6 Crean h) UsCONTENTS or ede] Down To Mexico... Part i: Dynamics and Picking... Examples 1A, 1B & IC. 3 Example 2... 4 Examples 3 & 3A (Accents) 5 Example 4 (Percussive Picking) 3 Example 5..... 7 Part Il: Terror Death Licks Example 6 ........ 8 Examples 7, 7A, 7B & 7C (Pentotonic Licks) 9 Example 8 (Acting the “Bhs” Not] Example 9... " 10 Part Il: Arpeggios ..... Examples 10, 10A, 108 & 10. iW Example 11... 12 Examples 124, 128 & 12C.. 13 Examples 13 & 13A.. 4 Examples 14 & 144. 15 Example 15, 16 Enwee 15 ftir: 18 Examples16A, 16B & 16C (More Fast Picking) . 17 Examples17A & 178 18 Part IV: Phrasing ... Example 18 19 Example 19... 20 Examples 20, 204, 208 & 20C 21 Example 21 .. 2 Examples 22 & 22A. 23 Example 23... 24 Enhancing Your Rhythmic Conception Examples 24 & 24A... 25 Examples 25 & 254... 26 Example 26 7 Examples 27 & 27A 28 Examples 28 & 28A. 29 Part V: Note Choic Example 29... 30 Example 30. 30 Examples SIAR 318. 30 Examples 32 & 324. . ee 31 Examples 33, 33A & 338... - J - 49 32 Example 34... .csnnnnnn en eeieaececeSO Example 35 .ncsnnennnnne ane 51 33 Example 36 oe : 51 34 Examples 37 &37A 53 35 Screaming Blues O’Mania 54 36 Guitar Tab Glossary : Lene eeeIntro: Moderately J = 132 Gtr.1 N.C. (Am7) eae + ptt F 2 ps Fe ppt pS SSS = ae PM. PM rs pela (Band enters) Riff A pte Si ne(end Riff A) Verse: BUN (am Gs Ds 1. If my. sit - y - a-tion gets cout of con-trol,___ 1 could run down to Mex- 2.3. See additional lyrics. N.C. (Am?) need a place to do some — lay - in’ low,Gs Ds N.C. (Am7) cs ic run down fo Mex-i - is ol-woys in the shy, bands are _l-ways hop-pin’. You can shoke it oll you wont, ‘tl you = N.C. (Am7) To Coda aC a Think Il give my mind a rest and save my soul will-— run. down to Mex-i - co.—[EN (am) whiff A (Gtr. DI N.C. (Am?) Sa Bridge: N.C. (Fm?)wiRitt A (Gtr. 1) pe aa Lg tote sus. ) 2SHalCoda Oot, 5) Nc.(Am?) aes down to Mex - i - co.BITE Outro: N.C. (Am?) c @ (am?) >—___ wlirem. bar (grade dive)* Bass gir. plays F# Verse 2: If you don’t have anywhere left to go, ‘You could run down to Mexico. If you found the answer, but you still don’t know, ‘You could run down to Mexico. You don’t need to buy your friends, ‘They're just glad to meet ya; Maybe éven meet yourself a friendly seniorita. If you never try it, you will never know, ‘You could run down to Mexico. witrem. bar (grad. release) SB Tye: bar is dopresed befor striking noe Verse 3: ‘Take me a vacation from the freezing cold, Gonna run down to Mexico. ‘Should have left a long, long time ago, Gonna run down to Mexico. ‘Sun is always in the sky, Bands are always hoppin’. You can shake it all you want, Never feel like stoppin’. If you never try it, you will never know. You could..." (To Coda)Before beginning the video from which this book is derived (Intense Rock II, REH822), Paul Gilbert sat down with a group of students at LA.’s Musicians Institute. The question and answer session thet followed helped shope the content of this book, in which Paul answers some of the most common questions, gives up some great licks and corrects many common misconceptions. This section begins with several licks designed to get your alternate picking up to warp speed. Paul also covers dynamics and articulation techniques; though often ignored, careful attention to these techniques will add personality and impact to your sound. Photo: William Hames.DCOnIee ae ixample 1A (Example 1 on video) Here, Paul demonstrates a six note pattern found on the 3rd (G) and 4th (0) strings. Mastering this pattern will provide a foundation for building @ spectacular pick technique. Play the pattern slowly al first (Example 1A), working up to the faster, sixteenthnote triplet feel (Example 18). Be coreful to keep the triplet rhythm even ond steady, and use a strict alternate picking motion. The pick hand should be very relaxed and swing from the wrist. Make sure to practice at a tempo you are comfortable with; if you try to play too fost, your hands could tense up and defeat the whole purpose of the exercise. Slowly N.C. (Am) Fast ya aise BV mV mV sim. SNE aban Example 1B Here we have the same lick played in two ways: quietly with a palm mute and then loud with a strong pick attack and no palm mute. (The muting effect is achieved by resting the palm of your pickhand on the bridge of your guitar.) Once you are comfortable with these two techniques, try alternating between the two feels while playing the lick. This tokes a lot more control than always playing at one level and will increase not only your technique but your awareness of dynamics ond their effect on your soloing. N.C. (Am) mV ee Ve sim.EAT Example 1€ (with distortion) This example uses the same pattern but adds distortion to the picture. The addition of distortion requires ‘an even greater degree of pickhand control as you alternate between the quiet, muted sound to the “full out" loud, unmuted sounds. Strive for seamlessness. Example 2 Rather than picking softer or harder to change your dynamic levels, Paul suggests thet you begin by using only the tip of your pick for a soft attack, To increase your volume, move the pick towards the body of the guitar. As more of the pick comes in contact with the string, your attack will become much louder without having to pick harder. NC. mVemyV D (use only the tip of your pick) i (use more i ieee - fOMA ae Accents Next are two picking exercises using only one note. Exercises such as these allow you to focus all of your cifention on your pick hand and enable you to establish your “speed limits.” Once you have these exercises under control, try using three notes on one string, then try passages that involve two, three and more strings. Example 3 ‘Accents can add yet another level to the music. In this example, Paul places the accents on beats 1 and 3. (Accents are morked in the music with this symbol: =) Accents will add more control fo your fast playing by allowing you to focus on the beat rather than just picking as fost as you can. You can, of course, choose fo accent any note; just be careful to consistently use alternate picking at all fimes. Example 3A In this example, Poul plays the same exercise, only this time he begins with an upstroke. This technique is more difficult but will help build your pick control. NC. Vie Vim Vie Vm V etc.Percussive Picking Example 4 ‘When working on fast licks, we try to use our hands in the most precise, efficient ways possible, but often to get the right feel we need to use a very loose picking approach. Here, Paul demonstrates that you don’t always have to pick in a uniform, consistent manner. Try getting some real distance from the strings and really “whack” at the notes. To get the right effect, you should mute the lower strings with the thumb and fingers of your frethand. This will prevent unwanted string noise and allow you to actually strike those lower strings giving a very percussive effect to each note you play. N.C. (Am) Example 5 This Jimi Hendrix-inspired example demonstrates how open strings can be used to your advantage. In this case, the 5th (A) string can be used to thicken the sound of our three note riff. This provides a much more exciting feel than playing the three note riff alone. This 2-bar lick uses notes from A minor pentatonic (AC DEG, which will be discussed further in the next section.16 Example 6 (Example 2 on video) This lick in G minor has an inherent rhythmic ambiguity. Because it is played in consistent sixteenth notes, and because all the notes present create a pattern derived from the G minor scale (G, A, B», C, D, B, F), you can begin the lick on ony beat and still have it sound good. The Ist finger shifts (denoted by a “1” over the note and tab) each occur on a downstroke, and serve as a guide to “syncing up” your fret and pickhands. Make sure you ore playing @ downstroke on the frethand shifts, otherwise your speed will be hindered. Before you attempt to do this lick quickly, it is important that you practice each section separately as Paul demonstrates on the recording. Nc. (Gm) (8va) -- loco14-0-10-14-10-8-10- 19-410Pentatonic Licks Here, Paul shares some of his favorite pentatonic licks with us. These licks are derived from the minor pentatonic scale, which is spelled: 1 #3 4 5 +7. Wewill stay with the A minor pentatonic scale (AC DEG) for the following examples. Example 7 (Example 3 on the video) This first lick makes use of an eight note pattern that involves two adjacent strings at a time, using pull-offs ‘and hammer-ons for a smooth, legato sound. The accents should help you to “sync” the lick with the beat. Keep in mind that these accents fall on beats 1 and 3, and must be played as downstrokes to maintain the alternate picking technique, as the lick begins on a downstroke. N.C. (Am) > momV Ve > = je v > Example 7A Here, Example 7 is broken down into 2 parts: a descending three note group, and an ascending three note group. When played in succession, we've got a great triplet lick. Again, note where the accents (downstroke, then upstroke) occur, and how they may help fo gauge your speed. Note that the alternate picking is interrupted by the slurs Part I Part I mamVsV¥ 3 A 2 2 2 >Example 7B In this lick, the sixteenth note triplets of Example 7A are converted into a straight sixteenth-nole pattern. ‘Agein, the alternate picking pattern is broken by the slurs, which act as substitutes for every next pick stroke. momVv Vn = Ia this next var the strings.Ee eT Example 8 (No# on recording) Adding the “blues note”—the 5th (E+ /D#}— fo the minor pentatonic scale is a common practice and the ‘outcome is sometimes known as “the blues scale.” The following example shows the A blues scale ascending in Sth position and descending in 7th position. | have also included, in diagram form, the fingerings for both the A minor pentatonic and A blues scales in five fingerings up the neck. Sth Position w/+5 7th Position w/b5 nos * e- spo = aah ==] =. iz bere 010. = a + + + wa a From: Example 9 (Example 5 on the video) The next lick follows a very similar pattern to the licks we've been studying, only this one incorporates the “blue note” (Eb). At this point you can see that these kind of repetitive patterns, incorporating hammers and pulloffs, allow you fo build some really fast licks into your solos without having to span the entire neck of your guitar in a micro-second. N.C. (Am) >ae ARPEGGIOS Heyl How ‘bout some arpeggios? O.K., for all you arpeggio-meisters out there, in this section we will explore some of Paul's arpeggio techniques and ideos. This section explores major and minor triads played orpeggio style (broken chords). There are many different arpeggio techniques, such os sweep picking, alternate picking from string fo siring and string skipping. Paul feels that string skipping is the most effective because it allows you to keep a solid tempo In Examples 10 through 19, we will decl with arpeggio patterns that involve two notes per string. This enables each group of two notes to be played legato (hammer-ons and pull-offs). You will soon find that this arrangement of notes will allow for great speed and agility. Go the extra mile and work out as many of your own fingerings as possible; itis one of the best ways fo learn the guitar fingerboard. Using the following examples as models, seek out arpeggios to cover all the string combinations you can think of.EAT Te Example 10 This pattern skips the B string. Be careful to mute this string with the very tip of your 1st finger as you ploy the notes on strings 1 (E) ond 3 (G). Note the three downsirokes in a row; this picking may be difficult at first. Also note the left hand fingering indicated below the notes. Try using a metronome and slowly building up to a fast tempo. This pattern is built on the top three notes of a D major barre chord. The pattern is moveable, so experiment with sliding it to other chord positions. D PS 5 On aap et ; gee Ee ei ieee igs ie ra a ee” a Ee: Example 10A Example 10A demonstrates how upstrokes are employed when ascending through the arpeggio. Example 10B This example brings together the two previous fragments to form a seamless, flowing arpeggio riff. Strive to articulate all of the notes at the same level, then begin to add accents. D 4 viN vow yove[OMY TEED Example 10€ (Example 6 on the video) —_—_——— This variation of Example 10B begins on the root (D) instead of the high F#, and with an upstroke. The slight shift from 10th position fo 11th position tends to cause the 2nd string fo ring involuntarily, so use proper muting here. Note that this is a six note pattern spread across 1&1/2 beats. Paul breaks up the pattern on the 4th beat with a 4 note group before starting the whole patlern over again. This adds a “elt turn’ and keeps things interesting Example 11 (Example 7 on the video) This next variation adds the 9th (E) and the 11th (G) to the arpeggio for a bit of melodic interest. The picking is left to your discretion; it should come very naturally to you considering the previous examples. Notice how unpredictable these patterns are, keep this in mind when working out your own variations. This one sounds really slick and impressive at a fast clip, so ‘shed it well.Example 12A Example 12A brings the same string-skipping arpeggio move to another string group with an A triad (A C# E). Note that this arpeggio begins by ascending to mirror the descending D triad. A viata v nN ne Example 12B This one prepares you for the transition between the D and A arpeggios at high speeds. The main objective here is master the large skip from the 10th fret D (1st string) all the way down to the 12th fret A (Sth string). Practice Examples 12A & B a lot before going on to Example 12C. Example 12¢€ Now connect the D and A arpeggios. Keep track of your picking, dynamics, accents and, of course, your time.Example 13 ——— The previous arpeggio licks are actually part of a larger pattern. This next example is derived from the same barre positions, only now we are using minor rather than major patterns. Here, we have Bm and Fim on the same string groups os the D and A arpeggios respectively. These minor counterparts require a bit more of a stretch on strings 3 and 4. In the key of D, Bm is the VI chord, and Fém is the Ill. Note the left hand fingering indicated below the notes. Bm Fim Bm Fim Fan ne v By dav akan ey ie ye. Example 13A ‘Asin Example 128, this example isolates that danger area where you need to skip three strings. Work this one out before playing Example 13 at blinding speed. Bm (Fm) Example 14 ——_—.) The last part of the lick starts off with @ pattern identical to the D to A arpeggio lick, only now we are down in the 3rd position so the lick gives us a G to D pattern. G D ne votoaz CI Example 14A The lick ends with the previous G orpeggio lick moving up 2 frets to an A arpeggio. Example 15 (Example 8 on video) Here is the whole thing as played in the slow version on the accompanying recording. The overall chord progression is: D- A-Bm-Fim-G-D-G-A. From this litle composition, you can see how your ability to connect major and minor chords in arpeggios is only limited by your knowledge of chord progressions. This may inspire you to devise progressions of your own; use your imagination. Experiment with adding techniques like palm muting, dynamics, accents, and perhops alternative picking possibilities.LT Example 15 (Fast Version) PI A Bm Pim Gm Gime) AB Bm7(¢5) c Chm75), aS ie at? on a ; a Free timeMore Fast Picking Examples 16A-C (Example 9 on the video) Before we check out Paul’s “quick ascending thing in E Minor” (Example 16C}, take a look at the note: comprised of, namely, the E Natural Minor scale (E F# GAB C DE). First check out Example 16A. This is an E minor scale in 12th position, without any shifts. Example 164: Example 16B sets you up for the complete lick, as shown in Example 16C, by illustrating where the 4th finger shifts. Ascend and descend through this example and you will ind yourself primed for the “terror death lick” that is Example 16C. Example 16B: n and ascends to the Example 16C is derived entirely from the E minor scale. It begins in the 7th po: 17th position. It is a sequential pattern in which you will go down three and then up six notes. You then shift up to the next note and begin the same pattern again. You always shift on the 4th finger, and if you begin on a downstroke, the shift will always be a downstroke, hence the magic of alternate picking. Note the palm mute is in effect only on the low strings. Take it slow at first, then you're on your ownEC Example 16¢: —_— N.C. (Em) AV ms V (etc) 8va ---- Examples 17A & B (Example 10 on the video) 9 is correct, the shifts will occur on downstrokes. Practice the pattern in Example 17 before trying to play the complete lick in Example 178. Now let’s look at the descending version of this lick. All downward shifts will be made with the 1st finger. Agoin, if your pi Example 17: a * ee if 1 1 14 ———<—— es ath Eile, 1 1 1 1 alles ee = = pa a ce ae 0 Now you are ready fo descend the “quick thing in E Minor”. Once you feel good about both the coscending and descending versions, connect them into a nonstop fight pattern, and repeat it until it sounds flawless. Then, begin to add dynamics, accents, and all else you desire. Example 17B: mV Veet.) F326761K32 liad yn is A great method for developing your sense of phrasing and rhythm, especially os they relate to singlenote soloing, is to ly down a solid rhythm guitar groove, breaking into improvised leads every few bars. Because you are playing alone, with no drums or bass to carry the rhythm, you are forced to make your lead fills more focused and dynamic. Without a rhythm section behind you, the rhythmic strength of the single-note line is al that’s left to carry the rhythm of the song. Example 18 Examples 18 and 19 are devised os Wwo bars of rhythm guitar, in a loose Gm tonality, followed by a Wwo- bor single line fill. In most instances, the fill begins a beat or two early acting as a pickup. Once you begin experimenting on your own, using Paul's examples as models, knowing when and where to use a pickup (in both rhythm and lead cases) requires a degree of foresight. This will come with practice. Note thot Example 18 uses only one form of the G Minor Pentatonic, the lypicel “box” type found in 3rd position. N.C. (Gm?)Example 19 PM. PMe-1_ PM=Example 20 ———— Here is an example of how a preconceived lick can be incorporated into the slot left open for the fill. This porticular lick is played in Sth position and centers around A (the 9th) ~ ea 27 1 — —, > > i ; 6-8 S65 = * Example 20A Note how the lick is altered rhythmically to suit the actual situation in Example 20A. It may be a bit quirky, but Paul explains that with this practice method, you always have the opportunity to “fix it” the next time around. Be sure to keep it moving, however; don’t stop to fix it. Wait until it comes around again. N.C. (Gm) ~ >aa LITA Example 20B Without such an abrupt en Gm? Example 20€ With on even better ending: Gm7Phrasing 37 Example 21 — This technique olso helps you get used to moking smooth transitions between different licks and rhythm patierns. Here is another example of this technique using a string skipping lick like those we examined earlier. (Gm) 8va - Now let's put that lick in the context of a rhythm pattern: Gm’ hyECE) (8va) ------ loco, This technique gives you a very definite goal for what to do with your licks. You have a tempo, « key and a groove. Whenever you lose that groove, you knew you have fo go back and work on it. This kind of practicing can be a lot more fun than working with a metronome in a dry, removed-fromthemusic kind of approach.Example 22 Here we alternate between one bar of rhythm and one bar of lead fill in the key of A, using the some pentatonic “box” position, only 2 frets higher. Note the variely in rhythmic approaches where the fils ore concerned: eighth notes, sixteenth notes, eighth note triplets and sixteenth note triplets. Also, note the additional pitches added to the A Minor Pentatonic scale (AC D E G): FF (the 6th, bar 3}, Dé (the Sih -a commen blues note, bar 4), and A’ (a chromatic passing tone, bar 6)Example 22A ‘Any time you mess up, you should go back and fix it, so that the next time you'll be able to make it work. Here, Paul demonstrates how an idea can be “fixed” in this mode of practice. In Example 2A, Poul plays four variations based on the last lick of Example 22; each one gets a little closer to what he hears in his head.Example 23 This next example is a shuffle (J = 13) in E. In this one, Paul alternates between two bars of thythm and two bars of lead fils throughout. You will find thatthe fills in this example move around the neck quite «a bit, ranging from 2nd position with open strings, to 12th position. The solo fills are based on E Pentatonic Minor (E G A B D) with the occasional ad. n of the +5/#4 (Bt /A#). Note that this example makes no use of pickup notes. Fl=dd ES PM PM PM. PM.CE TTEAL Enhancing Your Rhythmic Conception Example 24 & 24A Another technique that Paul finds useful, especially when running low on new ideas, is to conceive of an idea rhythmically. Once you have « good solid rhythm - then try adding the notes. Example 24; (a melody by Wolfgang Amadeus Mozart} @ © (on Example 24A shows the rhythm of that some melody. When the pitches are taken away, itis interesting to see how all that is left is the strength of the rhythm. Tap out the rhythm on your leg (as Paul does), or moybe play “dead hits” (muted strings) on your guitor. Example 24A: + a re 7S Examples 25 & 25A This example is again based on a straighteighth rhythm groove in A (like Examples 21 & 22). Here, the thythm of the lead fill is conceived first, then the notes are added to the rhythm. Because the fill was conceived as a rhythm first, it has a strong rhythmic feel, with very definite stops and starts. Example 25: (rhythm only) ot ES]CATT Example 25A: (with improvised melody edded) ne. an Example 26 In this example, Paul plays continuously as he alternately taps out different rhythms on his knee and then immediately improvises fills based on those rhythms.Examples 27 & 27A Next is the lick from Paul Gilbert's song “Down to Mexico,” from the opening of the video. This lick is based on A Minor Pentatonic (AC D E G) and is played in Sth position. Example 27: N.C. (Am?) IFyou do a rhythmic analysis of this lick, you will ind several things: a} There are no triplets. Each beat consists of either quarter notes, eighth notes or sixteenth notes. b) There isa basic two-bar phrase built off this rhythmic moti 15 5 a1 Even though the 2nd ond 4th measures are a litle different from each other, they both serve the same purpose, which is to function as a “release” from the rhythmic tension created by the eighth note/sixteenth note motif of the Ist and 3rd bars. Example 27A: {the rhythm only)46 Part IV: Phrasing Examples 28 & 28A This example is clso in A, but makes use of a shuffle (triplet) feel. Example 28: Example 28A: n=53a7 Part Vv rye Yt The Pentatonic Scale: The pentatonic scale is extremely useful becouse, unlike the seven note major scale, all ofthe notes in the Pentatonic scale sound good. All of the notes in the pentatonic scale (Paul uses A Minor Pentatonic as an example) are either chord tones or notes that can be bent up to chord tones Example 29 Illustrated here is the A Minor Pentatonic scale, with emphasis on the commonly bent notes. This diagram only covers the Sth position version of the scale, so apply the bends to any other positions of the scole you know. (Refer to Example 8 for the minor pentatonic fingerings in five positions.) = y R 8 (4) Example 30 Example 30 adds the +5 (E4) o the scale. As mentioned earlier, the minor pentatonic scale with this added note is commonly known as the “Blues Scale.” (Refer to Example 8 for the blues scale fingerings in five positions.)cra Choice Examples 31A & 31B Hore is on example of choosing a rhythm and then adding the notes with the goal being to highlight the +5 (E%) Example 31A: (tap rhythm) Example 318: Example 32 (the Dorian note) Illustrated here is the A Dorian scale in Sth position. Note that the Dorian scale can be thought of as a Natural Minor scale with a raised 6th. The th is the note Paul refers to as “the Dorian note”.Example 32A This example highlights the Fé ("Dorian note"). Examples 33, 33A & 33B (adding the major 3rd) hybrid scale (Example 33) adds the Mojor 3rd (Co the A Minor Pentatonic scale in 5th position. This is a common addition, especiolly in Blues and Rock. Example 33: Example 33A: This lick uses both the miner and major 3rds. The mojor 3rd usually follows the minor 3rd. N.C. (A7) ey Example 338:‘50 Part V: Note Cl Example 34 This example illustrates the intervals of both the Major and Minor Pentatonic scales for comparison. You will notice that the only common tones are the roct (AJ, end the Sth (E]. Otherwise, the two scales are as different in sound and feel as night and day. Fingering diagrams are included for both scales in five positions across the neck. Major Pentatonic g.__ Minor Pentatonic — ~ = vite ee R2 Bs 6 RB SHR RB 4 SH 2 7 + 4 — ‘A Major Pentatonic Fingerings: 2 AfrExample 35 This example shows how you can successfully combine the Minor and Major sounds together. Beats 1 and 2 are firmly planted in major pentatonic in 2nd position, while beats 3 and 4 shift up to Sth position for the minor pentatonic scale. Experiment with your own phrases - you may want to reverse the order Example 36 Here, Paul stretches out and plays a longer example of combining major and minor pentatonic scales. The shifts back and forth are labeled with a capital “M’ for major and a lower case “m” for minor. Also, notice that all of the major ideas are played off the 2nd position major fingering and all of the minor ideas are played off the 5th position minor fingering. These two fingerings are identical.Examples 37 & 37A One of the great things about bluesy sounding solos is that you can go back and forth between the major cand minor sounds. You can even ploy the same lick or pattern in major and then slide it up three frels to play it in minor. In this next example, Paul plays a major pattern in 2nd position and then slides it up to Sth position. This is an example of how the same “shape” con be used from mojor to minor, creating © mirroring effect. Tl ing. It works well as a call and response effect os well - you can call in minor and answer in major, of vice versa. .< is very useful as a basis for impro Example 37: Example 37A:Moderately J = 98 ES DSA ES DIA Rhy. Fig. 1 BS DA BS DYA BS DyA NC. (end Rhy. Fig. 1) 3 gel och sng wth pe and Srl sing ck hand and down sting: Verse: bt aHEen $6 Pre-Chorus: aN pbsTD boblH i Chorus: (Cm?) (B/A) Esus/F*) (E/G*) (A) (E/G#) (FFsus) (Bsus)FA co GAAS BeEERIE Cd Bridge: A Guitar Solo: patetibpre tteies fEiptete RECEP =—= —# =ETC RIE (8va) ~~ ae.ro 9 BS co ce op peGUITAR TAB GLOSSARY ** TABLATURE EXPLANATION READING TABLATURE: Tale states the six sings ofthe gut. Noles a A ac chord ate nated fy the acement ret numburs ona gven sting) farean Pray he note and gredualy bende etch then release tome ongina rote One fst note is tacked senos tnvoLvIna MORE THAN ONE Srna: Pray the now and bend stn MALE TEP ley suas geo whl playing an adional note (or thecnoteans (Microtone): Play Notes) on another string(s). Upon ‘ena! ring one: (ne note ane release, relieve pressure from hat sto." pi _ band sie teattanal not) caving ial t stant tothe nto sound alone I eaurvetent of at 5 oe senos tvouvine STATIONARY WHove sreP: PREBEND NOTES: Pay Pry note and (Ghost Ben: fetes and ona ing one Sona totne tend ower wale sep specie note, ich. then Beroremestiog | fe nt ised | > release vein nicated atthe | Bomtwnere ine becomes ste, WHoue ster RESEND AND uN IND A HALF: RELEASE, Cond BEND: Pa Pray the note and treating ply bes tend sing & than rleteo wrote step and the ongn! net immedi eh lower note to. thesame pitch | as the higher rete two srers: REVERSE BEND: povste Pay the note and Pray te alent NOTE BENO: fend sing two bot sting, hen Payot woe sep imeriaaly crop rote ad itaown tothe Immediately trated note. tena both cringe Sirutancous. “A half step is the smallest interval in ‘Western music; itis equal to one fret. asetinens teel eeaess, A.whole step equals two frets. Inematenl Copyegh Secured "Made mi USAAlRighs Resowes “*By Kenn Chipkin and Aaron Stang