Ve } YT MAGAZINE YOU CAN PLAY ET tated | aa i ) bind ! | Th ar ox | = CS MEGADETH | Deftones te IW Eg Bgsconttel deli _ Evanescence | Lindsey Ps Pate cieecint Recs. nage nae | v a a CZ a ie FIGHT FOR HIS esBM Cy tee tea Cle mee aay By Bly Clements fou probably couldn't find a more eclectic group of songs than those presented in. this month’s issue. From the metal grind of Megadeth, to the classic clean guitar work of Jerry Garcia, these songs offer a wide diver- sity of both tone and musical styles. So when I embarked on the task of writing this months presets for the GNX3, itwas comforting feeling to know that {had the tools to easily get the sounds wanted. Just dial in these settings on yo GNX3 Guitar Workstation and_ you'll be playing the tones for each of th monthis songs aswell. Ifyou have MIDI on your computer its even easier. Goto ‘wwwedigitech.com/guitarone t0 down- load the presets directly into the GNX: ‘Once you've got the tones, jump over tothe builtin multi-trackrecorderandlay down therhythm tracks. Turon the song repeatand you can practice that solo until youve got it nailed, You can also use the recorder as your portable tutorto practice this month’ lessons. Just download the Hear It On Line” lesson MP3's and take them with you. | @-HEARITONUINE ‘Suiromoneason Thope the tones, playinghints, lessons and music provided here inspire you to | take your playing to the next level. | See you on stage. andi a prolific reator in countess recordings and perfor SYSTEM OF A DOWN “Boom!” SS lm ietiretrs ta Oxo aaa [Pan [a [P| res Cone | cf wn) | - | - | | ener | Of [-{-1= Gee 5 B00 | pts | pl (lh | 0 RED HOT CHILI PEPPERS “Can't Stop’ TS ow [oe [| 9 et of | - | “|v |Past |r | Wachee [or [= [=] -]-]-_ Comper OF | =| = [= [=] ‘MEGADETH “Symphony of Destruction” Tiyan ee, | Ame lca | 208 | | ay | way Gren cil [og @ | | 00 | 0 ted [Oued fort 9 | @ | 00 | or Pen Pn Pan rant as Wa Fap Suisse shealee g/ ¢ [g/g] eve ‘opti |p! alee | 0 om ADVERTORIAL, | Werae[ or [== T= T= T= DigiTech* GNX3 Guitar Workstation-Powered Presets LL GRATEFUL DEAD “Box of Raii Bee | tao [oie | Az | O88 [1h | nan Ct at i] |_| | et ie] me |) | | orion as Wa OF | | xpesin [| =] =P =P = f= rv | —_ eae 0.6m ke We | Oe Gale | OF Day | oF Inet OF phage | |e ROLLING STONES “Prodigal Son” Tee ay | [Ea |e [ve ot i font” 6 | 00 1. Ice Gv |Pn |Pn |P |P[P Waa OF = Compesion of | = | - | = | = eter Mev) | ~ Step 10-Geen Ca os oF of cS ‘epAsign | ipl Wie 0 | = Digilech.What’s Between the Lines ‘TWE VERSE (LESS 1S MORE) standard barre chord counter- ‘The verse sections of “Can't | pars. Hetrimsthings down even Stop" showcase Frusciante’s | further for the final Bm? and indisputable forte: bare-bones, | Cmaj7 chords Fig 2. super-funky rifing, A four-bar, cycled, single-note rif (RTA), it | ATMOSPHERE LAYERING outlines the essential chord | Shifting gears yet again at the tones of E7 (E-D], Dsus? | bridgesection, Frusciantedives (D-E-A), Bm(adds) headlong into acon- [B-D-B), and Caddo tinuous stream of {C-D-E} without reggae-influenced, ever striking so itil offset eighth-note much asadvad. Dial thythms (on every ina semi-clean tone “ upbeat). Midway with a touch of grit, through. he overdubs boost the mids, and anarpeggiated figure "use your bridge pick (Gtr. 2) enhanced Lup (preferably single with temolo, While coil). Make sure you its a simple enough employ oodles of pact for the fretting leftchand muting as hand, the picking- youstrike as many surrounding | hand pattern is another matter sirings as possible. This tech- | Fig 3offerstwo approaches: the Red Hot Chili Peppers — | szsvascveeer | errno roocang tae of aerate: and sweep “Can't Stop” Picking Experiment with both Te camnuscwoussur) | fo decide wash one bes se [tthe coms, Prancanefr- | yourplyingsie 00 ts remo parTaEwan) | goeshicchoppysingesnoe Rescue) teetete es eo mes | Se ‘year 2003 finds the Red.| haps? Could this be the Doors, | chordal attack enhanced with | As with the majority of Frus- Hot Chili Peppers pop-| or is it simply a respectful nod. ping out all over. Currently from one exemplary jam band | muted string seratches. Har- | ciante soloing forays, the inter | monically, the chords are stan- | lude solo goes for effect rather wrapping up a mega-successful | toanother?Why, isthe latter, of | dard fare (G,D, Bm, andCmaj7), | than lash. Eschewingleft-hand worldwide tour—the band eald| course Rogardlesof whetherit | but the inventive guitariat’s | vibrate the gultrlat melodie out Ireland's famed Slane Castle | was intentional or inspired (in | unique voicings are worth look- | line's moreakinto an orchestral Seen Se eee ee eee Ingtwoandahalfhours—RHCP | in introduction tactic, inwhich | histhumb tofretthelow Estring | He continues te line through now stand poised for an exten-| guitarist john Frusciante cycles | ontheG, Bm, andCmaj7chords | the fourth bar ofthe final verse siveU.S.tour Notonlyis"Cant| a D-E motif, proves an irre- | (Fg. 1], Thisresults in slimmer, | section, then segues tothe main Stop" skringthe summitofthe | sstible setup forthe upcoming | funker-sounding voicings-a | riff again for the remainder of modern rock charts, but EMI| main nif stark contrast to their fatter | thesong. 5) Records has just marked the. | eee — band’s 20th anniversary by | I TONE ZONE releasing digital remasters of {GUITARS 1-3: Solcbody theirfirstfour albums: Red Hot G Chil Peppers, Freaky Style, The Uplift Mofo Party Plan, and Mother's Milk Press time finds our four fun-loving funksters well on their way toward estab- Hore ~ lishing 2003 as the year of the ‘ed Hot Chil Peppers By the Way Pepper. ‘The latest from the Chili Peppers is more red hot than = ever! Get note-for- ote gultar anscrp | Bm? Cmaj7 Cmaj7 PICKUP/POSITION: x Single-coil/Bridge GAIN: 5 EQ: Bass/Mid/Treble: 4/8/5 EFFECTS: Tremolo, distortion tions with tab forall 16 songs with Hal Leonard's Guitar Recorded Versions By the Way songbook (00690584, $19.95). Contact Music Dispatch today 10 order (800-637-2852, music dispatch.com, JUNE2008> G1 The Magazine You Can Piay 115GNX3 Guitar Workstation Powered Digilech CAN’T STOP As Recorded by the Red Hot Chili Peppers (From the Warner Bros. Recording BY THE WAY) Werds and Music by Anthony Kiedis, Flea, John Frusciante and Chad Smith Intro Slow Funk-Rock J = 88 Gx. 14cem) ED wee wee ee oe play 3 times Bmiadas) caad9 ‘litle © * oe k ++ + te = cm * b+ + — cs x ‘asa 146. GUTTAR ONE « gutaronemog.com «JUNE 2003Can’t Stop Verse 1 w/ RTA. 1/2 tes) H Dsus2 Can't sop, ad = dit - ed wo the shin - ig Chop top, he says T'm gonna win big 2:Sweet - heat TR leed = ing in the saow — cone So” smut, she's lead - ing me {00-2086 Brads) cada Chooie nota eof im-i- tw - tion, dis - tam cous = in Othe esr - va = tion Mus- sic, the greai— com-mu nica - oy ase (WO. Micks 1) make— In thems > ture De = func, the pis - tol that you pay for This punk, the feel = ng thar you say for Ti “ge you fy 2 to pene ra - don pea - dee of gener - a ~ ton Brads) cua Jn sing 1 wan. 0, Me your Des fend. Fa ide Ione t= ing, the wet = nd The bith of ev = ‘ry oer ma ton. Worth your weight, the god of med-1'- tm ~ ton Dax a ee ee ee SSS SS ——— Knocked out, bat, boy.— you'd better come to owt die, you Know. the tri is some do, This” chap - ters gon - "na be a close one Smoke rings, "I know you're gonna blow one 2 Badd) cag Go write your mes sage on the pave = mem, Burn-in" so bright, 1 won = der what the wave mean A “on” "a" space = ship, per-ae ering, use’ omy ands’ for ev - ry thing bat seer - ing B Daw2 White heat is seream ~ ing in the jun ge Com = plete the mo - tion if you stum ~ ble Cart Sop the spire when they aced "Jou ‘Mop - tops are hap = py when ty food you. Brad) mai? = for an-y an = aver, Come Dick song with «Belly date = G. Yyg But ter-fly-—— is inthe tree - top Birds that blow the mean”- ng in / 10 be - bop. JUNE 2008 G1 The Magazine You Can Play 117Can’t Stop Chorus 6 D Bm mai? —~ ~ — a wort pet ofthe wave, can't stop. | hy Fig ad Rhy. Fig. D Bm nai By se won der ite al for yout The wold 1 love, the taim— Top to be part ofthe wave, cant sop, oe D Bn? mai Bridge Em D D6 448 GUITAR ONE « gutaronemeg.com «JUNE 2009Can’t Stop cB Tike you Far moe / shocking than an enw How "bout you? End by ig 2 (i, 1: Ry Fig. 2 Em Emad) > D6 af, / emia fist Bm Bm? c D JUNE 2008 G1 The Magazine You Can Play 119Can’t Stop Em adds) D De sock = ing than (ie) Ry FE Bm? Cmai7 Interlude Ge Dect * ES bs Bs cs by FLL 1 120 GUITAR ONE « guitaronemag.com «JUNE 2008Can’t Stop 3.Cant sop, a= die - ted to the shin ~ dig. says T'm gonna win big. =o ao Gis - tant cous = in wo. the res -er (te. 1) RTA 24 me) B Dews2 De ~ fine, the pis = tol that you pay for This © punk, the fel = ing that you stay fo Brad) cada In time 1 want tobe your best friend. East - side love is liv - ing on the west - end B Dsusd Knocked out, but, boy.— you'd better come to Don't dle, you know— the uth is some. Brads) cade Go write your mes - sage on the pave - ment. Burn - in’ so bright, 1 won - der what the wave meant . JUNE 2008 Gt The Magazine You Can Piay 121Can’t Stop B Kick san the gold = en gen-er- a - to Sweet = tak, but don't n= tim == date her Brads) cauas (Can't stop the gods— from en-pt-neer - ing, feel mo. meed for an yim ter fer - ing Ry. End Ry. FL? Gi 1 w/ RITA Int 3 mes) a Deus? Your im = agen tee ton a is Me ee tn or e+ Ge wR 2 Bias custo SSS SSS J ‘ne {et — et — tet Cn ipsa — (te 6 vente fet Colt sh 0 we bh gn te Can't stop the spies when they need you, This fe is) more— than just. a read - through 422 GUITAR ONE « guitaronemag.com JUNE 2008,What’s Between the Lines spring of the blues and country | THE INTRO LICK musicandcreatedalastinggroup | Open E tuning provides a nice ofsongsboastingauthenticforms | “square” blues box (Fig. 2] and an emotional expressiveness | between the open strings and fret that could not be denied. | 3 rom which to improvise; wth “Prodigal Son” was originally | inits confines, "Keel" rips offtwo recorded in 1929 as snappy descending “That's NoWay to Get BME licks in measures 1 Along” by the Rev. 4 and 2 that resolve to cerend Robert Wilkins r the reot (E). Be sure (1896-1987).Through GNI 0 observe the hip a mix-up resulting quarter-step bend in from the controversy 7 measure 1 to the surrounding the orig: “true blue note” in {inal album art, the between the s3rd (G) writers were listed as ‘and major 3rd (G4. “Jagger! Richards. ‘ In Fig. 3, a classic Eventually, Wilkins’ country blues lickin ‘name was restored to open E is presented | {he copyright, and in his later | for your eifcation | years even he referred toitby the | Stones' ttle, |THE FoR | Prewar country blues, especially Te TUNING | before Robert Johnson codified Stones guitar maestro Keith | standard 12-bar changes in the Richardsbeganfoolinginearnest | mid-’30s, often contained odd: with open tunings around the | numbered verses. “Prodigal Son” The Rollin Stones time of Beggars Banquet; | uses the I (E) and IV (A) chords ig ‘prodigal Sots in open ke | onlyandhasahal-time fel with “a 2 ” | theReverend'soriginal composi- | seven 9-measure verses preced- Prodigal Son tion Deepen owficlaghcs [Stacia lage tien tobi E-B-ECG#b-e) hes the same | sic avesures of whlch (yi. see bagrek qrogecoseieey | Upuciiphingitss gotten ‘By Dave Rubin Thefirstin the stringofthe Stones’ | (D-A-D- Prodigal Son” was the fstblues | Beggars Banquetis arguably their | inspired by Elmo's take on “Dust | paniment of a tambourine as he cover by the Rolling Stones since | greatestrecording Nolongermere | My Broom’—Is a dandy illustra- | drives the foot-stomping groove their version of Willie Dixon's | talented dilettantes, the group | tion of the unique qualities of | withabigacousticboxthatislike- Little Red Rooster” in late 1964. | tapped into the mystical well- | open D (or F) tuning. Iyhis Gibson J-200. You can play “Prodigal Son” with aflatpick, oF {for a more “down home” vibe, ‘you can play it fingerstyle: try it both ways. THE VERSE | Measures 1-3 contain a vamp ‘on the I chord (open stings | 6-1 witha simple melodic line | that incomporates the “tue blue | note end and oughly flows the vocals contour in blues- | approved fashion. Movement | foe err tenon oe aT back tothe for resolution occurs in measures 4-7, while a propul- sive turnaround pattern in me sures Band employsanascend- Jngline on string 5 (B) that walks * , | chromatically from the open A pare string (th) to the E (root) 5) 3 | TONE ZONE {UITAR: Fat top acoustic Open Fania JUNE 2008» G1 The Magazine You Can Play 123,GNX3 Guitar Workstation Powered PRODIGAL SON As Recorded by the Rolling Stones (From the Abkco Recording BEGGARS BANQUET) Transcribed by Adam Perlmutter fen tng: Govwhgh EBE-GEBE Intro Free Time E as Whitten by Robert Wiikins —— z : ae =—= nag Moderately d= 106 Ar EAE EAE Ry. Fig 1 124 GUITAR ONE « guitaronemeg.com « JUNE 2008Prodigal Son 1.Well End Rhy. Fg poor Poor 4-7. See additional rics JUNE 2009 G1 The Magazine You Can Pay 425Prodigal Son 2ndime, Gi. 6/1 road ind. ake tw ny. | MEE NE BAe E AE E ——=—-—— 4 é ee Z a x =. = | — Fz be hd and san cd oun the road Go - ing te had ant fas mine come te lan Tbe you's fo te feed my wine Boy AE EAE EAE EME E ie = —— sa © os out in this world where, God on = knows. ad ire Pl oad tee me de - cen in od ae MN ied ee, ohm Ose eid ce Hay Times that — be the way get 8 tong 2. Wall, that © be the way TM pet long Si wall that is bo way tet kong rut 126 GUITAR ONE « gutaronemag.com < JUNE 2008,Prodigal Son cree, et ee . , Eg AE E ABE AEE Additional Lyrics Said, [believe I'l ride, Believe I'l go back home, Believe I'll go back home. Believe I'll ride, Believe I'll go back home. Or down the road as far as Ican go. ‘And that'll be the way to get along. 5. Well, father said, “See my son Coming after me, coming home to me.” Father ran and fell down on his knees. Said, “Sing and praise, Lord have Mercy on me.” Mercy. Oh, poor boy stood there, hung his head ‘And cried. Hung his head and cried. oor boy stood and hung his head and cried. Said, “Father, will you look on me as a child?” Yeah. Wel, father said, “Eldest son, kill the Fatted calf. Call the family "round, Kill that calf and call the family ‘round. My son was lost, but now he is found. ‘Cause that’s the way for us to get along.” Yeah. JUNE 2003 G1 The Magazine You Can tay 127What's Between the Lines leven more crushing and unpre- | same logic in mind, isolating the dictable output from this polit. | rickest portions of Malakian’ callyawarebandthenexttime out. | rif, involving picking across two strings. Note that throughout the MALAKIAN'S ALTERNATE-PICKING | first half of this song's verse, PROWESS Malakian uses thesame fingering Daron Malakian might spend. | patternencounteredatthe outset, most of his time writing these | merely shifted to different frets days, but given the blazing pick- | along the same string set. imply- ing chops he exhibitsin the verse | ingchordslike Cém, Fm, and Esm sections of “Boom,” it's pretty | inthe process. obvious this guitaristspentmany | hhours “polishing the plectrum” | MO-METAL COUNTERPOINT duringhisformative years! Racing | One of Malakian’s most signif through 16th notesat the lister- | cant contributions to Systems ing pace of 155 bpm. through- | sound lies in his meticulous ‘out this song's verse orchestration of sections, Malakian parts—layering dit uses alternate pick- ferent instruments to ing—continuous add depth to the down/up strokes—to ‘music. For instance, keep his double- in the latter portions picked single-note of this song's verse lines upto speed with sections, a Malakian- ion f his band’ burning aspen oni, tem ofa D Zener ee mene eS System of a Down Se tauren Boom! ides hie WEVuReaiy-ienkinig | lng iahaeplay vals bare apckn alternate picking four evenly- | vocal and Gtr. 1's undulating — spaced notes per beat (i, 16th | rhythms, particularly given the ‘By Date Turner tracks for possiblelater release. | notes)isnotunlike playingeighth | exotic scale Malakian favors Wien "Two years later, Toxicity is | notes at the same tempo using | here: D Ukrainian minor entered the studio in| hailed ® mult-platinum mas- | repeated downstrokes (lg. 1A. | (D-E-F-GEA-B-C), or the sth otto track Tac, | terploce and SOAD are decared | Ifyouve practiced any speed/ | mode tA harmonic minor theyrecordedupwarisof3otunes | nemetal heroes. Meanwhile, | thrash metal nes where rapide withthe iment of whiting | Inferior versions ofthe discs | firedownstrokesareKeytorifing | TONE ZONE that number down (016 forthe | numerous outtakes were leaked | rightly, this shouldnt pose as | SHMARS 1-2: sliboxy alum Iwas a difleuttak."t | overthelntemettastyear-Toright | much ofa challenge. Assuming | PIEXUP/POSTON: Ike all 32 songs that we have” | this wrong, SOAD released Sta! | your picking hand is capable of | Humbucker/Brdge SOAD's guitarist and primary | ‘This Albumt—a 16-song colle- | downstroking at that clip and | aA: 6-7 onguriter Daron MalaKian. told | ton of frished outakes disib- | considering that each note tn | EQ Bass/Mid Treble: 7/4/7 US during the records mixing | ted in rious bootog-ke | Malas ere fre iced Stage "We dont havea bunch of | packaging."Werehappy ourfans | tice all you need odo catch | Systm ofa Dawn Stal tilssallthe songs ae power | willbe ablerobearthesesongsin | the string again, striking it with | TMs Aum! This song- Wis as that when you putsome | completed form," Malakian | an upstroke in between your | book (00690606, | ‘of them together in a group, they | rejoices, adding that these “new” | downstrokes [Fig. 1B]. So, al- | $19.95) features note- shine for some reason.” Each | tacksare “likes bridge benveen | though Fig. 1B might sound | for-note guitar tran- === member of SOAD east his vote, | Toxiity and the next studlo | switer the speed at which your | scriptions vith tab fr all 16 handplcking songs ike “chop | recordisongslike"Boom!” ae | pic-handtaveelsacuallyden- | songs. Contact Musie Dispatch Suey” and “Aerials” and oping | anyindication of where SOAD is | tialtothatof Fg. 1A Meanie, | today to order: (000) 637-2852, to shelve the remaining dozen | headed, we can look forward to | Figs 2A-Barepresentedwithths | musiodspach.com. 190 GUITAR ONE « guitaronemag.com « JUNE 2008,GNX3 Guitar Workstation Powered ‘As Recorded by System of a Down (rom the American/Columbia Recording STEAL THIS ALBUM!) Words and Music by Daron Malakian and Serj Tankian Drop B unin, down step: (iow thigh C-0-C-F-A-D. Inteo ‘Moderately Fast Rock J = 185 BS Ds Bs bs ett play Pines “at | wy a 2 3 a | : ae - a = = ceaes ae a sai niprcbaah se aie X a your ulin erying stucless neckties 46 — 4s 5 ae sant samen Sry an SS a me sae JUNE 2003» G1 The Magazine You Can Play 134Boom! working Ab houses housing Overbearing advertising, 4192 GUITAR ONE « gutaronemeg.com «JUNE 2003 God a Chm —— ee ‘and all your crooked picuesBoom! ee Mirtorsm, fering Information forthe public ee ‘a. ed Rift A (re, 2) RTA bm 2 2 designed profiteering Your neighbor, JUNE 20039 G1 The Magazine You Can Play 133Boom! Bs Ds Bs ps Bs Ds ‘cla has tom, (im. & 2 6/ Ry Fi. 1 Boom! Boom! Boom! Boom! Interlude Half-Time Feet As ats aS 1 End Rhy 194 GUITAR ONE « guitronemag.com < JUNE 2008, Fig?Bridge (ir. 1 8 2°6/ Ray. Fi. 2 ps as ots as o Wig ey most we il DS.atCoda End Half-Time Feel Fs ES Cate ES bs EbS Ds Boom! Boom! Boom! Boom! Boom! Boor! Boom! Boom! Additional Lyrics 2. Modem globalization, coupled with condemnations, unnecessary death. Matador corporations, puppeting your frustrations with the blinded flag. Manufacturing consent is the name of the game. The bottom line is money. Nobody gives a f= --. Four thousand hungry children leave us per hour From starvation while billions are spent on bombs, creating death showers. JUNE 2003 ‘The Magazine You Can Play 138,AW Fee Te ae ee sharply with the song’splaintive | able with the riff’s underpin: plano parts. Lets examine both | nings, you'll be ready to add the of those instrumental aspects. | A minor (sounds as E minor) melody, each note of which you ‘THE PIANO ARRANGEMENT shouldlet ringforasiongas pos- In arranging piano for guitar, | sible. n the first and third mea- you can easily bust out ofa six- | sures, use your pinky finger to string rut, thus enhancing your | depress the 3rd (LOth) fret note, overall musicianship. Since the | and your index finger on the Ist Instrument’s88 keysspanseven- | (8th) fret note. In both the sec- plusoctaves,adjustmentsoften | ond and fourth measures, have to be made in transferring | stretch your pinky to finger the plano musicto gultar.The intro | 5th (12th) fret note. o “Bring Me to Life" travels beyond what is accommodated | THE COUNTING by the standard guitar's fret- | Thesong'sactual guitar parts are board, so in our arrangement, | straightforward enough in terms we've transposed of fingering, but the everythingdown one shythms may be a bit octave. Even though difficult. In learning, the new register fits the various figures, i comfortably within ‘wouldbe benefcialto the guitar’s range, subdivide, that is, to the parts are tricky to feel each beat ‘i finger, so we suggest aratepans Soinstend anchoring a capo at of counting, "One, Evanescence Sines) ae “Bring Me to Life” eS etree of the transcription’s Riff A. | uh, three-ce-and-uh, four-ee- ‘Throughout the first two bars, | and-uh,” thus dividing each beat fy Adam Perimuter album, Fallen, recently debuted | keep your middle and ring fin- | into four equal parts. T= name suggests asud- | at #7; two of its tracks were fea- | gers depressed at the 2nd (Sth) | Fig:2demonstrates this effect enGhssppearance;baton | tored inthe Daredeif sand | fx onthe 4th and Sr etringx | wit bart ends of the dcoed ta coeary remain | gees Maso Litt Sind romper bt ldetwobnt: |. avo. Ess ert bono moody group from Little Rock, | singer Amy Lee sparring with | keep yourringfingeron the 4th | syllable is italicized, while each Arcanten, have octinghy ap | guest yeipe Poul McCoy o€12 | triage Sed (0th fet and our | rst pled wilt Pala AL Deared ftom out ofnowher. | Stones; underneath, guitarist | mkdlefingeronthesritrige | an extemely slow metronome Tica only ty aaa sulig | Denboody irs down pore ag | 2d (Xt) re mailing say 406 pies eat of Bs tat Eat fal aegtt| tate enbed woke Ponnrectg |" Alber you've ten coco | ahoerlocmmmta El ot : ty sang ers paee Yt Mot dine ged ocary latacin hoa yar viliaet taGees stythencal snuteach Es chord fi je Ee era chords are of equal importance. paca tigiaiatl piece smoothly play along at the exam tehe bo fertile, youshiould bee se proilee Seapieraane itech Saat Ainougipracicngaubalvding Sight notbp sa mca eickicg = fultar activity, this discipline = Sal grad improve your yt mic cognition. 3 TONE ZONE SSUITARS 2-3: Solidbody PICKUPYPOSITION: Humbucker/Bridge 9: Bass/MidTreble: 7/47 136 GUITAR ONE « gultaronemag.com < JUNE 2008,LOND CREM cra On coe lone ge cokce mame § 15 1](-1—1 9) BRING ME TO LIFE ‘As Recorded by Evanescence (rom the Wind-up Recording FALLEN) Transcribed by Adam Perlmutter Written by Ben Moody, Amy Lee, and David Hodges Intro Moderate Rock J= 96 Em Am) "tr plano arngedforgultr ——_©*Syumbolsin parents represent chord mans eapectve to capced utr hove ree actal wounding cons, Capeed fet "0" nh. Ame may 2 ike ° pen oor? Lead ing you down. i. w. my cor, JUNE 2008% G1 The Magazine You Can Play 137Bring Me to Life Awe Ge 24480) ———_ wv Em(6) 4138 GUITAR ONE « guitaronemag.com < JUNE 2008Bring Me to Life S chorus 3nd ine, w/ Ve Fl Bs os Wake—me —up— in ~ side, oe. Ft ie TUNE 2008» G1 The Magazine You Can Ply 130Bring Me to Life oa a 2 coy ae 2 #4 t tts e et Et we Bid my blood to ‘run. be - fore 1 come— un - done. } To Coda 1 @ me ToCoda? ® = Swe— me from— the nth ing Ive be = come— Verse you cant just ind hy Fig? (ir 2: w/ Ry Fag. 2 Bo a ae Bee fs f: - a mt DS. Coda Cnc peee ae aes tic =a = SESS == Sieg areas Bring— ‘me —_________— 10 life, 4140 GUITAR ONE « gutaronemeg.com «JUNE 2008Bring Me to Life Coda Interlude w/smis. vocals ES cs JUNE 2008» G1 The Magazine You Can Play 154Bring Me to Life : with = out — your Verse Gx, 2tacet 0-2: W/ Ry. Fg. 2 (15 ines) = ES ‘a = 4-AIL of this time, I can't believe I couldn't see. Kept in the dark, but youwerethere in fron of me Emé6) — ve been sleep - ing a thou - sand year,— itseems. Gott 0 - pen my eyes ev ory ~ thing — od notes for 1 eas With-out a thought, with-out a voice, with-out' a soul Don't kt me— dle here, there must be some~ 1442. GUITAR ONE « gultaronemag.com «JUNE 2008Bring Me to Life DS. al Coda 2 Em(s) Em? = as femme thing. wrong. Coda 2 Outro ‘mis. vals (ext meas.) ES 3G Dsa\ Gi 4 JUNE 2005 @1 The Magazine You Can Play 143Bring Me to Life ec — = On ew RITA HineD) Frade Out Bs Strii iettiot i s 4 144, GUITAR ONE « guitaronemag.com «JUNE 2008What's Between the Lines By band! Asalways, Grwillkeepyou | to a sequence of four different Posted. Meanwhile, as a com- | notes, A-C-E-F, stated over an panion piecetothisissues Guitar | implied Amtriad (A-C-E). The Ft School withMarty Friedman, we | added to an otherwise generic present Megadethis “Symphony | Am arpegglo seasons its sound, of Destruction” from their | yielding an Am6 arpeggio. DS.al Coda (or Stace (lake 2nd ending) BS ES Coda bs cs ps FS ES | Sym-pho-ay, sway-in’— 0 the Sym-pho-ay of De = sme - tion JUNE 2000» G1 The Magazine You Can Play 1Grateful Dead “Box of Rain” By Douglas Baldwin being signed to major labels | fretted notes, making sure they 3s fast as they could be dis- | ring clearly. By reaching across covered. The Grateful Dead were | the neck with your pinky finger, case in point, and after com- | you'll be sure to position your pleting three mediocre albums and achievinga debt of $10,000, they could have been written off as a historic “whatever hap. pened to... except that they managed to delivera tripleset of their finest work: Live Dead, Workingman's Dead, and American Beauty. "Box of Rain” ‘opens the later with a welcome buoyancy as the Dead reinvent classic American folk music in fretting hand at the Sth fret, as. I: 1966, rock bands were | shown in Fig. 1A. Play only thumb behind the neck and free up all your other fingers for | what's to come, Now gently try | adding one string at a time | beneath the index finger. as | shown in Figs. 1B-D. When you are comfortable with this final shape, move it down one fret at a time. If you can play it clearly at sec- ‘ond position, then you're ready for the Bm barre chord, Part of the magié of “Box of Rain’ lies in the mercurial key changes implied by these simple chords when they are paired with Phil Leshis beau- til melody. The song clearly opens nA major, making the fist D chord sound like aI-IV cadence, The Am is a bolt of ambiguous lightning, creating a musical uncertainty until the G | chord announces the arrival of ‘major as the tonal center. When theA chord returns, itleadstothe D as if following a V-I progres sion, momentarily shifting the key center to D major. Then the trickster Am returns, flip-flopping chord. |, the song backto G major. And so It goes, right tothe song’ final A ‘THe STRUMMING The actual strum for"Boxof Rain" should be a piece of cake. Even down/up strums with just a bit ‘of emphasis on the second and fourth beats will see you through. This is shown with appro: priate counting in Fig. 2. When every- thing begins to fall into place, try adding an arrangement for the intro figure such as the one shown in Fig. 3. This is an amalgam of the bass and chordal instruments on the chord. > recording, but it certainly announces the song clearly. For the A chord, barre your index finger across the 2nd, 3rd, and ‘ath strings atthe 2nd fret. Yo middle finger can reach the low F# bass note, and your mid dle and ring fingerscan play the top two notes of each Asus2/4 their own kaleidoscopic way. ‘The music for “Box of Rain” was written by the Dead's bassist, Phil Lesh, as a gift to his dying father. Robert Hunter's sensitive Iyries depict a Buddhist view of life, with the box of rain being a netaphor for this material | ‘world. Lets strum it shall we? | wasraororcnonss Bon of Rats payed with ; hereon tain a pate nang a peck tring sng regen ose Ne auick exercise to get your hand | in shape to play this (or any) | barre chord. Begin with your 1182 GUITAR ONE « guttronemag.com «JUNE 2009,itar Workstation Powered :32 Digifech BOX OF RAIN As Recorded by the Grateful Dead (From the Warner Bros. Recording AMERICAN BEAUTY) Words by Robert Hunter, Music by Phil Lesh Arranged by Adam Perlmutter A Am — G Bm BRR ee ak ie ey eet ae 3 18 Moderately J=6 ye re D am En re) ; L.Look’ out of a = ny win = dow, an - y mom - ing + = r —— > a == x ae is shin ing, binds are winging, no. ints Lng Td = di - re ton a - round Some" cor - ner where W's. een walt = ing ™ Pre-Chorus D ° a What do you want me 10 to, — i Ae What do Jou want— me to this is all © dream we dreamed one af = ter-noon=— long a = go—_______ ; ; To Bree = = s == ee - . 7 4 os = ee ER Sse eee eee ee UNE 20081 G1 The Magazine You Can Play 159,Box of Rain aa dream— we dreamed. Gentle sees ces Sia otg 6 - Bridge G Am Em © 1. nstramental 2.Just a box of nin, wind and wa + te Beslieveit, if you need 2. ME you dowt— just pass tog Sun and show = ef am Em 6 D Em wind and in and out the win = dow ike a moth_— before A i sl es D ao wt te oe ee ee G = f= ——- ? os pe I aa oa wh who pe k ae— ene te A > [9 pete SD 2 ote oe = aes = Sa =e aaa ee eee is we wee ee tn > En © m= bon foe your aie Such a loog-— tong time to be — soe and 8 hot time whether, Additional Lyrics 3. Look into any eyes you find by you, 4, Walk into splintered sunlight, You can see clear to another day. Inch your way through dead dreams to another land. Maybe been seen before through other eyes, Maybe you're tired and broken, ‘On other days while going home. Your tongue is twisted with words half spoken What do you want me to do, ‘And thoughts unclear. ‘Todo for you, to see you through? What do you want me to do, It’s alla dream we dreamed one aftemoon ‘To do for you, to see you through? Long ago. Abox of rain will ease the pain. ‘And love will see you through. 4154 GUITAR ONE « gutaronemag.com «JUNE 2003