20TH ANNIVERSARY OF TEXAS FLOOD THE MAGAZINE YOU cade Vw Ne MUN Sys ee mae oa Fern E aS RTE NG SSE Z Basis AG) Ngai Wala Ye ‘ aang te 7 Stra JOHN PIZZARELLI Rony REVOLVER GOODS FOR YOUR GIG BAG pon OF A ad METALLICA sniinsame-7 iene eee LS te ndThe Tones Between the Lines By Billy Clements ‘hen I received this month’s song list, [was thrilled to seo Stevie Ray Vaughan on the roster. Few guitarists have a tone that is more sought after than Stevie Ray's. He single-handedly redefined the Texas Blues guitarsoundand spawned a new generation of players who have endeavored to emulate his technique and mastery of dynamics. otis with great pleasure that! bring you the tone of Ste Ray, along with all of the tones for this ‘months songs. Here’ yourguidetogettingthegreat tones ofthis months songs. Just dil in these set tings on your GNX3 Guitar Workstation and. youre on your way: If you have MIDI on. your computer its even easier. Just go to wnsdigitech.com/guitarone to download the presets directly into the GNX3. Once you've got the tones, jump over to thebuiltin mult-trackrecorderandiay down the rhythm tracks. Turn on the song repeat ‘and you can practice that solo until youve gotitnailed.Youcan also use the recorders ‘Your portable tutor to practice this month’ lessons. ust dawnload the“Hearlt On Line” lesson MP3s and take them with you. Oe T hope the tones, playing hints, lessons and music provided here inspire you to take your playing to the next level See you on stage. Tone Guru Billy Clements isa 20-year veteran of the stage and studio and isa prolific creator ‘oftones heard in countless recordings and per- formances around the world. ‘THE BEATLES “Day Tripper” tent fut | 0 | 6 | 08, (vO [ant [ian [asi [aan aan waneelw[-[-[-- rei | or | =| == [= mite heel REVIS “Caught in the Rain” Be oy _[cit |G [se | wo | Nealet eee ew aaa (vor OF phi tpt wate) | | PINK FLOYD “Goodbye Blue Sky” ima |oee || | 00 ee ies | || on vO nt | a Ped Mandel ow | | ADVERTORIAL DigiTech° GNX3 Guitar Workstation-Powered Presets [AAS ‘AFI‘“The Leaving Song Part It” ee tat i | pene (v0 |e |e fa} ew [Pe [PsHAMMER-ON Piok the ower note, then fret the higher note without pickin, BENDS Bond song tothe incoated pitch, (irg= fet ec) NOTATION GUIDE TRILL Altemate between the ‘otes by rap harmec: ‘apy Ing on and puling of Seeman PRE-BEND Bend the note as incicated, thon pick BEND AND RELEASE Bend as indicated, thon, without picking, release {othe onginal pitch LEGATO SLIDE Pick the fet note and ‘de the fret hand fager forthe cond nate, UNISON BEND ck both nto, thon bond tho ower note tomate the higher notes pic. SHIFT SLIDE Sarma as eit sie, tcptthe cond note ispicked ‘TAP AND PULL remeron the igher ‘oto witha pickhang finger, then pul off othe preected lower note. ‘TAP HARMONIC Frat the lower note With pickchand fing, lightly tap the fret in parenthoses, NATURAL HARMONIC ik the role while a ‘TAP AND BEND Harmer on the noo with a ‘WIDE VIBRATO Vibate the ating by Exaggorate the vat. rapidly bending and releasing the note. ee a rere = FRET-HAND MUTE Win ne ret hand. i touch the sing) thot Freting: ok neal pro acing a percussive sound. PALM MUTE Whie picking, ighty rest the pickhand's palm aginst he ‘ring() near the bridge. PICK SLIDE Rub the picks edge up or down the stings) po- (icing a scratchy sound, REVERSE RAKE nan upstroke, quickly rag the pick arose the incieated smnge. Ima downstote, quickly rag tho pick across the incited stings. ‘TREMOLO PICKING. Pik the nots) in a ‘apie, continuous motion. ‘THUMB FRETTING Wir thumb around ‘the guta’s neck to fret 2 Gihatring note Soy es aot te op ‘SEPTEMBER 2008» G1 The Magazine You Can Play 115What's Between the Lines different A7 (A-CE-E-G) voie- ings. Once again, the pinky defines the difference between the two chords [Fig 4) THE cHoRUS Forthe chorus, Gtr 1 temporarily abandonsits single-note riff role in favor of palm-muted power chords—F#5, AS, and G#5— punctuated by C# and B triads Play this section using down. strokes exclusively. To comple: ment Gtr 1'spower chords, Gur 2 takes a fully fretted shape and moves it along the neck, access ing F#7, A7, and G47 chords [Fig. 5A], Avariation of this 7th chord shape—without the pinky—i used to play the C87 and chords [Fig 5B, ‘me curran sovo For his solo, George Harrison transforms the songs primary eff Inte «fully feted gure Mt for application ina lead sting this youncedtodoinordertotrans- | timealldingto the B Misiydian The Beatles Tormitinto an E7istoslap your | mode @-CHDEE-Pt-GE-A) This i kiaye tis ouructea coal er et saanae Caco Brdffet, adding the noteD[Pig. | repeated two times then pune «i 7 .” Day Tripper See ee ee and Rhy. Fig. 1 (Gtr. | B minor pentatonic scale (B- 2) occur at various | D-E-FE-A).3) By Dale Turner confined to the bot BB points throughout —————_—______— orputarns vrualyevery | tom three strings of Rag the song including | TONE ZONE Beatles tune canbe treat~ | Gt. 1, outlines the the forthcoming | GUTARS 1-2:Semi-hollonbody as a study in and of | open-posltion EMix: vere ection: pees | prexupreosmow: Humbucker? ‘THE VERSE | Bridge in keeping with the | & Bass/Mid/Treble: 4/577 blues inflection of the main riff, the | Th Signature Ueks BVO The Best of ‘case with the Beatles hit “Day | functionsasakind of verse works much | Lennon & McCartney fr Electric Tipper” originally released back | bluesy embellishment (Fig-1]. | like the firs half of a 12-bar | Bafta (00320382,819.95) teaches in 1965 a6 adouble A-side along |. WhileGuz LrestatesRITA.Gtr. | blues, outlining four bars of | | the trademark riffs and solos with" WeCanWorkitOut* onthe | 2 strums an accompaniment | (£7), then twobarsof1V(A7).To | behind rock’s most influential Samedayasthegroupslandmark | pattern that fuctuates between | establish this chord change, Rift | songwriting duo. Features Rubber Soul E(E-GE-B) and E7 (E-GE-B-D) | Ais transferred across the fret- | in-depth instruction and close chords Beleveitornot,theonly | boardfrom strings6-sto strings | up demos of eight ‘we waa thing that separates these two | 5-3, drawing from the A | Beatles favorites ‘Atthe heart of Day Tripper lies | chords from one another sone | Mixolydian mode (A-B-C¥~ | Contact Musie Dis a two-measure single-not rif, | little finger! Ifyou already know | D-E-F#-G)intheopenposition, | patch today to order firstheard in the opening barsof | how to play a garden-variety E | withaCbluenoteadded (Pig al. | (800-637-2852 the song’ intra This famous rif, | chord in the open position, all |-Meanwhile, Gr. 2 strums two | musidispatch.com). itself, inevitably yielding useful | olydian mode (E- chord voicings, orchestration | F#-G#-A-B-C#-D), approaches, and examples of | with the addition of what"playing to suit the song” is | the flatted 3rd “blue all about. Such is definitely the | note" (G), which aa | Ee TF | Haat | Eee HE | ae {GUITAR ONE « guitaronemog.com « SEPTEMBER 2008,GNX3 Guitar Workstation Powered DAY TRIPPER As Recorded by The Beatles (From the Capitol Recording THE BEATLES: 1962-1966) Words and Music by John Lennon and Paul McCartney Intro "Moderate Rock J = 138 ‘SEPTEMBER 2009» G1 The Magazine You Can Play 117Day Tripper $% vere te 1 WRAP A time) Ste Eth He Tae) 1Got 8 good oren son zoe 8 hp ts ea 3 Tied to lene he tak = ing the gas y way out She" took mea the way the She ‘on = ly, played one = nipt—stands fr peed z == © ms le ee. = | nes. fae ie Gee 1s wR A Gre 2 wy. ig wk = ing the She” took me the ‘on = y 448 GUITAR ONE « guitaronemag.com «SEPTEMBER 2008,Day Tripper ‘SEFTENBER2003> G1 The Magazine You Can Play 119long find ot and 1 found out hhh tae 120. GUITAR ONE « uitaronemag.com « SEPTEMBER 2008Day Tripper SEPTEMBER 2009 G1 The Magazine You Can Play 121Day Tripper Interlude © Code atertade 7 Day Tap-per, 422 GUITAR ONE « guitaronemag.com « SEPTEMBER 2008What’s Between the Lines ome tn Steve ayVaughan did ot J isavseitin fete our afeneia 3 i ci cae abun teary new i feline Legend a ese be ingen Boy Guy weer tating tine on fiona ig a gl ee He eee eyes Beaton Doth tetusters slong wiht Se aka ie date The lee fs dab alba a et covey Davi 858 cs ee lepeuas teling good King Sibert ike twine tearing through a use suedaen Veigien postanite damn ete ee Perego tat pues THE FORM “Texas Flood” isa 12- bar slow blues with the"fast change” tothe IV chord in bar 2. ‘Vaughan goes tit asa pure blues trio with ‘no overdubs, combi ing rhythm and lead flawlessly in one long, ‘creative stream of consciousness, Fig. I contains suggested comp: ing chords, using Vaughanis par. tial chords as a guide, Dig that in | conjunction with a bass, the top | | threenotesineach oicingare suf ficient to convey the appropriate harmonic information. Stevie Ray Vaughan “Texas Flood” Measures I coniain the ypc | Bee = blues introduction of I-1V-1-V. | GH) CAV) DV) | mmaamamtnemesce | Using the hybrid Mixolydian | } een ‘mode/blues scale (Fig. 2| relative | E far tothe (G) chord at fret 3 and 1V | f + (© chord at fet Vaughan rep Th Prs33 ae cates Larry Davis original riffsand Shih Gn anne Peeee die g’e £78 228 2B —— fa gp ee YF then boosts the harmony with # hornlike C9 chord stabs at fret 15. inmeasure2,Inmeasures5-16of the 12-bar verse, he teaches and testifiesto the value ofension and release ashe manhandlestheroot and extension positions of the G hybrid Mixolydian mode/blues scale. Like his mentor Big Alber, he favors the bend of the 4th (C) to the th (D), released tothe rd (B)andresolved down totheroot (@ over the I chord {measures 5, 7, and 8) and TV chord (measures 6,8,and 10),wherethenotesfunc- ton asthe root (C), 9th (D),s7¢h (@>, and sth (@), THE $010 Vaughan once played the “Star Spangled Banner” before a Houston Astros game in Texas, and you can hear, ifnot actually see, the ‘rockets’ red glare” and “bombs burstingin ait" inhis 24 measure aural assault, Virtually every note is manipulated in some blues-approved fashion, with pull-offs, hammer-ons, slurs, vibrato, and muscular string bending, The latter tech- nique, in particular, is magnif cently displayed in measuros 9 8], where Vaughan -cutes a series of spectacular ineremental bends ila King that resolve to the root (G) with a resounding crash in measure 11. Here's a handy performance tip: Use the ring finger to play each bend, starting at fret 6 for the Be note and moving it up the neck to access the B and C notes. ry the middle finger to push the G note up toAonbeat 4 of measure 10 while holding the Cbent to D with the ring finger. TONE ZONE TAR: Solidbody electric PICKUPIPOSITION:Single-coll neck ANN: EQ: Bass/Mid/Treble:4/5)7 Stevie Ray Vaughan Texas Flood The Texas Flood songbook (00890015, $19.95) contains all 10 tunes from SRV ‘and Double Troubles ‘monumental first album, transcribed in notes and tab, contact Musie Dis patch today to order (800. 1537-2852, musladispatch.com), ‘SEPTEMBER 2008» G1 The Magazine You Can Play 123.[eINp. GX ae ons nee ears TEXAS FLOOD As Recorded by Stevie Ray Vaughan (From the Epic Recording TEXAS FLOOD) By Lamy C. Davis and Joseph W. Scott Intro ‘Slow Blues J. = 62 te 1 igi i: 124 GUITAR ONE « guitaronemag.com « SEPTEMBER 2003Texas Flood. deere are gay a a “Thumb Nocd-in™ down in Tex - as. — All of the tel-e-phone Hines — aredown, ‘SEPTEMBER 2003» G1 The Magazine You Can Play 125Texas Flood 7 ae Wel its oon?” down — in Tex-as I= ofthe tel-e-phone tines — ae down can't. get asin - gle sound | te on tl on Ceere none |Texas Flood 2.Well dark. clouds are rll - in Well, dark clouds are roll in stond-in'out in the rin ‘SEPTEMBER 2003» G1 The Magazine You Cen Play 127sao ae Texas Flood ‘Man, it's about to dive poor me in-sane,—— Guitar Solo o pr a nt 428 GUITAR ONE « quitaronemag.com « SEPTEMBER 2008 |Texas Flood e Cyresess us ty * iN ay a A pode fee ES eA Uae by ‘SEPTEMBER 2008 G1 The Magazine You Can Play 129Texas Flood a ey ae io LO 130 GUITAR ONE « guitaronemag.com « SEPTEMBER 2008,Texas Flood leavin" you, ba» by. Lord, now 'mgo-in* back home tostay we ‘SEPTEMBER 2003) G1 The Magazine You Can Play 191Texas Flood o —— i P'm go-in" back home to sty | = ~ I Do Well, ack home there's no lon or tor = na — dow. | | 1 a er Free Time 192, GUITAR ONE « guitaonemag.com « SEPTEMBER 2003,Pink Floyd “Goodbye Blue Sky” ‘By Douglas Baldwin javision the leter X. Label the line from the upper left to the lower right "Pink Floyd Quality” and the line from the lower left to the upper right Pink Floyd Popularity” The inter section ofthe twolines would rep resent the releaseof The Wall Prior tothisalbum, RogerWaters, David Gilmour, Nick Mason, Richard Wright, and, initially, Syd Barrett pushed thelimits ofpopularsong formwith edgy electronics, quirky ‘melodies, and extended improv sation, while an ever-growing c#0/D UU eC Td tT) ATT audience listened on. After The ‘Wall, Pink Floyd eallyhitthe wall, | splattering into a puddle of inter band quarrels as thelr most suc cessful single, “Another Brick in theWall reached #1 on both sides of the Atlantic. "Goodbye Blue ‘ky" remains a beautiful, simpl and ironically appropriate ode to the end of innocence, and its a great piece for beginner-to-Inter mediate ingerpickers. [ARRANGING FOR SOLO GUITAR Although “Goodbye Blue Sky” is | played byapairofnylon-stringed | Bm/D guitars, any single fingerpicked acoustic or clean-toned electric will work. Most of the duo ines are played in unison, the prom nent ills (played by Gur 2) can be woven into Gtr. I's patterns, and the parts can be expand: ed to include the vocal harmonies. The strategy for picking with the fingers is this: Assign your thumb (abbreviated pitothelowestnotes, then use your index (®, middle (m), and ring (a) fingers for progressively higher notes. In "Goodbye Blue Sky,” the thumb keeps clacklike time with contin ‘uous quarter notes on either the D or A string as the fingers play on the higher strings. FINDING THE SHAPES, ‘Thesongis built from two chord like constructions and two ‘melodic lines, The into riff lves largely within an open C major shape moved up two frets, and the following section in A minor {s played asa single-note line on the G string. The interlude (the “ooh section) can also be played 4s a single-note line on the G string. Once absorbed, interme- diate players might try the chord shapes in Pig-1 to reproduce the interlude’s vocal harmonies: the thomaticF#-Gostinatoattheend of this passage can be played by releasing the pinky finger froma standard Bm chord. Beginners will best visualize this as a BS chord with an added open G. ‘Theversereturnstothe Aminor theme, and extendsit downward, Again, begin on the G string, but shifitotheD stringforthe melody es Ff, E, and D. Intermediate players who choose to add the vocal harmony (a 3rd above the guitar line) should find it com: fortableatfst asthe paral ris tre iniall played in one fet on the G and 8 stings. rently theaforementioned shit downto the D string wil push yourchord shapesontotheDand strings a the bass moves to the low E Sting, Use the shape Shown inFig-2 forts The chorus Is the fst point were the ream plac play tmorethan one teat once on the treble strings. Beginners may focus on the higher note ft then transpose this melody othe B string and ad the harmony below onthe G string, nvermedtate players arranging he vocalhanmonieson guitar can use mostofthe shapes Inoduced in Fig 1 adaing the shapes in Fg. 3 forthe final ‘good byes: Pink Foy The Wat (M2122, US$21.95)Thealbum- matching folio to The Wall, the transatlantic#! hitandoneofthe all-time longest- * running albums on | — hae] the charts, Titles: In| BaP | theFlesh?+TheThin | gy | Tees AnotherBrickin | che Wall Part) The Happiest Days of Our Lives * Another Brick inthe Wall (Part2) ‘Mother + Goodbye Blue Sky « Empty Spaces (What Shall WeDo Now.) + One of My Turns « Don't Leave Me Now + Another Brickin the Wall Part 3) « Goodbye Cruel World + Hey You + Is There Anybody Out There? + Nobody Home « Bring the Boys Back Homes Comfortably Numb*The Show Must Go On « In the Flesh * Run Like Hell « Waiting for the Worms Stop +The TrialeOutside the Wall Available from Note ‘Service Music (800-828-1528). ‘SEPTEMBER 2008 @1 The Magazine You Can Play 133eT AOL Sete Oh A Ts 1 f={— 9) ‘GOODBYE BLUE SKY As Recorded by Pink Floyd (From the Columbia Recording THE WALL) Taanscribed by Adam Perlmutter By Roger Waters, Inteo Moderately J = 109, coon sone) sou ets Dads me ‘wingers SS el + Sa + ‘roe minors rab eran) earn ato Cap 134 GUITAR ONE « guitaronemag.com « SEPTEMBER 2003 csGoodbye Blue Sky “and ime, ish es 1.2.Did, id, dd, did you see the frightened ones? Did, did, did, did you hear the SEPTEMBER 2003 G1 The Magazine You Can Play 138,Goodbye Blue Sky To Coda falling bombs? Did, did, did, did you ev - er shelter whenthe prom - ise of a brave— new world unfurled be-neath the clear ive sky? DS. at Coda Dada : ees = 9 = 2 —_— Se | ee ee ee 496 GUITAR ONE « guitaronemag.com « SEPTEMBER 2000Goodbye Blue Sky ie 2 wR Chorus Dads ee eagles ood ~ bye. ones Repeat and Fade ‘SEPTEMBER 2003» G1 The Magazine You Can Play. 137AFI “The Leaving Song, Pt. II” ‘By Tom Koln welve years ago, hardcore Te revival band AFI (A Fire Inside) was slugging it out in aNorthem California garage The rambunctious high-schoolers ‘managed to cause alocal stir with ‘handful of live shows and the release ofan EP butthey utimate- ly called it quits when college loomed. Soon after, the band reunited for one last show, but audience reaction wasso enthusi- astic that they decided to have at it again. And now, with arash of sold-out concerts, high-bid ticket negotiations on eBay, andthe cur rent success of Sing the Sorrow appears things ae about co break for the tenacious band. In theit newsingle, “The Leaving ong, Pt 11. there are morerifs ying from the fretboard of Jade Puget’ Les Paul han youcan shake a stckat Fromharmoniecascades toopen- stringfillstopedal-tone enhanced arpeggios aclassicallyinfluenced figures, Puget sits firmly inthe cap tains seat, piloting the ever-evolv: ing arrangement. THE INTRO Thefade-Inintrofigure {sabitmoredifficultto play than it sounds. Based around the E minor pentatonic add? scale E-F-G-A-B-D), it roquires some ecky tapping in order to achieve the maximum amount of string ring. ing In the transcription, each “I requitesthatyoutap (hammer-on) thegivennotewith yourpick-hand finger. Meanwhile, most ofthe fret Aree TL Co ATES ‘iy be Sore carey ‘andnotesarehammeredon with- ‘out picking. And starting on the 1" of beat 4 inthe second bar, you'lhavetotaponthed.sideup to the B, and pul off to the fret hhandsG. Check outFig 1 forsome fingering suggestions: the tapping, index and middle fingers are sym: Dolized by*i"and"m’ respectively. ‘TWE VERSE AND PRE-CHORUS. Movingalongto the verse, we find syncopated octavefigure (played along the A and G strings) set against a low-Epedal. Becareful not to allow the inner string (D) to ring out The best way to keep this from occurring is to mute it with the underside of your index finger, which you should use to fret B the A-string notes. Also, fret each higher notewithyourring finger The pre ‘chorus featuresa rhythmically of- set single-note passage played along the Ist string. Notice how DOSE ‘much atterandaggressive-sound- ing the line becomes with the Introduction of the open Ist and. 2nd strings in measures 3-4 ‘WE CHORUS ANO BRIDE In the chorus section, standard power-chord voicings(E5 and G5) sandwich acooldouble-stop move (fourth beats of measures Land3) and another sliding octave figure, alo played on the A and strings Strng-skipping maneuvers dom- inatemeasure4, whereabrokenA ‘minor arpeggio is set in motion against a palm-muted A pedal (Practice this slowly, using dead-on picking accuracy) Catch the D- string slide with your pinky and youl be in place to nail the sub. sequent B chord ‘The bridge section opens on a relentless stream ofsyncopated| chord jabs, then segues to anoth er set of octave figures, outlining 35, C3, and Ds chords. Tisis fol: lowed by an intimate, 8-barinter- lude, which finds our inventive ‘guitarist performing. classically influenced, fingerpicked passage. Heres right-hand fingeringcom- bination that will getyou through this uneture—D string: thumb: G string: index: B string: middle high-F ring. In stark contrast to this sensitive section, a series of ascending, diminished power chords (root-s5th), played against low-E pedal (Fig 2), provides a powerful transition back into the chorus 5 TONE ZONE BUITAR 1: Solidbody PickuPrPasimion: Humbucker/Neck AI: 4 EQ: Bass/Mid/Treble: 7 UITAR 2: Solidbody PIcKuP/PosiTioN: Humbucker/Bridge a: : Bass/Mid/ Treble: 7/415 H05VE AGSVE tect: 4 | 1138 GUITAR ONE « gutaronemag.com « SEPTENBER 2003GNX3 Guitar Workstation Powered THE LEAVING SONG, PT. Il As Recorded by AFI (From the DreamWorks Recording SING THE SORROW) Tanscribed by Adam Perlmutter Written by AFI (Puget!Marchand/Carson/Burgan) vet high) E> AS-Db-Gh. BBS Intro ‘Moderate Rock J = 92 Fade Tn Em Gir 166) L.Don't waste your touch, you! won't feel an = y-thing. } Dim. "per = Tect “ery, Gnd scream in ees sda 3 Or wee you sem tate ee es ee ee es fess ¢ = $ ae SSI a Ee =| eS ee ° $ - - 5 SEPTEMBER 2003» G1 The Magexine You Can Play 139The Leaving Song, Pt. Il 2nd tine, G2 FY Em ve thought wo much, you won't find an = y-thing Look “what Tve ‘baile shines 30 beau Fy Pre-Chorus Em Weta atest aa ee Pe ege Remote ae * pert |Gur.2 ot = « ca 2 = fe 440. GUITAR ONE « guitaronemag.com « SEPTEMBER 2008,The Leaving Song, Pt. II ‘te 1 eset ES D Es cogs break down, and cease all fee = fing. Burm now, what once was breath — ing lou? Ry Pig 1 mee — and you may take my £ fff» pp # £ - a SS SS ¥ —— on and come all fee ~ tng, Bum om, wat once- was breath — ing. SEPTEMBER 2003» G1 The Magasine You Can Play 144The Leaving Song, Pt. Il ‘and you may take lay 3 mes Teft it all be ind, and nev-er said good-bye. bs cs Ds Bs BS CS BSThe Leaving Song, Pt. Il ‘n/a oe & fingers oto “ ot sw AEA Geet: Fin? Tok the ie, Tae it sow, vow it consumes me forone bat ‘SEPTEMBER 2003» G1 The Magazine You Can Play 149The Leaving Song, Pt. Il ie. 1 toe DAGSYE POSYE ASE ey % Outro-Chorus (i. 2: why. Fig. 1 (Wesines) ES D ES os ES 2 what once was breath - ing a Bem trea down and cease all feel ing Burn now et pe a ARE TET sen > - - a 2 2 Ae % ————— ee Reach out ‘nd you may uke my heart 4144 GUITAR ONE « guitaronemeg.com « SEPTEMBER 2003Revis “Caught in the Rain” oye senmen ied Lad the yale ot [issigmimerenance nioangaarbasteyee Tatham aenaeagent init coat he tie Screoned tegen ena Shee And an ening Sipe ous tious andtente Qunlecipate cena her sd red ip ply eve ae The tee natin Serenata dtchea:Fiveboys ieerteeey Oe (a Mt eke wah ig ene oa tioscneroon sprcentnin Ages Te due a Ts | sngelredemne age Yoepeeciad pat What’s Between the Lines realhardatpromotingthelrempy figs. More drama ensues. The band goes home for the holidays and writes the goosebump-induc {ng rocker “Caught in the Rain,” Which turns out tobe the hit song that snags them a deal with Epic, THE BYADS, Itsmore sophisticated to imply harmony thanitistoshove pow. erchordsinsomeone’s ear Heres the concept Your average barre chord is a chunky thing full of unneces- sary notes like 5ths and octaves. In the transcription’s Rhy. Fig 1, played in drop D tuning, guitarists Nathaniel Cox and Robert Davis use dyads to imply the progression of A-F#m?-D/F#, To finger the A dyad (A-C#) depress the 6th string’ 7th-fret A with yourpinky fingerandtheSth string’ 4th- fret C# with your index finger. That way, you can eff ciently nallthe partialF#m7chord | (FEE) by just reversing the fn ‘ering —the index finger shifts to | the F¥ at the 6th string’ 4th fret while the pinky nails the E at the Sth string’s 7th fret. Then, keep | your index finger in place as you depress the Sth string Sth-fret D with your middle finger, implying ‘a DIF? chord | THE ACOUSTIC STRUMMING Inthe verses, Cox and Davis shift from clanky,closed-voiced dyads to warm, open chords. These denser harmonies are cleverly voiced in such a way that open strings rub against fretted ones; | the resulting friction invigorates the typical A9 chord (A-C#-E- | G-B) and opens up the passage. Use the sensible fingering shown in Fig. 1. Keep that shape anchored during the entire AS measure, adding and removing | the 3rd string’s 7dh-fret D with your ring finger as shown in the transcription, The next measure’ chords are formed from a th string rooted ‘octave shape. (Fig 2]. Octaves are lit, tinny trinkets that wonder fully fatten single-note lines; they've been used by everybody from jazzer Wes Montgomery to the Deftones’ Stephen Carpenter. Cox and Davis expand their ‘octaves in twoways: Beneath each pair (A, FE and E), they add adia- tonic Srd (Ff, D, and Ct, respec- tively), And on top ofthat, the gui tarists incorporate the ringing ‘open Ist and 3rd strings, forming acolorfulstrumming eres that, in conjunction with an F¥ from the bass, falls underthebasicumbrel Ja ofan Fém? chord, ‘WE SINGLE-NOTE RIFFING Single-note Riff is derived from the A Misolydian mode (A-B-CE D-E-FE-G),diagrammed in Fig.3 1s a deceptively simple melody line—the string-yanking may prove difficult. Try reinforced bending. For the first half-step bend, line up your index and mi de fingers on the B string behind Your ring finger, which is perched ‘on the 14th fret C4 With this rein forcement in place, the bend will be easier to exact. Practice bend: ng by plugging your guitar into a ‘unerandcheckingthat you're hit- ting the pitches dead on. Ty all typesofbends—hal-steps, whole steps, and wide leaps like minor and major 3rds. 3 TONE ZONE ‘BUTTAR 1: Solidbody PICKUP/POSIOK: Single-coil/ | Neck and Bridge AI: 2 FQ: Base/Mid Treble: 4/8/5 SBUTARS 2-2: olidbody PicxuPrPosiro Humbucker/Bridge ‘oA: £9: Bass/ Mid Treble: 4/8/5 [BFECTS: DigiTech Whammy, Line 6 delay, Morley volume, Boss tremolo ‘SEPTEMBER2003» @1 The Magazine You Can Play 145GNX3 Reis Mahe Re titey Werte CAUGHT IN THE RAIN As Recorded by Revis (From the Epic Recording PLACES FOR BREATHING) Transcribed by Adam Perlmutter By Revis Dep Diu Cow high D-ADOBE Intro Moderate Rock J=80 rin? os : Bm) Zsssccce tiveee oe OF os signi. F : ie = oe : 5 = = es ES Gut st 2teee) A Fin? pit SSS EEE = ==—- Ss SS ee ——— SF waa. & wah ram a Se eee _— ee eSPreidtitasateets tiiisiiiiisiiies jae aa : * 2 gets i = Beet : Lis it real? x — SOs tera SS is : = ‘ = es es + a 448 GUTTAR ONE « uitaronemag.com ¢ SEPTEMBER 2008Caught in the Rain Verse Gi. 283 tet Ag Fim? | ai We're al-waysthe same— we've al-most un done ow. Well, was Rhy Fig 2 Ed Rhy. Fig? af (ie Ry Fig 26 ties) a Fim? —— 2S @ SS T Fact i e caught ie the rin wasting my time— ground — Scvorws ce Daas? act as Bs whocould get With whatTera Caught in the Rain 6 Dad? act a eve you ay you'r tl-ting me some - thing real What we do nd Ry Pig 3 ‘on oe im 22: iA # 2S Ee = aM me it does-n't mat ter—_ now. ‘What ToCodts ® 3 weet Gs Dass act as BS Db | a a a fev-ee it takes for you 10 stay with me 2.Trad-ing thought (Gir. w/ Ry: Fig. 24s) a9 Fim? cross from the room,— 1 saw you sur - round Well, 1 was End RUA, 4148. GUITAR ONE « guitaronemeg.com « SEPTEMBER 2003,Caught in the Rain 3: w/RTA aught inthe rain. — wasting my time— on the, Fee-ing. us fall Gu 3 meet (tz 3: RFA (nd mene) ao Fim? == See = with-out anes - cape, 1 al-most let you down. — Well, 1 was ata Bd uA SS DS. at Coda (te 2 w/ RAFAL (mes) (G3: W/TAG mens) a9 Fin? _— wasting my time on Interlude ie 3 tet e1 weet & Fim? ox Ry. Fg. es Saiaissiiiiiiesa7 | ‘SEPTEMBER 2003.” G1 The Magazine You Can Play 149ee eet Caught in the Rain é as dR. Pi en 3 t SS SS G3 wR Fe 4 Ha? 6 ure na warn nA nA “ se Gn? 1 was you acca Chorus oe Dew? AS_—DS mai? aS Es bs who could 180 GUITAR ONE « guitaronemag.com « SEPTEMBER 2008,Caught in the Rain @ Dawa AS DS Dm? as = eset you wy you'te telling me some = thing rea it doesnt mat te tow. caught inthe ruin you made me fee you made me feel, made me feo Outro, 2 w Rif 8 times) os Pint Ach as ES Twas G3 Rhye Et Ray Fig S (te 3: w/ Ray Fg $time) o6 Fim? act As Es cache pee PEN or eee en eee are oe Ge:2 et os Dax act As i ee Sr 4 _ sion Viera eae area as os ‘SEPTEMBER 2003» G1 The Magazine You Can Play 154San Coldplay “ i 7 The Scientis By Douglas Baldwin ] -ollection of songs. and com parisons will arguably te be made to Radiohead, Jeff Buckley, and the Smiths, partic ularly with regard to lead vocal istChris Martins sensitive falset- tobreak. "The Scientist” isasad look back at failed relationship, and its simple construction, and performances pop balladry (cin) at its best, a perfect vehicle for strumming. you've already tied iguringout “The Scientist,” you may have hhad trouble matching the pitch and timbre ofthe guitar. Infact, the recorded performance employs two techniques to change these para- meters. An altered tuning is used, and a ‘capo is clamped at the Istfret.To employ the offical Coldplay tuning, begin by ing your 3rd string downtoan .Youcan, find this note on the 4th string atthe 2nd. fret. Play the fretted E and, as it rings, tune theopen 3rd stringdown.To drop your 2nd string down to A, play the newly tuned 3rd stringat the Sth fret and match the pitch Alternatively, you can use har- ‘monies to find these pitches: the 12th-fret harmonic of the 6th string will reference the re-tuned 3rd string, while the 12th-frethar- monic of the sth string will work forthe2nd string. Oncere-tuned, ‘a capo on the Ist fret will com- plete the pitch transition, and the ‘new chord shapesare pret eT we TunIn | | (ety . | ® oe = ae tot y / I he ‘ 4 4 ‘ bo ek vm ei a ple; only the Esus2, with its five string barre, Is a bit challenging. Another strategy is to simply keep your guitarin standard tun: ing. keeping the capo atthe 1st ffetsothe chord shapesremainin sguitar-friendly Emajor.You might try voicing the chords in their simplest forms (Fig. 1, or take fstab at mimicking the piano introduction [Fig 2) If you follow this tack, tryshiftingto the simpler shapes at the interlude after the first chorus; i'l add some body to your performance, ‘THE STRUMMING In classic pop ballad tradition, “The Scien- List opens with asim ple piano figure, then, as just ‘mentioned, it gains considerable girth once the body of the song has been presented. To simulate the piano accompaniment, sub- divide the tempo into even eighth-note downstrums (count ed “one-and, two-and,” etc, where each beat receives a num- bered count). Then emphasize teach beat with a fll strum on all appropriatestrings, On theunac cented eighth notes (the “ands in our count), strum only the lower strings, This pattern Is shown in Fig.3. Be aware of the ‘one-measure pause on the line “Oh, take me back to the start” ‘The temptation will be to speed ‘up abit, so practice slowingdown at this point. Then when the full bband enters, downstrums with moreemphasisonthebackbeats (beats? and 4)—and with alte ‘more energy and volume—will help to propel the song forward, ‘The guitar clearly adds an addi- tional 16th-note upstrum at the end of each measure; it’s all. shown in Fig. 4.5) Coldplay A Rush of Btood tothe Head The a sng or Clays teeny: Blood tthe Head (00539 $1.33) features Sipiomerain | A | teccconacem | 'E) | Dipak today 2852, mstdoptch com 1152 GUITAR ONE « guitronemag.com « SEPTEMBER 20083 Guitar Workstation Power Digiech THE SCIENTIST As Recorded by Coldplay (From the Capitol Recording A RUSH OF BLOOD TO THE HEAD) Arranged by Adam Perlmutter B verse cits) 095 a i cc Moderately 4 = 100 Dei) bs s ning in + aes com im tal, > spate chs ing our tls aK! «9 eu) heads on ence oo com in tack. * we?) DES eee Chorus Bis sls Bess and ne % Bs Fuse % it aca te pm Bis as) oS + —- te = — 2 aaa vg —— a No. = ty wad i oe go ea ORV os 0 oe ow a 6 wou te (Rf Interlude @ ToCoda @'rs os &, ie Oh, take me back to the stan | Tm ‘go - int back to the Stat es Fs Devs) Bis Fs Feat (as), «9, (Cinta, (as) «9, (eu) Fs Bis Fs 5) os) «5, pmb) is Fs (Cine) as es Hey tines Ist time Nocal acer A onset et ee es 184 GUITAR ONE « guitaronemag.com « SEPTEMBER 2000 =