(Sea eeeee es kk kk kk Hi ransSs ylNOTATION GUIDE ebitue cet tie sitio ‘whale not (elorfourbscts) hal ces held fortwo bets ect) qua noes (ald for oe bast each) NCWE) D a E stig erring. "Suing 1s the thinnest sing: 6 the thickest ‘Mambers onthe lines indicate frets (0 = open string) igh cas hated art (ert bes) qtr ost c co X ———— —s 2 count rr er 2 8 . sigfth gh 16, th totes hat ra poe noes se iar nte net ———S a omnc| md 2 8 anduh 3 ce anh 4 oni =f and 2 an 3 ad 4 au 12 hammacan legato sie putt te cont"! ad 2 ans 3 ad ss tm en ’ Senda gas in tine oie gacescie “pre-beta roles revere be (whoesiep bed) vo Eo Sie : fal fat sa oy ‘ rere or) “rar aoe ‘pnginamerio plain (ng ta) (pote retted) & =o a S = a $—3—3— 8-88 ona “Harman sounded [ ar a oe = “pyc ty ‘yng “Tome ona meee Teta am 5 quick seson ot scx shor) oes Faneconsadpclos) terol ping mn Cakg) fever —7—7. w‘Seven-string guitar: tune down one half step (low to high, Bb E> Ab Db Gb Bb Eb). Chapter One Warm-up Exercises Fig. 1a chromatic exercise, ascending Fig. 1b (ascending) 70. rT Fig. 1¢ (descending) uae nonceon ——————s Fig. 1d start wupstroke (ascending) =|Fig. 1e true chromatic (ascending) iy r Tro2es Tari s2ests TISPATT STII IAT TS nVAVaAVAVAVAvAYAY Persrreiseasrael peas relsaTsiael pedal Scale Studies Fig. 2a C major, ascending ES at — = ae aaa o-oo eS TI 7 5 7 7 T 7 r T + 7 PRs sara eras caer arr aed as rae rAri2r| ae OEFig. 2b C major, ascending $9-12-19-—10-12-19-12-10 i coceree ee Fig. 3a A whole-tone scale, ascending 7Fig. 3b A whole-tone scale a0] $ + 7 T s2ioetreaiare Se eC rere Fig, 4a E diminished (half-step, whole-step) slow VY Some icing emcee VY ‘aurtar ovo7Fig. 4b vin vv nv vavavavnavnavy avy vavvavay a ; awSweep Picking Fig. 52 = —— ae ' ee PVP Yi PLY Plney V Meeerny_Woeennnnnnnnnnnnnnnrn 5-60 ; W = ae = = 7 al ae eSweep Picking w/Fretboard Tapping Fig. 7a ee ft ie fig pe end TRENT 151915 —_16 19-2419. aa Toreia 7 =F ca == ao} i E so qurar ovDiminished/Dominant-7th Sweeps Fig. 8a &7 curr ovo 11Chapter Two Heavy Riffs “Shouting Fire at a Funeral” Fig.11 intro J=126 : . niclEm re) 5) — — Fig. 12 verse ——ee a) Em) (ce) % cin) (eye ne) hance reeeeereertneeeneeeeeeeen ee Ge EES GE a“Jato Unit” Fig. 13 intro J =152 Nese) (peat pre. ba) (8m) ee at “Devil Theory” Fig. 14 J =160 a ‘s wows a | a a ————EEEEE * C409), Seer aa = = = C 750 222222922 2 222 2222 2D Le tf ff thf ef ert ce s4aurar oveDES NCWAS) iT £ ot ol oe “L, Voyager” Fig. 15a intro, bars 1-8 2 =138Novc#5) _ a =<" So el ee ee Fig. 15b verse riff, single-note version NCC#5) | olot aaa inane Fig. 16 verse riff, chord version “cH BP ES en [aa aa a - Per ey ae ne Pedaling off the Low B String Fig. 17 “Inside Four Walls” 2100 Nowe5) SEER BEE =Fig. 18 “Enemies of Reality” = 164 N.C.(B5) (5) Bs Chapter Three: Soloing Scales: 1) B Phrygian-dominant (fifth mode of E harmonic minor: B C D# EF# G A) Fig. 19 “Shouting Fire at a Funeral” 2 = 126 soto (0155 Noyen) | ura pve 7= BURG! paw ee ioe Fig. 20 B Phrygian-dominant scale 85 ona2) B Phrygian (C Lydian)/B Phrygian-dominant Fig, 21 “Jato Unit” Solo ps2i0¥ d= 152 Sa 3) “Warped” B blues scale Fig. 22 “Jato Unit” Solo (s+ No(em) ass oy gin snenenene— jenna gia ibis = up eee a nen aa REE ww. urar pvp 194) B Acolian Fig. 23 “Devil Theory” Solo 11209 in SSA oNpADwEAwE ote re 9 — i t t T ee 6 oF * Bn ie Oo 3 7 — Tt t 6 py a” 8 z = + + — T t L om 6 ot re : ees aE ase Se + 7 = : = = |Arpeggios Fig. 24 “Miles of Machines” intro (20:8) 2 =150 o +5 oe = ora ra rr ‘2 6 oo = a 3 - 3 at - ~3 . 3 A oe ee 0 | eee ew er B Yay ny myo oy py Vn ay st aoe 1210-15-27 18-18 aa oc = | urar ovo 21tise. Fim cn oe a a tH oe Fig. 25 “Jato Unit” solo 25411) cin ee er a 40-187900 40-19-10 ae hrDm 6m ee Se eT ° Fait Fig. 26b 7 7 1815 —18. e— =U) aN? ‘ e— =U. 7 7 1815) — 1. — =) 6. a 9-1 ish oO “Worries se preted Say on 7 z 7 47 81719118) —9)- 18 —T— (oo) Fig. 27 “Devil Theory” sos om on ley ie 3 5el a6 ee ‘Sweeps Fig. 28 “Devil Theory” p10 Eomom =a = rr = = ‘ B50. oP : ca =e i ae ee sist ~ 8: 6. 10- a ce 2 es ees ee t t i—— EE ee Fig. 29 “Jato Unit” iess000wit) PRESENTS 10/3 AUTHORITATIVE GUITAR INSTRUCTION DVD SERIES AVAILABLE! WWW.GUITARWORLD.COM/STORE Cs sd PLAY ROCK BASS “The est of tar Woridideo lessons Aide tthe parts lth bass taught byte word’ erates payers How o tine the bass wth Howto lay ast, with Yewie on iota ecto ter Malmsteen ROCK og” FFcchand techie Sein ps nd its, with eating tablature and ining notes Tak Wylde More han 0 mirtes of lessons Paying the ues, with ily Gitbors Saling or ake utr, wih RO Me ey HARD ROCK & HEAVY E Car) \ strategies forall styles, ating classic rock, al, alt-rck, punk and emo Techniques for begining, intermediate and advanced players 28 pages of examples Theis scoop on guitars, More than thre ours oflssons amps and effects ‘More than $0 minutes oflessons ee tly 5 HENDRIX EXPERIENCES Bee Coy Ty ‘Rhythm and lead for all styles ‘W-bar-blues form ee How to play every song, ‘Turnarounds , ‘16-page booklet with poster Side The making of us Bold as Love are Hendrix footage More than hours eensRUC wUe iy mee ytd) La EY eRe a a Yee ee ome 3/9 - The Senator Theatre - Chico, CA * 3/11 - Crystal Ballroom - Portland, OR RAR datos cu aC eR oe lesen cc aN EAR ee cen ea ee Ae ea AS et en ee ce Yee ed eee Vena eer a eo NY ey ea een REZ ei Ur eee ee 2) Harrah's (Kansas City] - North Kansas City, MO * 3/27 - Eagles eee Eee eo ree ZB U Sec ee ay Eee Cael eee 208) Cheer a Pec GLa eae er Sere ec Cee ae DC aL erate) eee ae oe ee ee 2 Wie ey ce ate Pe sie on ean a ee ee Yar et of Blues - Boston, MA * 4/15 - Ces ts ac Var ee eed en oc Aen on Za Rte or ete cr Za Warehouse Live - Houston, TX * Cen ead i ea Ce ee ee a | Cia ese ee roo fea Sco eee emer ea et Ballroom - Tulsa, OK © 4/28 & CUE Re ee Pe oe eae . eae Pepe enepypryenes ed eae Seki lve ded iL cena CORY ee ae eT