LY GIBBONS TED NUGENT ¢ ADRIAN BELEW cS De Ta Pt is) retro sam |l||JIMI HENDRIX PURPLE HAz Jimi squeezes the blues so hard that it turns purple in this psychedelic collection of slides, bends and vibratos ‘content merely to measure out a stream of coldly precise, unwavering pitches. Rather, they tend to customize 2 melody by bending, shaking, sliding into, and otherwise pushing and pulling the notes to get their point across. Hendrix uses these same bends, slides and vibratos, throughout the opening rffin "Haze" (see meas, 210), To truly understand just how important these orna- ments are, try playing the riff without bends, slides or sibrato—really cripples it, ch? Ifyou examine this passage phrase by phrase, a least three distinct patterns emerge 1) Jimi slides into the first gote of every phrase from below. 2) He shakes the last note of every phrase (vibrato), 3) He often bends the minorshird note (G) up aq terstep, and the perfect fourth (A) up a whole step. Fig. baer Mary Had A Little Purple Lambster ‘The following nursery tune demonstrates how you ean apply thew idea to almost any melody and thus Relp you forther tap your guitar's huge potential for expresson Firat let's look att naked version of "Mary." wih Natted thins to blues her up (Pg. 1)—'s sll prety bare Figure 2 depicts the same basic melody, except now the st note of each phrase ik sd nto fom below. Now ty to shake Mary a bit by adding vibrato tothe last note of cach phrve (Fig). Now lect make Mary cry by bending her Brs Fi). ‘Now that you've invented the work's dorkest blues, go try this stuff out on something cool FE 2 pa nacatPURPLE HAZE Jimi Hendrix Fig. 4 aera BASS NOTES Rhythm, schmythm, Backup?—SHUT UPE_ kes time for this "poeket player” to launch his pocket rocket! Thanks to the ies of Scott La Faro, Jaco. Pastorius. and. Stn Fam, we now know that the Bass can exceed robotic rootplunking and sar ike aft bird into melodic space Todays leon ie simply thie Take charge of the melody now and then and play some lead. Grab some shredin terstory fom thote greedy guitarsquatery “cause We Fig 5 Puy ey * basis are migratin’ north (Fig. 5)! 'A few notes on playing the “Haze” bass solo: It consists of two independent Ines played simuttaneously a low, ostinato (repeating) rhythm figure on the ith sting, and a high melody figure above that. Use righthand palfesmut- ing for the ostinato figure to keep i soft—itsaccompan ment. Let the melody ting loudly, but be carefil not to let, the melody notes ring over cach other. Rock it lom, boy! noes Man nh Te mere 14 0 s From the Warner/Reprise recording ARE YOU EXPERIENCED? HAZE PURPLE ‘Words ond Music by “IM HENDRIX nto ‘Guitar Transcription by Andy Aledort Norte Fost deft2bpm. ‘ NC. © ri fl nnn, st LANA Cyan fous ‘Also avalale in the Hal Leonard Recorded Versions transcription book, “ARE YOU EXPERIENCED? Sse ev psa conma e e‘ohana ogee [Hy ttverse Ppl Hone it in my tain, lately tings just dont sum the same e9 6 A eo 6s a andere ti ny, 9 ont tow wy, nm wits hy. mae ce os 5D Noy os 45PURPLE HAZE » Jimi Hendrix at around, ont know Ht Tm comin’ up. or down 1 happy * sd a EHO. e a ens erg Inmisry? Wha ve it tat get put spl on me “ele me Hep met a ' So ms i ee sree geck Btn, He, Mn oh 7 we co) © 5 05 « Rcd) weonthnow ey ight You got me town own! my isd, exo 6 a ee 6 a 54 tomorow, or ust the endo me? 00, tp me, am, Ne Sieh @PURPLE HAZE * Jimi Hendrix tol me bby tel me 1 eat goon te ti... Purple Haz. (ras) 05, © 05) eto) 05) ryFrom the Warne Reprise recording ARE YOU EXPERIENCED? PURPLE HAZE ‘Words and Music by "II HENDRIX Bass Transcription by Kenn Chipkin toe Nose Pockd-12b0m 9 ee 6 a ens 6 A oad vee a Purple Haze all in my brain, 15 ‘ ens 6 ee 6 a ete ck ad Verse ‘Scie me whe Ike he sy. Purple Hao, NOwES) ens ee a What ever is that git pu spl on me, a6 A ete eo: Nc. (65) . ‘Also available in the Hal Leonard Recorded Versions transcription book, "ARE YOU EXPERIENCED? Samseacne pasa gona muse ne ”PURPLE HAZE Jimi Hendrix ttn tro oon 5 . Sem ets o9 mF 0H era) in a Eugen tommerrom, ost the end of tine! 3 Noes a 5 > Bl ourovane ey NOOO (5 09 e9) co) (05) ea) 08 ey 5 05) ets) 5) (05 neeates z o> ale ii JIMI HENDRIX Turn your depression into music, sweet music, by learning a few things about unison bends Beginning with the second verse, then. throughout the solo, and into °Manie final bar ini sceams at us through his Stat using a standard rock technique known a the unison den. Below we'll check ost ts soni avd psa spect but you'l have to supply your own anguish to male the bends sound convincing. Fig.1 $$ Figure 1 depicts the notation symbol for a unison bend. ‘The first place a unison bend shows up in the tune is in measure 40 (Fig. 2). Here's how it's done: Fig? 1, Fret the Srd string at the 7th fret with your ring finger. 2 Fret the Srd string at the 6th fret with your middle finger. This will help reinforce the ensuing bend, since you'll be pushing the string with two fingers instead of just one. Make sure you arch both fin- gers high above the 2nd string so it can ring freely. Fig.5 mane depression is touch A 8 . my out EA ‘Okay, Hold that, then. 8, Fret the 2nd sting atthe 5th fret with your index finger. Figure 3 shows where all Big. 3 three fingers should be, : 4. Now pick the 3rd and 2nd strings in a single downstroke You'll hearaD and an E 5. With both stings stil ringing, slowly bend the Std. sting. ashing it upward. wih both the mide and ring fingere Tt Should look something lke this x. 4 6. The pitch of the Sedstring note wil tise; bend it unl A matches the pitch of the 2nd ring’ note.” Get extemel Shreddlings usually don't bend stings hard or fat enough, If you hear a loud ‘pop’ and hotice a string hanging loosely fom either end of our guitar (don’t have crus man), it may be time to switch the subject from sting Bend dng to string changing 7. Now stop the notes from ringing by damping the strings withthe heel of your right hand: Lighter strings take les force to bend, so i's best to use very skinny ones at first (009 or .008 gauges). Remem ber Jimmy Page's advice to new plajers: “Use lighter strings” Sting bending requires strong extensor muscles ‘which are actially in your forearm, 30 be patient while they get used to the new demands gee Nema ger Petre Fig 4 BASS NOTES Noel Redding’s playing on “Manic Depression” seems to perfectly underpin Jimi’s wild filigree in that it always makes sense. He ofien uses short signature licks or mots. eo’ sweat fea € a ger, 8 ram. finger, ° c 8 A 2 pression is cathin o 0 my soul ote oasetts yas Fig. 6 juts, lial? ests ° + * a (pronounced “motee") which he reiterates and mutates, froviding a beacon for the listener tempestiowed on Frendrisprychedelic ea orth Menetan wl define 9 motif aca dhort melo ic'iden which is devloped indifferent ways to build a longer melodic idea in this cas, a bas line, We'll uncom er part of the secret to Redding’s disincive sound by ‘chaining his mou, then applying each to "Mani D. “Thist tie progression (Fig 5). Now the moti all iis the progresion (Fg. 5). Now the motif (all ran posed to the ley of A to faciliate compariion) (Fig. 6). Since all the chord in “Manic Depression” are majo, each mou can be made to ft any choral in the wine by anspor Ing the motf notefornote The key to doing this easy i tormemonze the motifs shape Thi wil help you entr- moush, since you won't have to think about every single note Fig. 7 yout2 ewe, ° root note of the chord you wish to transpose the motif to, then play the shape, beginning on that note. Figure 7 shows motif 2 transposed to G. By transposing a motif to fit every chord, you can create some interesting variations on Noel's classic bass ine. Fig- ture 8 depicts a sample variation based on mouf 2. Try doing the same with the other three. However, notice that in the example provided, the motif is not applied to the ‘measures containing one chord per beat (meas. 3, 16 and 18). Because these chords go by so quickly, there isn't ‘enough time to elaborate on them without playing ridicu- ously fast, You're better off just playing straight quarter notes for these measures ‘Once you memorize the main motifs in “Manic Depres- sion," mix and match ‘emt This technique is a great tool for helping you pursue your bass desires. THINK LOW, DADDYO! ‘Once you memorize the shape, simply locate the Mark Michel Fig.8 4 6 DoE A £ 6 rp trieeeeteatre ors) aaSees fama ore eer = 1 =f + Fs 9 ¢ 6 a 6 ome ean a Beal aT TO COMING NEXT ISSUE! THE RETURN OF A GUITAR LEGEND IT) George Lynch CM CyFrom the Worner/Repise recording ARE YOU EXPERIENCED? MANIC DEPRESSION ‘Words and Music by “JM! HENDRIX Guitar Transcription by Andy Aledort Nias Post eigen, Bisvese 1 Mani Svrg Ege JD 1, NG. an Nou) nn en Fe) sweet fete (ops from my fingers, tigers. a ® o o o o Manic Depression ica catch’. my sout Yoon, a a @ oxen an Blmavene Woman so (he sweet cause Im vin 74 ‘Aloo avalable in tho Hal Leonard Recorded Versions transcription book, "ARE YOU EXPERIENCED? “coprigh © 167 by BELLA GODIVA MUSIC, INC. Align Rexred”Ineranonl Cope ScaredYou mike love you reak “ @ love, some when ts, when t's ove. ree @ a rutting ‘ge a ooaes tae. egg aes Sh tngMANIC DEPRESSION * Ji Bs yon, gut. =e TRE [El] wwvese {think MI go. tum mst off and uh, uh, huh! Goon down, Hn ‘the way dom, 101 KAN @ a 7 56ealy sot mouse n me tamg’ round uh tht Your 07 6 a Hind a seen, Music, sweet musi, 1 wah 1 coud caress md a +9 ® o 0 co iss, is Mone Depression ig arta’ est 119 o a 6 =. 6, shit Dig, ow Isic, sweet msl, sweet, wnat ris, ah oot nT Rann A, 7MANIC DEPRESSION * Jimi a oom Music, sweet music, sweet” muse, i en Yeon! 2, ~, 159 Fn nr. opress... une co) % pa ca! aS ar treme = == oe = | meas _—_——= 58‘neo deat Reckd 8209, gerocome TTS From the Wormer/Reprise recording ARE YOU EXPERIENCED? MANIC DEPRESSION ‘Words and Music by “IMI HENDRIX ss Transcripion by Kenn Chipkin [Biss se verses e& ‘Also avaliable in the Hal Leonard “ARE YOU Recorded Versions transcription book, EXPERIENCED? Coppig © 1967 Wy BELLA GODIVA MUSIC, INC. Aa ere” nteraonal Coppi Seared era Tocude eaMANIC DEPRESSION * Jimi Hendrix 8 Dom soe 38 aco SOEPOISON « C.C. DeVILLE UNSKINNY BOP What do Charlie Parker and Poison have in common? Read on and ye shall discover the connection The thing that makes this groove a a, pl red phere ee rrr Saree ere tek nee Halen ("Beautiful rls"), Aerosmith (“Rag Doll"), De Fees tam elas oaes enka Hoppe (Ross 7 Le cen eee ona ee ease ey oes Tt igh ing tha le ce yd Ae — Sot. ONEce.ond.uhTWO-6¢-anduh THREE ean. uh FOUR. and-uh "ONE ™o THREE FOUR Fis? sn rotates in toring this rigid pattern s0 that tomy other 16th ote sd “The result i a lazy, “longshoreiongshort feel, To get a straighteighths/sving hs fee: 1 Dhay a mearure of 1at-naewplte white counting and tapping your foot as Figure 2 indicates 2 Do thi agin, but now, jst pick the ft and las notes ofeach triplet (Fig 3). Although this Is actually the correct way to represent ving 16th, it can be quite cumbersome to notte throuighout an ene wanstripcon. Often, asin the case of *Unskinny Bop sing 10hs are witen a8 sight Fig. 4 16ths, but with an crane Josh indienion "atthe ™ ca beginning of the Sana um, cong ming them (Fig 4). GG. DeVille establishes this feel right from the outset with the tripletladen main riff (Fig. 5). Notice how he Fig5 5 Nc. oD [re ONE. and = uh - one and= uh -TWO- and uh wo Pe one wo Fig. 3 and uh -THREGand uh -te-and- h-FOUR-and t= four -and-uh TREE, FOUR ("er one Wo a stot ONE and - un one - and - uh -TWO- and- uh-two -ond uh THREE and uh-hee-and=uh- FOUR. and uh -four = and = TREE Fourless the groove breathe by punctiaing the phrases with silence (ess). Things relly get hoppin’, though at the horus where DeVile lays down nasty’ sving 6s sf (fig 6)- Practice this pastage slowly at fist and strive for 4 relaxed, sd-back fee, Remember to stomp that foot and drag thowe 16th notes ‘Understanding rhythm fundamentals is crucial to your abil as both a thythm and lead player. Like drurmner, ahink in terme of subvions when you play, and lock onto thote eighths, 16s, wipes, ete. Doing so wil sult in a tighter, more inehepocket performance and give You a move sold sthnic Ramewoak rom which to bd Siler Hike and ii Jimmy Brron From the Esigme/Capitel recording FSH AND BLOOD UNSKINNY BOP Words and Muse by 5. Dall, CC. DeViE, 3, MICHAEIS nd R, ROCKET iy ive A save ‘Moderate Rock J «86 bpm. Guitar Transcription by Corl Culpepper ‘What's got you so jumpy? SaNSe um), ne. snc os 0 ANC. TS yee 1 emt amet ont MR “ate Fat oe eae ka Be Re Why cant you st sty ke gasoing, you want o pup me. 6 DSN DAS NC (©1999 CANIDE PUBLISHING (Admired by WILLESDEN MUSICINC.) International Cope Seared AN Rig ReservedUNSKINNY BOP ° Poison ‘And leare me when you get your A very oD As wo. 6% oD 8 ore lin cions gg STRIMA ym ot tt met at ts a Cea ays pl 6 | NC. re) Toros {us wha’ been going on In that hed of yours? Unsknny bop. tat blows me_amay, yea, Unskiany bop, bop. as No. 05 won Ot, 19 Bh coo cal) S09 FRE 64‘Al lg and doy, yah. Union bop, bp, Bop, Bop. ‘She st loves to play. Unstony bop nth’ mare 088. 75 cap a © a5 NG. op. PR oS bs ma te [Dyna vere Lowe ite got you seting oh so strange You got too. many ees In your honey. oe te Cr a) Si ‘Am just moter word in your page ya, ya, ps Bacau 2 oa Ne @ oo Fal a wa Eee foo =! SS Se Fa 3 #. as — ee or 65UNSKINNY BOP ¢ Poison coe Eloraae $ You saying my love wont do ye go 5 No. ee) Ne. Das ee ee ee Yen he's Hh who at thw ant of he race ss os 05 As } } tepmtpmiy2 506 pate patehats ght? Whats wong? Whats Wt? What the el Is gong on? os [Bl on chs nsknny bop, bo. right andy, yak. : 05 . EUNSKINNY BOP ¢ Poison Unskiny bop, bop, bop, op. ‘She ust owes to play. as NC. os Ds nsknay bop. ‘ook good, lok good, look goed, look good, look. 15 NG. 0 No. Unskiny bop, bop ‘A right and dp, yen, lak 15 Ne. St. nskiony bop. (00h, oot n Pee 68MEGADETH PEACE SELLS A statement of musical disobedience from metal’s bad boys Setting: A dark, dreary lasroom somewhere in’ Middle America, Subject Music Theory & Appreciation ay, you rock revolutionaries, I'm going to show you how these snoty heaypmetal hooligans and thrash punks are roting your minds and causing you to rebel against the rules for creating good muzak! But before I begin, | ‘want to know who put Diatonic Harmony Sucks’ on the blackboard!” ‘As ridiculous as this scenario miay seem, the dogmatic, analtetentive attitude personified By this music teacher is a disease that has plagued musicians ever since the Dark ‘Ages. Andre Segovia, the man now considered the father of classical guitar, was often heckled at his early recitals by protesters who were up in arms merely because the mac. Suro chose to pluck his guitar strings with his fingernails instead of his Rngerdipe "Fini Hendrix would have been impaled and pubecued daring the Spanish Inquisiton for playing those teeth- chattering uitones in the opening bars of “Purple Haze” {the uitone interval, formed by two notes that are three wholesteps apart, was once regarded as the Diabolus in ‘musica Devlin ruse?) Synthetic modes, 12one rows, neomodalism and poly tomaliy aren't the names of some underground bands they're terms used to describe some ofthe radical compo. sional techniques developed by “serious® composers and jazz musicians in the last 100 years techniques currently Fig 1 0s A 2 The chromatic sale, containing every note within an octave, is a particularly convenient too! available to gui larists for obtaining some “outside” sounds. Tis halfstep intervals neatly correspond tothe frets of the guitar neck, thus facilitating easy Sngerings. Guitarists Dave Mustaine and Chris Poland capitalize on this feature in meastfes 7 and 8 (Fig), as demonstrated by the series of falling T6dh-note triplets. This ick begins witha simple hammer con/pulhotf tiple idea or mot, which is then sequenced down in halfsteps. ‘The chromatic flavor ofthe lead-in measures 32 and 88 (Fig. 2) is the result of juggling notes fiom the dark, exotic E Phrygian mode (EREABCD) with those from the the song's primary modalig, E Mixolydian (E PEGE ‘A‘B-GHD). Chromatic darkness can also be heard in some Of dhe song’srythmegultar figures, such as the trudging Powerchoreiffn measures 123 and 124 (Fig) The diminished Sth (or augmented 4th) has always been a popular scale degree in heavy metal, especial with Blak Sabbath. The tain rif in te song “Black Sab bath” (G-G-Db) exemplifies how this interval can, when used creatively, express felings of despair and terror. In “Peace Sell.” the flated 5th appears athe root of a BbS rerchord in the fourth measure of the main if (meas 12). In measures 69 and 70 (Fig) itis used in a lead context, 28 part ofthe Fé blues scale (REA B-CCHE). Bs AS noe) 65 NOE) os 7Fig. 3 FOS PS ES FS FS ES FAS 05 BASS NOTES The best way to play David Ellefson’s main bass riff (see ‘meas. land 2) is with a pick. Picking helps bring out the subtle 16th-note rhythms which give the riff its machine- gun auack. This riff is based on the F blues scale (LGAAMBD), Which, in this context, gives it drat dark, ominous quality, Bacar by the way the augmented fourth (AR) i yanging at the end of each measure. “Another guitarstic device used here is the pulloff, Grst appearing in measure 67 (Fig. 5) on beats 2 and 4. A pull off is a technique where you play a descending twonote pattern on a single string, attacking only the fst note with the right hand, Pulhofls are indicated by slurs, which are those little ares that connect the two notes involved. The following procedure details how to execute the frst pull- off in Figure 5: * ‘Fret the A string at both the 9th and 10th frets with ‘your middle and ring fingers, respectively. » Pluck or pick the string with your right hand, sounding the 1Oth-fret note (G) * With the string sll wating, it your sing finger off the neck, allowing the Othret note (F) to ring. Remember to firmly fret. both notes before you pick/pluck the string so you don’t kill its vibration when pulling off to the second note. Dave Whitehill rom he Capitol recrdng PEACE SES But Who's Buying? PEACE SELLS ‘Words and Musi by DaviD MUSTAINE Guitar Teansrtion by Dave Whitehill Bia ns bom 5 1 oot ez Cae TTA oh 7 nPEACE SELLS * Megadeth 0s BS As 1 Sas a . a ‘What do ya’ mean don't believe in God? | talk to Him everyday! 9. Moe cs Ko. & nce) ais no iss What do ya! mean I dont supper the syst? 1 13.2 NC G8 NCI) 6 p10 cout when ave to! G85 NOUE) ws As What do ya! mean | cat gto work on tine? Dont have anything beter to do! 7. NCE rs NC os Noe) GS NOVE) Bs is 2What doy mean 1 don pay my bl Wyo atin tm broke? a. NCB ais NCI) os Nc) ats NCW) Bs AS there's new way, al, bo the frst ne, Maybe work ts ti, 5 we ww me wow. HERG new os Now 5 Noe) ats NCE) Bs 7PEACE SELLS * Megadeth o What Joya! meant hut your tangs? 1 tenon you ad any elngs! 3 NCE as NCE, os NCE) os NOS 545 What doy! wean ant kine? ust not your ind Nowe) 5 Noe Nove) ats NCE) esas What do ya mean | cou be to present. of the United Stats of Amerce? Noe) oss Noe) os NC G5 NC) 505 ay m™%Tel me someting Hes st We... the prope, wight Nove) BIS NCE) os Noe GH NOE 8515 Dg — rey, Wer new way, el, be the ttn. Maybe 1 werk he ine. © 0565 G5 05 & D5ES 65 FAS GS FH5G5 05 FHSS FAS FSCS Sh peglrabte o 5, No(En) Zo Noe) GringPEACE SELLS * Megadeth as « 5 Nove) os FAs05 Ca y As s (de ress ne Sfece he 7%con yup eof Se Terpoit J=16¢h pm. one Noten) cy mB 3d 7PEACE SELLS * Megadeth Peace sas, bu whos buying? Peace sels but who's bag? @ em) @ (Fem) ® 12> Or ald Sele Bee ON ox 2s ein Peace sls, Ey 117 fn ni et) ut who's buying? Bm & FAs mee 5 FAS FS ES FS FHS FS ES FHS GS Fis Gs Fes ga sce Novem) 8 @ maen a A 70Pesce sa, 9% TNCER) @ im) “Se pepe er Poses sl, bat whos buying? Proce sels, but who's buying? Poel @ Fin) ® 1 nu Proce ses, ‘at who's buying? Paseo sets, but who's buying? an) @ (Fae) 8 Hew r eam a pena oe E>) o FtPEACE SELLS * Megadeth os FAS GS FES NCER) Ss 6 FSF OES F FSF ES FHS oS FSGS FAS NER) BN fee ee ” Peace te Ne.(en) cy GS FAISFS 55 FS FASFSES FAS. OS Fis cs 1S eS hFrom the Coptol recording PEACE SEUS [But Who's Buying? PEACE SELLS ‘Words and Music by DAVID MUSTAINE ‘Bs Transcription by Dave Whitehill on ° oo4 © 1968, 1999 y MUSTAINE MUSIC mad THEORY MUSIC igs forthe OSA an Canada fo MUSTAINE MUSIC conrad ad adesitered ty SCREEN GENS EMI MUSIC ING. ce ee net in, 00 for knee MUSIC FURLISHNG ERD F.0. Box C156, Cremorne anon, NSW 209, ura, hor hr New Send cored by WARNER, CHAPPELL MUSIC “hh or ew Germany oataacdy SIEGEL MUSIC VERIAGE Iovrntonal Cope Scared" A Riis Reserved Used by Perion arPEACE SELLS * Megadeth B 2Terpot Jst648pm. % ———PEACE SELLS » Megadeth hy one on Baw 7 Pa iRED HOT CHILI PEPPERS KNOCK ME DOWN Tired of the same old meat and potatoes? Let these hot young chefs show you how to spice up your riffs and bass lines Like a culinary exeation, a som should be seasoned to one's owe taste. One of the hey ingredients in “Knock Me Down’ is the use of minor seoh hos which hep give ith sou ful, &b favor. Notice how te verse ila D minor (Let terB) ses minor seventh (Dra, Amy, Gm) in tandem with Sth chords and wiads (D3, C, Bb), which have a Inore staightalcad rock sound Figur 1 depicts the Complete sets of triads and seventh chords in the key of D Acotan (natural) minor. FIR: nati tas rw oy yo wt Dn ein Fo dem B&G eal : : if) Another musical device that makes this song s0 lively and interesting is modulation (key change). Modulations add drama and excitement to a chord progression. or example, the prechorus (Letter C) uses the same basic Tiff as the preceding verse, but in the key of E minor Notice how the drama builds as a result of the modula tion, even though the progression is almost identical in both cases The bridge seetion, beginning at measure 42 (Fig.2), Fg. _ En an? ant oe 24a yay eee gape come ple, twobas, isiv chord. progression and alternate 1 Seve wo fret kee (minor and'C¥ nr). tn E minor, the progression is EnBa-Am’.. Transposed to GF minor, it becomes Chn?-Ghin a? “The most effective modulation, however, occurs during the final ehoras (see measure 68) where they transpose the main hooks to FF minor The excitement far ther intensified bythe fact that this maneuver puts Antho = a we far ont an ay Or ny Keidas’s vocals in a higher, and thus more powerful, range. Bass ores Fens funk in paying is one ofthe main ng fn ofthe Red Hot Cl Pepper sound. InRnoek Me Bown" he tikes fa advange othe tna conraes Semeen sandardardeuadon and the porate dp Acpop tchtaqu, ing the former Orth relay Chor Gn? FamKNOCK ME DOWN » Red Hot Chili Peppers subdued verse sections, and the liter for the power racked chores — “The slapand.pop technique was pioneered back in the 1960s by basis Larry Gram ducing his tenure with Sy and the Family tone. For thot of you who are new to this Style of playing, here's how it works —rti‘CO™_O__Cimr 4s) "wih the outer side of four righthand thumb. This ‘motement ial in the wnt lke that ofa hitchhiker, or rite ging the old “thumbs doom.” Popping s when you pluck string (usually the rst or second) with one of your Fightitand fers, causing ic to snap back agains he fret board. ‘This movement fs sila to that of an archer palling his bow. except you don’t have to pull the sting Reary'at hard or asf back The hard parts ategeating the two techniques into-a relaxed, coordinated tack ‘Yur wrist should rotate back and forth a8 you alternate Fig. Cin? Gin? Fan Between sping nd poping. Enon f maton i she Toe indicated which phrases to slap and pop through- cout To exceute these pasages, pop al the atcented notes {accents ate indicated by he nol >) and lp the rest [Ror mor infrmation on tis tech, se the wacrption of Living Colours "Pring Vie" in the fay 1990 su} Fleas musical, however, eniails more than just mere technical fully. His cholce of notes just eich a fae tors Te often uses transition nor to” connect unustal Chord changes. For example, in measures 47 and 48 {ig3) sosee how he smoothens out the change from Ami? to Clim? by approaching the Chin chord from a Sth tuto (GR). On feat 2 of teamne 7 (Fe) he ale n the ensuing Di? chord with an ascending chromatic ling. These ile nuances, although seemingly insigalicane, ae what separate the seasoned playes fom the novice Dav White Fig ar c 8 SSeS i a Feom the EM recording MOTHER'S MIX KNOCK ME DOWN Words and Music by MICHAEL BALZARY, ANTHONY KEDIS, ‘CHAD SMITH ond JOHN FRUSCIANTE we Adm neat on? Nc a KS, ar ty 1 re pn Guitar Transcription by Dave Whitehill om? 5 No. on (© 1989 SCREEN GENS EM MUSIC, INC. MORBETORLAME MUSIC ‘Aleit for be USA conta by SCREEN CEMSEM MUSIC, INC Big or UX ana Wea sinned by GREENS ar MUSIC ETD Lado eC ‘ADRighsRecrved Used by Peminion 86Bin vere Wioertoo soon tobe tough being toe mth 00 s00n 6. On? Ga 05 cos [El Preston Dont be sald to show your tends ‘hat you burt iste, nda 4 EN nr An ent oc Ge eeeKNOCK ME DOWN « Red Hot Chili Peppers Pals prof He, dont hie behind yourase pide. le, your te 1H yeu ent ent An oma ca “peat 6 Dl ome fom engin, 1 Yee a mney him dom tm tig tan you Bono os No. os, Ant nT ce 6 Ds ‘ e en ptngnih, yo png ght nom tm ot Boe nt Bes Anat os ce re) one a 88ar 4 ond nr anton ce emma.) vce 8 ‘fm tired of being untouchable. fm not above ‘the love, ‘Tm part of you and you're part of me. Why did you Sa rears TM aay meen 7 (12 wp sn) u FF] ite ® may, Finding what youre looking for can end up being, bring such bore. Yah 35 Bs en? Gn? An fm? GH Fam 0s B alcatel ee eg 4 josallenteap st cl a cyKNOCK ME DOWN » Red Hot Chili Peppers {Gl nse ate Cade o oo aiginety ® aor ae ‘ 903KNOCK ME DOWN + Red Hot Chili Peppers BD chores 30 gle migiy, YoU, me ong Hoh nek me down Inet oe an eH you uo Ne os aa ew f ° 0 oO : : : ori ore mameg som 61 00 me geting mighty, you soe me geting igh track me down. Frm not bigger thane, you os os pat En c a 5 soe typ, Yo se tg ph ano met on you oan oe ee oe ue 8 2‘86 me geting. righty, you see me geting high knock me down. moot igger tan Be. Fin fim E tm cen? + tm e e Ie 90 lonely when you dort even know yours its sooney ors tm E 8 oe 3From tho EM recording MOTHERS MIX KNOCK ME DOWN “Words and Musi by (MICHAEL BALZARY, ANTHONY KES, ‘HAD SMITH ond JOHN RUSCLANTE Nasi tata 839m. a 7 iajuwe [Bsevere 1 Downs s “llgh for be USA conrad by SCREEN CEMS Dal MUSIC, IN. Rij or UX nd Wea Cray ater SCHEENGEnSa MUSIC Dy Landon WC2, UK ‘ADRighs Recrved Used by Permian 94[Elanverse 7 [F)erge 08 alcoar a ane tat cae + alteKNOCK ME DOWN ¢ Red Hot Chili Peppers a a Ppa stWILD ONE Do you know up from down? Learn the secrets of Rowan Robertson’s flat-picking success While Ronnie rants rabidly, Rowan Roberton rips rousingly rude rif. RR’ incredibly fast fatpicking technique will be our focus here, specifically the way he sts up ek so that it can be picked at hyperspeeds. First on our picking agenda is stingerosing. Picking a rapifire succession of notes on asngle string tough, but itt a skill that can mastered rather quickly with practice The bitch factor, however, goes way up when you're re: aquired to pick quickly while crosing strings For many play rs that teeny, litle sringeros is what's preventing them from blasting beyond the gravity of Planet Slow. Part of Rowan’s explosive sound ice to i mastery ofthis area String crossing involves picking a note on one sting, then immediately picking & note‘on another string. You can cross from a lower sing to a higher suing, or vce ‘ersa. Using combinations of upstrokes and downtrokes, there ae four possible way to cross stings (Fg 1, Figure 2 depicts a lowtoigh sing cros which ules & down Fig. 1 yr inde nt Instone navn ann HIE Sn tat) tune (Fg. 8) Before you jump on this 4Lnote best, this simple suing-crosing exercise (Fg. ). Sarting on 2 dowmsiroke, work it up tothe fastest speed you can ply it using sit alternate picking and a metronome. (The weal links the suingcros, eh) Now reverse the picking soles, and play ita few hundred snes. (You'll probably hoticeabigdiference!) “You've jist learned one ofthe secrets of speed demons like Rowan—when crossing toa higher suing, dewnstake supra ests upstroke downstroke. Likewise, when eros ing to a lover sing, upstate dounstoke beats Cownstroke- upsroke. (In some cases, -downstrokedowmstroke or Upstoke-upstroke beat everyting! We'll cover sup pick inglater) Tn one of "Wild One's” mos earewisting moments (Fig 8), RR. uses this principle to great advantage (i. he ims: Check But you srt ths ek Sdn Fig. 2 stroke, all the crosses come out the slow way. A clever shredder, however, would start on an upstroke, in which cease every string-eross comes out cool. ‘Keep an eye out for other phrases set up this way. ‘Try starting a lick first on an upstroke, then repeat it starting. ‘on.a downstroke, and decide which way is easiest. Use this principle when designing your own licks, If you're clever enough, you can figure out picking patterns where every string cross is neat and clean, Mark MitchelFrom the Warner/Reprive recording LOCK UP THE WOLVES ‘WILD ONE ‘Words and Music by RONNIE JAMES DIO and ROWAN ROBERTSON Guitar Transcription by Mark Mitchell Dnwe (Bloat rt Fast Rick J-240bom Ne. ® 4 : 7 Behe 1 Seo You sy youve sever seen os 05 & Ng. ie 2090 NL MUSIC MD an SCHNTER MUSIC ASAP)‘WILD ONE + Py the ght before oes anyone tleve you Dont it them ear you say. anymore Nti's realy ste 2 os Ne round here. wean Itton ofthe ond. We never tum the pages anmot tet your spit turn the ground and nobo's_ gonna change around here. Ho a 05. ee — Fang sk teat ey ty net amar 5 6a a 100Youve got two in te bushes, one inthe hand, they'd me you ove ut hey rs gga) sar 1S” gaya aS ge) a cant understand you. ‘Youte ays goona be the wid one. ae 5 F 5 Ett CBA. MG sad but youd dot all gain nobody changes ‘round here 101WILD ONE * Dio Fl aches GA cd mane os, yo oD soi % Pe el a eR | sal smoke inthe chon, fen the hal, tins com’ and you 104 5 8 Hage) hav AS" a) Ann AS” A) ant bese ain ‘Your aways gai to be the wid one w 5 5 6 o os 6 ops St wis one 1 is ar Fp aT TTT 102WILD ONE * Dio (1H) main Fit Recap 151 ons Ps. (Di sacs cack the cing, nolo Sos 5 er as 159 " ‘ies) Inthe wat bend you over now you won" eam aay hey. 165, 1AGa)AeT AS Aa) nr As Agger You got two in the bushes, ont in the hand they make you owe, but they cant understand you 7 M5 A) An AS Ayo) An ASM) AOS OSG ‘aie sm gmat tts ys ote ye187, 196 Aggyeor 18 Aaa Aor as 93) 7 Ds os G wis as gg) 7s Aggy 07WILD ONE * Dio mo Aga) 75 CS ASA An AS Ay Ant ASH An? 8 = S = 7 ga 18 ft 189g om") ‘age Mer Sg OH 214 219 106ZZ TOP ¢ Billy Gibbons Put a little pinch between your pick and thumb and get ready to ride this sizzling hunk of Texas funk Billy Gibbons doesn’t play a whole Joe of notes, yet his solos se wei excitement and unpredictable tonal variations. The oy tothe Tenan’ ery sound is his use of pinch harmon: fe (aka pick harmonics, squawks, whisler). Gibbons vas one of the eariet pioneers of pinch harmonics, dong with Roy Buchanan, Jef Beek, Leslie West, jimi Hendrix and Rick DerringeZ Since 22 Top's inception the Reverend Willy G. has gornished bis fils and solos wih heapin'hepin’s ofthis exquste musical pice Pinch harmonics are executed by simulinzna) touch- ing a suing with the Hlesy outer side of your righthand thumb while picking = downstroke. For best result, ‘choke up" on the pick, leaving only a small portion of the tip exposed. This insures maximum meatiometal Coniact for a superior squawt (ln Bills case, this enhanced by the metabto-metal rasp of his famous cus. tomled "peso picks") Your picking hand should look Something bike dis Fig. 1). Figure 2lusuats the area of the thumb that comesin contact wih the sing. Fig. 1 Fig 2 Unlike natural harmonics, which require the use of bod hands, pinch harmonics canbe played with jut the right hand, thus freeing up your left hand for freving. ‘This gives you the advantage of being able to use harmo ies in the middle of a lick without having to let go of the neck, However, in order to get the desired effect, you ‘must pinch the string at specific points. This brings us to four next topic—nades. "Nodes are those points along a string where harmonics ‘occut, Most of us are familiar with the open-string nodes between the 12th fret and the nut (Fig. 8). But this is Fig. 3 pry Se Say only half the picture, since a mir ror image of this pattern occurs between the 12th fret and the bridge, as Figure 4 depicts. ‘Try playing these litle gems first as natural harmonics, then as pinch harmonics. Fig. — ca Keepin mind that thete node locations represent the pinch points for an open song When yo ets sing i pour lef hand athe pinch points change Sines Youre shortening the sng wbadonlengdh snd ths Miorng tr migpsine Figure 5 shows the pinch points trom the midpeint to the bridge ony) on the th Seng when eed athe 12 et Fig. 5 ‘Sales gsi +t oo = = = @ I've indicated all the pinch harmonics in “legs” with the abbreviation PH. Since Gibbon plays them in several dif ferent fret positions throughout, you might have to do a litle experimenting to nail the exact harmonics. Remem- ber, the inch points are different fr each fret position. If you can't seem to nail a particular harmonic, wy scanning the String like a metal detector, pinching it repeatedly as your right hand slowly hovers along its length. Sometimes the edge of a pickup or a screw in the pickguard can mark the position for that perfect screamer. fesse Gress (itors Note: What follews i a transcription of “Legs” as heard ‘on the Ip and cassetie versions of Eliminator. The CD version atures a remix which contains some diferent guitar track.) 107[a ta ae. A nan, BE Buren She got (ah) air tpn ropepra 1 ptpr uy se ‘Coppigt © 1988 HAMSTEIN MUSIC COMPANY "alRigh Rerved | Used By Ferman erndoal Copyright Scand 108[El iavene os shetoors tow toute tem, sever eas, she tne toto Bhi pe pra rp Prt spe pr vorpe pre ot Drdovpe pre on . OD ARARRARKAAR RRA * pect we ot choose them, Shas hl’ eg, ona! how to feel thm, Would you get rph pra pe pre _ aPh prt vPh pre orpe pyr % te Pann fe = i, eco behind ten We you col ont ten. She's my bby ss my aby, ya os _ som mie 0 UD Ci OD ee et PA “Ss BOT f ht (Oh yeaht he goth) ans NE 5m 6LEGS + ZZ Top Dlarvene ter eo 0a. See ends ta Thy nde & ors 99 ora or sea/RI0 antes. ry tne she's dnc, she knows what 0 do Eviybegy & a pay . S a wants os, seit she can use, Sw’8s0 fe, shes allming, gi, you got Tout so cas f warpipre rpeprt rpapot or pep a} on Ee han EE a noas ors ape prt npe prt ape prt rpe per rpe pra Px 5 aor mo aha 4 o @ wa aa oF rpe pea epee Prd vp d pvt vpe pre spe pre mae o pace She gat (a) rgons2 NS set ah [Fl severe es, he trons bow to use thom. ‘She never begs and ows how to . AAA, os 83 xz, sym 9) mMLEGS © ZZ Top choose them, An she gota dine, io he tino, Says out t aw & sieht, movin trough tine (Oh, 1 want her. Sue gotto have har, the git sak ce gare s ers ss “on. Shes align Woo! On! Blow soo os ony on mor Pd Prd ovpe prt or par pra vr pe pra jor 2 naFLATPICKING OR FINGER STYLE? THE CHOICE IS YOURS ON THIS ACOUSTIC CLASSIC Another interesting technique Young used throughout The acoustic guitar is known for its wide dynamic range and expresive tone. Nell Young took fll advantage of these qualities throughout “Needle And The Damage Done,*varying the volume and texture to create a comm paling accompaniment for hs somber ic “On the original recording, Nell used a Mapick to wound all the notes plying dowistokes on the quarternote Sovmbents, nd upaokes on the cighthnate upbeat. his hep give im tha heavy, thumping sound, expe: ally during the valking bass igure’ bars aad 6 Hiowever, you might want to try Eingerpicking, oF using Your pick and Angers (hybrid picking) to create a sofler Troreldlcate cieaguer tones covghon sep te momen re rhe say cess and rman apres right feel esse Gress this piece is what I like to call the “al From the Wort Reprise recording HARVEST NEEDLE AND THE DAMAGE DONE ‘Words and Music by ‘NEL YOUNG Sole Transcription by Jesse Gress toto Nea J-1050pm Shute Feet I3-T 3 Daa uate 658 neh 1a se Ooo ao cot ews . ©1971, 1880 BROKEN FIDDLE MUSIC, INC. Rigs for he USN ttre by WARNL/CHAPELL MUSIC, ING ‘ated hingom © 571 BROKEN ARROW MUSIC IN. ‘Agha te Ui sired by WARNER/ CHAPPELL, MUSICLTD. ‘Anstey GLOBAL MUSIRVERIAG, Munchen ox hac one by WARNER CHAPPELL MUSIC CROUP digester" Iermsoed Copii Seered Und by permiin naNEEDLE AND THE DAMAGE DONE Neil Young tee a | caiaght you knockin’ st my cellar — door. 1) ove you baby. "Can 1 have ‘some more?” 5 eat oes Sle « on, the amage done, 8 [B] meverse Tht te ety and 1 lost my band | athe tensed take anche man n°? Dawe owe ‘cna 68) Gone, gone, the damage done. Fe = cnet © Eset G8 (Enad49) En) yh c Ce e rms)(B) ss verse 1 sng the song because | love the man no tht some of you dont understand, ° Dona G8 6 GB Gms © 3 nak eed to Keep tom runnin on. FRRES [Ey anv, Ve seen the ned and the damage done, A te part ot In evryone ° Da we meh © Bt evry unk’ the #—seting sun ° FOF (5) enet e % ZorunOn@ ime ee us