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 RIIIE
THE
TIliHTI{I]{li
GOODRIDDANCE,
Ninetiesgrungerockl
To hell with your
snobbyantishred
ding attitude!And
nuts to you, nu-met-
al!We neverwanted
your bottom-hea\,f', rap-influenced,
detunedrhlthm guitarsan!.wayl
Yes,myftiends,goodbyeto 15
bleakyearsofwanderingin the desert
lookingfor..just one(g-aspl)...fucking
(rvfieeze!)...guitar
solo(1r,ater, pleaseD
...
trorgivemy melodrama,but the
ext€ndedguitar solohasbeenan
endangeredspeciesfor far too long.
Ever sincethe rise ofalt-rock and the
earlyNinetiesSeattlescene,gxitarists
havebeenbemoaningthe dearth
GUITAR WORLD
ofopportunitiesto stretchout in a
blazeofvirtuosity. But today,thanks
to bandslike Trivium, Dragonforce
and Lamb ofcod, soloingis backwith
a sweetvengeance. And nobodyis
celebratingthis turn ofeventslouder
lnatT Gultar wof |d.
Inthis specialissue,we present
closeto a dozenoftoday'smightiest
mastersofthe almightywiddly-wooand
gptthem to spillthebeanson how to
playthis lightning quickthrashmetal.
It's allhere-how to playrippingarpeg-
gios,tightly controlled gallop rhlthms
andabadassassortmentoflicks.
But don'tget us wrong;we'renot
into techniquefor the sale oftechnique.
We believethat this newwayoflooking
at the fietboardwilladd a whole new
levelofcolor anddramato whatwas
becomingbodngandpredictable.
Alrd speakingofcolor anddrama,
we hopeyoudigGuirdrttorld's new
and excitinglook.To help ushcrin a
thrilling new era of pla]'ing, we thought
we'd tahethe opportunityto adda
Iittle extrapizzazzto our pages-ln our
upcomingissues, ]'ou'11be seeingan
entirelydifferentpresentationof the
latestandgreatestguitarinformation.
More impoftant,u'e'11 be includingnew
depaitmentsandcolumns$raranteed
to makeyou a betterandmore interest-
ingplayer no matterwhat styleyou
playor music'sprevailingtrends.
$Bm
EENDIJTIERS TC I1IE SOt NDINCBOIRD.GIITARWOaLD.l,l9FIFTIIIVENUEglltELOOi&NEWYOB&NYl(nlo,OREMIILITSArSOUNDINCBOAID@GUITIRWORID.COII

answer.I had no idea through the pagesthat depicted

it lvasTom Morello. Randy'slife and teachings.
I would sayto your -Dllen Long,Scottsdale,
AZ
readers,ifyou can
find the cD, pick it up. GUY
GITMOUR
It is well woth it. I can't thank you enough for the
December'06featureon David
MacCorquodale cilmour's collectionofgear.As a
Denver,CO reader that is interested in gear and
guitar technologyold and new,I found
the article to be quite informative and
ACT OFRAGE enjoyable.Gilmour'suseof gearhas
I saluteTom Morello alwaysintdgued me, and my wonder-
for constantlypush- ing how he achieved the tones is no
ingthe limits ofwhat longeran ill-fatedjourney.
a guitar should sound -Michael virok, Hdmilton, NJ
like. I lovehis inno-
vative spirit and I'm IIEYER FORGET

$,r
EIBTY
CIIRISTMAS
When I first sawthe Decemberissue
on the standsI couldn'tbelievewhat
I was seeing:a huge story on Tom
Morello and almostfivepagesoflost
RandyRhoadslessons!Howcould this
get anybetter?And then I sawit...tab-
lature ofChildren ofBbdom's"Are You
DeadYet?"Myband playsBodom,and
we were cudouisto seehow closewe
were to playingit correcdy.Man,we
were nowhereclose!Asabassplayer,
it's sometimeshard to hearHenkkas'
bassoverAlexi andRoope'scrushing
guitars.Thanksagainfor a greatissue.
-Brenilenn, Haney Haward, CA
Tt|M
CAPSUIE
Thanksforyour article on
Tom Morello. It answereda
long-standingquestionI have
had foryears.Backin 1990,
I went to a local metalbar
and saw aband calledLock
Up that GeffenRecordswas
promoting.I was absolutely
'blown awayby the band and,
especially,the guitar player.I
immediatelypurchasedtheir
cassette,entitled Something
BitchingThis wa! Come.l
alwayswonderedwhat hap-
penedto them, especiallythe
guitar player.Thanksfor the
surehe's an inspira-
tion to the creative
Thatbeingsaid,I
totally disagreewith
his independent
thinking in regard to issue.I still don't think enoughofGuifdr
the Beatles.To call
the Beatles"over-
rated" indicates that work with UFo and Ulrich Roth's mid-
Tom isn't awareofall
the Beatles'cont butionsto the world
ofmusic andbeyond.Besidecrafting
greattunes,the Beatlesalsopioneered havebeenincluded). But I was at least
a ton ofbrand-newrecordingtech
niquesthat are still in usetoday.Ids
time for a reality check,Morello-give
the Fablour thei due!
Qman,via email in his own all-time favorites.
TIIEBH||ADS
l|I{EFl|R
Thank you so much for the lost
Randy RhoadsGuitar Method [Dec.
2006]. There was many a day when
I would traverse the halls ofmy
school listening to the great solos of
Randy and worder, What is the his-
to.y of this awe-inspiring guitarist?
My answer was solved the minute
I openedGuitar world and looked
I wasdisappointednot to seeany men-
tion of a few of the criminally overlooked
guitar albumsthat shouldhavebeen
deemedworthy ofyour 100Greatest
Albums of All Time aschosenby your
readers-articleinthe December2006
I{orld's readershipr*1ize the seminal
power ofMichael schenkels early
Seventiesstint with the Scorpions(Iorce
It, No Heary Petting,In Trance,Virgin
Killer ot TakenBy Forceeasilycould
heartenedto seethe letter fiom Kirk
Hammett in the following issuegiving
props to later live and solowork, respec
tively, ofthese Europeanguitar maste.s
-Ldnce Abbring,Brdilenton,FL
8rs[{G
F0RCE
I'm sureyou guls arc goingto get a ton of
hate mail from religiousfolks aboutthe
article in the Holiday issue.
aucfer -Risirl8.
I or me,an l8-year-old Christian current
ly studyingto be ayouth pastor,I found it
very insightful. I nevernew much about
AleisterCrowleyor occultpracticesin
generaluntil I readit, and asa Christian
I think ics important
to haveat leasta basic
understanding ofother
religionsordoctrines.
I respectthe fact that
your magazinecon-
sistentlypublishes
unbiasedarticlesinvolv
ingguitaristswho
follow different types
of spirituality. Lots of
Christianscould learn
from such a nonjudg-
mental mindset.
BlakeDaile!
Pottder Sprir€s, GA

28 currAR woRLD
 lJ{$lll[rwqunrnS2 snrusrS4 RisvIEwE40 PROFILES& MOREII!

The CaliJornia acreamers lighten ult on their third release.
,'d , ,, ^"* o, are still reall,vpoppy.It seems
1+ ""*"o
ry XxvIN sCAxLoN like the most naturalalbum
"fiofo
o heartheUsed's
QuinnAllmantell
it, the angst ridden
screamo genrehisgroup
helpedoriginate is asendan-
geredascheapunleaded. "So
much haschangedfor bandsin
rhis past)'ear,with the intemet
andMyspace,"saysthe guitar
ist."Eve4'bod_v just wants to
get out, shate it up and have
fun.No onewantsto wallowin
someone else'smiseryarrdtry
to makeit their orvn."
Not surprisingl,v, the
Lsed'ssoon-to be-released
rhird dbum reffectsthis at-
ritude.?roducedb-vJolm
Feldmanat the producer's
homestudioin upscaleBel
Air,the as-yet-untitledre-
.ord is a surprisinglyupbeat
:urn from the melodramaof
:heir2004sophomore hit,In
i-oredndDedtl "Eveq'thing
r3s a lot morefull in it," says
\llman. "It's definitelya
:essier,hear.iersound,but
::le\-ocalsand arrangements
liET
c'M0ll, HAPPY
The first singlelion the
newa1bun1 \{,illbe "Handsome
Awkward," which Allmar
says"soundslike -
Aerosmithgot into a
fight with somebodl I
haveno ideawho,but
it soundslike Stephen
Tyler'sgonnahavea
seizure.It's definitely
bluesyandbasedoffa
really goodgritar
Definitelya heavier
riilierZeppelin
kind ofsq.1e."
In the stu-
dio,Allman prt
througha mixture
of orange,Soidano
and Fenderamps.
He alsoplal,eda
Danelectrobaritone
guitar "It's reall-vcool,"
saysAllman."It makes
all theseul1expected creaks
a n d f a r t s .Y o u c i l n t c s t e i t . ' l k

.''.;
II SEEMS IIKE
IIIEMllSI
IIATUBAt
AIBUM WE'VE
EVEBlltlIlE."
 Two new Satriani
STAGE
MIGIIT
releases cnltture the gruita;rist in his onstage plory.
lp|'i ayar,er or rr:me ster Plal.er,and it's fantastic mentary ofthe
!o haveanothersoloistin the guitarist's 2005
bandwho knorvshowto rock."

Jti:l'Itii#:".i+iii"::{llr'
tour oflndia, shot
The Anaheimsho*' is also byfilmmakers
the focusofdisc oneofthe Hamesh Haridas
Sdfrianirivel doubleDVD andits SatrianiLtue!DVD and Koushik
companiontwo-CDset,the set.Filmedfrom Sarkar. "It was
chrome-domed shreddercasts numerousangles such a different
his best knolr'ntunes-andlim- uslngntne catn- take on the band,"
self-in a bland-ne*'Iight. eras,it ranksasthe he says.
The CD packagespotlights most lavishSatri It's also one
a recentAnahein show fiom ani live film yet. reason whv the
Satriani'sS per Colossd?tour. B-vcompari- Satrini Live! DYD
Performingrvith lhlthm gui- son,disctrvo of js, in the guitarisfs
tarist calen Henson,drummer Jeff the DVD packageis a decided- words, "unlike t
CampitelliandnewbassistDavelarlre, ly home bre{,eddistillationofSatch's anything"he'sreleasedbefore."Th€re
Satdanipresentsa setpackedwith life on the road,comprisingbackstage are a lot of percpectives
here.Together,
favoritesfrom his career."We wanted and rehearsalfootageshotfor podcasts the_v makeup the total pictureofour
to do lots ofjammingand extendsome by his son,ZZ, duringthe tour''sEuo- life outthere on the road.";*
songs,"saysSatch,lvhocreditsCamp- peanleg."We got a little crazier,"says
itelli's skinsmanshipand staminafor Satriani,"a little more experimental."
the lengthierversions."Jeffis amon- The realgemhereis an unofficialdocu-

Buxx MeGrath&Ken Susi,ot tutl I was prayingln a band Glled oblitela-

tion.W€ playedat a nighklub,.nd we tu.ked.

JACK
wilTES
UNEARTH we covercd"seatonsin th€ Abyst."I took (are
of all the leadwork. lt wat reallyfu.kln'funny.
I t h i n k l w a 5 l i k e , f lo r i 2 .
.BI RANDY HARWARD ooyo! r.|ll mLryolrfiut
t0[T00ilEnY Ilusrrddon by STEVEN CIANCANELLI
Ct?
m.GtAtH My old band played. rhow at a high Wh.t hrt b..n you 6on.nb.tr
utn0fi8HltE tchool in the next town ovei we DECti<edfor
rlnt

"l got il from a Why mrd. you f,rt pk& uf . gunrrt
theoblivianr. He
had it b.*'tage
ata tig In De.
aull licclAlH lwer rummagingthrcugh
my uncle'r doset back in the day taure I wat
bored.He had someno-nam€eunburt guit.r,
and I gEbbed it. l etoodon hitwateted In
frcnt ofhb mirbrandthought,Thir k awe-
Ili rutr My brotherwae in. hatr netatband
when I wai youn8er.When lwat.bout nlne, I
jurtfgured olt lw.nted to be llke him.
a weekstnlght and playedin th€ palkhg lot.
Theo€anizel' askedlfthere wat anything we
wanted. wE taid, "we walt a box of
FruityPebblerand romemilkand \
L\ sohe bdk.'
m<CtAlti The fi6t Ozzfert thowthiryear.
We came onstage,and I waln't on the rame
pate as ereryoneehe and rta*edplayinga
\ tt 3r In rooo or 50,we Played
a rhow in NewJersey,We
jumpingaround and the

Wh.t r|, yo{r f,nt tuli..t

play it,but I llke
that.ldon'tlike
don't to dght
Wh.l ||.r th. firri 3on!
M.GIA'H A cheapLerPaul.opy. guitarandfelloffth€
l y wlfe'salwayron meto thrcw ,tege-with him.lt was
it out.I don'tplayit. lt't soCluety. a catastreph€,butlt wae
It hai nopickupe andnortdngr,
but I can'tthrowit out-lt! my
6l'ttuitai lVh.t lr y.urt lrlt pL(.otg..r?
tugl An lban€zRC-55o.ltw.s fl .CTAYHPtobablymy 6ret
f uoretcent yellow I with I still lbanezS Serie!ortom.lt3 a
hadthatguit.r, seven-etdngwith one EMc pi.kup,
white neck binding and no fr€t
markeB.ltl been through so many
!how5, had 50 mu.h beer dumped
*.CtilH "5outh of Heaven" on itand been leftoutelde Infre€zing
byslaye.My gritar only tempe.atures.And it rtill playt am:zin8ly.
h.d two rtrings, so lleahed iu3l llove myS Seier t€ven-ltdng. lt'5 retircd
i t o n t h e A a n d t h e D . A n da n - noq but I playedit frcm 1999to 2oo5,and
other guy 5howedme th€ dffto it alway5<amethrouSh for me,throughthe
"creove k in th€ Hean" lby D€.- Boodtimer a nd the bad times.

lull It ed leanhg/'ClazyT6in."
Th€ 6ret dfiwar definitelyridlcu-
lo|/t at thetime, butar long n<ctAl Juetplaywhatyou
as you t.ke anything tlow,
you'llgetit. J U i tB e o r l g i n a l .

3 2 c L r t r A Ru o R L D
 'Dhtlple' tin.e
"we had beenoPeningwith
cod Hdta Ut AI <ame ourlin 2oo'1, but we like
to keepthingtf€th so it was time to change
It. '9outh of Heaven'ir a dassk slayerct/t,to
it was an obviouschoketo leadthinStoffthie
timearcund. Plur,it maker a theatftal way
to openthe thow, be.auseI have mybackto
theaudienceuntilthe oPeningrili it done,and
then Iturntofacethem,"

-
9

"A Dunlop zakk wylde wah. lt's got a really "lhe A/B rwit.h tekes me from my
dirty, low-end tweepthat a rcgularwah (un.h tound to mycleantone. Basi(ally, 9
doern't have,a nd it! got zakkt vib€ wlthoui itswit(hetfrom ny MaBh.ll22oI to a
having his eolnd. Plusitl ftih to Playwith." di.ed'injected sitnal. Needle$ to tay,
lhardly ever ttep on thatone."

King!"
KerryFucking

34 crrlcR \oBLr'
 dear Sudtar hero!

OFKISS
He plays in one oJ roekts mlost successJuI acts and has iust
released' his Jirst soln albun in ahnost 3O years.
But what Guitar World readers teally want to knoas is...
What proftpted you to record3 ntw tolo . playeN wbo were very in tune oo you.ver f€€l.ompetitiv€wllh oth€r
albwn, LIeeto Win, aow \dhen you hadn't L wj th what I was doing and gull.r playerror feelyouhavetomething
re(ord€done for 28 year!? who could give me what
I wanted.A11the players -OonCtut(hield
aretop-notch guys,but
You answeredthe questionyourself I didrlt want pedection Do I feel competitive?Ohgosh,no.
in the studio;I wanted I've spentthe better part of40 years
flaughs]For a long time I felt like I was playing guitar, really honing what I
the gatekeeperto Kiss.Therewere creativity and greatfeel.
times,during lineup shiftsor when do. Are there people who play faster?
peoplewent off to try other Projects, H6u, differe *at lt Sure.Are therepeoplel'ho know more
when I thought Kisswasin jeopardy.I maklnga rc(ord whGreyou chords?Sure,butthat's neverbeen
felt somebodyhad to be thereto either didn't hav6to hav€Gene what I've been about. My goal is to be
mind the storeor bail water,and I felt Slnmonr' Inpul lor 5o PCF a guitar player who can pretty much
that somebodyhadto be me.But G.ni o{ the tlmet 13lt bcttcr handle anything-someone who can
everybodyreachesa point where lo bc the bo$, or do you 6nd hold down the fort. To me, that's a gui-
they feel they have to satisi' their your€lf te(ond guetting your tar playe/s mostimportantrole.There
own creative challengesand asPi- de.irions? are somereally flashy lead guys around
rations,and this wasreallyjust -Arthurclabll who couldn't play a solid rh,'thm with
the right time for me. a gln to their head.[dughs]But no, I
Actuallt it wasmuch more neverfeel competitive.I'dfeeltotally t :
liberating not to wdte with a comfortable getting up and playing :;
Ar€.lt th€ionti onihe album
n€w(ompo.itions,or didYoucull fixed goup ofpeople in mind. with anybody. ::
frolnthlngtyouhadlyingaround Making Lire to I/in was like
beinga film's directordnd ll youtouldplayonlyon€guitarfor therert
casting agent:foi each song, of yourlife,whatwouldlt be? 2
--4randonl urPhY E
I knew exactly what I was -8.C.Bones
Everlthing's totally new. I'm lookingfor, soI was ableto
not somebodywho believes cast whomever I wanted to wow. Thafs a tough one,My rootsare
in savingor recyclingsongs. play it. with Kiss, it's more in vintageglitars, and atthis point I al
I've alwaysbelieved that if a like knowing who's in the want a guitarthat hasa vintagefeelbut : ,
songwasgoodenoughwhen film and then writingthe alsofeelslike it's alwaysbeenmine.
I wrote it, it would'vebeen paits for them. Actually,washburn and I are cur_
recorded.I alsolike the idea rently finishingthe prototypefor a
that when you buysome- reallygreatguitarthat embodiesall
thing that I've had a hand the classicfeaturesofthe guitarsI
a
in, iCstodays news;it's grew up playing. l've always thought
not somethingthat'sbeen that guitarplayers,at leastrockplay-
$
lying around.Ics a reflec- ers,are pretty much dividedbetween
tion of wherethings are the Fenderand the Gibsonschools.In
at for me right now. that sense,I'vealwaysbeena Gibson
man,but my guitar doesn'thavetobe
Forth€ album,did you
a Gibson,aslongasit embodiesthe
workwith restion guyr rr
Flayerryou wete fri€nr,
with?

It wasn't a matter of
goingout and get-
tingthe hired guns.
Most ofthe players
were recommended
to meby other
players.Iwas
really fortunate
that I +dckly
wound up with
abunchof

36 cw
 same features. whewlThatwas a long
answer to a short question.
you haveetatcdin the patt that th€ {it,
guitarso||ndir bari.ally two 8! itari that
soundlikeone bigone.Canyou expandon
thntl
I remembergoingtoseeHumble Pie
andloving how the guitarwork of
SteveMarriott and PeterFrampton,
andlater,clem Clempson,meldedinto
onebig guitar sound.It doesn'tmean
playingin unisonor playingthesame
chordformationiit's morelike having
t,vo differentvoicingsplayingagainst
one anotherand creatingachord that
couldn'tbeproducedby oneguitarist
alone.
l've heardthat the long-term
planlor Kisrir to get to a point
t? where evenyou and cene don't
|ore haveto be onstag€anymoie.It
there any truih to that,.nd can
be Kl$ exist without eny ofthe
four original memb€n?
h
-rohn Estep
I
gui-
l€te well, the onlypartl takeexception
|Ind to in your questionis the ideathatwe
wouldn't "have"to be onstage.Ithink
dth
it's more that we might not belong
tI
ly
1;
t. onstage.we may reacha pointwhere
I
tr Kissmaybebetter off, andthe fansmay
be better served,without us.The goal,
-1
astime goeson, is to be ableto separate
i: ourselvesfrom whatwe createdand
still haveit live on.Practicallyspeak
ing, eventuallyourchoicewillbe to do
that or callit quits.I think thatKiss,
lovedor hated,hasbeena sourceof
I inspirationor irritation for asiongasI
but ;i canremember.And I'm proud ofit.
Areyouplannirgtore(ofda n€walbum
a of|(ite?
wlththecufientm€rnbert
all
I songsthat I listento and think, This is
I don't know.It's somethingthatcer-
tainly comesup from time to time,but I
haveconcerns.one concernis thatthe
songson which we'vebasedour career
havegrown largerthan life. They've
becomemorethan music:they'resnap
shotsofpeople'slives,ofwhat was
goingonwhen thesepeoplcfirst heard
e songor cameto a concert.There's
no way \(recan competewith that.I
canwrite a songlike"PsychoCircus,"
which I would put up againstalotof
my eariiersongs,and know thatpeo-
plewill listen to it andsay,"oh, that's
good.Now play'Love Gun."'
And I understandthat sentiment,
becausewhat is attachedto thoseearly
songsis huge.Sothe ideaofgoinginto
the studioto do a Kiss album,know-
ingthat writing anythingshort of
Beethovenor "HeyJude" is notgonna
cut it...it'sthe kind ofreality checkthat
maystopapersonfrom giviq it his all.
But havingsaidthat,under
the right conditions,I would
probablydo it. Withtive to
win,I've madean albumthat
soundsexactlythe u.ayI think
an albumshouldsound.I
can't imaginegoingbackwaid
from there,soifeveryonewas
agreeablewith the ideaofme
producingthe albumflaughs],
then therewould be some-
thing to talk about.But the
ideaofgoingin and having
too many"cooks"isjust not
appealingto me.
what arcyourthoughk on Peter
crirs' ex-wile,Mia,wrlting a
tell.illbook ls€aledwith a Kirs;
Iyd i acit t..o ml about the
€arlyday. of Kis!?Haveyou rpoken
to Peteraboul itl
-S€th Myers
No, I haven't andI really
couldn'tcareless.when people
write tell-all books,they write
them from their perspective.It's
like peoplelookingat a car acci
dent:thingslook very differentdepend-
ingon whereyou'restanding.Also,
we tend to male ourselvesmuch more
importantin the story than we actually
were-You know, the paperis probably
too hard to usefortoilet paper,but...
fldugis] No,I'm not a fan ofany ofthose
typesofbooks,whetherthey'remem-
or whatever.
oirs or autobiographies
I think itwas GeorgeOrwellwho said
it best,lthdt] the autobiographyisthe
mostoutrageousform offiction.
You'vewritteBro manyclasrkeon8r-Can
youpi(kon€that youfelt neverlivedupto
therestofthe re(ordand6xplainwhy?
I neverfelt that atthe time I wrote a
song.But in hindsight,there are some
*Lowe Gunt'intro!
Tune dolyn one half step oow to high: Eb At Dt GbBt Et).
Gbs.I dd 2 (ele. w/dis!.)
Gli,2
not great.There havedefinitgly
beenperiodswhere Kiss' music
haslost someofits directionor
focus.Someofour songsfrom
the Eightiesdon'thold up. An
albumlike Cdrnivdlofsouls,to
me,is a mistakeofat ieastthe
magnltuoe or [Nrusrc ]roml lne
Elder.That'sbecauseCd,"nrrdl
o/Soulswas not ofmy design,
mindyou-an attenpt to be cur-
rent or competitivewith a style
ofmusic that we weren't a part
of. It fell flat for thatreason.
That'snot to saythat it wasn't
a goodalbum,justthat it had
nothingto do with Kiss.Some
ofoul songsfrom the Eighties
were shallow.Theyjust don't
havethe depth orthe founda-
tion ofour other songs-
Have you wat(h€d 6ete Srrnnont Fdmily
You'remuchmore privatethan
-rewerr?
cen€. Couldyou €verr€e aamera.in your
' houre following you afound?
.t:jl -(hadsmithfield
,.-ta'
$ No, I haven't watched it. It has no appeal
s0ilE0F to me, i{'hatsoever. Any attempt to film a
|lURSOIIGSreality progr:lln whether ids a pseudo-
FRO]UITHE goingto male the situation itselfunreal,
reality show or an actual reality show is
EI|iIIIIS justby nature ofhaving cameraspresent.
WEBE And no, I couldn't imagine it for myself
sHAll0tt." I'd rather have bamboo slivers put under
my]rails. To me, yoursanilvcomes ftom
yolrr privacy. If s something sacred and
allyourown.
In the er y days6f Kirs,beforeyou hit it
big,what ta.ti(r helpedyougeltbrough the
rosgh ipctrl
Believingthat I was right. You have to
believe in yourself, because ifyou don't,
who else will? Andyou always gotta
meet the oppositionwith twice the
force that they meet you. llk
G U I T C R \ \ O R L D3 7
 cdn't play thdsl

BETCHA PTAY
CAil'T THIS!
-o@ This montht Guitar World Senior Musie Dditor Jimmn Brotsn
dares you to play '(Hopak"

"Hopak"
E
G DG
1

repeat @ twtce,
then skip ahead tog

"f hi" Mtc nq ah?mai\.l) br plo) ?d a' I h. 10t h lr.t oa !h. 3 tr it t.

rcpeatg, then\
Eendine

D GB
17
-1.0-fr10

P l r o i o g r a p hb y J U S T I NP H L L I P S
38 currAR woRLD
 HOBSE
PTAY
NeilYoung and Craxy Horse hit their stride in this first-ever
release of their historic 797O Fill,more East concert.

t{Ert
Y0u1{c
& After the tersc little electric folkie
palettecleanser "Wonderin',"they're
grarled passagesof porver stnirnming,
g D a s h i n gb e n t s t r i n g s r n d , o f c o u r s e ,
||ORSE
GRAZY backat it again,chiselingthrough ii-6."i:.lti V)ung's distinctive sticky-fi ngered
Live at the Fillmore East a siabofcourtry gar-age rock called impro\.isational approach, fuli of notes
REPRISE "Comeon BabvLet's Go Dorvntown." TIIEPAUSES that secrn to hesitate, ther stagger out

jb'r ly rro onozoowsrr

whitten singslead on this tribute to
small-burglife whilc he and Younglull
BETWEElI through his amp. The pauscs betrveen

HE sonic stampede starts
three songs into this historic
1970 concert. After nice, re-
spectableve.sionsof "Ever-ybodv
Knows Th;s Is Nowhere,"the title
tune from NeilYoung'sthen new
first albumwith his best e1'erbacking
gro p CrazyHorse,and the knotty
ballad "Winterlong,"Youngand Horse
guitarist Dannywhitten beginspar-
ring. Twclve minuteslater,they stop
theirunhurried ps,vchedelic barragc
of stebbillgtrvo-notephrases,slippery
little melodies,dollopsor feedback
ard just aboutanythingelsethat a
Fenderrlnp crankedup to t0 will spit
out if it's tortured enough.
the unsuspectingcrowd,taggingthe
end of Whitten'svocalphraseswith
briefsin-string ad libs,biding their
tine until Youngchurns irto a restless
versionof"Cowgirlinthc Sand."
TherYoungandthe HoIScrrn
looseagain.Young'sfrl.stsolo is prob-
ing,lull ofu,orried and lightly bent
notesthat seemto be raisirrgunan-
srverablepsychicquestionsaboutlove
and life. whitten, who hasa smoother
lone than Youn€i'scoarsegrit sanclpa-
per snarl,pitchesin,layingdorvnsomc
jazzy chordsto pavethe way back into
the \.erse.And when Young'sdone
singing,he and whirten spill their
i nstruments'gtts for anothernine
minutes.Theirjammingis flushwith
PHBASES phrases ar-ebig enough to ridc a rabid
Clydesdalc through.
ARE BI|i Theseblistcring,beautiful p€r-
EIIOUGHTO forn,anceshclpedput the "classic"in
BIIIE
ABABIIIclassicrock. For decades,theseprevi-
CTYllESllATE
ouslyunrelcascdtracks,outtakesfrom
the N,larch6 and 7 NewYork City con-
THROUGH." certs ($'hose billing u'as
shared *,ith the Steve
N{illerBand and Mii€s
D a v i s ) ,r v e r e a m o n g t h e
fsv nonbootieg recor-d-
ings ofYoung and the
originil Cfaz\'' Horse.
,\. \uch thev $,ere the
H0l\ Crxil of Youngfans.
\o( drc\''rc the first of
r l s e f i c so f l i v e r e l e a s e s
ihrt \\ ill \isit Young's
L ' r r k f x g c s ,j u s t i n t i m e

ffiffiWru
t o b i o u e t : r l r h r ' : r . r l ei i f o f h i s s t o d g y
P / d i | i c l i n r , i : 1 n J( h f h u b r i s o f t i v i n g

\\ hiften Ji.J ofr hefoin over-dose

i n l 9 ; 1 . r n L l : r\ . : r f L r r e fY o u n g a s
senblr!l r rrs \.riion ofCrazy Hors€
r i r h t o t h \ : 1 . I - r , i J r e nL l n ds t e e l p l a y -
er Bf f Kfrir ,ir juir.rrs.Eyentually
SUBTIME HAMMIRIATI.BORIO{AOAR
+M J0fllltEE t h e r l t t i . . : : : . :: . r . . i : r B i l i \ ' T a l b o t
Everrthing fhrcthold O gin Hl|OTEB irnJ Jlrnr:r.: Rjlnh \loline \\.ere
UndettheSun Heaft Stops Hooker j o j n ! J i ' r - - . : : : : " , i . :F f . r r r kS a n l p e d r o .
Beating Thi. rr:', ::.:. ::...r:rr reisnsofCrazy
l l i r . ( | . : - r : _ - . - r l r r , r ' sa t c h e r e a d v
of intfl'gling rad-
ior\ .::::. :.:.. :rrJelercLrpableof
f r , f ( : : - : : r : . , , : r . r i r l e sr e l u c t a n t
Delonge,Blink- rr:i\I!_ -.r::.:: : -i.:.r once igiin to the
with theirrixth itti::::- : -.r::.-: :lorr innnortalizcd
' . i : , , . : : : : - : r . - : r r . ' t d r l 1 9 7 0 .i k

x|lY.lf
1!&14 rqq-{ie qt the Fillnorc Eatt
I.fiitu O-l* Pkk ol Deniry
Mr, C ,..ro..-Any oJAnyone

t0Y.?l
xaxar, 44+At DoylightDiet
ao<Ill-*iffi.-Suoemovd
tetu--<iU AtQdet

Iho.tappinghk ror.2l
Dtilt-' oh ttland ICDIDVOI

ET
ffi!G.dily

40 currARwoRLD
 profrles

Gf,rulRocr
Cruitarist JerryC tells the story befuind the song that becqme
a YouT\tbe sensation.

ARL]ER TH]S I'EAR, thE popularI became. JERRYG I startedplayingguitarat

online guitar community was GwAs a guitarist,what do you lTyears old,justbecauseit lookedlike
sentinto a tizzy by a home think madepeoplesointerestedin a coolthing to getinto.
video ofa youngAsianguitarist watchingsomeoneplayyoul rock GtrYHow did you develop your
namedluntwo performinga virtuoso arrangementof "Canon"? jl.1::'i;1 skills?
rock versionof"Canon in D," a well-
known pieceofmusic by uth century
Baroquecomposer
JERRYG I think becauseifs
interestingto seeandto listento.
ew What inspired
i#ffi
G|III
GAVE
JEnRYCPractice,practiceand
practicel
cw Which guitarists a:reyou
JohannPachelbel.The
clip was postedonline at
you to createthis
arrangement of
I{ETATEI{T listening to these days?
JERRYC Y[gwie Malmsteen,Steve
the video-sharingweb Pachabel's"Canon"? a1{[tGtvE vai, Joe satriani,JasonBecler, slash,
siteYouTube.com,and
JERRYG Ijust like the PE|lPTE linstrumentalguitaristl Neil zaza and
withinweeks it drew
millions ofregistered
piecevery much. ilustc." lPorn€ueseBui?drist] concalo Pereira.
cw How muchwork 6w Consideringyou.obviousgifts
views.
But Funtwo was not went into i! and how as a guitarist, what would you most like
the originatorof the rock much of a challenge to accomplish with them?
was it? JERRYG Godgaveme talent,and I
veNion of"Canon"-he
was merely performing JERRYG It took me givepeoplemusic.That'sall I want. *
an arrangement created two weeks to finish
by a 25-yearold it. The trick was
Taiwaneseguitarist to get the balance T0[EAnr|tEIACI G

rr{:*:*
namedJerry chang. betweenplalng TnAtI nJEnnYC.

I
JcLLJv,drLrrrr "calt0il
n0c[," clEct
known,is a devoutshred- ||UITHB ||IIIH'S
head,who performsin c0-n0l
and aroundTaiwan with
his band,C Band,and you first start playing
teachesguitar.Guitdr guitar, and what
incnirerl wn,r2
Itorld recentlyconducted
an email interview with
the formerly unknown
guitaristresponsiblefor
the musical arrangement
behindthis internet
sensation.

GUITARWORLD How
doesit feel to havecaused
sucha stir in the online
guitar community? How
hasit changedyou?
IERRYCI'm happy
that most peoplelike
mymusic. The biggest
changeis that now I have
more sfudents.
cw Did it everbother
you thattruntwo's
Youtube Yideo caused
all the commotion,even
though it was your track

'o[[t$[lfi,]f,o'
he was playing along to?
JERRYG Not at all.
He creditedme in his
video for the original
rock arralgement,
and the more popular
he became,the more

42 currAR woRLD
 Alex Skolniak, Al Pitrelli andJortner mernbers oJ Testanrent
are unrong the unlikely costars in the
and. Sansa,ta;ge
annual Christtnds corl,cert tour of the Tra ns-Siberian Orchestra,
ez:eryholiday lotser's tantorite mu.sica,lJruitcake.
'$;: ,, Scorpions,AC/DC and Def Leppard,
"ot "o".o among others, laughswhen he recalls
tl'lITELJTdrumTers drumming? a rel'rew ofthe first performance: "It
UnecK. Lleven prpersprprngg read:'Phantomo{the operameetsthe
I c0-R0t{ F||n
L Check.Ten Iordsa'leaping? who meetsPink Floyd'slight show,"'
ChecLanddoublecheck.Two heavy he recalls. "Everybody thought I was
' metal shred
guitarists? Check.Hey, going to be depressedwhen I saw that
wait a second...two heary metalshred review, but I said, 'Thank you!' I'll take
guitadsts? what kind of Chdstmas 4ny oneofthose references,"
show is this? And with plro, no less? In the decadesinceTSo debuted,
Try to imagineCecilB. DeMille the group hassold more than five mil-
st€ingA Cfiristmas Cdrol in the lion albums and performed before
Seventies while on acidandyottill more than two million fans.Their lat-
est winter trek, which beganin early
havea pretty goodideaofwhat Paul
O'Neillhad in mind with me dreamed November,tales them to 117arenasin
up Trans-siberian Orchestra (TSO). just under eight weeks.To hit all the
O'Neill,a musicbusinessvet who has
worked with the likes ofAerosmith, the
dates,two full scaleproductions-each
including t4 vocalists,two narlators,
14musicians,an orchestral
st ing section,and enough
specialeffects to make
C,€reSimmorls'vrhiteface
turn green with enly-tra-
verse the country simulta-
neously.'ryou can't make
my dayswith big rock bands,when
sometimeswe'd have one crew setting
up a show in Clevelandwhile the band
sEE TiltSttt0ltfl's would be performing in Boston.with
big productions, it's the only way to
G||]ITTTTE GUITN make it work."
Tn scn|nt0lts Surprisingly,TSO'sgrandioseholi-
0tlso's'YtEAn!$ day albums,which includeCh smds
IilWtXIIn"N! Eve dnd Other Stories,The Christmds
"rusT[.tust0lt.' Attic a'ld TheLost ChristmasEve,
Pr.usYrIE0nss0ts didn'tflowfrom the pensofBrcadway
Ytrr .Etsl0tc( composers.Rather, they're the prcd-
uct of the remnants of the prog-rock
! r[ P|TREu.tlband Savatage,with whom o'Neill had
worked witl du ng the early Nineties.
"Savatagewere way into rock operas,"
#ffi
lT'sfltE
saysO'Neill."Their albumswere filled
with theseincrediblestodes.OnedayI
thought to myself, whafs abetter story
than Christmas, particularly Cbristmas
Eve?Think aboutit no mat-
BI||GEST ter whafs going on in the
sil|ltv world, everything stops
ITEEYER on ChristmasEve.

all the cities during the

BEEI{ I Evenin timesofwai,
there are ceasefires
Christmas holiday with just PAN|I
-ats||F." on that one magt-
;
one productio&" O'Neill cal night. so, with
explairN.'nve've got so stl|uilcr( g

many trucks, your head i

would spin.But I'm used a
to \i/orking like this from

;
=

44 currAR woRLD
 that idea in mind, we built the frilne
$'ork for TSO."
The "wc" O'Neill is referrilg
to is Jon Olivia and Robert Kinkel,
sa\.atage'snaln sinEierand ke),boadist,
d respectivcly. "We were or the seme
pa€iefrom day one," says O'Neill, "and
: thatwas to fonn a newtype ofrock
d group that $,ould push the
IT envclope and go furthcr than
r_\r any other rock band had
<Is bcfofe. I wxnted a full hea\'T
metal band, a full orchestrn,
a nassiveamount ofkey-
boardphyers and 15lead
singers. \l_hat we wouncl LLp
with $.l1San amazing mclt
ingpot. You go to see TSo
-:
r n d v o u ' 1 1s e es o m e b o d y
; tho played in T(ool and the
g the albunrs werc written !1,ith
cang playing right ai lg-
side sonebod,vnfio played
; Dtc.t5 . . . . . . . . . Richmond,VA
in Testament, who's playing
a DEc,16,.,,...,......Dallas,Tx
next to sonebod-Ywho $'as
in Asie or Blue O,vsterCult,
- oEc,u,..,,.-.... Houtton,Tx
staDdirgr'ight next to somc
body \l,ho just sang for the
Io Metropolitan Opera. We've
gotpeople in their t\r'cnties
plal,ingwitlr peoplc in their
frfties. We've got rlrck, pop, r&b, b1ucs,
classicalj it's this incredible crosspolli
nization ofstylcs, and what happels is,
each person inspir'es rhe other pcrsorr,
itnd we arrir.c at sonething urrique."
a
"It's thcbiggestshow I've ever been
x partoi" saysguitaristAlex Skohick,
who, iD additionto his renlrrc ir the Bay
- lrea thrash band Testament, rvasbliell-v
r membcr ofSavatage and has played
on albumsby Lanrb ofGod, Michrel
; \{.ashila ous !o Lrsonstage."
\'Iinningal]d Dave Egger. whcn not
pefformiig \\.ith rhe Dast Coast ver
sion ofTso, he leads his orvnbard, the
= 1lex skolnick Trio. Atthe tine he was
approachcd tojoin TSO, Sl(olrick was
keepinga low profrle, studyingjazz at
the New School in NewYork. "But I was
rcadyto getback into rock, and TSO
u-asthc perfectvehicle. Thc onlvthjng
I had to do differentl-vwas applt' nore
rock crerf-v to m]' playing which is very
diffcr-cnt from the ieelyou nced to play
fluid 1az,z."
sh redding aloDgside
S k o l n i c ki s j o u n t e l ' m a n
gritnrist Al Pitrelli, anothcr
Savatagealumnus, \tho has
pla"vedrvith acts langingfron
Mcgadeth to Taylor- Dayre.
"To be part ofsomething
so successful is a Sift at mY
age," sa-vsPih-elli. "One of
the gfeat things abortTSo is
that ifs notgcnre restricted;
n o m u s i c a lb o u n d a r i e si n
tnind. Also, thc shorv is two
hours and 40 minutes long
and there nrc plenty ofg-tritar
s o l o s . I t r , vn o t t o c h a n g eu p
too much from nigtt to night
because ofthc irltricacies of
the arrangen1cnts,but occa-
sionall,v I gct.rwa)' \\'ith one or
Both guita sts admit thar\r'orking
rvitlr a sho*.this loaded wirh speci:
effects has had its moments ofunin
tended comcdy. "There's a son€icallcd
'First Snow,' u.hich fealures snow fall
ing from thc roofofthe arena onto the
audicncc," says Skolnick. "one night, it
didn't uork end there wns no srowlWe
n'er-call looking around u.aiting for it
alrd it [c\.er came. For some rcaso[, it
Pctrelli recalls rnother night $'hen,
\,r4rilcperfbrming the sonli "Chdstmas/
sarajcvo," sirens srrrted going offin the
arena. "I thought !o m-vscll well, that's
:r ncw trick.It *,asn'ttoo longbefbre
rvc lealized that the foghad set offthc
smoke alarms in thc arena. They had
to cvacLLate17,000 people. UIe waitcct
aroul1d foI an ]rour orstage until c\-
cr-,vbod;could corne back in, at \r'hich
poin ve picked up right s'here rvc lcft
off." Well, $hat u <-ruldChristmns or
for that mriier a Christmrs shott bc
$ ilhout its sr.rrprises?J(
OlIT||UB
ORGIIESTBA
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Visit trotickets..om
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CUIT'\R \\ ORLt] {5
 wKffiqffigprofites
GONBA
AtBUt[r--

tES0Ut{0 ROCTSEf,RW A Band Nanneil Sue

',:O,f TfJOEBOSSO lioved as hubris, butClarke insists.,he,s into the studio, it felt fight. He was one
O. ?iotosrdpl l)r,NEIL ZLOZOVr'EF- thc real deal." The gr.oupnearlv chosc of us. I'11tell \'ou, there's nothing I don,t
metal-rqlegui-
femaie Ro.A Stdr"contestant Dilana like aboutthisgroup."
56f i.ili;;1:;:li"l::
l,.ii']j"i:ll Robichaux, "n hich would,ve been
intcresting," Clalk says.',But Llrkas had
Exceptfor rhe name. Justbefor€ the
fillale ofRoc,{ Sfdrrsupei.novd,the Cali
I.The 2 " v c . r r - o l .Tl o r o n t , ,n . r t i \ t i s lhc \rhole pacirage.\,.e coulLln,t arguc
ll|ST0BYL"a fornia punk-pop band Supcmova, which
stili pinching himselfaker beating t5 n M ith his irtensitll And the folned in 198qfiled
nalists ro become the lead singer.ofRock audicnce votcd hin1 their
{vo.ak/guitrr) a federallarr'suit
Star Supemova, the all starbaDd fcatur la\.o te, whirh didn't hurr. allegingtl.ademark
Dupla.tier, ing Mdtle]' Cr.iiedrunlDrer Tomn]y Lce, The guy's so talented, it's irfringement.With
t o r m e r c u n s N ' R o s e sg i t a r i s t c i l b ) ,
little time to fighrthe
Clarke and ex Nlerallica bassist.hson Rossi'sfearsome vocal case,Clarkeandhis
Newsted. skills can be heard on thc bandmatesdccideclto
As Rossi proved on the CBS realiq, rush relcased sirfie "It's takea nervname,"tse-
series,Rocl StdriSupernolo. he has AllLove/Be Y0urself& cJuse ol tlls I v ll]tne
the kind oforrsize.l pipes and persona 5 Othcr Cliches."which recognition frctor, we
needed to fionr a band ofbcen thcre, sho$ casesthe band's were forccd to go \r'ith
donc-thatr.cts. and he's not sh\, ebout no bull approach ro Rock Star Superllov:t,"
sat'ingso: "This band needs a la€er song\ar-iting.Accodingto Clark€, the
tionofcodzill) he says,d1yly "1\orr" n6
t h a n l i f e g u y \ r ' h o , s g o n n ab e l t i t o u t t o group's forthconing albun, slatcd for a uslikesi!,but\re'rehopingthcfansjust
the back ron's, and that's me, blother" lnre No\€mberdrop, hasbeen a pleasurc callus Supemova. Allerall, ).oucen,tsue
Rossi'spronounccments can be to make. "The nirute Lukas stepped the lans."lF

dttr, gut-burting,

TAIKE0I,ow
poritiEthinhnt

Ailll0utlcEl{lEtlT!
:l:f$11f;
::i:*".:l:::"?,
haibeen rcbuitl and
'tnN
--

ff*m:,*$},
 les

Stone Temple Pilot vets Dean and Robert DeLeo teann up

with Filter,s Robert Patrick and. d.eliqserthe
hean:y artillery,?atith their nela)group,

b: , ry nr-el or rrme
.lO Piorosraph
r b) TRAVISSHtNN
Tl OR StoneTemplePilot fans.
H Scottweiland s resurgenceas
L VelvetRevolver'sleadsinger
wasa little bitte$weet. On the one
album?itle ofRecordbeingmine.
I've playedair glitar to that somany
times-fucking rockedout to that-and
said,'Wow' I wish I wrote thatsong...
and that song,and thatsong..."'
Not surpdsingly,Army ofAnyone's
everythingwas in-house."
Because?atdck hasa fairlysophis-
ticatedhomestudjo,the fledglingArmy
ofAnyone were ableto put together
highly realizeddemosofabout 30 songs
beforetheyjoined forceswith cel-

-i#
hand,youweregladto seehis trouble- debutcontainsechoesoftrilter's ebratedrock producerBobEz n. Once
plaguedcareerget a boost.On the other melodicsensibility,and ithas pienty of Ezrin signedon, artistsand producer
hand,you couldn'thelp feelingrather that powerfullypreciseDeleo brothers gotdown to work at L.A.'shistoricrock
sory for his former STPbandmates. riffing that anchoredSTP.But for the studio,the Village.Deanoptedto craft
They were the oneswho stuckit out most part,Pat ck andthe Deleos have an expansive,heavilylayeredguitar
over the years,wheneverWeiland's
drugproblemslandedhim in rehabor
tal<enwhat is forthem a freshslanton rYEPI.IYEII soundforthe album,*'ith six-string
jail and preventedSTPfrom building
rock andro11, with a soundthat'sbased
squarelyin that riff-happyplacewhere
AIR OUITAR contributionsfiom brother Robert-
On the new album,Deanexploresall
upontheir early successes. Suddenly, Ninetiesgrungeand classicSeventies TOFILTEB'S the main resourcesfor wrestingvaried
Weilandwas{ionting a hugelysuccess- hard rock converge.Luzier'sstadium- TINE||F tonesfrom an electricguitar,includ
ful all-starrock and rollband, and they
were...well,where exactlywere they?
sizedbashingcompletes the picture. RECOBDAIBUMing doubletracking alternatetunings,

As itturns out brothersDeanand

RobeItDeLeo-STP'sforme. guitar-
ist andbassist,respectively-haven't
exactlyhung up their axes.Ior the bet-
ter part ofthis pastyear,they'vebeen
at work on the self-titleddebutalbum
by their new group,Army ofAnyone,
which featurestrilter leadsinger
RichardPatrickand ex DavidLee
Roth drummerRayLuzier.According
to Dean,he couldn'tbemore thrilled.
"This is like adream cometrue for
me," he says."l'm sucha fan of fuch's- recalls."Ironically,we're all under
I've alwaysfantasizedaboutFilte/s
"Rayreallyputs the icingon the cake,"
Deansays,laughing."Thatguy'smov-
ingsomeair behindrne."
Army ofAnyonegot their start
when management broughtthe Deleos
togetherwith Patrickto u/ork on
materialfor the fourth Filter album.
The three rockvetshad crossedpaths
beforebut had neversatdown in a
roomto w te songstogether,Once
they did, amutual musicalunderstand
IngceveLoped qurckty.we salcl,wow,
this is too goodnotto pursue,"'Dean
the samemanagementandlawyers,so
sllMAI{Y backu'ardguitar,Ebow andslide.
"I alwaysapproachthings dif-
IIMES- ferentlywith everyalbum,"he says.
FUCKI{0 "BackwhenI went into make?iny
ROCKEO OUT M&sicwith StoneTemplePilots,I said
T|lTIIAT." to forodrrcerlsrendan [O?rien] dght
-0 ltm[0 from the start:'I don'twantto haveany
humbuckingpickupson this album,
and we'regonnado very few overdubs.'
But when \re got to Shdngri-LaDee Do
ISTP'i 2oot linal releasel,it was a very
lush and beautiftrlrecord,with lots of
layers.The A rmy o/A nyonerecordis
more alongthoselines."
Dean'sguitarsfor the newalbum

48 currAR woRLD
 prof,les

included"the basicfour
food groups,"he says-
"I had a fewlate-Sixties
Telecasters, including
onethatl like to string
up in Nashvilletuning *
lusing the octave strings
from d 12 string setfor
&
the thr eelowest-tuneiL
stringsl;I had some
Strats,someLesPauls
and somehollowbod-
ies,includingsome
cibson l.0s]295s.I also
useda Danelectrowith
lipstickpickupsand a
rea1lybeautifulPaul
ReedSmith hollowbody
McCafty model."
The acousticguitar
that fig!res promi-
nently on severaltracks
is a 1950cibson J-so.
"I cameupon that gui-
tar a while back,"says
Dean."No matter what
micrcphoneyouget up
in front ofit, it sounds
Sreatall the time."
And on the album's
fi rst single,"Goodbye,"
DeanemployedRichard
Patrick'sFenderBass\aI baiitone waslike,'Thatwasgeat. Youplayedit and eight iDchspeakers, half a dozen
electric. beautifully.Nowdoubleit.'And I,m like, Magnatones,Silvertones,Univoxes,
"tuch had a few ofthose from his 'whatl? Doublethad?,But
we nailedit Ampegs,and a lot ofsmallerFender
daysin Filter," saysDean.,'He used in acoupleoftakes,and it createsthis ampslike the FenderPro.It wasall
abaritoneto write the song.Father greatstereoeffect.It soundslike cho vintagetriftiesand Sixtiesstuff,, One
trigure'on our new album.The $itar rusingbutit's actuallydoubled.My exceptionwasa ClassAclosed-back
waslayingaround,soI usedit for Strat'son the left andmy,57Les?aul
'Goodbye,'which waswritten combon'Hdeby his friend JeffSnider.
really Special,which hasa P-90pickup, "Yon canswitch it to t8 or 30 watts,
quickly."As Deanexplains,the song is on the right." Ezrin had the same and it is particulariy gorgeouswith
cameaboutat ?atrick'surging..,Rich ideaforthe soloin "Doesn,tSeemto a Strat.You backoff the gain on the
wasreally after me andRobertto get a Matter,"only he wanteditdoubled guitar andyou getthis tone that,sway
songon the albumwith that pafticular in octaves,"So,"saysDean,,'Ihad beyondanAC30.You know that real
tempo.Sowe satdown and I wrote the to relearnthe whole solooneoctave bell like chincl'ou get liom a Strat?
verse,Robeftwrote the pre-chorus,
This amp is bestfor that."
I wrote the chorusand the songwas Deanemployedalternatetun
donein a matterofminutes.,' ings on the rhlthlr guitar tracks for ssEltTtAt tror beefiertones,asoDthe afore-
mentioned"Fathertrigure,"oneof
Deanusedthebaritonefor the
song'ssoloand trackedit in tandem
"Disappear"oow to high,D AD G A D)
xnd "It Doesn'tReallyMattei' (low to
ilsTE1flilG Dean'ssecretweaponswasaBossOC-2
,roxl ttil?LE Octaver'- "It killd ofhugs the track,',he
with the PRSMcCartyinthe choruses. high,D AE AA Cf), buthe playedthe PttolS says."On the secondhalfofthe second
Togetherthey createa distinctivetone solosin standardtuning.In doingso, "Sexlyp€ Thlng" andthird chorusesof'ceDeratiolL,you
that recallsthe soundofan electric he createda dilemmaforhimself:how canhearanotherguitaacomein. It,s
sitar,asitweavesa tunefulcounter to perform the songslive.His solution the Octaverco irlg up und€rneathand
melodybeneaththevocal."I double wasto havethe tr'enderCuston Shop reallygrabbingthcbottorn."
trackedthe baritone,,'Deanexplains, createsomedoubled-neched Stratsfor 5ong" Deanlooksforward to hitting the
"and the PRShasadoubleoutputthat him. The lowerneck,which Deanuses roadwith Anny ofAnyone.Alongwith
I ran in stereo."The PRShasapiezo for alternatetunings,hasfull- and split- their own n-.r-material,the guyswill
pickup systemwith its own output, humbuckingoptions;the top neck, Ftlfin
alsobe dippinginto the Filter ard STp
allowingDeanto printthe piezo and usedfor soloingin standardtuning has shot,' backcatalogsin a true spirit of,.alt for
mailpickup signalsto separatetracks. humbuckerswith no spliroption. -thoft 4ut,1995 oneand one for all."
"Soyougetboth thosesounds,but it,s Dean'sdecisionto layerguitar "Richcane from a dictatorshipin
one performance.Also the pRSis iD tracksmeanthewoldd haveto rely ATIIY OF
a1{YOf,t Filter,"Dearsays."Itwas his band:he
Nashvilletudrg, andtogetherwith rhe mainly on smallerampsin the studio. madethe decisions;he paidguysto play
baritone,it makesa really niceblend.,, "A big4xl2, 100-wattamp would chew in his band.Butwhen u'egot togethe.,
Doublingwasa keystrategyfor sev up too manyofthe frequenciesand he said,'I want this ro bc all ofus mal<-
e.al ofthe album'sguitar-solos.'.That's there'dbe no room for anythingelseto ing democreticdecisionson evertthing,,
an exampleofhow Ezrin reallychal- breathe,"he explains.',SoI had a real which is how Deanandr atwaysdid
Ienged s,"saysDean."t laid down the assortmentofsmaller ampsfor this thingsin STP.Thar riglt thereshows
soloto the song'Disappcar,, andBob album:halfa dozenSuproswith six you what kind ofgul' Richis.',{t

5 0 c u r T A Rw o R L D
 MFIAItIC
TIIECEIISADE -0R E[SE.
 AYBE YOU'VE READ the press and heard
r h e i n t e r n e rb L z z r \ J t . J \ . f _ i \ i I ' n r e r h p
new lop cats ofnetal- That thcir new album,
?hc Cr&sdde(Roadrunner) a splawling,
ambitious melodrama ofhigh passion, tri
umph and traged_v-is the best Metallica
album Nletallica never made. And thatthese
four titanic talentsar-ebum rushingthemusic$,orldin a rva,v
not secnsincethe earlyda,vsof, u,ell,Metallica.
Unlessyou'rcamongtheTri\.ium faithful,it night all
] ..:
-_<--.--+-*-
sound Iike a lotofbluster. But lhe Crusddeis that special kind
oialbum that altels a band's career and enlarges its fanbase.
Asmartshotoflucid record making, it cuts to the chase faster
than its predecessor,Asc€nddncy.Theglitars s[ortfiom the
l.ery start andbuild into a permanent uproar ofcauterizilg
riff.s,u.hiz bang solos, sheets ofdissonance and grand themes.
But Trir.iurn bling moIe to the proceedings thanjust garden
vadety fcrocityt they perform \i-ith rrue avidio and heart, and
thc fusillades ofsound they create feel like poetic acts of$-i11,
u,hich nakcs them all the more transfixing
"We try to make each cu! nore
i n t e n s ea n d s u r p r i s i n g t h a n t h e l a s t
one," sa)IsNIatt Heafi7,Trivium's 20
t ,vear old singcr and co-gllitarist. "Our
artistic goals are exceedingly high. We
strir.c for originality on all fronts.Ior
us t0 makc a record u,ith one or two
w
good tracks u,ould be a terrible let
down, to us and our fans."
Admittcd $'orshippers at the throne
ofMctallica, Trivium, Iike most art
ists, honcd their craftbv stealingfrom
their hcrocs, takingany and evervthing
that wasrl't nailed doun. But Tdvium
reimagine their sourcc material in ways
that feel startlingly fresh. They ratchet
up each nuance, finding new shadows
and light inthc original photograph.In
doingso, thet\.e managed to pull off
an exhilarating syDthcsis ofthc classic
and the modern thatwill lcar.c listeners
praying for more.
The gui!ar interpla,v betweeD Heair
and 23-year-old fel lorv guita rist Corey
Beaulier.rreached hurricane force
onAscenddnc.,,'s"Pull Ilarder on the
Strings ofYour N{arq'r." On Crusdde
c u t s i i k e " D e t o n c r i o n "a n d t h e n i n e
minute title cut thrt closes the albun,
the duo have their sights seton nothing
less than an apocalypse.They're rvell
support€d b\, TriYium's rh!1hm sec-
tion: clrulnmcf Travis Smith and bassist
Paolo Clcgolctto near.e intense, synco-
pated, knottl'patterns thataccentuate
the guitar crunch. And Heabr's singing,
rvhich for vears resembled the screech
i n g o f a c a t \ r . i r hi t s t a i l c a u g h ! i n a c a r
door, has nratur-ed;his vocals come
at,vou in scc'thing, melodic bursts.
{ffiff
c0t{
0ff F#,[[
(Ironically,he nowsoundsmore like JamesHetfieldthan
JamesHetfield everdid.) You can'tcallTrivium's musiclnet
alcoreorthrash, nor is it progressivemetaljit's a remarkable
hybrid,one that increasinglydefiesdescription.
formed in orlando. Floridain 2000.when the then
l3-year-oldHeaE hookedup with then u year-oldTravis
Smith,Tdvium quicklysecureda dealwith the ce.man
imprint Lifeforce,and in 2003issuedtheir debutalbum,
Emberto Inferna.I.ora while, Heafr and Smithwent through
bandmemberslike ParisHilton goesthroughfianc€s.After
theband signedto Roadrunnerand releasedAscenddncJ
2o05,its personnelshiftedagain,result
ing in the presentlineup.Ascendancy
madebigwavesin the States,but in GUIIARS(Heafy)
Englanditcauseda sensation,and ulti
matelywentGold.Trivium put the suc-
cessto strongadvantage by tou ng con-
stantly."You namethem,we've opened
up for them,"saysHeafu."Three tjmes."
Alongthe way,Trivium madeno EFFI(TS(Heafy)
bonesabouttheir intentionto dominate
in metai.The]' immodestlyreleasedtheir
own scorchingver-
sion of Metallica's
"Master of
p,,nnpiq,. A ''(HeatlMaEharl
-:.-::-,-'r c -,':-
a cindte
: :' lcMroooDsr.roo-
watthead;(Eeaulieu)
wassuosequenlly MaBhall.tMPr,
addedto pressings MaBhall €l341oo/1oo-
ofAscenilancy. wanpoweramp,
(both)1960Maish'll
More to the point,
in inteIview after
interuiew,Healy srRlrcs(both)DR
wentonrecord Pl(xt(bothlDunlop
statingTrivium's
eminence,goingsofar asto claimthey
were goingtobe "the next Metallica."
while suchpronouncements canbe
chalkedup to youthful insouciance,
manyfanswere not amused,"I don't
takebackthingsI've said,"Heafy
says,"But moreandmore,Ijustwant
Metallicato be Metallica, andwe'llbe
Trivium. On the other hand,l0 years
from now, I wouldn't mind reading
interviewswithbaDdswhere they say
they want to be'the next Trivium."'
Not surprisingll',when Heafoand
Beauli€ustrut irlto the GuitarWorld
offices,they arethe cooiestofcuston
ers.Tall andtattooed,dressedinblack,
they are a commandingpresence.
Heaft's insightand eloquencearepre-
ternatural,the wheelsofhis intellect
spinningsmoothlybehindhis confident
mien,Beaulieucones offmore asa
"regularJoe,"the kind ofguywho, if
he smoked,would stashhis cigarettes
in an upturnedT shirt sleeve.As they
takeseatsin the conferenceroom,
Beaulieutearsinto a pre-interview
sandwich.HeaE wavesofflunch; he's
hereto talk, and he doessowith laser-
beamfocus.
--*a*+{--
GUTTAR wonlD You guysarelike
rap starsitl that you boastaboutyour
trwesomeskills andplansforworld
dominatior.
ttATTHEAFY We're confident,and
we're fine with sayingso,From avery
earlyage,I knew I wantedto be in a
really,really bigband and playin front
oftholrsandsofpeopleeveryday.why
elsewould you stert e band?
(oREYBIAULTEU We're all fairly
accomplishedmusicians,andwe have
bigdreams.I (cantnued onpage96)
 HE MREa
time of gloriouslyunashamed
soloingandshreddingexcess.
The metal world was domi-
natedby playerswho were
only too happy to shetch out
in virtuoso efforts dlat not
only took guitar playing to new realms
but alsoinspired others to reach for a
higherlevelof musicianship
Then camethe Nineties,a decade
that was,for the mostpait, a lead-
deprivedwasteland.While the likes
ofKirk Hammett,Zalk Wylde,Joe
Satriani,SteveVai,Marryf riedman,
DaveMustaineand Zalk Wylde were
fightingto keepthe sacredart ofshred
alive,mosteveryoneelsewas doing
their bestto bury it. Not playinglead
guitarbecamea badgeofhonor
In truth, the Ninetieswere sucha
bad time for guitar solosthat just one
tlue metalguitar heroemergedin that
decade:DimebagDaIIell.At artOzzfest
severalyears ago,Zakk Wylde surveyed
the namesofbandson the tour and,
turning to his pal Dime,said,"It lools
like you aod me arethe onlyoneson
this bill that can safelygo fom the low
E stringto the high E andback again,
bro." His commentspeaksvoluries
aboutthestateofshred in the posF
Eightiesmlrsicworld.
Rhlthm chopssufferedin the
Nineti€s,aswell asmanybandsopted
for the one-fingeredsimplicity ofdrop-
D tunings.W1ile simpleriffs makeup
the majority ofmetal's most mernorablg
crushingmotifs from "Smole on the
Water" and "Paranoid' to '"\ryalk'and
"Maninthe Box" it's niceto comeacross
a challengingrifffiom time to time. But
neverhavewe hadto wait solong.
Well,my fiends, we aregladto say
that the wait is over.Thanks to a new
breed of bands-includingArch Enem$
Lamb ofcod, Tivium, Nevermore,
Childrenof Bodom,Dr.agonforcgShadows
Fall,Mastodon,OpethandAvenged
Sevenfold-aswell asseminalmetalicons
like SlayerairdMegadeth,shreddingis
64 GUITARwoRLD
\,€Iy much alivesndkicking assin 2007 Beaulieuto teachyou the essential
In fact it is the very reasonDave ofmodem shred.Usingtheirown exam-
MustainespawnedGigantour. ples,we'll show you eve4thing from
"This tour is first and foremost rhlthm and lead playing to speedpick-
aboutmusicianship,"saysMustai$e. ing and sweeparpeggios.Sograbyour
"onmostofthe rocl packagesout guitar and get ready for the ultimate les-
there, the guys in the bands are aftaid sonin shedding-2lst centurystyle.
to playguitar solos.?alt ofthat hasto lNote:Due to anunforeseenissue,
do with the fact that they can,t.,, thereare gdps in thefgure numbersin
Gigantou!he sa!s,is for a difrerent thefollowing lesson Restd'ssured,holr-
breedofguitadst "It's abouthavingaspiri! ever,no content is missingf,
atalmL And iCsaboutbandsthat arecen-
teredarounddle guitarandthe leadguitar.,, 0IIAPTEB
| "SP0RT
METlli':
ltl0DEnll
Ifthat soundslike your Lind ofgig RIIYTIIIYI
METIIODS
you're ilr luck. In this Guitdr World All the guitarists involved in this
exclusivg we've gatheredtogether lessonhaveonething in common:they
Mustaine and his Megadethcoguitar- arepassionate and dedicatedplayem
ist clen Drovet Lamb of God'sMark who write great ffs, many ofwhich are
Morton and Willie Adler, Arch Enemy,s quite challengiig to play.In fact, Arch
Michael Amott and Fredrik Akesson, Enemy'sMichaelAmott describedthis
and Trivium's Matt Heafi and Corey t ?e ofplayingas"sport metal."
1J Mark Morton ,.TheHangoverriff, playedold-schoolstyle
FIGURE
drop-D tudng (low to high: D A D G B E)
F5 D5 BbsA5 G5 G'5A5Abs
? , M . __ .
1:2 Mark Morton,.TheHalgover riIP'played,.contemporury
FIGURE style',
drop-D tuning (low to high: D A D G B E)
n------ llr-4i-
.6-6 5 5-8-8-7-7-5-5-4-4-7-7-6-6
FIGURE
1;4 DaveMustaine
Freely
B5/F{ Cs/G Bs/F{ C5/c B5/Fl C5/G Bs/FlCsiG F$5c5 F{5c5F{5c5Fls cs
t-- I 3 t/'l
FIGURE
1:5 DayeMustaine
Es c5 D{5 cf5
.Egule'3333
fingeriigllll
FIGURE
2l Willie Adler
drop-D tuning (low to high: D A D G B E)
--
--||]'l
P.M.----, , M P.M.,----------,. p.M,-,
dp.M.__r
+Ue ihderfnser e..nd andf.rfrh tin6
 metal,"
'Holy busl,,and than having to move
there'ssodruchstuff in therethat you've your entirehandback ar,dforth Lsee the
- sayswi1lie a real finesse
to a lotofthe riffs, andthey'rephysi- really got to be on top of -vourgame." "regular"fingeringunderthetablaturef.
callychallengingeverytime you play
them.with the newsongswe'replaying
ln addjtionto his ultraprecise
picking and knackfor writing riffs,
**ilw lfyou haveto mo\€ your hand,your
timing is gonnabeoff andtherewill be
from Sacrdment, l've got to u'arm up for Mustaineis the masterof rhlthmic I stringnoise.Plus,you'll be relyingtoo

at leastan hourbeforewego onstage."
we askedAdler'sco-axman,the
alwayseloquentMark Morton, to
explainsomeofthe rhlthm playingdif-
ffi
nuance."Onethingl'll oftendo with much on guesswork,"
my rhythm playingis slideinto a Like all metal masters,Mustaine
chord,"saysMustaineashe plays usespdlmmufing(?.M.)to greateffect
FlcuRE1!a. "That makesthe chords Palmmuting is the techniqueofroll-
ingthe fleshypartofyour palm [PHoro

ferencesbetweenmetal's"old-school"
and "nu-school."Despiteabrutal hang-
ovet Morton not only steppedup to the
platebut alsocameup with "the hang-
overriff" to illustratehis Point.
"Here'san exampleofwhat I would
considermoreofa iate-Eighties,Bay
Area thrashtale on the riff And here's
a morecontemporaryst!.leofdoingthe
samefiff," Morton saysashe Performs
1r2.'As you can
rrcURE 1!l then IIGURE
see,they'rethe samepattern,the same
note choices,but with a differentand
faster ght-handcadence, giving it a
moremodern,'deathy'feel."
W
reallygrowl, like in Ashesin My
Mouth." Another must know Mustaine cl forward ftomthe bridgeto damPen
techniqueis his "spiderfinger"chord- the st ngs.But asMustarnepointsout,
grabbingtechnique,which he demon- thereis anotherway to stopnotesfrom
stratesin rrGUnE &5 andPHoTos a andB. ringing,andyou can do it with your
'Alternatingpairs offingers like this is pick. "Somanypeoplethink picking
2:2aWillie Adler
FIGUBE 2:2bWillie Adler
FIGURE
drop-D tuning (low to high: D ^ D G B E) drop-D tuning (low to high: D A D G B Ei
PM. P.M. -_----_
2:3 willie Adler
FIGURE
drop-D tuning (low to high: D A D G B E)
P . M- - -- ,

-6-5-

2:5 MichaelAmott "I Am Legend"

FIGURE
Gtr. tun€d two whole stepsdown (low to high: C F Bb Eb G C)

n nvrl n F rl n nvn F n |] n rlV

-.F
5r 7 -!--- : - - : - - = --T---T
- in-6-i 8-10-12-10-8 1o-ez-p-r+p-
v-v-v v T

l3J

2:6 MichaelAmott "Nemesis"riff

FIGUFE
Gtr. tuned donn two whole steps (lon to high: C F Bb Eb G C )
N.H.l-_,- **p.rtr-
(l2rh tI.)" (2ndft.)" (gthfr) ----,---- -----,-,
n r n nvn F n - n F al NVNV|1VrlV FVNVFVNV

As you canseeandhear,the " ght

handcadences"Morton is referringto
involve'gatlop"and"rcversegallop" 2t421
(1) (3)
pickingpatternsplus doublepickinga phoro:@ @
*Natutut harnonnr.teatA on nhng
lotofthe notes. bt lirhtb' reiing lftLhandlirqet
aNt n.ri"e it up and d.vh the n?.k (see CD ROM fa.laqe)
We askedall our guestteachers to +lApprat psiti.h oJ Mi.haet s Iret hanii\:* durins the .teatian af nh't'h natrrul hathohics
namea fe$'albumsthat they consider
vital refer'ences to greatmetal rhlthm 2:7 Matt Heafy
FIGURE
work.In additionto Metallica'sseminal Em(addg) C(adds)
Mastcr ofPuppets ar\dPanteras vukdr |1 V |1 rlVN F NV|1 n nvn n Flvn n nvF
,ispldJ o/Powcr,Megadeth'sclassic P,M,,.. P M . - - - - - ,-
Rustin Pedceioppedthe tally Says
Amott, "That albumdefinitelysetthe
bar pretty high for musiclike this.It's
full of 'Hall ofIame' riffs."
clen Drover,Megadeth's leadguitar pholo:O o
ist,hasa prettychallengingrole-not
only doeshe haveto performleadsby Dlm(adds) Fnr(addg)
fis virtuosopredecessors ChrisPoland n v n |1vn rl V n NVN |.r FVF
P . M-' - - -
andMarty Friedmanjhealsohasto dou-
ble Mustaine'svastrepertoireof"Hal1
ofFame"riffs."Someofthe rhythm pat
ternsareequallydemandingtoplayas
the solos,"saysDrover "Takea songlike

6 6 c U I T A Rw o R L D
is just aboutmovingthe pick up and string jumping and wide-stretchriffs minor exampleof "gettinga picking
down," he says."Butyou'vealsogot lPHoto f dnd flcutE 213l." pattem going and then throwing in a
to think abouthowto killthe string's MichaelAmott hasa similar and same-key,scale-typerun to makeit
vibrationto givethe line articulation. equally lengthy pre gig warm up. T\vo more interesting,"a ploy endorsed

On a rifflike the onefrom'Hanger 18,'
I'm not reallypalm-mutingtheD
string with my right hand; I do it all
with pick articulation."
Mustaineexplainsthat this involves
ffi
Arch Enemyriffs he often usesin this by Dragonforce.
ritualare ftom "IAm Legend"(FrcurE This sectioncloseswith a riff
z!5) and "Nemesis" (acuRr 2!6).flcuRE offeredby Fredrik AkessonofArch
2!7is a cool,off kilter offeringfrom Enemy."This is a rhl'thm riff I came
Trivium's Matt Heafy that uses all six

ffi
up with [FrcurE 2!9].It's gotgallops
playingin astrictstaccatofashion."The strings,'gets all your fingersworking inthe firstpart and l6th notesand
[ote dieswhen the pick touchesthe and alsogetsa galloppick going" octavesin the secondpart, I alsouse
sffing again,"he says.Furthermole, it llcunr 2r8is from Heary'sband- mysecondfinger to fret the bassnotes
requiresusinglessof the guitarpick's mate,CoreyBeaulieu,and is a greatf# on the bottom string lPfloro{."
point.'nvhen I'm reallypedaling,
the amountofpick stickingout liom
my fingers is minute [PHdo D]," says
Mustaine."But when I'm doingpercus- C(adds) Dfm(adds) Fm(addg)
nv nvn nv
sivestuff,like 'Train ofConsequences'
P.M.
I slide my fingers awayfrom the tip of
the pick lPtoroE]."
In conclusion,Mustaineoffersthis
advice:"I thinkthe secretto accumte
picking is slowlyspeedingup.It's really
FIGUBE
2:8 CoieyBeaulieu
G5F{s

ttutL-.t LJI
llt I lt I

|2.
A5 G5 F*5G5 G5 F 5

!rtlt4\4\4-14 4-\4 I
1'\ 1\- l-l I l\l

FIGURE
2:9 Fredrik Akesson
Gtr. tuned do$n two whol€ sa€psoow to hiehr C F Bb El G C)
P.M.--__-. P.M.,____,

easyto play rhythm superfast,butwith

mostguitarists,ifyou slow down their
recordingsyou'll seethat they aren't 3--\3 3 l t-/l
P.M.,-_____-. P.M. p.M.-___--_-.
very accurate at all. Most of the time .
they'reterrible-Ifyouwanttobefast
dnd accurate,learnyour rhythm parts
byplayingthem slow and then gradral-
iybring them rp to speed,conceftrat-
4-\4 2 22 24_-\42222
ing the whole time on beingaccurate. l-\i l-\l t./ l l-\l
Thereis no other way." @
CIIAPTEB
ll "110
PAll{,
1{0GAlll"r FIGURE
3:4aclen DrcYer FIGURE
3:4b clen Drover FIGURE
3:4cGlenDrover
WABMIIIG
UP
As Lamb of cod's willie Adler l : | r V r ' 1V n V n V n V l l V
has alreadystated,warming up for an 2:VNV'.TVFVFVNVN
hour or more is vital for "Sport Metal"
participants."We'vegot someriffs 4-12 141s+r5 141214r5+:15 141 : 1 5 1 41 21 4r s f 1 5r r
similar to this that a.e hard asshit,"
he sayswhile playingtlcurEt,r. 'rso I
haveto warm up for an hour or more 123t32123132 3
before everyshow,mainlybyplaying
the riffs in our set that I find the most FIGURE
3:5 Fredrik Akesson
demanding.I work on my picking Gtr. tun€d two whol€ steps do$T (low to high: C F B , Eb C C)
speedand staminaby doingsimple,
quick chugswith triplets fuallopsl
thrown in tflcuREs t!2: dndbl, repeat-
ingthem over and over and speeding
them up asfast asI can.I'11alsodo

68 cUITAR woRLD
 t:
There's only one way to mastcr this:
"Practice...a lot of fucking practicc,"
says Megadeth's Glen Dro\er. "It t*es
dedication end a sensethat]'ou'fe
never totally colllfortable with your'
skill level. That's ebsollrtely a healthJ
attitude for glo\l-th as a guitarist."
Drover then procccds to show us three
simple "st tolrt slowly andbuild up
speed scnsibly" alternate (dorvn-up)
pick ing excrcises in E nlinor, FtcuRE 3{
.{, that enable you to focus on-vour
pickingtechlique and "really get the
blood pumpitg."
once you'vepaidyour duespractic-
ing theseessentialchopbuilders,1'ou're
rcadyfor the bigleaguesandrtcuRE t!5,
a blistering,exotic-soundingE minor'
basedworkout ftom Akessonthat
involvesthe "HungarianscalelrrcuR!
t36lcombinedwith somechromatic
stuff and elternatepickingall the wa-v."
FrcuRES3? is a simplerbut equallyeffec-
tivc E inor, Hungarian-spiced lick.
irg iechnique,sa],sYngg,ic,"Youha1,e notesfi om 'bleeding'iuto oneallother
to let the pick'fall'fl.om
strirgto stfing, and soundingliken strunmed chord."
asif )'_ouu,ereshulnmirga chord. HeedingYn$vie's\\.ords,work on
It's importantthat you doD'tseparate FlcuRE4:4, a three-stdngAninor rrpeg
thc pick strokes.when executingan gio from Tfivilln]'sMatt Hea6'.Orlce
upward sweep,dngthe pick upu.ald you'vemasteredthat,checkout the
overthe stringsin one fluid motion. morechallengingfive-string\€rsion hc
Again,it's imperativethat you don't use offersin flcurE4!5.As Heas says,"It',sall
individualupstrokes." a malterofstartingthemoffreally slow
The ftet-h:lndcomponentis equally andworkingyouru,ayup."When you
impor-tant."Youleed to muteeach havethoseLnderyoffbelt, try ttcuRt
string$-ith the lret handimmediately .r10,f redrikAkesson's slipperyBm7i5
afterpicking itby lightiy liftingor'r'o1l- diminishedaryeggio(B D FA) that con-
ing'your frettingfinger to keepthe tinuallygoesbackon itselfandrepeats.
| :l 2 L I 2 I 3 2 l\l 2
3:6 Fredrik Akesson
FIGURE
Gtr. tuned two whole stepsdown
(low to hish: C F Bt Et C C)
lllermre pickine throughont

4 IEAD
CIIAPTEi II:
W|}R(OUT
SWEEPPICI(IIIG
ABPEGCIOS
S$.eeppickingis probably the nost
famous shred technique out thcrc.
YngwieMalmsteenis its undisputed as
ter andthe gu-vwho put it on the rnetal
But ashe explains,most players
l11ap.
don'tknowor employthenecessary rules.
2:l 32t32l32ll2ll

3:7 Fredrik Akesson

FIGURE
Gtr. tuned two nhole stepsdown (low to high: C F Bb Eb G C)

I I I I 2 I 2(+l) (21 I 3 2 1 :l 2

FIGUBE 4:4 Matt Heafy FIGUBE 4:5 Matt Heafy FIGUBE4:9

3-stringA minor arpeggio s-stringA minor arpeggio A minor arpeggiorun
c

t12t21t12t2.1
4:10Fredrik Akesson
FIGURE
Gtr. tuned down two whole st€ps
(low to high: C F Bt trb G C)
"Ntost EiLritaristshav€ agelcral idca
ofho\r to appr.oxilnato thc tcchnique,
but on11'aferv do it cor-rcct1y,"hc sa"vs.
"The rest ofthem lct thc notcs ring too
longor tr,\' to playtoo fast and sacriflce
precision and clariq'. Eithcf \r:\', it
sounds like shit." As hc cxplairs, the t 24

onlywayto corrcct these en'ors is to

separate thc light and lcft hand corr
n
ponents of s\\-ccp picking, n1asterthem
separately and then coordinate then1
rvith one anothcr. ofcourse, it's not
eaq'. You'll havc to put in a lot ofprac
tice time to gct it right.
To get a fcel fol. the light hard pick

70 currAR \\'oRLD
 offt"sJi. -J.e." Ashepoints J||URlIEY
"*"-pl"
out, his wide-stretch,six-barchromatic
"Legato"is a fancyItalian musical climb is madeevenmorecljmacticbl' For everyseriousguitarist,plalting
term for "smooth."For shredglitarists, the factthatthere'san "almostsub- the gl.litaris alifetime achievement.
As
playinglegatorequiresusingnumerous liminal overtonefrom the high E striig Mark Morton wisel,vnotes,"There's
hammer-ol and pull-off combinations becausethat st ng is alsofrettedwhile no time spentpla-vingguitarthat's
to makelinessoundassmoothaspos I'm fretting the G andB strings." wast€dtime." r
sible.once again,thereis no magic
shortcut.Masteringthis rvayof playing
willtake practicc,and lots ofit. 5:5 GIenDrover
FIGUBE
when pullingoff, pullthe string
slighrl,vin towardthe pa1m.This u'ill
help keepthe stringvibratingand
preventthe note from dying.when
you'reready,checkout the moltenlava
l3 2121], 24 2 | 3
examplefrom GlenDroverin the key 'ha,,rer.n l'.tn wthJrtl hant
ofF# minor shownin FrcuRE 5!5andthe ".\$.rc
prro,o,@
demented,diminished-flavoredrtcunt
t:t, a lick iNpired bywhat Glencalls
the "RandyRloads diminishedrun" +6-7-9-7-6:
(FrcuRE 536)And don'tbe afraidto break
thesephrasesinto "bite-sizechunks"
\t 2,1 12.1 2t2421121\l 212l\l . 13 2 1 3 . 1 I1\l/l
and chew then slow\'.
FIGUFE5:6Glen Drover"Randy Rhoads diminished run"
6 TEAI|
CHAPTEI W||BI(|IUT
IV:
POIYEB
PEIITATOIIIC
with sweeparpeggios, diminished 15-12_12+
+14]_14_11_14_11 11 _4
licks andHungarianscalesbeingtossed
about,let'snot forgetthe almighty
minor pentatonicandbluesscales. 312 13 t312131 31213I3121l

FIGURE
5:7 Glen Drover
7-9 10t13-12-1

121123321321211 2 3 I 2 I 3 2 l\l 2I | 2 3 2 I 3 2 1\l : 3 I 2 3 2 I I 2 1\l

FIGURE 6:5aMichaelAmott FIGUBE 6:5bMichaelAmott

Gtr.tuneddowntwowholesteps - Gtr.tuneddowntwowholesteps
(lowto hishrC F Bt Eb G C) (lowto highrC F Bb Eb G C)

Sure,rhey'rcsimpleandubiquitous, 3i3121ll3l2l3l3l213Lll2l l13tztllllllllll2l3l312l

I
but thesefi1.e-alld six note scales pho'o,@ @@
are responsiblefor moregxeatmetal
riffs nndleadsthan all other scal€s 6:6 DaveMustaine
FIGURE
combil1ed. Sometimes, the bestway to -rs;{+r5_;-'
-rs -i
bleak up all the srveep-picking,legato 15- i - . l l, - 15f
and speedpickedmadnessis with a
burst ofpentatonicpurity or ballsy
blues.CheckoLltN{ichaclAmott'ssim
ple but eflectiveE minorbluesscale(E
G A Bb B D) \ride-stretchburst irrlcuRE 71512-121s171512;J17 1s
6:ta.As he corecdypoirts out, it's
merelyan extensionof the nore com
mon E minorpcrtatlrnic (E G A B D)
clicheshownin thc first halfofacuRE 2l2l2t2 32tl
5:tb,but it definitelymakesanurk. Phot"'@
The und€niableinpact ofpenta-
tonic andbluesscalesis illustratedper-
fectlv in HGUnE6.6, abrilliantblast from
DaveMustnine.Sinilar to a leadhe
playsin "Holy wars," this is a textbook

72 cul'fAR q,oRLD
 CAST
Kirk
Hammett

Mi(hael
Amott

Stephen
Caipentel

HermanLi

SamTotman

Matt Tuck

Padge

Devin
Town9enaI

Corev
Eeaflieu

Matt Heafy

lerryCantrell

ffi
v.
*
{f
**i ,:!
 PR0G
tEss0ll,
tltAl{ilGt|JslvE VIRTU0S|I
GUITAR
ioltnprrnucu PlGKll{c
THE
bttrtottsTnATEs
TECHI{I0UE THE
BEllll{I| MEUilllERi
tlcKsT0"PULL
lislGBIrtctD MASTERPIEOES
s0ils"Al{tl0THEB
FROM IIREAMTHEATERA1{llHIS CAREER.
SOII|
irlllil'r
iilJi ,:li,;i!l!l;i.
HETHER SCORCHINC
stagesell ovcr-the u'olld
asa nember ofprog_metal
masters Drcan Theater or
bumingup the lretboarLl
as ihe fiontman in his own
po\\'cr trio, John Pctrlrcci
consistently continnes to blir\! minds as
one of toda]"s most brilli ant pl ayefs. In
this exclLrsivelesson, the liuitarist unveils
the key ele cnts to his Phenomenal
tecirnique and demonstratcs the silin!
tute ljcks to such ciassic DT songs es
"Pull N{c Ul}der," "Sacrificed Sons' atld
" l \ t e t r o p o l i s ,P t . 1 , " a s w e l l a s h i s s o l o m a s
te.piece, "Damage Control "
"When i! conesto aitefnate picking,"
Itetrucci explaits, ",vol1can make an anal
ogl b drumming: a drunJneruses niJ{)
handsto playpatterns, but might choose
to have all ofthe accents soundcd \r'iththe
right hand. Gldtarists use do\4'nstrokes
and upstrokes to play fast patterns, btlt
doublingup on dorvn- or upstrokes might
be essefltial to the sound ofa specific mel-
ody. So as apla-ver,you've gotto sharPen
' u c l :r s I o u c r n '
y o u r f i ( k i n g ' k i l l . am
I
 FIGURE Ia sDspended2ndl9th chords 2 "Metropolis,ft.1"
FIGURE
Petrucciepitomizesthe idealofhaving
c5 csusZG
one'spicking skills together just checkout 1rl=4 -T1n ,=104
suchtimelessDreamTheatertracksas"tratal ffi m
Tragedy"and "Erotomania,"aswell asthe
aforementionedsongs.The 39-year-oldg!itar_
ist hasseenhisstaturerise steadilysince1989
andthe releaseofDream Theater'sfirst album,
when DreamandDay Unife.BI the time of
lg9 4'sImdgesdnd words,Petrucci'stechnical
skillsplacedhim at the forefront of the metal/
prog-rock/shredworld. Recentstintsasthe
third guitaristin JoeSatrianiand SteveVai's Fsus2
c3 guitar summittourshaveonlygarnered
Petruccimoreacclaimworldwide."Our
fan baseis bigger now than ever," saysthe Csus2
gujtarist. "It's incredible how the fans have
,.\

P,M. J

FIGURE pedaltones
4 open-string
)=104
85 85/E (111)

FIGURE6 "SacrificedSons"
'l=E4
N.C.(E5)

stuck with the band and have continued to

grow in nurnbers."
DreamTheater'slate"r-elea.e,score, i. r- N.c.(Fl5)
two-D\D/thee cD setthat includesthe bands
2othAnniversar,v Tour glandfinale,recorded
at NewYork'sprestigious RadioCiq,Music
Hall thiee hoursin length,90 minutesofwhich
featuresafull orchesta.Otherrecentrcleases
includethe cJi aive in ?o/rlo D\D and Petrucci's FIGURE alternatepickingtechnique
? developing
6rst soloeffo.t, suspended Animdtlon. VnVnVnV n - (loikstroke \ = upstnke
Petruccirecentl],took time out to stopby FVnVnVn
Gwheadquartersto offerup this exclusiveles-
son/interview.

cUITAR w0f,LDDreamTheater'smusic
rangesfrom the thmsh metalheavinessof FIGURE
8
Metallicato the technicallychallenginginten-
'iq ofcomple:'orog 'ocl. what band.or gui
tar playershaveinfluencedyou the most?
,olrt{ PErnuC(lRushandguitaristAlex
Lifesonare amongmy biggestinfluences.
I11fact,ifl had to namemy favoriteband,it
would be Rush.Oneofthe essentialthingsI
pickedup fromAlex is how to makethe guitar

82 cuITAn \ URLD
 exampleFlcurr l],I'm usingthe openB string anotherexample\{herein all of the chordvorc
soundreallybig, especiallyI'ithin the context
asap;daltone thatsustainsthroughthe entire ingsincludethe top two openstringslflcun! 5].
ofat o.Thishasbeenusefulwhenplayingon cw A stapleof the DreamTheatersound,as
myownwith mYsideProject. chord orogression,whichhelps to createa
-elodic cJnnectionbetweenall of the chords well asofyour solowork, is the useof airtight
cw How do you go aboutmakingaBuitar lines,suchasthose
part soundbigger? aswell ascreatean ominouskind offeeling Euitar/bassoctave_unison
I think thesetechniquesalsohelp to makea L the hearryinterluderiff in "sacrificedSons."
PErRU((lWhen playingrh)'thm guitar' Prriuccl That'sanotherexampleof the
oneway is to add ninths-or seconds to the rhvthm part more interesting,andifyou add
chorusand delayeffectsyou canend up with Rushinfluence.Alex and Geddy[Lee],espe-
chords,or addthe fifth on the bottom ofa cially on their early records,playedsomeincred_
voicing,and tryto useall six stringswhen a guitar soundthat'sasbigasahouse!Here's
plaving
' 'Heie chords.
. anexampleLrtcur:tal: in-readof
Dlavinsa strriqhtC5chord,I likero dddI\e 9 arpeggios
FIGURE
'usoetided .".ond lo. secand sving thirdlrerl
bybarringairos'rl' rhe.lringsal l\e thifd n
'10-

1|) Steve Morse

FIGURE Arpeggio exercise
.{ D/F*

fret. This alsoenablesme to addthe low fifth,

c, on the botton ofthe chord,rvhich fattens
up !hesoundcoLlsidefablY
cw Canyollsite2n exampleof l\'" rypeof
chordin a DreamTheate.so[g?
?ETlu((l For oneofihe main rh)'thmgxitar
Dartsin "Metropolis,Pt.1" FIGURE 2l,I usea
tis fs voicingplayedacrossfive stringslbdr
2l;follow€dby a Csus2voicingin the nextbar'
I Jlsoarpegtraat.rhischorJby dragging rhe
pick acrossall ofthe strillgs,movingfrom low
to high, insteadof strummingall the strings

This is abigpart of my playingstyle.

AryrimcI car rr-eoperrstfirg.in a chofd.or
a d da n i n t h l, u i l l F o r . \ a m p l . l l l o f i e r r r r m e '
playtheseopensus2voicingsinsteadofregular
powerchordslrtcurt r]. Usingopenstringsor
;dding the fifth on the bottom of a voicing below
the root helpsto providea biggcr,richersound
GwAre there any other rhlthm techniques
vou
' pickedup from Alex Lifeson?
ritgucct,q.big one is the useofopen stnng
pedaltoneswithin a chord prcgression.Inthis

84 GUITARWORLD
ibly complexand kind ofbluesy riffs togethertn shouldbeplayedin. Agood exampleis the riff Oneof us might think a riff soundsgood sta]'rng
irr the ]asttrvobarsof the pteviousexample. in 4/4, andsomeoneelse thinksitsoundsbetter
octaves,and we asabajld like to take that sarne
We knew we neededa riffin Fl, and itjust alternating with another meter, sowe'll figure
approachto get a really thick soulld.
Here'sthe "sacrificedSons"rifflFlquft 6]: cameoutthe way it didwithoutus thinking out a way to do both. That way, we end up get-
in Lhekeyof E andis ba'edaround specificallyaboutodd meters.Butthere.rre ting all ofthe differentvariationsjn there.
it s Dlayed
scale,E C A B' B Dl u irh a momentswhenwe will want to makethi[gs 1w You'rewell known and respectedfor
the E minorblLres
that arehalfsteps' moreinteresting,andwe'llstaftto think about your incredibleprecisionwhenjt comesto
lot ol chromaticismlnotes
or onefl'et, dpartl added.This riff is palm- how to takethingsevenfurther in termsof altematepicking.Canyoudemonstratesome
andic pla]ed with rlrcl changingthe meter.We'll sey,"Is this phrase waysfor playersto developand improvetherr
muredlhroughour
nateldown-up]pickingexclusively,which tn b c n e ri f i r ' sa l 'i n a 8 . o r - h o u l d irrl t e f n a r e alternate-pickingtechnique?
between9/8 and a different n]eter?"we'll PEltu<(l There are acouple ofdifferent
this caseis essentialin order to achievethe
sometimestryeveryvariationand permuta- u a ) s r o p l a y l i c l t . l i k c t h e p r e r i o u s o n c :o n e
machinelike executionthat I'm lookingfor.
many tion untilwe get somethingthat soundsdght v a y i s d o w L r u p - d o w n _ t l p .a n d t h e o l h e r i s
cw The riffalso encompasses
to all five ofus. startingon an upstroke and playingup down-
metershifts.
prrrucctThaLs righr.The llfst phraseis A lol of times it's a malter ofcompromise up down. When playingin en odd meter, it
only onebar iong,but it's a bar of6/4.It's fol-
lowedby a bar of4/4 with a little 3/8-bartag
that finishesoff the phrase.Thesefirst three "DamageControl"
barscanbe thought ofin groupsofnotes,the ,i=69
fifstbeingsix.followedb1 iwo groupsoffiv.
FlGUREllbnelody
and then two groupsofthree. Next comesthe

1ta rh''thm
fIGURE
2 P.M. P.M. P.M. P.M.

Gtr. 2 Npeats Fig. 1|a thlee limes

riffin F4 lbdr 4], which is first plal'edin 15116

and then,with an added16thnote,is played
in1/4.
cw Is it difficultto get the bandtogether
on shiftingmeterslike these?
PETRu(cl Sometimesit is, dependingon
the riff, but speakingformyself,I justfcel the
riffgoing by, aswelt asthe inherentmelody
within it. As far ashou.to countit, thatcan
challgeat anygiventime, dependingonhow
Mike lPorlnoy, rrcdn) Theat,r & ummcrlis
phrasinghis part.I don'tconcernmyselflvith
the mathematicalbreakdown,or evenhow I'm
feelingi! I just focuson wherethe melodylies
within the riff
As a band,we sometimestake itto
extremesby shiftingbackand forth between
differenrmerers, and*e cin havesomeprecty
big disagreements aboutwhat metera phrase

86 cUITAR woRLD

,.-
 can get confusing becausethe phrasc might rvillhelp to work out anykinks inyourpick
feel better starlingon a dowlstroke, and when ingexecution.It pretty much soundsthe same
the riffcomes back around you find that t-ou're when playingit eitherway,but it elablesyou
on an upstroke because ofthe odd number of to get usedto accentillgeither a downstrokeor
notes inthe phrase. You have to get used to an upstrokewith equalfacili!y.
being able to accent notes with either a dou'n- This skillprovesinvaluable whenyou're
stroke or anupstaoke as necessary. playingsomethingthat changesmetersand
\ 4 h a L I d i d e a r l y o n a 5p r r r o ' r r y p ' e c r i c i r g alternate picking constantly;vou
onsranrLy;vou won
won'tr be
De
rouunewasto pLaysome- thrown offor tempted to
thing-be it a riff, scale, play consecutive down-
arpeggioor whate\.er-with strokes in the tricky spots.
alternatepicking,fi rst Double downstrokes can
beginningon a doi{'nstroke sound cool for certain riffs,
and then beginningon an but ifyou're looking for a
upstroke.Thiswas p mar- consistent, "clock€d" type
ilybecauseof the influence ofexecution, you have to
ofsteve Morse,who is both be able to alternate pick
an amazingtechniciaras both lvays.
well asa brilliant guitar Here's another great
playeroverall.IfI had to exercise for getting your
pick my ail-timefavorite alteInate-picking technique
guitarist,it would be Steve. together lFrcuRE8]. I drove
He's saidtha! vou should a lot ofpeople crazywhen I
be preparedto alternate was growing up; my family
pick anlthing startingwith would yell atme, "Why are
either a downstrokeor an you playing the srme thing
upstroke.Theyboth feel over and over?" and I'd say,
different, so *'hatever -voupractice, you should "I'm not itjust soundsthat way!"
do it both ways. cw Canyou give an exanple ofusing
cw What's agoodwayto getstarted with r h i sa p p f o a c h" h e np l a y i n ga c r o . .a d j a
this approach? cetlt strit,Igs?
PETRU((IYou can start \r'ith the sinplest PETRU((l Sure.Agood exampleis playing
thing like a scale fragment [FtGURt7]: this is arpeggiosFtcuRt 9, bdrll: here'sa G major
an octave and a halfof a G major scale, and arpeggio,startingwith a downstroke.You
I like to practice this phrase ascending and havea little problemspotbetweenthe c and B
descending repeatedly, starting fillstwith a \r-:ngbecru\erhedown.r_oLe or lhp B .rring
downstroke and then playingit again starting is followedbl' an upstrokeon the G string,
with an upstroke. This is agreatwarmup that meaningthatyou haveto crossthe B stdng on

88 currAR u,oRLD
the wayto the c, andthen-vouhaveto cross cw In the firsi bar ofthe melody,you allorv to makcthe guitar soundbigger;tl, e sameis
the c to getbeckfor the next downstrokeon all of the notesto ring togetherthroughbeats true in bar 4, so,when playingtheseriffs, be
the B. It's a lot easierto play lhis figurestar!- threeand four. sureto allorvall ofthe rotes to sustaininto
ing with a downstrokeon the lorveststrin!, PEllu<(lThrt s anolhereren_ple of t1'ng eachother and fili up the space.
lflcuRE9,bdr2].The nextlogicalstep is to add
pull-offslFrcuRE e, bdr3l, which u-ill feel the
most natural.Butyou haveto practicethe hard FIGURE 13 solo
onessoyorfll neverget stuckon atricky pick- double-timefeel
rng patterr E'
cw Did you learnany specificpickingexer-
cisesfrom SteveMorse?
PITRU(CI Yes;this llextthi[gis something
I learnedfrom one ofSteve'sclinics,and I still
useitto \\-armup lttcuREt0]:the exercisecon
,isr-ofalterncrep.ckinga longsefie.oibarre
chordshapes,andthose"problem"elements
ofconsistentalternatepicking areaddressed
ircross muchofrher-elboard. Eachshape'.six
noteslong,playingdo\1'n-up-down, up-down-
up, with palm muting throughout.
cw A $eat exampleofalternatepick-
ingthlough shifringmetersis the melodyof
"DamageContro1,"from your solorelease,
Suspended Animation.
PEriu((| Rigfit.Duringthe first eightbafs
ofthe melody.the metershiftsbackandforth,
onebar at a time,between7/3 and 4/4. Here's
the rhlthn part [FrcuRE 11a],and here'sthe
melodylflcuRr rlb]. My pickingapproachrs
norrharsrricton rhisprrl, howeve-: some-
timesI'll useconsecutivedorvnstrokes, and in
other instancesI alternatepick consistently.

90 currAR $,oRLD

'*
 Gw Ho\r-do you plx) rhe chorus rnelodv?
F r T R u c c r L i k ct h i s l F r c u R E
1 2 1 :v o u c a n s e e
that the l1lelodic shapes here are bascd on the
r " i r | . e o i l ) . L ' ui .r r l i , . e c r . ur . h c r . r " r : .
7/8 for three bers. folbrved br befs of9/8. 4/a
ancl6/8.
c w I n o t i c e f i a t y o u c h a n g el h e t o r c
o l l r . . - r ' t . . . | \ e c o | . , , , l p t .\ i n g r h ( ,
meloclic figulcs.
PIIRU(CT l hcle is somethiigtobe said
for changing !'our t rc ns ]'ou pla!; I thinir it
adds to ihe expression. This is somcthin[i that
dcr.elops u.ith rimetyou rnal heer sonle young
c r p l a y e r sw l t h g r c a t t c c h n i c a l a b i l i n , b u t
attention to shapi[gthe tone rakes a degr.eeof
matlr t]'and expericncc. Joe Satrieni has been
a hugc influence for-mc in this fegrrdi Dot onh'
r r p o , r i r, l \ , r d L e c lr-i . : l r . ' - : n r o n . : o r r
i s j u s t u n b c l i e v a b l e - b u t h c c h a n g e sh i s t o n c
b r i l l i a n t h : r s h e p l a , v sH
. e'll usethe$'ah nar,
of just pick ilong the length ofthe string et dif-
onedo that befirrelAndthen, nro barslrtc P E ! t u ( ( i T h e M e t a l l i c a i n f l u e n c el s
I'll think Uror', i vc ncvcr heard anlole do a p p a r c n to n t h e n r a i n r i f f l F t c u R El a l . I
r h d f L r e f o r eIl h a v e l i t t l e p i c t u f e s o f S t e v € i n r n \ . oflen describe Drern Theirter es a malriage
n,.orrlerlrrr r;ncodie. iker r.c. bet*ecn thc soundofYes and Metallica,
c w T h e s o l o s c c t i o no f " D n n r a g eC o r t r o l " meaning ir's the instrunentation ofYes bLrt
sl'itchcs to a doubLe tirnc feel, and voLrcrenk with a hcavior sound in terns ofthe glitar ar.
up thc shled machine. t h e c l o u b i eb a s sd r u m m i n g .
P E T R U (I( lr F r e . , r e o c op r, , , f ' r . r i c k . i r This fiff is comprised ofdifferent slidirr3
therejhere s a four-barlick I play ovelthe Er n{o-note power chorlls pla}'ed agdnst a lo\\
section [FrcUREtt], e)iecured eitircl"vwith fast opcn E pedaltone [FrcuRE 1 4 ] .E a c h o f t h e s e
alternate picking. po\rcr-chords is eithcr a root-fifth or a fifth-
cw Let's go back into the pasl for a mo- foot voicing.
r r c r r . I ) r e o f D f . r r - T \ e x r e . . b i J J c , rr J . l e .: . When playingriffs like these the sound oi
"Pull NIeUnder." the ilnp becomes a verv imporlant factor: \ o!:
FIGUBE
14 "Pull NIeUnder"main ff
. = lt)2
N . C . ( E 5A)5 G 5 E 5 Fl5 c5 E5

I g e n e r a l l l l i k e t o p l i y h i g h e l m e l o t l i e so n
the ncclc pickurp, and ifI {.nnt a specific note
to jump out,I'llsrvitch ro rhe bridgepickup for
that one note. Tlris nclodv combines a chordal
outlinc along s ith an inhcrent melody. and
F5
the articul:rtion choiccs I make in terns of
"speaking" the melody r-cvcalthe influence of
-i.ltere.t:ng
S . s \r V J i . S r e l e . L h ek i n L o Frr'.rf.
ever-\rthiighe does grabs yon. l'1lbe listering
to hlnl and think, \\'o\\,,l vc nc\'er heard anv-

ri|j
92 cr:rTAR tvoRLD
d o n ' t w a n t t o o m u c h d i s t o r t i o' rn b e c a u s ct h e
lo" ror.. ne.d . , ber:l'r. \ " rdof ri r,
c l e s c r i b e ist a s t h e s o u n d o f a s t e e lp i p c b c i n g
s m a s h e di n t o a b r i c k b r L i l d i n g . . .
cw Tsthis a pafticLrlarly Yiolent flicl1d
pETru(cr |/-dughfe,] A litlle bit! So the Lcy
is rollirg offihe gainon the a p,asu'ellasthe
bass; on sonre ofn) older_x'lcsa/Boogics, I'll
h a r , et h e b a s so n z e r o . o f L o r 2 . r \ l s o i n p o r t a n t
FlGllBE15 "Nletropolis.Pt. l"
t=120
NC
nri . y'nntnVnVn
is that tbe riffrnusrbe paln-nutcd, and when
pla"vingthe chords -voushould dragthc pick
across the strirgs in a staggered, deliberale
manner, as opposed to stflrl11nringthcn1in
quick s!ccession.
cw Another Eireatexemple ofco1npleri
. i r g l ,- n u r el , r e c p i - e d o \ e ' . h i f t i r r l ' ' n r, , 1 5i .
the slow interlude section ol"N{etropolis, Pt.
l," from Drean Theate r's lrldges dnd ll-ords.
P E r n u ( ( rT h i s p e r i l r l c u R E1 5 ] c a r b e
intefprcted a nuruber ofdiffefent wx"vsl
one is as t\{'o brrs of l2/8, s bdi\,ided as 5i I
p l u s 7 , / 8 ,f b l l o w c d b y . r b a r o f 1 0 / 8 a n d t h e r
t2ls subdn,ided as 7/8 plus 5/8 Through
t h e l a s t t h r e e b a r s o l r h i s f i t + 1 r e ,I s \ r ' i t c h
f r o l n s t r a i g h t a l t e r n a L ep i c k i n g t o L r s i n e i
d o u b l e d o \ r ' n s t r o k e s\ { h c n n o v i n g f r o m o n .
subdivided gfoup to another.
The easiest\ra]' to p1a),fxst moling metri.
_'
n o d uL r : o r s l i \ e r r . . c i - r o l r L r r e n u l i '
smallerbitsi for exinple, the firsl riffcan L.
t h o u E i h io f a s 1 - 2 - 3 ,l - 2 , t h e n 1 - 2 3 , I 2 , 1 - 2 B L r i
ifI tr) to count ir and p1a\,it at the same tin1c.
I get lostl r
b y r o t s NP E r R r a c [ r . t s a L L

rrrLn.rrcom.^arrrWzuus. ^ Pi(r,tonb.hi tor riari

r I 5 E r A r r s N a A d m n ,n r e d b y w B M L r s c c o R r r l R c h i ! o i h P , ; '
L] 5ie,edbY!!ARNIRIAMERTANt
1l PLrsLsN H c a o R P U $ d U Y r . r n r$

P U I M E U N D € R W o ' d s : n d M t r s . b y ] O t s N P E r R LMr ia. tas A L L

B RE : r d ( E V N M O O R T. o P l r 6 f :
' 9 9 : ! ! s M U s c . o R F a n d Y r t E' A M s N c A R g h t 5 A d nn ; t . e d i
lrB IlLrsla aoRp lsEd by Perms on cl^ f Ff_oP!3L s- Nc ao N:

t o n r q : W E ! s c c o R Pa i J i l :
DM5 NC A P ChtsAr fl i nmd bIt\B trlLrsa aoRP uf d bJ'Pari'
Na r R 3tr lnfl!ftI

DAM^GECONTRO|,.!!'frti brrOf,N PEri!aar crpyr lfft o rc.5

R e i s : m s o n s iA R r B h aR e r a a l ! ! € d b r P e r m n ! . i

94 currAR \\ oRLD
lelvlurlf, kontinuedfron page60)
don t know why peopleact lile thafs a crime.
We'reproud of ourselves.
HEAFY Here'swhere I'm supposedto say
we're going to be "the next Metallica."
leverybodylaughsl
cw ObviouslyMetallicaare a greatband,
but what was it about their music that spoke to
you in such a profound way when you
were younger?
HEAIYHardto say.A friend of mine loaned
me a copyofthe BlackAlbum,and Iwas like,
"Holy shitlThis is what musiccan soundlike?,,
Eve44hing about it mealt something impor-
tant to me.
BEAUUTU I \ras alreadyplayingthe guitar
96 GUITAR woRLD
and I wasway into GunsN'Roses,but when Metallica" Pantera,Maiden, Megadeth are just
theard Master ofPuppets, it was like hearing better.End of story.But it all started
the kind ofmusic that I wanted to play one with Metallica.
day.From Master ofPury€fs I went back to cw Matt, your singing style has recently
their earlier stufl changed. Youvegonefromall-outlcreaming
HEAIYFor me, I went forward to Lodd and to spitfirevocals.
-Relo@d, and then I \rent backward. I know HEAFY I know where you're going with this...
thaCsprobablyweird.butic\aorked forme. cw Which, to me, has only madeyou sound
cW Takingyour agesinto accountone morelike a youngJamesHetfield.Do you take
would assumeyouwouldhavebeeninflu- offenseat the compa son?
encedby grun€e. HEA]YNo, I don'ttale offense.He,smy
BEAULTEU It wasn'tinterestingto me.Guns favorite singer; there are worse guysyou could
N'Rosesdid it forme.Andthen Metallica compareme to. Let's face it Hetfield hasthe
really did it for me. most recognizablevoice in metal. Ifyou sing
NEAfYI've beenthrough every musical the kind of musicthat I do,you'regoingto
phase:emo,hardcore,blackmetal,sym- be comparedto him; ids inevitable. But the
phonicdeathmetal,country,folk...And to 1!e, reasonwhy I sound diffetelrt on The Crusade
is becauseI've grown up. when this band
started, I was 13years old. Problem was,I was
going through puberty and shit, and every
time I tried to sing normally, my voice would
crack-not cool for metal. Then I hied sin8-
ing really low; my voice wouldn't crack, but it
soundedvery awkward. However, I discoveted
that when I screamedI could cut through the
bald and my voice wouldn't crack. I was faced
with a decision:do I singlow and soundsort
ofstupid,or do I screamandsoundokay?SoI
developedthe screamingthing. It feelsgood to
be singing more now. Ifit comesout sounding
like JamesHetfield, what can I tell you?
cw You guys have met Metallica. Do you
know what they think ofyour music?
HEA;YWe've met all four ofthem, and tley
approveofwhat we do.we got to opensome
shows for them, got to play songswith them.
All I wanted from that band was to hear thcn
say,'You're doing okay," but they gaveus so
muchmore.
clv Triviumis doingquicenicelyin the
States,but you guys are freakin' stars in
Engiand. Whaes up with that?
HEAfYI don't know' We just got word
that in one day, the fi$t day lhe Crusddewas
released,wesold10,000copiesandwe're
alreadyNumberFiveon the charts.Thatjust
blows my mind. If we knew what we were
doing right over there, vre \irould try the same
thing around the rest of the world.
cW I would assumeyour parents are pretty
proud ofyou?
BEAUI,IEU My parentsaretotally stoked.My
dad goeson the internet and reads all about us,
buys tour posters from around the world. Just
recently, I got an email and it was a picture of
him with a Trivium tattoo. ladgfis]
ttEAIYMy dad'sbeen managingthe band
sinceIjoined, when I was13yearsold lfteno,
co-mdndgesthegroup with Justin Arcangefl.
He's alwayshelpedme,encouragedme-my
mom,too, They evenencouragedme to drop
out ofcollegebecausesomuch sruff washap-
pening,I wasstart;ngclasses at a communiry
collegeright when we got our first recorddeal.
I thought to myself, Maybe I shouldn't do the
recorddeal;I shouldfinish school.But my
father was like, "No, no, you might never get
this chanceagain.co for iL"
cw Norv,the two ofyou hookedup in
Orlando,Ilorida, but neitheroneofyou is
originallyfrom there,am I right?
HEAFY Thadsight.I wasborn in Iwaluni,
Japan.My fatherwasin the Marines,sowe
,
mo\.edarounda lot when I wesa kid. From
Japanwe movedto SallDiego,CaJifolnia,then
to coral Springs,Florida,for a liitle while.
Then \l'e u-entto Arlington Heights,Illinois,
ard finall,v,toAhanont Springs,r'lorida,jmt
outsideofOrlando,whereI've beenliving
sincema1-be fifth grade.
BEAULTEU I {.as born in Brunss.ick, Maine,
and I lived there for a few years when I was
reallyyoung. Thenrve moved to southern
N,laine,to a town called Dover Foxcroft,
.,illich is {'here I lived allthrough high school
andunrilthe time I picked up andwent
down to Flo da.
cw How soon after"vou moved to Flo da
did it takeyou tojoirthe band?
BEAur.rEu I went doNn to study recording
98 currARwoRLD
arts at full Sail.Onc night I went io this club
calledrheHavena.ldI qau rl'i. brndc.rlle.
Trivium.I thougtt they were outstandirg!
Thenr\e1 plarcd a shou .rrFullsai . rrrdrh"i.
when Matt and I startedhangingout.A year
later,I poppedon their \I-ebsiteand I sawthe-v
rverelookingfor aguitar player.-.
cw Wait aminute. You gu),s were friends,
but Corcy, you discovered thatthe band was
lookingfor aglitarist on theh web site?
BEAullEulvell, we u.ollld hangout...*'e
didn't really get into deep conversations about
n1ebeing a guitarist or anlthing.I didn't
n nd. I went o\.er and auditioned, iust likc
anybodyelse.
HEAFYldughsl He showed up at my ho[sc
with this Peavey road case,$'ith allthis
6oinlingshit all these effects boxes and
everything. But\l'ejamned, and it sounded
cool, and that was that.
c w l ^ l - a t l i n d o f g u i r x r l e s s o n sd i d 1 o u
take as kids?
HEAFYJust general guilar-pl aying stuff. I
can'i read music for shit. Everl'thing I kno*-
is byear and feel. But I did prnctice my ass off
when I was in school.I'd come home, do my
hornework, then I'd pick up the guitar and
shred for hours. I can read tabs, but I can't
read music. One day I'd liketo learn.
SEAUlltu I took lessolls for a fe['years. I
had agreatteacher, Bill Pierce. He taughtme
scales and patterns, holrr to transpose. A very
inspiring guy, verymusical. Anythingl wanted
to learn, he showed me ho\,t,to play i!.
HEAFY My guitarteachergaveme a chart
with all the differert modes,andI haveto sat''
it's beenvery helpful.If I canfigureout what
key a songisin,I canusuallyfi$ue out ho*- to
play the solo.
cw Let's get into someofthe songson the
new record.On "Ig:nition"and "Detonation"
you speakolrt againsthomophobiaand
ceorgeBush.
HEAFY We're not aimingdirectl-vat Bush
but more atgovernmentasawhole,
cw Lyrically,from what kinds ofplacesdo
y,oudra*. your ilspiration?
HEAFY Alot ofplaces."And Sadness
willsear" is aboutMatther-Shepardlrhe
Ilnirersit! ofwlaming sfudentl'ho wds
murdered in 1998becausehe wasgay]. That
incidentreally affectedme."Entranccofthe
Conflagration"is aboutAndr€aYatcslrhe
Te\asnrctherwhomurdered he.fiv, hil&en:
20011.I know a lot ofpeoplewill disagTee, but
I seeher asa \'ictim.
cw And theAmadouDiallo killinginspired
"ContemptBreedsContanination,"is that
tight? lDidllo,e 23-year-oldMuslim Guinean
ltuingin Ne\\,York City waskilledunder
contro\lersialcircumstances byfour police
offcers in 1999.)
HEAFY Again,I thought it wasa casethat
peopleshouldrefamiliarizethemselveswith.
tr like rhrr k ird ofsirulrionhappe.r\
"eemq
time and time again,all overthe world.
cw In an intelviewyou did u'ith another
publication,you describedthe song"Anthem
(we Are the Iire)" ls havinga bit of a "Miitler
Criie feel."Aren't the words "N{dtleyCdie"ar
abominationto your audie[ce?
HEAFY I hearwhat,vou'resaying.You kno$
I'm the worstat tryingtodesc beourmusic.
thinkwe'reonlygoodatmakingit.Ifit sound
like that, then I guesswhat I saidwascorreci.
I nevergotthat much il1toMddey Criie.
BEAULTEU And I101'ethatshit. Dokken,
w i n g e r .\ h i r eL i , , r ' . S l ,R
i do $ .M d r l e \C - i c . .
lMdtt \\'incesat the soundofthe bandnamesl
cw Matt, you look like you'rereadyto
crawl under the table.
HEArY[chucAles] I just rememberbeingon
the tourbus, tr]'ingto sleepandhearingthese
guyscrankingfuckingLynch Mob at,like,
three o'clockin the noming. Talk aboutabso
lute hell. [st'ghs]
cw Let's talk aboursomeofthe guitar plai
ing on thesesongs."Detonation"featuresa
real tempestofshrieksand shredruns.Hol{
do you two plot out $,hat]'ou'redoingto do?
 HEAFYWe had all the rhlthm Parts dot!n, the song"A,1d sadness will sear" u.ho's
so it\l-as n1ore ofn matter of"Hcy, Corey, playing that?
what pert do ]'ou want to solo or?" Ilwasn't HEAFY Thntwould be n1e.I alwa"vsliked
really worked-out or anything.I did ihe first vibrato. People liLe Dimebag Darrell the way
solo, and basically my thouglltprocess was, Do he could make one rote sound like 10 wasjustsc)
I shred like hell or do some Dime squeals?So I cool- I was tryingto chalnel a littlc Dime there.
opicd for the Dime squeals. cw'fhe soios ol1 "Unrepentatt" really
StAULIEUThe really fast paft ofil is my jurnp out. Are the]' double trackcd?
solo. And then there's a mclodic solo latcl on BEAULTEU I harmodzed one little run, did
r kind of la-vmy head bncL and lel it flo\l'. somc octale 5hit- I don't reallr- double things
cw Do yor.rguys tradc solos in "Entrance like Randy Rhoads or anything. God, jt's
ofthe Conflagration"? so hard io rememberthis stxffsometimesl
HlatY Yes. Coreyplays the first solo llaughsl
and then I comewith thatbluesy, heavy cw "B€comiogthe Dragol" has a verylar
metal-lvpe solo. ringbreak that recalls the machine gun section
BEAULTEU Usually, u.here's there's along of Melall;ca's "One" - intcntiLrnal?
partwherc there's gonnabe a solo, we split BEAULTEU It's got a diFfcrcntpattem to it,I
it up so that each guy cxn do something cool think. I never even thought ofNlerallica when
w i t h i t . A l o t o f t i m e s , w e h a v e n oi d e a ' h a t we did that part.
the other gxy is goingto do, so it's always a HraFY I guess the timc signature is soft of
neat surpnse, the same, but the onl,vband I was thirkingof
c w T l e f e a r c f . r r l s o f y o u r . . r l o i n go 'hen we recorded that r\.asDrerm Theater.
"Antheln (\Ve Are the Fire)" that recall They're totally insnnc.
someofthe shredding from the Shraprel cw Speaking ofinsane, thc nit1e-minute
r c l e e s e . o r r r ' r cL i g h r i e . . \ \ e " c r o L rg u r ' L r i g title cut is hellacious.
fans of people likc Mar!-v F edl1]an and HEATYIt took a year to wdte.I did all
the riffs, and the band gave me a hand with
HEAFYI'n1 a huge Jason Becker fan. Th" arrangirg it.I trjed to write ly cs for it, but rt
shit hc plal's is so impossible to learn just$-anted !o be ar instrumental.
EiAUl,lEuI love all thoseEightiesshreddcr BEAUUEU The funny thin€i is, Matt 'as
guys.They playedtheir assesoff Ifsjustcool working on that sorg for a ,ve , but 1verecord-
guitar music,thc kind of stuff I can reall),8et ed it ir a dayl
offor, you know? HEAFYBetter-tha[ the otherway around.
cw There'ssomepretty coolvibratoon flaughs]*

D ] R E C T S A 8L 0E0S. 8 5242 3 5. F R EC
EA T A L O GFFEEDVD"CARVN 60 YEABSINTHE

I 0 O L I U1 A R \ 4 ' n R L D
 don'tget it.It's no ftrn \r'hen.lbandstardsstill
SUPERHEROES(contin edJiam pdse78)
onstagedoingfuck all.
Ll We don't havea musicgenrekrytonite
but I edo-1'just about eveq'thirgelse
TU<( HoLrse. It's bullshit. It's j ust not my If$-e comeacrossa st-vleofmusic wc don't
tnlng- like,itjustgoesin oDeearandoutthcother-
( A N I R E I LP l e n r yo f s r t r f l . f h e r e J f , a l o l Ii's that simple.
TorMAl{For me,it's probablybooze.The
ofdcdv:rtive bands whose rnusic doesn't
right amountwill hclp rneplaybetter,but
retain th€ fire oftheir inspirations The.e's no
r,urrnuchandit c"uld tu.n ou! fuc\:rrgho-
need to name names-there's awhole genre
rible.Actually,jazz sucks...and anlthingthat
o f n ' u . i c l i l e r \ a t . I l l - i r k r h e \ \ h o l en u ' i .
Hermanplays.
industr-v needs to be turned on its head lt
seems to me that evelvthing is driven by the HAMMETT tror me, itwould haveto be really
.impy adult contemporaryj azz.You know
single, and there's less interest in longevity,
the Kenny G kind ofcrap? Not fusionjjust
in giving aband enough support and love to
reallybodngjazz musicwith really dumb
develop into a killer act.
P A D G lEd s r t i n d i r r s m y l _ I p t o n ' r t l L \ chordprogre..ions no
r\rl hate no artirLrde
gry a' fucl. and ir . b i g " t r h ( I n o - n e r r rT'
'u-l irggrp'sion,n'' crle-g].I nateall rypesof mu'ic
"o
lO2 cUITAR woRLD
like that. You can play,like, polka rnusic for
me, and ifii's cuttingcdge and has a real atti
tude, I night like jt.
HAVE
MtlSISUPEBIIERllTS SEEREI
WHAT
IIIEIIIITIES. V{llULl| BE?
YI|URS
rucK I'd like to be ableto pull my Jipover
m\.head.I'dbe like abiglip, sono oncwould
know it was me.And my namewould be
DustyFields,'causewe spendmostofthe
PADGEKieranConsumption,becauseI drtn
like fuck afterthe showl
row tE D Mine *'ould be Devin.The De!
is the onethatgetsonstageandgoesmad;
Devin is the onewith the hat and the glasses
that watches?'uturdmdand drinks a little red
wine. That'smy ClarkKent
(ARPEITET l'd be a charitylvorker'That\\'r
it',vouldbe no surprisefor me to be a superhe
ro'causeI coulddobothjobs sirnultaneousl
BEAULIEU I'd definitelyneeda mask,'calrs
m.r,k.arebdoa.s.l d bequjrpJ drfk super
hero,someone whomyouthinkis avillainbu
$.homyou later realizeis good,it'sjust that
he'sgot abadassedgeto him
ToTIA l d bna fuc\i.lgfailcorl qear-
ingflasher,but insteadofflashingmy knob,
I'd flashmy guitar.Bet l'd still get arrested,
though.
u Well,I g essI'djust be a computer
nerd. What can I say?I guesslln not as
creepyassam,

HEAFYFuck,l'd be Herman's fluffer.
AtioTT I wouldbe my own glitar tech
HAM| lrT I'd be a politician Maybe Arnold
Schlvarzenegger.
IFYl|U
CIIUTIIACHIEYE
0l{ETlllllcwlrHY0uRMUSIC,
WHATWIIUT|| II BE?
HAiuiErr I think we alreadyachievedthat
s ith _ore. {crually,$ewannaplayerery-
wherein the world. We just playedAfrica.we
wannaDlavChina.lndia,Antarctica...I want
us to go inio outer spaceandbe the {irstband
to play in zerogravitY
(aRPETEROur musichasaheadyachieved
morethan I everimagineditwould l've been
1O4 currA R woRLD
playingmusic myentire adult iife,lvhen all T u \\'c'd like for asmanypeopleaspossibleto
hoped for in the beginnjng was to get a taste of like our music.we havetried to pushour style
suicess. That is such a thrill l never imagined ofmrNic-metal or \,i'hatevertoward what we
ithappening. think is missinginmusica!the momcnt
aMort I'd like to move people, and hope-
fully I do that. |rS1969 JlillHEll||RlX
Al{D
BEAULIEU fd like to succeed like Metallica JIMMY
AIIll PAGEIIAVE
have. They're celebratingthe 20th anniversary UIIS?
o l M a s t ? ro f P u p p e r c , a n de v e r y o n e \ p f r i s i n g
AGUITAR WH||
IIUEL,
them. Thacs whatl want for ollr music: to HAMTiETT Thai's a tough one l would think
stand the test oftime, to stillbe relevant 20 Hendrix,becausehe wassocutting edgeand
years from now and to still have thatpower took so manychances,
HEATY I don'tknow enoughabouteithergu-
and strength.
TUGKYeal,longevity iswhat I want;longev- tar Dlaver,Thosetwo arewaybeforemytime,
itv like Iron Maiden and Metallicahave l'd rt liendrix hasgot that magicthatenables
liie to write anthems thatkids born todaywill himto be more outrageousand originalwlth
still dig in 20 years'time. his playing.Sohe would win. Plus,he could
bybundnghis guitar'
havea sideshowonstage
row SrI|DMusically,Jimmy Pagewou]d
kill him. The song"Friends"[fom Led
Zeppelrnll | | \\ e' suchan influenceon me
with Page'suseofwhole tonesand suspen_
sions.Hewould bringthe soundofthe coun_
trysideinto his stuff.lf Zeppelindidn'thave
RobertPlent I'n1not afan ofhis voice-they
would be the ultimatebandfor me.
on the other hand,ifit camedown to their
improvisationalpowers,Jimi He[drix wolrld
sla) Page.qcrurlly.I rhink DavidGiln'our's
benerth:n bothofrhern.I rerll] I ikehi5laste-
tul style.
TU(|(l'd go for Page.He'sjustgotmore
ofa classicrock and roll thing, rather than a
bluesstyle.
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 P A T T CHEe n d d x \ l ' a s q i t e l o o s e w i t h h i s
S U i r r _p ' r \ : n g .s o n r j b e : t s o u l d b e a r - i s .
C A I P E N T EIR b gonna go \rrithJjmmy
Pageon that one, and for one reasononhrl
Page did everythirg on zuitar. Hendrix k)
me was a bhres plaver. It n1ight ha\.e bcen
blues rock, or whatever, but it was alwe\is
bluesv, whereas Page plaved ever-vsty1e.
L e d Z e p p e l i l 1r v e r e m a k i n g u p s t v l e s t h a t
stiil sound new todav.you could put their
e n r _ eb l c f c a t J t o go u r r o n r o r r o u a r d y o u r g
p . o t l e ' r n l d g u . - W o : r r i p e o ; - l eh r r e s r i .
not ceught up to theiI sound and page,s
. r ' 1 " .T h e f " r r e l o r d . o . p e e p l eu h o c u o \ '
L e J Z e p p e l i n .h u r r t ' r r ' , i t ' i , , , , c o p , . i e d
Zeplelin's stuff is still inspirirg today, espe-
c i a l l y P a g e ' sp l a y i n g .
[|| YllU
THITIK
THERE
ARE
AIIYOUITAR
SKILI.S
sTtttT0BEotsc0ltEBElt?
TOwl{sEnD O h , v e a h .] t , s a l l a b o u t w h a r v o u
conrlrrrdofrl-egu.oror rh.1nrp.fonallt,
the guitar is capable ofreachingdo{.n to the
basemcnt and shootingup to the stratosphere.
Right there, yolfve got the frame$,ork for ar
c A R P EI E R \ c l l , f . o r t 1 . e c n n j c d l s t a n d _
p o i i r . l L l . r ' r h i n kr l - e r . \ r n \ r h i | g r e $ t n h e
d r . c o \ e r e d\.o u c o u l d a l q r r . p u . t -r h e b , , u n J
afies by addingne$' accessori;s to the zuitrLr
to make itdifferert, but I think es far as \r,.hat,s
playrble on theguitar, it,s ail been done. what
should be lediscorered is the taste for doinc
it \r'ell xnd puttingthe right flavors togethcr.
I h e a r a l o t o f m u s i c b " vn e i . b a n d s c o m i n g o u r
t o d a ) a n d i t r e m i n d s m e o f a 1 o tm e t a l b a n d s
ofthe earl), Eighties.It's cool, but sometimes I
look at those bands alrd feelas thoush thev.re
l r o c l r r gt h e p r . r i n . r , : d o l i r r e g r r r i l g i r
i l r o r l ' r o u n . I l e . I f e e ll . l , c . r v ; 1 8 r o f h u . e
b J r d . . " J u - t b r ') o L t r s e l v ei.l .\ ^ k e \ . t f r h a t:
{.ho vou are, thcn I'm not offended.,,
tr I definirelythink there's roon for new
discoveries. Guitar progresses vear alter year..
People year-sago couldn,t imagire whatrve,re
d o d r o $ . t h a r L . l d i e\ r n H a l c Fd i d o n g ! i
tar has no\\,.beentaken to a new le\.eI,
aMoTT I think pcople should go back and
listcn to reallvgood guitar playing like there
was in the Eighties. The problem is that a lot
ofthe bands around nou- are influenced bv the
Nineties bands, r;r,henmusic totallysucked and
there was no lead guitar going on.

tIl|OI{E
ISMAKIIIG
|lRIGIl{AI.
GUITAB
MUSIC A]{YMllRE,
DISCUSS,
cARpE TERIt,s trire, but it,s srill fun to play
and be unoriginalat the same lin1e.
B!AULtEUEveq.thing has prettvmuch been
dolcbefor'e, so norvit's twice as har:d!o putvour
ovntiristorthingsto make it sound original.
ToraA lfyou think about it, there are
o n l " ve i g h t c h o r d s o n t h e g u i t a r a n d o n l v a
certain nunber of combitations in.ivhiclL
y o u c a n p l a Yt h e n 1 .
Lr There's not so mlrch room for making

Deltn
Serie
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 trulyoriginal stuffwith a guitar on its own. But
youcanal$ aysmix it up s ill- otherinsnu-
mentsto makeyour soundmore original.
IuaK I don't agreethat no oneis making
originalglitar music.I think everysongis
indiridual.regardles. of it. soric .ignarure.
Besides,iCshard to soundtotatly originalthese
days,becauserock musichasbeenaroundfor
50 yearsnow. Besides,Ithink originalityis a
gift thatyou're bornwith. You get it not from
readinga bookbut from tistening.
HA IEII A lot ofmusicyou hearnowhas
beennurturedby recordcompaniesthat want
a certainsound,so ifs not necessarilythemost
excitingsound.No one reallytakesrisksany-
more.It's all safeandformulaic,and I think
rharhasa lot lo do wirh thelackof inreresr-
l'
GUITAR WORLD
ingguitar musicnowadays.Butby the same
token,I've hearda lot of greatnew bands.I
love Trivium,I loveMastodonand Shadows
Fall-they're more traditionalsounding like a
lot ofmetal bandsfrom the Eightiesand early
Nineties.I lovethe way Trivium harmonizc
ever]thingand how theywrite reallygreat
riffs and melodjes.Boththoseguyscanshredl
WIIAI
ARTISN
l|FTOllAY
HAVE
IlIFTUEIICEII
YllU?
TOWXSEID JamesHetfield.He's one ofmy
all-timeheroes.That guy'sthe ultimatemetal
rhlthm guitar player.Stufflike "Blackened,,
is astounding.He's stiil the fuckingbest.The
tone in his right handis amazing.
aMorr I usedto think Kirk totallyrocked.
His leadguitarstyleon Metallica'sfirstthree
studiorecordswasreally strong.
roT A When I wasfirst startingout, Matt
Tuck was a biginfluenceon me.
LtI've beeninfluencedby Metallica James
andKirk-and I learnedloadsofMetallica
soloswhen I firststated playingguitar.
HEAIYKirk for me.Metallicaaretheband
thargormejnto metal.ard Kirk is Mho made
me want to striveto be a goodguitat player,
'causehe'sthe firstlead playerI everheard.
Everytime I tryto do somethingdifferent,
whetherI rD rogo neoclassical or progressiv
it always comesback to that Hammett style
ofbluesyheaq' metalstuff.I totally learned
from him.
EEAUUEU I didn't reallylistento a lot of
band'orherrhanMerallica. wl-en I wasslart-
ing out, I learnedall sortsofMetallica sontss,
andwhenyou'relearninByoupick up and
storethingsthat comeout in your playinglater
on.Ifyou listento a lot ofour solos,you'll hear
the influence.
(ARPEI{IER Jerry Cantrellis cool-I love
Alice in Chains but I honestlyhavebeen
influencedthe mostby the heaviestofall
metai.I first heardMeshuggahin 1998,and
up until then I would'vetold you the heaviest
bandwasPantera,andbeforePanteraitwas
Metallica.That'sthe progressionfor me.Kirk
HammeRisgreal.roo.bul if I hadro picka
\4etallica guirari5rlhar influenced my playing
I'dpick JamesHetfield,becauseI loverhythm.
I love Kirk's plal'ing, and I think he does some
s\{'eet-assshit. but it's reallv been Janes \\'ho's
i n s p i r e Lm
l e.
ru(K Hetfield and Hammett.
lll AltaY?
00YouPBACTICE
[0wMuclt
TUC(An hour rday at least.l 'hen I \\'as in
rnycarl) teens and didn't have muchto do,I'd
practice five or-six hor.ns a day. As soon as I got
home from school, T'd plug in tilll rventto bed."
P A o c EI f l v e ' r e o n i h c b u s a i l d a ! , I ' 1 1 g e t m v
laptop and do a feu' hours, just jamming alorg
to songs.
TU(KFor \rarmingup I play our stuff the
fir'stcoupleofsongsfrom thc set-to gei into
thegroove.Idon'tdo scales-
PADGEI !ryto go over every solo I knou, there's no structure in our nusic thnt I feel I
justto get m,v fingers goin€i. have to stick to. I tr,v to be constructive with
HAMrtrTr Whcn I'm at home,I try lo prac- song design rather than fit into the same for_
r ; c . i o r a c o u t r u i h o u - . . r r o u r .I r i g \ r p l a r mat as everyone else. So \1.hybust to practice
forthree hours inmyhotel roo . Sometimcs ever!'day? Quite often, when I'm wxtchingTV
I just don'! have tin1e,especiallv rvhenwe're I'llpick up myglitar and play aroundu'ith it,
makirgan a1bumT . he Lastthingl wanna do but I'm not followjng any tuali it's more like
when I've been in the studio all da,r'is come n1y right hand neets ml' left.I'm makingsure
home and playguitar. the,v're sti11comn1unicatirg and notworking
aMorr It's hlfd !o sxy. I hrve a guitar in on separare pages.
every room at home.I pla,vt'hen T check my HEAFYI try to practice each day, even when
emails, 'hen I'm eating breakfast... I practice I'm on the road.I usually shoot for around one
a couplc ofhours every day, not becauseI'\'e to two hours a da,v,or ifit's bcfore a show I'll
hearrl you should butbecause I just love play- u . r f m u p f o - l 5 n i n J r e s .L J r e l J .l \ e b e e r u ' : r L
i n g g u i t a r . I f I d o n ' t p l a " vS u i t a r f o r 4 8 h o u r s , i t the John Petruc ci Rocl ,iscrpline book and
will drir.e n1emBd. video. I just go through it co\.er to cover \r.llh a
(ARPE TERNever. l don't practice because
T o T M A xW e l l , I n e v e r p r a c t i c e .I m e a n , I ' n 1
not gonnagct anybelter thar I am now, which
isn't thatgrcat an].way, so s.hat's the point?
LrI don't rea11ypractice, blrt I used to quite a
l o r . L i k c \ 4 a R - a d . $ l r e n\ u u r e I o u - ' r g ) n l i J .
don'thave thetime. There's someone around
vou distractingyou and it'sjust impossible.
EEAULTEu I don't get much time duringthc
dat', so I usually just play the first song on the
set to warm up-

ISTHERE Y|lU
AIIYTHIlIG
IIIVEII'T
YETMASTEBE|I
WllUTl|
BUT
|lIIGUITAB T||?
IIKE
a M o r r O v e r a l l l ' d l i k e t o b e a l o i b e t t e r - .l l n
ahvays tryingto improve my playin€t.l al\l'a\s

-This'guitar'si
pieceof $#@%
It keepsbreakinq
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 sayI'm notthatgreat, it'sjustthat everybody
i
elsesucks.The level ofplaying is so bad
that peoplelike myselfcanrise to the top. It
wouid ne,rerha.tehappenedin the seventies
or Eighties.
row sE[D I'dlike to masterfolk music l
know it soundsridiculous,butl'd like to be
ableto incorporatefolkmusic into my playjng,
so I could sit round acampfire,pick up any
guitar and play somesongthat will stickin
people's
_ heads.
clnptlrrr t would loveto playflamenco-
stvlesuitar,but I would keepitsolely for
my'eii,noLfor the band A'.o.t d likelo lrarn
theory-I'vebeen piayingguitarfor 20 years,
,nd I think I'm still at a baselevel.lwish I
knew theory soI could play in anysituatiol
Entightuswtte&t
isc over
the sound and
s tab i 1i ty.
Unique soundi Carefree playing; Road tough stability
112 cuIr,ARwoRLD
US
TYA]ITTOGO SPACE
I]IT[|OUTEB FIRST
A]IIIBETHE
BAIID ItIZERO
TOPTAY -IORKIIAilIMEfT
GRAVITY."
influenccon them,aDdnow they'reinfluenc-
A t t h e s a m et i m e , l t h i n k t h a t i f l h a d t h a t
knowledge l would play eve4thing based on ingus. It's comefull circlel
ru(|( I'd like to be a$eatlead player.My
that knowledge, whereas rightnow I have no
k n o w l e d g ea n d r h e . k 1 s r b e l i n i t W h i l e i l rhlthm's down and I'mproud ofthat,but my
lead!Icanbustouta soloifl wantto,but it's
may take me little longer to figure things out,
it's more excitingwhe[ I do. nothinga true soloistwoulddo I'mnot asolo
HAIMEIT The guys in Trivium got me olavcr.bur I d lovero be ableto playarpeggios
i"
interested again in that neoclassical style the up dnddownthe neckwilh;n secondsPadge
lhar.His lead
whole tremolo pickingthing. Theyre using eeninitclo"erto accompli'hing
thebest aspects ofthose techniques, and it's ir o.k isgeningdou n. rran:lttgetring$icked.
PADGE Yeah,I'm working on arpeggios.
sparked my interest in neoclassical playing
again.It's ironic, because Metallica are a huge T a p 'a r ec o m i n gi n a l o L , I o ol { | c a n g e r m y
leadplayingup to "cratch,togetherwrtu
Matis rhlthm, we'll be ableto breakor smash
anlthing in our way
Ll I wannalea l eveqrthing,and I wanna
be l0 times better than I am now. Just learn-
ing one or two skills is pointless;rhythm
pl;yers just play rhythm and lead playersjust
D l a \l e r d ,b u t I o u w e n n am i \ i f u p a n dp l a y
u p .b e h i n dv o u rh e a d .
i i r r i n g d o rn . . r a n d i n g
back to front...
HEAIYI'd like to play the overheadguitar solo
to Drag)nforce's"Tlrough the Fire and trlames"
BEAULIlu My goalis simplyto bebetter at
eve4'thing.
rolnA I'd iust like to learnhow to turn my
gxitar off and put it ail'ayso I canstop annoy-
ingpeople.if
iscover
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WE OOTTA OET OUTTA DISPTACE
Incorporatin{ octave ilisplncement
and urpe$fi,os into melodic ddeas
In my lastcolumn,I demonstateda 1 A NaturalMinor (A Aeolianmode)
FIGURE
few ways to add chromatic Passing'
notesto scale-based licks in order to
createimprovisedmelodiesthat roll
smoothlyover a chord progression.
This month, I'd like to show You a
way to spiceup licks that are playedover 4516 1t 2 2t I
a one-chordvampbyincorporaring ocla!e
displacementand arpeggios FIGURE2 n = d.||hsiake V = upn/ak
This molltl's examp]esare in the keY CF
GCDM
ofA minor and fit into the diatonicchords
of the A naturalminor scale,alsoknown as nvnvrtv nvnvnv
the AAeolian mode.The notesofthis scale
areAB C D EFG the samesetofnotes
thatcomprisethe C major scale.The only
difference is that we're starting fiom the sixth
degreeofC major,whichis A. andcontinuing
uo the note sequenceone octave.Itis for this
reasonthat the Aeolian mode is referred to as
the sixth modeofthe major scale.FIGURI I
illustratesrhe A nanrralminor scale/Aeoliar
modeplayedin 12thPosition
Getting a graspofthe modescan seema
bit overwhelmingat frrst,especiallywhen
dealingwith scalesthat havemany sharps afull
line that incorporatesoctavedisplacementto naturalminor scaleascendingacross
or flats.I choserhe A naturalminorscale
ouiline a Drogression of impJiedarpeggios. octave.The higher notesare intentionally
for this month'slessonbecauseit doesn't
Noticehou riuch the linejumpsaroundand mixed up a bit in order to avoidoutliningthe
containany sharpsor flats it's just the white
the useof intervalswider than an octaveln samearpeggiatedchord shaperepeatedly.
kevson a Diano,from A to A I think this
somecases,a chord is impliedwith only two This preventsthe line from soundingtoo
heips stre;mline things a bit and makesit predicableandgivesit a morevaried,
easierto think aboutthe notesand seethem notesthat form the intervalofa major or
minorlotfr-an octavePlusa third interestingmelodiccontour.
on the fretboard.once you understandthe
As you can see,this involvesa greatdeal AlthoughI play this lick over an A minor
theoreticalconceptwe'regoing to explore,
ofstrlngskipping. The lick 'houldbe played one-chordvamp,it's very worthwhile to take
it's simply a matter oftransposingit to the
wirh brrictalrernatepickingbeginningwilh the time to analyzeit in regard to the way the
other 11keys. l ve indicaledrheoutlined
is a technique a downstroke.It will definitelytakeabit melodvfuncrions.
octale displocement
a notein a melodic ofDracticeto get lhe shapeofthe melodic or imoiiedtriads abovethe tab For the sakeof
u hereby1outrarspose
progression,nder 'o,lr fingerr and be ablero swle ;d musicality, I end the phrase with an
line up or down an octaveto createa wrder
playlhe lineclean\.Proceed slowll ac6rst Aminor pentatoDiclick, and,just tobe weird,
Eaoor intervalbetweentwo notesthatwere note.
and graduallybuildup speedonceyou've throw in a high D asthe second-to-last
ireviously closertogetlterThis devicecanbe Next month,I'll talk aboutthe useof 16th-
ir.edto makea scale-based linesoundlikea memorizedthe note Pattern
Ifyou concentrateonly on the lower notes note triplets inthe building ofimprovised
progressionof arpeggiatedchords
asthe line progresses,you canhearthe A licks.Seeyou then.{6
FIGURJ 2 is an A naruralmrnorscale

114 GUITAR WORLD

 ACHARM
THREE'S scalar nms into thtee'note {'rou1ts
Dirktin$
E )
Manyyearsago,I had a teacherwho Tune down one half st€p (low to high: Et At Db Gb Bt
told me that no matterwhat scale1 tlGtlRE1 A Dorianmode'threenotesPersfing
2,
TIGURE
was playing,it would be usefulto me nVnVnVnV rVnV
to find its "Dorian position" He was
referringto the secondmodeofanY 4-4 6-7 +
major scale,which is known asthe
Dorian mode.for example'the notesofthe
c major scaleare GA B C D E Ff; if we start n = d.t{6n.ke \,1=@arckx
the sequencefrom the secondnote,A, and
or-r"o"t"u", *" getA B C D E F? G,thus FIGURE 2b 2c
FIGURE
""."nd
formingthe secondmodeofG major the A
Dorian mode
-, ln man\ oflhe scalarruns I plal.l lloften
fingert hreenote,per string.asrhisfall5\ ery
--- ll
--11
_-T
co;fortabty on the fretboard FIGURE I
:how' the A Dorianmodeplaledrhiswa1 But
T am alsocommittedto usingalternate(down-
uD)Dickinq, whichcanpresentsomerechnical
difGcultieswhen playing three-notes-per-
srringpafterns.The reasonis thal the tlrst
rhr"Jnoresu-egenerrllyplaledasdownup-
dorn, but then I have to start the next strrng
up-doun_up.Inmy experience,many players
havetrouble startingthat next stflngon an
upsrroke. Speaking for my:ell I hadro work
reallvhardin orderto maslefthlstechnlque
one ofthe thingst did in order to
or ercomerhishurdle* ai lo createa melodic
ideabasedon the three-notes-per_string
conceptthattraversedthe entireiretboard'
ffi
I begi; the patternwith one melodicshape
butihen changeIharshaperoone(harffavels
.rfaighlup anddownI heocaleasir rallsin
- eachascendingpositionon the neck'
ts a full FIGIJRE2a illuslrateslhe first'hape.lhe
ronalb first four notesof which ascendingstraightup
liningthe A Dorian.I then skip onenote,C (third string/
atedly. fifth fret) and go ght to D (seventh fret)
Dgtoo Next, I movestraightdown andthen straight richt handed.In developingmy picking
back uDthe scaleFIGURE 2b representsthe 2b. which is articulatedwith a do'nstrolre,
thus enablingme to continuethe rest of the ."".hnioue.lloundir heLplulroanchorthe
next sliape,which is playedstraightup and up middle aad ring fingers ofmy pick^handto
with an upstroke scalarparternby playingdown up-do\'r'n
down the scalebutbegins
in stea;v l6th notes on edch beat Eliminating the body ofthe guitar.I use thesenngers as
This logicallyfollowsthe lastnote in FIGURE
rile to take that onenote inthe firstbar resultsin the a/ulcrum [or rhe resrofm) arm as Inuch
he way the 2a,which is pickedwith a downstroke ''flippiogover" of the picking patternand of ny pickingmorioni5 Seneraled $rltn.a
reoutlined Now let's put the whole thingtogether -pathof c o m b i r a t i o on f m y e l b o wa n dw r r s t l n l s
into onelongrun, asdepictedinFIGURE servesti createu hati thinl of asrhe
r the sakeof least resistance" in the execution ofthe lick' has Drovento be a very comfortable and
rse with an 2c.Noticethatbar lbeglns with the pattem natural picking motion for me, and it's never
I add the firstnote of When I first started to learn alternate
tobeweird, from FIGuRE 2a,but sivenme anYProblemswhatsoever'
FIGURE2b to the endofit in orderro keep picking,mv pick haLrdwasvery-w-eak "
Flastnote. This is becausel m nalurall! a lelty Dutac Ne*t month,t'll be backwith a look at
useof 16th- the5lerdvstreamoi 16rhnotesflouing in the composition,"Rainforest"'from my No
4.4 rime,ending wirh an upsirolie Bar 2 in the local music store had no left-handed
rrovised guitars, I was forced to learn to play guitar Bounddries CD.seeyou then *
rLrrnbegin"wil h rhesecondnoteoIFIGURE

G U I T A R W O R L D1 1 5
 :60@i

'il$; ry ncx rowcorr

sals Heatl'
thro\!ing in movirg noles"'
when3 metal guitar god like -, plalrng
ttLts " r n i h i s c a s e ,i t s a l m o s t l i k e I m
Kirk Hammeit of Me|allica o n o n e g!itar'''
ms t w o D a f t s
cuifar World that Triflum are
the At 1:3o lstction Fr, the bo-vs-rurn-up.
favorite new band, then w€ars thet Eear'v
ol t h e heatand lauoch into 3 riLf
band's T-shiit onstage in lront a s ' s o r n e goodol'thrash w1In
rock d e " c r i b e s
80.000 faff at the biggest \ nen
you something s i m p l e ,t \ v o n o t e p o $ e r c h o r d s
fesd\ al in ;e U K it tell' , thiieiehr-bar p h r a s e i s r e P e a t e dtor
guys are lhe rral oear'
To ouiit simply drese t h e s o ; g s b r i d g e {s e c l i o n
cI Beaubeu
thing in the world to nave
"Ita ihe ercriest offhalfu aY through { D3r orr
\ ou\e doLng' breaks
one of l;ur heroesdig urhaf a compltmenlary harmonJ.pafi'
Mait Hertj ttur into
savs T;vium's {rontman' _M\ Darr's a ldidtonic] lhird hrgher' ano
rc
to have him actually suppoft what -vou i t a d d st o t h e w h o l e d y n a m i c s
or thE
doins is eveLlbetter" s o n q , " h e s a \s " l p l a y s t r L l m m e d
oclaves
s n e \ v
I i d o e s r lt h u r t t h a t T r i v i r m t h e y r o u n d e db e t t € r o v e r t u a n
s
ToP 25 b e c i u " e
cD, The Ct rrsdde ma'le the rhords Jnd help make the harmony
in Englano
in America and the ToP 5 rerllv stand oul Matt s playing
ihe ro')r
r e l e a s e "
. E n t r x n c e ot rne
uDon i t s , a n d i f t h o f e a c h chord and I m plqrng
s hrst srngre
Conflacretion is the album so tne
ano the third, doubled in octavest
and a viritable thrashfcsi Heary i s f u l l triadic furmo Y
down r e s u l t --
h i s c o h o r t , C o r e , B e a u l i e u 's a t Next up is ihe inierlude
( s e c t r o nt l ) '
l{orld to explain the song_s ":'1"
with Guitdr
ho$ to plxv rt *hich Mat! fefers ro as "'if!!
senesis and demonstrate s snted !o juxtapose a simplite'l.hea\'r'
a "
" M u s i c a l l y ,t h e r e u a s n t e x a c t j y
c l e a r i n s p i r a ! i o nb e h i n d i l , ' " a y s
_Ii was iusitime to start writing some
rrerw
l':i;:*,
*1*l i'x;l1.,,j*""
in anr'specilic ke):it'sjusttbeexact,
l-remcmber
clamn songs for the record fi,ig"ri',g p"tt"tn shiftedarouno
rn tne. sam"
comine up wilh lhe guitar ntis
TLleater n1 the neck."
dressing ioon ofthe Gothic Next uD is an A minor solo sectron
T h e r e c o r d e d v c r s i o n ls almosr 82) that
Denver, w i t h c r i f f ( b e g i n n i n gr t i n b a r
I oro'
t h e s a m ea s t h e o r i g i n a l d e n l o . . gloriousl)r unalhamecl Ergntles-
to ha!e tnls rer'eals a
exceDt for the intro lt used m e L a li n f l u e n c e
_l! s 3 coo!cnaLrge saJ-
in it' but r l w a s
r i d i c r o u s s h r e de r e r c i s e pret) t3sr
\vecLltrt,, Beaulieu, "bccause the song's
k i n d o f t a c k Ya n d i n s c n e s o u p t o t h a t p o i n t and then
root/nrm andth13shv
Notice the use of inverted K
t h e f i f l h on the this meloJic riff with :I I icked-bac rype
oorver c h o r d s - w i t h in lt s a redl\ coollLitto,solo
f e e l c o m e s
iottom in bar z of the tfrrlscrrptron' Jlrs mostLl'
These !end over, tno. My soln Lseclion
which begin" on pagelI8 i m o r o v i s e d a n d e n d s$ i t h m A m l n o r
om]rlolls
the song s intro ri[f a dark ar;essio rLrn (bar lo4r that
soun'ls lrke
octaves
\'ibe, as do the dual-guitar b.,n"h ofdiff"."ttt
but 1m
l inbar 4. "Thatline was ollgrnally. "
iusl moving
"tpeggros
bet\\ een differenl A mrnor
BeaulLeu
harmorized in rhirds says shxpes on ihe neck, so it has
a musrcirL
l "My part v,'asthe main
line' and Nlatr
goN io it
'
ne
uas harmonizing it a ihrrd hlgner' the sPor'
part toan octave "Mv solo \vrs imPro\ ed on
chanEed his harmony b l c z i n gA m i n o r l e a d
betau\e s a r s H e a f v o f h i s
belori,. and ir lit much betler' (s;ctionK)'I jusiletthe songspeaK.ro
L o , h L g hL t s
he wasn'tjumping from low fle md followed $ here Corq'-s
solo Len
souno'
' retw cool, interestlng
n
o f f . I t n c e d e d s o m e g o o d o l ' b L u e s \s r y l c
is cre3teo
Anoihef interesting sound lLorr
cnorus. h e a l a m e t a l s o l o i n g ,s o I s t a r t e d ,,
bv the chords in the song's l o t s o f h a m m e r o n s ' b e n d sa n d
purL
r ' r v i t h
(;ee sectio D jn the iran-scrrptron st'lo' r.hco lo
ot uslng of{s. After I'd recor ded lhe
"I ve aluavs been a irn relearn the damn thiLrg to plat rt
In'er n
nontraditional chord lbrms ano

116 culrAR woRLD

 ADVERTISEMENT

TheTunes!
Behind
TheTones
A Guideto the Perfecclone

Dio"Rainbow in the Dark" Wolfmother"Joker and the Thief"

h doesnt natter what kind ofmusic you like
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nt
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=:ilJgiI_ec".S
 OFTHECONFIAGRATION"
"ENTRANCE Trivium
As heardon The Crusade(ROADRUNNER)
Words K' Heafy' Transcribed
byMatlhew
andMLlsic byJelfPerrin

E5 B5 cs ofs cmaiT co B/D# Em Am 85

on+++i # d"H :.i:.'H-H-.ff.. d:i-.
l--m ff-EEtl +_qFqH.
l H#+-+++=.ffi:
Bsus4 B D5 Dfs E5 B/ofi Ff,s G5 C5 85 E(b5)
*ffi*ffi*ffi* ffi*ffi * ffi*hff isifi ffi"

l
#1-HT
l:|]T
T-n-]
itlfi
l4
nl|rr
rl1-rn r-FT-n
trr-in
Ft+]+
Efl
ffi
l-TT11 f.rTl
Fl-fi n
TI-.1 rf-Tl] lrrrn
l4
l]'#l
n-Trn

E rnho (o:oe)
Fast , = 184
I E5
(e1ec. w/disl.)
es cs ofs E5
Ct6. 1 dd2

1
I
i
lI l
IL
li + repeat p/eeious chord

1l
tl
1t
tl
I
l1
I
I
il
I
lr +Gtr. 1pl.ls bottom notes: G*
L]

85 C5 o*s

i,

E lst vers€ (o:le)

.A 00mm0n w0man lives Dy lhe Bible
Brings lite lo th6 earlh while losing h€r mind
E5 es cs o*s E5

Bass plals Bass Fiq. I (see bar 1)

wedlocked a
Trying suioide
l Ctr.2
E5

12

*Gtr- 1 pldls bottotu 6ot.s: Gn.2, toP

Pub ished by @ 2006 Robot of ihe CenturvSongs (BMl)/Hammerihe Curedis ProducU
Pub shins(Br
Sonic Assaut Music,l-lamm;r Fal Publshlng, MotalKld Publ sh ng and williamsburg Land
AllR ghts Reserved.!sed bY Permiss
I18 GUITAR WORLD
 'ENTRANCE
OFTHECONFLAGRATION'
of anliquation
Hallucinaling CmajT
E5 Gtr. I plays Rhl. Fill I

E tut chorus(o:41) benealh thc rvaterslo drovrn

torcingherown. blood down B5
Am
c6 c5 c6 B/Df;
Gt!s. 1 dd 2
P.M. P.M

BassEig. 2

with ryes wideopen

B/D$
P,M.

lDl 2od*d 3.dv"oo (o,tt,r,ss) all help

2 Spiralin0downward relusing gscape
da0gsr licks her [8cx desiiing
searchlng lot answers
3.Conditions worsen her childr€n
tut all ol
Water lills tho
B5 E5
PM..
Gtis, 1 md 2

*Gff, I plaYsbotto tutes: Gtr' 2, toP

iilf{iiifi!iil'!#f{i o"" o",' t

lhe childreI
r-
lleglects
selt-mulilation robbedby the sevonth deadly
Succumbirg Salan
systcrnatic plan
in holy $criptures srays down
innocence
floating hehl€ssly
es cs ofs

(Iet rikS nert 3 beats)

CUITAR WORLD I19

..ENTRANGE
OFTHEGONFIAGRAT'ON"
E 2nd and 3rd Choruses(1154:01)
Forcingher own blood down
sin Satan wasinside
Believinq
an! dl0wns B/DF Em
CmaiT c6 c5 c6
GtL I plars RhY FiU 1 Gtrs l and 2
!,s.e.!!t!'!!:yg:L.

lying dead
ieneath lhe waters to Ir0wn to destroy
ordering to abide
B 85 D5 D{5E5
Am B5
P.M.. -

| znd tine) hou and

eyes oPen
wide fad?o t knd ofsong)
with
neI c!lse0 tn"Ortn (Gtr' -l let.ting,
rr'$ nert J. r Dars)
PM.

- n,:or
[Fl
)=2oo
c$ 2 Rhy. Fig 1
PM.
47

G5 Df5
Gir.2

12

end Rhr. Fig. l

PM. .

t2O GUITAR WORLD

 ..ENTRANGE
OFTHEGONFLAq!4T!ON''

E Bridge (1:461
ol lhe c0nllagration
Enirance Dfi5
E4
-itrs. TlrC
t and 2 repeat Rhv Fis l (see bat 47)

55 Barr ri8. J

Enlrance ol lhe
-*-
E5
Gtr.2 pl.rs RhY.Fii. I (seebar 47) P.M,.- --- -- -- -- -
PM-- -- -- --
?M'- -- ' r
63Gtr.1 :::

Bassptats BassFis 3 (seebar s5)

(0h)

Gr. I

rrol
@ I"t "ma"1z,os,
Go (tst tine)
(Oltl (2nd and 4th tines)
E(b5) N.C.(Cm) (Dfim)
E5
Grr. 5 plays Fill I thir.l tine (seepace I 19)

71 PM r

33
tubstitute BassFill I secon.l and fourthnnes
seebar 35)

I CUITAR WORLD I2I

..ENTRANCE
OFTHEGONFLAGRATION''

E t"'t
D5/A cs/A c5/G
Rh\.FiR.2

5
5

2 Ch.d n ie.1th.h r.calle.las Rht.' Fic 2

B a s st ' i B . 4
i ,il

| 3 3 3r3 ? 3 3 ? 3 3 o-

*2 Nat. i ti.dvhen rccall.tlut udss Fit<.4

c5/G c5/A
c5/E
86

E lst Guitar Solo (2:37)

D5/A c5/A
Ctrs. 1 atld 2 plq, Rhy Fis 2 twice (seebtr 82)
Glr. :J
90 ."^..^r\^.*PM.
L =- ,.--. s
f 14) 5 +5) 5 I
F l-t t t
t.- - - r r
r-r
ltassplays BassFi].4 h-ice simile (seebar 82)

C5/E
cstA

+topnoter pldredq Atr l ltlet \11it1 )

I22 GUITAR WORLD

 ..ENTRANGE
OFTHECONFLAGRATION'

@ zoa Coit . Soto 1z,sz)

D5/A
Gt^. I and2 plar Rhr. Fig.2twice(seebar 82)

Basspta\t Aass Fi8. I taicc sinil? tscc bar 82J

115 --

Gts.I and2 substitute

Rhy. Fi 2 (see betow)

Rhr. Fill2 (3t15)

GUITAR WORLD 123

 "CANONROCK"JerrvC.
Basedon "Canon in D" by Johann Pachelbel
Transcr
bedbyJerryC.andAndyAledort

Moderately Slow .l = 90
DA Bm F*m

Bm FSm

Fast J = 200
D F{ nl
P.M.,.- P.M.- P.M. P.M. -

11. 12.

P.H. D

I 2 4 G UI T A R W O R L D
 ..GANONROCK'

pnch:E

-, n - - - - - - -. ^ V
'+ s-i2d7l2- t7 -14-15-17 -14-15- -17

Bm
58 at* t4
14- 14-15-
14-16- 16-14- rU------r-1-
-;:;:--;:17;i--l--+--F -17 I | 17_15_14_ -t---'t--
tt

D F{ Bm Fflm

63 -15-17 t4-14-
,j-15-17-17- 17-14-15-17 -1/-l .r'15-r+--rrr- ----::
14-15-17
14- 1A-17

68,."..-
-14-15-17-15-14-15-::-14-
i6-P=i6-14- -14-',14-15 | | 16------f--T---t-- -15- f---f----1- --t----l-l-r o -r-
-i-17-16-17--t---l---l-

E5 FSs G
P.M.-. P.M. P.M. P.M. P.M.

GUITAR WORLD I25

 ..CANONROCK'

12-12-12-12-14 -14-14-14-15-15 -15-

17-t5.14-141517

* ,r V--,--. /\ /\ V--.--' ,^.

92* -15-19_17 -Zt
19-17 -1915-1519151915-1519 1
i 15-'lsi--+---F--r--+-15-

i
I
I
'
F{ rn
.li P,M, P,M, P.M. P.M. P,H, P,M,
ii. 2-0-3-0-7-0-+10' 7-10-+12-0-10-0-A-0-12-0-
I
7,29-r.=6-7-9-:--+- 12
I

GA Bm
102 v_,r.r_,,_-. V_.-___,,. v_. v_, - P.M. P.M. P.M. P.M,

12----:: 12r-t-f 12-.-----.- 12i---f 1_-l_14 14 ,< | 7-5 -7----------,^-

l-l--r14 t--r---r14i7r---0--0--0-4-5- -, -e- 1-o-t -e---l----1-
.-!4ffi!ar
i

D
'|12
1*
|7-14-'|5_17-14_15117-14_15T14-

F{

117
-17-'t4-15-17 -17 -(14 15-14-

Bm F{m
122 e
1 5 - ' 1 41 5 - 15 14.- ': 14-15- 15_14_1s-14-
-----f-----!5-f-f
* -r-17-16-17

126 GUITAR WORT,D

 "GANONROCK"
Mod€rately Slow J =100

(of)-"<nf "<.
;;:

| = 2OO
D

F{m
P,M. P.M, P.M. P.M. P.M. P.M.
+1rNlO- 12121012.A-12I 1O-A-7- -10108 10,7-10- A--
i--o_/-l'|
1 tz14 -16\14_ 1F-F+_ffig-7

u ' ";,,i
e-10.7
e1o12.e.1o12rrao
X-' l;;'arao

Bm
v
.1. . 4
. . .7_ 1
, :O- -
7 7-t0.7
V.---.,--
.tO 7-7-10
7
v . u--. v,,
..........._52---
, - \ V _ _ .- - - ^ , - . v _ _ .- - ,
_
r ----r 7-7-7-7# r7-3--= -3-7 3-10-7 7

G
^ v--. a v..- a
-11540- 1 0 _ 1 4 . 1 0 _ 1 5 - 1 0
V _ - _r ,-- V -. ---. ^ ,-. V--. - - -
1?-
| 10-10-lo. _ lPr.--*i9j9jlllJr,'"-'.lljl 14_17-14

Bb
t3- 5 - 1 7 - r 3 - 15_17_13_
15-t7
15-17 i' i" ;' i? f'-f-T-T--

Gnr

t1 ta-t5-t1 15-14 14-1a 17

14-12 10-12 14

11_15_13_11

GUITAR WORLD I27

..GANONROGK'
fi1-frI-u-rs- 1z-le 17nj !-Y:!

jglrlqE:lq-rz-11-1sl5;: ffi
Yi::::u-1f"-f,:::\4-1srlg

P-M.,-----.

FSm
tu1l
-in s -
fftll.-17 -1s-12 -ii

iz - i+-tt--t+-ta-

I28 GUTTAR WORID

 .IOKER& THETHIEF''

(o:58,2:05)
[D-llstand3rd verses way all acrosslhe land
He makeshis
ioker is a wanted man
1.I said the
Nnow Youqetthe leelingcomin'attertheglow
3.WhatYousee wellYou miqhtnol
D5
171
Gtr. t pln\: Rh. ft-. I Ih'." ttd^ .5.' bar
tj 2 r1'^\ Fill I stt\1d ltrt (\tt netont

Seehimsitlinq
The vagabond is
throuohlhe sand
m0vin' llow
sol'll
sol'll l:iiisr:iilffi:lsfli3[:l:ll lffilli:iil lffili![l
,Hllll:
tine (seebar 13)
t;ne tseffar D) ana nrr'-Filt t second
Etr. t plars
RN Fis.2fir'st

(seebor 19)

-+ Aasr suDrritutesBrrs F;8.2 secondtittt'

F i g .I

_l
n EI 2ndatrd4th verses(1162 24)
- alwayslaughing - in the midstol power always livinq in lhe linal nour
light
-2.He's holdlheir dreamsup to the
i.lii rfrepeo-plethatyou seein the niqht
D5
Gt. I ptarsRhJ.Fig.I ttrice(seebat 13)
Zt, z 'ui'tit'rt"' r ilt z sec''ndtiltrc(seeh?Lo||)
efilcrs) entl Riff B
Ctr.2 (clec.$/lightdisl - fasl lrcmolo and sub octale
l
l
rl
l
-f I t d s sp k r y rB n s sF i g i t l t t e e t i n e s ( s e e b a r 2 l )
- 15 l'
/15

,.-' na, ^4.

-,4
ii
,{n
t..- fl
I \17 L\-7 lv t I
ti L tn --l
I t
lL iE4L | r
I
l

- 12 -

I
1
I

GUlTAR WORLD I3I

.TOKER
& THETHIEF''
s0 we are nol
sweet in s0ur are nol
searchingtor sight and we
F5 G5

Gtr.2 repeatsRiIfB fitst time (seebar 37)

''I
G!r. n4 ritLt
41

,=E-+=---*-,-,-=;-.==".-==,=--=
-17igj{1p=17;a-lli--11--
Bassplals BassFi?.2 (seebar l9)

n0me
n0me (c5)
(D5) (rcpeatprelbus Dar)
iw/slow sweepinsfixer ctreco

JJ
(seebat 5)
Bassplors frst foul bars of BassFis l

@ clo."' 11:35,2:42)
0ver
you see the loker flyiIg
Can the tield ol clovet
as she's standing in
(c5)
(05)
4s

33
Plq's BassFis l (seebt 5)
Bass (2ndtine) ski1aheadtu@Inte ude

every day I wonderwhatwouldhappenif he t00k her away

watching oul (G5)
(F5)
iltr. I ptalsRiIfA tuice(seebar 1)
Gr. 2 (Wdisr od slos sweepi4liher efeco

Gtr. 3 (el@. s/dist and sios sweeping rlller effcco

-
'.
ir-1d 12 l4 f
+j,12t4+ff
+- l-f F 1

so back tu @
D5
Gtr. I (filter effec! oft)
I

iF lp-1F-18

I32 GUITAR WORLD

 .iIOKER& THETHIEF''

=
=
)
Ba$ (w^ub-octave eff@t)
Bass Fig.4

=
=
l

L3- ]

Bassrcpeats BassFiq 4 (seebar61)

(F5)

14- -{14]_- tt9-

@ ts,ast
Whalf-timefeel(,rJ= '|:) c5
D5
Gtr- 1
79

, snilp ^ o4h ranath ficn.d oPpt!abnnorcp,c'suretathPstdne

'n'"\., ^uttue i bi doni oI'*do\natt thc Mt
Bds Gub octave effecr off) "i"ta i,.i ""* "-ptt
B a s sF i g . 5 ,-- 2

--l]
3J
- Bass plaJs Bass Fis S t\9ice (see bar 79)

CUIAAR WORLD 133

.TOKER
& THETHIEF''

- 7 12-
|! 16r 1
'ft l L lL
r lt
-T
l
t:1" I
r-T
(end half-tine Ieel)
N C( 0 5 ) . , Jlick pickup toqqLe switch back and forth
CIJ I
, 1 c n , e d l t r s " n e e Ap r A u p n t u n e r o 0 '
91 2.,,----'1.-.

14 0

J
Bassplays BassFis. 3 r\|ice (seebar 2l)

(F5) (G5)
--
95

' lz la i=g la-lg

L____.1
A,ripld)i Aa\i F/S 2tseeht le) Bassplq-s BdssFis. 3 t||ice (seebar 2l )

Eloutro (4r4)
I saidlheioker tsa Makeshiswayall acrosslhe land
D5
,

17 18tZi8 1?i
B.1ssplays Bass Fig. 3 three tines (se. bar 2l)

Seehimsitling throughthe sand So l'll lell you all thesloryaboultheioker ald lhe t h i e l s a i d l ' l l
lell you all thestoryaboullheioker andlhe thielI said
'103 F5 G5
F _ I-
r,
tl L -
1 23 lt 8 t l g 't 11 77
10 12 lt
't 1 2 i 12-
12
12 1 1t1R
9 1
1 29 1
O 12
1 p8 1
I
i5

Basspla'-s BossFiq.2 twice (seebar 19)

l'll tell you all aboul the ioker and the lhief in the nighl
F5 G5
n

I34 CUITAR WORLD

 "HEREITAsGOES AGAIN"OKGo
heardon Oh No (cAPlroL)
by DamianKulash,Jr. . TranscribedbyJeff Perrin
Wordsand l\,4usic

c5cGBfEEmAir&BlEtB
*;.'*
ffiffiffiffiwq#jjffiffiffiffiffi
E] fntro O,oot
Morterately fast J = 1il8

Gtr. 1 (e14. q,/dis.)

Ga.1only Grs, I dd2

E kt Ye$e (or1)
It couldbe len bul lhenagaln csn'tremembef hall an hour slnc€a qu br lo loul
throryon vourclothes ol SurGt Ro€a and you leave
tho secondside msYtilhmYiav on lhe lloof Hey
F
Gtr.2
end.My. Fis. ta
^ Nry. Fig. ]a

ott t
P.M.---------, PM.-----. ,.a.-----,"**t

Bess Fig. 2

rol)
@ o,zs,
c
12 Gtrs.r and2

Ba"tsplays BassFiq. I (see

Copy8ht@2005OKGoPublls
All Riej.lsReseded,U*d by Permis
I35 GUlTAR WORLD
 ..HERE
IT GOESAGAIN''
E Pre-chorus (o:zs,
lros)
Juslwhenyou
think thatyoulein contlol jusl vrhen
you think you've
g0l a hold iuslwhenyougel 0n a rcll
Gf2 Em Am Enl G
14
I

( ln Chon6) play firice

@ cno.o" (o:3s,
ir4,2r2) (2nd Chotus) pla! 3 ti,nes and tkip dh.ad to@
(3rd Chorus) plar 7 ti,1es antl skiP ahea.l bE

(1.,3.,6.) 0h here it goes here il goes here il goes again 0h here it goes again
(2.,1..i.) | have known
should shouldhave known have Knol]vnagaln
should But here it qoes again
(s.,8.) Ah here it goes Ah herc it goes Ah herc it goes again
(9.-12.),/ddlibvalt

G
+ jg ctrs. I and

+
l

P.M.

fl
t2nd !me) Bo back tan
@ zttav".r" 1o,sr1
ll starlsouteasy somethingsimplesomething inching pastlhe edgeof €serue
sleazy something

4 youl cal ls pulling off ol the cud

Nowthrough venetian blinds
thelines of lhe cheap hey

Gtr. I pla)"s Rht. Fis. I tvice (see barS)

Gt/.2 plals Rh!. Fis. ]a twne (see bar 8)

2
.n
II
.tr @ t,,zst oh here it goes again
Bb

CUITAR WORLD I37

'HEREIT GOESAGAIN'
@ nto.ua" 6'44
0h oh oh hereit
Hoy hey oh hereil

ll. ll2.
goes y3sh oh herc it goesagsln
gocs all right
A'

Am

plays Bals Fi I (see bar 20)

tr 3rd VeIs€ (1:5n
l1'
bul Jesus wienit rainshowil pours
I gue8sthetr's got tobe r brcakin lhe monotony
Thrdivonyourctot-hee
$e socond slde of surfer Fosi anq you leaveme yeahyou
Et
Gtr, 2 plnys Rhr. Fig. Ia b,/ice (seebar 8)
il PM , P.M.

R6s plots Bass FiE.2 twice (seebar 8)

E, 8o ba.k to @Chotul [oot- 1z,roy Fr€ely

t@veme 0h on oh heeitgoe8agsln
F Ab B'

I3E GUITARWORID
 "MYAsGENERATION" TheWho
heard on The Who Sings My Geneation (McA)
Words and N4usicbv Peter Townshend' Transcrbed by Andy Aledort

quarter step aboYeconcert pitch'

NOTE: On the recording, all instruments sound approximately one
To play along, tune all strings slightly sharp'
cs!s4 * Gs/F C5 G6 G7 A5 A7
G5
fli*i'.r. fln+i, , f-iif .,, ffi
f+H f+ Ff.H FFTM
fffi HiI+ P ffi

Bb7 Bb F5 F5(6)
A Asus4 Bb5 Bb6
ffi,,. ffi'- FFtrIh ffi'", ffi,'. fiTrfr", i+-n""
ffTr]
r1-1]]
ff+r
Er::IE
ffiF l-+-itst-H
t]::@
nff
i-i:i
ffi
' i!"- H+ff
n t"r'ar,,
Mod€rately Fast WtriPlet feel ( f: =:']) J =18e
' G5
G5/F
Grr. I (cleanclec ) (rep.a1pre\tots ^'o ]n asurcs)

I
t:r c ho ]a
+Th " I ep?dt Pr I aus

iIrct @whhunb

ElstV€rse (o:05) (Talkin' 'boul my generation)

People try lo put us d down
(F) G5
G5

'bout my generation)
justbecause we get around {Talkin'
Gs (F)
Ch. I plq-s Rh)^.Fig. I three tin s (see bar 5)

Things they look aMul 'boul generation)

my
(F) G5/F
G5
3-3 3-

I said mY generation
get old 'boul my generalion)

arprerrio 1965(Reiewed)Fabllous MuncLid LondonEis:

r R o D e v . .r ' , 1 , ! . ' , i r i * r - t - t t t t t ' pubicrtoirisnsrorUSA andcrn
lsed bYPermis
A lR shGRese_ved
I4O GUlTAR WOR],D
 ..MYGENERATION''
Thisis my generallon
,G5/F Gsus4 G Gsus4
G
Ctr. I
Rh!. Fig. 2
end Rhr- Fig- 2
tu nnE thrcushdtt
I 22

@ 2ttd v"."" 1o,eo;

whydonl you all f fade away And
I 'boul my generalion)
ttalkin'
don't lry to dig what we al say I'm
(Ialkln' 'boul my genetalion)
I
nol tryin' lo causea big ss sens8l|on I'm iust
(Talkin' 'bout my generation)
I
htkin' 'bout my qenelalton My gene
S sg - 'bout my
I (Talkin' generalion)
G5 G5/F
'Ctt.
I p l o ) \ R h v r i g . I t o u t l i d ? t t s c Pb a r 5 t
26 B^'

Said my gene- @ BassSotoiorssl

Ialion
ration
(G5)
30G

I Fig. I

,_l
G6 G5
33 Gb.2 Glighdy diny elec.)
==
f-
Gtr. 1 plals Rhy- Fig. 3 two and
one half tines (see bar 31)

- l-
T 39 cff.2

dion

F
- 5=
f--t
T
GUITAR WOR],D I4I
'MY GENERATION'
G6 G6 Gsus4
Gtr. 1 plqs Rhy. Fis.2
(seebar 22) bri,s-"
fiill

E 3rd Verse(lre)
don't youall f hde av6y 'boul
lwhy (Ialtln' my generation)
don't by and d dig whal we all s ss s9 I Say
(Ialhn' 'boul my generation)
Not tryin' to cause a big s€rlsalion Jusl
(Ialkln' 'bod my g€|leratlon)
'bout my g generallon 899. tY generation
blkin' 'boul qen9|aron,
(Talkln' mY
.A7tG .A6/G
A5 A5 A6
Gf. I
end Rhy.FiB.4
52 My. Fie.4

ThiE i8 my g€neratioo boby

w ry se gen€ration My my

I42 CUITAR WORLD

 ..MYGENERATION''
(1r49)
oonmy my li,ly my my my generation
Bb5 -Bb5/Ab
Asus4
u,a-

F
=

@ 4th V"..e 1t,s+1

try to pul us 0 00wn
'bout my
lreonte (Tallin' generation)
I lust wesgg gel around
'bout my
I' (Ialkin' generation)
Bbs Bb6 'BbTlAb 'Bb6/Ab
Sub,titurc Rhr. tiM ^atft on r.ppal (s?" bat 6a)

Thingsthey 00 look awful c c c cold 'bout my qeneration) Yeah I

n gel old fralkin' 'bout my gener-
nopeI die belore I (Ialkin' ieneraiioni ttly
Bbsus4 -Bbsus4/Ab
(Bb) ,/, Bb
Fig.4

=
----tl
a

atlon Thisis my genelalion

.
my my my my generatron
B' Bbsus4/Ab Bb

@ oot"o 1z,zl1
c
g0 cirs. I dd 2 (composite mdgement) bt nng
=
=i=
I
.=
--r----l
r
CUITAR WOR]-D I43
'MY GENERATION'

tetnhS ------ ,-----1

*with n;ck pickrp votwe au the wat do-n, Jtip toesle s||itcn bek and Jonh lrM btidEe pickup to reck PictuP in rhtthtu indicat.d

(2:49)
( lead vocal ad lib neri 15 bars)
'boul (Talkin' 'boul my
(Talkin' ml, generation)
F5{6) c F5(6) c
Gi 1 plaJs Rhy. Fi8. 5
rwo andone haff mtes (see bat 100)

(Talkln' 'boul my gene|ation) (Ialkin' my

generatlon)
F5(6) c F5(6) c
103sas

Thisis my generalion
generation) fialkin' my generation)
F5(6) c F5(6) c
(plat 4 tines) E\
1 0 7G t . I

(pla), 4 'ircs) ti\

144 CUITAR WORID

 "RAINBOW lN THEDARK'Dio
As heardon Holy Diver (REPRISE)
' Transcribedby Andy Aledort
Words and lMlsic by RonnieJames Dio, Jimmy Bain, vivian Campbelland Vinnie Appice

E Intro (oro0)
ModeratelyJ = 116

1 slnth. {arr-for 8tr)

+lf tou haw a 2a.J'.t Auitu, theh qofo n

oth.Nite. justp|ar |h. note t'etaw
Rhy. FiB.I tA

L-l

A5 G5
Synth-plays Riff A thrce times (seebar 2)
enll Rhr. Fiq. l
Gtr. I ?H.-,,- ------ .

Bassplars BassFig. I twice (seebar2)

1. When lhere's

Let/h8,-----
p r c Ks c r a p c - - - - - -1

I ttll

ll

C o p y r i E h i O 1 9 a 3 N lM u s l c ( 8 M l ) L t e D u s t n S M u s c ( A S C A P ) a n d V i n n v A p p i c e M u s c ( A S C A P ) CUITAR WOR',D I45

AlRghls Reseded. Used bY Permisson
.:RAINBOW
IN THEDARK'
@v"rr" 1ors,t,oa,z'ot1
vo! know il alrrayS b nss "
-lhe me down
G" 3J ligh$lng i hel it danclng in llght
ma$c
do theyevet lel you 90 ..
(2.)oemons caugnl In $ma
pictutp youte an image
A5
A5

Bassplrts BBs Fis. 1 fout ti.nzs simile (see bar 2)

yrho'slost and never

(1.,3.) 'causeit's lreo. and I ge€ thal lts me
io lheshadows ol ths night
It wa8 cold lod my hold
do lhey hlde 0€€p insid9 ls it someone thalYou
(2.) when you'vet ed wete uods vtilh
w6're a lie you ano I
A5 PH. ___----------------1

(1st tine or 3td vejd skip aheadloB ll' lor

0,3.) found
iust a
(2) know
our
A5

E. lC I lst and 2nll Pre-choruses (0:52'

1:41)
No signof ihe momi||g comng You'vob€€rlgtlon Yolr own

RhJ. Fi8.2
1-

B a s sF i l - - " - - - - - - - - - - - - - - - - - - - B a s sF i g . 2

-.t-1-1-3-1
trll

(2nd tine) skh aheai. to@2rl cltor4s lpl 1st Chorus (1:00)
a lainbow in lhedad(
like a rainbow inlh€dark
A5 A5
G5
end Rht. Fig. 2 Sthth Plays RlffA twice (see bar2)

end BassFig.2

'|

146 GUITAR VIORLD

 ..RAINBOW
IN THEDARK'
( l s t t i n e )e o b a c k b @ v e l e E 2 n d chorus (1r48)
2. Doyoul Justa rainbov{inthedark Yeah
A5 A5
Gtr.1 p i c Ls c r a p €- - - - - - r

BossFig. 3 end Bass Fig. 3

uer
sr
n you
[F
@ Goit .Solo 1t,sz;
A5
Gtt. I plats Rhr. Fie.1fow nnes (seebar 2)
Gtr' 2 --- w/btu
F P.M. P.H
.
P.M.

1-
-

Bassplays Bass FiE. I eight times (seebar2)

34tr-

A5

l own

-t -l
:i-
J
40@
1 7_ 1 7 _17 _17 _17
1-17--1-17-17- 17 | 17 17

42 tF5G5
........_17-19-20-19-17.-m 17 fl -17-m-17-19-17-fl-m-17 1S17-'_17 m- t7.19-17-.._17-m-17 -19-17-17 -zJ.17-19-17-m.fl -2-17 -m-17

-9- 1
-3J
I
fl m 17 2.17m fl 19 fl m-O-17-m-fl-19-17- 17

CUITAR WOR!D 14'

'RAINBOWIN THEDARK'

Gtr. 1 plays Rht. Fis.2 (seebar 19)

Pli

Bass substitutes B6s Fill I (seebar 18) Bassplays BassFis.2 (seebar 19)

1312-12-13-15-13-

E] rnterlude (2i8)
A5
51 Gtr. I

Bal,splays BassFis. 3 (see bat 27)

so back to B verse
3, We nevet see
A5 Lt riig-,--- --- - - - - - - - - -
53 Gt.1
p i c k 3 q a p e r- - - - - - - - - - - - - - - ----- -.

lIIl 3rd Versecont. {3:00)

Feel the magic leel it floating in the
A5
th

Bassplals BassFiI 1 (seebar 18) Bassplits BassFi8. 1 three and one hartines (see bar 2)

Bul ii's feir and you'llhear

A5

it calling you bewarc Lookout

A5 PH - -- -----------------r

61

BassplaJs BassFi l(seebatt8)

I48 C U ITAR WORLD

 ..RAINBOW
IN THEDARK'
[3rd Pre-chorus 1s,re1
There's
no sight ol lhe noming coming There's
no sign of the day
F5

64 Le'nns, -,

ttl

-.t-1-1 3 1
tttl
You'vebeonIelt on your like a rainbow

tut1

:
=,__l 1 1 1-1-3-1
t_l-l_-l trl
[:.a cno.us p,eoy
Iike a rainbow in thedark
yeah Youtea rainbow in lhedark
-l
A5 A5
St 1th. plals RiffA.four tines (see bdr 2 ) P.lt.

Bvqse

..-' :
Bdss?ldrs BdssFiU 2 four theh Bass FiE. 3 (see

-Tl 1 Yeah 12.

P,H.
73 Gr. I prcf scrape, - _____________- __--,,1

n the

---f-'1
-I 1
o -f., I
J @ outro Chorus 1s,+ry
(1,) Jusl a rainbow the
'll hear (2,) Youle a lainbow
(3.) ho

tl rll
Bass plat\ Bass FiE. I simile untilfade (see bdr2)
plar 3 times a dfade
(1.) da.k NO sign ol lhe mohing
(2.) in theda* Whoa