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    Guitar One June 2002 PDF

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    warriosoulm4

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    10 CLASSIC VAN HALEN RIFFS + JAZZ SOLOING SECRETS REVEALED! SSONGS! come to ‘Strum Itt JIMMY BUFFETT wef A HIND: Sy THESIS AHL R ESC a NET AST AGENT ATS CTCL STN AT TETTEN By Michael Mueller of Jimi Hendrix, Ed greatest rhythm guitar player in rock history. stiffs reat once melodic, paw brhil,evncative, and elemental. Of eatrse he big question shill remains: When will we hear more? Just Ike you, we at GL are eagerly await ing news regarding the furure of Van Halen. Youmayremember tatkdaiewes cagnosed ivi tongue cancer in 199%, which—under standably—cemporarily derale te baud. Fosunaiely acuessYalerieBettiell, Ede’ wile of 20 years, reported in a vecent Pande magazine interview that he is now cancer ieveade peti ahisksireuiaceduer flastmonth’s“Hired Guns” coverstory whet your appetite forsomeVan Halen-sanity, you're not alone. We were lis- tening to some VE in the office and thought, “Why not do a VH Riff Box?” After all, with the possible exception van Halen just may be the ‘material, Meanwhile, further fueling the ‘rumor mill hessst Michael Anthony swore ing wth former VH frontinan Sammy Higa, alongwith Journey sguitaristINeal Schonand ‘drummer Deen Gestionovo In a new side ‘pioject during the current nlats, Also not helping matters much 4s the news that Van Halen recently parted ways with It label, Warner Bros. he tudiabou: wilet whos Isl ay acpress Ue Texaudless, Eddie, Ales, and Michael appeat poived for « fresh, nev atart—onee they agree on a singer. One cen only hope (perhaps dream isa betier word) that | will result in the retarn of original front zmiax, David Lee Roth. In the meantime, swe longfor thatbright, new day hose aro 10 chining guitar momente from Van Halens vast catalog of raucous riffs “Little Dreamer’ Van Halen In 1978 Baidie Van Halen, his brother Alex, bassist Michael Anthony, and audacious voealistDavid Lee Roth tumed therock world on its ear with their eponymous debut, | Nan Flaten. Produced tyTed Templeman, the record became the pew standant for gut tar-based rock—a pounding rhyehm section, an honest-tu-goudmess guitar Devo, anda wild froninan vty tives for the spuillpht. Yar Hafen soun bad guitetis both young aad old runnin’ down the eevi to ll their souls for the proficiency to play "Ceuption Dy the time you got through the fret {INE 2002 @1 The Magazine You Can Play 33 Riff Box ar Rock J=90 ‘ea nr An, en in, yo ot 00 Hi Ma ACA Dro ‘owt ances restos narrate Bet board fireworks of the aforementioned Equpiton,” as well as such tracks as ‘KURI With che Devi,” “You Keuly Got Me," “Aunt Talkin’ ‘Bout Love,” “Jaauie's Cryin aud “Peel Your Love Tonight” a is. Hiatcouldcomprise a reatestlts albumin, ‘and pfliself), the laid-back minor-blues vibe ‘of Mitte Dreamer” (Tig. 1) injure what the doctor ordered, “Beautiful Girls” Van Halen If rasa song ver bala bigger social or cuits al inpace tran de deeply moving “Beautiful Gls" (Py 237 Sestously,dhougly, you iave wonder if Diemond Dave was listening to ‘eroamithe “Walk This Way? when he came up vith the vooalmelody and shyt ‘he hard followed up is instantly slassiedebut withthe envy rockin’ Yan Halen 11. Toough some erties felt the tongeriting didn't quite rezch the tar theyhadserso high on their inst ettort, ay fas guar genius flows forth with each note on the record, especially inchs tune, the albums closer. although Beautiful Girls” didn't reaen great heights om the charts, 1: nonetheless tec, ara eras his daa beach lst’ eassle “Take Your Whiskey Home” Women and Children First ‘The release of Van Halon’ third record Wren and Children Fire ao Edie con fine to ernano and aman gtr dlicploe and David Loe Reth Project a crerior image than ever. ‘Thouigh the album lacked some of the Srepowerof previous roleaces, there were stil plenty of high- lignts, including the laid-back yet heavy hiting "ne the Cradle Wi Heck. anéthebiues-rcksalvo" ae YourWhiskey Home’ [Fig] The laters catchy acoustic sno, Diamond Daves Dela-ayle delivery oftieopeningis.tnebals-ougultaro! ‘hemlnef andtne mmyraze-steso10 breaks comprise te recipe forrock sl “Mean Street” Fair Warning Folloving the relatively tame outing on Werner and Children Fst Pdchanved to sults hero stats on Fair arningin 1001 One needs only to ston tothe fist 20 secondsofthecpen fr tMean Steet" = hear what Im tlle ingabot. Reminiscent of the Rolling Stones’ excursion tothe funky side orock'n ral ‘his tuneexempliiesthe funk-rockquad: rant of Van Halens musical mind. the ‘iinorpentatonic, syncopated tsth-note Ziff [Fig 4 is standlard-issue funk-o- aanig, and Roth embodies the genres personality and performance like no other. Interestingly, @ young, Van Halen-influenced rock bani called "xUerve WOU make dls «ype OF Tu: rock helt calling vard ii Uke ely 10s snges Gary Cheione would eventaally stand in the plitering foot prteot Diamond Dave onstage withlid fad the boy 34 GUITAR OME « mu gullaroremag om «MINE 2009 : Peres || esisehanei aE: = eR tage eae Baca tere 2 ee a4 fim) en A A ced WE Mae Cao. ASCAY Asa dy Pra 36 GUITAR ONE «wa quiteranemag com éJUNE 2002 “Unchained” Fair Warning Amonggtall the funk rockars ike "Mean Steet,” *Dirty Movies,” and "Push Comes to Show" on Fair Warninglies te original drop-Dimetalmasterpece, "Unchained ‘great song t test out that new flange pedal youve been coveting he tune hits the ground running with arguably the thickest rf Et has ever churned ont Fg. 5}_reportediy his personal favorie rorsucha greatguitar track the song moment of tua I actualy provided by Rothann producer tea tempteman, white Lusching, Dave was well, being Deve v= ing his opinion about ils producer's hoi offashionalie Uucad swells is hance fer success with the ladies while ‘wearing the getup in question. Knowing Roth could come up with something priceless ot any given moment, this con verantion was recorded, and when Templeman implozes Dave to “give mea break” Roth delivers withoutlosinga beat “One break, coming up!” “Panama” 1984 The monsteous frst single from 1984, "mp," had Van Halen leaping oj Ierlly—thanks to the bard embracing the burgeoning music video scene ‘Whoamong uscd: nic at one time or anocner imitare Daves famous sis sor kick tn the Daind’s taudinaih video? Likewise, helt altborie ands in the “Panama” video would later ally ceneeBon Jovs famous fights olay in *Livingona Prayer" and, onecoul argue, ‘Tommy Lov rolling drum cagein Motley rites “Wild Sido “Thedynarnics displayed by Ba through cout Panamat (Fig 6) show yet oncther reason whyhestheitarheraguitarher Fiomtheenerayspilirgeauberancefthe main riff o the Chuck Bersy-style solo opener ois sultry lines duringthebreal- ‘down, Fd takes us on a ride equal tothe ‘izzying acrobaticsdepicied in the vileo, “Hot for Teacher” 1984 "Hey whatdoyou thinkthe teacher’ gonna look like this year?” If my teacher had Jooked anythinglike the one in the video Jocthss gular exaveganza.my sophomore year attencance recorawould nave been ‘wholelut beter. Considering 1stvas the evo a whit aldiedlebuted is fcani> lable heybuaidl chi ie alu seth fullofgreatguitarmoments Duc wis Incredibly populervsco, “Hoc for Peale Ett Box i (Fix toe Teather] topped the heap, but unheralded songs | cP aeae like “Drop Bead Legs" and “Top Jan’ ] Pot SttteJ-29 (59-2°9 » retburnie faves among gukarsts The biggest tapping tempest since 1978 "Eruption," the intro to "Hot for “Teacher” will havo your digits dancing all ver the fretboard, Balanced by amodem, nod to Texas tone rangers 7'Top in the ‘main sf (Fig 7), che songs « lesson in full-fledged rock guitar “Best of Both Worlds” 5150 Alter the sucess of 1984, the sears holding Van Halen together finally spllt. David Lee Kom Weft the band 10 pursteasolocares, releasing Crazy From the Feat, sigh gpevwned the se NA Age cn pian OP mePemndeetieiaeae | enoranouny pup its em sa el lar video hits | [Fx ammstorsom wea ‘California Girl a and “Jurt a Gigolo ‘Motrst sk 120 TAin'e Got Nobody" In ¢ somewhat surprising move, Van Halen inpped red rocker SaramyyHlagarto take over the vocal reins, prompsing the playful moniker*Van Hlagae” Fest known previously for being unable to crise under the logal speed limit, Hagar immedintey jelled withhisnew baradmates,andtogeth tr they produced the bands frst ever #1 album, 5150, Named after the New York pice code for someone whos cuckoo for (Chena Pts eraiterEds home studio (yeu Pick), the recor produ future fan aves including Dreams Walls In “Why Cant'This Be Lave," and pes. of oun Worlds Hg. 8) “Finish What Ya Started” ouet2 gavetherock guitar J “Finish What Ya Started” (Fig. $). “Mader Rock = 13 fr 38 GUITAR ONE « wew.autaronemag.cem «JUNE 2002 as one ofthe the finest tequilas in the world by Bor Appatit. Him... wonserif lean vite that offasa research expense? 494g” For Unlawful Carnal Knowledge No, its not Stone Cold Steve Austin's theme music Nor ian ode Wo the Gespel of To, ree] Rather, lie beautifully aspegyiated“316" [g, 10) vas penned by Bali in cet ation of he birth ofhis son, Wolfgang, on Max 16 1991 Sadly, LUCK avonle be the beginning of the end ofan Halen, llagarwould record ane more studio record, 1995's Lelenee, before artistic and personal differences led to his loved exit shonly thereafter, rumors of @ Roth/VH reunion Dean wo sive, and infact itappeareds done deal when Dave, Eddie, Alex, and Michaslwaliee futon stage togeth: cr as presenters al the 1998 MTY Video Musie Awards, The ‘eunton" wasshort-ved.Assoonaa Rot) beg to speak thatght,one could sense the tension boiling in Ed, and Dave ‘once again chown tae door Goon after, former Extreme singer Gary Chorone secured ain aucition and bream the third cinger in Van Hiciorg Aitor only ane allsum, 1998's poorly reeaivod Gan Halon I hhand amienbly parted ways, and eon fatter, all arts retnion rtimors hegan reiling. Therewas Sammy'sretirn; Iher= ‘was Dave's return: there was Sammys statement that the orly way hed return ‘was with Dave at his side: this logistical. Iylucicrous suggestion was apt referred twoasthe "Sam and Dave’ tout, Rumors aside, all we can do now Is walt, begging Ed and Dave to kiss anid ‘make uponceaud forall, wcumewyet ‘eraguintodowhat they doso well Heres to forgiveness and nappy reanions! 3) thorone and the ANDY TIMMONS “ ite Por en Pace eee) po eee Pree eed ae eee eee eee THAT WAS THEN, tinmmoas aed 40 GUITAR ONE « wwe gutaronemag.cam UNE 2002 eae Se Ca) ed bediity inan extraordinary ea oan ee eee Pea peared __Lesson Lab Solo Structure: Take Two | CONSTRUCTING AN By Tom Kolb ackin October 2001, we ran a Lesson Lab feature titled “Solo Structure: Planning and Constructing Killer Leads,” in which we blew through four choruses of a 12-hai r blues in E. Response was positive and readers have requested we do the samofor ether styles So, inanevertayonret= ters. this month we shift he focus ta jazz, a8 we continie ott ongoing study afsaln siruc- re. Wherheryoute rewtorhestleor youre «seasoned! ca th months lesson wil help youdevelopa cohesire,meociciazzsclo. | A Few Words Up Front ci fsee nthe big pte” aspect of txtenced bine sola conld be constricted fllowing four-step method that reser besthe outine ofa pood story: 1 se the scene; 2) teveloping he pot: 3) sl tb stick prety lose to thesame outline jpoundworkhesaltedybeenlak wehave the lunacy of digging a litte deeper o tmncover some of the atual nats and Dots at azradloing shythm changes a2 bas song form tat takes its name from George and Ira Gorsnenis"1Gothythm, siraghtaneed thd ripe for blowing the mya chabges forna bus supple! We toudalion Ee many jaz standards including theCharie ParkerDaay Gillespie chest, Ano polbgy” Senny Rerline’ “ten” Django eiahurate-toi (H-nop,rand,penhane the moot uaivorealy recognized "bebop tina of al, “The Finetones Theme, "chythm changosollwan AABA ormac ‘The Acetions are eight bars nent nl srelooseyybased ona lel cyee, hii The elelicbarB sec sevens 4 de anu felloys a IU7-V17-07-V7 protesion dhrough deform ofrhythm changes in the ey off Lets ot tate. Establishing a Theme {As with any good solo in any style a good jazz solo should start with a strong sta ‘ment, [deally oe that establishes shythmie, melodic, oF both— ‘through theentiresclo.Bevore wera ‘choles, though, we need to analyze the chore progression so we ean come up with ‘scale source for melodies. Let's start with mennares 1-1 of seetion AL [Big. 11 The finer ova measures are a pieco nf cake, ar thay host ¢ [-vi (Frnaj7-Dm7-Gm?-C7) progression in the key fF Clearly, we can ely on the F major tcale (F-G-A-B~C-D-E) here, Meastres 3 And 4 however, substiite two secondary dominants (D7 and G71 in place ofthe di. ronte vi and ii chonds, injecting, a bluesy quality into dhe majur-scale onality este: shied it he fest wo bas, This invites the ase ofchromatie passing ones (a fxturein Lesson Lab ira] « GES Jaa (3-79) Tz —— ie | cONTIKUED 44 GUITAR ONE « winuitaronemag.com (enbiarmonie wo Df, th C7) measure. Variations on a Theme swe move on to section Az imeasures 9-10), weencounter basteally the same ‘chord changes from section AL. There fore, we have & golden opportunity «o apply more variations on the opening, theme on €@ put it into storytelling | terme, to develop the plot. The five phease (measure 0) rolleste the four ‘ighth-notosmotifinthe opening meas rebutdrapeitdownanociaveandadde fn extra note (A) to the melody This lads ta an arpogyinted line that rides the chord tones nf the Gm7 and C7 ‘changes. The Ak passing tone serves as colorful dual-purpose chord tone: the bath ofthe Gm? and the 23th of the C7. ‘Things get prety interesting in meas- lures 11 and 12 when the same rhythmic rmotif—this dime made up ofa sippery succession of chromatic moves—is cyeled, crosses the bar line, and culani- slates in a C+ (add9) axpexaiv (E~ G#-C-D), ‘AL measure 13, the progression descends chromatically from the i ‘chord \Am7 tothe tonic ehoxd (/mayi), courtesy of (wo leitone substitutions (067 and G47, subbing for D7 and C7, respectively). In a smooth move that Jools back to the button phrase of sec tion Al, the line skirte the edge of ehe ‘changes rolling up anddown the chord tones in en unbroken, arpaggiatodride, On boat? of moscure 14, the section comer to on early resolution on a melodic P6 srpeggio—yetanothervari- ation an the opening, four-nata matt The purpose for the extended rest (2s heats) 18 twofold: 1) It provides a natural breathing space, an essential device for putting vocal- or horn- like aspects into guitar lines: and 2) ithelps to build asense of anticipation for things to come—in pur case, en active B section. Raising the Heat ForjazzerswooliveforV chords the Bscc- tionotthythm changes strulyheavenon earth, us lookatall of hove funetioning, (revoling) dominant choxls in section BILATtesolves to D7;DTt@ GT; G7 w CT, ‘and C7 brings us back o Fra)? atthe op ‘of section Al In ewoonce, the progresoion inal vi ii Vin inguioe, witheesondary ominanie aabrtieatingforthe frstthroe ‘horde, Buttle attontion aged be given, to the F major ceale have, Tadivionally, thisiss veryopensection inwbich the rel INE 002» 61 The Magazine You Can Play 45 | | | | | | | i | i | a a ms |) ee 48, GUITAR ONE « wirw.gutaronemsg.com sunt 2002 fun involves seale-chord relationship tac ties a difforent seal fr oach chord. Our first phrase stays prety close to the “inside-soundiag” A Mixolydian mode (A-B-C#-D-E-F#-G). The only, ‘exceptions are a passing Mrd (C) and a last-minute alteration (), which serves asaconnectingnote othe 3rd (F4) ofthe D7 chord, A colortal phrase ensues, inchutinga couple s4ths(F) andeven, amajor‘ih! (C3). The? phrase isfueled. by a five-note, mhythmically displaced, melodie motif (beginning on the final C note of measure 20) thac dancesaround aG major/munor pencatontenybridscale (G-A-Bh-B-C-D-E-F). The splitted secon yoes Uut on 4 eytled C+ apes glo (G#-2-C) fllowed by a cionade nib 10 the tiget F note at the top of section AX, ‘Asyoulovkbackoversection BI note that each ofthe four separate phrasesis connected via etheranupper- orlower- reighbor tone (F-F#: C-B: \-GE: and E-F). A esoureofid tactic in aeala chad relationship seloing, this keeps transi tions from sounding jumpy.” ‘Wegatheced momentiim in the Bsec- tion now let's keep i going through the final Asection (43) of the first chorus. A quick glance over the changes reveals a progression identical to that in section 22, so similar tactics are in order. This time, however, well want to nermase the energy level. Oe firs phrases playiul, scattering of F and ( notes followed by asslick, chromatic figure over the C7 chord, Next comes a vibrant, wwo-bar phraselousely dasedon7, Dr, Gn, and Gr arpeggios. Measure 29 follows sult with a chromatic erabelishment of an alpegglo, aid dhe seuion comes 4 close with gu F major/minor penta tonic hybrid scale (F-G-Al-A-Dh-C— -By) phrase in measures 30 and 81 (Measure 92 hosts the pickup notes to the second chorus) The Turning Point Just as any good story has a turning ‘point, anextended solo should, oo. With that in mind, let’s throw in a few “plot twists” as we head into our second ‘chorus [Fig.2) Up to this point, the solo has leanedl heavily toward majoranddommantional- ities, but with the pickup notes tn the final moments of section 43, the solo breaks into F blues scale (F~A>~ 'by-B-C-Eb) regions. Thetransition is sub- ‘Ue DUC comes to Multion mn measure 34 (aa) witha cycled, double-stop blues ick. Next comes a palr of diminished 7 arpeg- ius (D°7 and £°7) buskended by Civics Jnqwoulfferencuciaves, Picking up on the Lesson Lab— double-siop theme intioduced four meas ‘ures earlior, measure38rides ahigh-Fpedal note get against achromaticclimb along the Beteing Thisleadstoaseries ofhigh-Bstring slides targeting various chord tones of the changes. The section culminates in an F major/minor scale-oriented meledy aver the C7 chor Section AS opens by briefly restaung themaintheme, and thenit quickly segues. toachromaticclimbalong the high Estring lecitoed by F and D notes) to the target rote, C, Once there, i revisits the whims cal seattered-note theme incrocuced at te ‘op of section AS, In measures 44 and 43, weit upon the double-swop diene eal, fis: widhanoctave fguredestved foun de F blues scale over tie G7 and C7 chords, snd then with an oblique bend over dhe AV7-Gm7 changes. Thesection cloves with sn extended, melodie Fbluesline sprinkled. ‘with major 3rd (A) tonalites, Cooling Off and Heading for Home ALthis point in the cole (the top of seetion 42), wo have 48 measures behing us and only 16 efttogo. Its time tastart thinking about tapping the brakes and consting t6 ‘a stop, OF course, some soloists cnoose to ‘wail cn unél the final curtain, bucthis isn't always the wisest or mosi effective choice, Alerall, even the most exciting story has anepilogue 'Naf content to ven tue hack inta peevi- ously charied territory quite yet, section, 2 opens with a quirky-sounding A Lydian dominant (A-B-CH-D#-E-F#-G) phrase, The long breath (@-beat resa that Tokows the lick nighiights the eccentei¢ nae of the Dé au.e G11) ead also serves to quell dhe energy level estabistee int te previous secious. Just io make suve de fauuieuce doesift diiak that fanny note wen mistake, le's transpede the lick up 4th (o ge with the D7 chord (measure 51). A relatively consonant, expeggiated melody over the G7 chord momentarily, brings the ecction back down to sasth, find we go out an a time honored, C+ frpeggio nequence. A the top of section A6, wo return full cirele ta the opening theme—four F notes inaneighth-noterbythm. The motifis then transposed tohitselactedchordtonesotthe next three changes (Gh"?-Gm7-A+"7) Coming to a logical, melodic conclusion ‘on the Am? chord, the line signals the HILVI7-i1-V7-I outro “tag” progression (Am7-D7}3-Gm7-C7}9-Fmaj7). A sequenced (°7 arpepgio drapes the D7), ‘chon! followed by a Iwo-har, sequenced, ‘chromaticclimb from Bhro thetargetF note (mesures 61 and 52), An Fmaj? ampeggio Listen and Learn or those of youwho have some experience ‘with jazz solving; a Jot of the phragcs and concepts set forth in this lesson should bbe at least somewhat familiar and there fore not too difficuit to gragp. But for those who are new to the style, it will prove cestremelyholpful to listen to the masters of the genre. Topping a long list of famous. phyerswho influenced thispsrticulr soln are guitarists Django Reinhardt, Les Paul, Wes Montgomery, and Howard Roberts, as well as saxophonists Charlie Parker and john Coltrane. 3) Hey, it's not just another fruitcake! 4 Very musical, epscialized LPF ghifts center frequency of high cut from 1OkH to IkH, 60 you ean remove the high end without getting muddy or loving Excremely high output level, up to 1048. (even in clean setting), Useful a ph Sp for additional gain out of your amp ‘Smooth, sllens-awivching, custom footswitch actuator licensed by other major manufacturers: Ragistred tender, Nanas of smlifie sven ‘a intordol for descriptive puros Clase A/B power amp output stage distortion (like Fender®y Signal path of Dri runs into Drive Alt malo Marehall®-style amps), rich in ‘odd harmonics ee Cee a Bian wil Back Line Blueprint Eric Johnson By Michao! Ress nn some guitar circles itis believed tacit Preise Soe tn will see Erc Johnsons picture. His mui genre technical excellence (encompassing Blues, jazz, country, and rock), rial com positions, and scloing skills are widely admired, buitis the rystaline chime ofhis chordal work and the"1,0¢0-poune violin? Sound of hs istorted leads that have pro- craves him legendary status. known fo his ‘obsession with sonic perfection, Johnson hasassemoledariguithiheelpot ec jet Van candi thar all¢wsnim absolute control ‘ver the tones andtextures ne creates Two vintage Fender Stratocaster (a 37 and a0) anda ‘64 Gibson So—all sung ‘with GH5 010-040 stringy—meke up the Gooige L's cables sporting brs enils, One utputof thebex goes (oa vintage Mavsico Tchoplexand then into aTCElectronicclo- rus. The stereo ovtpnts of the cherus are sent to pairof encler Deluxe Reverb (05 blackface and '71 silverfice). His clean sound covered, the other output ofthe A’B foes into second AJB box, where the siz- naliseplitagain. One side goestoa Chandler ‘Tube Drivor and then into a'68 Marshall Plexi Tremolo head and slanted Marshall ‘412cabinet for crunchy rhythm guiter ‘The other side goes to a Dunlop Cry eas El Baby wah pedal, then a vintaye Fixe Face, and finally into a '87 Marshall 50W Plexi head feeding a straight Marshall 12 cabi el, Both cabinets house vintage 25 Celestion speakers Toadd ambient effects without aullying hie sound, Johnson takes feeds off of the ‘mics on the two Marshalls and one of the Fenders and routes them to ax 8 eeca hes Chie De in a radkmounted MER 1500 digital deley ‘and an Bleetro-armonix Dekaxe Nemory Man. The Memory Man is mounted on another pelalboatd, which also sporis cus tom footswitch for the MXR delay: Phe Mackie sends a feed to the PA as wellas oa pair of IBLEON-powered monitors. There you have it—all che ingredients toE.|magical tone, Now all you need are his fingers!) rea oz an tine) hen Timer | GUITAR SCHOOL A Private S Lesson With. ‘ty Moore By Dave Rubin PHOTOGRAPHY BY 04 NecuIRE he gular figured prominendy mn tree T the most signieane developmen in poplar muse ofthe 20h cen Inigo. Handy the“Fatherof deBlues? Ine a eran lide waters paving tain stan in Tube, Ms The fe ‘wail of steel on string inspired the classically tuained andl toegin composing al pub lishing blues muse, culminating in the epochal "St Louls Blues! in 1914. In 1939, Charlie Glrisianswitched onthe locale guitar revolu vonwoenheresoxted lying ffome’ with te Henry Goodman sextet in Los Anges Hip tone an prasng oo bis Gibson £515, dtber- ably outeton te eerpien wrasse Convincing that italy Ueonorsiern completly footed a the souce ofthe thick vbrent sod. Aandin 1954, ect Moore and his Gibson £595, along wich BIN Back on upright bess, played bln synthe of es an eguntry musie—whieh would come © tecallcockabill— behind askinn, youn Meinphis tuck diver wile easy hal on ‘Aiur Crudup "Thats Aleight Manna." The edinie mbing scandalized white conserve: tives butrebelicuspostvarteenagersgothio {othe message, and rock Fl was offi Iyborn ‘Winted Scott Moore Iwasa 2-yea-okl guitar picker when he returned home to Tennesiee afer bing discharge from the Navy in 1962. While enduring dey gigs he bgan playing in Ioeal eounicy oul wih Fender Exqule guar and a Fender Cham amp, and cook io hanging around the Memphis Recording Sovice headed by San Philips He was thy to playand Phlipewer ge Uiecnioningret aes thostudin Aforthe release of That Aight Mama’ onsun Records (/n Rion ofKencily” the druzomersstrio (unt the ‘uldkion of, Fonvanain 1655) wthPresey Ssrummingacovste ear, ured the South tan the nla etek at vse his ducktailed wake compelied RCA Recores {o cous up $35 000 fr bis contact. “Thescieaningiketothetopnetied me aux fortune for Elis. Scony and Bl eceved neither being poor paid semen, andthey wher Hs Presley wna simmoned ta JUNE 9002) @4 The Mlagssine You Can | _ GUITAR SCHOOL quitin 1057justbeforethe"king’ wnsdroted | para) « GHRARAERRM and became PFC Presley inthe United States Aer: Army. Iragicaly, Bll Black died in 1965 after ‘ 5 te te Fe achieving a modicum ofsuccesswith his cool | Raw combo Meansvlle Sout ranhisseeor: Ingstudio, freelanced, workodforsam Philips, and in 1964 reconled an instrumental albu ofPresleyshistiled The Guitar That Changed ‘helibridThowgh Scotty continued todoses- sons and movieswith Elcom per diem basis After 196, the famous 1964"Comohack” «po ial would ho tholasttimothoy wand see een thor, and ator yet another sight axermeney | in 1969 and beinghittery burned bythe busi- ness. Scotty hung up his axe forte newt 28 years. In 1992. he agreed (0 make an album ‘with tie alling Can Perkinsand hassince teen involvedina number of projects including a session with Keith Richards and Levon elon | | intoousiuck aswellasiTV special aboutSu || | Reconds feauuing Paul McCartney and Maxi Knopiler among others, Scotty Moore personifies the appellate Southern Gentleman.” Humble, geacious, and witty, he has made his peace with the ppast and at the age of 70 enjoys playing as ‘much as ever. [hough therooksbilly he pio neered is a part of his DNA, jazz has always been a passion, and he plays it with con- | summate taste and feeling (What was your playing ke before Elvis? Twas using a Batpie end I was ust starting to steno Chet Atkins and Mere ‘ravi, try ing fo figure out what they wera doing Somotimos | would warn up like this Fig 1 | Inthesa days, we nil mosey playwhat wns popular on the radio, lke "In the Mood” or | ‘Bunny Hop''—good God (laugs, Tnavent ‘thought of thar one in years! Of course, Iwas | listening tothe Dues, t00 [Fla 21, t ‘What happened when you first went into Sun Studios wih Ben Elvis? ‘Wevvereonabiech, and Elvishad all thisne | -vous energy. He just started “fraling” the gu | tar and singing “That's Alright Mama,” Bill || | Began stapping the bass longivith him, and ||| plea i te pita an stared paying i thamb-and-turee fingers type of mythin ‘ bit im, Thasyshea Samsai, "Hey whit t evi Giye teen alae Waie hin wor ingaround and he toldustogerbackon mi, are dion we would nten back ta what wo slab notes along withwhat Ia been play sng. oon using the gold Cibson ES-295 with | the Eander champ By the timewve recorded I “Nyatory Tin atbo lat Seinsosson 1955, i itd now Gibcan 1 andthe Has aenp swith hittin eae lay } Hart you ever heard any musi ike that Detore? No Iewas striy on the spot ancl ad-ib, as 1 | a mt been using my dunt ancl gers lke Chet and Merle in my previous band, the | 70 GUITAR ONE « wwe gularenemay.com «JUNE 2002 GUITAR SCHOOL Starlight Ramblers, withbass nuns andchords, With Hiv’ shythra and Bils slap bess, eld ‘upand did no: sound empty. Another exan- ple ofthat sound would be ike this [Fig 3} Where amusingray humbonthebassstrngs sand thre fingers jndex. midcle,and ring| for thechords.oucanhearthe blues inthere and ‘onthis one, too (Fg. 4), whichis simila tothe ‘way Carl Perkins did "Matchbox." On those Sunreconings.talsohlped dat Sam brought Elvis voice down toa level whee was like thar instrumest,instond of way out fon Ike yeaseovid normellyhenr on cord atthe time. Rillswxe fan of the big bands, whore they would othe slap hace mainly a a now ly Then, when 11) Fontana jainod is, he helped eive us that swing fel. to, He cut his teeth playing"buump-and-grind” stn sip Jointsdownin Shreveport. a, ‘Wat kind of alter prayer was Eis? First ofa, he knew every song inthe world. Hehad abrsintike asporige when ivcame to neiody and vcs. Heplayed yuodrhyehm ful: ‘ar upto poini, especially uuseinuny Reed Doogie bas lines, Did you ever use opea tunings? Sometimes would dropmylow Lstringdown 10 D to play bas nes [Flg.5] and choxds on songs lke "Don't Be Crust” and ethers. 1 also keto use open stings in my playing Hig6}, ‘Any other guitar secrets? On the 1056 RCA session fr “Too Much! in Ab, which isa biteh to begin with, [went off into the sole and got Cod.-awful lost some ‘where over che D> change. But, you didn't splire arpiinch in backthen, and somehow broshereamenntofitwhere Iwas exposed (0, Flvisheldhishand up tothe enginoer sig naling pleyback, and I'm sitting there think | ing. “oh, Ga.” because Leone teil yon wht did [cantplayitthatway again vl this ‘ay! Anyvray were al siting there listening ‘on the big fu: speaker, and after my scl, Elvis peeks over a mie with this shit-eating rin, and fhnew Fbeer ad (laughs He ust said "Yeah thatthe ne, fine” Tsai, "Els, don't think | could ever du diatagainifwe ‘were to play it on stage.” He replied, “Na it {elt good, itfelt good.” 'veslowedii dow a su donitknow what! was playing let just callic‘myseale* [laughs ‘yma are your plans for me future? ‘Thislooks like i iogoing to beu ood yews T 1am going to be working with Lee Rocker on a couple of dates. Then I am going to Commany forthe dlthannivereary ofthe Star (Cub, where the Boatlos and other groups played Plus, Lhopo to Finish up « recozding ff new material, Vou lanow, I wished 1 hae Studied hack when I had the ehenes, Novo big. archorcs snd the ability ta pay chal melody where they change an every boat. ‘What instruments are you playing now? Tyna Peavey Rageamp at home for practice ane OW Peavey Cassie perform out, iath 2 BOSS uigiaal delay. [have a brand-new (Gbson Country Gentleman tarthey bull for ‘me without ie Bigsby tailpiece, Ir long says from the Japanese soidbedy that had when Tiras in the Navy. Tlie fets on those ‘woukl wear outin abouts days, jess Urals wiieie al he beet cans were going (angi Anyway, witen Gretsch went out of busiess, ‘ChotAdkins designe ammodel for Gibson, He fgaveme a guar in 1960 when Ist was nck playing, vshich Ididno:krowaethe tine reas A prototype for the Gibson Country Gentioman. It probably encouraged me to ‘again in 1992, Lused it for afew yoars, bit spt lost a couple of mes in Europe, and T thoughi,"Youknow,thismighntbeworth some bucks one of thesedays, better putit up.” ‘vinat avout strings? Tstting the new one with [Addacio halt Tounds [.010s}. That set comes with en “unwound G string so I have Gibson take a ‘wound.018 and polish itdown to 17. se ‘awyound.o12sonsomeor myothergutas, ia you use natwounas with EWis? eal. Gretsch male asetormawounds, ana those suche wereasblyas your Hue Mnger [cui Ldoatt know how I played on ther, ‘uy todo itaryway.thongh [Fig ‘ovonsally bogin again, for carted playing. | Oh Lovd, they werelieays lal) DP 72 GUITAR ONE « wwr.guitatonemaa.com «UNE 2002 Guns N’ Roses or Gtr.3, When you get tomea- se 16, try the composite ick Fig “Welcome to the Jungle” | ssscureemue sor By Nichael Mut he fist time t heard Tires iatticie party hosted by « good | fiend. Someone put the record, ‘on, and upon hearing the open {ng noter of “Waleomo t9 tho Jangle," Uloet all track of my friends {in the oom Wo lis- tened to the record heginning to end and were complete- Iyfloowdbythispr- mal, raw sound. As arestament to the longevity of that bps oat Doin you get started, hough, “Welcome to the jangle is most faithfully pulled off live using two guttarists yet in the beginning, there are three suitors going at once Whats a foo to do? Attho oar iva wim ple. Obviously, the delay-based riff is recoreary. Tho voe- ond guitar should cop the licks of Gtr, 2. Your bassist is already playing the fonts of the power shards prayed by itr my 3, $0 the bass will lenciarkrecording, Cae suufice for that part we sill celebrate its primordiabjungle boogie 15 years later. Cheers, ‘Sash, izzy, Du, Steve, and Axl | ‘YOU KNOW WHERE YOU AnE? (Of course you do. The minor pentatonic opening lick with, g0bs of delay Is one of the most Fecaguicable calling cards in, rock guiter hiotory. To cop this lick, set your delay time €9 144 ‘mo and adjust your repeat con. trol ae needed (ie will bo on the high side). Re sure to tune your guitardounonohalfetep before through measure 10, At measure 11, your owo guitars simply split the parts of Gus, 2 and 3 in the danseuiption, If you'e lone, youve got some work cut out for you, ‘Assuming you dont have some {ype oflooping eapabiiy forthe delay based 1ff, you'll have «0 play thet all the way throug’ menause 10, At meusure 12, the base can cover the 85 chug, while you play the single note Tine. For the main riff, feel free Slash’ first quitar solu kicks off with the now famous double-scop tritones that imply a bluesy E7é9 tonality [C-G4-D-D-Fx(Gi] with @ cour ple of passing tones throughout the rst fourmeasurcs, Stert the solo sith your inde finger on theD ating end yourmiddi in geronthe Gstring. Thi will set you up for easy fingerings throughout | -Aemeasure 5, Slash broske | intosingle-note stringsanity la JimmyPage. The only tricky part here is that you'll need to bend the A note at fet 17 ane whole step with your index finger and then quickly shift dawn tw frets after releasing the bend. Thar phrase ends with you playing the D note at fret 18 with your index inger-You'llagain need 10 ‘uickly shift down wo 12th posl- to phy the part af ether Cu. 2 tian, sayaut canbendthe Dacre atthe end of the measure with either your ring or pinky finger, ‘whichever you prefer, ‘| Youre cova niet ‘We all will someday, but youll ‘ross that bridge when you get toi tn dhemeartone, the bridge athand contains a nice dyna fe change dhat sequites you 1 | rollofyourguica’svoiuine con tuol 1 clean up the ione a bit (Cer.2).Afterhiting the finel DS chord of moasuse 7, bring your volume backup to fle forthe ‘noting four meagurcatep cho |] ru of rerteleadinginio thesee fond solo, After the sole, the band enters an interlude that creates the feeling of being lost in the jungle, baby. The fistwild crea- ture you'll encounter is the strings played behind the nut (Grr. 2) in measure &. Next, a slide provides high-pitched squeals and screams like mon- keys in a jungle. Finally, the descending chromatic 16th nutes adda sense of urgency 10 the atmosphere. Here, think of aliernate picking in & steady, even thydun as your jungle ulde. Play the mluur Sid dour ble stops with your ring fiager fon string 5 and index on string 4, When it witches to majer do, uae your middle finger on string and yourindex on string 4, After you brave the jungle, your reward ie the final £749 chord followed by doeoning your low E string—think of it as a musical sigh of relief. 3 TONE ZONE GUITARS: Solidbody prKuPvenstTiaN: Humbucker! ieige SAIN: EQ: Bass/Mid/ Treble! 4/118 EFFECTS:Delay (delay time: 144 ms: repeats: high) Attitude! JUNE 20C2» 61 The Magazine You Can Play 107 WELCOME TO THE JUNGLE As Recorded by Guns N’ Roses (nate Att wie ine Boone (From the Getten Recording APPETITE FOR DESTRUCTION) din toas0i942 85088 fon Words end Music by W. Ad! Rose, (Gord 00897048 moet Siash, Izzy Stalin: Dutt McKagan and Staven Adler Transcribed by Adam Perlmuttor Tamed ya: Inte Medorato Rock J= 104 Rar Ena Rita, Ona) NG af PM thoughont ‘eatin prateseounel by dey ut Gur 1) HHEA Cis) Bs As os 4108 GUITAR ONE « yoew.gutarcnemag.com «JUNE 2€02 Welcome to the Jungle ef AEA 0 tes Bs Bs a g JUNE 20029 @1/me magazine You Gan Py 109 Welcome to the Jungle aster J = 124 “ es AS as He us an etry ===> 1B 1g us ie ay $$ ——+ ==: ————— | 440. GUITAR ONE «wn gutaronemag.com < suNe 2002 eee Welcome to the Jungle pe aa an 7. Tex y ser fer wha you vat youl tif bee ge IEP aes beep ¢ ,» ¢ » 9 9 » SS —, Wee iy ie fons we tsow emanate Joo wat ya'ee'amn ~ “in ped bute he pe i pave And. yaue. "t tet’ He tee am ite Junge were WE is Hyon eet sae Di pgs —— hee _———— oe ——— = St * = Sa ae ee ee a wa Bit joe Sei fe con ine este Welcome to the Jungle 2 come then gaye Mah ene 38 fe come Nef Bw & fone 8 the jan E3 mm. Ry. Fig shim, ma aa, mana nam ma. 9a.na,n recs — azo me mh why se = poh ne T wan-ne-woich you bleed, eee ous. 265 112 GUTIAR ONE:< www.autaronemas.com «UNE 2002 Welcome to the Jungle Guitar Solo 55 Dses ae bses ~ o>. DS. al Code eco HuINE2002 G1 The Magazine You Can Pray 113 Welcome to the Jungle Coda Dridge Ym goo-na wach you los Bad Rhy Fg 2 Hie pS ss Es > 15 rs win a ee loin o83 Welcome to the Jungle c F FA Hf sown, 49 4218 re TAH ‘SRR R Ra JUNE 4002» G1 The Magazine You Can Play Welcome to the Jungle cis pss cs Es Pat Paes on oo Pato=--| cs Bs MS Bs cs cls Bs 176 GummaR OME 5 ro sz | Hal time Feet xe fies oe KO oni Rhee t 2 rn aes et o fefpt, MTT] = 333 aS cs ee if end Rly. Fig. Rips PL ne End thy FAN yny am Yu's" got verse — Ne. S e Se % ayy e — Sea SSS (ib es i 8 SSeS keeles a oa secre gees ee a ea Ismet 2:/ RHE es} —S sup = ight today? 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Cant sea hear = ng vith Ie = neath the fea the night he sus? G2 190 GUITAR ONE « wou.gularenemag.cem So ee ere o = es Siun-mn' my sx sme = So eran ae satev aces apes ty aa teeere te = om ny oat porch swing step, Dex Tana How it gor hee fed soon it wil on ee thst fio” zen Son - cos + peers i = 7 = ee ee = 1 hive me tthe tion tat ps "me hang Chor co a » boas BF Wistein a Merson = 7 4182 GUTTAR ONE. ww.ultaronemag.com «JUNE 2002 — tale Margaritaville AG > Dust D7 eS = —— = = SF 2 Eaare le ee MAEDA Raat eeoa oe Cleaner ae > act 6 e tr ———_ ts SS Z - eee vom a to Mame, }= ' a Ss = = & e peer foetal D op a > S.at Cada D acl 6B A > JUNE 20022 GI The Magasine You Can Play 463. pxeoliy lee Nis “Red Haired Boy” O Bluegrass, Thou Art Coming Back! this guitarist lisening space more than any ‘ther in hepast couple ofyears ts blucgras, “agivella its Celie counterpart Plan and sin | Plo this msicis ele ofan. Bhs gence thot sane onthe shouldersof Bue legen dary giants as Bill Monioe, Fac& ~ Scruggs, Doc Watcon, and Tony Rico, the Fovont cuccersos of the Grammy srinning soundtrack 0 Brothor Whoro Art Thou? and co.called *newgrase" artis like twenty somethings Nickel Creek ate bringing blue sass (0 a whole new generation ‘Thisis noreountry-humpkin music: these ‘eopleareplayersin the most definitive sense the word. Perhaps Nickel Creek violinist Sara Watkins summed Lup the bluegrass ethos best when she told me recently, "Bluzgrassisnt abou making sure your havi prety its about practicing when no- bods listening, and then hoping people notice." With those sage words in mind arab youraxe,a pick, anda metronome, and {akc o gander at his anangement ofthe tn ditional casei "Rod Haired Boy” (Pl. Forciarlorsthiscongeequire:acapot the 2nd fie, which puts the song in the key of A major, but well analyze it ae writton in C. Aull: the tune isin @ Mivolyien, evident bytheincision ofthe Fmsjorchord Thesong is also in cat time, which means that even though there are four heals each measure, it fees ike its in “two” So your rhythm pant will feel esifyou're pay:ngtheront has nove fon the downbeat and strumming the chord onthe upbeat. he rhythm guitar partisarwo- beat strum pattern (Pl. 2A) using all down strum, Theonly exception t the pacternisin Uneeiglidibarolvachsection—theD-G chont change. Hee, stunt tse D chord un both de own and upbeat, flowed bv a stuunnnedt G chord, which isheld for theremalnder ofthe measure (ig. 2B), One of the biggest challenges facing the bluegrass guitarist the unbelieveble tempo at which some of these tates move, Perhaps ‘morethan ever altemnote picking is yourbeat friend To propa youre forthe parade of pickin’ in Red Hird Boy pracils the open Position G Mixolydian mode (C major sealo Starting at the Sth degree) in ascending and dosconding patterns [Rig. 2]. Set your ma

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