6 SONGS LED ZEPPELIN Ramble On QUEENS OF THE STONE AGE Go With the Flow ALICEIN CHAINS Dam That River JOHN MCLAUGHLIN Hearts and Flowers SOCIALBURN Down STRUM IT» THE BEATLES Let It Be THE MAGAZINE YOU CAN PLAY PLUS! PUDDLE OF MUDD EXCLUSIVE ALBUM PREVIEW DEFAULT TANTRIC Ai SEETHER ee Wl THEORY OF Fame | tad ADEADMAN oe aa Sea4 eu guitar: APRIL2003 = Soe ew PTT Te > : tei ae iz PT yg 2 Seen Ee eke eer pt 3 Par iene rae eee) Parent scr ene rt 84 Erol DY peered Ree rie eas Eerie i armenia ere Hee tag METAL SHOP tore ere fi 1 i pert plnad [ostine tet Cee Celie ea oa perp COVER STORY: NICKELBACK AND THE REVIVAL OF ROCK Poe oe nee en ee ee eer teen cei eet reer a ce eee Nt eee err) Patties renee irene’ BLUES BEFORE ROCK oer eee eee aa Perper etree ee oe een tien Hie sentria Tonia teen colt Peareomnere net) pe ie tees basin ero ieeteri=r LED ZEPPELIN 115 Ramble On JUEENS OF THESTONE AGE 4 tei eo With the Flow JOHN McLAUGHLIN 130 Hearts and Flowers: ALICEIN CHAINS 138 Dam That River 144 sociatsunN THE BEATLES. 150 (eine18 rinstnote 21 nascar OPENING AXE BobLogit Be aca lersvanng una 27 oss 28 29 puresnews 30 31 Ear - bs 32 32 33 36 39 rreox 49 jesson.ae 55 souonesrrarecies GEAR BOX Equipment news and reviews GL Fender cyclone G2 Tech2t Trademark120 6G Martin atternativex 6G codin Fiat Fivex 68 Linespooxt 70 DiangeticoNYL-2 72 HEAR SNOW 74 session 78 INE BLUEPRINT 154 apvertiserinvex 155 ciassiricos 162 ACOUSTIC CAFE 164 currar arciaves 166 BASIC TRAININGFIRST NOTE The Shape of Rock to Come Ao Tocca ‘ck While Eh isthe “King” and is considered by macy to be is te etna ween Tock as continuossly evolved since infaney— shaped and molded hy Bees the sifa ndsoflegendssuctias Chuck Ber te Besles, lack Sabah and AC/DC. among others Harel as rock become staan tow aris continuously emerge, expanding the gente's boundaries and exploring new mtusical wertories—samerimes to such a degre Une new cesilcations (eg Pt tressive rock, death metal are created to define the sound "he evolution of rork may have slowed down over the last couple of decaules ‘compared 10 ts seemingly nonstup development during the "50s, "80s, snd "is bur change continues nonetheless. One uch development was the stripped-durwe sound and -verytnan image introduced by Searle bandslike Nivana, Soundgarden, and Pear fam in the cariy'30s—latex dubhed "grunge by eriies—that fansiatched tonto after seatly a decade of the slick studio production and tlampoyant show imanship of "Hs metal. Bu with the death of Kei Cobain on April 3, 1984, and a influx of kauckoff bands saturating the scene, grunge was replaced by nd-imetal (Korn) and rap-roek age Against the Machine} by mid-decade So what does the future hate for cock? While may media outlets have been quick oprociaimbands ike theWVines, ie White trips, end the Stokes mislabeled "garage ck) os te Next Big Thing, ecard sales and radio spins fot these bands tella some wae difeent story The eltors of Gulzar One balieve the future of rock les in the hhandsfbandslke Nickelback and Puddle of Mudd—groupsthat began playing tir lstumenis and forming their st bands amid the Seattle craze a ecade ago. These bands rake cher grunge niluences—nur unlike whet Zeppelin id 10 a generation of ftoups in te 70s and ‘80s—and combine them with ofher cock sensibilities id modern 1eehology to create an exhilarating ssl of rock thal tele WD, wh of which can be found in Opening Axe, bring the readers and edi- 10 inchade sixin-depr reviews each month, with exper analysis from our esicemed staf of geitar playing editors j' to heip our readers make educated purchasing decisions, 4s always, your feedback is weleame, 7 Tray Nelson Edtnrin ch Guitaronemag.com Che dee a Coe enBme Rubn copy ewer ey teen pebgarSnses Tome, GEO Sire Neto Hone ‘Saneagenrs “nS Eee ao Seen Bab Grey Ses Keren cengingmanacen m nczee Mints yea enteniee Boers sksYour Questions Answered Dear Guitar one chords usually triads) and stacklngchern ar big fan of chord textures, but che one on top of the other The result isa fold sts? and adds chords are get- vibrant voiving chat is much more vring. Cauld someone help me aut provocative chan the sum of its compa~ ne whole cheory of polyehard nents Ihe art, of course, is In the choice Flonn Metatire of which two chordsto pair Here area ew Ireland general guidelines to get you started. Fist, lets go over huw polvchords are Bear Fionn: rnocared. The chord-symbol notaion fora niceomestorich and colorfultexture —polychordissialarin that ofa sash chord, tis polychurds age hard to beat. In except that where the slash chord uses a dition to ptoduclng bigsounds, they'll dlagonal slash mark () wo separate the so help you paint aimospherlé laiid- chord from the bass note (as in CiD=C bes fat beyond the seope ofthe fune- chord aver D inthe tas, the polychond tut rather pedesitan voicings you uses @ horizonial line [—). The chord on nea ‘hebottom she fundamental chord, and nireprobably aware. palyehord — Theaneon tap isthe color cord (as in (ted by taking two different Eehord voiced an top fat chord). Now a] oR RRHOA te a ay ae that we've staighcon how they're notated, Ter get staried playing some polychonds. Make sure your fercing flngers are lim: bbered up-—polychardsaremutoriousl dif fleult play on the guitar If youze looking fur an interesting major-type sound play a major triad on ‘the bottom three strings, then voice 2 major triad 4 5th above the ot of your fundamental chord on the top three strings. Big. LA gives the example ofa 8 Inopen postion. Although the notes spelt but a Gmaj9 chord (G-5-D-Fe-A), tbe Stackingof lke eiadsezudes amore open fariguous sound. Figs 1B-C show alver- nate voicing: of he same ctocd, but with inverted G luiags, Fig. 1€ is particularly ‘challenging, shat with the ip-of-te-in ger bartes, [Dont say I didn't warn you.) ‘Youtean ereate some inceresting major 6/9(¢1 1) washes hy stacking nejghboring major triads awhole stop apart Seart wih your {usdamental trind (either in root position or inverted) and drop ina major lriad a whole step above ynur 1uot (see Fig. 2 for somes! palychotd voielngs) Reverse this process, and youl get some ing dominant 11th colors: Fig. 3 shows toe voicings ofan. (he fourth sovcing isthe same as the third, bux wih, sanaltennate fingering) Plopa major triad minor sid above our iundamental rsd andl you'll get some great dominant 725 voicings, Iff sthssitating one af che E voicings in Fig. 4 the next time you Sncuunter a C739 chord ts also cormmon practice to mix and nage majar aid minor iriads to eon: struct polycherd voicings. In Fig 5 you'll find several polschord voicings based on an open F minor triad (voiced Th-Sth-vSra). Tae tonaliies hey supe gestare as follows Fmt @ -Emo E, = umes, méisiadds)NOISE & FEEDBACK Ulemately the most creative way 10 use polichords iso experiment with a ‘many different pairings as possible so thatyoueanbulldenarsenalofyourawn Don’ he aad o empley open stings in sour voisngs With a ile imagination youll diacover interesting way co ime ge Dilly your et-han! Eagering. Use tie and {2 polvchord examples in Fig 6 help gt your create julees fv. Dear Guitar Ono: | find myselé playing a lor of standard chords and pentatonic scales, and need something moze dramatic. Could you show me hove to incorporate classical playing inca my metal leanings? Jonathan Stfonee ‘ese Aicomon VE ear Jonathan: Regardless ofthe musical syle you prefer, great gins can be mace in Four chordal And singlesnote vocabularies by studying lite works af Barogue (1600-1750), Classical (1785-1820), and Homantie (1820-1910) eracomposers. fo the general publi, the works ofthese dee periods ate ‘often referred to eollecrively a classical" ‘mule. For choed-based inspiration, can Sider learning solo gotar arrangements af Baroque works (for example, Backs Late Suiteand Cello uel orstuving ie play, harpsichord, and organ works of key Classilsts Haydn, Moose, Beethoven} Also, analyze orchestral scores (printed ‘sheet music containing each instrument usedin piece ll ncated la vertical fash Jon on the “grand staff), and then wan seribe or adapt all ofthe above to guitar Among ther things, this transla willreveal the lack of uote densly” inthe cypes af chord structures these composers used For instamee, in Baroque and Classical music, each chord tonesare ypically dis persed over a wide sonic range (Fig. 7), 25 ‘opposed co the comparatively congested ne associated with traditional guar ‘dition, youl find that sespentetchores IFig.BA\ and choc inversions Fl 8B fac torheavilyingo chess harmonic equa ton. After grappling with those classically lspized volelngs, ry applying them co ther progressions. Given that the Ro. mantle Era (Chupin, Strauss, Mahlert involves moce chromaticism chan eatlie syle in terms of harmonic and melodic serctues, consider leaming the changes to aChopin or Strauss piece and convey ing chem with your ne shapes. Howe canstudsing wasseal” musiehelp you bust ur of the pentatonic rut? Given that a healthy percentage of the styles melodic content (particularly Baroque) stems from sequential parr (restating the same note pattern, beginningon dite tentpitchesywithinthescale! and pedals (a fised noc around which a sequence I bolle juggle you can aay Rind insane finger sevamblers to woesdshel Fg. alol ‘which vail engender beter technique anda refined sense offretboardawareness, These types af passages may be gleaned from any ‘umber of pieces iach’ zmwttons ir Insane}, bat seem tobe mest naxigule gultarially speaking, in wosks rite oe another sirwoso intumentof eerie ‘iin or esample. Bach Vie Peas Once you've hulked mp om your Baroyue lines, consider tacking some of de she fests fzom the Classical and Auimuntic periods, fom Paganin's 241% Caprice w msky-Korsokuw's ghey the Buraboe: These and more are available in prin arranged for guitar aspartolTalecnatcls (Challe the Masters series, Dale TURNER eae Guitar one: ‘What isthe dilference between a hull body and a semi-hollowhady guia? Ker Jackson Maatison, SU Dear Kens The terms “hollowbndy" and “sei hollow body” are usuatly used In reer ence inelecwie guitars, burahollowbody auld be any traditionally construceed gulia,Hellewbndiedgultarsare designed for maximum sconstie onspt wichou theaid ofan amplifier Whe electric oe lars ist made dhe scene, chey were sim ply taditonal guitays iced wih pickups. ‘As amplifiers became stronger. the reso nant qualifies of hallow had Yed 0 tuneomtrallahiefeewiack. Mamitaeriers responded first with “inline” electric holluwbodies, such as the Gibson Byrdlaid ind E5-350T. Although less es ‘onan than their full-bodied predecess Sits, these guitars still produced an lursvanted hol, so solidhndy guitaes were Inurnduced, Aves Uke the Fender tele ‘costo ana the Gilson Les Pal corey eliminated the feedback problem. but ‘cuiservative guitarists sentfed at these proumstick”puitas for their perceived assembly-Tine vine, Ta appease this com: Servi faction, (hse inerochce the EScSI5 in 1958, appeared to hea thin line hollowbody, bn in face it was bul vith a slid hlnck of wed desir the cen Feedback was greatly reduced, anda ‘whole naw tnne wasadded.othe electric pultarst's arsenal ‘CONTINUED ON PAGE 158 22 GUITAR ONE « pulaanemeg com = APRIL 2002