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    347 views92 pages

    GFTPM 1987 - 03

    Uploaded by

    Joe Kozak

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 92
    ANNOUNCING THE BIGGEST IDEA IN THE HISTORY OF WIRELESS eee Samson incorporates dbx’ noise reduction to achieve anew standard of wireless performance. Samson Concert 1D Seriesis thefirst ue plagued wireless sound in the past diversity VHF wireless system with dbx noise Breaking new ground with our Concert TD reduction. We've been setting new standards Series, Samson engineering excellence now ‘of sound and reliobilty in wireless overthe takes G quantum leap forward in its ongoing years, but we're always refining ourtechnol- search for the highest standard of wireless pe ‘cay to make it even better. That's why we formance. We are the first to incorporate dt chose world-class dbx technology to solve the _ noise reduction because we wai biggest problem in wireless — notse tee the k dbxnoise reduction makes the ConcertTD —v fo guaran- possible audio quality available in jay. Now there's every reason you Series incredibly quiet. Italso expands fre- can think of to enjoy the unlimited quer todeliverthe best possible promised by wireless. sound for vocals and instruments. And you First we took the worry out of wireless with won'thear it working because dbx circuitry _ reliable no-dropout performance, now we're eliminates the of wireless with dix, SAMSON’ WE TOOK THE WORRY OUT OF WIRELESS * gand breathing that taking the noise ou! Institute Technology. The scholarship also s includes housing, a meal allowance and nology with some of the greatest round trip transportation. 's in the world. Duties also include Your local Fender dealer has the details s {siting artists as. on how to make your audition tape and ie Van Halen, Steve Morse, _ where. id it. Or you can find out more y Tedesco and Al di Meola. by Yngwie at (714) 671-5685. ‘Yngwie and the Fender Artist Advisory Because he may be looking for you. rd will select one U.S. and one international winner of the second annual Fender/GIT ve ‘Send Your Guitar Questions To GUITAR QUESTIONS POBox 1490, Port Chester N.Y. 10573 by Barry Lipman QUESTION: What's this I hear about boiling strings?—Wes Banks/Greemvood, Mississippi ANSWER Bolling the stings can restore thom to their original brightness and accuracy of intonation, especially with bass strings. All it takes is submerging your strings in a pot of boiling water for ‘afew minutes. This gots out all the built Up finger olls and dirt that cause strings t0 sound dead and lose their intonation. While Ive never tied thi, Ive heard quite a few players mention it, mostly With good results. Its certainly worth a tay if you find your strings going dead too quiekly for your wallet QUESTION: How can 1 MIDI-up my ‘guitar to my keyboards?—Renato Tolen: tino’San Jase, California ANSWER: Though there are several fine brands on the market, the only one I'm personally familiar with is the Digitech Pitch-Rider." It can be installed easily fon just about any electric guitar land even on some acoustics ‘Most playors install the MIDI pickup themselves, using the double-sided tape: provided. 1 have done a few custom Installations, putting the jack and wires inside the body for a neater appearance. Playing with MIDI requires. some adjustment of your playing technique. If you use slurs (hammers and pull-ofis) You must articulate them crisply, other wise your MIDI controller won t respond to them. If you pick every note, you'll never have this problem. ‘A very common problem accurswhen you play faster than the sound you're Using permits, Many sounds don't have fan instant attack, but rather they come fon gradually, Playing too quickly with sounds like these can allow insulielent time for the notes to develop their tone. In all, MIDL-ing up a guitar is easy bout it will probably take vou a litte time to get used to playing with it, The infinite variety of sampled and sythesized sounds available makes it defintely worth the investment of both time and money. QUESTION: Why dows the low "E" string ‘on my Stock '65 Strat sound like a subber bband past the 6th fret?—Michael Juarez, Houston, TX. ANSWER: Most Strats have standarel stock pickups whose pole-pieces are magnets Finger-Tite Locking Nut’ & BEHIND -THE-NUT LOCK Le. pulling direetly on the strings. When they are adjusted too close, they wreak hhavoe on intonation and tone quality Tt should be a very easy matter to ‘adjust the pickups a bit farther from the strings. Turn the two screws found just beyondi the ends of the pickups counter- clockwise until the pickup is at least ‘UA away from the low "string and at Teast 116 away from the high "E” string when fretted at the highest fret. This should clear up the problem, your pickup falls off its height adjustment screw, you'll have to remove the entire pickguard to replace the screw and spring with longer ones. You can find longer serews and springs of the correct thread size either at the local -uisic store or at a hardware store. AMter you lower your pickups, you should balance their outputs. Start by adjusting the bridge pickup until both E” strings have equal volume. Next, match the middle pickup’s volume to the bridge pickup’s. Last, set the neck pickup. The more closely balanced your pickups, the fuller the sounds you'li find fat the “in-between” positions of your 5- ‘way selector switch. Proper balancing of pickup output also corrects most guitars that seem to have either too much bass ‘oF foo muuch treble, EASTCOAST SOUND 40 MAIN STREET - DANBURY, CT = 06910 (203) 748-2799 Let Eastcoast Sound design the ultimate guitar of your dreams! For less than you might think, we can custom design a guitar to fit your Personal playing style or stage acts. Barry Lipman, who now handles all our guitar service, will build custom bodies ‘and nacks to your specs, sketch, and personal requirements. ‘Custom paint- No Wrench ‘No Detuning No Holes Through Neck 813-989-1791 Edwards Guitar Research ss sens: mc tomar sat work is available, trom traditional sunburste and wood- ‘grains to metalflake and air-brush work. We also handle ‘custom work over the phone and through U.P.S. Call Easteoast Sound for prompt professional service and New York prices. We stock a full line of new and used guitars and aceesscries, in addition to all your PA, lighting, recording, and keyboard needs. And every guitar purchase from Eastcoast Sound includes a custom set- Up Call and find out why EASTCOAST SOUND Is tho #1 TEAM IN THE M PLEASE PRINT + No Tals PLEASE ‘Age Name Address City Sia a. ‘Ani YOUALREADY ONGUR Hive VOUEVERDane BUSRESS MAILINGLIST YES __NO WTHECS BEFORE? YES NO ALEX LIFESON ON GALLIEN-KRUEGER. “The first time I heard the GALLIEN-KRU thinking ‘how can an amp so small sound so big. ina studio or on a concert stage. P] we {should know. I used one recording POWER WINDOWS and during our last tour of Japan. From my experience with the GALLIEN-KRUEGER 250 ML I would highly recommend it.” ) , R 250ML I remember This amp is right at home yocK Jay French limbi climbing Self-Recording, Part Three soning to Bary Cobrun of tmn- portant Records, the average four jsong demo, where the bass and ‘drums are recorded together, takes ap- proximately 10 to 12 hours on a 2" tape, Which is the master size of tape of 16 for more tracks. Done live, where you're not feeding directly into the board and everything is all set up in one room, you an do it for under $1000. To make a ‘quality demo costs around $2500, That's for about a week, 68 days. You record for four and mix for two. These are not extravagant mixes, not extravagant per formances, but they'll give you quality ‘enough. You can make an album at the cheapest price for around $3000 for ten tacks, For a quality jab you're going ta hhave to spend! about $10,000, and that's only ifthe band knows their stl The cheaper studios will be less well-equipped. They may not have all the outrageous outboard gear that will help process yoursong ancl make it great So that means you either have to rent equipment orfind another stulio,A good fengincer will tell you you ean’t get that sound for less than amount of dollars They know the tricks ofthe trade They've read the interviews with Steve Lillywhite Hugh Padgem and George Martin, w! they said that in order to create that ‘echo they had to do this or that To compete in today’s market band needs an absolute killer drum sound. If {you're into the Pat Benatar type of group you've got to have a synthesizer. Metal bands use synthesizers that you don't know are even there, They're Incorpo: rated into the mix to fil t out. If you ant to get on the radio you don't want to sound too crunchy. You want guitars that are compressed and toned down enough. You go into the recording st dios and you say, fm looking for a Van Halen sound; I'm looking for a Zeppelin drum tone, which everybody looks for They have drum machines programmed to sound like John Bonham. The engi reer will tell you what gear you need It very much depends on the kind of person you are. Ifyou see yourself as Innovative and you're not afraid of the technology, then you have to utilize i When a heavy metal band gives a demo tape of an album to a record company they want good material coupled with good sound. The material is the prec dent. In alot of other forms of music its More than just notes. EMG Pickups. the quality ofthe presentation. I you're a metal band so much has to do with your vocalist being unique enough and Your songs being good enough, that you ‘can get away with production that’s not state of the art. There are some bands, the death metal and black metal bands, who ean do Tommy in two minutes. Their attitude, their snarling, total dis regard for anything accurate, Is. their selling point, They ean go in and record ‘an album for $500 and sell 20,000 copies of it. When you hear about bands that take a year to make an album, they're not in the studio for a year. They go in for a couple af weeks and record a bass sound and the producer goes, ‘Let's go to Nassau for a couple of weeks, I know ‘a Marshall amp down there and it sounds real good’ So they lly down to Compass Point to lay down a guitar track, Then there's the kind of producer who goes, 1 like that, but I'm going to break that down note for note and i's going to take ‘hwo weeks 10 record one solo string b string with limiters and compressors. make that solo sound like God delivered it! But a known producer, unless he falls in love with you as a local act and uses you as his baby, usually won't produce fa new band. He works for money, like wwe all do. A new band can't pay’ him that money, and a record company ‘won't give a new band a budget forane.m Ce PT EN MTT LAP ecostreye eo CLASSICAL * FINGERSTYLE * SONGWRITING KEYBOARDS « VOICE GUITAR BUILDING + GUITAR REPAIR: WASTER WORKSHOPS: erry Coryell = Leo Kottke » Sharon Isbin Matk O'Connor + Steve Swellow Benjamin Verdery + Vinnie M Kevin Eubanks + Henry Kelier Richard Boukas + Dennls Koster Newman! Oftman Chris Proctor Peat/Sray You want more than just the notes you play. With an EMG, get the response you need from a pickup. Get the performance you put into it ‘SPECIAL SEMINARS: 16 Track Recording Mig, Goitor Synthesizer Live Sound Engineering Managing your Music Career ‘Chopmen Stick, Jozz Seminar wea bey orcall forour , Bex 222, Dept Free Brochure. Lakeside, CT 06758 (203) 567-8529 EMG, INC. 20. Box 4394 Sara fsa, CA 95402 mm ry S25 9964 College and fp Graduate Creait available. CANADA: Louis Musical, Quebec Armed and Dangerous. Play one of the new Yamaha RGX series guitars and you've gota direct line from everything you feel inside to your fingers. Thats the H difference between being just armed. And armed and dangerous. i CAT Se et ee rar eek eee mere ern et een eC a ‘1700 REWARD YOU TOO CAN COLLECT THE REWARDS OF | MEMBERSHIP In MUSICIANS BUYING REWARD YOURSELF! ‘OVER 4000 MEMBERS, Just ecivee my gular can't than you noun TL. Data, GA Tanks eis pret amp. hw much money you tava’ AV. Seotebat WE "our Company has made me believe | can trust _samabooy! A. Waa ‘The asin’ Buying Servi’ a aly new encapt erent mucus or musica. ow You cat ake savage volume ping a by Me the Pros a sans you may te be Neale. Masi nstramens& accessors of he fe cay sara mason a ‘You wil gt supe catalog of OVER 280 ITEMS Gata: song, Bases Paks, Reyosres. AACA BRANDS AND WARRANTED (sREE “SEARCH & SAVE SERVICE” res evr ym you want na brand we cary tts no ‘seine cate, send ueapstar whe em You mot sen wel eh fe aroun! mete hippie ack a you NUS SUPER MONEY SAVERS As Spc ens become avataitus at specal savings pes we wisend1 WOT WIRE: 180 dor mis out! i you nes tat ure or mika, ‘ramp Myweb ding torelace hat guar forbes. Tnecosto sing has been vin tuts GEVTT NOW, BUY RIGHT». jhe Sari mustias an enh ino he savings UGE isis is GEE ‘Sox ata A New Haver, ct 05525 MEF (Ok, Vm in. Here's my ten bucks for my one Gi emberstp nthe Misa’ s Bing vite (Cy —__staa een IN THE LISTENING ROOM...» Pcie hile most guitarists simply stve for la personal style, recognition factor ‘owned by greats trom Jeff Beck to 8,B, king, Brian May possesses both aunique style and a signature sound that screams ‘out Queen. As Brian continues to “wal: low’"in guitar sounds on & Kind of Magic, Wwe thought it would interesting to tap his thoughts about the wallings of others, Naturally we put him In the Listening Room 1 "Seven Wishes" from Seven Wishes, by Night Ranger MCA BRIAN: That's beautiful. The guitar parts ‘weren't mixed up loud enough. He's fluid and full of fire and beauty, which is what It should be about. ‘The opening. re- minded me of "The Spirit of Radio.” by Rush. | love people who can play that fast in terms of pure runs, and also have that fire. Gary Moore is one of them, but I don’t think that's Gary Moore. 1 ean't figure out who itis, The song Is all right, IWreminds me of a Def Leppard construc tion, The guitar solo was the highlight. 2"BastWest" from East/West, by the Paul Butterfold Blues Band/Elektra BRIAN: It may be Mike Bloomfield; don't know. Whoever itis, don't particularly like the way he's playing. It doesn't fallaw the chords and it seems like he doesn't quite know where he's going, I'm going {0 get shot for this, bur it doesn't extract anything from the song structure that's lunderneath. It seemed like he was off on his own. 1 like the harmonica player vory much. If it is Mike: Bloomfield, 1 would qualify it by saying that 1 love some of his playing, GUITAR: twas Bloomfield from the East’ West album, BRIAN: I never liked that album. 1 was bitterly disappointed with it loved the previous one (The Paul Butterfield Blues Band). 1 played it inside-out and back wards, until it wore out. 1 adore that album and hate EastWest, 1 couldn't figure out what they had done. t seemed tosuddenly lose its feeling and harmonic 3°Tum It On” from Mr. Bad Guy, by Freddie Mercury’Columbia BRIAN: This is my least favorite from Freddie's album. It doesn't move me, Whereas a lot of Freddie's stuff does ‘Made in Heaven” is one of the best things he's ever done. 1 wish we had it fon our album, This is too shallow. ‘The fgultaristis tying to cop my sound, whieh {salso why Idlon't like it know the guitarist quite well He'sagood session player and pretty innovative, 1 also know he's big fan of mine, and that when Freddie got him in there he said to play like me. I stil haven't figured ‘out why Freddie wanted him to do that. When he played it for me and said it sounded like me, 1 was supposed to be pleased. t's well-played, but inside thought, what are you tying to tell me, 'm disposable? I felt kind of hurt by it 4 "Embryonic Journey" trom Splash: down, by Hot Tuna/Relix Kecords BRIAN: I'm interested in this kind of music. I used to go to folk clubs a lot ind. got very absorbed in people who did this fingerpicking. 1 suppose I was interested in anything the guitar could ddo, L was very broad in those days. ean play a bit of this kind of style, but tm hho expert. Chet Atkins also fingerpicks melodies at the same-time as playing a bass line. 'm very interested in that. 've {gol some tapes of myself playing things like this, but nothing so ambitious. This is quite nice. 5 "Spark" from Go or Your Life, by Moun- tainSeott Brother BRIAN: That riff is like "Tobacco Road. That's not necessarily putting it down, W's just that you ean always hear where things come from. Ive become sensitive to lyrics and why they are written, You sort of immediately feel which songs were written as songs and which were written because somebody really” Ielt something, Ive been through a very di ficult period in my life, where emotions gotlaid bare and I couldn't really express them. There were certain records I heard which would leap out at me because they expressed what Iwas feeling. knew they were writien because people had felt that. The Foreigner record, "I Want to Know What Love Is,” tears me apart know that no one could have written that without feeling it. I's a wonderful record and wonderfully sung. In “The Boys of Summer,” I hoard all kinds of pain I can identify with. Fdon't feel like the singer here was feeling it. Somebody js going tobe upset with me,’This sounds quite polished, like an American. pro- suction, [wouldn't turn this offi heard it on the radio and Tm a big button pusher especially driving around in the states, The gultar playing was pretty good bbut there's not much scape toi GUITAR: That was Mountain with Leslie West BRIAN: Leslie was ono of my favorites. He has his own sound and touch, but it doesn't come across here. When I heard Leslie West some years ago I was mage nitized. He was great. Wish YOU had Perfect Pitch? Here’s David L. Burge with your first Lesson: HOW PERFECT PITCH WORKS Hearing tones is similar to the way we see colors: in the field of SIGHT: Together they can create war We enjoy various COLORS AS a pattern: “ In the field of SOUND: J Musical pitches 3 ¥ Together they can have COLOR SOUNDS © J create a CHORD: PERFECT PITCH is the experience of these COLOR SOUNDS. When you can recognize the color sounds in music, you can then identify tones by ear CH, 1 ye A one at atime a 1 4 or together in a chord es p Fe ema “So Perfect Pitch lets your ear know the tones you hear—just like your eye knows the colors you see. It’s simple.” “And why does Perfect Pitch dramatically boost your musicality—your abilities to perform, compose, play by ear, improvise, sing and enjoy? Because your ear recognizes and remembers the tones it hears!” Ready for your next Lesson? Then clip the coupon (or send your name and address) for your copy of THE PERFECT PITCH REPORT. It's yours FREE! Mail to: FREE REPORT ‘American Educational Music Publications, Inc. Dept. H22 8400 Grand Lake Rd, Presque Isle, MI 49 Or eall NOW, 24 hours lanytime, day’ or night) and fequest your FREE PERFECT PITCH REPORT: B (517) 595-2000 The ULTRA The Ultra Vis Carvin's premier rock 'a roll axe. Deluxe features include a set in neck that is contoured into the body, an ebony fingerboard, mother of pear! block inlays, graphite nut, hot M22 pickups and the Pro Kahler tremolo system. The string action is squaranteed to be less than 1/16” at the 24th fret crore cs ‘The Ultra V is available in 4 standard high gloss finishes and several optional pearl colors to sult your personal taste. In fact, many different options are available so that you can custom order the Ultra V to Pn Se et ee ec) of quality and piayability on all Carvin guitars or your ea eet LO Mee oy picet erie LTT guarantee. Please call or write for more information. ay cog mest) Cee oer) Send for your fre 84 page color catalog or include Pannen foreign. ANE ‘Hand Crafted In USA BY ROCKFILE SCOTT HENDERSON by Marie A. Cruz PREVIOUS BANDS: Puce, Pure Hell Paradise, Je Bern, Jean-Luc Ponty (Chek Corea PRESENT BAND: Scott Henderson 8 Trbal Tech INFLUENCES: Fitch Blackmore, dot Beck, Jimmy Page CURRENT ALBUM: Spears LABEL: Passport Jazz FAVORITE PERSONAL RECORDING: "The whole album’ GUITAR: Charvel HOME BASE: Florida BEGINNINGS: My dad played some ‘acoustic guitar andthere was one around the house all the time, so | would pick it Up and try ta play things on it. Mast of the early stuf learned was trom playing Monkees songs and learning songs from friends and from neighborhood groups. I started transcribing at a very early age and leaming solos of records. | would be in bands where | would play songs by Jeff Beck, Led Zeppelin, Deep Purple and | would alvays learn those solos Nnote-for-note, | did that out of respect for the playing of guys who | loved 50 mus | think that helped me learn a vocabulary ‘on guitar and helped me learn a ttle faster than trying to come up with my ‘own stuf. BAND EXPERIENCE: | was about 17 years old when | started playing in a band called Pulse. it was a rock trio that did a fot of funk tunes and played in a cchurch coffee house. We didn't make ‘any money and we just played there for fun, After high school, | went to junior collage. | quit school aiter sic months to join this band called Pure Hel, which was an all black, ter-piece hom funk ‘group. They changed my whole outlook on music. | had always played white rock, s0 playing in this band forced me info a whole other world, and alsa made me more open to music and more ver- satile. We played mostly James Brown, Kool & the Gang, the Stylistics. They were constantly threatening to fire me because even though | played good solos | was a terrible rhythm guitarist ‘After about a year, | started to develop that by just Istening to dames Brown and cther black musicians and trying to em: late them in their style of rhythm playing, ‘After twa years, | left them because we weren't making any money. At that time I stared listening {0 Tower of Power and | was blown away by them because it was one of the first groups | heard that had a jazz flavor. That's when | started Getting more into fusion, funk and jazz ‘music and listening to Billy Cobham’'s Spectrum, John McLaughlin, Herbie Hancock and Chick Corea. ! couldn't get fa grasp on whal was happening s0 | \entfo Florida Atlantic University to study jazz improvisation, arranging, compos tion and counterpoint. It made a big Be cram. 2 20 GUITAR, MANE 1987 4rd time to Cod 2nd mero Cosh an ier Be Rlthe} tnaereae meets (2nd tine) ®d nooner ‘nd Vere Ds NO. (Dm7) meas Twas lis "nin? to the Dd : “Put the storm be-hind” Well the winds can blow. bad or better I don't. mind vome.stommy—_weath et 2 ‘Wihie niet F, "sung to Be TO, a ‘proucne Artest petiedhytho DS al Coda 4 Keen feel it —,/ MancHt ae, GUITAR 21 2 (Coda I Interude) e bs NC. m) (1Voea eho repeats) pot kind of 4 sense. of dé 38 ‘You dow'tthinkyou ev = er seen. me some- where be = fore, el Te must have been CGUTTAR, MARCH 1987 Guitar solo op wp on An m ow 2 i, fe A a us Manca ase, GUITAR 23 w/Rhy. Fig. 1 Ebmal? cmt T know days are safe pees eee ember (pate voy a errr desert did't wan-nahave a fie Ws too. far to dive back, ba= by. DS. al Codalt cmt ant ans %H T wanes drive her home 24 GUTTAR, MARCIE 987 ods " ‘w/Rby. Fe 2 fade) ¢ inure N.C. (Dei7) Begin fade We, i aint much. alright, 1 Be aac 7 y ‘a “Biking stele on tet 9 G the on = ly MARCHE sr, GUITAR 25 BASS LINE FOR LADIES’ NITE IN BUFFALO? @> Moderate Rock J» 120 Into oy Ne.(Dm7) 1 2nd Vers Nem) . Ta mrs. TTak a= bout the high cost of lov-iyete 2 t nin? to. the Dh sayin re, Ebi? am? Boma? m7 ants 26 GUITAR, MancH 1987, ate Ress dy Rasen os chores Nc.@m7) IFavaam ¥ SS (13) az ope pay mt Rt the — top down et. — a a ee Ist time 10 2nd Verse: 2nd time to next section Interade bs Nc.(Dm7) Guitar solo Play 4 times Dm Amb cw yo op. Seanca tae, GUITAR 27 Ebmaj? cmt Am? bmi? cmt Amt ans horus Nem?) Nc.(Dm7y Betin fate Fade out 28 curran, marci 087 You can take on another musician...or you can take along your MIDI COMMANDER” The new MIDI COMMANDER foot ‘controller from MEICO allows musical groups or single farlists to enhance thelr performances by including extra ‘Sounds without extra musicians. Guitar players can add K re {= as synthesizes, drum compute tores notes, chords and patct ‘more detalls, see your dealer or write to MEI MUINJEICO ern LECTROWICS MADE FOR EACH OTHER... ELEC. BASSISTS!! Study With The “World's Most Recorded Bassist in History!”"™ +CAROL KAYE - vis VIDEO - 2% He. with Manual SPECIAL $59.95 ($75 Value) Quality Video - Quality Eduation featuring Rock, Funk, Pop Jae, Motown. Techniques Inventing, iw To Groove in bopthEary The ary — rads Sales, Cycles t-VP- Some Sto {80 Stores, Some Jans Gastr For Er Payers Sd Readers t. A GA AXY OF GUITARS aT THOROUGHBRED MUSIC south largest musi company. q IN STOCK FOR IMMEDIATE SHIPMENT YOU & CONKLIN GUITARS! Bene yeues T= Tuer” We work erty with you to crate the gent ert et, nan guitar for your musi! ey and Beginning Amateurs to Top Professionals Over 30 yrs Teaching Experience mont 40 yest Profersonal Pag Learn from the Legendary No_1 LA. Stusio Fender Bowe Gratisn direction ...A one-of-a-kind instrument Gioron cx Fostex of finest quality. Hamer ‘Tascam ultThill sx CUSTOM DESIGNS “+ CUSTOM COLORS ester ren ‘Sr UNLIMITED HARDWARE OPTIONS. MAIL ORDER WORLDWIDE Mastercard + Visa» American Express REE SROCHURE _ CUSTOM-ORDER INFO 2 eg ae CONKLIN gists, COGUNARS PO. Box 1418, Lebanon, MO 65536, (417) 880-2756 1168 teresting information onde ‘Sorry'n0CODs, Avorn CO oote anc 1oe7,GUTAR 28 PERFORMANCES by Andy Aledort VILL SEE THE LIGHT TONIGHT This Is another neo-classical rock tune for which Yngwie is the prime move showcasing chord changes and scales which were previously used very rarely in rock. The opening chords (ater the sp: ‘cey keyboard intro) are diads in which Ais Paired with either Eor F aboveit. The diad ‘AAF can be thought of as A¢5 (no 3rd) as well as F/A, as the fit of A(E) and is basically moving up a 1/2 step and back. The phrase ends witha riff which outines Gé# diminished, a chord more common to Classical music and jazz than rock. The tiff following the second chorus is reminiscent of Bach Fugues for organ ‘and harpsichord and here is doubled by a harpsichord-sounding keyboard. These types of lines are unusual tothe gultarand may take some practice to get up to tempo. As a matter of fact, most of what ‘Yngwie plays in the single note depart- ‘ment will take lots of work to get up 10 tempo, because with his incredible tech- nique he can play very, very fast. ‘The solo section begins in Bm and ‘Yagwie relies mostly on 8 Aeolian (8,CA, D.EFF,G.A) using also B minor tradi ‘arpeggios (B,0,F#,B). For the C5 section he sticks with Aeolian, now in CH (Ci, DF, E,FA,GW.A,B). The solo then moves to E5, ‘and here Yngwie employs the fth mode ‘of harmonic minor in A, which works out to phrygian with a major thirdin place of the minor third (E,F.GH, A8,C.0). For the most part, Yngwie is “cram- ming," as. opposed 10 playing in exact rhythmic phrases, thus the odd groupings. Go for the most legato performance pos- sible (but with an even combination of Picked notes with pull-otfs and hammer- ‘ons), andit may be helpfulto viewnhis ines as long phrases which just begin and end ‘on specific beats. if you want to conquer ‘this one, eat an extra bow of Wheaties and be prepared to work. BLACK DOG Here Is another example of Jimmy if for writing some of ‘songs in the rock 'n’ roll ‘genre. The first partof the tune is made up Of four bar trades between Robert Plant's vocals and the guitar rif, which is doubled by the bass. The fourth bar of the riff is ‘generally notated as a bar of 2/4, as Plant Usually begins the next vocal phrase on ‘what wouldbe the thd beat in a bar of 4/4 ‘Totaciltate understanding these bars, just think ofthe hiton the AS chordas the new downbeat, or “one.” Ifthe overall feel is 30 curran, manci 867 throwing you for a loop, i's no wonder; John Bonham’s drum riff is basically in backwards halt-time tothe feel ofthe gui- tart. Thatis, he's playing in halftime, but the bass drum hitis on two and the snare hitis on four instead of vice versa. Don'tlet this throw you, just forge ahead and count straight time. This holds true also for the next section, which features the main rift (which is in A) played in €, but with extremely quirky phrasing which some- how ends up in straight time (bars of 4/4 throughout). This is definitely a “fee!” thing, 30 you may have to play this phrase ‘many times to gett to come out right Page uses the final chorus for an ‘extended solo which begins with a signa- ture riff based on A pentatonic. major (AB.C#E,F#), See this month’s "Guitar in the 80's for further investigaivestudy. His solo is based primarily on A pentatonic minor (A.C,D,E.G) and is mostly made up of short phrases which are not extremely fast but get in sort ofa tug-of-war with the Jagged backing rhythm part. Try to cap- {ure Page's sense of unusual spontaneity when playing this solo HIDEAWAY This classic Freddie King cover tune put the name Eric Clapton, as well asthe Les Paul guitar and the Marshall amp, on the rock ‘n ‘oll map forever. Clapton's playing was filed with tremendous energy ‘and a full understanding of electric blues, ‘which was incredible fora young English ‘musician then barely into his twenties. ‘Aside from Clapton's masterful touch, his sound was produced by a late 50s to ‘early 60's Les Paul standard, with the cias- sic Sunburst finish (most probably aflame top.” which means the wood has highly figured grain). Consequenty, these gu tars are among the most coveted of elect- fic instruments and often sell for over $10,000. His amp, which was often mistak- ely thought to be a Vox AC 90, was actu- ally a Marshall JTM 45, with two twelve inch speakers. ‘The melody, stated inthe first twelve bars, is based on E pentatonic major (E, Ft, G¥, BA, CA), and most of Eric’s soloing is based on this scale and E pentatonic minor (E, G, A, B, D). Weaving lines be- tween these two scales is basicaly what ‘makes up Eri’s soloing style, and yout hear examples of this nll ofhis recorded ‘material. Notice how his phrasingsincre- dibly melodic and has a beautitul flow, working effortessly with the concept of tension and release, which is 60 vital to blues guitar playing. Beginning with the fourth chorus, Eric virtually plants himself in twelfth position, employing the stand- ard pentatonic minor box used in count less rock and blues tunes: E pent. minor fe Aside from the following two break sections, Eric uses this position exclu- sively, andthe amount of musiche got out Of this one chunk of neck is amazing Notice also how Eric briefly restates the melody at thé beginning of the final cho- tus, pounding out the arrangement. ‘This tune is one of the best examples of Eric Clapton's playing, let alone the entirety of electric blues, and | recom- mend that everyone learn itand memorize it as itis an invaluable source of inspira- tion and musical ideas. LADIES NIGHT IN BUFFALO ‘This tune can be performed in one of two ways, either by playing it as written in the transcription or tuning down all the strings a whole step and playing it as if it ‘were in Em (playing each note two frets higher and transposing all chords up whole step). | believe Steve Vai has his ‘uitar tuned down, but to facilitate trans- Ceribing the tune it appears in Dr. The basic rhythm part during the Intro and verse sections is performed with ‘aStratocaster/Marshall type of sound, and Is very reminiscent of Jimi Hendrix (check ‘out “Wait Until Tomorrow" and "We Gotta Live Together”). Palm muting in the low strings adds percussivenessto this section. ‘The rhythm guitar part during the section beginning, "heatwave biast.."Is also Hen-

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