Rock

FOCUS HOCUS POCUS

GTRATING
EASY/MODERATE

FOCUS

(t TRACK RECORD
RECOMMENDED USTENING TO HEAR MORE OFTHIS BAND, be sure to check out the aptly named compilation album The Best Of Focus: Hocus Pocus. Here you'll flnd the original album version of the track. In addition to the more here.

III I I
HelpsImprove your: • Chord vocabulary • General technique • Yodelling

H 0 CU S PO C U S

concise US single version transcribed

'The quirkiest parts of this riff are the chordal stabs, which feature some unusual voicrngs."
YOUR GTTUTOR
• GUTHRIE GOVAN See p9 for more Info

on all the GT tutors

is based on the US sing] v rei on of Hocus Pocus, rather than the epic album version. This version features all the main parts from the album rendition, plus it boasts a funk" intro/outro section which you W01,'t find on the longer version of the track! I've arranged this for two guitars; one tackles the riffs, the other features Jan Akkerman's fiery solos, some additional riffage and Gust for the curious!) guitar adaptations of Thijs Van Leer's rather surreal yodelling breaks. The GTCD features three backing tracks: a mix with the rhythm guitar taken out; a mix with the lead parts taken out: and a mix with all the guitar parts removed, so you can come up with a one-guitar arrangement of your own.

his transcription

- make sure you're familiar with all the shapes before you attempt to play this riff up to speed! The most d batable part here is the D chord - you'll note that BAR 27 features an W1USUai D6 shape, whereas the corresponding chord in the otherwise identical BAR 3S is a more conventional major barre chord. On the record, these shapes seem to interchange freely, so I think the best policy is to decide which voicing you like better and stick with that on ! [n identally, f el free to replace the Em7 shape in places like BAR 141 with an E7#9 shape (the 'Hendrix' chord) by adding a note at the 6th fret on the D string.

LEAD GUITAR
Here's where the fun really starts! BAR 41-60 and 107-126 are guitar adaptations of the yodelling sections, and given that these passages are so con-tical-sounding on the original, I thought it might be

RHYTHM GUITAR
BARS 1-4 feature a rather carchase flavoured single-note riff; be sure to pick every note, and to cut the notes off wherever you see a rest in the notation. BARS 21-36 outline the main riff_ When reading the passages featuring an open A string (eg BARS 21-22), it's best to concentrate principally on the D string, letting the A string ring out wherever possible for a kind of 'drone' effect. The quirkiest parts of this riff are the chordal stabs, which feature some unusual votcmgs

run to play them in an unusual way ... (I should emphasise that these sections are optional') The tab offers a two-handed tapping approach. 'Io Sin1PtiIy things, pick out any beat's worth of notes, and loop it until you're comfortable with the'left-rightright-left' alternation. (I would recommend tapping the lower string with your middle finger and he higher string with your ring finger, but if you don't mind storing th pick in your mouth you could also use an index/middle pairing. U you're familiar with Joe Satriani's Midnight, you might treat this as a rhythmicaUy displaced applic.ation of the same basic idea ... ) Once you're au Fait with the rhythmic alternation between the two hands, you should work on a smooth transition between each shap - in each case, you'll see that your left hand must either pull off or hammer onto a new string. I InlOW this is a bizarre way to play the melody, but it seems to captur that yodeling phrasing a bit more convincingly than any traditional technique ... Jan's guitar solos are pretty frantic ill places. while the fadeout solo is about as eccentric as rock guitar gets. Rather than learning every note of this section (BAR I S I onwards), regard it as carte blanche to be as weird as possible - Jan certainly did! [II

.: SOUND ADVICE
THE AKKERMAN TONE JAN AKKERMAN HAS BEEN known to playa Gibson Les Paul, but he Is most commonly associated with the signawre model he designed with Framus. In his ongoing

quest for more treble, Jan took measures ranging from having his pickups rewired to introducing a Colorsound treble booster into the signal chain. His preference for ultra-light string gauges (.008-.038) Is another factor in the distinctive Akkerman sound.

16 Guilar'ThchniquesJANUARY 2004

so if you want to ~p your playing fresh. while composer Bela Bartok came first In his "ravo~ritc songwriter" c~tegQry! e moral of n th.AKKERMAN'S HIGHLY DISTINCTIVE STYLE iSi MIreI)' a product of hlsc somewhat unorlhodo)( role models: In In Interview. Ine Ollce dted Django Reinhardt.t the beSt sources of In~p4ration U~ come from cne most 1Im1ex. TaJ Farlow. keep your Ilmmlng diet as varied as possible'! .S Slightly amu$lng 510')' is su rely tha. Julian Brum and Dutch n~ musiclall'l$ as his most Important influem:es.pKred plae.es .

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