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WHILE MY GUITAR GENTLY WEEPS: Way back in '68, English superstars George Harrison and Eric Clapton got together to create one of the heaviest and most memorable songs in the entire Beatles catalogue. This slow, haunting ballad features three guitars, acoustic (George treated Paul's 0] where the rhythm gui playing the seme fig ful fills through thy based on A (AGD.EG), and h it sounds like a Les a Marshall plus al rotating speaker noi Hammond organs. B Leslie is one heavy 60 and, years later. Ste also experimented with gue. Clapton also plays some great dou- blestops for his breaks during the cho- rus sections, which are played over the E chord and are based on E Mixolyaian ER.GABCD) imply stated, Eric’s solo on this tune is one of the greatest he ever recorded. His slow, winding phrases lay ‘way back into the beat as he delivers an incredible melody (and melodic devel- opment), further juiced by one of the biggest, widest, slowest left-hand vibratos known to man. His tortured lines could not possibly serve a song th this ttle any better. Big bends, per- fectly intonated, also clearly illustrate this master’s touch, He also thoroughly kills on the outro, Guitarists and assists alike should check out Paul's bass playing, as his nggressive approach falls somewhere between the roles of both instruments. rmance Andy Aledot ‘STAIRWAY TO HEAVEN Yup, that’s right—Srairway. For those of you with good memories, we years ago, but that and we figured Jimmy Page opens the tune with the infamous arpeggiated acoustic guitar, joined by recorders which play a melody in close harmony (arranged here for gui- tar), At 2:00, Jimmy changes the picking pattern, incorporating sixteenth notes. At ¢ electric 12-string enters, essen- iny's guitar solo, ehich beet 55, 2 best, not che based on A G), with the i 2 few points ibstitute the F nor, you get F .A,C,D). Pretty slick, eh? only slightly dis- torted and ‘of bite. The very last lick, at 6:41, is doubled. Notice also the Iitde slide lick that’s repeated in the back- ground. Jimmy adds another litle solo during the outro, beginning at 7:25, using a bunch of unison bends (not unlike “Dazed And Confused"), An clement worthy of axtention fs the great arrange- ‘ment on this song, which stands as a blueprint for modem rock. HUNGER STRIKE Following the massive success of Pearl Jam’s Ten, Temple Of The Dog—with Stone Gossard and Mike McCready (gul- tars), Jeff Ament (bass) and Eddie Vedder (wacals) from Pearl Jam, and Chris Cornell (vocals, harmonica and banjo) and Matt Cameron (drums) from Soundgarden —was re-released to an incredible reception, shooting up the charts into the Top 10, This song is the fist single (and video) from this second ‘wave of attention. There are a variety of overdubbed guitars on this tune, and arrangement- wise this song is very much like the music of U2 in this respect (see "I Stil T'm Looking For.” rp guitars enter As on the main hese guitars band, you'll have jons as to what to to lose. One constant in fb enters, and iropped his is followed by of two new rhythmy pal fers, resulting in five guitars included ft the following chorus. ‘Megadeth’s la more success ‘album full of po guitar intro” issue?) mad note patterns played in sixtee the open D and G strings in conjunction with notes from the G Dorian mode (G.A.B.C.D,E,P), plus the ,G, played on the A string. Marty enters with ‘octaves that double the bass figure. A variation on the intro figure is used for the first part of the verse sections, mov- ‘ing into a sories of descending arpeg- giated patterns. The song shifts to a dou- bletime at the chorus, and throughout (Cartiued on page 88 GUITAR NOVEMBES 18237 FORECLOSURE OF A DREAM ‘As Recorded by Megadeth (From the bum COUNTOGWN TO EXTINGTIONGapito! Records) Tablature Explanation page 38 os Words and Music by Moderately Slow Rock J = 69 spit. Dave Misiaine and David Eletson NCIGS) He lao ¢, Ri- Fie 1 ie Geel crac nf (Gaanione) y let ring throughout 6 Yet © far to fal, a plan of (end Rhy. Fig. 1) Rhy. Fig. 2 ‘and bal= ance for a__ breakthrough, eu-phor i's. high, more borrowed mon - ey, mote borrowed time, Backed in a com - c, caught up in the ree. A —_ + ie = SS uo Ese te oe — = + = + +e fis lial — eas : er ey a fe of the chase. Fore = means to an end end ed__ in din grace. Perspective is kat. _in the sir (end Rift A) (end Rhy. Fig. 2) Sarcrava Mops cts on atin 0 Sten Sone eeh Cura NOMENWBER ge? 49 rors Double time J = 138 cs FS coms os FS cs BS cs CHS dlo- sue of. dream, those Wiedons never seen Un - Roy. Fig. 3 (nd Rhy. 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