TO BLACK — RIFFS » HOW TO CHOOSE THE RIGHT GUITAR » 7 The Magazine You Can ay TAB AND NOTATION NICKELBACK Too Bad INCUBUS Wish You Were Here SLAYER Raining Blood WAYNE SHORTER ‘Adam's Apple T-BONE WALKER Strollin’ With Bone MOLLY HATCHET Flirtin’ With Disaster LOS PUDDLE OF MUDD £) In Control THE CALLII Wherever You Will Go COURSE OF NATURE MIKE KENEALLY JUDAS PRIEST ' JEWEL 2 % TAPPING Are Better FUNK SOUL BROTHERS Hendrix FruscianteWhat’s Between the Lines Incubus “Wish You Were Here” ‘By Chris O'Byme Now doesthissoundlikesomeone | ‘who’ goingto beatyouup for cop. pingafew ofEinzigers full-bodied | chords and pristine rfl? Einzigerkcksthisjint off witha four-bar chord progression that hhouses several slash” and sus pended chords. When first strum. ‘ming through the | into, dont worry too much about the open | strings between the | chord changes: these | funetion as fillers | while switching chord shapes. In the first measure, the basic | shape isan E5, hich you should fet with Your index and ring fingers, The open A stringinthebassrendersanAsus2 | hor the B on the 3d string is | the suspended 2nd. For the change t 5/B, simply bare the ‘thand sthstingsatthe 2nd fret. | Here, youte putting the th of E (B) In the bass, constructing a | slash chord. | Inthesecond measure, we get | the BS/F# chordshownin Fig. 1A and an Esus4 chord thatyoucan | barre easily with your index fin | er Move theBS/F#up three fet | oa | | | = to grab the DS/A chord, In the third measure, Einziger adds the ‘open A and the Sth string’s B to the Asus2 and E5/B chords to beef up the progression, and then digs into the F45 chord (Fig. 1B) not to be confused with the 'B5/F4, Slide this shape up three frets for the AS chord, ‘WISH YOU WAD A DELAY? For iff. Einzigeruses a dreamy delay effect and key open string placement ro make the most of a few simple phrases. If you dont hhave a delay pedal, approximate the effect by cranking your amps reverb, Use Pig. 2' fingering, which allows all the notes to ring. Also work on finding an ‘economical picking strategy for BS/FE xxx ay A Major Scale the first measure’ 16th notes. ‘Break iff A into four separate phrases, and tackle them one ata time. Once you have each phrase ‘down, practice shifting between ig. 2 position and 9th position, ‘where the licks in measures two nd fourreside. Theselicksarebor- rowed from the Amajorscale|Fig 8], which includes the E major pentatonic scale [Fig 4. Since this song doesn't feature a solo, try ‘whipping up one of your own using these figures. eTERLUDE For this section, Einziger moves around a few octaves while dron- ing the open B and E strings. Try strumming the resulting chords freely usingthe underside of your frethand'sfirstfingerto mute the 4th string, Listen to the different harmonies as you move the sim. ple octave shapes around while playing the statictop two strings. Alsotrymovingsome ofyour own, simple shapes around while let- tung open strings ring, as its a ‘good way to discover some reso- nant chords. 5» TONE ZONE UTAR 1: ollowbody PlcxuerPosmioN: Humbucker/Bridge BAIN: 2-4 EQ: Bass/Mid/ Treble: 4/64 EFFECTS: Delay, Hanger ‘UTTAR 2:Solidbody SHEET Or | T by o | Te APRIL 2002 G1 The Magazine You Can Play 99*— WISH YOU WERE HERE As Recorded by Incubus (From the Epic/Immortal Recording MORNING VIEW) Gernot ab raat ae ene on Words and Music by Brandon Boyd, Michael Einzinger, ‘ining Vw ossoses $Y 00) Coad ns Baan ‘ove’ oo-ssra0ee mesesupach cn Alex Katunich, Jose Pasilas I! and Chris Kilmore tatro Moderate Rock d= 88 ‘Ass, esp Bs DSA Bsus tee) RAY Fi Af wi sigh ci, ring hough Asus2 5B Fs as Es Woo! nd Rhy. Fig 2nd, Ge 2 tet ‘Avid Es BSF DsA Bs Rhy. Fig? 100 GUITAR OME « wea gutaronemeg.com «APRIL 2002Wish You Were Here Asw Bs Rs as ES Ed Ry. Fig. 2 nd Jectos) Rhy Fig 3 nd Ry Fig. 3 ou 2c 2p / sigh is. delay Vers, 1 w/ RETA (se) aust Ro in asd =a SS + ° = eee a oa ul ny ewe sant 21 ll ay keno he Sn Basel A Fog Danse Tre o - cean looks like thou - sand la -mondk_srewna - crost— a blue plane The Sky “fe - sem - bes a back - Me can-o- py. with oles punched ini Bsust A Fin? Dews2 7 1 tema gains the wind, pretend = in’ weight less, Ym “coum - ing Ge Os Bg aa them my ‘lad- de. ews a Fin? Daud ‘0d ins ‘APRIL 2002 G1 The Maganine You Can Play 104Wish You Were Here Senorws Gre: w/ Ry. Fg 2m) 4,2: 3. re es BSH DSA ES su Bs Sens Saw poe aa Ge ee i er rem ee 1 (ue 2: Ry. 3 Gre 2cet, ‘Anu? Bs Hs as ES fast A wish you were bere. — 1 Fim? Daw? Bast A Fim? Dsus a (2: Ry. Fie. 3 BSEL DSA ES Asus? ES Fs AS BS TTI = wish you were SS whh— you were Interlude (Gi Tce Fin? os bre. Jou. 3 ee) af vf ds. & anger ering roaphout 102 UTTAR ONE « wwrw.quitaronemag.com « APRIL 2002Wish You Were Here Fin? os. Bridge Fim? 6 The world’s al - oe and 1 am not_sirapped in ‘APRIL 20029 1 The Magasine You Can Play 109Wish You Were Here Fier should hold — with ut my hands are, bas ie, 0 Ry. Fg 1 Gir Sct DS. al Coda Aud ESB BSF DSA Ems Avs ESB RS AS ES ing, ae wish you were here wish you were. Coda te: Ry. Fig 2 (162 meas) ‘Aud BS Bsr Ds BS 2 ee ih you were (2: / Ry. Fe 3 eto Asa es Bhs as Bs ‘Asus 108, GUTTAR ONE « wirwguitaronemag com APRIL 2002Nickelback “Too Bad” ‘By Douglas Baldwin Teetbacs prot pobive Ne cope teasious ook band serving up wel crafted powerballads aways fave & ple onthe chara (aches Netaibaay uy hgh place Of course the seen, Ingly “overnight” success of the band has been the rel ef youre of hard work tad ¢ steady honing of thelr fongvriting tkille, The group (Chad Kroeger and fyan Peake on ul tar and vocals, Te that charts as we go to press, and the success ofits lead-off singh the #1 "How You Remind Me, will undoubtedly be repeated by “Too Bad, ‘Twe TUNING, neTRE VERSES, AND CHORUS “Too Bad!” is played in drop D tuning, which is then droppedawholestep further, resulting in a tuning that reads CGCFAD,lowto high. The resulting chord fingerings are remarkably easy in (Chad's brother Mike pro) marily of barre fon bass, and Ryan Vikedal on drums) formed in 1996 and soon after released the seven-song demo Hesher, which they supported ‘with consistent gigsthroughout Canada. Their debut album Curb generated more interest, which led to more touring and more involved recording ses sons for their second album The State. Their third album, Silver Side Up, ay at 3 million units sold and stil ascending the aad chords on the three lowest strings at the third fret (P5) fifth fret (G5), and. eighth fret (B55). The introdue- tion has an interesting picking pattern in thatthe highest note is played on the beat while the lowest is played off the beat; usually It’s the other way ‘around. This part can be picked with the pickslone, with hybrid picking (pick plus finger), or with the bare fingers (in which case you would “palm” the tion in measure 13. A box dla. ‘gram of the D minor pentatonic scale is shown in Fig. 1 THE OUTRO As bitter as the verses of “Too Bad" are, the offer of “let's wal, let's talk” in the chorus implies a resolution to, or at least a ‘mature confrontation of, the disappointment the singer expresses, This more grounded attitude is amplified by the guitar solo occurring in the Outro, Instead of the schizoid fuzzed-and-backward double guitars of the main solo, here Is one guitar voiced with an cearthier, bluesier tone. It works the same range as the solo guitars, but with more energy (continuous 16th notes), less ambiguity (clearly pitched fretted notes), and a clear resolution to the song's root, note of D. 3 pick until it was needed for the strummed sections). TONE ZONE Apart from the B45 and FS | GUITAR 1: Solidbody chords, the chorus employs a | PICKUP/POSITION: simple but effective rhythmic | Single-coll/Bridge motif, created by shifting | @AIN: 2-4 between an F5 and a G5 in the | EQ: Bass/Mid/Treble:4/6/8, third and fourth measures. This | EFFECTS: Tremolo arrangement indicates that ‘you play these chords on the Solidbody two lowest strings, but you | PICKUP/POSITION: should try them with three | Humbucker/ Bridge strings as wel. AIM: 8-10 EQ: Bass/Mid/Teeble: 6/4/7 ‘THE soo 4s if to underscore the dissoci- | GUTTARS 4-8: Solidbody ated, dysfunctional themeofthe | PICKUP/POSITION: lyrics, the 16-barsolo featuresa | Humbucker/Bridge pair of fuzz-drenched guitars | GAIN: 5 (Gtr. 4 and Gtr. 5) weaving | EQ: Bass/Mid/Treble: 5/5/5, around each other with either a | EFFECTS: Fuzzbox-type distor backward recording effect or, | tion, reverse-envelope volume morelikely.a"reverseenvelope” | pedal, or reverse recording. effect. Both guitars work out their anxiety in D minor penta- tonic, played primarily in 10th position. By measure 1, Gur. 5 moves up to 13th position while Gir. 4 ducks down to 10th posi- | EQ: Bass/Mid/Treble: 8/7/5, a) D Minor Pentatonic ERO 08 *OG F oF i J APRIL 2002” G1 The Magazine You Can Piay 105