OFF THE RECORDTONITESNAKE OFF THE RECORD CONTENTS WHITESNAKE SOUNDS 2 GIVE ME ALL YOUR LOVE 50 CRYING IN THE RAIN 6 IS THIS LOVE 37 BAD BOYS 15 CHILDREN OF THE NIGHT 65 STILL OF THE NIGHT 28 STRAIGHT FOR THE HEART 74 HERE | GO AGAIN 40 DON'T TURN AWAY 89 Copyright itor Music In. Score atangement and exlanatoy ex Titelation atanged by Rior Muse Europe. iansaion by Tory Boardman, hater i facta) digctcaren al eeeGui Joho Sykes’ Style The overall sound of John Sykes’ guitar on this album could be described as fairly 'ypieal of heavy metal sock guitar, but the album i full of joha’s own unique ideas land additions to the style. Most ofthe tracks fon. "1987" feature a_massve use of storion, either natural ‘amplifers) or Afificial effects units. In his sol, John makes effective use of a whole range of distortion possiblities from hard sounds using distorted high notes to gentle mile sounds which need lower notes, and he probably achieves this by judicious use of {equaliser in addition to his guitar pick-ups. “Appropriately used wow pedals to produce treble boost fon) and ‘woman tone’ (of is another technique. “What comes in handiest you will ing, is a distorion unit with fone controls you can adjust for each number from the technical point of view, one ofthe highlights of this album is John’s use of harmonics in his solos: natural harmonics at the Sth and 7th rts, very high harmonies at the 31d fet, and plenty of tremolo arm for the really tricky phrases. Another feature of John’s syle s his use of the ight hand to prolong really fast tris with the left hand, find. finally, there are his many tremendously fast chromatic phrases. in which the notes are efforessly. made t0 flow together by hammeringon and pulling Behind the massive Whitesnake uitar sound, Neil Murray’ bass might seem quite restrained in comparison, but_on every track, Neil lays down the necessary solid foundation forthe band's sound. The tone ‘of Neil's bass is natural, broad and yet clear, with plenty of attack on each note especially when finger picking If you use a pick, make sure its ahard one, The bass ine in most of the numbers is built round a straight forward & beats to the bas, but” Neil provides variety by including shuffle beat triplets and tight 16. beat passages. You will need to make sure that the tythm is Sght and accurate in those places where the instruments play in unison br in other key passages, Foe! i the most important thing with this kind of bass playing: without i, the bass lies just sound mechanical, On some tracks, which may mostly consist of 8 beats to the bar, you can nevertheless hear how Neil accents the beats diferenty and brings to each note the edge and quality suited to the particulartrack. Using the right pick atack at the right momentis via. for example, on’Stllof The Nigh’ (Act), the volume is restrained during, the chord solo and increased powerfully in the later half of the tack Ths kind of Bass playing calls for light and shade and ‘ferentiation precisely because i isnot so technically demanding, Drums ‘Aynsley Dunbar, who used to be with Journey, & the ideal hard rock drummer whose trademark is his, sheer power. Whatever kind of pattern he uses On this alburn, whether if be a shale. beat, a Straight 8 beat oa laid-back ballad pateen, hhemakes powerfully sure of everysound he plays. He uses alotof echo on the snare and fill-in toms which makes the sound quite dificult to replicate exactly, but with this kind of siyle, if you can't manage that power attack in the fist place, no use of effects Units il be able ta help you out Some tracks feature rapid twin bass pedal ‘work which is virtually impossible to reproduce with only a single pedal, so be Sure you use a twin bass deumkit The basic shythm patterns and fills shouldnt» present any great technical problems, as they arent very complicated The main point to watch is rocksteady timekeeping and accuracy of thythm, ‘especially in the unison phrases with the besGuitar Technique BENDING (cho.) \With this technique, you gradually raise the pitch bby bending the sinngs up perpendicular to the fretboard, and lower i by letting them down again Glissandos are slurs created by sling the finger or fingers up or down the fretboard from fret to fret. Thsisometimes called a slide, butas tis dificult to distinguish between a slur and a slide, we refer tothem both as glssandos. viBRATO (*) ES — : vibrato produced by the fingers without the use = fof the tremolo arm. The stings are rapidly and : Subtly moved up and down {not pushed as in bending) perpendicular to. the fetboard or ‘occasionally, Rorzontal tot, andthe tone s made tovibrate, 4, HAMMERING-ON (h.) and PULLING-OFF (p.) © hee cc ‘To hammeron, you pick a sting and immediately after then immediately pull the finger at the higher fret rapidly picking slam a finger onto a fret above. This gives you a away. Once again.a minimum of two notes is produced Fminimam 2 notes from one pick stoke. Pullingoff fs the from one pick stroke. ‘opposite ofthis: hold down a sting at two frets and pick, 5._TRILL (tr) peace Tiils are produced by a rapid altemation ‘of hammering.on “and ——— palling oft6._ MUTING or DAMPING ( 7. BRUSHING (0) J 8. TREMOLO (tremolo) tremolo ‘A temolo on one note produced by continuous ‘apid picking 10, PICK SCRATCH (Pick Seratch) 1, This technique dampens the sound by resting the base of the picking hand near to the bridge thus reducing the sustain, Where thistechnique s used ‘over a period of time in the score, we have marked the beginning and end of the mute: Mt and This produces noise and percussive effects by picking while damping the stings with the leit hand: Broad picking stokes are commonly Used, 9,_TREMOLO ARM (Arm) ‘Arm Using the tremolo asm 10 alter the pitch of a note ora Gord. A wavy line in the Score V~means vibrato; ‘curved ine —~ signifies ‘lowering of pitch. HARMONICS (Harm, Fick Serie This sound results when you slide the edge of the pick rapidly along the strings, usually from bridge "tO head, Lightiy touch the harmonic points on the the Sth, 7th, and 72th fets with the ‘esing| fingers of your left hand: pick, then sound ‘immediately release them to produce the harmonics. Another way sto > fe hold down a sting as normal, but lightly touch the 12th fet with the index finger of your right hand while using the other fingers of the right 12, PICKING HARMONICS (0) > TS ick direction ose ‘ es) (osually the index and. middle. fin- rering-on and Score byan arrow: | hand to pick. ‘TABLATURE: Explanation & Diagram ‘ting ep 2/5 = 2nd tng You can producea . lot of harmonics sting (ep = 2nd singh et by using your tere 5 finger, thumb and = sing pick at the same ocpiaed finger positon time, This technique 12 uses the ght hand, 0 open tong | ‘Tre postion shown uses the 2nd, Scand Stn sting at ‘he dd fet the stn strg, for hamm- paling The Splredenenandine Ts chnique’ is ine nd th stg are no play dicated in theCRYING IN THE RAIN by D. Coverdale & B. Merson py SORE se Le TES GUITAR: John’s solo on this number is quite simply breathtaking: ts phenomenal speed and perfect phrasing ‘make ita daunting task fo ty and copy. The only way is (0 take tone barata time and deve persistently through to the fend, You can use a short delay effec forthe hard distortion sound as well as long delay oF rever. BASS: The bassline is built on 8 beat phases in long 12/8 bars which you need to make the most of by steady even playing well synchronised with the twin bass drums. DRUMS: The drums need to be tuned down a litle to provide the weight in the lower register which this tack Fequites. The drums also power the track along bythe tight ‘exact coordination ofeymbals and snare with the phasing fof the bwin bass ums, com em ey vo GSE nfte a SlEom omm Dred rhea eis ie oe oo Em__Emono) Emionct)_¢ 6m em _Enlond) (© (61: only one guitars is available then ‘mit he pres in parentheses a tis point IRyoudoto, tke caretoavoidwronginotes oo ‘pen stings. 7Wears see Fg == [pee ee= F g {© (Gt fatten out the sound by appiving Tot delay her. Take cate over your pick inhi {© (C2): The high sped solo buds up from tpn on 0 car aeton he wm. Go for dear pain one barat a {ie ntl youre ontop of cad one Use Show deayhere too, Poo eo © (Ko: Though the it hal of he gar Sto the keyoard shuld provide #0 dle’ Tega backing wich youn fPadasy bald up toto cima the 10© 15a: The bass yt simple enoush hee, but its rle of supporting the soar, [ptarievitaltotolé the muse togeter Make ven note and accent coun © (De: Really tht coordination with the bbs is ital here, ake sre you've realy got the fee of the two ns cums as ays ‘Duntarplaysthem here you have only one bis dum then ty andgetasclosessyoucan tothesoundot wo 14Coe reer eer eee = — aos pote SS = == eS = biseeae 7fat ae 14BAD BOYS by D. Coverdale & J, Syhet GUITAR: The whole track has a fast driving hard sound centred on the opening if, Despite the speed and hard Uistomtion or rather, because of ther, you will need to keep Your picking really accurate, and phasing tight and cleat Make sure ako that Gt. 1 oF Gt I provide a solid enough support for Ct BASS: Neil's bass, well down in the low register, admirably Supports the lead guar in mostly & beats to the bat, Dionch © ___em although here and there Neil changes the way he tackles those & beats, so listen carellly to the record or ape pick upon the way he does i. DRUMS: The power of the & beat pattern i greatly boosted by the twin bass drums. To reproduce ths as closely 3s possible, players with only one bass drum can ry using two pedals oven) C © (Gt Thegutans needs topaystention to 2 the ayia tang ng the tae ‘nly info. and atemste picking of open Sigs 48 $$ere) ase(onch) SSS €@ (Dr): Makesure that thetnples are exactly ‘Dgether withthe gata ‘make ure you pick strongly on the lead note“* | | “il © 18a) Sacto, outer with the gu he The buss needs to be particulary have and play tne wholesecton wahalabackeel” fetus posto match the drummers 19tol. gore, © ° € sem 0 20otc 3 te) oui} © G2 second tas can pay the lubed "solo Here q fSutly pwc so" make ste your ty det ve sow. Tew ae more bed Paes take care to vad wrong NE 223{onc conch gonch be ommo en Coda2. 7 aot ‘ Bite bathe hetr §fteetbs = — a = = a rnin ey 2 a ae ESE oor =a SaSSe — tH 25STILL OF THE NIGHT by 8. Coverdale & J Sys GUITAR: A rich sound using hard distortion with long delay. This isa long complex number in which the guitarist uses a reat variety offend pickingstyes, so the important hing Sto listen a lot and get to know the guar pat inside out before you start to make ityour own. BASS: The depth and power ofthe bass playing provides a Solid vehicle for the track, and yet the sound must be ‘cise and dynamic, especially inthe unison passages with ‘he guitar The rock solid accuracy of Nets playing during the mote flowing guitar passages is especially noteworthy, asis the necessary vaiety he brings tothe bassinsuch along umber DRUMS: Aynsley’s simple but powerful 8 beat patteins hold the track together firmly, expecially the way the bass drum locks into the bass guitar. He uses twin bass drums fonly at the end, but the rest of the track shows how powerful drumming can stil be with one, 28(Gt) Pick stony as though picking @ (Ba). Thebassisin unison wth theguitar © (Dr! ae hte ey sine bt Ramonics fom thetistnoteateach pus. ‘Nee, but needs to ply all the more stongy, Must be oweru, wth cach. beat Deas the aim par 0 sme rmeantand not tossed away casual. 29© (2a):Puythechousherebyplockingwith © (Kb) ANE the eybourd voice oduces Yourthumb and index inge. Make sue your new, sof and steal mood) take cate 12 ming foreach bariscomect don't shit fade'tinsmoatly. 31© (Gu) : With or without @ pedal, cartel @ [KI : The point o note hewe ' the © (Gt The chorus and fong delay eects Grtolot hevolume srnecessry hee ovement of the lower notes agrnst the veasmoothness tothe sound hee Unchanging top.© ikb) Avibraphone-the sound with along Ressetime (© 5): Stacato phrasing 29 you need ©. (82) :Theneat ight phasinghew needs undwnakematick outindthe oh spkxcond mig Dun opestins by eke to chy tent lang quae ih tacking tem iy wh yr fg mote eat delay but make ure Satine dey Ue on eae yr wh te tempo. 33;Em Dien) _Gion€) oone) co = =Fe PE = ao Sep on, PE ot Glone) —Djoné) eaves € Em __Dlon) tone) ene) co © (G2): Keep asteady rythm when passing ae hang on Som that‘ky gels pussae fe he an pulrgel al teep "our pase Seto 6 noes! phases, and be absoluléy Smooth Make the final ato aac most Sate of what the other insuments are asemitone wide 35fone) fone) Ofone)37;em > (008) Am ar ==] (© 10:) wl Section, leary diferentirom tne one used thin,alone) Dae "©) See © (2): Changehere toma dstorion fee 0 Shard dstomton sound, but wat fil the very iastmoment before you make the change. 90:© {De:Notethechinesecymbalonthe2nd, _ @ (Ba) This animponantaccentingbarin Sand heats tae as tom here o8. the tack andie bas pays ints high reper, somake sre you're itt the lara 911©,(01)- Te setts (6 note) ae 32 note (GL) +The tpt ate rly impotantin fist may tow you suns so praise ssob, worth pactng hem barby Carly one nt to holdup the fow ot Bearing in mind fhe flow of the pase sensi Trough the Slo asshole 92:a lena VELL ome loty GIO pyre) © (Drs easy to rsh this kind of phrase which only makes it sloppy. Instead, hep & Sronganaaccurteero (gi loro (ono) flow) =o er Flo i — leno) © (8a) Here isthe low D we mentioned @ (Dr) Bass and drums must be tightly Sriiersousea sting basifyoucan. ttn Together ere, then "tne. your Separate Sree yale oly ahr ger asi appeatsnscore 394 <$<—©, (GU): Astighly motedsoundwithadeep —— @ Kb. : Use arch fat onzan voice for the Seiaywil eve you the necessay breadth Continuous backing chord tom Don here! Greateare needed with the yeh,