Uc ito 8 meet your gst tutor: Jane Humphries i former ri bere student and sy utr teacher inthe Kent area He performs extensively in the cand tarscrbes for To ‘Geoff Whitehorn's ‘a n oberon’ St sie Jamie This month, US metal guitar god Zakk Wylde returns to et for also teaches at the ACM in (ltr and ie UK artist, another exclusive Masterclass. duction, with ying sideman om fetal, Ozzy you lucky ft readers. As well as the regular style tracks, this month smaller exercises can be found below the musi performance notes Exercise 5 features the solo played by Zakk, on @ Music Studios the next ime he was in England. Bars 1-4 se the Well, the man stuck to his word, When I heard theme based around E minor pentatonic, There are he was heading back to the UK, promoting the some fast trills and bluesy double-stops that use new Black Label CD Stronger Than Death, 1 tes from E Dorian:SRNR EHA GeO RCO DopCE: MMLC a ey Look out for Zak's signature wide vibrato, and pinches! harmonics, Bars 5-9 include 2 variation on the original theme, plus some diminished triads that ascend the neck in minor third intervals. Bars10-12 feature licks based around the E blues scale and E minor pentatonic, and include fast left-hand slurs, bluesy bends and a pre-bend, Bars 13-16 kick off with a signature Wylde llek that uses E minor pentatonic, Flues and E Dorian, and includes fast deseending run and repetitive pattems. The section concludes with more wailing bends and wide vibrato. Bars 17-20 introduce the chorus section, kicking off with some bluesy double-stop bends. Zakk then launches into lick similar to that in Exereise 1a and Exercise 1b that features fast position-shifting pentatonic ine, The lick concludes with a wide bend, Bars 21-24 conclude the chorus with more bending phrases and re-picked bends, with a litle sonic help from his trusty roto-vbe. Bars 25-29 feature the final verse and include some of Zakk’s fast pentatonic picking licks. Zakk does this sort of thing very well, so play it slowly to start with. [ have taken the liberty of ‘quantising some ofthe licks tothe nearest beat to make practising the lick to a metronome little Bars 30-34 concludes Zakk's solo, with more string bends and Zakk’ signature vibrato and pinched harmonics, plus some rock'n'roll pick serepes, Exereise 6 illustrates Phil's rhythm part for Immigrant Wrong. The part kicks off with the power chords of G5 and AS and sound similar to the intro of the Ozzy trick ‘Desire’, found on the [No More Tears album. This is followed by an E octave rif at bar 4 that resembles, yes you've guessed it, Led Zeppelin’s “mmigrant Song This section repeats, wit the chugging E5 power chord ‘entering at bar 10. Look out forthe palm muting, Which helps the rif drive along, This iff concludes with the chords of D/F# and G5 played fon the E and A strings, with only the F¥ note moving a semitone to G to change chords. The chorus is introduced at bar 18 and includes more Power chords and single-note riffs. Look out for the muted quarter-note triplet shythms in bar 24, ‘Make sure you uses down strokes and accent the first quarter note of each group. The part concludes with the E5 riff and a dive-bombed final chord - cool! Exercise 7 features Zakt’s solo on the track "Skull B. Originally, Phil and I had written the main rif together. Phil wrote the question and I wrote the answer, but that day I must have been listening to more King's X than usual and included some non-diatonic chords that Zakk was not that happy about playing aver The idea vould have worked 25 a song but not really as a backing track for him to widdle over. So the three of us came up with @ new song, so i's definitely a St exclusive Jargon buster At we BY fewest titres ay ‘pode viendo spoof dnl Teco these ante ro teow ald wor on te Pret oy abe oats of fie edieeaeenes mnt wt re Hoes ‘colo he Sr Spr finn eyo el en Pie takk’s @t€D gear Forte wD ssn Zak ine ore of hissignatre iso es aul qutarsted wih EMG ikon Ths ws uaa into theescelent aford Mie, wth ne flowing tings Vol OD Bass Wid Treb Pres Mst1 Res i eG eA Dea Ze sluggad int tefl esi Hera a Danp reo ike, us super ved and» Ss uch Pil permed is hyhn pa on is Ako paged nto tte Contr MK with re oir sens Vol OD Bess Mid Tied Pres Mst1_ Res 75 35 65 25 Sd dae. IE REVENEER ems A wien rained on page 92 Bars 1-8 kick off the proceedings, with Zakk setting a bluesy vibe using licks based around D minor pentatonic and D Dorian: [a SPSROEA a Sao a Bars 9-14 Introduce the chorus with Zakk performing wrenching bends that lead to his signature fest pentatonic picking licks based around D minor pentatonic, D blues and D Aeolian: CE cera a esr edt pe ace CE aR AT TD 2a esse Ft ‘As you can tell from the SCD, Zakk was relly foing fori, so I have quantised the fest licks to the nearest beat to make them easier, Bars 15-18 introduce a melodic figure that outlines the accompanying rf. Zakk also cembellshes this section with fast blues-scale rans and a cool tapped bending idea Bars 19-25 conclude ‘Skull B’ with yet more rapid pentatonic lines and walling bends Remember, practise them slowly to start with. The final two bars include a lick similar to the one found in Exercise 3, and you ean see how the repetitions help to build the tension Exerese 8 features Zakk's rhythm part found {in ‘Skull BY Notice how Zakk backs off the guitar's volume to clean up the tone. Zakk also uses dropped D tuning for extra chunk! He also uses the wah as atone control, producing a nasal (quality. The main riff is based around a D minor arpegigio figure that is embellished with single- note ideas. Zakk cranks the volume up to full at bar 9 and introduces the chorus siff. This section ‘can only be described as pure Sabbath, and Features a single-note riff performed on the bottom E string. The outro occurs at bar 15 and. features 2 tight riff that includes more screaming pinched harmonies and wide vibrato. Well, there ae tons of licks and material to get wild through here, so take your time and enjoy! st Zale in the so jw | winter 2000zakk wyide masterclass es waa fears anes 400) 101) 1 IT ON pata oat na ag aT Exersise 1a featutes « position shifing liek, based around. the A minor pentatonle scale: ‘The lick shifts positions by sliding on the B string. When Zakk reaches the 12th position in bar 2, he includes the B note (2nd) COEUMAEATON A atthe 12th fret B string, so thatthe shape is easy to execute at pe. h speed, a ES S & & 3 a 54-3 #10» 10712 10 131512 18 P18 sana tt ag e047. i =Sinke 8 sing Exercise 1b is high-speed variation on the previous lick. The lick is still based around A minor pentatonic but this time the position shifts occur on the top E string. The lick also stars the same as the previous exercise, but then makes use of different ‘hythmie groupings. Also check out the final bend, as Zakk catches the B string to create a searing, screaming tone. Te 30 guitar techniques | winter 2000 | wiintermusiccom7 5 ie aie eee Exercise 2 is another high-speed Wylde lick that uses the E ‘minor pentatonic scale: CA BNE ES! aa ASIST Seb ESS GAGA RO SORT Sa ~/ The Es note is also used as a chromatic passing tone, and fuses fast picking and sliding that results in an excellent This also includes notes from the E blues scale pentatonic line. = eS eT Exercise 3 features one of Zakk's trademark fast-picking pentatonic runs, The whole lick is based around E minor pentatonic and uses a sixteenth-note triplet rhythm. This lick isa great way of building tension, and Zakk does this to great effect on the fast version on the @CD by simply repeating each string group, lemelsad aet00..-, \maleeenaiendiine ianzakk wylde masterclass s 4215-18 et rae ee =e ieee ee Exercise 4 features another lick in E minor pentatonic and E blues, This lick demonstrates Zakk’s passion for country guitar; or should [say Albert Lee. The lick uses hybrid picking, « mixture of pick and right hand fingers, when crossing strings. It also includes left-hand slurs and bluesy double-stops. Zakk once studied an Albert Lee tition video when on tour with Ozzy. 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