Ceram) Cee era eee ec aid PCa Ce etc chord’s greatest gift to guitardom. Broo cay POR COR a CeO Poe UU TU erywHotts 7 quick strumming technique from the banjo player in Acker Blks band. Townshend made suspended chords, displaced triads, and pedal points an essential part of the rock vocabulary. His enthusiastic sixteenth-note flourishes, ma- chine-gun tremolo picking, and windmill quar- ter-note downstrokes are incomparable. ‘Time to get loose, rubber-wrist, Unscrew yer ‘wang bar, batten dow the bridge, crank up the Hiwatt, and get ready to remember why you picked up that canoe paddle in the first place! Double or triple strums into the downbeat daca98 AS. A DA area staple in Townshend's ehythmic vocab- ulary: | TTA Ex. ilustrates atypical Townshend double- sixteenth-note approach into beat one, while Ex, 2a and 2b use sixteenth-note triplets to launch beats two and three. Petes cyclonic tremolo picking kicked off ‘many a Who song, When trem:-picking, you can accent in twos (sisteenth-note triples) or threes (sextuplets): ant DE | Ex Sa stems from pre-Who days, when the bband was known as the High Numbers. Try ac ccenting your tremolo in both twos and threes. Accented sextuplets are the key to Ex. 3b, a cas to from the Who “Anyway, Anyhow, Any where" era, Ex. 3c recalls the capoed opening Ex. 2b mek > = - “Woes af rot won and played as pen Shngs Rata aye fx 30 Ex. ab Ex. 3e dnoava ca 100 lo. 1-ting (op at ttt ce AS -Exmataen 6 Ss xcoiy E Dsuse A Ex da denise oO “Noes at te writen and layed as open sings, Ac ey Pits ya Ex. ab Ton @irourreu ‘94 GUITAR PLAYER FEBRUARY 195‘of Outn The Street.” Pete generated the cool rem-picking effect by lacing Ex. 25€ fx. 25d DaddQ/A EIA A hada a Faia DaddiA A ont = 900-272-3998 Cmaj7/E IX Dadd6/9 XIE Xil = = a