HOT RIFFS FROM DETROIT ROCK CITY* NEW GEAR 2003 -TRAPT HE MAGAZINE YOU CAN PLA} Ti = GODSMACK GUNS N’ ROSES JOHN SCOFIELD SHADOWS FALL HE DONNAS Strum It NORAH JONES MILES’ MEN GARY ROSSINGTON THE RETURN OF 9 = a | | 5470"08367 MI, PURE ROC * FadThe Tones Between the Lines DigiTech° GNX3 Guitar Workstation-Powered Presets NORA JONES “Don’t Know Why” Pay Jame EF [ER cline FTW ae he [v0 ean |e Pen |e [Ps Wan Few | OF | = i “nh | of Sin tee tet Hise Gao ‘THE DONNAS “Take it of” By Biy Cements ractice doesnit make perfect. Perfect practice makes perfect. I learned thisalong time ago froma former guitar teacher. His advice was simple: to reallynailasoloorahotrhythmguitarpart, ‘you gotta’ have the right tone. And in my quest to improve myselfasa guitarist, 've found nothingtobe moretrue;to play ike the pros, you need tone like the pros. Here's your guide to getting the great tonesofthismonthissongs justdialinthese settingson your GNX3 Guitar Workstation and you're on your way. If youhave MIDI on your computer its even easier. Just go towwwidigitech.com/guitarone to down- load the presets directly into the GNX3. Once you've got the tones, jump over tothe builtin multi-trackrecorderandlay down the rhythm tracks. Turnonthesong repeatand youcan practice that solo until you've 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 oat hope the tones. playinghints lessons and music provided here inspire.you to take your playing to the next level See you on stage. Tone Guru Billy Clements is a 20-year veteran of the stage and studio and isa prolific creator ‘oftones heard in countless recordings and per- formances around the worid. aphsign | pi | Wie | SHADOWS FALL “Thoughts Without Words” SE ow [aoe |B | heh [tna | ote [ont Wa Pp Compe Wharey” ak Sega OF on wes om Gea | | ne ms Taawtte | OF | | o Gewd| OF || — | A a ives | oF | = ee Tiphigs|eot fee] 0 | ®t — —— it OF ADVERTORIAL phan | tw whe | Of wT GUNS N’ ROSES “You're Crazy” | PROM ap [eine | GR | CR [ny | vw con lint Te 9 | Dw 8 Day oF | | = ieveb| Oo Ha | JOHN SCOFIELD “Milestones” iT [et | | es it [uae A] eee | 5 ac : psig ig [ware | Ow Digiech..Godsmack “Straight Out of Line” {By Michael Muoter ] san editorat Guitar One, feel very blessed to \come to work each day | Knowing that I'l be either play- {ng guitar, writing about guitar, orinterviewing guitar playersfor | the next 13 hours or $0. At the sane time, a job is a fob, and | sometimes it can be a real drag—overtime, deadlines, artists who aren't in the mood | *DS +o *Drop D raning What’s Between the Lines always kept itteal—always more excited about his music and gul- tarplaying than the party scene surrounding him. This is one explanation for why Faceless, I) their-third album, rocks every tobe interviewed. Luckily for me, when one of those things rears its ugly head, can think back to experiences with guys like Godsmack gut tarist Tony Rombola to remind | ‘me that Ihave one ofthe coolest sigs around. Though Godsmack is arguably one of the biggest hard rock acts on the planet, Rombola, onthe couple of occa sions I've hung out with him, has | bit as hard as their self-titled debut and its follow-up, Awake. Their new single, “Straight Out of Line,” more than lives up to the Godsmack precedent. MAIN RIFE “Straight Out of Line’ is straight out of the bowels of classic Godsmack Whereas singer-gui tarist Sully Erna does a majority of the ‘writing, Rombola is the man responsible for this rif—though Erna stillhad a hand init.“Straight Ourof Line’ was my riff, but Sully sim- plified it a bit,” the guitarist explains. “I tend to think about the riffs too much, and Sully, being a drummer first, always seems tobe abletofind the right groove. Played in drop-C tuning (C-G-C-F-A-D,lowto igh), the riff is built on the E Phrygian mode (E-F-G-A-B-C-D) which, as much as the group favors it, may someday be renamed the “Godsmack” mode. Introduced as a single-note ‘motif in measures 1-4, it kicks into high gear at measure 5 THE VERSE AND CHORUS While Gur. 2 relterates Riff A from the intro, Gtr, 2 adds a ‘Morsecode-like pulse using just fan E note (ath fre, 3rd string). The trick to alternating the E note with the muted touches is. simply tolift your fet-hand fin *E Blues Scale TEETH en errr rr “Drop ning a5; C ger just enough to mute the string on the Indicated beat subdivisions; your pick attack should not vary Ema nd Rombola introduce two big new chords in the cho: rus, In measute 3, Gur 2 plays a ‘new and improved, guaranteed to give at least 50 percent more chunk” DS power chord [FIg. 1, ‘and, in measure 8, the Fsus2 ‘chord [Fig. 2}. Note the chythm in the second ending—another classic Godsmack THE SOLO In true Godsmack tradition, Rombola puts forth a wah drenched blues seale-based solo, But at Erna’s urging Rombolatried some thing a little new to kick things off. “I had a whole other beginning for that solo, headmits, "but Sully didnt want it to start off straight away; he wanted to have this drifty thing forawhile. 0, tried the E-Bow: itsawild sound, andit worked, you don’t have’ an E-Bow, you can mimic the part using @ wah pedal, your volume control, feedback, and perhaps some touchharmonies tohelp generate dditionalovertones—have some fnandexperimentabit, Atmea- 12, Rombola cranks it into ‘overdrive with some nifty-quick lines from the E bites sale [Fig 83], Nevermind the open E strings Jn measure 14; they're just art facis—mistakes that worked. 3> TONE ZONE GUITARS: Solidbody electrics iCKUP/POSITION: Humbucker/Bridge AIK: 8 EQ: Bass/Mid/Treble: 8/5/6 Sodsmack Awake Authentic Guitar-Taby (PGMo101, $21.95;CDN $32.95) Get all the songs, in notes and tab, from Godsmack’s sopho. more release, Awake. Tiles are: Sickof Life Awake * Greed + Bad Magick Goin’ Down « Mistakes + Trippin’ + Forgive Me * ‘Vampires ¢ The Journey Spiral Available from Note Service Music (800-628-1528) MAY 2003 G4 The Magazine You Can Play 107<3 Guitar Workstation Powered 33 Digilech STRAIGHT OUT OF LINE As Recorded by Godsmack Falta Aten ratieter G0 esas ce ae eee By Sully Ema 108 GUTTAR ONE « gultaronemag.com «WAY 2008Straight Out of Line re. ct On2 ps BS Ds Es bs FS Ds Es Ds Es ps gs FS (tet: wpe tide Bs bs Es bs Fs os ee Sees + 1 wt DS FS es Sa ne rs pss Bs BB Ow Fat mine fous Ds Es bs cs bs FS ps ES bs Bs bs nd Rhy. Fig Verse (ie 2: wR NC ih yore moe a Ti coe owt rire e i un 2008 1 Te Mapenine You Can Pay 109Straight Out of Line Gi. 6 Romi at tet) (Gre 2-67 RATA or bet) Chang ini yt jot as fast syn tums (i. 2 RTA is) freak‘ on the mem “0 K chorus “x ts Sens Gc Iw FIL de tne, mt Bs o———__ Seaight 110 GUITAR ONE « gultaronemag.com «WAY 2008,why a Stig = cu ToCoda Ol. F should of usd Bs sos a ne Straight Out of Line ES bs — a ae vn 1 dovt need te = eR gy . ey te =# £ = SS ee Saas = an eee ee na aw MAY 2008 G1 The Magazine You Can Play 111Straight Out of Line Interhs Guitar Solo pase Sse asi pse pms w/wat-vah & E-bow C o “placed a anda actor 442 GUITAR ONE « guitaronemeg.com « MAY 2008ie 2 w/ RITA tering Straight Out of Line lou? Rhy. Fig? = - ‘MAY 2003 G1 The Magazine You Can Play 113Straight Out of Line r trad ree, rad release DS. al Coda (Ge. 2 6/ Ry FL Outro Gx. 2-wAy. Fg I (at 2 me, 3% tne) ie mise voc Gn2 144 GUITAR ONE « guttaronemsg.com «WAY 2008What’s Between the Lines fan and really into old KISS and Alice Cooper. And we actually like Lynyrd Skynyrd—even I" Nodoubtit's the bands admitted “classic rock” influence that helped fuel the ferocity behind solid riffing in “Take ItOff." After opening ‘upwith an infectious chord-based riff incorporating timeless blues-rock boogie pattern [Fig. 1A}, AC/DC-style ‘open chords (D5/A,A* and a Rolling Stone: D/A-A chordal move (Fig. 1B|— this Donnas ditty quickly ‘evolves into a full-fledged rock anthem, In the event that your PB fret-hand fingers have trouble making the large stretch between the BS and B6shapes of Fig. 1A, consider relocating the passage up anoctavetothe 14th fret, where the frets are, of | course, closer together Practice diligently in that position, then, as your fingers gain flexibility Donnas do justice to their col- gradually move the pattern The Donnas “Take It Off” By Dale Turner ver since Iwas kid, Wwant- ed to be a rock sta” says the Donnas’ ace picker, | Donna. (a.k.a. Allison Robert- son), quick to clarify that she ‘didnt want to bean ‘indie- pop’ star.” With the Donnas’ move from the Lookout! label to Atlantic Records last year and the subsequent release of their major-label debut, Spend the lective experience with theirsin- fle, “Take ItOff"—ahook-heavy ht that transcends the “gretl rock” tag. Let's give it a spin, down the neck tll you can play it—pain free—in the required 2nd position ‘CLASSIC BOOGIE PATTERNS. “Lwas a big fan of C.C. DeVille ‘Everybody compares us to the | when I was a kid,” Robertson Ramones, and maybealittle Sex | reflects. “I met him, too! I was Pistols” Robertson states, “But | like,'Oh God! When was 7 years forthe most part, welikeclassic | old, Lwanted tobe you! Youhad rock Everybody’sahugeAC/DC | the highest hair! You had all Night, itappears—afternearlya | ————__— decade of playing together— aaa that these ferocious femalesare, mm in fact, women on the verge. "We've been together since we were 13," Robertson reflects, | “totally working our asses off, | Scie ose ne | those guitars .. In the solo and bridge to “Take Ic Off,” Robertson turns it up and does her mentor proud, blazing through an assort ment of tastily exe- cuted doublestop bends that bring to mind Robertson's other influences: Ace Frehley and Angus Young. Starting her lethal lines within the B minor pentatonic scale (B-D-E-F#-A) Fig. 2), Robertson typically bends with gers across the 9th or 7th frets, spectively, using her calloused digits to pull the strings across the fretboard for maximum blues-rock effect. Fig. 34 illus- trates a repeatable version of ‘one of Robertson's bendinglicks. By the time the bridge unfolds, Robertson is blazing in full. blown “Chuck Berry” mode, alternating between a bend on the 3rd string (fretted with her ringfinger) and a doublestop on the highest string pair. ig. 3B provides you with a repeatable ‘one-bar version of Robertson’ homage, which you ean use to ‘cut your teeth on this classic lead approach. 3 TONE ZONE NTARS 1-3: Solidbody electrics ICKUP/POSITION: Humbucker/ Bridge AIM: 7 EQ: Bass/Mid/Treble: 8/5/7 recording and stulf, And we've been on so many tours—shitty | ‘ourswith broken-down vans. Weve done al that uf The |GNX3 Guitar Workstation Powered cee Denier neers Nigilech TAKE IT OFF As Recorded by the Donnas (From the Atlantic Recording SPEND THE NIGHT) Transcribed by Adam Perlmutter Written by Alison Robertson, Maya Ford, Brett Anderson, and Torrance Castellano Intro Fast Rock = 164 BS Be Bs DSA, AS Asust ly 3 tines = nd hy. Fig = — 4 (ie, 6/ Rhy. BS Be BS = DSA OAS Ame? AOS BGS OS Lape s 2tNesd your love seeeepee pep ee ef ef aaa eee ee ay 20081 The Magazine You Gan Play 117Take It Off Verse BS ee i hard 10 think, my D- ap. Don't wase— time, ust” give tw me, nk ttt Twa you on the fore. ay = toh Yean, C mon, ba "by jot fete 22 So ‘ast Bcnorus Bs DA AS Asust AS the floor Be RT} oo om ot tte om, ket You got = 18. GUITAR ONE « gultaronemag.com «AY 2008os as Come Take It Off i129 Ry. Fig. 2 bs DSA, on and break me off, break mo of. ad Rhy. Fig-2 rm Grd MAY 2009 G1 The Magazine You Can Play 119Take It Off nd Rhy. Fig. 3 Le Rt Fags BS me DSA te 3 ise) ; : sav ceamaniipaiailiaiie iTake It Off Forget the ap = pli-ca ~ ton, (rs 1 2 w/ Ry. Fi. 4 & RAG tes) a a BsTake It Off n,28 3 et # DS, alCoda(1: w/ Rhy. Fig. 2 (183 meas) Amst AS BS os _ AS : x ee : — ee = é Ppp May 2003 G1 The Magazine You Can Play 123Ui eiaese Te et i es Shadows Fall “Thoughts Without Words” | By Michael Mueller here are two general roads to success in the music industry: You either shoot straight to the top as if you had rocket thrusters in your Doc Martens, or you make a gradual ascent—a slowburn. The former gets all the press and hype, but the price ofthat attention isoften an equally fast crash. The latter ‘may take aitlelonger to recoup jour advance, but it typically ‘comes with longevity that is so rare in this era of “sign ‘em, and iftheydoritselldouble platinum, drop ‘em.” Metal rockers Sha. dows Fall—pardon the pun— “fall” into the latter category, slowly garneringan underground following, critical press, and, recently announced, a slot on Ozzfest 2008. Back in November 2002, we labeled Jonathan Donais and Matthew Bachand as two of "The NewGuitarHeroes”andtheifist | single, “Thoughts Without Words,” Deas that out. Take a look (MAIN RIFF To jam along with Lonais and Bachand, you'll first need to Tuneyouraxeto drop C(C-G-C-F-A-D, low to high). Once youre there,crankup the gain and getseady torock. The main riff In this une is fairly straightforward: you Just need to decide whether you feel more comfortableslidingthe | power chord with your middle Anger barring the top two notes, ‘orwith one finger perstring low cestto highest: index. ring, pinky) When yougetto the second mea- sure ofthe verse, fet the D note ‘onthe 5th string with your index finger, hammering onto the Es and subsequently pulling off wth your middle finger. Using this combination of fingers, you'll be in position to perform the slide from the th tothe 3d fretwhen the lick is expanded in measure 4-Inmeasure 7,however, play the same D note with your ring fi ger, thus setting up the B/D chord on the “and!” of beat 3 ‘TE Solos The solos, as well as the riffs encountered earlier, are general Iyeulled from minorscales.The first gultar solo forthe most part, is based in and around the 10th position D minor pen. tatonicscaleextended ‘up tohigh C, with the low D and F notes pallled from Sth pos ‘ion (Fig. 1. Note the eral doseofAbinto- duced in measure 14 to provide a touch of blues inthis otherwise heavy rocker The second guitar solokicks offin grand fashion with wildly vibratoed, wah-wahed, full-step bends fol lowed by some taps and pulls ‘old-school style. To “pull” this off, keep holding your pick between your index and thumb and use your middle finger to perform all the tapped notes, changing your fret-hand finger as needed. Ten or 15 years ago, this tapping technique was a ‘must-have In every rock gui tarist’s bag o' tricks. These days, however, i'snolonger partofthe vvernactilar (though we hope to ‘change that}. In case youre not familiar, ry the exercises in Fig. 2for a crash course. Ineach, ap with your middle finger while hholding the pick. TONE ZONE UTTAR: Soibody electrics PICKUP/POSITIO Humbucker/Bridge ‘aN: 8 EQ: Bass/ Mid Treble: 7/4/5Pen Eker once TECODHT ec eed Ts) la] PTHOUGHTS WITHOUT WORDS As Recorded by Shadows Fall (From the Century Media Recording THE ART OF BALANCE) Written by Brian Fai, Matthew Bachand, Paul Romanko, Transcribed by Adam Perlmutter ‘Jonathan Donais, and David Germain Drop Cnning (ow when CG-CRAD Intro Fast Rock J=176, 2 cet Bs BS ona De 1&2 (4t) eset a Hav ing a - ware nes, 2You mst" goench the” yea - ing loin. 1&2 Rhy Fig —_ Ree att aa sg al t Bs Bs Gama NAY 2008 @1 The Magazine You Can Pley 127Thoughts Without Words 12:4. et BS BS Goud BoD cs End Ry Fig 1 BS BIS Gsu2 The un end ing Con = fa - son En vis hon ing BS pre-chorus os Bs bs cht = ter that plagues— the mind — tte tad > and tne find Nerve— BS BS Gast a a that you'll find, — oughs win Zou" Words — drains Ger 3 ost Ns bs 128 GUITAR OME « gutaronemag.com «WAY 2003,Thoughts Without Words Chorus a Sil ques - don all__ Ive enon. Ry. Fi. veo 1 have is owned nd Rhy. Fig. 2 (14 26 / Ry Fi Sndtime Ga 18 26 Rhy Fig, 2 st 7b) BS AS GS AS OSS OES FS ste a Af». = =: as ese Ean ess Si ques = on all Tve known Ad vanceing for = ward "May 2008 G1 The Magazine You Can Play 129Thoughts Without Words TeCoda BIS AS GS AS Gs FSS FS BIS rs Cnusd ST —— Ts lk gt have as owned out Gs As os Ds rs Gs as os cs psThoughts Without Words sas as @ ps e En ~ caged a that eae oo; mes 2nd ie, G8 Fa Boos as os cs Ds | Ry. Fi. 3 rt Ge 5 (ast) oe MAY 2003 G1 The Magazine You Can Pley 131Thoughts Without Words os as ava ‘a Se (ir, 1 & 2 Ry Fi. 3 tes) os Ns os Bs 4132 GUITAR OME « gultaronemag.com < WAY 2008 Fs Ds ns as FS 05 FS DsThoughts Without Words Guitar Solo 1 (Gm 18.25 Rhy Fig.l 2 eas tes) ‘MAY 2002» G1 The Magazine You Can Play 133Thoughts Without Words Bs Bis Gaz nu - a Ly Wy eS a Bs Bis sus Bs Bis Gand Bs Bis Gaus fra 4134 UTTAR ONE «outaronemag.com «AY 2008,Thoughts Without Words (Gis. 82: Ry. Fig ast 2 meas) DS.aiCode BHD cs Bs oe ae wee eco ing for 1 mens, oouteo HaltTime Feet bs Gs Bs Bis as Fs MAY 2009» @1 The Magazine You Can Play 135Thoughts Without Words i, 2: 6/ Ry. Fe Ds cs FIs FS Ds bs as Bs bs Gs Bs Bis cs is as 196 GUITAR ONE « gutaronemag.com «MAY 2008, as cs fs Bis bs Gs BsWhat’s tay the Lines LAZING CHANGES | seale (A~C-D-B-6)—is no "You're Crazy" crashes outofthe | exception. In instances where gate with.a repeating four-bar | scale tonesare separated by one riffwherebySlash and company | wholestep (G-A,C-D,andD-E), race through implied AS, DS, | Slashand lzzy work largely with- and E5 chord changes. At the | in the framework of Fig. 2. Try coreof this passage lies a useful | relating this passage to the ppattern similar to that found in | song's chorus transcription to Fig.1A.Involvinganopen-posi- get a deeper sense of how both tion AS shape and a guitarists use chro- fretted G (rd fret, matic notes to craft 6th string, this fig killer ris lure creates the aural illusion of rapidly SLASH'S PENTATONIC shifting between more cumbersome AS and G5 chords (Fig. 1B). This same ne same scene that riffing approach has MUMUYIRESIME helped spawn shred been used to great es guitar and the hair effect in everything metal look and from Black Sabbath’s “Mob _ sound, Slashis signature sound, Rules" toVanHalen'samped-up | owes more to classic rock and, 7 cover of “You Really Got Me” to. jues. “I guess I complete! Guns N’ Roses ey eee | ese ee “You're Crazy” Geatagaeg? | Toned teens nm Inve ‘As you may have noticed in | schoo!—Ted Nugent, Joe Perry, 1 theriffstonumerousGN'Relas- | Rick Nielsen, Angus Young, Jeff By Dale Turner Duff McKagan (bass), and | sics, Slash and Izzy frequently | Beck WhenVan Halencame out, t's beon 16 years since Guns | Steven Adler (drums)—is | spruceuptheirsingle-notelines | it was such a mind-blowing [sie series’) Seattionosetpes | winch eae oes | nga roy raed Tength debut, Appetite for | time, twas reported that Slash, | These are the non-diatonic | togo there.” Nevertheless, inhis Destruction, an album that vir- | Duff MeKagan, and long-time | notes that exist between scale | formative years, Slash played twally sparked the beginning of | GN'R drummer Matt Sorum | tones. “I picked up on passing | guitar for 10-12 hours a day the end of the hair metal/glam | were holding auditions for a | tones and stuff like that from | honing considerable chops— movement that dominated | vocalist to front a new “un- | {Led} Zeppelin songs like ‘Out | the ability to unload blazing ‘much of the '8Os music scene. | named’ band. (Izzy was appar- | ontheTilesand’BlackDog'and _ phrases, largely derived from Today, listening to Les Paul~| ently involved in the project's | ‘Walk This Way’ from Aero- | pentatonic scales. The solo in wielding guitarist Slash at his | early stages, having a hand in | smith,” Slash admits. “I've | “You'e Crazy" provides ample smnolderingfinestonlyservesas | writing upwards of “50 new | always written that way. [just | proof of the guitarist’ diligent ‘asadreminderthatGN'RS orig- | songs") VEL isfilming the pro- | think it sounds good.” This | work, highlighted by fery pas- inal lineup—Axl Rose (vocals), | ceedings for an upcoming | song’schorus riff—based large- | sages lke the one in Fig. 3—a Slash and Inzy Stradlin guitars), | documentary. Iyupon the minor pentatonic | barrage of smoldering blues | based on the B minor penta- £-A),Slash tonic scale (8-D- burns! TONE ZONE [GUITARS 1-3: Solidbody PIcKUPrPosITION: Humbucker! Bridge BAIN: 6 EQ: Bass/Mid Treble: 7/5/7 EFFECTS: Wah-wah Guns W’ Roses Anthology Get tab transcriptions for 21 songs from GN'R’s first four albums in the Guns N’ Roses Anthology (02501242, $24.95). Contaet Music Dispatch to order (800-637-2852, musiedispatch.com).. ‘MAY 2003 G1 The Magazine You Can Play 137NX3 Guitar Workstation Powered oe é YOU’RE CRAZY As Recorded by Guns N’ Roses (From the Geffen Recording APPETITE FOR DESTRUCTION) Words and Music by W. Ax! Rose, Slash, Izzy Stradlin’ Duff McKagan and Steven Adler Digifech (low to igh) EHADD-Gb-BLES Intro Fast Rock J = 242 3dine, Gi 3:/ RATA os os 4S osm sim. 1821458) Ay. Fig L bs As Bs he. 2 lay 4 times ahtime: 11 been ad Ry. Fig. % verse ‘Gir 1 8 2: Ry. Tig. 1.2 nes) Fite ue ae £ ro play Stmes ao fay ahah 4138 GUITAR ONE « guitaronemag.com « MAY 2008You’re Crazy in 8 work that's much 0 look ev + ty - where 1 been Took-in’ for } Twas youg ck ai, 1 hew_ some - one tke Jou cs ae — A love you want ir. Ry Fig? ed hy. Fig? ger een (Gi, 1 2: Ry. iT A bs as Bs a oe ee tion al aa yea. tr. 1 2:0 Rhy. ie 2405 times) bs ak Ds é noe (1 2: wy. FL | You don't eed ny ve ——— you ge ‘MAY 2003 @1 The Magasine You Can Play 130You’re Crazy ‘Gis. 1&2: w/ Rhy. Fp | times) Gee Sw/ RAE Ds cs as aS —~ piece ofthe 2 - ton, yea B Chorus Half-Time ss find your - self an oth tion, “eause_ you're BS BS DS You're #464 in? rt ToCoda @ Et Rhy Fig.3 | BS BS Ds ES BS | said you're 140 GUTTAR ONE gutaronemag.com «MAY 2008,You’re Crazy ‘nex! 2 meas, Ge | pays undestemmed cts aly ao PAL) Guitar Soto ‘A‘Tempo } AS BS AS BS as Bs ee ee ow i a tL degieat oe aes fom ve? Rhy Fig MAY 2008 G4 The Magazine You Can Play 144You’re Crazy AS Bs AS BS pm Gir. 1 2:6 Ry. Fg 4 ime) AS BS ASU BS AS BS was AS ES 142, GUITAR ONE « gutaronemag.com «MAY 2003, as as Es Rs Bs as we Bs AS BS AS BS AS. Bs DS. al Coda (take 2nd ending) as AS va aYou’re Crazy Coda ‘Gin. 1 82: w/ Rhy. Fe 3 Whenes) (be. 3: Tw nes) s ES BS Ds BO OS t ot 0, — you're cm-l Ant ‘Ant AR "You know you'te cm - ay - ay = ay = ay oe Well, you're BS ES Ds ES EIS Ds oct pense You know— youre ca - al ' te ‘You know-you are!— down, You're (***-in? Or as ‘MAY 20039 G1 The Magazine You Can Play 143,VUES TWN LTS shythmic punch, and provide ex- | stabs that also use chord frag- tural embellishment. In addition, | ments rather than full voicings they help to compensate for the | Many come in dyad form, strip: absenceofharmonicsupporttrom | peddowntothebare essentials of another instrument. the 3rd and 7th, such a the ones Inmeasures|-2 rehearsallet- | found in Fig.2.3) ter D) Scofield opens witha set of SS dyads that can be visualized as | TONE ZONE fragmentsoftheCm11,Cm9, and | QUITAR:Semi-hollowbody 7-9 voicings found in Fig. 1. | PICXUPPOSTION: Measure ofthe Asm refectsthe | Humbucker/Neck Introductory Cm!1move.andthe | E:Bass/Mid/Treble:5/5/6 Ds? maneuvers in the same bar | EFFECTS: RAT distortion pedal ccan be seen as carvings of the | (Gain/Fiker/Level:1/9/5), chorus Ds13.and Ds7(411) voicings in Fig. 1. The Cm7 move in measure 5 | The Miles Dave Rea! Book borrowsfromthebasicCmt1and | A must for every asia ‘Cm? voicings also found inFig.1. | Miles fan, The ‘Scofield transports this same | Miles Davis Real — John Scofield [oectaumiee | haan oars be “Milestones” awe See ilestones eee ea sax solo with sparse, rhythmic | 2852, musiedipatch com) yon rom Scofield double uporthe melo eg eR ie porting Deere at Joe Henderson | ruses Scoteldtatestrnandthen | ll Booted string of session | theca heads recalled dates ntetn ofr {ga Mies Devs ibe thu, | BOUBLESTOP SOLON Isaetng ior tleatgh sled |-Aqunx parc one tsps FT Bbmaj7 Mes alumni—Dave of Scofield’s solo Holland (bass), Al reveals a prominent Foster (drums), and recurringtheme—the John Scofield (gui use of double-stop tar)—Henderson [Aa punctuation. Defy | guided the newly laced between his | formed quartet single-note phrases— tduoughaselection of which rey on ehord/ Davis compositions scale relationships called from the mas and extended arpeg- ter "acoustic period” ios—the dyad figures, ‘The result was the nail chord tones, add Grammy Award-win ning So Near, So Far (Musings for | Miles) abriliantsetthathasbeen | Cm cm9 uted as one ofthe finest tribute | alluimseverrecorded.Pariculatly | conspicuous inte planles se- | ting, dhe genius of fon Sco | playing comes shining through. Case in point, the standout track, “Milestones,” finds him zor 21a zat T23A | | at TI. cotddootetetend pei mil cm? soloing with structured fui THE HEAD ANO THE FORM Following an eight-bar introdue- tion, the 32-bar AABA head is played twice. (Henderson and Tere Tete LL 1144 GUITAR ONE « guitaronemag.com «MAY 2003GNX3 Guitar Workstation Powered at www digitech.com, MILESTONES ‘As Recorded by Joe Henderson and John Scofield (From the Verve Recording SO NEAR, SO FAR [MUSINGS FOR MILES)) Digifech Transcribed by Adam Perlmutter By Miles Davis Intro Moderate Bop = 152 (J = 3°) Fg? Bim? BT Anal? Dim? on Ge. (igh ast) ios # : ( 2 ee SS | wick & Sige. ont e Bios? aris a ee i. oe tee Fs eu ee aoe ee ee om chon? Bn? o cm? Fl Bima? Bn? ET WAY 20081 The Magazine You Can Play 148,Milestones on? " cat mr Bn? mai? ‘Amt? Am? ny cm wn 148. GUITAR OME «guitaronemag.com «WAY 2003 H emai? ca Gmai? Bh Bhai er Bt Fn oan Bhai? Br? Abo? Da Bm? ET B perMilestones ToCoda @ cmt Chm? Ba? 5 cat Pm Braj? Bm? ET [E] Saxophone Solo [D) Guitar Soto cm FP Bhaji? By 96. Abn? De cmt Chm? Br? Co cm? Fy Bens? Bm? ET Cm Fn Boal? BT ‘An? bir om chm Bm? &? cmt FHSar) Milestones Blenj? Bo? E7 Ami? Am? p tha rn serving ==-4 Bm? 8 Am? v7 Bim? Br Bn? B cm? Fn Bimaj? BT Abt? py om? cin Ba? e m7 f (2) j Bhai? Bu? £7 CaT m Bhai? BT } 148 GUITAR OME « guitaronamag.com «WAY 2000sla ane! r ‘Ab Dy cm? Chm Bin? w cm? f Bima? Bm? ET cmt Bhai? Br Aba? py Ca? Chat Bn? B om? FP Bhai? Bm? E7 mai? Am? o Gai amtBx? Br Br cm? Ff ‘hn? Br Ab? bir cm? chm? Bn? cm Boma? DS. at Coda Bm? E7 Coda cat yn 4180 GUITAR OME < gullaronemag.com < MAY 2008 FreeTime Bimai7 * vol setstheverse.Followthenotenames | out the hint of bossa nova in, (rather than the fingerings) and | "Don't Know Why” by playing, Yyou'llfindA in Bemaj7,AsinBs7, | with your fingers Fyou've never G in Esmaj7, F# in Daug, F in | fingerpicked before, this simple Gm?, Ein C7, E>in F7sust, and | two-beat rhythm is a great D in Bs. The result is a long | introduction to getting your dig- descending sigh of a counter- | itsaligned. Play the lowest note ‘melody, the perfectcomplement | of each chord with your pick 10 the bittersweet lyrics. hand's thumb, Simultaneously play the next three highest notes ‘STRUMMING AND FINGERPICKING of the chord with your index The recorded arrangement of | middle, and ring fingers respec: “Don’t KnowWhy"is tively. The thumb collection of mini and fingers should ‘malist components: pluck inwards to- a piano till here, a ward the palm of guitar fill there, all your hand. On the evoking the appro next eighth now priate chords. Ar play with just the ranging it for guitar fingers. The “slap, requies an ear to strum’ described ward capturing the the paragraph above ambience rather can be added to this than copying an} pattern with simple ‘one instrument. If you use a | tap ofthe fingers and thumb to pick, try strumming a down-up | the strings on the second beat, Pattern of even eighth notes. | Finish up with the fingers once Norah Jones Saat erecta ee naneorr ra “Don’t Know Why” a eater neice ee heel of your hand atthe bridge, | Norah Jones Come Away With Me oe | right where the strings meetthe | The Come Away By Douglas Baldwin mented), a chord that doesn't | saddle. The resulting rhythm is | wieh Me song. by Jobimt “Don't Know Why” | Oneparticularstorylinebears | song will retain its aura of | Contact Music Dispatch today writer/guitarist Jesse Harris. | [a | SE. Oe, SL ee oF Ae eae eee Peet belt titi hg t gettingagriponeverychord, and ‘while "Don't Know Why" largely remains within the major tonali- ‘it gota ew fingerings to chal- lenge most strummers, and fora couple of reasons. First, weve keptthearrangementin theorig- 1a key of Bb major, so there are | few open strings toring out. | Second, the sophistiated sens bility of avs chord progression | leads to some chords thatthe average strummer might old Specifically, theres Daug (aug 182 GUITAR ONE «gultaronemag.com «WAY 2003,GNX3 Guitar Workstation Powe es ets ia) DON’T KNOW WHY As Recorded by Norah Jones (From the Blue Note Recording COME AWAY WITH ME) Arranged by Adam Perlmutter Words and Music by Jesse Harris Reka ts a =e Bay ES & ie Ee SY i ee Bag? Devs ‘007 a Fre » 6 e ——— ——— x = © eee ty! Satis ie oe te an 1 doa now wy dS come oF Bea? ont a ——— si = = | = SSS =: 4 — — = Cele eae Sa ve 3? a 7 eft you by tte tome — of fon — 1 don't know why : ont a Frm » 6 ¥ ——— ] 7 Lee vee = ont know why 1 dat come hay? B a7 Davg ont a the break — of dy, Bimal? Bimai? « Stead of kneel ing in WAY 2008 @1 The Magazine You Can Play 159Tet Don’t Know Why a Pn = a but yout be oo = gE: sO for e Se % verse Bhs? Ber Bai? Dawg Gar o the end = less sea, 1 » ‘make — you rn, 1 don't Know Bima? ah Eomas? ———— — ee sa - wy, But TH beak tag fone, mt come, el ee ye To Coda @ Chorus Gu a Froust Bb Gnu? ang down the road — 4 - lone, — Rae = = ¥ don't know shy Ta at eee fy heat is drenched— ee SS for = o & Interlude Bhai? BT Bhai? Dawg Gat o B ++ oa't know soa eine 4184, GUITAR ONE « guitaronemag.com «MAY 2008