OVW AN ela ats 4 41 eons? BS Tt SET ULF ’ Eg BUM E eerie (ol kerukarnG | (ae fret ELMORE JAMES a | aie cry Oey a = 18 and Life — | WS wa fi a BS CTC RUA Alig RUT ies i SAS “" ua aU . AACHILI / PEPPER Ca 5 at ats 7 CSB Ques PRIVATE LESSON WITH HELLECASTER JOHN JORGENSON EE amar Lith ‘AT THE DRIVE-IN EVERLAST BIG BILL MORGANFIELD PF eSstring without ever achieving a full octave ofroot-to-root notes, ‘as one might expect a scale (0 be presented. This is more of a | ‘eal world” approach to using | this scale, particularly with the ronenote. Tryiton thenexttwo pairs of strings (5th and 4th, 4th and 3rd) as wel. The fake mellowness of the | acoustic intro gives way to RIB, | a take-no-prisoners line loaded | with oldschoolrocktone.Forthe | lectricassault, a Paul | Reed Smith axe would be ideal, but any Gibsonesque guitar ‘will certainly come close; the important Ingredient is the use of humbucking pick- ups—either neck and. 3 Doors Down a “Duck and Run” > +) Secor Chris Henderson ———| employs MESA/ by Douglas Baldwin which s found in Fg. Boogie and Fender amps, while T: thaglcalsuccessstoryot | I've set up the scale here | MattRobersisarecentconvertto ‘3Doors Donn showldbring | much as itis used in the second | the Line 6 Flextone digital model- hope to aspiring rockers | half ofthe intro, with the open | ing amp, so consider dialing ina everywhere They formed in | Estingusedasadrone Notice | thick natural distor on your Escatewpa, Mississippi, as a | thatthescalemovesboth upand | own rg to emulate their power: cover band, slipping the occa | down from the E on the Sth | housechunk.The palm mutesare Sonal original tune into their set | list as 30 many cover bands do. Unlike so many cover bands however, their original tunes were strong enough to garner | requests fr alplay at WCPR in Biloxi and their demo CD went into heavy rotation, Proualy hailing their heavy tock r0ots—influences include Kiss and Det Leppard along with their cover-band repertoire of Zeppelin, Metallica, and Rush— guitarists Matt Roberts and Chris Henderson bringa potent, no-frills sound to the band’s well-crafted tuned. “Duck and Run’ is a perfect casein point, employing some great riffs chunky’ tones, and gut-kicking rhythms to bring their anthem of rebellious independence to millions of rockers everywhe ‘THE SNEAKY INTRO AND Important, too. Lightly rest your picking hand atthe bridge where the string passes overit. Correctly ddone, the resulting sound should bee percussive yet clearly pitched, not choked. THE RALLYING CHORUS. AND THE HEMIOLA The chorus, arallying cry of rage against an impersonal world, puts the ietothe cliché of minor keys as “sad.” This isthe sound oftriumph rendered darkly for what vie- tory is won without pain? The guitars ‘open up withaselec~ ton of root-sth dyads, again based. onthenatural minor seale, The Ct con tained within the #5, dyad could be called digression from the key’sCnatural, butit fies by so quickly and is fol- lowed so firmly with a bevy of 5 chords that its function as a non-diatonic excursion is irrelevant. ‘At the first ending, the cho- ‘THE SUCKER PUNCH RIfTA, the acoustic riff that opens “Duck and Run,” sets the stage for the song's key of E ‘minor. This isthe so-called “nat tural” minor equivalent to the Aeolian mode, abasicanalysisof APRIL 2001» GI The Magazine You Can Play 99DUCK AND RUN As Recorded by 3 Doors Down (From the Republic/ Universal Recording THE BETTER LIFE) ‘lal rom Noo Survie Mun (80) 6281528, 3 Ove Dow, Music by Matt Roberts, Brad Arnold, Todd Harrell ‘he Bot’ Le PGMOCI) $21.95, Tes: Kptonte = Lone Duck Ranh aug Be Un Tat Ll My Ot = Ber Li = Bown Paton ly Se" Smack Sot Need You ‘and Chris Henderson, Lyrics by Brad Amold 6.1: Cat Intro Moderately tow Rock J= 86 es 3 “Dm eyes ura "a ra af ering roughout Dm represents chord ume pecs wo caped guar Tn elect sete sounding chord. Capo fot 0 in tb Ge, wi RATA (ex 2 (eee) Girt set ES Ri end Verse (tr 2: wii ies) ES o es 1.To this workd "1am un = im = por = tant TAI my work and" end jot because have noth less meas = es Bev = er seem 3 rae es ing fo ge ame yey fan 100. GUITAR ONE « war gultaronemag.com APRIL 2001Duck and Run as So you cal this your fee coun = Wy? mae Wak "2° ile just "10" move’ an inch now, a | | Tell me why it costs 39 mucho ve Tel me why ‘even though T'm ty > int % damin hard — Pm wy-in shard Chorus bs os BS BS cs Bs cs bs wold can tum— me - down wodd—— in tum me down ———— (te 2: Ry. ig Es Gs Hs es cs as cs bs = And 1 won't duck tad tun ‘Cause Fm ot ‘ult that way. es as Bs cs Es as BS CS BS ve ‘APRIL 2001 ‘The Magazine You Can Play 101Duck and Run nae ‘Ge. Ry. Fig 1 tie) ES os Hs bs cs as cs bs = = = ott SS poe es ons ——s — is When ev'ry = thingie ne en's ool) tee © fea ks os rs BS cs Bs css a This world can- not bring me down No, ‘eae Lam al = rad-y here — Bridge ES Gs Fs as ES css as i. 2:0 Ry. Fig. 2 = os Fs AS SS ees Z ——= == “BSSaSe: = x e ee eee toca Se ks cs Bs as 1 mast ave told you a thou - sand times Pm mot rum nin! a - way. 4102 GUITAR ONE « www gultaronemag.com « APRIL 2001Duck and Run Guitar Solo Gx. 4s) eeeeeennennnnns i 2 cee Gn 84 aeeyarparnernarnenennns ‘APR 2001» Gt The Magazine You Can Play 103.Duck and Run Gn 384 aaenn inate urs em) eaves = SSS Se eee i as Ae feat asl a Se = wet caaa p Ourechere S ee ge a ak oe oo This world can ES ro Ss 2 te ogee ac eet = a = Se oa = = SS SSS —— ee ge ee as Hs ES cs Bs cs Ds ges SS ee] —S = — ¥ —=S This world cannot bring me down — No ewe Lam al = ready hee eee As BSC. BS As Bs CS BS 104 GUITAR OME « woen.guitaronemag.com «APRIL 2001What’s Between The Lines Godsmack “Greed” by Tom Kot showing every indication of till reeling from the suc- | achievingthat same ofty stature. cess ofits debut album, Godsmack, the New | TWETUNING England quartet of the same | Toplayalongwith“Greed,” you'll rname has struck paydirt again | need to first tune your guitar with its sophomore outing, | down a whole step, and then ‘Awake, And with the firs single, | “drop” the 6th string “Awake,” sill riding high on the | another whole step. charts and allover the airwaves, | ‘This results in the fol- the band—Sully Erna (vocals), | lowing tuning Tony Rombola (guitar), Robbie | C-G-C--A-D, low 10 Merrill (bass), and Tommy | high. Stewart (drums)—has already launched itssecond pick, Greed.” | THE RIFFS Representative ofthe overall | Tony Rombola’s Les ‘mood of Awake, “Greed ishard, | Paul-induce heavy, and angry. Ina revealing | MESA/Boogie Triple | blurb on the band’s web site | Rectifie-supercharged | (www.godsmack.com), lead | riffs are among the | [Fa] singer Sully explains the vindie- | mostpummeling in tivelyrie content:“Its about this | rock, and those that Kidwhowasatightfriendofours, | drive “Greed” are de ‘who lent us the money to record | nitely no exception. ‘our indie version of Godsmack | ‘The opening two and didaitwantanymoneyback. | bars introduce the But in return we paid him back, | main riff, which (with tndtbenanother!0gandon op | minorvariations) | ofthatasthants!Thenhetriedto | becomes the founda ‘sue, saying he owned 10 percent | tion for the verses otis He put me through ear | and the solo section. afhel negotiating withlawyers” | Located ontbelowest | Tmaybavebeenayearofhal | set of strings for | dealing with lawyers, but that | maximus “smack” “fell year also sent Godsmack | (Rombola virtually soaring nt the tplepatinam | ignores the high heavens. And now, Awake | strings until the 106 GUITAR OWE « wow gultaronemag.com « APRIL 2001 Drop D tuning solo), the riff Is exclusively derived from the open and one finger “Drop D” power chords found in Fig. “Try using your index finger to pallolfirom the tothe openDS chord, and yourringfingertoslide fretting handin, coughly 3rd posi tion and should help you to exe- ccutethe syncopated hythmsveith ‘more precision. Be sure to use with the heel of your pick hand just above thebridge) enhance the “thunk factor of the power chords. Pivoting off of an open DS chord, the chorustifffor the most part toggles back and forth between C5,D8, and E55 shapes voiced on the 4th and 5th strings (Fig. 21. Make sure you release your palm mut- Ing tolet these chords ring out For the bridge, Rombola appropriately changes up his riffage delivery. The section begins with a eyeled, two-mea- sureriffconsisting ofa sustained, three-note open D5 chord fol- lowed bysteady 16th-noteattacks C5 Gs on an Abs and an F5 chord, Followinga one-measure, highly syncopated ensemble figure vera D5 chord, the section goes out on a particularly sinister ES(¢4) chord! {rom G5 to Ab5. This keeps your | TWESOLO Admittedly on a personal quest to bring the guitar solo back to modern rock, Rombola dropped solos onto the majori- palm muting (mute the strings | ty of the tracks on Awake. Customarily playing “off the cuff” and aiming more for feel and attitude as, opposed to just showing off, the gui tarist’s eight-bar excursion in“Greed” proves no exception, as it most assuredly befits the vitriolic nature of the lyrics. Armed with @ wah-wah pedal, the D blues seale (D-F-G-A}-A-C), and a deluge of half-step whole-step, and unison bends, Rombola carves his way through the rhythmically diverse solo, relying on moves drawn mostly from the pentatonic boxes found in Fig.3, 5) = AWS e = xxx ew *D Minor Pentatonic Boxes Standard tuningGREED om As Recorded by Godsmack econ a Chir earner ee ay (Gall 800-628-1528 | ei oN Sina 20) 201528. Cr fusic ma Sotanat hae PROTON 81 98a ee Setet le -hste= Grd Sod ngs’ Dw Nhs Tipe = ge hs re Th ay pa Intro Moderate Rock J = 104 Play 3 times bs FS Ds Fs Ds Fs ps FS DS Gs As e148) Ry Fig Endy. Fig. Ds FS ps FS Ds Fs ps Rhy. Fie A Bad Rhy ip 1A Verse ‘Gt I ¥/ Rhy Fig. 1 nes) Ds peace Fs bs FS ps FS Ds Gs Ais L Two faced 1 fel youre - ing ns der my 24 new when — am pel whispered n- my— bs FS ps Fs ps Fs Ds FS DS Gs Ass Sick ‘ned — ty—— your face You got - i get him 2 yeah Ds Fs ps FS ps FS Ds FS Ds Gs Ais SS By the way— think tha yout fuck -ing Wey tt = te teh Be gd yu lly walked a Gre wf Rhy Fi. 1A Ds FS Ds FS ps FS Ds APRAL2001» G1 The Magazine You Can Play 107Greed Chorus Stine, Gr. 2 w/ Fal Sedtine. Gu 2acet Ds cs Bs __DS cs Bs bs cs Bs cs c= pecially when you're S Ds cs Fs Ds cs Bs 4108 GUITAR ONE « vww.guitaronemag.com « APRIL 2001Greed Ds cs Bs cs Fs re Git Low / Ry Fig. 2 ie :w/ Ry. Fg. tines) DS cs Bis Ds cs Bs 4 Sa Hard ap ere con wol-ling me ev- ‘ry step ofthe way, = Hard of pi how 1 feel To Coda @ Ds cs BS cS Fs Bs pe Any you greedy lit-e a APRIL2001 G1 The Magazine You Can Play 109Greed (te 1: Ry. Fg3 (mes) Ds as Fs Had to find wo find the time 10 find —the:time, bs As Bs Hard find the time find the time Ds Fs Ds Fs Ds FS Ds FS DS Gs Ais ix 24st) feted Oe) ny. Fs bs FS Ds FS ps Bs FsGreed Ds FS Ds FS ps FS DS G5 As Coda Outro cs BS Bis Ds PSDs FS ps Ps ps FSDSGS AS Ds Rss Fs Fsps APRIL 2001» GH The Magasine You Can Play 141Miles Davis & “Oleo” by Adam Perimatier vercoming racism, bad | cops, chemical depen- dency, and a serious car crash, rumpeter/composer Miles Davis was jazz's most resilient luminary. In his five-decade career, Davis bounced back from hindrances, forging ahead with innovations. Davis’ seminal albums helped push the musicin new directions including cool jazz (Birth of the Cool, modal jazz (Kind of Blue), and ethnic-inl enced jazz (Sketches of Spain In the mid to late 60s, Davis Jed an acoustic supergroup that included saxophonist Wayne | Shorter, planst Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This quintet set new standards for ensemble intr: play. Then to the dismay of Bb Major Scale Sonny Rollins acoustic jazz purists, Davisrecond- fed the electric Bitches Brew in 1969, That Top 40-chartingalbum is regarded as the premier fusion Intheproceedingyears,Davs | developed a fascination with rock, pop. and guitars: he nurtured si stringers Robben Ford, John Scofield, and Mike Stern. On Davis’ final album (Doo-Bop, 1991), heeven dabbled inhip-hop. \Whilchis contexts were constant Iy changing, the trumpeter In cal,economicainstrumental style remained constant. Shredders, take heed! ‘Asabridgebetween Coleman Hawkins and John Coltrane, Sonny Rollins is one of the most significant tenor saxo phonistsinthe history ofjaz. His compositional solo: ing approach has impacted improvisers ofall insteaments. Rollins’ improvisa- tions are logical vari ations of the heads (melodies) on which they are based, Witha short theme, the sax- ophonistean woavea lengthy set of varia tons. At best, his improvisations have the struc tural integrity of, say, a movement byBeethoven. More than 45 years alter recording this version of ‘Oleo,” Rollins remains robust, inventive improviser. (resigeas0) THEFORM. In 1930, the public first heard George and Ira Gershwin’ song 've Got Rhythm." Its chord changes rythm changes") have been the basis of countless jazz heads, including *Oleo” (named aftera vegetable spread) Rhythm changes occupy the typical 32-measure AABA song form, in which each section is eight measures long. Following ‘Oleos" head (rehearsal leter A), Davis, Rollin and pianist Horace Silver solo for two choruses (64 measures) each. After Davis retumswithan additional chorus, the head is restated, as directed with DG al Fine (da capo al fine). Play from the beginning ‘and take the repeat The measure marked Fine concludes the ‘composition. ‘TWEA-SECTION Inlearning jazz, it's a good idea to focus on the broad picture. TheA-sectionischord progression lies within the key of Br. Beginning at rehearsal letter BB Davis'solo is based on the B> major scale [Fig. 1], excepting several chromatic notes thatgive ‘conn ox rae 166 c=) o HEE 192 GUTTAR ONE « wirn.utaronemag.com « APRIL 2001OLEO As Recorded by Miles Davis and Sonny Rollins (From the Prestige/OIC Recording BAGS’ GROOVE) Transcribed by Adam Perlmutter Written by Sonny Rollins Fast Jazz d= 216(JI=J 3) Hew ‘Bhai? Gt. 1 (Mex Davis) cm FP Dm? @ ca? " (Gu: 2 (SoanyRotine) ‘trumpetan: fore Tenor sa a fo Choa symbis efet bsic barony, Fat Bir Bimaj7 7 Dm? es cnt Pm 198 58 Prk ne Pein, Ra Re ‘APRIL 2001» G1 The Magazine You Can Play 413‘Cn? Pp Bema? a0) Fn? Bi Ehmai7 cd cmt Pm Bhai? boat ‘Gurrar OME « wow guitaronemag.com APRIL 2001[B) trumpet soto Gtr Det Bhai? @ cm Y Dat 7 cm mn ot Bi Bai? BT Da? a co Bai? a cu? a Dat a cm fn Fn? an Ebmaj? ET cm? FP Bhai? APRIL2001» G1 The Magazine You Can Play 148Biegi? ao cat A Da ar cr Fn? Ber Bai? ET cm Fr Bhai? Bima? GT co 8 Dav a cat Fv Fn? ar Eimai7 27 Dat oa cn? F {GurTaR ONE « wwww.guitaronemag.com APRIL 2001Oleo Bhai? o ca? A Dm a om oF Fa? Bi Eimai7 BT ont wm Bhmsj? Bhmai? o cm? y Dm? o ca f | ‘APRIL 2001 @1 The Magazine You Can Play 147Oleo Fat Ba Ebmej7 7 cmt Fn Bima? [DD] Saxophone Soto ie cet Bhai? a cm? Fy Dat o cat Fa? Bir Bima? BT Da o cu? Ym Bhai? G7 cm nm Da? a ont Pm Fn? Bir Ehmaj? By cat Fr Bhai? 448 GUITAR ONE « wow uitaronemag.com « APRIL 2001Oleo Bhai? a cmt m Da? a cm Fy Ft Br Ehnai7 By on? PF Bhmaj? Bhmaj? o cnt " Da? cm? Fy ARAL 20019 ‘The Magazine You Can Play 119Oleo Fat a Elmai7 7 Dav a om wn Bena? o cnt F Da? a cm yy Fm? BH Exmaj? eT cat yn Bhai? pr a 4120 GUITAR ONE « www.gitaronemag.com «APRIL 2001Bhma? @ om? #7 Da? a | cm FP Fn? By hn? ET [E) Piano soto cm Ym Bhai? Bhai? a Sao [Trumpet soto Bima? @ cm? Pr Dm? or nt " Fa? wr Ehmaj? ET Dm? a cat . ‘APPL 2001» 1 The Magazine You Can Play 121Oleo Bhai? a om " Dm? @ cm? Ym Fo? BST hai By cat Fv Bhai? bmi? a ont Pr Dm? @ cm? ca D.C. al Fine (ake repeat) Fn? a Bm? ET cat Fn Bhai? 322 GUITAR ONE « ww. gutaronemag.com « APRIL 2001What’s Between The Lines Skid Row “18 and Life” oy oat Trae 1002 New Jersey-based Joss canes Bach vocals) Dave "The Seat” Sabo and Son gt ta Racheltln es) and ‘ino rum —semngy eae out of nore and ced op palo Top 1 bi, 18 and Le {rand Remember You" 0, wahtnscried du Ane Icons In 130, men owns beta grunge ecipsd te whale hart eso Mow ma taeda up i eine Planu-scting debut wah ye {Sothern abu St the nth also debuted a Mihtnioesatd a oneofeount lov atin 9 cee tend cal ita pce atthe put sumer ope Ingup ering of date for te ‘hodtrockependaewel out dnower: SEI Row: Albelt In revamped fom, Sedo tha newage ot Slag repac Ing Sebastian uch) end dru mer Pil Yaron, formerly of Saigon Kick, replacing Nob ‘thon springy edt the kmeligt more than yeas ster unleshing tbl debut the band reportedly disbanded ‘hort after Sebestan Bach cxpresed hi eset tour a part of Kiss’ 1996 Reunion Tour (which therest ofS Row appar ently refused todo}—and are cur- rently working on a new album, The record, which would be the band's first release since 1995's Subhuman Race, is tentatively scheduled for a summer 2001 release Until Skid Row’s new record hits the racks, let's honor the bandspast withatranscription of the smash single “18 and Life, THE TONE To cop the tones guitarists Sabo and Hill present throughout "18 and Life," ll you need isa solid body guitar and an amp with channel-switching capability (o be able to access clean and dirty ‘tones with the same amp), or a distortion boxin your signal path (to stomp on at appropriate points). Also, make sure that the ‘master volume of your dirty chan: nel oroutputon yourstompbox) Issetatalevel that complements yourclean tone (.e,isbalanced in ‘Bsus chords (Fg. 1. At this i's repetition, Gt. 2 (with distortion) enters the picture with a tasty melodic il, setting up Sebastian Bach’ first verse vocal. Over each successive state- ‘ment of RIA, which, inaddition to the intro, is also used as the primary accompaniment for each verse, Gus. 2 and 3 fre {quently augment the proceed ings with some power chord derivatives—C#5, BS, and AS (Fig. 2)—of Gur. sshapes. Melodic fills~single note phrases and double-stop licks, performed within the Parameters of Ct minor pentatonic aay ing two-bar arpegglo tiff (Riff B) based on fariliar 25,45, 5 (com: prised exclusively ofopen strings), and BS shapes. While Bach sus. tains the final note of his chorus vocal, anew figure based on tran sition between C#m? and B/CE Is introduced over our familiar clean-tone arpeggio riff (Riff A, ‘This little two-chord nugget is also a common denominator in ‘many of the verse riff improvisa- ‘dons that follow. Meanwhile, ahar- monized lead line structured from the C# natural minor Puts the cap on the (CeER-GEB)—are Frstchoms also encountered rer PoE Te cura sou ‘we PRE-cuonus pe Atthe conclusion of | To setup Sid Row's the bridge section | infectious chorus see- tion, anew progression isinserted immediately following the verses, | Inthispre-chorus, new harmonic | teritory is covered as both gui- tarists churn out a trio of new shapes—specifially, AS, F85, and G45 [Fig. 3|—priming the pump for the hooks that follow. THE cHonUS: In this song’s chorus, Gtrs. 1-3 combine forcesto deliverarepeat- Sl cm volume) so that when you kickin |_ the overdrive. youdon' blow your buddies away! ‘THE INTRO AND VERSE 18 and Life” opens up with an arpeggiated clean-tone passage (Riff A)—a four-bar progression comprised of Cém, B, Asus2, and B Dave “The Snake” Sabo, sensing it's time to strike, tuncoilshis fet-hand fingers and slithers all over the fretboard, unloading a series of licks that fluctuate between C # natural ‘minor and C# minor pentaton- sounds. As his solo builds, he also shifts to higher fretting pos tions, beginning his solo in 4th position, blazing away in 8th position, and punctuating his lead in 16th position. 3 Asus2 x9 09018 AND LIFE ‘As Recorded by Skid Row (From the Atlantic Recording SKID ROW) Transcribed by Adam Perlmutter ‘Music and Lyrics by Rachel Bolan and Dave Sabo Intro Moderate Rock 4) chm B tm B ta (1 (clean) af et rng trons Chord symbol eet implied amen tm B sw Baust awa (re 1: iA x 2 eet tm B tm B tm a Asi. Bust Gr. 2(as1) Verse (te 1 RATA tes) ct B hm B LRick = y wae young boy, He hada seart of stone. capri © 8 10 ey Une ae mene oes sty Reman hag Pees + 424. GUFTAR ONE « ww gultaronemag.com « APRIL 2001ee Ti de I ae ee ote eee te 18 and Life cin 5 Asus2 Brust Cm Lived nine © Me, and be workedhis fingers to the bone. Just bare <1y out of school, es. 28 3 et) Cm B cm B ‘ame from the edge of town, Fought ke a switchblade so. no Ses one could take him down, no! as te ace Walked the sures a sol - ier and You can't thine of dy ~ ing when tot e's fought the world 2 - lone and now it's | aes | ‘APRIL 2001» @1 The Magazine You Can Play 12518 and Life B¥cnorws 3rd sine, Gi. cet cts As ES Bs a Eight - een and life, 900 pot Gw.1,283 RT ering throughout (1,2 3 w/ Ri 2 times) os AS Es bs os as —~ s Your ciime is time,— and its cight-en and life w go Figh-teon and life, you got (ir, 1,243: W/ Rhy To Coda 2 To Coda 10 Bs bs ts as ES Bs ao — a a Bigh-een and life, you know Yourcrime is time,— and i's eight - een and life to go, Ge: wt Gz Suet Gm “pict cm act SSS a Bass plays Ch 4126 GUITAR ONE « wow.gitaronemag.com « APRIL 2001tm Verse (i cw Rit A cin Bt Asus Or. 2c Gm 18 and Life sass Bt [APRIL 2001» @1 The Magazine You Can Play 12718 and Life : tm pict As sass Cha? Bt chm act DS, al Coda 1 chm Bict As Bs ‘GurTaR ONE « worw.quitaronemag.com «APRIL 2001,OO iO i i EEE _ 18 and Life Polat | cs o oir, 1.283 loco ed his six shot te the wind Thar Gi. 1, 283 Meeennnsesennnnnes, a om «4 al ( ¢ wis. bk erneereneeeeaannnneeeaneesaannns, ‘APRIL 2001)» G1 The Magazine You Can Play 12918 and Life Guitar Solo 1 cet ons as as : Bs bs eens, (te 28 3:/ Ry. Fig 1 (2% tines) cis As Es Bs Hc, we (Gir, 2 63: w/Ry. FL? DSS. al Coda? as as BS BS 4190. GUITAR ONE « woru gutarenemag.com « APRIL 200118 and Life aa Outro, Coda "adi ead Vocals (lend) Bs imo ‘Asus2td Engi? ada | Gi. 1.2.4: 0/ RIC @ ties) Gino Aste Emaj? adds Chao ‘Aaah Emi? Balt ye we Cine Asusats Emi? ade tm | ‘APRIL2001 ‘The Magazine You Can Piay 134Dust For Life “Step into the by Chris O'Byrne E 1998, Tennessee rocker Jason Hughes, fed up with unsteady bass gigs, switched to guitar and hired a band to record a demo of his songs. The disc included “Seed,” which ‘quickly becamealocal radio hit. Despite tis instant recognition, the band members became ‘more interested in playing their ‘own material Hughes started searching for songwriting soulmate leading to fellow Memphis guitarist (Chris Gavin. The guitar duo augmented by bassist David Rhea and drummer Rick Shelton—adopted the name Dust For Life, and stepped onto the scene last summer with the release of an eponymous first album, Only one month later the group was on tour with Creed and 3 Doors Down, DFLhas roots in a variety of | Light” ‘metal grunge, and hard rock, all of which ereep to the surface in theirrif-driven single “Step into the Light The Sound Like many of their peers with penchants for gut-wrenching. crunch, DELS six-stringers some- times employ Drop D tuning, tuned down a half step (Dy-AS-D)-GH-Br-Es). Hughes. ‘and Gavin play a Gibson Les Paul Classic and a PRS Singlecut, respectively, and both use their bridge humbuckers tocreate edgy distortion. In order to emulate {heirful-bodied distortion, crank upthebassand gainon youramp ‘oF pedal, and select your bridge pickup. For the clean-toned sec: tions ofthis song, have yourchan- rel switch or stompbox at toe, facilitating quick transition. ‘The Main Rit introductory main riffs restated throughout. Picking with down- strokes, play this riffin 3rd posi- don: Use your Ist finger to bar the 3rd fret notes, and your 3rd finger to bar the Sth fret notes. Hammer on the 6th fret notes ‘with your pinky: initially this ‘move may be difficult, so take it slowly, focusing on the rhythm asyoustriveforcrisp G5and A'S power chords, During the verse, palm muting is added to the ‘main rif, giving it @ bit more swagger. ‘Thistechniqueisexe- ceuted by lightly rest ing the fleshy outside part of your picking hand on the strings, near the bridge. Make sure that your palm neither deadens the strings nor allows them toring ‘Shediing ight onthe Pre-Chorus & horus You'll need to switch gears (and channels) for these dainty sec- ns, With aclean tone, the pre chorus uses natural harmonics. Lightly rest your 3rd finger digectly above the 12th fet. Pluck the B, G, and D strings individu. ally, making sure that all har ‘monies learly sound. Then, del- icately strum all three strings, formingaG chord. Repeat these ‘mations at the 7th fret, on the 1st, 2nd, and 3rd strings, creat- ing a D6 chord. Once you can _ *GoD 1 “Bass plays D. Bb6 @ ve cleanly produce all of the har- ‘monies, begin shifting slowly between the 12th and 7th frets. Increase your speed until you can cleaniy match that of the recording. ‘Shown in Fig. 1, the chorus features two chotds that incor- porate open strings, lending full ness and olor, When playingthe 6D, use inside of your Ist fin- gerto mute theD string, and the {inside of your 3rd finger to mute the B string. I's cru cialtoallow the open. Ist string to sound, cleanly for each chord, as Eisthecol- orful 6th of G, and the th of Dadds, Tho Outro Also employing a clean tone, the outro features two addi- tional resonant open-string voicings, as shown inFig.2. The same shape forms both chords; simply slide the fingering of the BS6 up a whole step, and you'll have the C5 chord. On each chord, remem- \ ber to mute the A string, while letting the open G sound. Add | the familiar Dadd9 chord, and | you'll have the outro's chord | progression. As it gains intensi- tywith each repetition, increase the force of your strumming. ‘Then jump back on yourstomp- bax to conclude the song with fone last rollicking riff. 3) Dadd9 xxo 0 rock styles, including melodie | Asthebackbone ofthissong the —— 134 GUITAR ONE www.suitaronemag.com «APRIL 2001STEP INTO THE LIGHT As Recorded by Dust For Life (From the Wind-up Recording DUST FOR LIFE) Transcribed by Adam Perimutter Whitten by Chris Gavin Drop D using tne down 12 ep (owt high) DAD BE tata Rock J ne Recker t Play 4 times: : bs ss Bo ws @ Ms GS AS GS FS Ds Geigy ad Ry Fe Verse Ds PS Gs Fs Gs. As Gs NS GSAS GS FS Ds Lin this place — Tm a ‘soul 0 zea - i hy the way you de = Ry Fig. 1 ind Ry Fig 10 Ge. 1:0 Ry Fg. TAG times) Ds FS as FS Gs AS Gs NS GS AS Gs oFS bs ps i FS oss Gs AS GS AS Osos os In this mod with the pigs 1 Strung out, %. you say but you bs FS os FS Gs As GS NS GSAS GS FS ps APRIL 2001» @1 The Magazine You Can Play 198Step Into the Light Bore. -Chorus Halt-ime J = 72 (1: EA o Dé G be (iw RATA G Ds G De 1 dont. need to beg (ew Rhy Fig 2 (86 ines) asp Tso al my—— fiends out a Jean (i. wf Ray Fl Sed dime Cer 1 Rhy. FLA, « Gop Dado, Bis ToCoda @ Just can't lose now Got ano - cean of laugh - er for a pool of sor - row = ie ane Ry. Fa ay. FU Gri ori wid PM 4198 GUITAR ONE « worn guitaronemag.com « APRIL 2001Step Into the Light ee ee ee Interlude Bridge A Tempo ‘Tempo te I hy. Fg 1 mes) Ds Play $uimes rf: wR 7 nes) sr mp, Sell emesis cheap eet et the iv - ers Dark grows — a= round my heart — and tit tg. rn wit see how this will. time DS. al Coda Ge IW Ry. BL Then TH step in to the lig ve find ‘APRIL 2001 G1 The Magasine You Can Play 137Step Into the Light coda Outro Ble cs Daa = find Tm not a lone Yeah, sep in=t0 the light — nd Rhy Fig 3 Gu. WIR Fig. 3.2 times) aceon fo ind Tm not a+ done Yeah, step. in= to the igh — Bis cs Daw? Be cs a te te grr A‘Tempo Ds OFS Gs Fs Gs AS as Abs ASGS PS DS 4138 GUITAR ONE « www uitaronemag.com « APRIL 2001,Elmore James ‘by Dave Rubin orethanadecade before Marshall McLuhan made his famous pro: ‘nouncement that“themediumis the message,” electric side gu tarist Elmore James was demon- strating the concept. The sheer power of glass or metal sliders combined with brutally over driven vacuum tubes is like no other sound inthe world. Everytime“Elmo’ fred uphis Hig dhe result was the sare: ra, | razor's-edge emotion conveyed through the most basic of formal elements. Without exception he uused Open D tuning "vastopol") when playing slide, and finessed his hypaode leks almost exclu tonie scale (D-F-C-A-O)inprox imity of 12th postion. The lac that he drew upon a hand! of Det licks is of secondary impor fancetotheseducivesoundeon sistent produced “It Hurts Me Too” orginally waitten and waxed by Tampa ed in 1940, etre by | Elmore in 1957 for the Iabel ny Chlcago and features, Eadie Taylor on shythm guitar and Homesick James Williamson playinghass lines in “It Hurts Me Too” What’s Between The Lines Open D on the guitar (Fig. 1]. Vee-Jay records released a remastered version that pushes the bass guitar part much fur- ‘ther forward in the mix. Elmore was a powerful blues singer with a spine-tingling, anguished delivery every bit as deeply expressive ashis quivering slidework, andhisclassie version of “It Hurts Me'Too” has become the standard by which all subse quent recordings are judged. It will tear your heart out ‘A SUIDE PRIMER [Acoustic and electric country blues guitarists always wear their slides, or bottlenecks, on their pinky fingers in order to free up the remaining fingers or fetting. sass Coriciden pillbotle on his Iniddle finger, buthehad Dickey Betts and brother Gregg to back him. Even more critical howev fristhe need reticent sng | damping Be ure lightly drag thefin sets behind the slide on the strings to cut down on unwanted string vibrations. Likewise, keep therighthand close othestrings near the bridge, so that ean be ‘dropped down to quickly mute strings afer they are struck Last consid- er using bare fingers, like Duane and many othispredeceswrs to pluck he strings fora fat, warm sound THEFORM This slow, eight-bar blues hasan unusual arrangement: chord (D)=2 measures, IV chord (G)=2 measures measure, V chord (A)=1/2 mea- sure, IV chord=1/2 measure, | chord=1 measure, V chord=1 ‘measure. (Note: The currently available CD contains a version that maintains the V chord throughout measure 6, as reflected in the transcription.) The effectis quite different from, say, “Key to the Highway” measure, V=l measure, 1 ‘measures, I=1 measure, -Lmeasure, V=1 mea- sure), as the perceived momen: ‘tum really picks up in measure 6 into the turnaround in mea sures 7 and 8 (-V). ‘THE INTRO AND $010 Tothe uninitiated, allof more’ solos sound similar, ashe seem- {ingly recycles his patented "Dust My Broom’ lick. In reality, they | are mini-masterpieces of com: Granted, Duane Allman wore a | position, as he subtly acknow! a] | Septy edges the changes while impro- vising off the melody His eight-bar intro and solo (virtually the same as the intro) are prime examples, as he high- lights the root (D) over the I chord and the 3rd (f 7th of G) lover the IV chord. Mote impor. tantly, he mimics his vocal with uncanny accuracy. ‘THE VERSE Elmore lays out and lets his ‘rhythm seetion carry the tune, for the most part, so that he ‘may concentrate on, singing his tale of woe. Note how he uses his lick, though, in measures 2 (verse 2) and 5 (verses 2, 3, and 4 of the I chord asa hook and to reinforce the tonic tonality. One of the mysteries of life is how he ean play this lick so many times throughout his repertoire and ‘make itsound fresh and appeal- ing every time! om.2 ‘Ace sideman Eddie “Playboy” Taylor, who also accompanied John Lee Hooker and Jimmy Reed, and is one of the unsung heroes of postwar electric blues guitar, plays hip riffs with ards ‘over the I, IV, and V chords, This extremely versatile aecompar ‘ment implies a quick I-1V move relative to each chord change, and is probably derived from blues piano players. Taylor tur: around (measures 7 and 8) is not the traditional Robert Johnson-style diminished pat tem, but a more sophisticated combination ofdouble stops that movement of D-D7-G-Gm-D/A-A7. 3» eee ‘APRIL 2001 G1 The Magazine You Can Pley 139IT HURTS ME TOO As Recorded by Elmore James (From the Rhino Recording THE SKY 1S CRYING: THE HISTORY OF ELMORE JAMES) ity ant Bs Ou eno, 81085) cre Words and Music by Me! London ; lrmton ee ope al Me Dupo 800887280 or it Transcribed by Adam Perlmutter Smiracpatoncom (te. 1, Open tang: (ow fo ih) DAD A-A-D Intro Slow Blues J.= 62 Gx. 1 (dean) ‘ : | Chord symbol fle overall harmony. i. 2 (lean) onto ws pm nn sect ns ee he ater 4140 GUITAR ONE « worw.guitaronemag.com « APRIL 2001you al br your It Hurts Me Too (tet cet om DA AT 1. You sid you ‘APRIL 2001» @1 The Magazine You Can Play 141It Hurts Me Too D A > bo 6 im DA AT Verse D ‘when you should love him ess. — When things 0 =e and take hisses? 4142 GUITAR ONE « won guitaronemag.com « APRIL 2001,It Hurts Me Too ie cet aaa 3. He loves an other —wom-an, and 1 love G on But you fove him and sick him tke ‘When things 0 wrong — with eect you, thus me, 0, ‘APRIL 2001 G1 The Magazine You Can Play 143It Hurts Me Too Gultar Solo Gir 2 wi Rby Fie D DA a ie cet ‘etter leave 444 GUITAR ONE «win gutarenemag.com « APRIL 2001OS SEESC“C“—~ It Hurts Me Too ir. 2: w/ Rhy. Fig 1 (st meas) tee =—— SS ——————e ae == == Be artis oF yon bate pat dom | because 1+ wont you pushed a - round. When things go Gi. use D A i = SSS eo wrong with mi you, hon = ia” me, 7°81 2001» @1 The Magazine You Can Play 145What’s Between The Lines Strait Upp (Feat members of Sevens) “Angel's Son” by Adam Pertmutter tanding naked atop ahuge | ‘commode'on the second stage of Ozzfest’98, things ‘werelooking up forLynnStraitand his band, Snot. Formed in 1995, themetal/punk group aso includ ed John “Tumor” Fahnestock (bass), Mikey Doling (guitar), Sonny Mayo (guitar), and Jamie Miller (drums) By 1996, Snot was sellingoutshowsin suchlegendary Los Angelesrock cubssas the Roxy and the Whiskey, capturing the attention of Geffen records. The label released Get Some, Snot’s debut album, in May of 1997 InDecember of1998,theband | was working on a follow-up recordingwhen Straitwaskilledin cat accident on the California Freeway. Immortal Records recently released Strait Up ati tute to the late lead singer. The album features vocalists with ‘whom Strait had bonded, inclu ing Fred Durst ofLimp Bizkit, Max ‘Cavalera of Soully, and Jonathan Davis of Korn. Much of the CDS ‘musie was written by Snot, sl ‘vagedfromtheincompletesopho- moreeffort, and each vocalist pro- vided his own lyrics, Let's learn ‘Angel's Son,” sung by Lajon Witherspoon ofSevendust. | ‘we TUNING The tuning (D-A-D- soap by Led Zapping tarist Jimmy Page’ use of non- standard acoustic tunings, on songssuchas"Bron-Y-AurStomp (C-F-C-F-A-P).For’Ange!sSon.” tune your Ist strings E down to a D,matchingthe2nd string’s rd fret. ‘Then raiseyour2nd string by ahalf step, to the 3rd string’s sth fret C. Last lower your 6th suringto aD, ‘THE ARPEGEIOS. The into and outro contain a series of arpeggiated chords. Check out Fig. 1's chord frames, in ‘which efficient fin- sgerings are suggest- fed. Asshown, the (ing finger frets all | SthfretCS except for in the AN#4) chord. Alternately, for that fon the Sth fet, and fret the 6th string’s Suh fretA>with your 4th (pinky) finger Use whichever fin gering works best foryou. ‘On beat 3 of the {ntr’s Ist measure 1146 GUITAR ONE « www.guteronemagicom « APRIL 2001 | fingerings shown in (a D7/Csus2 use your 2nd (middle) finger 10 yhammer on the Sth fret D. Notice the colorful harmony formed by the open Ist (C) and 2nd (D) strings: Cis D75 7th, Dis P68 6th, Cis Gusts Ath, Dis Csus2's2nd, and D is the #4 in A2(#4). Enjoy thesearpeggios byletingall notes ing for as long as possible. TE VERSES PROGRESSION The verse'sfour-measure progres: sion{sfistheardinthe into (Rhy. Fig. 1). To begin, learn the chord Fig. 2. Those voicings ‘occur in the first beat ‘of each measure. You ‘may have noticed dis- crepancies between thelr symbols and those ofthe transct ton; a transcription’. ‘chord symboltakesan entire measure into account, reflecting the overall harmony. Playalongwith theCD, striking | only Fig 2& chords foreach chord, ‘ise two eighth-note downstrokes (Goward the floor) The figure also contains a melody, played almost ‘anumberof ways tofingerthispart, but try as suggested: Use your 3rd fingerfortheBsands (dthandih frets) and your Ist finger forthe As and B's @ndand 3d res). Forthe ‘th string F8S, use your 3d finger. Tiypicking the melody onitsown, | then add the open Ist and 2nd strings. Afterthat,youTlbereadyto incorporate Fig. 18 chords. | ‘THE PRE-CHORUS AND CHORUS Fig. 3A contains the pre-chorus’ chords; Pig. 3B, the chorus chords. Both the pre chorus and chorus feature D7/F and Gm11 chords. These " frames demonstrate i an important les son-with analtemat tuning simple inger- ingscan reveal awhole new world | ofehords ty etingustan A ed string, 2nd fret) while strumming all six strings, for example, you'll hhaveaD7-chord.Soifyourebored ‘with your chords, experimentwith ternate tunings. 8 F6 Gsust Ab #4) perpeeert arr eee tee Organ cae x 0 D7 sus4 9