the notion), Apart from the B tninor over which ths ffs played, the song. also uses the chords of F&and E minor Ena ‘da oui rng rater than ting (seh ote innit aie youth fet ot a a) foo ‘Acasse rok if, nd surprisingly easy to play, Heart on CO once throug to AUGUST 1996 ISSUE 21 om Petty, one-time Trveling Wilbur and leader of the Heartbreaker, is set to followin sotsteps of Elton John as & soundtrack composer ety magazine report that sty is to waite the muse for sew movie She's The One Starring Jennifer Aniston Priende) and Cameron Mask) the ae (1 ee Oasis IN X GUITAR amc SHOOK erly xing tvs suc to kan ht Noo lagi is purse se elon the sap Trace Elle sous gute bp Bitatto 16 contributor, Mark Cunningharn. Backstage at the bands Maine Ra gig (Full sport p50), gultar ch Jason bemoaned | live sound of Noel’ Epiphone and Takamine acousties during his solo spot. Mark recommended Joey investigate the Maldon Sem's wares — and, hey presto, so acoustic guitar combo, plas sa acoustic bass combo has been added to the bands recent investment in a ass sig for Cui PEARL JAM'S NEW PLATTER earl Jam’ next album will be released by the end of summer. Although there is no ‘official word abot i, lead singer Eddie Vedder has been playing the 15-track album to associates, a source told Internet mag Adalcted To Note JOHNNY OITAR’ ATSON cliany ‘Guitae ‘Watson, the influential blues suitarist, has died following his cllapse on stage in Yokohama, near Tokyo, 60 year old Watson had been performing in a number of concerts at the Japan Blues Camival 96, Watson is primarily remembered for his finketinged R&B playing in the 70s, The cause of death is thought tobe a heart attack, RETURN recorded duet between Kurt Cobain and his widow Courtney Love sured in Seattle several weeks ‘ago, and has since been aired on local radio station KNDD 107.7. The track isa studio-qualty version of the Hole track Asking For It —2 Cobain-free version ofthe son appeared on Holes Live ‘Throgh This album tmick, recorded a shore time before Cobain’ suicide, fora commercial release ‘Thanks 1 TG reporter Mare (Gonninguam Nols ace dearly features his voice behind Gonriney's. There are no plans Ol Croshy ills and Nash. Bt sh PASSING NOTES Goni Mitchell BORN: 7th November 1945, Fort McLeod, Alberta, Canada REAL NADIE: Koberta Joan Anderson —she changed her name when she married Chuck Mitchell in 1965 GUITAR OF CHOICE: Martin D5, HEIPPY?: You'd think so, wouldnt you, what with writing a song about Woodstock and having shacked up with two thirds been both eynical and supportive of the hippy agencla throughout her career POLKXIE THEN?: Wellits tr that she started in th falk clubs and coffee houses, but she's demonstrated a statin adaptability, evolving through jz, rock and even fink over the yeas, outlating many of her lenil-munching contemporaries 18 SHE ANY GOOD?: Predominantly acoustic, Jonis rain contribution tothe guitar isan impressive fngenpicking technique, and her use of an astonishing amount of altered tunings — is estimated she’ utilised around fifty diferent tunings throughout her eareer. Asa result ofthis spontaneous machine-head distressment, she often has a great del of trouble working out how she played the thing in the fest place when she comes to reproduing the songs live. The daft clot INFLUENCE ON; A hug: and lasting influence on ‘many singer songwriters since the sites, including artists as dlverse as Shawn Calvin, Bob Dylan, Michael Hedges and Prince i é MUSICAL PALS? Heer albums are always packed with gest spots from the world’s fin musicians, ike ‘guitarists Larry Carlton, Robben Ford, David Crosby Pat Metheny and juz bassists Jaco Pastorius and Charles Mingus. ‘They are often inspired to produce their fnest work on her son TALENTS: Joni snot only blessed swith a stunningly beautiful voice, but she plays piano and stsophone well, ‘and she can write songs ke... wel, ike they dant ore, Many of her ditties shout love, relationships, polities and subueban values are amongst the most ‘poignant and heartfelt over writen CAN SHE MAKE Yo THEN?: Listen fo Case of You, olf of the slhum Blue, and then you tell me EET Ua) CCN LN CUT aR ey ES eae BUTT eT Ce we once again, } cp Tracks 14-18 METALLICA’S TOP TRACKS JIMI SAVAGE is the One who transcribed Master of Puppets. That's all you need to know - Nothing Else Matters. rate weit dt be Grea Per iy ty eat sty arate eee pe te cia oe oe ea crea er tes aisle eee esinad eee lice ate (ae lng te Mato, od he igo One, bo ae ras jised aca Mate 9 ze Bec iee pe a a fea caren epaepaaia pig tube eceaglse Toecaiue Mes! ont) ain fee aiveape of neg cer ne Nastia STYLE ANALYSIS Although many Metall rifs are double- tracked, you can approximate their guitar sound by asing heavy distortion and pessbly a shore delay to simulate the donble-tracked effect. Favoured techniques inchide palm-anuting (resting the hand on the strings near the bridge) and extensive use of ‘galloping ythns erent (combinations of eighth and sixteenth notes). ‘Hammett’ phrasing and solo consteetion shows a variety of influences, inclading Hendis, Sclienker and even Chuck Berry, but at times he also mitkes-a conscions attempt to move away from these blues-based ideas. His ore bizarre= souncing solos make greater use of elromatic notes, and are less based! around one scale shupr this approach could be perhaps attbuted to tar teacher, Joe Satriani, fon BYTE Oe = rythm nro BYTE One led guitar into ‘Master of Puppets noi Using downstiokes an Noting Ese Matters ne section nfl (ne vacking track wt ck ‘Masirof Puppets backing track bass ane drums) ‘The guitar used wes an ibanez ‘Custom, through a Mass Boogie ‘amp head and 412" czbina, ‘which was miked up Mester of Pppetsincutes ‘ouble-trackng on both ofthe thyth guitar part tars and transcriptions: sini Savage Programming and producto: ISSUE 21 AUGUST 1996 ES 63 >> 2 AST ‘Gmaj7(no3rd) Gmajrinosrd) i cp TRACKS 14-18 EREan ‘@maj7(nosrd) Gmaj7(no3rd) EN Aya ‘Gmaj7(nosrd) D> rveusr r996ssuE 21 ESZEEEE veratuica co racks 14-18 © AST 66 DD —svcusr agg6 sue 22 FEATURE Wotan cp TRACKS 14-18 & > Aoi SATE RT eS TNS ee CO TRACK 16. fl 68 AUGUST 1996 ISSUE 21 WELCOME TO TG TECHNIQUES his month, in response to truckloads of letters about sold-out back issues, and in keeping with the Metallica flavour of the issue, wo've reprinted a rock article from issue 3 about thrash metal techniques. Do write in and let us know if there's anything else in the deep dark TG vaults you'd like to see again. eS er) AIFF OF THE MONTH: (NOVICE: ROGK °W” ROLL MONEY - PINK FLOVD mses eos [emacs 27.25] “earns reakyine-sigatro The ese is pay al thse ff fom the classe Fg lbum cassie 0c rl its us Dark Side Of The Moon ‘backing on CO to jam along with, METALLICA reson RHYTHM: BLUE SOUL PICKING PGE 101 “eis one, Master OF Puppets and te cesicrock it at your ryt plying wth ‘ballad, Nothing Eise Matters: ‘some artful arpeggios ane ROCK: THRASH METAL acs fr Ore an Master of Poppe RHYTHM STYLE nae 0s ‘TUNING GUIDE Jimi Savage revisits some of the ‘storming thrash riffs from issue 2 Toning tones, to E ane naee CLASSIC TRACK: CHUCK AND RESTS ace ‘BERRY - JOHNNY B GOODE GE 8 Start ul nplirs when you Shoal lay te gtr. Tis 1988 rocking ios the caareeleatal ncanie’” BASS: PRACTICE ROUTINES tracks. Get duckwaikin'! Lashed ACOUSTIC MASTER: How to lay sales an stu. No, LED ZEPPELIN rice 90 realy ts interesting. Rely, The intra to Led Zepets gest ror-¥-ur Sto, stow ‘Som Page’ uta kt ‘ingerpickn’ best fearsome techie of hating IssuE 21 AvCUST 1996 NOTATION CONVENTIONS {Snowe to you! they all expand bal TREBLE CLEF NOTATION seing Mots are writen ‘tether Btn tthe ts to he lop BG TABLATURE ‘ablatere, tab, atualy shows you where to pay the tes onthe feteard how the fot and ro means pay the open seine ‘end te tring othe bracketed pte, pluck then rlasre 0), ron string (acimend andr the lntors NM above)» pinch harmeals Ce "nd Ue oly) FRETBOXES Een Johnny B Goode ‘The 12-bat intro secon, arranged for one quia, with ‘yt accompaniment axed from bar 5 ‘The verse and chorus see fretooxes), played twice round the 12-barsoquence, featuring ‘the ‘Go Johnny Go' double Stopped ri at tho 10th rot Pract 23} The slo nfl, yong twice ound the 12-bar iors ‘The simplified novice version of the int, payed sowly with 2 lek track ‘carne Total Acouracy backing treo, with bar ‘unt ‘The guitar sod for tho ‘examples was a Gibson E3395, plyod trough a Fender Twin, whl was mikes up Gurtar - Kt organ Plano - Pete Adams Profesional Guitar Workshops & CHUCK BERRY This 1958 rocker is one song that every guitarist has to know. JOH BENNETT supplies the technique tips, with a full transcription by KIT MORGAN, ever there was such a thing as ‘rock roll standard. Johnny B Goode isthe one. 1's one of those riffs that wil alyays Inspire a pub full of people to enjoy the bands encore. Contrary to papular belief, Chuck Berry dich’ actually play the classic 4-bar intro on the original Chess recording, but we figured that you'd ‘want to have a go at this fam transcription isa compiled version devised for one guitarist, using the essential pars ofeach li BLUES INB The original tack sin Bh major (or fatty close to it) but we've nudged the key up to B for t reasoas. Firstly, its a more guitarist-friendly key — Chuck was heavily influenced by his plano player, Johnnie Johnson, and so often played in Bb and i eee cc eae ecard “Alright guys, listen. Uh, this is a blues riff in B. Watch me for the changes, and try to keep up, okay?” (MICHAEL J FOX — BACK TO THE FUTURE Secondly, it was common practice inthe late'50s toralter the tape speed quite substantially ~ you'll find that yon can’t easily play along to Berry's original if you work with normal A440 le which Key the song was o Interestingly its played with a light ‘wing rhyzn, not only from the double bass and drums put also from the intro guitar part, We've notated the track using straight eighth notes, which i how ‘most bands phyyit live, but yo may find it Interesting to try outa different chythmie lant GUITAR SOUND ‘There isa tiny bit of amp overdrive on both guitars in the original recording, although the ifs sound prety fine with heavier levels of drive, if Unat’s your preference - cheek ont Jimi Hendrix version iyou need further proof (On Hendtx Live In The West). Chuck used a Gibson ES-3507 (a semi fitted with ovo humbucking pickups) through a tweed-covered Fender amp even he doesnt remember the exact model, although he now uses the Reverb on stage. He never uses effects—his eee) attitude to rock'n voll gitar was summed up in a Sreerenrentrers recent interview; “T tried a wah-wah once. Stubbed Soro ea ray too on it. Forgot i.” BE nnder Dual Showman AUGUST 1996 ISSUE 21 ITT Ene gee 2 FI 09 Fretboxes familar order ek so ‘te hare rapton guitar fd moet of te acto ea be ‘Sompasiinnt tote versen played wring the nolan shown sic teeter ete np soon fotos saa on every hind (ne rts orth) belo lownstroke, then taken off Stetning the Fe note a he 7 vir sayo —FF-HHtshape soloing shape again forthe fours Hts that fret Bnd string. Full transcription cca Coenen singh ber anh ea fs ts gta gatas ppp etic ieee ein ‘ohn rsp tneehFve marlon ere whe eh : Jenna e200 Iss0E 21 AvGUST 1996 > 83 ERIE Gn a ge -teen-s etm to New Or- tena! Why Pat op sl Mal eoael my il oie GESTS ee Bhythm guitae 1S, = ond a lo-g ca-bm mado of earth and wood Where led a cowry boy named Joh-may B Geode” Who a iy Fi B ever ever leamed to read of write 9 well Bit he could ply a guitar just tke a singin! 9 bell Go’ Go 4 AvcUst 1996 18suE 21 CIA Co Jehssny Ge Go cy Joh-my Go Go Lead guitar s oH NA Joh my Go Joh any ae Joh- any 8 conde He used to a Gost bo-neath a tree by the mil road tack — OM en lythin guitar | Iss0E a4 AUGUST 1996 > 85 fio eer would swe him ttt! in the ade Fi B people puss- ls! bY they woukd stop and say Oh, my ul that Joh nny Go Lec guitar $0 Ey steacmia! with he rhythm at he aie ee Urs se Tete country bay ah pay Joh- my Go Joh- my Go AUGUST 1998 ISSUE 21 Cs ee ne es CT PIE = fem o 1SSUE 21 AUGUST 1996 : 87 a Mot=her told him some diy you wil . hythm guitar ny plo-ple cem-in! fom mikes: 2 ae Theyll aad mn you will be the lead-er of a big old band hear you ply: your aussie when the Siva go dim May Ss a AUGUST 1996 ISSUE 21 i Ce ten Were Pe aera be some day jour mame wil be in Uyhts Sty-in! Joby B Goode to-night Joh ney Co Lead guitar Johny Go ISSUE 21 AUCUST 1996 a 5 Bron-Y-Aur Stomp wee LED ZEPPELIN The nto and verse at sand “Tho utr used was 2 ROD SINCLAIR picks his way through the intro and verse of ‘Takemnina alecirn-acouetc, wit this open-tuned acoustic masterpiece, taken from the classic Maymestertonestims 1970 album, Led Zeppelin III. oi: month’ acoustic track s qui nt fom previous ex ase itis played in an un AF), and requires a fast an technique. The sith and fifth strings are tuned down two tones each (to C and F), the Fourth, third ne (t0.G, F and A) and the top string i tuned up a semitone (9 F), This creates an open F tuning with the root onthe fit nd greatly inereases the range be played in a pickand one f strammed ehor one-finger barre h the track is very rapid (so start benefit from ed. The > back to peed) you ma than performance behind tis i that when you tempo, your reaction time and sense of be heightened, EB Ce 00 AT AUGUST 1996 ISSUE 21 [ractars asso AUGUST 1996 FEE 91 Rock ’n’ roll riffs This month, TONY SKINNER dons his winkle-pickers (he already wears a pretty dodgy jacket) and explains the techniques behind all those great guitar sounds of the 1950s. OLLOWING our exploration ofthe blues ‘over the past few issies, we're wioving Forward in time a little to the 1950 this ‘month, Artists such as Bill Haley ancl Carl Perkins combined elements of eonntry musi with a traditional twelve-bar blues chord soquence, speeiled the whole thing up and created the sound oF tock nll. ‘Thig month’ demo track, Beating Boogie (FG 4, €D TRACK 28), can be played either as a complete solo piece oF asa neat aceopaniment t0 any standard rock'n'roll song. The piece isin fone parts: each new section isa slightly more complex variation ofthe previous one (CD TRACK 27, Picking tips te poe unen three baste chords - E, A and B7 (which can be played instead ofthe B shown abeve cast example). The shyt guitar Iie ean See either up and dow strumming ta ea eee eee on the bans wings only Bytes 1-4). Concentrate on mastering one section ata time before moving onto the nest ~ i will make learning the piece mich easier, LEARNING CHORDS Its always a good idea to work out the chords to a piece of musi fis, as this ean give a good insight into the feel and stricture of the song. The three ‘chord shapes are shown in the fretboxes ~ try playing them along tosthe bacsing in the ander shown over each musical example, Once you're familiar with the chord sequence, spend some time working on each melody setion individually When yon've got your agers around all the sections you shoul be ready to attempt the whole track over the hacking (CD TRACK 29). 22 ett DuDUDUDU IssuE 21 AUGUST 1996 >> EEE»; ose ies || 5 ETT TTTTE | | | E B7 AT E “Tle te amos ection 1 ut with he sion of gh "pea note which yp pletrum stones should he use hunt this ston, payed wi 8 ‘repented after each ass note fom the orginal pattern. Aterane down and “rwinging’ ryt FIG 2 ERIE Swing Ei sae red reser i DUDUDUDU ee i F Pez) Swing E on See ee eee eet el ‘tion oral baogafoe 6 a AUGUST 1996 ISSUE 21 (= toy kta erred Blue soul picking JOE BENNETT supplies variations on a well-loved chord pattern, plus some useful advice on how to develop your own rhythmic picking techniques. HEN you're working on a new song, i all too easy to simply strum baree chords, with no real dynamic to the rhythm part This month, we're looking ata standard 1, VI TL, V sequence in the key of C (the chords of C, Am, int ancl G) and trying to develop an interesting rhythm part from the basie chord shapes. ‘This month’s demo tracks i a beso vein ~ the time signature isa slow 128. One easy way tocreate a dynamic shytlm partis to play short sharp chord stabs on the offbeat ~ie beats 4 and 10 ofthe 12in-theshar: (R16 2, CD TRACK go, ‘BYTE 1). Its possible to develop this idee further by inchiding arpeggios between stabs, The second ‘example (916 2, CD TRACK go, BYTE 2) Features individal notes from the chords, then the stab on beats 4 and 10 as before This is more appropriate fora band without a keyboard or second guitars asit fills out the sound to a greater extent, In the cme final bar, the stab is omitted at the end, and the G ‘augmented chord is picked asa full arpeggio ADDING EMBELLISHMENTS ‘The demo track (F1¢ 3, €D TRACK 32) uses 3 combination of arpeygies, stabs, double-stops (two notes together) and sliding chords, The donble- stopped notes inthe second bar are quite tricky if youre using a plectrum because they're two strings ‘part — on the recording I'm using a combination ‘ol plectrum and seca finger, The third bar features an example of ‘chord substitution’ which ‘means playing one chord against another to imply’ an extended harmony: here, Dri is ereated by playing an A minor arpeggio over a chord of Dm. All of these examples are based on simple barre chords in diferent positions on the neck. Ty the techniques with your own chord sequences and see howe you ean develop them further ITED m7 G Gaug Be pepe ea cee me pale 708 7 al (cuor sane on the often. The shards ar lave 8 ‘Shor, eatf way ale called stcsata) shown ara det AS ont Tale seston af te evqveny eres s seinen efplaned nvveaios ext aed Dm7 Dm ISSUE 21 AUGUST 1996 (= fo, as) Thrash metal The techniques for playing thrash metal or hardeore depend more on rhythmic accuracy than flash lead licks. SIMI SAVAGE takes you for a trip down the darker paths of metal. up rock/metal gultaristof the 90s needs truly exellent rhythm and timing. I you're the type of player who likes 1d chord patterns, this month's column should give you some ideas to play around with. Ifyou lke composing lead ines, i will add some rhythmic icksruns to your solos, Te included four examples that should test your sense of rhythinie acetrae. The first (Ftc op TRACK 33 ‘with palm mutes (rest the heel of your pieki snaking up sifis er. 4) uses an ES chord, alon hand gently’on the strings near the bridge ‘The second example (FIG 2, CD TRACK 33. [BYTE 2) uses a combination of straight notes and palm mntes. Concentrate on acenrately Judging the rest at the stat of bar 2 TAKE THE TIME ‘The final two examples (F168 3 & 4, Cb TRACK 34, BYTES 2 & 2) make use of time signature changes, and are designed to be confusing, Count yourself in to make sure you ean feel the pulse nd as always, rehearse slowly before attempt these at speed, You can find examples of tine: ‘changes in works by Dream Theater, Metalic, and Pantera, among others ~ they have the combined effect of throwing your ear off the bea and adding a dark feel tothe muse! 2 TEED ory IEMs — a 780 as ‘vf, Wen ou Hatem to the CD ‘the way to count thi hang of time signatae et gt thea bar which is imply 18, 0,4 Inmediaaly sont Inte dus speedup to'bev seen has ISSUE 21 AUGUST 1996 {Ws time stgnature ange, but aot symcoption om a On the CD f a BYTE Quavec/two semiquaver cee ss epee rest | atthe start of the second bar on EES ‘oo stabi 9 ald taking the lar slab an og et (One, Two, 103 Phrasing and rests TG blues geezer STUART BULL suppl some tips that are guaranteed to stop your audience leaving the gig halfway through the guitar solo. is month we are going to look ata technique most guitarists Bad very difficult mdoed - is called atacet, and it ‘means ‘dont play anything! Many goitarsts tend t play continuously over a backing without ever coming up for ait, Sometimes ifyou make a statement, be it musieal or verbal, leaving a short gap aftensards can give the listener time to absorb it, and supply « more enjoyable experience, IFthere are no gaps in the music, your andience is constantly trying to hear the nex! phrase rather than taking on board the lst one. IGNORE YOUR INSTINCTS A gpedd way to try and be more unpredictable with your solos i not always to-go with the frst instinct ‘of what to play. To experiment with this idea. start the backing track, then when your frst instinct to play arrives, ignore it! Ifyou then respond to the second or third moment that feels right’ your soloing will sound fresher and less predictable, ‘This month's notated solo uses facets in every other bar, where a note at the end of a phrase is allowed to ring on forall or part ofthe nest bar ‘The second, third and fourth phrases start after the fist beat ofthe bar, helping to make the melody a Tittle ess predictable Noteswise, the whole solo uses the B blues seale(B. D.E, FF, from tis eae shape so that you ean concentrate A) =T haven't deviated Bm7 IssUE 21 AUCUST 1996 ‘on phrasing and the concept of playing and resting. ‘Take a look atthe fist four burs ~ Ive played throughout bar 1, rested in bar 2, pyed in bar 3 and rested in bar 4. ve also made a conscious effort to start the purases in different parts of the bar each time to demonstrate the idea of avoiding that Bs instinet to ply TEMPO TRIBULATIONS You will find that the speed of the tack will dictate how much of these concepts you use. For example, ifyourleave a three-har gap ina slow bines, the ‘andience would start to think you'd already gone home, In a more up-tempo track, che bars go by fairly quiekly, giving you a wider range of options as to when ~ and when not ~ to play. ‘Tae hae tar ota mane 160 | e1 1900 parasing rater than playin Centons (one rate worth) 105 Ce toy Keo een Practice routines Are you a musician, or do you just own a musical instrument? KEN POTTER vents his ugly old spleen on the contentions subject of practising on the hass... N iny experience there are two types af ‘what ean be loosely be described as ‘musicians’, First, theze ar those who Duy a shiny new bas, get the latest hip ’n’ trendy hharvut, and spend hours stumbling about the fretboard convincing themselves that it wil be better for their natural style if they don't know whut they are doing. We have a name for these people. We cll them “bass guitar owners The second type of musician dedicates him or herself to studying unfamiliar styles of musie and ‘musical principles until they ean incorporate these new elements into their playing, We have a name for these people too. We call them “bass players This month's column features four exereses that should help to improve Muency and dexterity on the neck. They are all based on a two-octave ‘major scale, which i played in four die Tye also inchided a short picce which combines these techniques ina musical context GET TO WORK! ‘The first example (FIG 1, eb TRACK 38, BYTES 1-4) s a 2-octave scale of G major [presented with four different fingerings, Each Fingering moves position at a diferent point (for reasons of space I've only included the ascending form ofthe scale in the notation = the fingering for the descending seal is exactly the sane), LLeara these Singerings thoroughly and slowly thiss practice and is supposed to take hours! Once you've mastered the exereises, learn them by heart ‘and try to incorporate them Into your wasm-up routine. Incidentally you'll notice F've only Included one version ofthe seale on the CD if you play the exercises correctly they sound identical In the next example (F1¢ 2, cb TRACK 3) the scale is presented in broken thirds, using the A string to travel up the neck. When you have mastered it, work out your own suitable fingerings forthe scales which use the E, D and G strings ‘THEORY INTO PRACTICE The study piece (10 3, €0 TRACK 4o} uses the same two octave scales in thirds, but introduces the technique of muting strings with more than ‘one finger ofthe left hand to eeate dead notes (sce bos for detail). The backing (CD TRACK 43) ses the chord pattern shown above the notation, By the wayne tempted to ignore the exercises and slip stright to noodling over the tucking track, Ill make an appointment for you at the hardeessers right away. BBL Dead notes Jereussive sounds are produced by ‘muting the string being played ‘with more than one finger of the fretboard hand, On the CD example, some parts of the study plece make use of this technique. Bo careful not to exert too much pressure or you'll actually fret a uote, and use more than one finger to avotd producing ‘unwanted harmontes. ceo Ca _ Bayon once, ascending and descending (2-1) "Wo ave maj seein irs, ascending _ antcercening (92) ISSUE 21 AUGUST 1998 ge ge a rein vate, ip fine —- =f = apf tte EVP eine Meee eel nsa teas 2 107 = Ham yal Cae ede Me TI 2iears'y, ql eBay Na ease tang change ret LZR Toes se et, foe fi aenans AbRrilieyy: BE ape aaa dag i mn tno ae sae mor w ! a feotet E ‘ho wo oxtav @ major seal in thirds ascending onthe A ving. Workout ‘you own Aagerings tomas the reale seed the heck on other strings. etre eee 108 ETE AUGUST 1996 ISSUE 21 @icp amc Nursery Chimes GORDON GILTRAP GORDON GILTRAP demonstrates the harping technique, guaranteed to make choirs of angels sing every time you pick up your acoustic... Ni of the most rewarding and musical ‘ideas [have tried over the last few years ‘8 the technique of ‘bamping’ The effect is achioved by plucking strings alternately with This will require you to ‘mirror’ this note exactly toeelve ficts apart — ie your frethoard land plays the first fret, so pluck the harmonic atthe 13th, The following two exercises (16 3, CD TRACK tenes alam seed 2, BYTES 3&4) develop the mirored en a ates ener Bre re eee auc eed Tp llusas how the technigys sehleved, Tvs speed. This wil some wth practice soto start f : nolated avery diple example (rc 1, Cb'TRACK ‘wth jost concentrate on sounding ear harmonics Eee Eeeporrge aE pick he onesies a eal piae ie ols ee helen BYTE Exercise showing the ogee allan ica pe ca rere ea ec ‘sis of haring (a1) the twellh fit ofthe sith sting withthe tiny: APPLYING THE TECHNIQUE SE Wallets wie and inder finger Next pluck the open C ring, Once you're familar wih he idea, itcanbe sel flloved bythe tli tetharmenic ontbe th ina noxeanbiguoss wey whatever onbicaton rg, then ply the open B sting Silryell itt bes ed aeerar te pate ‘BYTES This exercise is based Tarmonic a the tweet D string cte'The. Sounds pleasing The aim so produce pebbles’ of I ea lier s tatyourealenatig beween fouthand — somlwrhtheharmonts, tote pce oes cr Sth third and fh, Second od forth tandem led the way th the melo To sat imple cho Bt wich IB lag wi ob baad ee ea) ees necro te Sema evar and first string before desoencling the sequence, Nursery Chimes (F16 5, CD TRACK 43. BYTES 1-2), On the recording cp TACK 44) thereisa ee MIRRORED HARMONICS fade out, because its possible to play the whole dele ‘The next example (F162, CO TRACK 42, BYFE/2) piece round and rom ad nfnitum -the end aes brings in the left hand with the Ge, on sting result ean be quite hypnotic, Happy harping nee oon ERIN ERED usery chimesin {ul tha ad ot the en. = vied oF lefthand feted nates ree ee 2 = cs ence cieses =i harmonic ring olearly. 4 sited noes 2 Oe at ISSUE 21 AUGUST 1996 SS aos | waind YY, vay > seed es 6 4 i 2 0 1 2 is “Mis example is based ona eherd of He, Your poking and wil ed tote {airy asearate her, cated 7 ‘ 7 ‘ Moving furor up the ned, the harmonies got mors diet, but start slowly nn EI x4 left hand fretted notes Y ° ° ¥ 2 0 ¥ “ o ° "TOTAL GUITAR AUGUST 1996 ISSUE 21 Bee er art a eee an eee Ero ceca