© every month only £4.25 —s become a Bae + blues Van 6 7 : Ly a ag 3 Ret 1 en lL < complete guitar part ATO) at] Pout starting out © with chords “THEREaa Lgfebruary 1999: your st guide to getting from A to B, thi nth is mo Tea 6) VAN HALEN 12 strunz and f Put this par to its instant 16 van halen ard the lads a Love 29° deep purple 9 splendour that 52 booker t and the mag's Tre orginal version ofthe B smash 58 martin taylor Jazz calyaso with Ear Klugh's 66 acoustic tunings Twist those tuners and Find some new weer sounds Fen from the top 78 funk special pen mind as fae Get down with thes Funk primer he importance of keeping 83. mixolydian mode soloing T styles of guitar playing are concerned is Eeser than it sounds something I've mentioned before. Ive tried t0 impress this on pupils all my teaching life - I still delight in breaking dawn students’ prejudices gansta particular form of music by pointing out what it could do for their own musieal sensibility. like to think readers of gt are a broad-minded Jot, and vould as willingly tackle county licks as they would lave a go at 2 blues transcription. There's no doubt there is something to be learned from every area of music in which the guitar features, “bllakers ‘off philosophy isthe only way if player aims ub wth chores to become a fully-rounded m peoutass CEMRMRerTs gossip, and Until next time 6a — iN 8 news Soe 10 letters = David Mead, 92) vendors oa s Editor 95 tab explained 86 ah pentatoni Nein dks Tum te nent sae era alt neeguitar sprit this month's cd We've got Van Halen. We've got Deep Purple. We've got ‘Green Onions’ and Who's Who of country guitar. It's another ¢ bonanza! | Re track 1 “& Introduction Tuning Notes tacks 9-12 SB xs rhythm and blues Booker T And crete: | ake Gren Onions tracks 2-4 suiipeketion GM racks 19-21 | B erie o™ | cok country | Van Halen | Whos who or | ‘a Tal! | Country Guitar ‘Bout Love "8 Inter 2 imtoduton nlsen Stulesk bo Basing ck et Pan rm iat "ike" grates sa | Tolmotucion | guy tas 2026 Ou 14 Full track | SF csr rock om lee Deep Purple | Fak Gitar Hah tat tats 15:18 | Worstop nro nate Bete oe scons 2a teen eng a vo Moral Tunings | 2 Bakig track 8. Backi k 2. ‘Wie Model Tunieg a ‘at rating system Enya or esan wt ‘sade acon tot et {ict ands on asee ‘wh aks he rating: easy/moderate Acempete dilute Uncen olin elton erating The weal tra ih te rncerte, bs heme my Weil yau ton Te tings orn sen th He very su eb there esos ometing er payers faye of at to wet on the magerne rer many Hort 6 suttartechewes | brary 1998 18. Intraduetion PHIL'S music dude diward Van Ha certainly ranks up therein ‘of Clapion and Hendrix, He also spawn seneration of players during the good days of the 805, and so this, month's Van Halen transcription was definitely a Inbpur of love for everyone at Widle Studio! ‘Apart from that, we've ot loads of great ausie and fascinating workshops to keep you husy during the dark evenings. Enjoy! fei) Phil Hilborne Music editor EDITORIAL ge tracks 25-29 SD sc: rock Soloing Over Dominant Chords 25, Intradueto 26 Lesson 1 27. Backing treck 1 28. Lesson 2 28, Backing track 2 tracks 3032 os rock Using Pentatonics ‘Over Dominant Chords 30, Introduction 231. Lesson 32, Backing track an is one of my favourite guitarists ~ he ns of innovation with the lik nel a whole ‘old spandex guitar ture Publi 30 Monmouth St, Bath 83 2007 Tevovaae asaass Fv or226 462066 AL gaeteciqucs fatirenetonae WEOSTE woman. UsICEOTOR Pi borne RODUCTN EDR ape Bed D8 A EEO Na Mie PRT EDIIOR Christine ee ESIGN lly usceNcrAONG Chi Franc, Jomes Brenan, ‘OVER OSC HASTERNG ‘Adan Cate usc COPvAIGHT co-oRDRATOR Gobi Stacepeal, 01225 722218 OMTARUTONS TS SUE Prt eld Gthre Govan Dave ‘miner, Lee Hedge, icaré Bente. ee Humps Ee och, Hortn Tyo Shaun Baxter, Sturt Bhi ovEsTsn NANACER ob Witsack, 01725 442208 SPU SMES EXECUTE Scott Longs 01225 442288 CUASSFEDS lp Dae Rebeca Baron oD €0-ORDINATUR Lal ker RODUCTON MANAGER ends Skidmore CULATION Many asp ronucr manacts Philippa Montgemery SUP FUBLENER Simon Him (CHEF DECUTVE Greg lng setceinG NOUS hi ower, 01226442244 cusTouee seRvess ovasa 271118 SUueschimOnSIeACKISSUES ture Pbishing, Freeport (654300) Somerton, Somerset “Am Ror4s9 271718 SLESCHTON RATE 12 ues (UN £47.17 (042.5 00) Europe 8 Ere €71, estWord C61 PUTED ND BOUND INTHE UKBY ET Heron Pint vs TRADE DTaBUTON Fer aig 35950-08 EIS oo eesti SBREES 7.204 lon in"read all about it It's worth a media mogul’s ransom! i s biel Shedloads of essential information from the madcap guitar universe... ys eager to cater forall tate lectro have introduced a guitar Pe ee specially forthe southpaws inthe community. New to the revived Danelectro cay in range of guitars, the 56-U2 ‘Lefty’ features the same top-notch Lipstick pick-ups with the usual hollow body snd neck, but the machine heads, tone and volume controls are all designed for ef-handed players. The 56:2 ‘Lely’ is available in Nifty Aqua, imo Black, Daddy 0 Yetlow, Commie Red, Aqua Burst, fand Copper Burst aid has an RRP of £289.00. All of which means you can rock on, duds, For further details ofthis and other Danelectro gear, contact those nice blokes at John Homby Skewes fon 0112 232 0082, gn'r back in the ring dust how cals | Back inthe 2, words bagest and des ane (te Guns N’ Roses are current recording a nev album in oe, cert) las Anges. After a few year silence Ax! Ros ing the new alam with Mike Cink, who also on Appetite For D n abuns A Fresh Pp that they The sum features Robin Fink (x-Nin inch Their eon label, Sony $2, say that 12 songs is enough on guar, Josh Freese (drs), Tommy Stinson for one abu, bin the ban cant decide whch ack and Dizy Red fheyboarts). drop and vant to ran with ll 14 ofthe toners ~ which It due for release through Geffen next summer and | lee pnts arg ninateng albom. Mor wl be followed bya word tour ower to Reet we sy! takin’ the pip Reef have so many corking songs for their new alburm, On ay not be able to fit them all on 8| guitar techniques | february 1999dig the new breed Marshall lead us into the millenium with a new line of lower powered compact combos. The DSL201 20 watt and DSL. 40 watt 1x12 combos were inspired by the DSL amp head and TSL head and combo ancl Incomporate the advances of J€M7000 technology. Both models have footswitchable clean and overdrive channels giving 1 vast range of tones, while the 401 has a thied channel allowing you to footswitch between ODI and OD2 to get that extra crunch (20d8 of extra crunch to be precise! These new heautes also Feature a parallel EX loop with front panel ‘mix control and rich spring reverb, The DI output is speaker emulated, so recording that cassie valve amp sound can be as easy as plugging in ‘cable, EL84 power valves give both models great tone at lower levels. while special ciruitry expands higher level tones For further details on either oF these compact and versatile combos give the chaps at Marshall a ring on (1908 375811 ET ee Cae - steve t ca ean po Seog second coming The Roland Space Echo has enjoyed the support of many famous users suchas Henk Marvin and Radiohead over the years, but alas sno longer in production. Many ait for the day when they ean resurrect the beloved machines. Wel that day i heel. Echotck wil send | outa brand new tape compete with simple Biting instructions for jst £590 including postage and packing, giving your al rend anew Tease of life Ring 01699 849741 for details wakeman anniversary Rick Wakeman is marking the 25th anniversary of the ist lve Performance of Journey To The Centre OF The Eerth ith a sequel | canningly ended Rerum To The Centre Of the Earth Released through EM Classis on January 181999, tis symphonic opus was recorded withthe London Symphony Orchestra and the English necaqtonen CChamiber Choir along wit special sucsts including Patrick Stewart (Stor Trek - The Nert Generation), Ozzy Oshoure, Justin Hayward (Moody Blues), Trevor Rabin (Yes) and Bonnie Tyler amongst others, Rick Wakeman was rushed into intensive care recently suffering | form pneumonia and plenrisy just afer recording Patrick Stewar’s narration. Ironially, this mirrors ‘Wakeman’s heart attack just after the original recording, The release, which Wakeman deserves as a "milestone in his ‘career will be supported by 2 ‘worldwide tour with the symphony orchestras and choirs The tour is due tovreach London in January. “Tham Yorke sings of hoppy ea with ender ace iV bers wees i OMIA Ot eter asx ae, Tle ee Peavey’s new Mllestone II and IV guitars both feature a 21-fret, 31- inch maple neck with improved aceess torsion rod wheel and better balance given by an enlarged upper horn “The I has two hum= cancelling single coil pick-ups, while the 1V features one split col hhumbucking pick I up. Both have stamped steel bridges with machined steel sales and ctirome- plated hardware. Peavey’s Raptor Plus, meanwhile has a maple neck and rosewood fingerboard. The three single-col pick-ups have lager poe pieces {ving each string increase sensitivity, Call Peavey on 01536 4461224 to find out more sens gitar: bed version so february 1999 | guitar techniewes | 9Write to guitar techniques and let us know what you'd like to see in the mag and what you think of it — or give us your thoughts on the guitar world in general. The star letter each month will win Ibanez goodies — so get scribbling! | Thanks for that piece of yraham information, David. All you response fo Peier Fox's interested parties out there will be ‘enquiry in the Ociaher letters page of | pl know that Davey in relation 0 a recording of Davy | Graham's ‘Anji’ has been scheduled Grahams ‘Anji: { have in my for a forthcoming issue of et possession a CD put out by See For Miles records [P/L, SEECD ~ 251), le | Wylde about zakt’s sound wes manufactured it Fr A few issues ago, you did a feature and I picked It up second hand about the amazing Zakk Wylde and recently. The CD is entitled Day hls guitar style. The article explained Graham, The Guitar Pla that in order to reproduce a similar Is an excelent 15 tack compilation tone Ihave to add a tt of low hich includes the classic ‘Anji’ as | requencies and remove the asall the tacks on Graham's |-midrange freqeuncy. I tried that on Pye recording, The Guitar | my Digitech RP? Vaive, but using Player Vactually wore out my only | the distortion from my BOSS N vinyl copy of the original album Zone MI-2. Accidentally, had the tying to Tear his cues vean on, and It makes a cool sound, avid Redapple but it’s not the same Zakk got (1 Melbourne, Australia would like to get the tone Zakk has via e-mail In such classics as ‘Live And Loud! 10 guitar techniques | february 1999, or No Rest For The Wicked’ [now that a sound is something hat Is sometimes achieved by a players fingers and equipment, but there must be some kind of way to achicve that sound with my Les Paul, my Digitech and my BOSS pedal! 1'm about to buy a pair of EMGs, Sent your do you know which ones Zakk uses ett 10 ws a for which ones are the best? ssurarteemaues 430 Monmouth St. Bat, Somerset. Ema | imag. 1 hope that you eanas soon as possible, Keep ‘up the good work! Cerlos Gareia Jamie Humphries rep “Zakiés guitars inelude an "89 Gibson Les Paul Custom, fan 81 Custom and a Les Paul Standard which are all EMG equipped. I'm af don’t know which type of EMG, though These days, Zakk uses Marshall JCM 800 amplifiers, but during the period you mention he was using Ampeg Lee Jacksons. His ceffeets comprise BOSS Chorus and Super Overdrive pedals with a Morely wah-wah, Using your BOSS pedal through your Digitech shouldn't hurt it, butt wil sive you far more overdrive than you probably need! Find a falely ‘metal distortion setting ‘on the Digitech, scoop out some of the midrange, boost the bass, add a touch of chorus and you should find yourself inthe right area. Good luck to you on your sonic quest!” hhow to practise I spend an enormous amount of time practising, but P'm sure much of this is less productive than it ‘might be. Part of the trouble is your ‘mag i's too interesting and leads sme dawn side lanes too casily! ‘Ca [suggest a couple of things 1 would lke to see in the mag and which I think may be helpful © novice players and to the more experienced alike? Firstly [vould love o see at beter least a one off article - 0 still, a short series ~ devoted to how and what exactly to practise and hhow best to onganise practice sessions for maximum effectiveness ‘Also, I would like to propose that lessons contained on your CD have, if not whole track, then at least the ‘ost complex and difficult part of tracks slowed and piteh maintained, Micky Gee, Yorkshire ‘As far asthe practice front is concerned, we actually published an Te the one ah play dmebss cael wet Aweath of wt arice an al sbjec: gia rece article in the December ‘97 {issue of sttelling you all the whys and wherefores of how to practise more effectively. And that’s not all. We aso gave away a handy wall chart showing how to split your practice schedule up into smal effective units. IF you missed it, you could place an ad in the reader ad section. If that falls, don't worry: i's doubtless subject which we'll be returning to shortly. We're currenty in the process of putting more ‘stow motion’ tracks on ‘the CD (space permitting, of course) the art of noise 1m looking,for 2 good sound for playing loud. What could be & good ‘equalizer set-up for my Peavey RAGE 152 amp? What I want is a sound as heavy as Tan ge (tm shooting for guys like Dimebag Darrell, ave Mustaine, Tony Tommi, ANIMAL, James Hetfield, {1 Yuenger, Max Cavalera, Rhandy Rhoads and all the kings of the heavy sh*t. I have a ‘96 Fender Stratocaster with single coils and I ‘want to put humbuckers init Should I buy individual pick-ups or the whole seratchplate? What pick ‘ups do you recommend to get the sounds of those written above, and ‘what stomp baxes? Jose Romero via e-mail Phew! Wy not look at the various single coil-size humbuckers on the ‘market? That would mean no re= routing oF your guitar's woodwork, hence preserving the value of your Strat. Both Seymour Duncan and Dimarzio offer powerful single coil~ sized humbuckers, and there's bound to be one that will give you the sound you require As far as amp settings are concerned, most ofthe heavy players you mention tend to use as ‘much gain as possible, with the mid range slightly ‘scooped’ (ie turned own foe) and maximum bass and a fair amount of treble. But you'l probably need the humbuckers in ‘your guitar before the fll effect, Te comes sparen You should really try the above method before further investment === in any stomp boxes. The gear S=) you've got may wel suffice. If not, F then you might take a look at the BOSS range of overdrive and distortion units. No stranger ee nue > letter of the month + ach month we plo a eter writen by someone who We thik deserves a tet ‘And then thes lvely people thane send he chosen one a whale bones of guaes (hte nt shir moteed elo byes mistress of correct, ne) $0 dap ie. ow! sticky solution? Pm a beginner and 'n nding that my right hand fingers are setting really sore atthe tips ~ in Fact T¥e shredded the skin on a couple of them How do pros manage to play night after alge if they're wearing thelr agers ‘oat like this? Someone told me that they put superglue on thelr fingertips to keep the skin together ~is that true? ‘Martin Palling Stockport Before you star reaching for the slue, rest assured that your fingertips will harden naturally before too long and the ‘shredding’ will top. Its 2 thing ‘we've all been through and it soon stops, so take heart! ‘There were stores that the late, great Stevie Ray Vaughan used to apply glue to his fingertips, but the practice is highly inadvisable as superglue bonds skin in seconds and could bbe very dangerous. Let nature take its course and everything willbe FineWILD MUSOS Strunz and Farah, the planet's most staggering acoustic guitar duo, return LOM WOM LoM ONT EN MUON IN Wi-llp tropical Latin jungle A IACONO en acle| oe Ce a)ar Institae OF Technology i ‘musical culture shock? This was 805 ‘etal and pointy headstocks : haired students od ‘uly descended on the hip Hi nae But there was no Vai or ‘duo pereaed on the vod hangout for thi ins a sea of spandex. Picture the scene as, for the next hou, rockers mingle! with 1, jaws drop ge Stranz and Ardeshir Farah delivered ‘ breathtaking slice of their unique Latin-flavoured fusion. Here wer a al ony rans to die 4 4 wild musos offbeat ofthe pf paste ign ‘end with Rhoads and Imsstcen, and a sobering reminder, power of the acoustic guitar,/ “We sill notice the rockers aw ur ss, ie cee ke h Jorge Strunz when we remind him of tit ‘gig. “But'we idensify with thar, having ~ ne ieee: adds the Costa Rican genius who ditched © his Les Paul and his fusion band almost 20 sgpoving tm ond eee a igitstone for rept loop rd eening 28 Paanrereey eee) ees See Teitote er eee eres i oe Se es righ pov eretey ¢ceereeg ee See cae aie Pantene remit 8 Pidpettemorepecie”™ ee ce Pree eet te ae rr tn ae eee Sna aCe) - Strunz & Farah phenomenon ~ nowadays complete with a erack CCiban rhythm section is stil a showease for unbridled technique But, 25 their mainstream success in America proves thelr textured Punter aso the hardened muso, ‘re are what I call “aerialist’ of the guitar ly colourful wa explains Jorge in are binds who lke to ly. Bul, at th uence behind. You have to stay in sight ofthe people youre performing for. The high-velocity laying makes for a climactic effect, bu always the composition.” To prove the point, the uplifting melodies o Americas, earned their latest outing, Wild Muse, extghds weir multi-cultural rors ‘Being from Costa Riea and Iran automatically provides a great cultural variety I ring a tropical Latin American pe there's a. musical bridge with Ardeshir via Spanish musi. says 10's even eared cl from the President of their 1992 album, e LA-based duo a Grammy nomination, while pective but Costa Ri ountry on the map in such style "Flamenco contains many similarities with Middle Etstem music There isa common tradition of Phrygian and lonan sounds, flaborates Andeshin whose 0 inthe underground British new wave band, Snill The Teas, ill keep a couple of electies round the house to play ‘occasionally admits the Iran abit lost with the elect, The nn varied CV inchudes an unlikely stint But I find that subtle sounds ge and clarity and it demands absolute preesir he nylon string guitar is unmatched. Indeed for pure heady romance, look no further than the Wild Muse opener, ‘Camino Rea’, with ils colnarful tapestry of tropical jazz typical ofthe duo's lovingly-crafted compositions. The original mot Is probably base on a Spanish theme som 200 years old apt it ina contemporary various regional melodies and harmonies on top. Of course, when it's time for the solo, i's every man for himself according to the heat of the moment.” And such heat! The pat’ endurance soloing blezes trail across all thei eight studio albums, though guitar pyzos should also clock the 1997 live see whose ck features surly the longest stamina-sepping Ith note But we is mastery of speed picking. “And for that fnal improvisation we just knew thal, at a certain point, we nee going up to the high i says, referring to the impromptu ascending lines which climax ers ~ but thats all we kn” he around an imaginary 30th fret So, ust what frontiers are left as Sune & Fara take high energy acoustic playing into the next millennium? "Our techniques and rhythms could ertainly have an application in folk and Tm hearing Turkish and Tranian In this vay, which hasnt been 14| guitar techniawes | february 1999, A five alive a) heck out tsk on the toto find done before, And the World Musie charts are giving it a higher profile Both are quick to acknowledge the assive influence of John Mctanghlin and gh, ironically, the SF formula of complexity-ith-catchiness has also seen them tagged ‘The Thinking Man’s Gypsy Kings: relationship with the Gipsy Kings,” accepts Jorge. “We both favour the shumba as one of the main rhythmic foundations. But the 1 play are very dif syncopations from the European gypsy traditions, closer o the Alto-Latin roots in tropeal America You'd imagine Steune & Farah firmly trapped in their exotie instrumental the pair evolved clichéd blues-rock schooling both involved with Dues guitar and always aemired BB and Albert King and Mike Bloomfield, who made those seminal recordings with the Paul Butterfield Band,” says Jorge. “And, in erms of rock, it's prety hard to beat people like Hendrix at their own gam But then, {rs downright impossible 10 beat Stronz f Farah at thers! The UK agents of Struma & Farah ar New Music World, oho on 01225 322037 (phone/fes, 0 seww.ncwmasicwori.com (website). CDs can also be obtained from Tou an be contactedRichard Boney lene his finger massa he ices ‘Ain't Talkin’ Bout Love moderate to hard Wis teh ay Suigntormaa ner ae 3 fen ty ens sh meet your gst tutor: chr Bentley 2 guitar texce n the Alesbary, Bucks eu Another of Pi bee Drotees, he urs stucens of guitarists such 5 Vi, Van Halen, Mone, Moore and Recoring a teaching frm his new manic proet He ante Sea up sounding like me’ n't have worried though, a it has This month we take a look at an early offering from the fertile imagination and speedy digits of a certain Mr Edward Van Halen now become a frm favourite with both fans and cities alike, erformance notes ‘Ant Talkin’ "Bout Love’ isa great example of just how to make a simple chord progression ‘sound interesting Bars 1-8: the famous intro. This should be played as the orginal. I's a heavily muted riff with delay set at about 214 ms, It is played in straight elghth notes, but on the fourth eighth note of bar 2, the C on the thied fret, A string is allowed to tng wit Inteoduced (fe Also, the Manger is and a half beats), to give an ‘unusual sound to the nif Bars 9-17: the main riff and body ofthe song based around an Am, G5, C chord progression. This is fairly straightforward to play, but you mey ned to play attention tothe muted bass notes, Throughout the chorus section, there area few Seren ee‘ypical Van Halen Tea fll. For instance, in bar 12, an ascending lick is played entirely on the G string. The only note picked isthe fist C. All the others are produced by ‘scooping’ into them, using the bar. This technique is quite awkward at Fist, but is well worth persevering with, ‘Bars 12-16: this fill leads ws ito the verse and is another example of Eddie's whammy licks. The Dis bent up to F and held. The bar Is then tapped ‘ice, before the bend is released to pitch, ‘Bars 17-25: the main verse theme of the song, whieh isa variation on the intr. AC the end of ‘each verse, Eddie moves into the chorus by way ‘of pick scrapes, where the edge ofthe pick Is scraped dawn the string. To avoid unwanted siring noise when retuming the rigt hand to picking position, the left hand is hammered onto the 15th fet of he law E string and slid down the fretboard, This means your hands will cross on the fretboard, which, as well a sounding good, looks prety cool too! The second verse and chorus are much like the fest, so thls brings us tothe first of the solos. solo Bars 48 10 56: whilst here are two gultars in the solo | have incorporated guitar 2 (a tremolo picking idea) into guitar 1, transcribing the most prominent parts. This makes the solo a it more difficult, but I think you'l find is well worth pitting in the time to learn i this way. In Cems of scales used, in the first part ofthe sol, (brs 48-54) Ede draws on notes from a hybrid scale, Am pentatonic natural 2 (check out ‘Shaun's Beyond Rock in the August 1998 issu): ES ARSED ES For the remainder of tis frst solo (from bars 54 to 56) Eddie brings in the 5 note (H), which, of course, implies the blues scale: ea aS NS ‘Sa AV LRSEER Bi ere Ele plays a repeated pattern in 16th notes, finishing on a tremolo bar dive. This lk may cause problems due to its speed, 0 lear it slowly First before playing it upto tempo. ars 65-80: this can be viewed as being @ tw0- part middle eight section where Ede stats by backing off the volume fora cleaner tone [Another variation on the into is played before tuming up the volume and playing the second section of the middle eight. For this Eddie reverts to mainly natural harmonies, except for the staccato chords atthe beginning of each bar (cut ff these immediately after striking them) fier a few more choruses, we come (0 the second solo, which uses the same seales and ideas as the first. The only things to look out for here ace the tremolo picking in bars 100-102, and also the right hand slides in bar 102. ‘At bar 121 the chord progression changes to |Ab, BS, C5, A5, 5, E5 and is my favourite section of the track, utlisng power chord, slides ‘and more tremolo bar. richard’s t(D gear “re WRC versio i ali Bout Lae was ead sing ry ie Blltuse Nan guitar Hen mode oy ough sett the brn ku. TS was un ust = arta 2-1 sn fe OD eae wth te ss iti od 5 os: vi gan bass mid 6 1 6 an 20k bebe ted pres pos jargon buster ABS. ‘he gtr sting provided by the it and gers more stuff. Cte Van Her COs waren ‘heck out Yn for rena. 1865, 503 Fo Unis Cara Kzoo team | february 1999 | guitar techniques | 17van halen ‘ain't talkin about love’ ———— ———— — a e © am Gs Tagles Tape yg gle ms_H mss us ss . oe ‘guitar techniques february 1999van halen ‘ain't talkin about love’ | 1 Tagiee TApiss Tag Taglss las pus US ws aU Thos assis [122] Gutter Solo ge as Boa Adank], gis gfe ofes oilss_giiss gis iss ome ei EE == 6 : : a « Se == = a Fed aerate nee See PE 2 {& ae et ae = eee ies ass ® “ Ha ecos ~ = = clan rshes (veto) Buea eueeies, H po H Po Hypo couco ro |mo 4 ee Ee? | a Loteng thoughout | : # this soeten tall emenies ng I eee tet ye 4 co. co. ar rarms at hams temp | (coruary 1999 | guitartechmtames | 21van halen ‘ain't talkin about love’== | Bs Se os : Ss ——ss | [eae os sg —s gu wile la wow i 4 w— ; = = é 8am as «) Am UITAR 0L0 Noe cass ies Ctr 8 Bacio Stararforone gtr s = s 3-16 tae lead | february 1999 | guitar techiiewes | 23van halen ‘ain't talkin about love’ as Bs era 9 ‘A ela ‘oat Loewen yan Hl fn Hl Aton se ethan len Mase Dimond Das | Warr Chappel Muse Li | a suttartecamiqwes|frary 1999ld tracks 5-8 This month's Deep Purple Ree (umes Uomo a) Montreux! Cea arcs er ‘HIGHWAY STAR’ = RJargon buster 1 petal point BY Sersiortsa note nate nhc I el constant (ten in he bast) over 9 chord progresion. Joe Satin fod this onpoioal deve, but he ‘allen track info O roas 58 ‘ute Govan dos is cap 1 tebe Blcore wth a ‘euseiption af ‘niga Way Sintdaor 2. Sing wade vovveee ‘atin: moderate Yo har The th noe es ae ate dena ye not sed pane issoro ‘hing 0 ee ty ist deep purple “highway star’ —_ his mont" transeription documents all thee of the guitar tracks on the original and also Features an adaptation of Jon Lord's Hammond organ sol, Ritchie's preferred equipment was a Fender Stratocaster through Marshall amps, cranked up as loud as possible, so dial up your most convineing bridge-pick-up rock guitar tone, ‘and we'll ave a look at this classic paean to reckless driving. performance notes: rhythm guitar Bars 1-8: kicking off with some G5, Fsus2 and major chords aver a G pedal point. Make sure ‘your open strings are ringing out where require. Bars 9-84; most ofthis section requires eighth note chugging: The main isue here is accurate timing ata caffeine-fucled 173 bpm. Try a ite RIT muting at the bridge fora tighter sound ~ expecially for the low notes Bars 85-124: the accompaniment forthe ongan solo section. The notes arent oo tricky here, but the mythms make fora great sight-reading test iP you're into that sort of thing), asthe eighth-notes are occasionally interspersed ith 16th-notes, ‘Bats 125-131: this isa bridge section to navigate you back to the next verse, and you'll note that bars 125 and 128 arein 6/4, However, if you listen tothe CD you'l find that the shythmic figure in these bars is quite catchy, and it doesn't {eel like an aveovard time signature. Infact, it flows quite naturally once you've learned the melody by ear Bars 152-161: the same basic idea as the previous verse seecon (bars 9-88) Bars 162-214: this isthe accompaniment tothe guitar solo. The backing tracks on the SACD work ‘onthe assumption that you'll most likely want to ley the solo oF harmony guitar parts during this sectlon, 90 you may never bother looking at these bars of the hythm guitar part. If you're curlous, however, much of tis similar in syle to the accompaniment for the organ solo (bars 85-124), ‘with short interudes of lasscal-style counterpoint (eg bars 182-185, bars 194-199) ‘Bars 219-end: these bars cover the last vers ‘homus and the ending. The passage In bars 243- 247 features some more unexpected 6/4 bars, but these once again should make sense if you listen fo the CD a couple of times. (Belng familiar with the vocal part might help here). The freetime blues lick starting at bar 248 isa classic Blackmore-im solo and harmony guitar parts Bars 85:92: here, the RC (solo) emulates the intro to the omgan solo with a slow tremolo-picked silissando up the A string, Use as much reverb as you ean muster here for fall eect. Bars 93-96: the RC part continues with a meladic section based on the D Aeolian (natural nino) scales D Acotian 02S EPR SSI RARITY ea es ST Bars 97-108: the first harmony section. Most of 50) guitar teehmlewes | february 1999 {hls uses arpeggio notes, following the chord progression, and [find it easiest to play using the sugested “down-down-up pull-ofF picking pattem. Execute the postion changes in bars 105- 10 as cleanly and efficiently as possible Bars 109-116; The harmony part drops out and the remaining single-note line uses a mixture of ‘the A Phrygian and A Spanish Phrygian: RUBIO SCREEN 1p p45 6 A Span sion Be AUTEN SSE A pS Sa SRA Note the extra 2 in bar 111, The descending scalar run in bars 113-116 covers a lot of ground, so I've gingered It using 2 number of position shifts in bars 114-115. Follow the indications in the tab and the tun should flow smoothly. Bars 161-193: the first setion of the rel ‘guitar solo, which Ritchie remembers as one of the few solos he planned note-for-note (apparent, par of this comes from a ick he had learned from Johnny Burnette many years eater) Technically, allthis passage is easier than the ‘organ solo. But look out for the umustat non= diatonic choice of harmony notes ~ they're bizarre yet distinctive. Bars 194-213: this isa section of sold 16th notes, which will improve your alternate picking and wear out your top E siting, Once again, the position changes are the tiekest bits to master here, and swapping between fretted and open notes in the chromatically descending parts (bars 200-201, for instance) can sound messy If you're not careful. Note how the two paris move berween harmony and unison, and above all, practise it slowly at fr. Bas 214-216: some more traditional rock licks round off the solo afterall the Beck-inspred antls. Be sure to wobble your whammy bar as furiously as your insurance permits for that last note! And tha my people, is rock! wt (sae suggested listening Lfesmesig ares you ave cy of te Prk seins Mahi eda (172 whch ates ot any is months ecto uaa sits wes es Sate On The ‘Nae and Spor Be ‘the purple gang ‘Tee BED vein oF Hy iran ate raf Oe rik he wl te (1 Ari theatre tomo 03 terri Ami witout tert haem tar fs Not that Fv spt Lor Haro s.r "ut ard this eos up in soa mer as as “They aria parse and eet = the Bl par san theredeep purple “highway star’ | 22) uteartecnnaues | february 1999tam | february 1999 | guitartechniques | 33.deep purple ‘highway star oncan s x6) a. Am 34 guitar techniques | february 1999deep purple ‘highway star’led | february 1999 | quttar techniques | 37deep purple “highway star 38 | guitar technlawes | february 1999tab | (cbruary 1999 | guitar techniques | 39 (CHORUS ENDING.p ee $2 ‘ 40 | uitar techniques february 1999reo VERSE cHoRUS VERSE a 16. 4 16 Mi Organ Gos <1 Amy my one , vt wl ma (3 a ee Ls leap | february 1999 | guitar techniques | 41deep purple ‘highway star’ vm vi beveRsE Honus QUITAR SOLO ‘B Pore 8 eulco au sydeep purple ‘highway star | a ‘guitar techniques | february 1999‘cHionus & ENDING 24 (ep | february 1999 | guitar teenniewes | 45 x a 5 8 adeep purple “highway star’ vense conus VERSE. CHORUS ORGAN LIES Mh Mi 8 oncaysoio \ y y 4 nieent ‘Guitar techniques | february 1999deep purple ‘highway star’a | fry 1909 | uta teenies | 9deep purple ‘highway star’‘GREEN ONIONS’They were the original blues brothers, and they gave us one of the most memorable riffs of the 60s ‘ooker T And The MG's were the studlo band for the legendary Memphis Stax label, from 1961 1 1971. Band members Steve Cropper (guitar, Booker T Jones (ren Donald “Duck’ Dunn (bess), and Al Jackson (dram) produced a tight, lean, funky ‘Sound that can be heard on recordings by sueb autists as Oris Redding, Sam And Dave, and ‘Wilson Pickett. A talented songwriter, Steve Cropper had a hand in writing many of the Stax hits, inluding ‘Sitting Om The Dock Of The Bay’ This moxth’s featured track was recorded in some spare studio time after a session. It sold more than a million copies in America, and became a hit in the UK in 1979, when it appeared in the film Quadrophenia, More hit singles followed including ‘Chinese Checker’ ‘Groovin’ and ‘Soul Limbo! better known as the theme tune to BBC TV's cricket coveraue ‘After the band spit, Cropper became more involved in production and a solo career. He also teamed up with Dunn to appear in the 1980 film The Blues Brothers, alongside Dan Aykroyd and John Belushi. There have been several Booker T reunions, including a gig with Neil Young atthe 1994 Phoenix festival. Jargon A Cs Ths was rial rere nrg ee Tene, ad {ender Suge Reap Frutti aed my Feder Josette wit a DMs Fst ee Taleup hee. The Maral IMP seis wre flows exerdse 1 and 2 vol gin bass shit mi te pres alte 2 6 n 14 4 1 exercise 3 vol pln bass Shit id Ue pres ove m6 6 ni 4 4 euerdise 4 Vol gain bass shit mi te pres ave 2011 6 hn vit igen Vein FEM OD and econ MPA ee mera buster A ranoce Te move pec of ssc or prseie8) 1 REIVEMBER terme ad signs re ly Se te | february 1999 | guitar techniawes | 53booker t & the mg’s ‘green onions’ h = co. co, ebb he Ear 1 the shyt gitar part fend inthe into ofthe tue. This example ghights Steve Cropper excelent tt sth wrk The song ed around | 2 ondré 12 bor -0-V progestin ad festar the chords of BF, E(B and FC lye on the, Gane strings ing these spe thoughout Te ‘chords re performed on the et ith note ofeach beat and should be played with a ap strum. Bese to suo ase the acent ad eto ayo kin the prse ears more fs th example very wel é ae ir sign vera 54 | guitar techniques | february 1999 |erie 2astrates theif played unr the Keto sl. The Hf starts etn F minor pentatonic: FAN Bb CERF SSeS This if implies the chord of Fira. The nif then anspsed to B miner pentatonic. imphing the minor has Bh Dy Eb FS AN Bb 1B 451 “he nf strasposed asin and aignates rom Cminr pentatrc implying the mir chr CBFG BC 1 as 1 “The performance fay lore adi payed with sing feo ‘february 1999 guitar teehmiawes ssbooker t & the mg’s “green onions’ | Gm) Fm) (em) FAP B) BC EF Lee 6 6 4 ‘The nates played nthe bar 21 could be seen 2 xignating fom the C minor pentatonic sae with am added td CO RF G BC 12918 4 547 1 This sls fan easy. but watch out or the pace note slide, nd left and hammer-one and pls Tse ae vital for reproiucng Booker Ts Hammond psi, L = : = eas = SS SS ‘th slg overarve bu LD FO. cop 8 Exerebe 2 the st heya sao arrange fr guitar. The Sle i based mainly around the Flues sale | | 56 guitar techniques | february 1999(em) ‘er ep Ending =~ rm (hm) Em em Exercises Steve's mln slo and fetue ene prety erat ats ls. The sole based mly around the F minor pentatonic and Flues sles A sjninr bles fess created tbr 1, ith tener tie (A) eng eased a semitone to a major the (A) via x hammeron Bar 19 28 featur 8 ning Maur that sits to new postion at he reevant chord change ns gre sth F mit, wr, and minor pets sess Renembcr tot te to securate wth hs elo ~ st ie ts of eneay and tude! “There f= second organ and guitar soon the org tat have not been ansrbed 50 ese a jm yur ow des along to the backing ak ‘heen insite bynes [Cooper Stenberg | Jaca. Payee Muse | orn Msi Cr. Us by id perms o Can Msi Co, an Big Howe, 2 Bp gpa Chal Far, ero. NPT 8D.P74 CT aay ras 1-16 os an Cees eons ceive Eero esaerey pe ees aera eee ee en en en Pace eer ret Ce ens ee aI eet eee) ree emer) Crier Ueeneee [oe eee none na ee SOD O eine Seen teat) Dit ahd made it as straightforward as possible, Lee nets Seer ne ere Cee ee Cr een eter eater ee! et the right hand to play its part. Obviously, Coa eee eas rhythmic information must get across for i t0 remain effective. We've spoken often in th eee ee eee ee Ci oes ee Coie eee ees Ce een ee Lee es oe cee ae Index and middle fingers usually take most of eee ea renee eter ener: Pre eer tn eee en ae Cees ‘KIKO’ errr oer tells me is aera Important finger to look ou for in “Kiko” is the Coase ee eet Erie eae eee Ts eee ea kind of playing, you'l have to be patient and pores ace eee eer ee es ba crac ete ets Cee oneness rete oe Se eee cares section in the middle. I definitely sounds tot ‘more complex than it really is. Study the musie Sena eee ee! Seas ec ete ee Soe eee ene CR eens etn er Break the tune down into small pieces and COR ee ery een eet any sections. Try to get the intro sorted aut fist, een es Scot)CL ee usc: earl Idugh martin's ated gear MASUR eeae, | Tclapmanmienl ayn apaeteiot eee Siete ea vac cee aes see nvaemrciger ie aa tutar ing tx soy ye se Le ugh ms Ni ereeeneorecucemeenin — mma influenced dy the ike of jaz luminaries Wes Montgomery, ‘has pick-up under the bridge like an ecousti) as well asthe las a George Benson (with whom he later recorded) and George Van | ‘norma! bridge humbucker A cunning Gevice mounted an the | REMEMBER terms fScrimae Psnncn'e men sa gutsahoah etas._ topo Reguar awsome wo sant ache 7 Nee foster ashe Gretchen oo Steer = Fgh a sees ot 20 abu cols ith Chet ies anf 80 oes, eS pS SS 2 See na 2 re emery at re te s ead | february 1999 | guitar techniques | 59| a | february 1999| guitar techmiees | 61aT Go. fees fe pies ae | 62 tar teenies | ednary 1999“a fiebrusry 15951] utter tecterenses | 3s.e1coDR FIRTH AVENUE Fils) ROIBON 20D, TOansysss3 1 "Manufacturer of the World's Finest Music Strings’ www.rotosound.com (otepnoneti i 16 Freephone: 0800 525547 At venTeSTINeontacoustic oe ; y Cee iea rating: nec 1 e287 meet your st tutor: erictwo. i A Braco yt a Jnczharmony It tray Mees nd ins oe fal Ass preset MAKE A REAL DIFFERENCE... A return to the scrambled world of altered Tunings. This month we're exploring DADGAD and BFsCEF¥B explorations Into the ery world of aitered tunings. Never intended tobe ales egt€D gear exhaustive, Ihave looked at some Fert eel ted onder O1 whch nied by Simple dropped and raed tunings In 86erare NCSBN In arlene Sta ‘ost roms econ MPI an en te stone ue we this installment Iam wneaveling a ee ea ee eer slightly more off-the-wall tuning as used by Joni Mitchell ~ BFICHEFEB low to high) and some more of my own ‘standard’ tuning DADGAD (again low to high. ‘hs turns when ae Mth ued on he track Het’ (1976, om he album of the same mane) Ie DADGAD, 2 ofl ting Ths ears that he ting doesnt fvaur ener mar or minor tna, The opens sve 4 BRR chr As the Was Sigs are tne down slow tere a plano ay to the chord wcng At thes low phe i on beet fo keep the uli un. wuld suggest that ou ony ase ste! sings yon tring il eto Ise) nd yu ned sticking wit hs ye of tuning conser wing a set of 012 gnu sing can tate ie ne fer the gular neck to acim 0 ‘the redstrtion of tein. nd depending on the set-up of your instrument you may experience vag dares of fret bu | Forth example onthe CD | hone to ply someting inthe sy ofa famocs John Lerman tbe 10 Be Dyan, As Fer the ota, ve used yt Slshs || Notce ha the exmle en ire. Thre re sme chert saps sore Frys oe fap | february 1999 | guitar techniques | 67‘two modal tunings -_ EmelZI0} (09 ° Float da 2 aad A$ otnracdls Ffosuse eae Fleas . Fioouss Ffasoe 5 a FPF Enos yee 68) guttartectniqwes|foyary 1888‘amtwia ‘a> | february 1999 | guitar techniques | 69‘two modal tunings | ‘sitar teenmiawes |ferary 1988 |ta) [At is siape,elr rears tis lun wil Ksow tht se DADGAD a my stanard toning, an have doe fora mamber of year | thought it would be @ ‘ice ie to present «sie not often covered fn ve come up with typical bose oe progression and voce ifr DADGAD tuning The important ting Sout sn mova thatthe bs tes shoul al regulon eats ones thre ofeach 4b Tis example i notated in ul nd comes complete with ‘Grd shies hope you hove fun exploring hese les ard ung thet dev Your own tings and conpostons WAL ORDER oe ¥ ‘HOW TO PAY © ONY _AL eek WELCOME NEXT DAY SS Y PELIERY eos SET ieee 20,000 SERIE ae fn po ee Sts mm Gaze YAMAHA conch” NES pom CT GLSERO | ‘wt ae ae Oe ¢¢ ce. vee wae Rane 70 MAKE ae rd a leak ow wa tei hae Cee nec aneteats 18.21 rating info Derr at Lg COUNTRY GUITAR To play authentically in any style, you should immerse yourself in the music while staying hip to current trends...hhe sound of ew’ country fs quite diferent from ‘stone’ country. The poplrock edge and sophisticated sound is a far ey from county's gospel and Hawalian roots Blues Influences, however, may sill be detected, hota vocally and instrumentally (EMA awards host Vince Gil (great picker, great singer) reckons Junior Brown is the only real county person around these days. Browns a wild and wacky plcker, so check him out! ‘the country dub Ifyou haven't a clue who's who, then check out the following rough guide. (Cutting-Edge Artistes Who Are ‘Pure Country” George Strait, Alan Jackson Modern Artistes Who Feature Guitar Playing ‘Vince Gil, Clint Black, Alan Jackson, Tim ‘Metra, Neal MeCoy, Garth Brooks, Hal Ketchum, Warde Hayes, Billy Ray Cyrus, John Michael Montgomery, Kenny Chesney. Modern Bands Brocks & Dunn, Sawyer Brown, Ricochet, Little ‘Texas, The Cheap Seats (UK) featuring John Petter on gulat ‘Mature Bands Alabam, The Eagles, The Bellamy Bros. Amazing Harmony Vocal Groups Diamond Rio, Blackhawk, Restless Heart, The Gatlin Brothers, The Statler Brothers, The Oakridge Boys, The Fairfield Fou Legends George Jones, Merle Haggard, Wife Nelson, Johnny Cash, Eddie Arnold, The Louvin Brothers, Don Gibson, Keith Whitley, Hank Wiliams, Emest Tubb, Tammy Wiynete, Jimmie Rogers, Gene uty, Ray Whitly Second Generation Heroes George Strait, David Allan Coe, Emmylou Haris, Linda Ronstade, Pam Til, Lorrie Morgan, Tanya Tucker God, What Voices. Vince Gill, Vern Gesdn, George Jones, Joh r26(J.= 42) 1 eeu lee Count Berry, Randy Travis, Dolly Parton, Ricky Skages, Kathy Chiavola, The Haley Sisters (UK), Ricky Van Shelton, Dan Seals, Vignonna [Jude], Martina Jargon buster ‘MeBride, Collin Raye, Michel Johnson, Patty sone county Loveless, Tsha Yearwood. Stein Rough And Ready (cool) ee ‘Marty Stuart, Travis Tritt, Hank Williams Jey Steve Farle, Shaver. Hunks And Heartthrobs A Im REMEMAER teem plied on page 95 Bryan White, Ty Hemdon, Kenny Chesney, Dwight ‘Yoakham, Steve Wariner, Aaron Tippin, Trace tins ‘Toby Keith, David Lee Mur! Soniwriter/ Acoustic Guitarist OF Note sounds to savour Pat Alger, Rodney Crowell, Dan Seals, Matraca Berg ri Kristofferson, the late John Denver ee ena Relatively TradtionlfRctro Sammy Kersh, Lee Roy Famel, Tyke Lovet Junior Brown, The Texas Tomadoes, Mark ‘Chesnutt, Joe Diffie, Mark Cli, Tray Lawrence, Glen Campbell, Delbert MeClinion, John “Anderson, Hank Thompson, BRS-49, The Maverick although they don't want to be seen as county) Leading Ladies Reba McEntire, Shania Twain, Lee Ann Rimes Names To Watch Out For. Keith Hating, Dixie Chicks, Lee Ann Womack, Chely Wright, Jo Dee Messina, Deana Carter, Faith Hil, Ten Clarke, Gall Davies, fy Lyn White, Mindy McReady, Kathy Matta, Suzy Boguss, Te Kinleys, The Lys, Bale The Boys, Anita Cochran, Sara Tory (UX), Rosanne Cash, Poul Brand. wt on the sstcD es Slr he st wi Se osen Duncan uae Funan parse ath abroge peston an Zandt Wane + Feramps sea Come Jouteyman cas Aum on ‘ope seting 535 ‘lons wl sob 1 teb_ecge 8 bot 5 0 ‘out 2 Paine OLS ‘gett srl nth pr es ale Pfs pr Sat os Mera veg fos rie res bt (Socteecetete Bcc (snares) lem | february 1999) guitar techniques | 75who's who? county guitar tetsng hone eae) e ° se Bc ch D Fewac se (agentes) ‘Guitar techniques | february 1999‘meet your est tutor: ‘guthrie govan This is the part of the magazine where we pay homage to the soundtracks from all those 70s car-chase scenes. rad in with the it Think of yourslt it, as your role as a s percussive one Right then ~ on to the 10 examples. stsuggested listening The ovo at enone 5 Mk odes who frre the rd Cl en ne ate ws Berard Edward ‘ovored wat he Seeds good ear fis {sty eg ly one snd ingecae ing wl be he "aya Le ea 1 fetes nen af rte mh be Wah lh Watson free tuts erken rie Hoes Marg Lou Hongus The ‘ts Foe Krown As Pines an are ey Bane Ne Hees as ocr aia fae) Paes who Hert realy deed wiht oe bat fave reer es ‘bie funy eens theme rance er Stevie ay ‘aughan eck ov is cor of Superson font to een Red aa uo tru aig al hy 9c « Fes Ht Ci Peps su Prien the right sound Tre WAC eo was soos ith Pi Feder Seat Pi or fcctesrl! eu sting leon os main through te dea channel ofa Maal VP, seus. wel gan basso mid_— ted pres yeni ees Ome vi the be hn The ll was cores wit 29 ‘hess 900 secon VERT aes en ees an roe Jargon buster ty notes A Fractions ae wie 0 eerie the length of a rae relate to the pus of the mae. nthe w/a tne Sanature, 2 sige beats worth rote dese 89 auarter ote tent Atte batt 2 (uss) ard a ote a quarter (of best ong sa sete ote (semiquae) I REMEBER ee B een Splaiedon page 95 For the double sto “hiss asd on exec 1, bt with headin of 2 few dnd nates for slighty base fe. In don, note shit the Ine usts octave shapes now fo fatter {band Meke sure you've muting the D sting with the fc undersge of our Kft hand Indesign, It frets the A sing e7 ‘Ths wt ple patter of four 18th notes over an ove asin It doit sound monotonous though, bene of rhythmic dpacement (the patenoxcrs ‘orig oot ost on the est, tao before tal afer I Far instance, theft group of notes tarts on eat ut the second group stats before eat 3 se beat ctl coinies withthe the i the aterm WL ok atts Kes more thorugh in ew mont tine.eee os 10 funky fragments =e! = 9 e13 serie 4 seth very common (ard very fr) 9 vole, If you are your tinge ve the 6 8 and E strings, you fourth lg fe toad the high (Cf tthe end ofthe second ba ng sbi pt of EE Very James Brows! Enero 5 demonstrates another popular par of he wek Nee how the fe wo nots orth Gating conte #3 and «63, for «Bluse slighty Ine sighly major effec. Tis am be payed (em7) ice 7 stay the same ae of the neck, but concentrates the three onwound stings Once asin, ou need your fst sd thir ings but be crf i ‘When sing wit our hr, you mata those TSthtet notes to saund auto keep your finge rety much vertical a it sides Nuno Betencur hasbeen ‘on to play paso dsl th I “4 ‘guitar techniques | feb-vary 1999