LITHGDH REGIONAL LIBRARY IM aC) 301418745 WHISKEY Ltt OT CISSY STRUT Pg SUNGLASSES | PrN j Cars aH Y PAGE , NDT eeTy Mes ecLOl Mes Ol P20) 7 BO eV TRI S3) aH Wy i CA: ae Kao Rms STEVE Ore ae Par 4 PEAVEY CLASSIC 30 oi aN nnus amaononanzvowsH: BP “Cheap Sunglasses” ZZ Top HEY NOTES in 1979, cheap sun- asses were the fashion acces Sory dour, and 22Tops mix of ‘guitars guierlikebass, and stop. fand-go drums saved them ‘fromtheslagheap ofirelevant Southern blues bands. A wide range oftoneis vital for anyone looking to reproduce this par- tHeular bit. To nall the tone for Gur 1's opening triad slide, as, ‘well as the electric plano part (ranged for guitar here), use ‘2 humbucking neck pickup, ‘then dial in a warm and clean ‘amp sound by bumping your low mids and taming the te- ble. For Gtr, 2% grind, use abitof preamp gain ‘and drive the middle of ‘the midrange up (about 1 kélz) with a graph- ing the solo, too; just switch to your bridge pickup and add ‘ahlat of germanium-flavored distortion. (Billy loves the Bxonic Expandora, but a Foxx Tone Machine or Danelectro French ‘Toast will get you tothe same place.) And tell jc EQ. This same edgy, gugyyy—_-your bass player to add mid-eeatrleampsetting _peggetlo some tubby tube grit to ‘wil serve you well r= qWamerBres) his rig. escape the beer 'n’ boogie fghetto? Well, apart from their expert use of video as a mar- keting ool, justdigthe music. “Cheap Sunglasses" is in the key of G minor, with excur- sions to C minor and, during the brief, bluesy solo, BY. But what's most striking is that there are no open strings to bbe found; Billy Gibbons frets BIG PICTURE sow aia 22. Top every single note, which gives hima punchy ttackthatcan't be gotten with open strings, The zeverb-drenched, wang. barred notes inthe interlude, meanwhile, contrast mightl- Iywith the dry and raspy gui- tarsolo, Care to astound your friends? Try the opening riff arranged for one guitar (see above igure). “Truth” Seether KEY HOTES cris song begins with a lean figure consizing of three arpeggitted chords (Fig. 1). The rts astandard-fare BS rooted on the Sth string, while the Bsus2 and voieings rely on ‘the peroct th betwen the bot- tomtvostings—theresultofthe songsdrop-Dtuning downahalf step her) Such voicings; which ‘wouldroqureadificutstretchin ‘sandanituning aremadesimple ‘by this tuning. Soveral measures Inter you encounter Ry. Fig. 1 whieh is equal parts one-fin- geted power chords and muted strumming. The trick to kooping these muted notes sounding chunky, ‘while also reducing the incidence of unwanted ratural harmonics, is to ‘use more than one finger ‘to damp the string So, 8 youremovethepressureot Fig. BS Box —————— ‘yourftetting finger, simplyrouch ‘thestringsightiywith another at thesamemoment Inthe electric guitar par dur- ing the verse, make sure «to place your Ist finger solidly across the bot- tom three strings forthe dluration of each Esus2 and Gaus2 chord. Here, you'll want the lower notes to ring out for as long as possible aneffectbestachioved bylrettingthenotesonthelawer stingsahead oftime,beforeyou play the 2nd-root sequence on fhe ath string BIG PIGTURE ican be tough to introduce and develop themes within a short soo, but by pick- ing a couple small phrases and recycling them you can often comeupwithsomethingremark- ably catchy, something people ‘can sing along to. The exam- ples above (Fg, both ofwhich ‘occurafew times during guitar~ ‘st Pat Callahans eight-ar lead, are effective melodic ideas that, ‘when placedinakematingorder, lend the solo a certain cal-and- responsefeel. JORDAN BNR MARCH 2008» G1 The Mapazine You Gan Play 98“Take Your Whiskey Home” Van Halen KEV HOTES 3y tne time women ‘and Children Firstwasreleased in 1960, Van Halen were at the top of their game, yet wit “Take Your Whiskey Home” seemed they were stil mak- ing an effort to expand on their sound. Eddie Van Halen ‘opens this number—on an meee, omy am) -tb a acoustic guitar that sounds as SSS] aaa A ies strung with super-light strings—with swinging bues feel and « highly improvisato- zyapproach behind David Lee Roths vocal. View thefirstand tance; your aim should be to surenottorush them ahead of secondfullmeasuresasthe'rif’ give theriffacasual quality, the beats on which they occur. template” fortheentire ‘Then watch for those cock acoustic section, play- BIG PIGTURE wnen the ing-ine-shotgun accents in the ing the partial bares, and enters, at the measure before the 2nd verse atthe ded and 5th frets ‘interlude (045) thefirst starts (1:02); the proper count- fon stings 2, 3, and 4 twofullmeasuresestab- ing for this part appears in Fig. Whether you pick wo lish the second prima- 1, withtherestingeounteshown orthres ofthese stings xyzifof the song. Keep inparentheses The iffthatfl- Gnd which two you the string slides here lows (verse 2, 1:05) is @tough- pick is oflite impor- WamerBree) long and slow, and be leaner reading ofthe acous- Women nc hires First tic into, Dig the key changes: G minor and A minor for the verse/chorustections, Bminor forthe firstsolo,BminorandE ‘minor for the second solo, and, D minor fr the outro, During hls solo, Eddie whips out afew of his go-to fills; try Fig. 2 £0 ‘wrepyourhead around is tap- ping-acbent-string technique. “Cissy Strut” The Meters HEVHOTESPucagroupotgroove- oriented players together in any situation, and before lng they'rebound opullout"Cissy Serut'—the undisputed cham- pion of Jam-session tunes. ‘Though the key signature ofthis 1969 lassicdenotesCmajos its tonaltyleanstowardaDorian’ ‘Mixolydlan hybrid (C-D-H-E- ¥-G-A-BH-0), Notice how the ‘gs riff has both b7th (B) and bard) scale degrees, wich {indicates Dorian. Beneath this rd fret, then relieve the ten- pocket play therfslaily—that rif a Hammond organ comps sion some for the percussive, slightly behind the beat— with syncopated C7 chords, scratches. ‘Keep a constant paying close atention to note Which indicates Mixolydian, 16th-note strumming motion _durationandrests,aswellastne Check out the often- ‘throughout this part, staccato markings (introduced overlooked C3 vamp even when you're not in bars § and 6). You might try (Fig. 1) guitarist Leo striking the strings, to usingaslightlyharderpickthan ‘Nocentell throws down keep the groove ight. usual, in order to cut through trae 5, fore Hey. them Ay ot anchor Goan slo forineco gq, DUPTIBExosaysusto yourpeinghan inte i Sort fapment bare Hl, enmnencingle pen Logit lam ur ton te four ttinger atthe Guam tnd wevabisk good tttodtie wll alow ut play the single-note riffs with more of a strumming motion, 4s for Nocontellis tone, try plugging into a Fender-style amp and dialingin a clean tone seasoned with a touch of old- fashioned spring coverb. Then grab any humbucker-equipped sem-holloworhollawbody gui- tarandsecthepickupselectorto the mile positonChor anes | (Cae chord symbole >C acre muted stingy, open sting a iret number ges: *fret-hand f tal the fingers____ Se 13a ME Horizontal ines represen frets and vertical ines represent strings and (left to right = lowest to highest). " ng = lex, 2 = middle, 3 = ring, 4 = pinky, T = thum! i index, 2= middle, 3 = rng, 4= pinky, T= thumbs ap — = i - ap teRee mys Gene ny tt SS E = t ae oo “Waele w “Malt acies uur ts Bight cote Sinnent noe weeny” ‘ag ‘ite Coes Gate a HAMMER-ON PULL-OFF ‘TRILL LEGATO SLIDE ‘SHIFT SLIDE = Pick the lower note, ‘Place both fingors on the Attemate between Fick the first note ‘Same as lagato uy ‘then fret the highor ‘notes to be sounded ‘the notes by rapidly and slide th frat ‘slide, except the ve note without picking. ‘Strike the higher note and, ‘hammering on and ‘hand finger to the ‘second note i. ‘without picking, pull of to palling oft. ‘second note. Is pickod, a Ss Bs =BENDS Bend ating oe ines ced plch (2 feet) BEND AND RELEASE” ‘Bord enincowtd, har, Shout picking, ease TAP AND PULL, Hamme on theighar note with a picked finger; then puff to he prelate lower not "AP AND BEND ena nh te ih Fitton ben bd ig tone ete le ‘einjourettendorndes, PRE-BEND Bone he nto ineatd hen poh. UNISON BEND Pk bah neo, hen bord She ower rte torte re iphernois ich. NATURAL HARMONIC Pekibe roe wile frothand nga gh touches he seg ceey above theirs. PINCH HARMONIC Produce the harmonic byadding the ocgo of tha thumb othe pk stack ‘aprING ammo on tho note with pltand finget HARP HARMONIC Fett lest Wh Sepiscande defoger {AP HARMONIC ‘and ger Ely tap the et inp, wi Yeh tig by iy WDE ViBRATO Exaggerao the vat, a | eS ‘VIBRATO-BAR DIVE Dopieas the bar ote pitch nicated. ~DivEa RETURN Depress tho br a8 ‘nated, than roten 1 arg pitch ‘BAR Scoops ‘BAR DIPS FREFHAND MUTE “BAR RAISES ‘PALM MUTE, MR ag —anmenotene — Pelawrcnanisint —aneatennggsy Ur hy cane ewcae’ — Gecygorigte” — ceatnecgaee tegen aa sen” SEES aterctchempes: jomeaose oon See ee eee a ener c= ASS == Sas = = = meee wane er revensenou, cee camps items nisy erp sty ~ Sunpanmtached Superbad merriment neers agiapatceia | tentecamcn fontaine sa" ile = cng aerate sound TREMOLO PICKING Prokthe note) ina sp, conn moto. ‘THUMB FRETTING rap thé aroun tho sta’ neck fot ath Sng nate 102 GUTTAR ONE « guitaronemog.com GHARCH 2008 Simesane Binet issuer |e eee amie faa te op ear eeeet ay ie CHEAP SUNGLASSES As Recorded by ZZ Top (Grom the Warne 808. Recording DEGUELLO) Words and Music by Bily F Gibbons, Dusty Hill and Frank Beard Bs cs ad Rhy Fig (tn. 2: w/ Rhy. Figs 1 & 183 set) Tod Rhy. Fig. 1A — ——— 4 ——— igetesead tile ton site bento tse open MARCH 2000) G1 The Magazine You Can Pay 109,Cr) “Ble, pn wr for pe (ie 3 Ray 3 ons | FG BG Guitar Solo ox Ca? aie ia NC Powe red cae 8 “sa 1108 GurTAR ONE < guitronemag.com «ARCH 2008,eS Giieap Sunglasses MARCH 2008» @1 The Magazine You Can Play 105,Interlude (Gt 3:47 Ry. Fie 3 mes) ons HG BO Guitar Solo (er 1 wR Fig 4 ca Baa Why Fig FIG, ety ott 2 Toi 1106 Gurtan ONE < uitsronemag.com cs os as os bs vs Gu, 2 (eee) copter f rin aot a SSS Sit a cs Bs as ss ES os i Ny i tt oll ot F . ———r ————— i i —a— ae = a Es os nD — iy as <= pte: # t 69 to == SS o — i Sa Gem RACH) — eset Sena = a) ns a>. ee EZ z L = pet ——— ee = 2 o eS = ee =wu uu (uu UW lity) : Truti Chorus Outro (2 wR. Pi ie rsa RKC em) Bat) beste) Guz. w/ Rhy, Fig. 3 times) Bs Bs Bs Bs ure aa nine . ur aa RittD iP Ged Ri es) (2 Bay Fg 1 at) Gin tamer & a @ z 2 Layvies Verse 1 HT gave you the muth, would itkeep you sive? ‘Though Ym closer o Wrong, I's a further om ight ‘And now I'm coavinced on te ineie tt something's wrong with me, ‘Convinced on the inside you're so much more tan she, Yeah Verse 2 : vet No, there's nating you say that can etvage the Ue, But I'm trying to keep my intentions digvired ‘And new lm deprived of my conscienes, and something's goto give. Deprived of my eonscicnee, this ll Belongs to mo, yea Chorus Fm besten dowo again, Lbelong to thom, ‘Beaten down aguin, I've failed ou, [Em weaker now, my fend, belong to them, Beaten down agua, I've fled you. Verse 3 ‘The deestion you show is your own pars, e Justa word of advice you ein bed I'you li. ‘Ad now Um evinced on the inside tht soniething’s wrong with me, vince one inside You're ao meh more tah fs, Yous outro {Vm beaten down, I'm beaten down, I'm beaten down, I'm besten down, yeah. MARCH2006> 61 The Magazine You Can fay 115TAKE run WHISKEY HOME As Recorded by Van Halen (From the Warner Bros. Revorsing WOMEN AND CHILDREN FIRST) Transcribed by Jordan Baker “eae dom 12 sp Gow Whig EPA DEG BEES Intro 8 Edward Yan Haan, Aer Yn Hale, ‘Michael Anthony and David Lee Roth Moderately J=98 ( 4773 = P373) 6x1 ous) E ee E = UATE an RR eae Pafy Take Your Whiskey Home ww —Fasaaiis Take Your Whiskey Home (3 Interlude m7 7 otis . a, oy = ie Ps, 1198 GUITAR ONE caitronemag.com ¢MArecri2000Be Take Your Whiskey Home une lay3imes iy Fig = MARCH 2008.61 The Magazine You Can Play 119Take Your Whiskey ome se a oea-l(-ce) Guitar Solo 1 Bs ym SEN eS ys Vo 3. Some goes to wom, : om a eee ees faa 14 b8—- 2" = : - ‘e— Se ti, = mes ee cos —pok rh = SSS a + i Cr seeeeeres : ee ane I— 5—3 $ + 1120 qumtan ONE < guitsronemag.com “MARCH 2008Take Your Whiskey Home (ox 2) Ry. Fig Guitar Solo 3 awa ey ———————— 'MARCH2006 » G1 The Magaxine You Can Play 121