Plug, into rock’s most CY EU Se ST UN WA \ \ \ As WN \\ i Moe iG i Y= | to get yous ee > i=) : G ix oe =| @ fj eed! eric aT AY Md, “teedig WHAT’S BETWEEN THE LINES Performance Notes In this section we'll go beyond the skin and get into the meat, bones and guts of the music. Scalpels ready? Let's cut in . power blues is on@iof Led Zeppelin’s most memorable comtiposi- tions, and a perennial favorite among, jammers everywhere-Van Halen among them. It’s also a must-know tune in our arsenal of vital rock guitar pieces. When Jimmy Page got together ‘with Robert Plant, John Paul Jones and John Bonham, way back in 1968, they planted the seeds of heavy metal with, songs like “You Shook Me,” “How Many More Times” and “Good Times, Bad Times"-amalgams of blues roots and hard rock power taken to new ex- tremes, By the time Led Zep TV was released in 1972, those seeds had taken root and reached full fruition in riffs like “Rock And Roll.” THE RIFF Rhy Fig. is ope of the most unfor- gettable riffs in rock history. It’s another classic ease of a riff melody based on an open chord shape a la Clapton's “Crossroads” or the Beatles’ jrthday.” In the course of the song, the “Rock And Roll” riff is moved through the I, IV and V chord levels of a blues progression, That would be, in ALA, D and E. Think of the riff as played on these three open power chord shapes. (Fig. 1] Fig. 2 depicts riff shape and chord shape combined. Check out the string bends and pull- offs which are a crucial part of the figure’s articulation and notice the fa- miliar A5-A6 blues comping pattem as part of the riff'in the second bar THE FORMS Standing back, you'll 9¢e that the song form of “Rock And Roll” is like ‘an expanded blues progression in AcA normal blues progression és 12 bars Jong (as in the intro) and here the 12- bar fort is enlarged by doubling the bar length of each section. For ex- ‘ample, instead of the first section being four bars long, it is eight and so on. ‘This gives us 4 24-bar blues with all the characteristic chord changes and har- ‘monic proportions of a conventional 12-bar. ‘This progression is used throughout the piece as Rhy. Fig. 2. THE SOLO Page's solo is cleverly arranged in ‘Wo parts. The first half is over a chorus Of the 12-bar progression (Rhy. Fig. 1 like the intro), Herehe plays it straight- forward and simple using a tootsy rock 1’ roll riff repeated five times. This is derived from the stock minor pentatonic box position at the Sth fret By Wolf Marshall ROCK AND ROLL. and pays homage to the Chuck Berry schoo! of blaés-based R&B. The sec cond partis over the 24-bar progression of Rhy. Fig. 2. This is more challeng- ing and complicated but will be within your gtasp when you master movable lead guitar patterns and the combined major. and minor pentatonic scale shapes On the fretboard, STRATEGY ‘Staft by playing the backing figure (the matin riff, Rhy. Fig, 2) behind the solo and listen. Play along with the re- corded Solo as if you were Page, the rhythm guitarist. Hum the lead guitar phrases to yourself as you comp the rhythm. Then tackle the music, Develop a feel for shellicks against the chords be foredigging in and your eaming will be faster anid more productive, For more on: 1) Riffs siad chord shapes, see Wolf Marshall Gitar Method: Basics 1 2) Blues comping, see Wolf Marshall Guitar Method: Basics 1 3) Blués progression, see Wolf Marshall Guitar Method: Basics 1 4) Minor pentatonic box position, see Wolf Marshall Guitar Method: Basies 1 and 2 5) Movable lead patterns, see Wolf Marshall Guitar Method: Basics 2 6) Major and minor peta scale shapes, see Wolf Marshall Guitar Method: Basics 3ROCK AND ROLL As Recorded by Led Zeppelin (From the album LED ZEPPELIN [IVVAtlantic Records) Words and Music by = Jimmy Page, Robert Plant, Uptempo Rock J = 172 John Paul Jones and John Bonham A Geet Rig Figt nd Ry. Fig Sa Copyight'01972, 1994 Supemnype Pubishing. Al ights acminstaed by WB Music Corp. For Austala: Warmer Bros. Music, Adstrala Ply Ltd (ACN 000 876 068), ‘trading as Wamer/Chappell Music, 1 Gassins Avent, North Sydney, NSW 2060 For the Ux: ©1971 Wainer Chappel Must Lg, London WIY SFA, Reproduced by Permission of temational Music Publcatons Lic [Al Fights Reserved Used by Permission Intemational Copyright Secured. Unauthorized Copying is legal 2”1.S'been a long 23, See additional lyrics ity rock and been a long. rolled, time since 1 et me get it back, ba by, where I come let me 2Ws been a tong time, been 2 long, time, been’ a Tong, time, Yes, it has. 2Btime An. Interude ut alti fe ow. 24881), Guitar Soto GeteiRby Fig? AS: 2412 | att fal Gu lel % 2s© Coda Quire Gir wy. Fg, at meas. only Sts why Fg, st $ meas. onby.2 mes A“ aN == j Yeah, = a 26(te 1h Fp 1st meas. only E bs bpp ¢ fp _# —— a = = —— : = = © seen a long time, been along, time, been a long, Jone = ly, lone ly, lone - Jou ¢ = = a tig = JF La + = a SS = — ome 5 lorpon) 2 x SSS © Ty, lone - ly, lone yy time, Free Time (J = 130) ar — - — = Additional Lyries 2. Its been a long time since “The Book of Love.” Tean't count the tears ofa life with no love. Carry me back, carry me back, carry me back, Baby, where I come from, Is been a long time, etc 3. Scems so long since we walked in the moonlight, Makin’ vows ust coulda’ work right. ‘Open your arms, open your arms, open your arms, Baby. fet my love come runnin’in Tes been a Tong time, ec 27WHAT’S BETWEEN THE LINES Performance Notes (OH) PRETTY WOMAN Roy Orbison’s mid-60°S'tock hit enjoyed chart success again as Van Halenized remake two decades later, ‘The most popular and durable track from the 1982 Diver Down album, “(Oh) Pretty Woman” was an ideal ve- hicle for reinterpretation by Ed and company-masters of covering tunes and, in the process, mining the unseen musical gold. Interestingly enough, it didn't depend on excess, flash or over- the-top guitar histrionics. TUNING E flat tuning. Tune each string down one half step. THE RIFF The attraction was its powerful riff-one of the most memorable in rock history. Ed plays itpractically verbatim but adds a few of his personal twists along the way. These are found in the form of pinch and open harmonics, palm muting, vibrato and whammy bar dips and dives, The riff has a strong harmonic (chord-based) sound empha- sized by i chord outline in the melody. [Fig. 1] The primary notes of the riff are E, Gt, B and D (root-major 3rd-fifth-seventh), the arpeggio of an E7 chord. TE CHORDS Rhy. Fig, 1, used in the verses, contains a handful of relatively simple shapes. Asus2, Fim and D are essen- illy based on open chord forms in the first'position and there’s a lot of conti- nuity between the shapes. For example, the Asus? and Fim1t both tse the inner shape (the notes B and A) ‘as a common form-sort of a chordal anchor. [Fig. 2] Check out Ed’s typi- cally colorful rhythm guitar playing in the B9 part of the verse and throughout the bridge. These sections are perfect examples of how you ¢an get more ‘mileage out of basic power chords and ‘open chords by arpeggiation and add- ing and subtacting notes to and from the shapes, Always visualize the under- lying basie chord when doing this to Keep. a strong harmonic reference point. Formore on: 1) Opens and chord/scal relationship, See Wolf Marshall Guitar Method: Basics Land 3 : 2) Openichords and arpeggiation, see Wolf ‘Marshall Guitar Method: Basics 2(OH) PRETTY WOMAN As Recorded by Van Halen (From the album DIVER DOWNWarner Bros. Records) Tw nnn Words and Music by Billy Dees and Roy Orbison Eb @-Ds O-o8 O-t Intro Moderate Rock J = 130 Pim A Fhm ~~ walk-in’ down the— street, pret - ty wont you par - don— me? Pretty Copyright ©1964 ACUFF-ROSE-OPRYLAND, INC. P.O, Box 121900, 66 Musc Square West, Nasiwile, TN37312-1900 Reprinted by Permisson of CPPIBELWN, INC., Mim, FL International Copynght Secured All Fights leseved 29Fim D =e 3 woman, the kind Td like to meet Pret- ty wom-an Tcould-nt help bu see Pret = ty 1 dont be must be true, oh, “you look paeeneeeen you can be. NcwED 30look my (oy pretty women Pretety wom - an, ive your smile. yeah, yeah, yeah Pretty wom - an, say you'll talk a - while.— ”D Neen Verse itty ‘ vin SS $e o vt o—-\——t woman, owt walk on Pretty wom-an dont make me ery.— Pretty 2> £90903) re zoe don't walk oa — Oo k If thats the way it must be, 0. ———— SS There'll be to -mor - row night, 33(oy erctty womens Neen pret- ty woman 34WHAT'S BETWEEN TRE LINES Performance Notes own with the music of Seattle's Alice ‘In Chains and guitarist Jerry Cantrell, Harnessing both moder and retro sounds and influences, the band cut a different path in the grunge landscape ‘nd their first big hit, “Man in the Box” ‘gives us some indication of how they did it TUNING E flat tuning. Tune each string down one fialf step. THE RIFF ‘The main tiff is sparse but deadly, ‘made from a heavy, syncopated figure ‘onthe low E and strings. Rhythmical in nature, it depends on tension, tex- ture, accents and ghythmic placement for its forward migtion. Palm muting gives it a thick chunky texture while the repeated root and seventh dyad pro- vides the tension. Notice its constant accenting of the off-beats: and-of 2, and-of 3 and and-of 4. This is the es- sence of synOpation. Played during the intro, verses, behind the solo and in the outro, the min riff permeates the tune. he prochorus used Gs movable power chord and the immortal Sth-6th comping figure borrowed from blues and the earliest rock ‘n’ roll. This fig- ure or & vafiant of it appe countless tungs ineluding *Rock And / ears in i ‘versioh§ of the same scale shape moyed to different positions on the neek. This is a classic use of minor en lead guitar patterns. In this -, an Em pentatonic scale, Watch forthe bends in the solo. There are “11h step bends, ‘2 step bends, slow Roll* and “Sweet Home Alabama.” Its. bends and slow releases in addition to appearance here drives home the portance of this pattern-it iftypically- found in hard rock, southern rock, blues, R&B, and now, griinge. chords E5, GS, D and A are: chorus for a contrast in chord texture and thythm, The voicings are bigger, ‘more resonant and allowed {o ring, cre- ating a spacious sound and feel. THE SOLO. i = To begin, play the main riffbehind the solo and think, and most important, feel the, groove. Lay down a solid “rhythm behind the solo before attempt- «ing to lear the licks. Your ears and fee! should develop before you concentrate “on notes. Bottom line-zrealize how it ‘works with the rhythm and the groove of the song, The guitar solo is relatively straightforward-based on a couple of the standard whole-step-{full) bends. Give each one your car and keep checking the intonation (bending to the correct pitch). For more oni, 1) Open sting tiffs and palm muting, see Wolf Marshall Guitar Method: Basics 1 2) Movable power chords and blues comping,’ see Wolf Mag Guitar Method: Basics. a 3s ‘Minot pentatonic lead patterns and string bending, see Wolf Marshall Guitar aMAN IN THE BOX As Recorded by Alice In Chains (From the album FACELIFT/Columbia Records) Lyrics by Layne Staley Music by Jerry Cantrell Te Down 12 Sep O-8 @-Ds Q-Bb OA S-0 6-0 Intro Moderated = 108 E7 Gir (ass) Rise rad Roget mf Gt. wR. Fig 1,2 ines t Ab, . ah, ah Gu.2(ast) Gi 2. Ri A Aha oh Stine nr pecime =a S— SS SSS = $ te oe Drm te does “w/a box set to pen” on beany accents @ eat SS o Bae edn y Be § Soo FM} Copyright ©1990 Jack Lord Music/Buttnugget Publishing Intemational Copyright Secured All Fights Reserved 36xxamaa dz the bom G6 GS G6 GS G6 Gs G6 Gs G6 Gs G6 GS NC(EN) End Ry Fig.2 amama den the bom (Gu Le wRhy Fig. 3,3 times ES Gs D As bos - : —_ Ab, feed. wi be wast = ed my— een (Now you've sewn— them shut) 38amma im the bom Guitar Solo Gt Is wiRh. Fg 1.2 mes, smite x2 ET phy Loh alan ae be full t ‘erad, tend Gut: wiRhy Fg.2 Gs Ge GsG6 Gs G6 Gs Go s Gs G6 Code ° Git. Ls wiRhy. Fig, 1,2 times: Se Rin 7 = + = = Gx. 2 Fal Ab, ah, ah ah ahah, ah, tha, 40WHAT'S BETWEEN THE LINES Performance Notes SMELLS LIKE TEEN SPIRIT ‘This gut-wrenching Nirvana song hhas become a contemporary rock gn- them made even more poignant by, Kurt Cobain’s recent tragic death. Along with tunes like “Lithium” and “Come As You Are,” “Smells Like ‘Teen Spirit” defined the angst and pas- sion of the Seattle scene in the early 90's, and set the tone for the sound and. attitude of a new generation of rockers and the inception of the grunge genre. THE RIFF. ‘The main riff is an immediately recognizable ahd catchy two-bar pro- gression used throughout the song-in the intro, choruses, behind the solo and in the ending. The patter is built of barre chords in two basic shapes based (on 6th and Sth stting-root forms. These are all fingered with the same bent- knuckle barre shape which allows the fretting finger t6 lie over and sound notes on the 3rd and 2nd strings-add- ing suspensions (Fsus4 and Absus4) to the progression where you'd normally expect major ot power chords. [Fig. I} The x’s indicate fret-hand muting which adds some necessary scratchi- ness, THE VERSE AND PRE-CHORUS ‘The verse is the essence of sim- plicity, Just bar across the first two strings and let the two-note chord (dyad) ring, Movable power chords are added behind the simple verse-dyad in the pre-chorus. These: spell out the mai riff progression in. half-note rhytlim (hit a chord every two counts) and two-note form (only wo notes are fingered: root and fifth). A heavy power chord interlude is played be- tween yerses. The progression is P5-E5-F5-G'5. and F5-E5-F5-B'5- AbS:G5, Try using the economy fingering technique a la James Hetfield and: Diamond Darrel to make this phtage easier to play. In this case have EB and F5 share the same fretboard ‘itea with this fingering, [Fig. 2] THE SOLO ‘The solo makes use of simple melodies well within your reach when ‘you master the basics of string bend- ing, vibrato and get the scale fingering shape down, Most of itis played in the F natural minor scale form at the 5th fret. A techntfjue point to pay attention to is the bending of the fourth string, Becausé it's a wound string this takes a little more strength. Be patient and gradually work up to it, focusing first ‘on intonation (bending to the correct pitch). For more on: 4) Fret-hand muting, see Wolf Marshall Guitar Method: Basics 1 2) Bentknuckle barring, see Wolf Marshall Guitar Method: Basics 3 3) Movable power chords, see Wolf ‘Marshall Guitar Method: Basics 2 4 String bending and vibrato, see Wolf Marshall Guitar Method: Baskets 2 5) Natural minor scale, see Wolf Marshall Guitar Method: Advanced Concepts and TechniquesSMELLS LIKE TEEN SPIRIT As Recorded by Nirvana (From the album NEVERMIND/Getfen Records) mn Words and Music by Kurt Cobain, = Chris Novoselic and David Grohi Intro Driving Rock J = 116 Foust out ss FF wicteantove * =e = Fee 3 — vei nc at IS = ====--=— == += — a == = Foust Bb Absusé Db +44 Copyright ©1901 EMI VIRGIN SONGS, le. and THE END OF MUSIC Ai Fights Controled and Administred by EMI VIRGIN SONGS, INC. (2M) For Austra EMI VIRGIN MUSIC PUBUSHNG AUSTRALIA PTY. LTD. ACN 002 884 815, P.O, Box C156 Cromame Junction, NSW, 2080, Australia [AL Fights Resorved Intemational Copyright Secured Used by Permission aaemolla ilk] toon apirit Nes) (obs) als hs) es) bs) (abs) Dis) TA nd RA Gri ~ a , 2 — eee : aS 1 = Widen One NTN : 4 % Persie igsnderdieeen NCAPS) (Bbs) (Abs) 5) (Bbs) 2S Seer SS SSS = s e 7" I.towd upon guns and bring your frend fn to ae ita woe tS sot forthe Shen TE de = Sie Te OT ee avy oy © ss oss) z pope oo SS Bevo wer bored ant al a a Oo te Me gomp gaye been TT found. Be ae a oss, —_"-——— <= = 1 inom — + an ari oe Dbs FS Bbs Abs: ‘bs SS} Hello, het-to, els to, how low? Hel-lo,— hel-lo,—_hel-1o,— how — low? Flexing throughout FS bs Abs bs Fs bs abs bs _ Hello, hel-1o,—_hel-1o. With the lights— 4ameetin Like teem apirit Chorus Cnt wR. Fg 138m, Foust BE Absust Db Foust Bb oa» fit e 4 » fie $ rh = SS o a a! — ou its less dan = grow Here we are no, ens ter tin Absust Db Foust Bb Absust Db Nena ear (ere _f# # ¢7 4 2 pe : $H a3 & i SSS St 7 us 1 tel stu = pd and com- ta = gious, Here we are Faust Bb Abaust be Faust Bb boty ft ego #94 9 === oS ee eS SSS SS SSS) —— no, on ter tains. A. mul- 1, wal bi Absusd Db Foust Bb Absust bb a To Coda @ he _— a x + SSS = ————— x = 10, 2 mor qt my bi wo. Yeah, Bridge FESS bs Ne 5s Es ors bs als z ri =e = - 3 pee 4, be 44smells like] teom spirit Gitar Soto {Gu T my Fi 1 times Foust Bb Absust bb Foust Bb AbSoust Ds Gu aeeeeene Aeneas tanger ai "On repeat only Faust Bb Absust bb Fst Bb Absust bb AANA, DS. al Coda ieee , 4, , ue 1-wiRby Fie © Coda Fo Bt Absit bh Foust ~ my bi do, a de-oh + ah a de- ni Absust bb oust Bb Absust bb 45WHAT’S BETWEEN THE LINES Performance Notes MAN ON THE MOON REM. proved the huge érossover success of Out Of Time in 1991 was no fluke with their brilliant follow-tip record, Automatic For The People. “Man On The Moon” was a standout track on the album, hamessing again the band’s patented guitar sonics, sig- nature arranging traits. and its ‘ever-present “less is more” ethic, THE CHORDS ‘The rhythm figures in “Man On The Moon” are all unmistakably REM.-full) of jangly open-string chords, the o¢casional dissonant rub and a driving strum rhythm. Rhy. Fig. 1 isa case in point. The whole four-bar figure is made of one chord shape played in two places-ridiculously simple and ridiculously effective. The basic open position C major chord is slid up to 3rd position to become a type of D major chord. This is a great way to make a garden-variety basic voicing into something really unique. In this case, an ordinary C becomes an un- usual Dadd4 add2. But don’t let that label intimidate you-it's just the result ‘of moving the basic shape up two frets. Fig. 1] 46 Another vital componest is the strum pattem in the figure which gives the song a strong consistent pulse. Use this pattem of up and down strums to achieve a similar rhythmic drive in the verses, pre-choruses (Rhy. Fig. 2) and behind the solos (Rhy. Fig. 4) [Fig. 2] Simpler, more spacious sounds are played in the chorus in Rhy. Fig. 3, where two distorted electrics are brought into the arrangement. This progression uses a combination of ‘open chords and barre chords. THE SOLOS There are two solos in this piece and they are essentially variations of the same theme. Both are done on slide ‘guitar and are fairly easy to play when you know some of the basics of *hottlenecking.” Strive for a smooth ‘connected sound. Be sure fo mute the Strings to keep things quiet and try to sustain the notes as long as possible. Remember in slide playing itis idiom- atic to slide into and out of notes as opposed to hitting them dead on, For mote on: 1) Open chords, see Wolf Marshall Guitar Method: Basics 2 2) Barre chords, see Wolf Marshal! Guitar Method: Basies 3 3) Slide guitar, see Power Studies 1-" Boot Hill”MAN ON THE MOON As Recorded by R.E.M. (From the album AUTOMATIC FOR THE PEOPLE/Warmer Bros. Records) Words and Music by Bill Berry; Peter Buck, Mike Mills and Michael Stipe an G. © Dc Bm Em Intro. Moderately J c Ry. Fi End Rhy Fig- Vere Gi twiRy Fe. times c aid c Mott the Hoo - ple and the game of Life eee c oe eee a 2 5 . Ie An = dy Kouf --man and the wrest = ing match — yeah, yealc— yeah att = Twen = ty one, chook + ers and chess — sp ¥ SSS SSS Mister Fred Bisse in = Fa ee yeah, yeah, yeah, yeah == Ss aS SS Lets play This en Tats play | Risk, Yeah yeah yeah, yeah if ait} c see you in heaven if you make the fi yeah, yeah, yeah, yeah. — . Now Copyright 61992 Night Garden Music. Al Rights Administered by Unichagpel Music Inc. For Australia: Warner Bros. Music Australia Pty Lid (ACN 000 876 068), ring as Warnor/Chappell Music, 1 Cassing Avanue, North Sychey NSW 2060. For ie U.K.: Warner Chappel Muse Ltd, London WIY SFA, UK, Reproduced by pormission of nterational Music Pubicatons Ltd, UK. International Copyright Secured All Fights Reserved Unauthorized Copying & llega~ Pitt — ‘Andy did you hear a bout this one? ‘Tell me, are you locked in the punch? s c 2 FUISTTI DLT) 3 TD = Hey Andy, are you goon onTEL - vst Hey ba- by ‘Chorus > mam Sires an 2 RV, 7 XVII? 2 SS =: z = ° ——=S are we los ing touch? — I you be lieved — they puta man on the moon,— man_on the moon. G Am om Bm ‘Am ad Rhy Fig 3 J) TIT OL = — Th you te hee. thee> nothing up his deeve— then nothing & ool ene é uit} c SS SS = o ee ~ LeMos-es went walking. wih the sat of wood. yeah, yeah yeah, yeah alice a “Wael Tor the neve or beclee > e, Yan Jem Jem Jean — _—__ ld == = SSS SS SS SEE 4 Se Higes "2" tue “pote te oe > ber yeah, yeah yeah, yeah Egypt vey ou - bled bythe So OR eres Pack op YO teea at? c hor = i+ ble asp,— yeah, — of Saint Pe- ter, yeah, 48mam= om the sce c SS es Paes 2 Mis-ter Charles Dar win had the gall 0 ask, yeah yeah-yeah, yea. sow Migs ter Ane dy Kaufsmans gone wres-t Yeah, yeah yeah, yeah. petitions Gur wR Fig 2 ‘An Laas ee = did you ee Am Hey An dy, are you goofing on El vis?) Hey ba = by, ‘Verse Ge wi Rhy. ig 1,6 ines So * (ie we alas cu Bm a Am D they put a man on the moon, — doo ie Am om Bm Am rast time to Coda @ tet # SPS pt pe ge — SS a Ler Hf you be ive theres noth- ing up his sleeve, then noth ing i ool. — _ *Noth ing) aa Sto Oe cine D “ TIT? ? TVITT? , POTT) PerT Bade. play simile Em D 2nd time, D.S. (play Chorus 3 times) al Coda 2 WT? ) FIAT 7 7? FD? a \ “0WHAT’S BETWEEN THE LINES Performance Notes THE THING THAT SHOULD NOT BE Just when you thought, metal couldn’t get any heavier, along eame ‘Metallica. Carrying on in the tradition, of their influences Black Sabbath, Diamondhead, Randy Rhoads and fron ‘Maiden, the band reinvented the genre for the 80°s and laid the groundwork for the speed metal and thrash styles of the present. “The Thing That Should Not Be,” from the monumental Master Of Puppets album, is one of their sig- nature, ultra-heavy epics in the vein of “Battery” of “The Unforgiven’=filled with contrasté in dynamics, orchestra- tion and mood, TUNING D tuning. Drop each string one whole tone down in pitch, Extra- hear THE CHORDS The song teems with power chords of all types. In the intro, various voicings are played on acoustic guitar (Gtr. 1). Check out the unusual F&@5) and F4(45) forms included as part of the opening chord progression. [Fig. 1] ‘These are sfil root-fifth power chords, only they contain a flat five (C) of a raised five (D). They are considered standard shapes in the genre today fre- quently used by bands like Pantera and Anthrax. The electric guitar (Gtr. 2) en- ters with a heavy riff in Rhy.Fig.1. Movable power chords are the order of the day, dominating Rhy. Fig. 1, Rhy. Fig. 2, Rhy. Fig. 4 and Rhy. Fig. 5. Rhy. Fig. 3 is an interesting and slightly more challenging figure which mixes power chords and power dyads. Palm muting is an important aspect of most of these riffs, serving to make the crunchy chords even crunchier, THE RAYTHM Metallica and the majority of the speed metal/thrash bands favor odd bars and unpredictable meter changes. In this tune you'll find a simpler than average version of mixed melerg in the altemation between the basic 4/4 pulse and some 2/4 bars, These decur at the ends of verses, before the Solo and at the end of the solo. Count them out us- ing the basic quarter-note as a steady pulse. THE SOLO As with all the complicated solos in the other songs, always begin by playing rhythm guitar behind the lead to get familiar with its sound and feel. ‘The licks should then be broken down and leamed individually. Work on spe- cific technical points. For example, concentrate on developing a smooth pull-off sound in the first phrase and realize it’s the same three-note motif repeated as an ostinato. In the second phrase. work on mastering the odd, symmetrical scale fingeringvisualize the outline of the melody and then ap- proach it with a series of half-steps. ‘You'll see that the third phrase is simi- lar to the first phrase in that the same three-note motif is repeated again. ‘This time as you pull-off, gradually depress the vibrato bar. For more on: 1) Movable power chords, see Wolf Marshall Guitar Method: Basics 2 2)Palm muting, see Wolf Marshall Guitar: Method: Basics 1 3) Meter, pulse and counting thythm, see Wolf Marshall Guitar Method: Basics 1 4) Motif and ostinato, see Wolf Marshall Guitar Method: Basics 1 5) Pull-offs, see Wolf Marshall Guitar Method: Basies 3THE THING THAT SHOULD NOT BE Recorded by Metallica (From the album MASTER OF PUPPETS/Elektra Records) Words and Music by James Hetfield, Lars Ulrich and Kirk Hammett “Tne down Tote ep aq Moderate Rock J =116 (om) gs BS Es FIs BS = & Fd) Gee 2(ee) Fis Fids) FS Fis) Bs FIs Fis) As = pf ft * Gtr 1 eet Ray Fit Fs_FAs_cs Fis_cls FIs_ps Es PS_Fis_cs Fis_cts ee ee ee Play 3 times a Rhy. Fg 1 Ry. Fie? nd hy. ig 2 Fis_Ds ES Fs ris ps rs ris Es 2 f39 7B ae Pht z ‘Copyright ©1988 Creeping Death Music/PolyGram Music Pubishing Ltd,ES ip L.Mes - sen Es FES A? — At Poe eer insight dark de = cep ~ tion 2Grawt~ ing chaos der = ground, cult has sum - moned, Not dead which tal ie sang - er € = on Fis CHS FIS DS ES Ls the light. 7 - ed sound. may die Gin 20 Fi F5_FIs_cs Fis_chs Fis_ps Es _ Fs a a oe pe — : : =E# ———— J Hy bad chil - dren watch Out from ru + ins once Drain you of_—— your san= Es Fis we ig Fas) es pbs _» tes se ps pate —— ots soe x y = ————F i % othe ea, —— pay for fa - the, room -~—ing free, — = pos - sexed Tal - en oct ye ine sii] OS yee face 7 the thing tit should not bee Gtr. 2: wiRthy. Fig. 1 Gur. 2; wiRhy, Fig. 3,2 times: fF Fis_chs Fis_ps Es Bm? 565 i _ a . Fear - less wretch, Gut Gtnt Fg __ke sp te oe = # == a i S e in- san - i - ¥y He watch es lurking be- neath the see. Bat on? tnt - te —e—+ be 0 ee $e ee — =e — ¥ . 3.Great_ Old One, for - bid - den site. 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AS BbS AS BbS ES 4 — - — — = = dwell 54WHAT’S BETWEEN THE LINES According to Paul McCartney, “Helter Skelter” is the Beatles’ atfémpt to “do the loudest, nastiest, sweatiest rock number we could.” Certainly one of the heaviest, most raucous tracks the group ever recorded, it remains a pe- ennial jam favorite, having also received recorded cover versions from, the likes of Motley Crue, Pat Benatar, Siouxsie and the Banshees and others. THE CHORDS ‘A variety of chord sounds andsex- tures are employed. The intro makes use of a dyad progression in which one tone stays put (the high B) and the other moves chromatically down the B string: D-C!-C-B, Open chords are used to create a big, thick wall of sound in the verses and pre-choruses. AS power chord Performance Notes , HELTER SKELTER THE RIFF EB ‘The chorus features thie identifi- able main riff of the tune-Rhy, Fig. 3, This figure combines two simple rock “n’ roll ideas to produce a memorable theme. The first idea, heard in the be- ‘ginning of the riff isthe immortal blues comping pattem of AS to A6. Thi chordal motif is answered by a de= scending dominant scale (A Mixolydian mode) on beats three and four. Think of both as being built on and sharing the same open AS.pawer chord shape. [Fig. 1] The figure is played verbatim on the next two lower strings for the E portion of the riff as a perfect example of a movable open riff. ‘Now think of it and visualize it on the ES power chord. At the conclision.of the Chord/scale riff phrases you'll find a A Misolydian mode ‘gradual bend. This is picked continu- ously While the string is bent from a slight quarter step bend to a father wide bend of 112 steps. “THE SOLO Straightforward and pentatonic, the solo is played over A and E chords implying the chorus. ‘progression. ‘Though it’s played against two chords, think of it as being based on the single box position of E minor pentatonic at the 12th fret. The solo is areal study in string bendifig. This is particularly true in bars 2,anid 3 where the bends on the ‘Gand B sttings are done with the index finger. This takes more than a little work to master. Because you don’t hay@ the other fingers helping as rein- fofeement, you must do all the pushing with the first finger alone, requiring ‘more sfength to make well-articulated, ‘well-infonated string bends. ‘For more on: 1) Open chords, see Wolf Marshall Guitar Method: Basics 2 2). Blues comping: patterns, see Wolf Marshall Guitar Method: Basies 1 3)Modes, se Wolf Marshall Guar Method: Adhtnced Concepts and Techniques 4) String bends, see Wolf Marshal! Guitar Method Basics l and2 5) Minor pentatonic scale, see Wolf Marshall Guitar Method: Basics 2 and 3 LaHELTER SKELTER As Recorded by The Beatles (From the album THE BEATLES [‘The White Album’]/Apple Records) Words and Music by John Lennon and Paul McCartney Iatro Heavy Rock J =84 Ne 8 te 1448) get to the bot-fom, 1 go back to thetop of the slide, where stop and T tum and I go for aide, iy Fig 2 till 1 get to the bot-tom and 1 see you a= gain Copyright ©1968 NORTHERN SONGS LD. [Al ights Controled and Administered by EMI BLACKWOOD MUSIC INC. under oonse fern ATV MUSIC CORP. (MACLEN MUSIC) AlFights Raserved iterational Copyrghts Secured Used by Permission 36Ineltes sleolte= Verse you want me to love you? you, dont do Ry Fig? bove— you. but 1 coming down fest 1. Well, hey, hey, hey End Rhy. Fig 1 me, tell me, tell — me, ‘Tell Se pip os _¢ pt a dane bbe a lover but you aint no may For you ‘me the anIneltes seit]: chorus co > ~ s tee be — efter =a —= D Now, hel - ter skel - ter, iy FS —+- ——S Soe ? $93 3 E sot $ es ONC A MONG het ae _ be thee _ rectly ee SSS o hel «ter shel = tee Hel - ter skel = ter Sa ti tae 38te tty, Fig.2 Verse E 2.08, me to make you? Pm will you, won you want me to make jou? rm 0 Jou, dont you want ee f 6 9s ¢. te : ea SSS SSS = com - ing down fast but dont let me break you ‘com = ing down fast ut dont Tete break jou Pre-Chorus G A Tell me, tell me, tell me the an swer You may be @ lov~er but you ain no danc-er. ‘Tell me, tell me, tell me your an * Swer You may be a lover but you aint no Chorus GtetwiRhy Fig. 3 E as ks NC. Bs ONG be b ae of = o Hel - ter skel - ter, ‘ooh. ‘Look out! “Cause here she es Rea i vo 7 n Gx a ee si wlnelter smelte= Bridge Gertie Ft En A c 7 thes G Se SSS SI fet to the bot-tom, 1 goback 0 the tp ofthe slide, where slop and I twin and Tgp for aie, DS. Code 6 e b poe Dy aS ky te eit pete eg 4 tee Se ee f—— Pa @ie ee SS o ~ WiC get tote tom and 1 seeyou a= gin Yeah yesh swe o_o ‘ — = 7 Ha = rel = ates Repeat Wi Efecs And Pde ene Faden Repeat And Pade Tl End en = tee fod. — = ft wae = = = e om ing down fst. Yen he cc wh 60WHAT’S BETWEEN THE LINES One of the funkiest roék, tunes ever, recorded by the funkiest roclegui- tarist ever, “Fire” takes James Brown-inspired R&B into the next millennium, In this track from his clas- sic 1967 debut album, Are You Experienced?, Jimi Hendrix personi- fies the essence of rhythm guitar Check out the textures: octaves, single- note lines, triads, power chords and more-they all add up to his inimitable brand of chordwork. THE CHORDS Jimi begins with a tight intro fig- ure, Rhy. Fig. 1, stated in octaves. ‘Visualize these shapes as the outside notes of a three-niote, movable power dbges Nofes FIRE chord. (Fig. 1] Both Sth and 6th string root shapes ate used. The figure is found in the intro and following the guitar solo. In the choruses, we find Hendrix’s patented thumbefretted chord forms. He uses his uncanny ‘used movable lead guitar pattern on the fretboard. In this case, Jimi employs the Eininor pentatonic scale to create a tasteful statement with small but con- wincing motifs arranged in a call and sesponse phrase structure. Parke thumb-fretting technique to play the | the 12th fret position, he milks various ‘bass notes of the D chords while add blues-derived string bending and vi- ing typical embellishments (add 9) to the higher chord partials on the top” strings-a characteristic Jimi device, Thumb-fretting is also applied to the power chords in the bridge. /).«¢ THE SOLO Hendrix’s very thematic. guitar solo is situated in the familiar “blues box” position, undeniably the most- brato techniques including bent vibrato, bend-and-release melodies and pre-bending, OUTRO Both thethorus rhythm figure and the bend motifs from the guitar solo are reprised intthe song’s closing section—a splendid example of rock-oriented the- ‘mati¢ development. Farmareon: 1) Movable power chords, see Wolf Marshall Guitar Method: Basics 2 2) Thumb Fretting, see Power Studies 2: “Bley Joe” and Power Studies 3: “People ‘Get Ready” 4) Movatble lead guitar patigrns and the ‘minor pebtatonic scale, see Walf Marshall Guitar Method: Basics 2 4) String bending and vibrato, see Wolf Marshall Guitar Method: Bastes 2 ieFIRE As Recorded by The Jimi Hendrix Experience (From the album ARE YOU EXPERIENCED/Reprise Records) Words and Music by Jimi Hendrix Inigo ‘Uptempo Rock J = 156 Nc Gee (eee) magne Oo) Now dig this, ba = by! Copyright ©1967 by BELLA GODIVA MUSIC, INC. [Al Fights Controled ad Administered by Don Willams Music Group, In. ‘Al Fighls Resorved Intemational Copyright Secured 6% verse NCD) ——- = See 5 E * = = ¥ 6 - fe Se 3 cas fof me, 1 dont - a. care a - bout that, yo aint home, —_ tatty co = oxen iat your money you bet - “er save it Dabo, = — ——= =: ° EES — — 7 = —s - : SS gota new fool hal ke. it ke — that. | ity wity ‘me Ted you wont get "burned 1 have on = yy one-a ere oe Sou a I ——S——= SSS 2 oe ~ ——— t = S — SS : = S j os _ = + ——— 6 SSS SSS f= = bam iat de - let me stand next 10 your fel (iteh-in) . p= ss - : = = vo ~ tall j—_ e = —-— 2 = — = a ee Chorus Daa? cacao Dasa cada 2 a b N be = == sa = o + — Hg! Let me stand. next 10 your Gre! (let me stand atk? to your fire!) GES me stand next to. your .— = <1 4 wt = : Se ore thant on aDaddo Caddo | Whoa, let me stand, ba = byt Let me stand, | fire) et me stand— next to your fire!) — Daseo b —- a 4 =— — Lis- ten here, ba - by, Cet me stand next to your fire!) bs 2.You say your 6aYeah, you know what I'm — Get on with it, ba = by! ea ll eeneenenee, f pt 65a ew Fig Ne = ——— =F . = 7 — Spoken: Thats what Vm talkin’ a = bout — Now dig this © DS. al Coda Hat Now listen, ba - by! 3.You ty cod Outro Pars oS > SS SS SS You bet-ter move o-ver, ba- by! 1 aint gon-na hurt ya, ~_aaneeveeseaenereenennenaee, 8 ba: by! Ab— [aint talkwith your of lrg em OE arenes ie oeeeee oo —— > ‘al fat fu oo _ Tyee eeeeseeaneraanseannsans, i ii Po eee ah % — 66‘Ab—— yes this is Jim Begin Fade i talkin’ to you! Fade Out ‘67WHAT’S BETWEEN THE LINES SMOKE ON THE WATER, ‘An ultimate riff song withtan ult mate riff, “Smoke On The Wate®’ is Deep Purple’s most enduring and ree= ognized piece-a bona fide anthem and must-know tune in the world of rock music. The definitive standard from the band’s 1972 Machine Head album, which also included the formidable classics “Lazy” and “Highway Star,” this song established Purple as the founders of the Euro-metal school and a musical force to be reckoned with, and Ritchie Blackmore as the premier, post-Hendrix'Strat virtuoso of the era. THE RIFF This is one of those riffs that you could identify it; three notes or less (less, if you were Billy Sheehan or Paul Gilbert). More than memorable, it is pervasive in the genre, influencing scores of playersito the present, In the ‘main riff: Riff A, Blackmore hamesses his unmistakable dyad rhythm style (heard in other staples like “Man On Silver Mountain,” “All Night Long” and “Burn”) to present a simple but very effective theme played in the intro and between verses. The dyads (two- note chords) are all typically fourths, here implying the G minor pentatonic and G blues scale. Think of these dyads as the top two notes of a basic three- note power chord shape; power chords equal power dyads. (Fig. 1] Another fourth-interval dyad figure is found as 5 éyad (65) eAnce refinger with citer stor mide finger bare Performance Notes ‘an accompaniment pattem behind the organ solo in the outro. THE VERSE Here we find a textural variation which is also a_charaeteristic Blackmore-ism. Ritchie breaks up ba- sic movable power chord shapes with anpeggiation o form a kind of bass line type comping pattem, Rhy. Fig.1. He: keeps it simple; only two ehords are arpeggiated: G5 and F5. The approach is continued through the chonus,.where C5-A'S-G5 chord changes occur. THE SOLO ‘The guitar solo, backed by another arpeggiated power chord pattem, Rhy. Fig. 2, isa perfect example of two es- ‘sential aspects of modem rock improvising: position changing and “adding diatonic notes to a pentatonic framework. Check out Blackmore's ‘many connected pentatonic position “ changes in his seamless, flowing lines, “He uses G minor pentatonic in.the A form (bars 1 and 2), G form (bar 3), C form (bar 5) and E form (bars 11-13 and 19) as well as € minor pentatonic in the E form in bars 6 and 7 and 15 and 16. He adds modal or diatonic notes fo the basic pentatonic forms in bars 3, 4and 8-10. In bars 7 and 11, we see the most frequently heard type of scale combining in rock-the combina- tion of the pentatonic or-blues scale with the Dorian mode, Form on: 1) Dis and interval, ee Wolf Marshall Gatiar Method: Basics 1 2-Minor pentalonic scale see Wolf Marshall Guitar Method: Basis 1,2 and 3 ) Blues scale, see Wolf Marshall Guitar Meshod: Advanced Concept dnd Tecniques 4) Movable power chords and arpeasation, see Wolf Marshall Guitar ‘Method: Basics 2 5) Connecting pentatonic scales, see Wolf Marshall Guitar Method: Bases 3 {5)Modes and seale combihing, se Wolf Marshall Glr Method: Advanced Con- cepes anddatpriquesSMOKE ON THE WATER As Recorded by Deep Purple (From the album MACHINE HEAD/Atlantic Records) Words and Music by Ritchie Blackmore, lan Gillan, Roger Glover, Jon Lord and lan Paice Intro ‘Moderate Rock J = 112 a NSIS) [ies vas ent ata SEE verse ce ye i —— : 1 We all a fo 2 ‘Mon pees on the They bummed dowa the _pam ‘Bing howe, * We "ended up” at the Grind Ho - teh oy Ft = : =a : SS = a oe ; E i 3 —— 3 Used by Permissionwemcice om the wate= Gu wih Fig 13 times NCS) , f == SSS = = == to make ree- ords with the mo - bile, we did at 1S «Func ky Claude was fun sing in-and-out pulling Roll ing truck Stones thing" just” "ue side, mak Tog out ro) — bg —— = es. == => — ——— a have much time. —— But Bank | Zap pa and the Moth - en. were His “out the ground When ical * Sas“ = we ‘music Ghee With afew red lights, 2 few ald bear 5) CC) ‘ - * =| = ie + = = a the best place a - round Bur some st pid with a waa 1S nd an lath er place. But Swiss ime was we made place "10" sweat. No ‘matter what we «es = re —be—ae un bumed the place to the round Tanning out it doomed that "we would ese The face } et out of this 1 know 1 know well” nev - er for = get Cece, NCE abs) (03) re e > ‘Oe tewinitt A. 2umes |! Gut: wit, 2 tmes NCGS) 8 « 5) (Abs) To Coda NCIGS) 70sEmclne om the water Gitar Soto NCGS) ao eo Gina awe eannay come IG fy Sere us Vy tut, aaweranene FF / eee : wat sets Te |e tee aoe (te 2: wR. Fig. 2,3 tes News) er oo pat ew poeNCAGS) us neem ams ne) es Nees 1, 16 —— —oo — = : 6 SSS SSS = : i a oe oo + —— — 45 SSS ae aWHAT’S BETWEEN THE LINES Performance Notes TEARS IN HEAVEN Eric Clapton recently seéured his first Grammy-make that Grammies— for his work on the Unplugged album, and the single “Tears In Heaven.” This haunting tribute to his late son, Connor, finds E.C. in a subdued, atmospheric setting on nylon-string acoustic-quite a departure from his usual blazing, blues-rock electric style. THE CHORDS Clapton employs a variety of simple chords decorated with tasty em- bellishment » figuration: _pull-offs, hhammer-ons anid slides. Master the ba- sic chord shapes first and then add the appropriate embellishments. For ex- ample, visualize the open A major chord and then see the suspended fourth (D on the 2nd string) as a super- imposition over that form. (Fig. 1} The same would be true with the suspended 4th Eric uses on the E7 chord. [Fig. 2] Another important voicing in the tune is the stock first inversion major chord found consistenfly as E/G# and D/F' in the music. The elegant passing tone figure used throughout the piece (in bars 4 and 8 of the verses and bar 8 of the bridge) is made of parallel third dy- ads (two-note chords) derived from larger major and seventh chords. Atoust) Pet me | ET (aust) ighlighted tone hig ‘4 THE FINGERPICKING Eric uses a quasi-classical fingerpicking style on the nylon-string acoustic guitar. This has a warm and intimate quality and allows for a vari- ety of articulation and arpeggiation approaches. Itenables him to pluck se- lected tones of chords to create fuller chord sounds, thinner dyads or purely single-note passages at will, resulting in a beautiful, multi-textured accompa- iment based on very simple chord forms. For more on: 1) Hammer-ons, pull-offs and slides, see Wolf Marshall Guitar Method: Basics 3 2) First-inversion chords, see Wolf ‘Marshall Guitar Method: Basics 3 3) Fingerpicking and arpeggiation, see Wolf Marshall Guitar Method: Basics 2TEARS IN HEAVEN As Recorded by Eric Clapton «(From the album UNPLUGGED/Reprise Records) Words and Music by Eric Clapton and Will Jennings T° stow Ballad J = Gtr (sous) = DEL —_— ee —— — —s 2 o - * 6 8 ene know myname it 1 saw you in heay- 2 Woull You hold my hand if 1 saw you in heav * Fa Zz 4 Z j Se a 3 : Would it be the same Would ya help __me stand. a — —-— t ot Copyright ©1992 by EC, Music Limted and Blue Sky Rider Songs [AE Figis for E.C, Musk Limited Administered by Urichapoel| Mus nc Intemational Copjight Secured Al Fights Reservedtense in benves Chorus B AE OFT Fim if 1 saw you in Teav- en? 1 must be strong if 1 saw you in heav- en? TW find my way. cone ” Fe pat Fiat git = == x ‘he a and car yO ‘ease know through aight and da, ‘cause 1 tnow. Bm? Etaust 16-tears im heaven prt : Etsust A Time can bring ya down, Time can bend your knces.— Droop c naira Am? prt Pn —— —= ea : SSS Ee Ber saet | Time cam break your heat have Ya. bee gin please. = Beg = gin’ pleasetease im neawen Sic in Ft Fim 4 # —* = — SS = aT know, there'll be po moe torn in heavy A BiG! Fim prt Ett ETA DS. al Coda Ste i= —— = — oo Ten Code 0 Code cot (Etwst) ED) SSS — 0 See == z — — = + — 78WHAT’S BETWEEN THE LINES Danzig, a favorite of modern metaliss like James Hetfield, is thireat- ‘ening to redefine metal for the 90°, Heavier and more sinister than their forebears, the band is approaching breakthrough status in 1995. The sue- cessful 1993 release of the Danzig remix “Mother” (a tune originating from their early days in the late 80's) generated tremendous current interest in the band, and relentless touring is undergirding their rise from cult group upward. Ar'anomaly among metal gui- tarists, John Christ rarely takes solos, preferring in§fead to concentrate on thundering: riffs, atmospheric ‘minimalism and the sheer power of rhythm and'cruneh. THE RHYTHM Rhythm guitar is the name of the ‘game in “Mother.” John builds the song’s arrangement in layers, seeming to get heavier with each ensuing s tion. He starts with simple power ‘chords and open chords inthe intro and first verse, Both open and movable forms are uséd in Rhy. Fig. 1. In verse 2, Rhy. Fig. 2, a variation of the first figure, adds more texture and some passing fones. The chorus employs again movable and open power chords. Here, John plays the unusual voicing, BS/Ft, an inverted power chord with the fifth in the bass. This voicing serves jer thicken the already thick pees a8 $ 25h Stine mihi power du Performance Notes MOTHER sound, Other players of nota have used this inversion to impart a dist heaviness to their music Anthrax and Mr. Big and, of eourse, Jimi Hendrix. Check out the intro to his, ind Cries Mary.” Here's how it works. Using the BS three-note power chord as.an example, take the the D stting ahd add its lower octave (F# to the low E string. [Fig, 1] The i terval chait in Fig. 2 shows the:position of the fifth, F4, in the B natural minor scale, Fig 3 depicts the placement of the fifth, Ft, blow the root B, resulting in a far heavier, four-note inverted power chord. THE SOLO ‘The solo is teeming with admit- ‘edly “blues-based lines,” indicating a « familiar concession among many play- ers t0 incorporate standard rock and blues pentatonics into the heaviest etal songs. Bottom line, the blues vo- cabulary continues to | permeate ‘virtually every genre in-contemporary ‘music. John plays the majority of his, blues-inflected licks out of two particu- lar forms or boxes of the!B minor pentatonic seale. He uses the E box at the seventh position and tlie A box at the 15th position predominantly. No- five the sequence-oriented line (bar 1) and thematic string bends in the first "section. John recently commented, “I ‘was happy they remixed it because they fixed the last note of my solo that "always went to a noise that I hated.” ‘The magic of modem technology. For more on: 1) Power chats, see Wolf Marshall Guitar ‘Method: Basies I and 2 2) Openichorts, see Wolf Marshall Guitar Methott: Basics 2 3) Inférval charts and chord construction, see Wolf Marshall Guitar Method: Basics 1.2andd j 4) Positions of the minor pentatonic scale, 568 Wolf Marshall Guitar Method: Basics 2 '5) Sequencing scales, see Wolf Marshall ‘Guitar Method: Basie3— “6) Swing bending, see Wolf Marshall Gui- tar Methed: Basics 2 @®¢re @ori ®@® | toot 5th octave | —__| dt B W B= BS poner chord (Gent form € A@avne@s ‘® Bast power chord ‘noe form)MOTHER As Recorded by Danzig (From the album DANZIG/Def American Records) Words and Music by Glenn Danzig Ce) ae Intro Moderate Rock = 132 Bs o as Bs a as Bs 14 lay 3 times ie 18) iy Fg Fea Verse Gir why Fa 1.38 a eal G i est ‘ = GE ae ee © SS = ¥ SS 1. Moth er — tell your children not to walk my way.- ‘ell your children not to 6 As Bs 6 Pye rs ==> ae —S= - = = = hear my— words. what they mean, what they say Moth = ex — Verse 6 As Bs ‘ean you Keep them in the tell your chil-dren not to ed Rhy Fig? 2. Moth- e, — 3. Moth- en — Ry Fi? 80(ew Fi 2, mes 6 As BS 6 As Bs dark for life? Can you hide them from the wait-ing world?— h_______ fold my hand Tell four chil-dren not to -un~ der - stand.— on GAs BS G As BS i gon-na take yourdaugh-ter e—————_ ‘Jo youwan-na. bang G As BS out 10 = night — Gon-na show her ea eas with) me? Do'youwan-na feel evry - thing’ Oh, % Chorus 5 (ew FALL oni Bas s aS ~ ee ee ee 7S | Nota bout wat as ss —— © see your light, — but if you wan-na find hell with me, ane BsFt Ee err a Le ee = To can show you what its ‘ike. bs as 6s bas sot will you're see your light.To Coda @ Bs as os ‘gas a ! = Lod s 7 7 d d+ STA * o-- e « epee eee eS. ve u and if you wan-na find hell with me, 1 can show— ir - a a er wd da FIT ITD TTT Dt bth et — = = = 7 = —— oon what ite, 2. BS DDN SIT JTF ITT? IID LT, 7 a on. its you what ont 9}, ds). da—. » Gu 2 (st) syDS. al Coda cone et o it Allene — you what its ike, s End Rie ° 7 cs bs cts 2 ? 7 2 2 Suter sanim te Moth = ep! va Ds cts Bs os ro Bs ee wy) Psa esWwhaT’S BETWEEN THE LINES Offspring fuses the unbridled en- ‘ergy of punk, the heavy chunk,.of thrash mefal and the quirkiness of alter. native rock to present a jarring new entrant in contemporary music’s de- struction derby. “Come Out And Play” isa definitive case in point. A running commentary on gang-banging attitude and violence, it is tough, rebellious and outspoken, bristling with distortion, power chords and rhythmic drive, THE RHYTHM Naturally, hard and heavy power ate; you'll find them 1g. The intro exploits three-note movable power chords in Rhy. Fig. 1. These are set in the basic mes E Harmonic Miner Seale BE HOG A @ c vt 123 4 @o6 7 root ay 84 Performance Notes key center of B minor, Note the Aylis tic use of palm muting as textural coloration. The verses elaboraté-on the pattern with slight variationsas Rhy. Fig. 2. The pre-chorus and.chorus (Rhy. Fig. 3) continue to expound on the thovable power chord thythm pat- tens with phrases in E minor and B- minor respectively. Simplieity anc ‘continuity are the order of the day. THE RIFF = Riff, played by the second gui- tar, isa recurring line whichis found in the intro.and after choruses. Splitting the difference’between surf music and spaghetti-western theme, its a perfect, introduction fo the souind of the har- COME OUT AND PLAY ; soni hinor scale. This patfeutar riff is im B (spelled out by the backing chords) yet the melody is detived from the E harmonic minor: E-F-G-A-B-C- Di How does it work? Like this. The Tiff is simply begun on a different note f the scale-in this case, the fifth, B. [Fig. 1] This creates a mode of the har- ‘monic minor, built from the fifth step, often referred to as, variously: the Phrygian dominant scale, the Spanish flamenco scale or the Mixolydian mode of the harmonic minor. That may seem like ad6t of mumbo-jumbo, but, putting labels, #°$ a very use- ful riffeweiting concept and an easy way 19 get more mileage out of exist- ing sales. For more on: 1) Movable power chords, see Woly Marshall Guitar Method: Basics 2 2) Palm muting, see Heese Guitar 4) Modes, see Wolf Marspatt Guitar Method: Advanced Concepts and Tech- lquesCOME OUT AND PLAY As Recorded by The Offspring (From the aloum SMASH/Epitaph Records) Words & Music by Bryan Holland es 85 25, ag 63, is ¢ a a - a mo : ; a i . ‘ Moderate Rock J = 160 om aa a) (rms) 3 ot (oun) 2 ga =e S = play 4 times sos AS Gr is dO) You got - play 4 times keep vom sep = car? 2) RoI) En aa e if $= End i A igo tpt Pt _ ae esi renee a a ee Tiron oo T 18 = — = x So oa = i : = oss a 2 ns as TID ST TTD Tn ST Copyright ©1904 Gamate Music MI Acinsterd by When Music Pubisting, Inc. association with Westbeach musi Intemational Copynght Seeured Al aghts Rasenved 85comme out ama pias Verse Gerd tacet nd Rhy. 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