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Tremolo picking tt a Vibrato-bar dips eewen he note indeated by connor ‘Mmmerang on and Paling Lay the fend lhl eos he ngs thon py he pil hand Ft he noe ronal ae gly athe pt hand Indes finer Sc Shove he nds ire whe he pk hinds chamber ck aby Plucking te Spproprat seg Repeatedly gc the pov Pay he fst ese tenon te borto ropa peste santos ne, then leat ack co ‘he orignal pach nyt. Ony the irat notes poke. Steve Vai 9FOR THE LOVE OF GOD By Steve Vai Em9 Fmai?" Am? Cm? Gs Finai®’ Em ae? He Ee Re ee RE “ee Emo Fina7#11 100 yo S wits 10-12} ara 9] 30 ean Em Amd somal 5 Tez Treen By - a6: 1 Fraj7E1 Emo o ~~, 10 aad (apie = ine ee oe © 1930 & 1999 Sy Vy Masic, USA Carlin Musie Corp, London NW! BBD. 10 For The Love Of God1510 Em am seuss ss 2 re rake. rel vane 60) —10 19 = eH rite, a takeg — eakeng sae Pal ull = tesa] 3-8 (SI 8) rin | isis 1-108] i =—— aso “Sg 71951518) AES 79-77 9-10-779 9) 12 For The Love Of GodEm (8°) sim, | 3 PH. foo Full Fall Fall Ful Fal Fall ays rs : yee . un Full mn es pe @ ye | o a wir war holy ed Fa Full Pull Full Full Full Ht by 1 ei 10-1 Wa 10 nts 44- Sea. (14)124 Fmaj7411 jus 2 a ; < Ful) eH. pos (Sci, EG Te a= ye ae cB For The Love OfGod 18Fall Full Full Full Full 9} $1) — 19-17 15 15. Em Amo whwah-wah velba. yp 17 see Be as 2 Fa osu quneesennenerenveenent bes € Pet LUG Ae IM seenennennstbaensrnenen ; Toond 3 note wit . 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There is no easy way around this solo, it’s tough from the word go! However, it’s so packed with great ideas chat it's well worth the effort. Ex4 Dae - ~E pp fe fp pe eee pref : 7 SS seine oe Se The first few bars of this solo are all based on the same basic idea, which is moved around to fir the chord sequence. This is a technique Steve uses a lor ~ by spanning an interval of a fourth on one string and then moving this shape down a string, you can alternate between two notes of the same pitch on different strings. Not only does this sound good but, from a technical standpoint, having a pivotal point on the lower string makes it easier to play. This looks far harder than it is, once you've learned the ‘shape’ of each lick you'll find it much easier but rather than trying to reproduce every note, use the shape as a 22 For The Love Of Godbasis for improvisation. As with any fast lick that you are learning, start slowly and get the feel of it under your fingers before trying to play it up to speed. Ex2 fo oer on Poet pf Sp ft tt a ee ae Dr = Bai ma oy This lick is based on a cepeating eight-note pattern, and the shifting chychm is created by putting this pattern into a thirteen note rhythmic grouping. The effect of this is chat, even when played as quickly as this is, you can hear a definite repeating lick, but the rhythm cuts right across the beat. Trying co count a group of eight over a group of thirteen is almost impossible, you just have to go for it! Work out how many times the phrase repeats and fit this evenly into the bar. Make sure to play the top note with your fourth finger, and this will hold your hand in the right position for the rest of the lick. In the following bar (bar 89) Steve uses the trem-bar in another unique way. First you play the A note at the 17th fret, then use the bar to bend the pitch up to the B. When you get to the B just let go of che bar so it springs back to position with a great flurtering sound. This will only work on a bar that is set-up to stay in a fixed position when you let go of i. For The Love OfGod 23Here is another example of rhythmic displacement, this time using a four-note phrase. This four-note group starts with a semi-tone pre-bend on the G-string. The key to this lick is that as it progresses the bend gradually gets bigger, eventually turning into a three semi-tone bend from By. As in Example 2 the rhythm is complex. To play this accurately, make a mental note of where the downbeat of each bar falls and make sure these notes land in the right place. If you piay the lick evenly it will all work out Use your second finger to bend the G-string but as the bends get larger you'll need to use your third finger. Ex4 24 For The Love Of GodSteve has used an Em? arpeggio as the basis for this long phrase. He alternates the sweep-picked arpeggio with a gradually ascending line on the B-string. Notice how he imposes the sound of the Em? over each chord. The B-string slides are all played with the second finger. As this fits into the chord shape it’s easier to play this way. The picking of this phrase is important ~ to get a smooth sound you need to sweep the first three notes with one downstroke. Play the D note on the top string with an upstroke and finally the B-string is played with a downstroke. Use this picking pattern for the whole lick. This carries on from Example 4. Steve uses an E-string slide to move the Em? shape up an octave. The slide is played with the fourth finger. When you reach the 22nd fret use a downstroke sweep to the D-string. There is an extra note here that isn’t in the previous shape, so you'll have to move your first finger from the top string to the D-string to play this. Although these two notes are on the same fret, don’t be tempted 10 barre this - we need this lick to sound clean. As you sweep down the strings, release each note with your fretting hand after it’s sounded. If you hold the shape down as you sweep it'll sound like mush! For The Love OfGod 25HAND ON HEART By Steve Vai E/08 hagas Baus? cmt BH Gt? HE} fils GR Se Gi Sr Emaitd Git! Ent Baddt/A Amal? Ci9amt Ci7aet Ena “it GRE He Gn} SG AY QUAL Gh CF Dhan? Ein? "StH RS GR ER GR GR EE “eR “ie in Sa 4 SSE * =f fot af wim ceo ah od Toma i ine ashe FR Fé E E/DF Fragas wibae. 4 wlbae. 4 wary A +4 in aia pe : apts Ful Full © Bsus? eae tis pop © 1996 & 1999 Sy Vy Music, USA Carlin Musie Corp, London NW1 8BD 26 = Hand On HeartE E/D# Feeaos o oe SERGE ee : apf ESS a 3 whose % Wh % % fA A oi (iy) G8 7 Caen ay—Cyan—oit NS Sena F Esus? eet rar [es ee eee er Emaj® Gim') Gm? eee ee witar.¢ M4 a se U vis EE GOT ITE) Hand On Heart 27& Ft Err - < wey “oN PM. PM. 4 Ms Sy 4 % c * Th Sar 1 19 Timea pee oe ee x = ART oT ane ee a eta = Cim? Gim7 Fa A BIA = ——.. 14-14 —16-1619-19-19 181814 Sena rapa 0 ya ey Bans 28 © Hand On HeartEmai®® Gémtt Gb? — alt 40 — Dey te neta te— 16] 107 ot 7 (exit ; i 14161616 EE 4 1618161616 pte Ret ee = RANT r A Bests mai? o * a s 2 & ie ae cae, wise x Be ne Te -s———— t Hand OnHeart 291113 SSS Baoo4/A ee coe @ sos so = ote 7p RS Loge APB ASTI THOTT NOTNIGT STI BT-OAETILETT D141 9-412 ITED 1012 9-14 79-0-12-O1216 tr Set S Fe AT-12-10-@-1671 isceres —— = AOS S16 8 13 189-8 Tee ISS izes 7| TT. TA WW T~ Ty bo 169216141612 18 = 18 —14 16-17 18 — 17. =e 16-11 30 © Hand On Heart| 4 LLL Fan Falla mf swt Lola sp a1 ont sass Sw sea mo NE (8) loco Ip yk clo woteing hand % % 0918) fe Eyre 4 — Solo ends selame owe "F aap A) Hand On Heart 34£ een Tiree = 1396197 9 13197151 Pull ‘i Y Ft ex 4 a YY pert SSeS ee — Oe A ATTA 1815 f- —19995913-13:19-13-13.18-17 11-11-41} 10-10-8 8-8 e966 Hand On Heart Fa Butt A> ttn F' aby ° bh He = S pao i fj aio or aie So o 2 Somes == =e sane cp ey Se eee, oe =e ELE * a Le _ sswann » — - 4 pitt rare ee ot SS wake oll Full Fl Fall ral Fat ¥ fl A _, — —Fr 42. es t Be [s— = = Free time Ab =) . Inco fre eva 14911 ASIII 1TI0-H-I0—B-10-86 8-6 treThe Solo Hand On Heart The solo section of this song is split into two parts. The first is played over a heavy rock backing and is blues based, while the second is played over an atmospheric half-time section and has more classic ‘Vai-isms’, To get the heavy rock feel in the first part of the solo, try playing slightly behind the beat. Ex Ent e Ff & Steve often makes a feature out of position shifts. In this example he uses short fiest finger slides, sometimes combined with pick harmonics. In the second bar use your third finger to play the sfide down the G-string to the B note, This puts you in the 2nd fret FE minor position, For the quick pull-off on the B-string use your fourth finger, this frees up your third finger to play the bend on the G-string 34 Hand On HeartAsa lead in to the half-time section of the solo, Steve plays a dramatic trem-bar slur up to the first note. Silently depress the bar as far as you can and play a Dt. Slowly bring the note up to pitch with che bar and, when you've released the bar all the way, bend the D# up to an E. Use the trem-bar to slowly vibrato the note as you hold the bend. The est of this phrase is unmistakably Vai. The quick grace note slides are trademark sounds of his. One of the keys to making these sound good is to keep your fretting hand relaxed S0 as not to stretch the string as you slide. This will keep the notes in tune, Play che slides as quickly as you can bur concentrate on che note you are sliding to, not the one you're sliding from.Ex3 Seite Despite the speed of this capping lick, Steve manages to squeeze in some great melodic lines. The lick begins on the top string and moves down to the A-string, playing a similar but subtly different phrase on each string. ‘At the start of this example you can see that Vai uses the unusual technique of tapping with his picking hand and sliding up and back one semitone. Steve usually caps with his second finger but you can use your first finger too. This is long and complex lick but i's worth spending the time to learn it. Break it down by learning each string separately, and don’t worry about the rhythm for naw. When you have learned each string, put them all together and learn where the main beats fall. Practise slowly at first and work on keeping the string transitions clean and smooth. 36 = Hand On Heart loco TAFE e Ae ores wisera 2h ee ; MUP ie est feing hand a This is an interesting, exotic sounding lick that comes at the end of the solo. The strange, koto-like sound is achieved partly by picking the string over the fretboard, right next to your fretting hand. At the start of the lick, where you are fretting ac the 9th fret, your picking hand will be at the 10th fret. Move your picking hand around to keep the sound consistent. Each of the main picked notes is accompanied by a pre-bend grace note. Pre- bend the string and quickly release it down to the main note. The combination of picking over che fretboard and these quick pre-bends give this lick a distincrly eastern flavour. Hand On Heart 37JUICE By Steve Vai C/A AT EmiA GIA EWA OG tee age de DIA Fim Cm B De Asus Easa® Deca? ee a ay ae ag oe CIS CLS ei —_ T vv SF widise. 4 Re = = 1o—10—-16— 16101 1¢—10—10—10 — 1 — tt y “ke ese 7 2s 7 pi a <3 — os i Pull © 1995 & 1999 Sy Vy Music, USA Carlin Musie Corp, London NW1 88D, 38 Juice- —s Sa s DIA A? DIA AT ODA EVA D/A AT DIAg g bh «BLS Ey A on if ¥ ea eis 10: a = ee | oe i t — ES ptt s Stapp tpt Dh 5 c= aie es 3 ES a ae Z 10 7. = 7. a—s-Pr Fx ack = cB: = SAO (10)-O- . ar a epee A to = fs Sesttae Sgt Pee, $56 19119} ere — parte 167 1e— 1918-19 — (9) TireDIA A? e o “DIA AP DIA AT D/A Em/A DIA AT DIA — GIA DIA GIA D5/A 49 ——10—10. FE 10 19 —10- e ? 7 SS—— rer ° oO cB 4 OVA A? D/A A? D/A Em/A D/A A? DIA \Y gas Siscis 8 OEGIA DIA GIA (Peo See on SF Sa ——— Sr ae eS Le = z oss ost bs As s—— = Snes oe: obs (al es ey “> — + a wt vet v C tering jE SS eS Taek S877 OSS ait pickenp 16. 7 48 nee 8 te =° Arto 6g ¥ in syed oat lower 434 10 s—i3— ts tt Ee Fem (Beyonce + loco 8 loco. —14—12 T so {i3}5- A gkge-epe ge 2 oF vp SS Flt Flt Font Ful Fon Fall a4 leven e ee cB: 64 Juice 43Eads? Dado? ze 7 77 — 15 14 bold le ing,be & I Full Fall % all, Fol Full 47 a7, 7 a OATS oT 20-19-26. 2020-19.wo Peri $ 20 2019 —16- + (ee : Em/A D/A AT D/A GIA IAL ee ‘wibae Touch Harmonic QB Full v A ra m™ TO ed mr { fii) nee lites e729 oat ee] See et a een erro ota ees DIA AT DIA AT D/A ENA DIA AT DIA3 0 z 2 f Bt == v wibar ‘ a7 v 47° eee oecee Se var t - so or oss on bs As he == ae 24 baat = let ring aie J : Ee ti ¢ 16-18 10-18-1819) —H oB- Es Tuice = 49.The Solo Juice This up-tempo shuffle is full-on from the start and Steve takes the firse few bars of the solo to slow the pace a little before building the solo up 10 a climax. In the opening bars he concentrates on slow bends and simple pentatonic licks that include open strings, which are a feature of this track. = ees “There are some very melodic elements to this solo, with this example being similar co the guitar part in the bridge sections. As you use your third finger to slide up to the D note, make a Sth fret barre with your first finger. Use your third finger again to slide down to the G which will ser vp your hand position for the next phrase. Keep all the strings ringing for this bar and, as the last open G is ringing, move your hand up to play the Be at the 9th fret with your third finger.Try to get this lick to ‘swing’ like the original. Ic’s not 100 echnically difficult but the rhythm is important as it sets up the faster phrases to follow: This is a real Eric Johnson influenced lick. Steve uses the wide intervals to fill in some of the background harmony. As in most of Eric Johnson’s solos there is no rhythm part here so adding some of the harmony adds an extra dimension to the solo. Use your first and second fingers to play the first two notes then slide down the D-string with your first finger. For the next two notes use your first and third fingers then slide down the A-steing with your first finger. For the cakes on the three high phrases you need co damp the strings with your picking hand. Use your first and third fingers to play the descending octave line, play and hold the bottom note before picking the top note and sliding down. Keep the strings held down for the whole phrase. Juice 51Ex3 This is a great tapping lick that incorporates some interesting elements. Steve alternates between two and three notes per string and skips a string as he moves up, so the phrase moves from the low E-string to the D-string, then A-string to G-string. You can play this by using one finger on your picking hand bur Steve uses two, the second and third, so he can still hold on to his pick. Start by capping with your second finger on the bottom string and your third finger on che D- string. Move up a string so that your second finger now taps the A-steing and your third finger is on the G-string and carry on like this up to the top string. For the left hand set up a hand position so that your second finger is at the Sch fret on the bottom string and keep this position until you get to the B-string, when you move up a semitone. 52 JuiceEx4 This fast tapping lick seems to crawl its way slowly up co the top of the neck. In most tapping licks the stcing changes are played by the tapping hand, in this one there are a lot of string changes played by the left hand, There are two ways to play this. You can use your right hand to pick the new string or you can play the whole phrase as hammer- ons. This way, when you have to change strings, you use your left hand to hammer-on to the new string without picking ic This will sound smoother but is more difficult to play; you'll need to damp the strings that you're noc playing to keep the lick sounding clean. Juice 53SISTERS By Steve Vai Gast Ons? Bn oF Ant oe? a ED i ie ee na? Bima? Gra Ne ae EE i an? dase F Ant Gsus? Pal sing Sisters re © 1990 & 1999 Sy Vy Music, USA Carlin Music Corp, London NW! 8BD Sa 0. o%op 3 10-8 wieF Am? Gaus? Em? Gaus? mao ae 12 @ a mea Bemaj9 F Am? Gaus? @ eo 4 0. 45- 19-——$ 3 “190-8 —| yh 19 - B83 3 20 ee eee + 3 te 8h = 2 a wo 56 SistersAnt Gaus? Dsus? Bm a7 10). fee s = 3 + = 7 Pick ext to bridge. —— a . Ext f a AIBL Bm? AIB *Gsus? Bm? * ° 1 solo starts —a— = $ er mo — i j es =S “Chords imphed by harmony Sisters 877 sa mp with Domb 4 AQAS-POAAT-ABAT TANS ASAT —A7 A817 9719-1 BO-ISAT- 245417. 2 forte 71-30 9 Eo Peta tae 612 TEER TO TEA IOIOR TAMAS | i A 20-19-1755 16 (7) 614412 ig fis t6 ag aS 3505 12 a1 AS a2 fan 12-12. eer 1510-107 58 155 Sisters 7 ae ala 7—7- ey ca FATwibae. 4 6032 Tore-g igi FATT oe Deuse Bm F Amt Gaus? 2 45-15 15 173 ct 3 1815 —— 2 Ft a — i ys rt > 7 —— oH 107-8 F 0% = S06 pick close to bridge. Deus? Bot F Am? Gaus? (3) Sisters 59The Solo Sisters Inspired by the clean chord work of Jimi Hendrix, Sisters is a bit of a departure for Steve. Played entirely with a clean tone it still has thar distinctive Vai sound. He uses a combination of different picking techniques in this track; the intro is fingerpicked but most of the main guitar part is played with a pick. The solo is either played fingerstyle or, for the octave passages, strummed with the thumb, like jazz legend Wes Montgomery. AT ~Cheds oni ary This delicately phrased lick is played using a thumb-and- fingers approach, with the thumb playing the lower string. Steve doesn'r always sound both notes of the octave at the same time. In this lick he plays the bottom first and holds this as he sounds the top note before sliding both up together. The octaves should be played with your first and fourch finger when che lower note is on one of the top four strings and with your first and third finger if the bottom note is on one of the lower two. Try to develop a light touch with your fretting hand, as this will make it easier to slide these octave shapes around. 60 Sisters© am? Gat Fo Am? Game agate ieee pO 08 870 Sete ee ge Oe oe SI IS IEE TT This is where the Wes Montgomery influence really comes in, as these octaves are all stcummed with the thumb. This gives them a very distinctive ‘cool jazz’ sound, Because you are strumming across three strings to play these octaves, you'll need to dampen the middle string so it doesn’t ring. The sound of your thumb hitting the deadened string is part of the effect, but you don’t want to hear any notes from this string. Use your first finger, which is holding down the lowest note, to touch the middle string without holding it down. This will stop ir ringing, At the end of the second bar Steve reverts back to fingerstyle for the ‘tremolando’ octaves. Frai? Em? Gon? Softee me 1817 191187 TOLIO, Sisters 61In this lick he uses a combination of thumb and fingerstyle techniques. The high thumb-style octaves have an intimate, smoky character, Because you have to strum over the top of three strings, in a brushing motion, they have a softer attack than the fingerstyle passages. Steve uses this contrast to great effect. All of the thumb-style octaves are played with a downward scrum. If you try to alternate the strumming direction, as you would with a pick, they will sound ‘lumpy’. Ac the end of che first bas, strum the fast octave and slide it up to the D. When you get to the D, hold the bottom note and pick only the top note. For the two other times that this phrase is played, slide up the lower string and hold then pick the top note and slide both back down. 62 SistersF Am? Ged Fo Am? Gaus? This is a great technique that is used throughout the track Hold down the D, G and B-strings with a first finger barre. Keeping the middle string sounding, hammer-on the cop and bottom strings with your first and third fingers. In che second half of the bar just the lower string is being hammered. To keep these notes ringing you'll have to keep your hand in position throughout so any notes that are on the 15th fret should be played with your fourth finger. This is great practice for finger independence. Keep this lick restrained, as i is the end of the solo it’s easy to play it too loud but it sounds more effective if it’s understated.THE ATTITUDE SONG By Steve Vai css ig) gg (Bn SS. Play 3 times 7th eases te 7 a = FA-— $4 =F. B SSS = Gs CFS DSNG © ~ Wok Ze, == toot (war oe on a ws 2 ~ ye tt 7 aaa too oe = ai a 556 © 1984 & 1999 Sy Vy Music, USA Carlin Music Corp, London NW! SBD. 64 The Attitude Song“ED Cim DE Chm Bm Ne. — ofits $8 rake. 2—10- Tears = “Chords implied by Rarmony cs Hs DSNG. o oe oan Fn ~ Zyl fe erga a Fu ' ul. 5010-10-10 GROTTO a i The Attitude Song 65NG. ht bce pdt el ty, 5 wibat ibs bar slurehammer on Fat Full Foll Fell Fun 109) 109 —7-_] ) 8775 ES FAs Gs FPS e Fall Full Ful Fall Ful Fall ’ : Fall = pee s fl Tr — = a = et EHS 4 a — = Fes. Gs FeS [El {0} ict) [cl 9212} 16161717 1616] oH 66 The Attitude SongA — z s s ul 46: 4e—h49. . Sree Se TO TT ttt ggg toni cB — NC (8). @ — oS oes ses 8 Be es P ss Ful Fun Full Flt Fall Fa Pa) Pall Full Full Full Fall Fa Bt ha hho eha Avo Aa An aia “yl gaat a Soar solo starts alt Fatt 12 oe wae Se e052: (2)—0- | The Attitude Song 67EEE ib 8 a ae £OS io Eee = DF i [T 1 (10)41: 1241 (15)A17- 19-22) AS —12- 7 OO “ x 14} rB— = 19—19-18-17-16 — oe aT ro Terres = — 1 fe a0 = wo fe se . > loco 8 a ri NOTRE TE PT o tle poe r b = peters 5 ; ; ; : _ aT as 14—13—1 aE ee cB 68 The Attitude Song15-——1547-1947- A679 74 1616-18 @ Beevers loco (el TITS sae whar swiphaking ‘a wie 1 — A 15-00) 1 (14) 10 12 od BB Phasing off Ful Full Full Full Full Full Fall Full ul Full Pull Full Bop ap aa The Attitude Song 69t ¥ Dat tse t 7 yy? q ot seule Est ppt tpt t a gl fet f ph tee t i ane | ee a eT eT EE Ze ee ca 1 fIJ9: ¥ 7 wae pitettser cesheot “pe ee St’. ap “fe io SS — 2 ¥ ¥ BB B 6 B 8 6 8 B 8 8 8 e 6 8 Be 6B Fa Fok aaah ala) lH Pa Ba a ae AT a en a eee * loo eo @ ea 6 ee 8 Fatt Full Full es ‘n wt Full Full Full Fol Poll — ee + 4 # } he ae we ee 2 poe ——— a ee BS es a a epee oreo ore eee eae po he — neat —| av my far Fah Fun Pal Fu a: vo p> ghee nn i gd nd ry Sait ae Fall att Full ¢ + wd : } sr 70 The Attitude Song Fo Fut! 4 17 —17-cs CPS D5 NC, cs CAS ps o a 8 te A \ ck, gt wrbar 4 iz 00) — * We NC. cs cs ps q 333345 rl Fatt sete s 35 ee Full Fell Fut ott, 16-21-16 16-21-16 — ASAE OA 8 16:21-16-—2116- Teg AE, 164 3618 16 oi v2.11} 101992092) The Attitude Song 74The Solo The Attitude Song Revolutionary at the time of its release in 1984, this solo is almost a condensed version of Vai’s guitar style. You can hear the rock influence in the pentatonic and bluesy licks, but Seeve’s use of dissonance and chromaticism had never been heard in this context before. This is what makes a Vai solo unique, the combination of ‘in-your-face’ rock with the sophistication of a superior musical intellect. Ex1 st Ppaetes SS eee a Or In the early part of this solo Steve sets up the E minor tonality by playing a familiar pentatonic lick. He follows it | up with this phrase which broadens the harmonic horizon and adds a new twist. This is a very ‘slinky’ sounding lick due to the way he slides from position £0 position. Steve is very fond of sliding up and down the string ~ its a major component of his sound The huge, four semicone bend in the first bar is played with 72 The Attitude Songyour third finger, but it will need support from the first and second. Release this slowly back down to the E note. Slide down from che D to the B with your first finger. This puts you into familiar ‘blues-box’ territory for the next bend. For the last position shift use your third finger to slide from Cé to B, then pull-off to your first finger. This is an unusual move and can be fiddly to play but it does breathe new life into this shape. Ex 2 or ee nT? Fis ai 0a One of the ways that Steve has expanded the guitar’s vocabulary is his use of the trem-bar. Here he plays an ascending line, with pick harmonics, and uses the bat to slur notes between the ones he’s picking. The trick here is to get the pitch of the slurred notes to be accurate. Most of us aren’t used to playing ‘tunes’ with the trem-bar and i's easy to rush the slurred notes, so work on keeping the chythm of the line smooth The Attitude Song 73In the second bar Steve carries on the vpward-moving lick but uses a combination of slides and bends to move up the string. Play this whole phrase with your third finger, supported by your first and second. The basic pattern is bend, release and slide. As before keep the zhythm smooth, remember, this is music we're playing! Only the first and last notes of this bar are picked. ssa ie spies —— The first bar of this lick is played using ‘sweep’ picking. This is where you pick across two or more strings in one stroke. In the first bar, use the first, second and third fingers on the D, G and B-strings. Start with a downstroke and play the first three notes, and when you get to the B-string reverse the picking direction and sweep back to the D-string. Swap your fingers around so that your first finger is now 74 The Attitude Songon the B-string and your thied is on the D-string. It sounds snore complex than it is. This lick has a great inner logic, the pattern feels very comfortable, and it sounds like a real ‘car-twister’ In the last bar use sweep-picking again but this time play the whole bar with upstrokes. For the final phrase of the solo Steve multi-tracks this line in three part harmony. The harmony is all triads but because of the chromatic nature of the lick it has a slightly dissonant edge. You can see more of his unusual trem-bar phrasing here too. In the first bar he uses the bar to bend from Fé to G and back, and in the second bar he uses the bar to play the entire phrase. This lick should be played with the heaviest trem-bar vibrato you can do; it sounds great with all of the harmonies, especially wich a heavy phasing/flange effect. The Attitude Song 78THE CRYING MACHINE By Steve Vai En? An? Bn? Onan Bat fe URE RE ne "ae UR Tg Ese FlantlE Ena tas Anise Basclt A, ee Ce Ama? B_-G/D_ im? ae? ABA Aral? ‘sae Ew ES +108 Em? loco An? eit 97 e Bs 8 68 6 8 8 BB 8 f widiscsveab-wan wwahawah of Fell Fall ull Fol Full Ru) Full Full ull Fall Ful ya etetetetet etal ee ————— — ‘Chords implied by harmony © BW ga Em? a er ee ee == = a = yt (10 I —— "i 40 — SS eo ; ake a 2 87 ~ QD ee pit fe He th woe oe 10— 112 —10- 110) — ~ et A =I (© 1996 & 1999 Sy Vy Music, USA Carlin Music Corp, London NW! SBD 76 The Crying MachineFu oo Aga Braet ll Fhasat/E tre Baga4/A Abi Amaj? Fall Full. 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Tease 80 The Crying MachineBIA 16 Wee a6 919) — te — ate 71610] (1) te —= eg — —| iar - - . eB 8 8 4 © 2 —— s_ $= f = 2 — ga Set — Fall Te , , ‘ ee + = ~ 7- 3 —soloends—s — whvahewah fea —_t _Fy a 7% es k— se 2 a =a rake Poll Fon) Full wear wf Pull Full Full wh ; ie at — (10) The Crying Machine 81Of Two Ges are for one Gir what, ono o4 all ol Pall suuy fh Fa athe 3 VV V wee + + J Seeenews be 19 ein Fo a Soap oe EE = i A? Ba? En? Cnsi8 all rt al Full Fold Pall ~ Pia is—1e Wi 18 7m Brus 87 % — Fol! Full N } 1719-4085 17 7 4719-11 1993 29 23. 23 — 23 iE We Em? o” 34 8 a ace ey ete * + ve sake. symm Fal Pal ‘ " Fall ~ a pt i 7 1517005 0 a woo = 1S 15 Ir NF a reise 82 The Crying MachineDm? Fe me aS — — = aod =| Baus B7 aS 3 Full Fal) 14: (1) ie — 1616 7 (14) —19—16 Am? Bm? Em? 5.8 = 3 3 Fall. ae Fal VA Sg SF tf roan nee at rere wer cmH ee Se a Ban 1012 — pees a] The Crying Machine 83Am? “2 a &* 8 8 8 . ees whee Be ge 2S 1 SE) ilo) me Of OD ie — + t 0 tg Fall % % n alt Full Pull $$ — 2 16-8 $* 1412.0 4 qt a a er F 45") loco bm? wey 3 rs ee Wg saa T1210 10——| a 14 rai2st0- ¥ aia 212103105. a0 HB: 1a" 1210-61012 1012 Brus Br e 4 SD So Ss 22 aie SS [pany Me tan earriavardirvarardrr esa error iesasaarian z Am? too ow tof tf ae 84 The Crying MachineFatt Fall ott Fall Fun Full Full 1215-12 12-15-12 a aa. cham, sae 12 12 aa a eee ee il Tei etett =i =] = rake 4 1416-171 Fade out B Am? (8. os loco & * a tT eee ee e221 Bm? ) loco En? eo wae sone nn: a Ns a2 tot torr ort Tort tt rt rt — a ono A ite mr rarrrrers A200 2a wre] OO ————_—_—_—_——— Le! SSS aft =] é E rororit 1 Da 7 Fp ne erste 19 110 os ee ee ee re Ot Wari The Crying Machine 85The Solo The Crying Machine In this solo Steve uses two guitar parts, panned left and right, that overlap and contrast with each other. Vai covers the whole range of cechniques here, from trem-bar slurs to ewo-handed tapping with plenty of his trademark, quirky licks. This is a progressive bending lick, each time the E note is struck it’s bent a little further until it reaches a Gd. Steve plays this with a wah-wah and gradually opens up the wah as he bends up to the highest note. In the second bar you'll need to support you third finger as you bend up the three semi-tones from the E. Don’t release the bend when you damp the note. Use your picking hand to deaden the string as you hold the bend, then pick the pre-bend and release back down to the E, 86 The Crying MachineSteve uses a combination of slides and slurs to play this lick. The fingering of this phrase is important so let’s go through it step by step. The first note, which is being held over from the previous bar, is played with the second finger. This finger is used to slide up the G-string to the 8th fret, On the B-string, use your third finger to slide from the 9th to the 12th fret and pull-off to your first finger at the 9th fret. The rest of the lick is played with the third and first Fingers. Ex3 =e a In the half-time section of the solo Steve displays some of his tastiest playing, including this lick where he hammers grace notes which include the open string. You'll need to use your fourth finger to play the top nore of these hammered phrases. Hammer-on from the open B- string to the 7th fret and continue up to the 11th. This top note should be vibratoed heavily and widely before sliding down to the G#. Use this same idea again on the top string The Crying Machine 87= the grace notes are used here because the emphasis is on the top note - when you are playing this try to hammer the top note harder than the previous two. This is hard to do with your weakest finger but it does make a difference to the sound. Make sure that you keep your fretting hand’s thumb at the back of the neck, not hooked over the top, and keep your hand as relaxed as possible. comers a This is a great lick that combines large intervallic leaps with slides. This phrase is played over an A™i7 chord and all of the large intervals are major sevenths, from Gt to A and C# to D etc. Stare with a pre-bend on the B-string with your third finger. Play the Gi on the top string with your fourth finger and move your first finger down to the G-string for the A note. The rest of the lick should fall into place if you start with tbis fingering. When you reach the G# at the 11th fret on the A-string, slide up co the B with your first finger then back down to Ff without re-picking. Frinted snd bound Gis Bula by Caignrng Lima 12799