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RIIIE THE TIliHTI{I]{li GOODRIDDANCE, Ninetiesgrungerockl To hell with your snobbyantishred ding attitude!And nuts to you, nu-metal!We neverwanted your bottom-hea\,f', rap-influenced, detunedrhlthm guitarsan!.wayl Yes,myftiends,goodbyeto 15 bleakyearsofwanderingin the desert lookingfor..just one(g-aspl)...fucking (rvfieeze!)...guitar solo(1r, ater, pleaseD ... trorgivemy melodrama,but the extâ&#x201A;Źndedguitar solohasbeenan endangeredspeciesfor far too long. Ever sincethe rise ofalt-rock and the earlyNinetiesSeattlescene,gxitarists havebeenbemoaningthe dearth

GUITAR WORLD

ofopportunitiesto stretchout in a blazeofvirtuosity. But today,thanks to bandslike Trivium, Dragonforce and Lamb ofcod, soloingis backwith a sweetvengeance. And nobodyis celebratingthis turn ofeventslouder lnatT Gultar

wof |d.

Inthis specialissue,we present closeto a dozenoftoday'smightiest mastersofthe almightywiddly-wooand gptthem to spillthebeanson how to playthis lightning quickthrashmetal. It's allhere-how to playrippingarpeggios,tightly controlled gallop rhlthms andabadassassortmentoflicks. But don'tget us wrong;we'renot into techniquefor the sale oftechnique. We believethat this newwayoflooking at the fietboardwilladd a whole new

levelofcolor anddramato whatwas becomingbodngandpredictable. Alrd speakingofcolor anddrama, we hopeyoudigGuirdrttorld's new and excitinglook.To help ushcrin a thrilling new era of pla]'ing, we thought we'd tahethe opportunityto adda Iittle extrapizzazzto our pages-ln our upcomingissues, be seeingan ]'ou'11 entirelydifferentpresentationof the latestandgreatestguitarinformation. More impoftant,u'e'11 be includingnew depaitmentsandcolumns$raranteed to makeyou a betterandmore interestingplayer no matterwhat styleyou playor music'sprevailingtrends.

$Bm

EENDIJTIERS TC I1IE SOt NDINCBOIRD.GIITARWOaLD.l,l9FIFTIIIVENUEglltELOOi&NEWYOB&NYl(nlo,OREMIILITSArSOUNDINCBOAID@GUITIRWORID.COII

answer.I had no idea it lvasTom Morello. I would sayto your readers,ifyou can find the cD, pick it up. It is well woth it.

$,r EIBTY CIIRISTMAS When I first sawthe Decemberissue on the standsI couldn'tbelievewhat I was seeing:a huge story on Tom Morello and almostfivepagesoflost RandyRhoadslessons!Howcould this get anybetter?And then I sawit...tablature ofChildren ofBbdom's"Are You DeadYet?"Myband playsBodom,and we were cudouisto seehow closewe were to playingit correcdy.Man,we were nowhereclose!Asabassplayer, it's sometimeshard to hearHenkkas' bassoverAlexi andRoope'scrushing guitars.Thanksagainfor a greatissue. -Brenilenn, Haney Haward, CA

Tt|M CAPSUIE Thanksforyour article on Tom Morello. It answereda long-standingquestionI have had foryears.Backin 1990, I went to a local metalbar and saw aband calledLock Up that GeffenRecordswas promoting.I was absolutely 'blown awayby the band and, especially,the guitar player.I immediatelypurchasedtheir cassette,entitled Something BitchingThis wa! Come.l alwayswonderedwhat happenedto them, especiallythe guitar player.Thanksfor the 28 currAR woRLD

through the pagesthat depicted Randy'slife and teachings. -Dllen Long,Scottsdale, AZ

GUY GITMOUR

I can't thank you enough for the December'06featureon David MacCorquodale cilmour's collectionofgear.As a Denver,CO reader that is interested in gear and guitar technologyold and new,I found the article to be quite informative and ACT OFRAGE enjoyable.Gilmour'suseof gearhas alwaysintdgued me, and my wonderI saluteTom Morello ing how he achieved the tones is no for constantlypushlongeran ill-fatedjourney. ingthe limits ofwhat -Michael virok, Hdmilton, NJ a guitar should sound like. I lovehis innoIIEYER FORGET vative spirit and I'm I wasdisappointednot to seeany mensurehe's an inspiration of a few of the criminally overlooked tion to the creative guitar albumsthat shouldhavebeen deemedworthy ofyour 100Greatest Thatbeingsaid,I totally disagreewith Albums of All Time aschosenby your his independent readers-articleinthe December2006 thinking in regard to issue.I still don't think enoughofGuifdr the Beatles.To call I{orld's readershipr*1ize the seminal power ofMichael schenkels early the Beatles"overrated" indicates that work with UFo and Ulrich Roth's midTom isn't awareofall Seventiesstint with the Scorpions(Iorce It, No Heary Petting,In Trance,Virgin the Beatles'cont butionsto the world Killer ot TakenBy Forceeasilycould ofmusic andbeyond.Besidecrafting greattunes,the Beatlesalsopioneered havebeenincluded). But I was at least heartenedto seethe letter fiom Kirk a ton ofbrand-newrecordingtech Hammett in the following issuegiving niquesthat are still in usetoday.Ids props to later live and solowork, respec time for a reality check,Morello-give tively, ofthese Europeanguitar maste.s the Fablour thei due! Qman,via email in his own all-time favorites. -Ldnce Abbring,Brdilenton,FL

TIIEBH||ADS l|I{EFl|R

Thank you so much for the lost Randy RhoadsGuitar Method [Dec. 2006]. There was many a day when I would traverse the halls ofmy school listening to the great solos of Randy and worder, What is the histo.y of this awe-inspiring guitarist? My answer was solved the minute I openedGuitar world and looked

8rs[{G F0RCE I'm sureyou guls arc goingto get a ton of hate mail from religiousfolks aboutthe aucfer -Risirl8. article in the Holiday issue. I or me,an l8-year-old Christian current ly studyingto be ayouth pastor,I found it very insightful. I nevernew much about AleisterCrowleyor occultpracticesin generaluntil I readit, and asa Christian I think ics important to haveat leasta basic understanding ofother religionsordoctrines. I respectthe fact that your magazineconsistentlypublishes unbiasedarticlesinvolv ingguitaristswho follow different types of spirituality. Lots of Christianscould learn from such a nonjudgmental mindset. BlakeDaile! Pottder Sprirâ&#x201A;Źs, GA

lJ{$lll[rwqunrnS2 snrusrS4

RisvIEwE40

PROFILES& MOREII!

HAPPY liET c'M0ll,

The CaliJornia acreamers lighten ult on their third release. are still reall,vpoppy.It seems ,'d , ,, ^"* o, ""*"o sCAxLoN like the most naturalalbum 1+ ry XxvIN "fiofo o heartheUsed's QuinnAllmantell it, the angst ridden genrehisgroup screamo helpedoriginate is asendangeredascheapunleaded. "So much haschangedfor bandsin rhis past)'ear,with the intemet andMyspace,"saysthe guitar just wants to ist."Eve4'bod_v get out, shate it up and have fun.No onewantsto wallowin else'smiseryarrdtry someone to makeit their orvn." the Not surprisingl,v, be-released Lsed'ssoon-to rhird dbum reffectsthis atritude.?roducedb-vJolm Feldmanat the producer's homestudioin upscaleBel Air,the as-yet-untitledre.ord is a surprisinglyupbeat :urn from the melodramaof hit,In :heir2004sophomore i-oredndDedtl "Eveq'thing r3s a lot morefull in it," says \llman. "It's definitelya :essier,hear.iersound,but ::le\-ocalsand arrangements

The first singlelion the \{,illbe "Handsome newa1bun1 Awkward," which Allmar says"soundslike Aerosmithgot into a fight with somebodl I haveno ideawho,but it soundslike Stephen Tyler'sgonnahavea seizure.It's definitely bluesyandbasedoffa really goodgritar Definitelya heavier riilierZeppelin kind ofsq.1e." In the studio,Allman prt througha mixture of orange,Soidano and Fenderamps. He alsoplal,eda Danelectrobaritone guitar "It's reall-vcool," saysAllman."It makes creaks all theseul1expected a n d f a r t s .Y o u c i l n t c s t e i t . ' l k

.''.;

IIKE II SEEMS IIIEMllSI IIATUBAt WE'VE AIBUM EVEB lltlIlE."

Two new Satriani

STAGE MIGIIT

releases cnltture the gruita;rist in his onstage plory.

lp|'i ayar,er or rr:me

ster Plal.er,and it's fantastic !o haveanothersoloistin the bandwho knorvshowto rock." The Anaheimsho*' is also the focusofdisc oneofthe SatrianiLtue!DVD set.Filmedfrom numerousangles uslngntne catneras,it ranksasthe most lavishSatri ani live film yet. B-vcomparison,disctrvo of the DVD packageis a decidedly home bre{,eddistillationofSatch's life on the road,comprisingbackstage and rehearsalfootageshotfor podcasts by his son,ZZ, duringthe tour''sEuopeanleg."We got a little crazier,"says Satriani,"a little more experimental." The realgemhereis an unofficialdocu-

mentary ofthe guitarist's 2005 tour oflndia, shot byfilmmakers Hamesh Haridas and Koushik Sarkar. "It was such a different take on the band," he says. It's also one reason whv the Satrini Live! DYD js, in the guitarisfs words, "unlike

Jti:l'Itii#:".i+iii"::{llr'

Sdfrianirivel doubleDVD andits companiontwo-CDset,the chrome-domed shreddercasts his best knolr'ntunes-andlimself-in a bland-ne*'Iight. The CD packagespotlights a recentAnahein show fiom Satriani'sS per Colossd? tour. Performingrvith lhlthm guitarist calen Henson,drummer Jeff CampitelliandnewbassistDavelarlre, Satdanipresentsa setpackedwith favoritesfrom his career."We wanted to do lots ofjammingand extendsome songs,"saysSatch,lvhocreditsCampitelli's skinsmanshipand staminafor the lengthierversions."Jeffis amon-

Buxx MeGrath&Ken Susi,ot

UNEARTH

JACK

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play it,but I llke that.ldon'tlike

.BI RANDY HARWARD Ilusrrddon by STEVEN

ooyo! r.|ll mLryolrfiut CIANCANELLI

Why mrd. you f,rt pk& uf . gunrrt aull licclAlH lwer rummagingthrcugh my uncle'r doset back in the day taure I wat bored.He had someno-nam€eunburt guit.r, and I gEbbed it. l etoodon hitwateted In frcnt ofhb mirbrandthought,Thir k awe-

tutl I was prayingln a band Glled oblitelation.W€ playedat a nighklub,.nd we tu.ked. we covercd"seatonsin th€ Abyst."I took (are of all the leadwork. lt wat reallyfu.kln'funny. I t h i n k l w a 5 l i k e , f lo r i 2 .

Ct?

m.GtAtH My old band played. rhow at a high tchool in the next town ovei we DECti<edfor a weekstnlght and playedin th€ palkhg lot. Theo€anizel' askedlfthere wat anything we wanted. wE taid, "we walt a box of FruityPebblerand romemilkand \ \ L\ sohe bdk.'

Wh.t hrt b..n you 6on.nb.tr

Wh.t r|, yo{r f,nt tuli..t M.GIA'H A cheapLerPaul.opy. l y wlfe'salwayron meto thrcw it out.I don'tplayit. lt't soCluety. It hai nopickupe andnortdngr, but I can'tthrowit out-lt! my 6l'ttuitai tugl An lban€zRC-55o.ltw.s f uoretcent yellow I with I still hadthatguit.r, Wh.l ||.r th. firri 3on! *.CtilH "5outh of Heaven" byslaye.My gritar only h.d two rtrings, so lleahed i t o n t h e A a n d t h e D . A n da n other guy 5howedme th€ dffto "creove k in th€ Hean" lby D€.lull It ed leanhg/'ClazyT6in." Th€ 6ret dfiwar definitelyridlculo|/t at thetime, butar long as you t.ke anything tlow, you'llgetit.

rlnt

m<CtAlti The fi6t Ozzfert thowthiryear. We came onstage,and I waln't on the rame pate as ereryoneehe and rta*edplayinga tt 3r In rooo or 50,we Played a rhow in NewJersey,We

Ili rutr My brotherwae in. hatr netatband when I wai youn8er.When lwat.bout nlne, I jurtfgured olt lw.nted to be llke him.

don't to dght

3 2 c L r t r A Ru o R L D

anything"he'sreleasedbefore."Th€re are a lot of percpectives here.Together, the_v makeup the total pictureofour life outthere on the road.";*

jumpingaround and the

guitarandfelloffth€ ,tege-with him.lt was a catastreph€,butlt wae

lVh.t lr y.urt lrlt pL(.otg..r? fl .CTAYHPtobablymy 6ret lbanezS Serie!ortom.lt3 a seven-etdngwith one EMc pi.kup, white neck binding and no fr€t markeB.ltl been through so many !how5, had 50 mu.h beer dumped on itand been leftoutelde Infre€zing tempe.atures.And it rtill playt am:zin8ly. iu3l llove myS Seier t€ven-ltdng. lt'5 retircd noq but I playedit frcm 1999to 2oo5,and it alway5<amethrouSh for me,throughthe Boodtimer a nd the bad times.

n<ctAl

Juetplaywhatyou

J U i tB e o r l g i n a l .

'Dhtlple' tin.e "we had beenoPeningwith cod Hdta Ut AI <ame ourlin 2oo'1, but we like to keepthingtfâ&#x201A;Źth so it was time to change It. '9outh of Heaven'ir a dassk slayerct/t,to it was an obviouschoketo leadthinStoffthie timearcund. Plur,it maker a theatftal way to openthe thow, be.auseI have mybackto theaudienceuntilthe oPeningrili it done,and then Iturntofacethem,"

"A Dunlop zakk wylde wah. lt's got a really dirty, low-end tweepthat a rcgularwah doern't have,a nd it! got zakkt vibâ&#x201A;Ź wlthoui having his eolnd. Plusitl ftih to Playwith."

"lhe A/B rwit.h tekes me from my (un.h tound to mycleantone. Basi(ally, itswit(hetfrom ny MaBh.ll22oI to a di.ed'injected sitnal. Needle$ to tay, lhardly ever ttep on thatone."

King!" KerryFucking

34 crrlcR \oBLr'

dear Sudtar hero!

OFKISS

He plays in one oJ roekts mlost successJuI acts and has iust released' his Jirst soln albun in ahnost 3O years. But what Guitar World readers teally want to knoas is... What proftpted you to record3 ntw tolo albwn, LIeeto Win, aow \dhen you hadn't re(ord€done for 28 year!?

You answeredthe questionyourself flaughs]For a long time I felt like I was the gatekeeperto Kiss.Therewere times,during lineup shiftsor when peoplewent off to try other Projects, when I thought Kisswasin jeopardy.I felt somebodyhad to be thereto either mind the storeor bail water,and I felt that somebodyhadto be me.But everybodyreachesa point where they feel they have to satisi' their own creative challengesand asPirations,and this wasreallyjust the right time for me. Ar€.lt th€ionti onihe album didYoucull n€w(ompo.itions,or frolnthlngtyouhadlyingaround --4randonl urPhY Everlthing's totally new. I'm not somebodywho believes in savingor recyclingsongs. I've alwaysbelieved that if a songwasgoodenoughwhen I wrote it, it would'vebeen recorded.I alsolike the idea that when you buysomething that I've had a hand in, iCstodays news;it's not somethingthat'sbeen lying around.Ics a reflection of wherethings are at for me right now. Forth€ album,did you workwith restion guyr rr Flayerryou wete fri€nr, with?

It wasn't a matter of goingout and gettingthe hired guns. Most ofthe players were recommended to meby other players.Iwas really fortunate that I +dckly wound up with abunchof

36 cw

. playeN wbo were very in tune L wj th what I was doing and who could give me what I wanted.A11the players aretop-notch guys,but I didrlt want pedection in the studio;I wanted creativity and greatfeel. H6u, differe *at lt maklnga rc(ord whGreyou didn't hav6to hav€Gene Slnmonr' Inpul lor 5o PCF G.ni o{ the tlmet 13lt bcttcr lo bc the bo$, or do you 6nd your€lf te(ond guetting your de.irions? -Arthurclabll

Actuallt it wasmuch more liberating not to wdte with a fixed goup ofpeople in mind. Making Lire to I/in was like beinga film's directordnd casting agent:foi each song, I knew exactly what I was lookingfor, soI was ableto cast whomever I wanted to play it. with Kiss, it's more like knowing who's in the film and then writingthe paits for them.

oo you.ver f€€l.ompetitiv€wllh oth€r gull.r playerror feelyouhavetomething -OonCtut(hield

Do I feel competitive?Ohgosh,no. I've spentthe better part of40 years playing guitar, really honing what I do. Are there people who play faster? Sure.Are therepeoplel'ho know more chords?Sure,butthat's neverbeen what I've been about. My goal is to be a guitar player who can pretty much handle anything-someone who can hold down the fort. To me, that's a guitar playe/s mostimportantrole.There are somereally flashy lead guys around who couldn't play a solid rh,'thm with a gln to their head.[dughs]But no, I neverfeel competitive.I'dfeeltotally t : :; comfortable getting up and playing with anybody. :: ll youtouldplayonlyon€guitarfor therert of yourlife,whatwouldlt be? -8.C.Bones

2 E

wow. Thafs a tough one,My rootsare in vintageglitars, and atthis point I al want a guitarthat hasa vintagefeelbut : , alsofeelslike it's alwaysbeenmine. Actually,washburn and I are cur_ rently finishingthe prototypefor a reallygreatguitarthat embodiesall the classicfeaturesofthe guitarsI a grew up playing. l've always thought that guitarplayers,at leastrockplay$ ers,are pretty much dividedbetween the Fenderand the Gibsonschools.In that sense,I'vealwaysbeena Gibson man,but my guitar doesn'thavetobe a Gibson,aslongasit embodiesthe

same features. whewlThatwas answer to a short question.

a long

you haveetatcdin the patt that th€ {it, guitarso||ndir bari.ally two 8! itari that soundlikeone bigone.Canyou expandon thntl

I remembergoingtoseeHumble Pie andloving how the guitarwork of SteveMarriott and PeterFrampton, andlater,clem Clempson,meldedinto onebig guitar sound.It doesn'tmean playingin unisonor playingthesame chordformationiit's morelike having t,vo differentvoicingsplayingagainst one anotherand creatingachord that couldn'tbeproducedby oneguitarist alone. l've heardthat the long-term planlor Kisrir to get to a point where evenyou and cene don't haveto be onstag€anymoie.It there any truih to that,.nd can Kl$ exist without eny ofthe four original memb€n? -rohn Estep

t? |ore be h I

guil€te |Ind dth tI 1; t. ly

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well, the onlypartl takeexception to in your questionis the ideathatwe wouldn't "have"to be onstage.Ithink it's more that we might not belong onstage.we may reacha pointwhere Kissmaybebetter off, andthe fansmay be better served,without us.The goal, astime goeson, is to be ableto separate ourselvesfrom whatwe createdand still haveit live on.Practicallyspeak ing, eventuallyourchoicewillbe to do that or callit quits.I think thatKiss, lovedor hated,hasbeena sourceof inspirationor irritation for asiongasI canremember.And I'm proud ofit. Areyouplannirgtore(ofda n€walbum of|(ite? wlththecufientm€rnbert I don't know.It's somethingthatcertainly comesup from time to time,but I haveconcerns.one concernis thatthe songson which we'vebasedour career havegrown largerthan life. They've becomemorethan music:they'resnap shotsofpeople'slives,ofwhat was goingonwhen thesepeoplcfirst heard e songor cameto a concert.There's no way \(recan competewith that.I canwrite a songlike"PsychoCircus," which I would put up againstalotof my eariiersongs,and know thatpeoplewill listen to it andsay,"oh, that's good.Now play'Love Gun."' And I understandthat sentiment, becausewhat is attachedto thoseearly songsis huge.Sothe ideaofgoinginto the studioto do a Kiss album,knowingthat writing anythingshort of Beethovenor "HeyJude" is notgonna cut it...it'sthe kind ofreality checkthat maystopapersonfrom giviq it his all.

not great.There havedefinitgly beenperiodswhere Kiss' music haslost someofits directionor focus.Someofour songsfrom the Eightiesdon'thold up. An albumlike Cdrnivdlofsouls,to me,is a mistakeofat ieastthe ]roml lne magnltuoe or [Nrusrc Elder.That'sbecauseCd,"nrrdl o/Soulswas not ofmy design, mindyou-an attenpt to be current or competitivewith a style ofmusic that we weren't a part of. It fell flat for thatreason. That'snot to saythat it wasn't a goodalbum,justthat it had nothingto do with Kiss.Some ofoul songsfrom the Eighties were shallow.Theyjust don't havethe depth orthe founda-

But havingsaidthat,under the right conditions,I would probablydo it. Withtive to win,I've madean albumthat soundsexactlythe u.ayI think an albumshouldsound.I can't imaginegoingbackwaid from there,soifeveryonewas agreeablewith the ideaofme producingthe albumflaughs], then therewould be something to talk about.But the ideaofgoingin and having too many"cooks"isjust not appealingto me. what arcyourthoughk on Peter crirs' ex-wile,Mia,wrlting a tell.illbook ls€aledwith a Kirs; Iyd i acit t..o ml about the €arlyday. of Kis!?Haveyou rpoken to Peteraboul itl -S€th Myers

No, I haven't andI really couldn'tcareless.when people write tell-all books,they write them from their perspective.It's like peoplelookingat a car acci dent:thingslook very differentdependingon whereyou'restanding.Also, we tend to male ourselvesmuch more importantin the story than we actually were-You know, the paperis probably too hard to usefortoilet paper,but... fldugis] No,I'm not a fan ofany ofthose typesofbooks,whetherthey'rememoirs or autobiographies or whatever. I think itwas GeorgeOrwellwho said it best,lthdt] the autobiographyisthe mostoutrageousform offiction.

tion ofour other songs-

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,.-ta' $

Have you wat(h€d 6ete Srrnnont Fdmily -rewerr? You'remuchmore privatethan cen€. Couldyou €verr€e aamera.in your houre following you afound? -(hadsmithfield No, I haven't watched it. It has no appeal

s0ilE0F to me, i{'hatsoever. Any attempt to film a progr:lln whether ids a pseudoSOIIGSreality |lUR reality show or an actual reality show is FRO]UI THE goingto male the situation itselfunreal, EI|iIIIIS justby nature ofhaving cameraspresent. WEBE And no, I couldn't imagine it for myself rather have bamboo slivers put under sHAll0tt." I'd my]rails. To me, yoursanilvcomes ftom

You'vewritteBro manyclasrkeon8r-Can youpi(kon€that youfelt neverlivedupto therestofthe re(ordand6xplainwhy?

I neverfelt that atthe time I wrote a song.But in hindsight,there are some songsthat I listento and think, This is

yolrr privacy. If s something sacred and allyourown. In the er y days6f Kirs,beforeyou hit it big,what ta.ti(r helpedyougeltbrough the rosgh ipctrl

Believingthat I was right. You have to believe in yourself, because ifyou don't, who else will? Andyou always gotta meet the oppositionwith twice the force that they meet you. llk

*Lowe Gunt'intro! Tune dolyn one half step oow to high: Eb At Dt GbBt Et). Gbs.I dd 2 (ele. w/dis!.)

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BETCHA PTAY THIS! CAil'T This montht Guitar World Senior Musie Dditor Jimmn Brotsn dares you to play '(Hopak"

"Hopak"

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repeat @ twtce, then skip ahead tog

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38 currAR woRLD

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P l r o i o g r a p hb y J U S T I NP H L L I P S

HOBSE PTAY

NeilYoung and Craxy Horse hit their stride in this first-ever release of their historic 797O Fill,more East concert.

t{Ert Y0u1{c &

||ORSE GRAZY Live at the Fillmore East REPRISE

jb'r ly rro onozoowsrr HE sonic stampede starts three songs into this historic 1970 concert. After nice, re-

spectableve.sionsof "Ever-ybodv Knows Th;s Is Nowhere,"the title tune from NeilYoung'sthen new first albumwith his best e1'erbacking gro p CrazyHorse,and the knotty ballad "Winterlong,"Youngand Horse guitarist Dannywhitten beginsparring. Twclve minuteslater,they stop theirunhurried ps,vchedelic barragc of stebbillgtrvo-notephrases,slippery little melodies,dollopsor feedback ard just aboutanythingelsethat a Fenderrlnp crankedup to t0 will spit out if it's tortured enough.

After the tersc little electric folkie palettecleanser "Wonderin',"they're backat it again,chiselingthrough a siabofcourtry gar-age rock called "Comeon BabvLet's Go Dorvntown." whitten singslead on this tribute to small-burglife whilc he and Younglull the unsuspectingcrowd,taggingthe end of Whitten'svocalphraseswith briefsin-string ad libs,biding their tine until Youngchurns irto a restless versionof"Cowgirlinthc Sand." TherYoungandthe HoIScrrn looseagain.Young'sfrl.stsolo is probing,lull ofu,orried and lightly bent notesthat seemto be raisirrgunansrverablepsychicquestionsaboutlove and life. whitten, who hasa smoother lone than Youn€i'scoarsegrit sanclpaper snarl,pitchesin,layingdorvnsomc jazzy chordsto pavethe way back into the \.erse.And when Young'sdone singing,he and whirten spill their i nstruments'gtts for anothernine minutes.Theirjammingis flushwith

TIIEPAUSES BETWEElI PHBASES ARE BI|i Theseblistcring,beautiful p€rEIIOUGH TO forn,anceshclpedput the "classic"in BIIIE ABABIIIclassicrock. For decades,thesepreviouslyunrelcascdtracks,outtakesfrom CTYllESllATE the N,larch6 and 7 NewYork City conTHROUGH." certs ($'hose billing u'as

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Gf,rulRocr Cruitarist JerryC tells the story befuind the song that becqme a YouT\tbe sensation. ARL]ER TH]S I'EAR, thE online guitar community was sentinto a tizzy by a home video ofa youngAsianguitarist namedluntwo performinga virtuoso rock versionof"Canon in D," a wellknown pieceofmusic by uth century Baroquecomposer JohannPachelbel.The clip was postedonline at the video-sharingweb siteYouTube.com,and withinweeks it drew millions ofregistered views. But Funtwo was not the originatorof the rock veNion of"Canon"-he was merely performing an arrangement created by a 25-yearold Taiwaneseguitarist namedJerry chang. JcLLJv,drLrrrr

known,is a devoutshredhead,who performsin and aroundTaiwan with his band,C Band,and teachesguitar.Guitdr Itorld recentlyconducted an email interview with the formerly unknown guitaristresponsiblefor the musical arrangement behindthis internet sensation. GUITARWORLD How doesit feel to havecaused sucha stir in the online guitar community? How hasit changedyou? IERRYCI'm happy that most peoplelike mymusic. The biggest changeis that now I have more sfudents. cw Did it everbother you thattruntwo's Youtube Yideo caused all the commotion,even though it was your track he was playing along to? JERRYG Not at all. He creditedme in his video for the original rock arralgement, and the more popular he became,the more

popularI became. GwAs a guitarist,what do you think madepeoplesointerestedin watchingsomeoneplayyoul rock arrangementof "Canon"? JERRYG I think becauseifs interestingto seeandto listento. ew What inspired you to createthis arrangement of Pachabel's"Canon"? JERRYG Ijust like the piecevery much. cw How muchwork went into i! and how much of a challenge was it? It took me JERRYG two weeks to finish it. The trick was to get the balance betweenplalng

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JERRYG I startedplayingguitarat lTyears old,justbecauseit lookedlike a coolthing to getinto. GtrYHow did you develop your skills? JEnRYCPractice,practiceand practicel cw Which guitarists a:reyou listening to these days? JERRYC Y[gwie Malmsteen,Steve vai, Joe satriani,JasonBecler, slash, linstrumentalguitaristl Neil zaza and concalo Pereira. lPornâ&#x201A;ŹueseBui?drist] 6w Consideringyou.obviousgifts as a guitarist, what would you most like to accomplish with them? JERRYG Godgaveme talent,and I givepeoplemusic.That'sall I want. *

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Alex Skolniak, Al Pitrelli andJortner mernbers oJ Testanrent and. Sansa,ta;ge are unrong the unlikely costars in the annual Christtnds corl,cert tour of the Tra ns-Siberian Orchestra, ez:eryholiday lotser's tantorite mu.sica,lJruitcake. '$;: ,,

Scorpions,AC/DC and Def Leppard, among others, laughswhen he recalls drumming? a rel'rew ofthe first performance: "It tl'lITELJTdrumTers prprngg prpers read:'Phantomo{the operameetsthe Lleven UnecK. I L who meetsPink Floyd'slight show,"' Check.Ten Iordsa'leaping? he recalls. "Everybody thought I was ChecLanddoublecheck.Two heavy going to be depressedwhen I saw that guitarists? Check.Hey, ' metal shred heary metalshred review, but I said, 'Thank you!' I'll take wait a second...two guitadsts? what kind of Chdstmas 4ny oneofthose references," In the decadesinceTSo debuted, show is this? And with plro, no less? the group hassold more than five milTry to imagineCecilB. DeMille lion albums and performed before stâ&#x201A;ŹingA Cfiristmas Cdrol in the more than two million fans.Their latwhile on acidandyottill Seventies est winter trek, which beganin early havea pretty goodideaofwhat Paul November,tales them to 117arenasin O'Neillhad in mind with me dreamed just under eight weeks.To hit all the up Trans-siberian Orchestra (TSO). dates,two full scaleproductions-each O'Neill,a musicbusinessvet who has including t4 vocalists,two narlators, worked with the likes ofAerosmith, the 14musicians,an orchestral st ing section,and enough specialeffects to make C,â&#x201A;ŹreSimmorls'vrhiteface turn green with enly-traverse the country simultaneously.'ryou can't make all the cities during the Christmas holiday with just one productio&" O'Neill explairN.'nve've got so many trucks, your head would spin.But I'm used to \i/orking like this from

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my dayswith big rock bands,when sometimeswe'd have one crew setting up a show in Clevelandwhile the band ttt0ltfl's sEE TiltS would be performing in Boston.with c0-R0t{ F||n big productions, it's the only way to G||]ITTTTE GUITN make it work." Tn scn|nt0lts Surprisingly,TSO'sgrandioseholiday albums,which includeCh smds 0tlso's'YtEAn!$ Eve dnd Other Stories,The Christmds IilWtXIIn"N! "rusT[.tust0lt.' Attic a'ld TheLost ChristmasEve, didn'tflowfrom the pensofBrcadway Pr.usYrIE0nss0ts the prcdYtrr .Etsl0tc( composers.Rather, they're the prog-rock uct of the remnants of ! r[ P|TREu.tlband Savatage,with whom o'Neill had worked witl du ng the early Nineties. "Savatagewere way into rock operas," saysO'Neill."Their albumswere filled with theseincrediblestodes.OnedayI thought to myself, whafs abetter story than Christmas, particularly Cbristmas Eve?Think aboutit no matter whafs going on in the world, everything stops on ChristmasEve. Evenin timesofwai, there are ceasefires on that one magtcal night. so, with

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approachcd tojoin TSO, Sl(olrick was keepinga low profrle, studyingjazz at the New School in NewYork. "But I was rcadyto getback into rock, and TSO u-asthc perfectvehicle. Thc onlvthjng I had to do differentl-vwas applt' nore rock crerf-v to m]' playing which is very diffcr-cnt from the ieelyou nced to play fluid 1az,z." sh redding aloDgside S k o l n i c ki s j o u n t e l ' m a n gritnrist Al Pitrelli, anothcr Savatagealumnus, \tho has pla"vedrvith acts langingfron Mcgadeth to Taylor- Dayre. "To be part ofsomething so successful is a Sift at mY age," sa-vsPih-elli. "One of the gfeat things abortTSo is that ifs notgcnre restricted; the albunrs werc written !1,ith n o m u s i c a lb o u n d a r i e si n tnind. Also, thc shorv is two hours and 40 minutes long and there nrc plenty ofg-tritar s o l o s . I t r , vn o t t o c h a n g eu p too much from nigtt to night because ofthc irltricacies of the arrangen1cnts,but occasionall,v I gct.rwa)' \\'ith one or Both guita sts admit thar\r'orking rvitlr a sho*.this loaded wirh speci: effects has had its moments ofunin tended comcdy. "There's a son€icallcd 'First Snow,' u.hich fealures snow fall ing from thc roofofthe arena onto the audicncc," says Skolnick. "one night, it didn't uork end there wns no srowlWe n'er-call looking around u.aiting for it alrd it [c\.er came. For some rcaso[, it \{.ashila ous !o Lrsonstage." Pctrelli recalls rnother night $'hen, \,r4rilcperfbrming the sonli "Chdstmas/ sarajcvo," sirens srrrted going offin the

arena. "I thought !o m-vscll well, that's :r ncw trick.It *,asn'ttoo longbefbre rvc lealized that the foghad set offthc smoke alarms in thc arena. They had to cvacLLate17,000 people. UIe waitcct aroul1d foI an ]rour orstage until c\cr-,vbod;could corne back in, at \r'hich poin ve picked up right s'here rvc lcft off." Well, $hat u <-ruldChristmns or for that mriier a Christmrs shott bc $ ilhout its sr.rrprises?J(

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lioved as hubris, butClarke insists.,he,s thc real deal." The gr.oupnearlv chosc femaie Ro.A Stdr"contestant Dilana Robichaux, "n hich would,ve been intcresting," Clalk says.',But Llrkas had lhc \rhole pacirage.\,.e coulLln,t arguc M ith his irtensitll And the audicnce votcd hin1 their la\.o te, whirh didn't hurr. The guy's so talented, it's

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I.The 2 " v c . r r - o l .T l o r o n t , ,n . r t i \ t i s stili pinching himselfaker beating t5 n nalists ro become the lead singer.ofRock Star Supemova, the all starbaDd fcatur ing Mdtle]' Cr.iiedrunlDrer Tomn]y Lce, t o r m e r c u n s N ' R o s e sg i t a r i s t c i l b ) , Clarke and ex Nlerallica bassist.hson Newsted. As Rossi proved on the CBS realiq, series,Rocl StdriSupernolo. he has the kind oforrsize.l pipes and persona needed to fionr a band ofbcen thcre, donc-thatr.cts. and he's not sh\, ebout sat'ingso: "This band needs a la€er t h a n l i f e g u y \ r ' h o , s g o n n ab e l t i t o u t t o the back ron's, and that's me, blother" Rossi'spronounccments can be

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into the studio, it felt fight. He was one of us. I'11tell \'ou, there's nothing I don,t like aboutthisgroup." Exceptfor rhe name. Justbefor€ the fillale ofRoc,{ Sfdrrsupei.novd,the Cali fornia punk-pop band Supcmova, which

folned in 198qfiled a federallarr'suit allegingtl.ademark irfringement.With little time to fighrthe case,Clarkeandhis bandmatesdccideclto takea nervname,"tsecJuse ol tlls I v ll]tne recognition frctor, we were forccd to go \r'ith Rock Star Superllov:t," he says,d1yly "1\orr" n6

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Stone Temple Pilot vets Dean and Robert DeLeo teann up with Filter,s Robert Patrick and. d.eliqserthe hean:y artillery,?atith their nela)group, b: , ry nr-el or rrme .lO

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album?itle ofRecordbeingmine. I've playedair glitar to that somany OR StoneTemplePilot fans. times-fucking rockedout to that-and Tl Scottweiland s resurgenceas said,'Wow' I wish I wrote thatsong... H L VelvetRevolver'sleadsinger and that song,and thatsong..."' wasa little bitte$weet. On the one Not surpdsingly,Army ofAnyone's hand,youweregladto seehis troubledebutcontainsechoesoftrilter's plaguedcareerget a boost.On the other melodicsensibility,and ithas pienty of hand,you couldn'thelp feelingrather that powerfullypreciseDeleo brothers sory for his former STPbandmates. riffing that anchoredSTP.But for the They were the oneswho stuckit out most part,Pat ck andthe Deleos have over the years,wheneverWeiland's tal<enwhat is forthem a freshslanton drugproblemslandedhim in rehabor rock andro11, with a soundthat'sbased jail and preventedSTPfrom building squarelyin that riff-happyplacewhere upontheir early successes. Suddenly, Ninetiesgrungeand classicSeventies Weilandwas{ionting a hugelysuccess- hard rock converge.Luzier'sstadiumful all-starrock and rollband, and they sizedbashingcompletes the picture. were...well,where exactlywere they? "Rayreallyputs the icingon the cake," As itturns out brothersDeanand Deansays,laughing."Thatguy'smovRobeItDeLeo-STP'sforme. guitaringsomeair behindrne." ist andbassist,respectively-haven't Army ofAnyonegot their start exactlyhung up their axes.Ior the betwhen management broughtthe Deleos ter part ofthis pastyear,they'vebeen togetherwith Patrickto u/ork on at work on the self-titleddebutalbum materialfor the fourth Filter album. by their new group,Army ofAnyone, The three rockvetshad crossedpaths which featurestrilter leadsinger beforebut had neversatdown in a RichardPatrickand ex DavidLee roomto w te songstogether,Once Roth drummerRayLuzier.According they did, amutual musicalunderstand to Dean,he couldn'tbemore thrilled. qurckty.we salcl,wow, IngceveLoped "This is like adream cometrue for this is too goodnotto pursue,"'Dean me," he says."l'm sucha fan of fuch'srecalls."Ironically,we're all under I've alwaysfantasizedaboutFilte/s the samemanagementandlawyers,so 48 currAR woRLD

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everythingwas in-house." Because?atdck hasa fairlysophisticatedhomestudjo,the fledglingArmy ofAnyone were ableto put together highly realizeddemosofabout 30 songs beforetheyjoined forceswith celebratedrock producerBobEz n. Once Ezrin signedon, artistsand producer gotdown to work at L.A.'shistoricrock studio,the Village.Deanoptedto craft an expansive,heavilylayeredguitar soundforthe album,*'ith six-string contributionsfiom brother RobertOn the new album,Deanexploresall the main resourcesfor wrestingvaried tonesfrom an electricguitar,includ ing doubletracking alternatetunings, backu'ardguitar,Ebow andslide. "I alwaysapproachthings differentlywith everyalbum,"he says. "BackwhenI went into make?iny M&sicwith StoneTemplePilots,I said to forodrrcerlsrendan [O?rien] dght from the start:'I don'twantto haveany humbuckingpickupson this album, and we'regonnado very few overdubs.' But when \re got to Shdngri-LaDee Do ISTP'i 2oot linal releasel,it was a very lush and beautiftrlrecord,with lots of layers.The A rmy o/A nyonerecordis more alongthoselines." Dean'sguitarsfor the newalbum

rYEPI.IYEII AIR OUITAR TOFILTEB'S TINE||F RECOBD AIBUM sllMAI{Y IIMESFUCKI{0 ROCKEO OUT T|lTIIAT." -0 ltm[0

prof,les included"the basicfour food groups,"he says"I had a fewlate-Sixties Telecasters, including onethatl like to string up in Nashvilletuning lusing the octave strings from d 12 string setfor the thr eelowest-tuneiL stringsl;I had some Strats,someLesPauls and somehollowbodies,includingsome cibson l.0s]295s.I also useda Danelectrowith lipstickpickupsand a rea1lybeautifulPaul ReedSmith hollowbody McCafty model." The acousticguitar that fig!res prominently on severaltracks is a 1950cibson J-so. "I cameupon that guitar a while back,"says Dean."No matter what micrcphoneyouget up in front ofit, it sounds Sreatall the time." And on the album's fi rst single,"Goodbye," DeanemployedRichard Patrick'sFenderBass\aI baiitone electric. "tuch had a few ofthose from his daysin Filter," saysDean.,'He used abaritoneto write the song.Father trigure'on our new album.The $itar waslayingaround,soI usedit for 'Goodbye,'which waswritten really quickly."As Deanexplains,the song cameaboutat ?atrick'surging..,Rich wasreally after me andRobertto get a songon the albumwith that pafticular tempo.Sowe satdown and I wrote the verse,Robeftwrote the pre-chorus, I wrote the chorusand the songwas donein a matterofminutes.,' Deanusedthebaritonefor the song'ssoloand trackedit in tandem with the PRSMcCartyinthe choruses. Togetherthey createa distinctivetone that recallsthe soundofan electric sitar,asitweavesa tunefulcounter melodybeneaththevocal."I double trackedthe baritone,,'Deanexplains, "and the PRShasadoubleoutputthat I ran in stereo."The PRShasapiezo pickup systemwith its own output, allowingDeanto printthe piezo and mailpickup signalsto separatetracks. "Soyougetboth thosesounds,but it,s one performance.Also the pRSis iD Nashvilletudrg, andtogetherwith rhe baritone,it makesa really niceblend.,, Doublingwasa keystrategyfor sev e.al ofthe album'sguitar-solos.'.That's an exampleofhow Ezrin reallychalIenged s,"saysDean."t laid down the soloto the song'Disappcar,, andBob 5 0 c u r T A Rw o R L D

waslike,'Thatwasgeat. Youplayedit beautifully.Nowdoubleit.'And I,m like, 'whatl? Doublethad?,But we nailedit in acoupleoftakes,and it createsthis greatstereoeffect.It soundslike cho rusingbutit's actuallydoubled.My Strat'son the left andmy,57Les?aul Special,which hasa P-90pickup, is on the right." Ezrin had the same ideaforthe soloin "Doesn,tSeemto Matter,"only he wanteditdoubled in octaves,"So,"saysDean,,'Ihad to relearnthe whole solooneoctave Deanemployedalternatetun ings on the rhlthlr guitar tracks for "Disappear"oow to high,D AD G A D) xnd "It Doesn'tReallyMattei' (low to high,D AE AA Cf), buthe playedthe solosin standardtuning.In doingso, he createda dilemmaforhimself:how to perform the songslive.His solution wasto havethe tr'enderCuston Shop createsomedoubled-neched Stratsfor him. The lowerneck,which Deanuses for alternatetunings,hasfull- and splithumbuckingoptions;the top neck, usedfor soloingin standardtuning has humbuckerswith no spliroption. Dean'sdecisionto layerguitar tracksmeanthewoldd haveto rely mainly on smallerampsin the studio. "A big4xl2, 100-wattamp would chew up too manyofthe frequenciesand there'dbe no room for anythingelseto breathe,"he explains.',SoI had a real assortmentofsmaller ampsfor this album:halfa dozenSuproswith six

and eight iDchspeakers, half a dozen Magnatones,Silvertones,Univoxes, Ampegs,and a lot ofsmallerFender ampslike the FenderPro.It wasall vintagetriftiesand Sixtiesstuff,, One exceptionwasa ClassAclosed-back combon'Hdeby his friend JeffSnider. "Yon canswitch it to t8 or 30 watts, and it is particulariy gorgeouswith a Strat.You backoff the gain on the guitar andyou getthis tone that,sway beyondanAC30.You know that real bell like chincl'ou get liom a Strat? This amp is bestfor that." tror beefiertones,asoDthe aforementioned"Fathertrigure,"oneof Dean'ssecretweaponswasaBossOC-2 Octaver'"It killd ofhugs the track,',he says."On the secondhalfofthe second andthird chorusesof'ceDeratiolL,you canhearanotherguitaacomein. It,s the Octaverco irlg up undâ&#x201A;Źrneathand reallygrabbingthcbottorn." Deanlooksforward to hitting the roadwith Anny ofAnyone.Alongwith their own n-.r-material,the guyswill alsobe dippinginto the Filter ard STp backcatalogsin a true spirit of,.alt for oneand one for all." "Richcane from a dictatorshipin Filter,"Dearsays."Itwas his band:he madethe decisions;he paidguysto play in his band.Butwhen u'egot togethe., he said,'I want this ro bc all ofus mal<ing democreticdecisionson evertthing,, which is how Deanandr atwaysdid thingsin STP.Thar riglt thereshows you what kind ofgul' Richis.',{t

ssEltTtAt

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5ong"

Ftlfin shot,'

-thoft 4ut,1995

ATIIY OF a1{YOf,t

MFIAItIC TIIECEIISADE -0R E[SE.

AYBE YOU'VE READ the press and heard r h e i n t e r n e rb L z z r \ J t . J \ . f _ i \ i I ' n r e r h p new lop cats ofnetal- That thcir new album, ?hc Cr&sdde(Roadrunner) a splawling, ambitious melodrama ofhigh passion, tri umph and traged_v-is the best Metallica album Nletallica never made. And thatthese

four titanic talentsar-ebum rushingthemusic$,orldin a rva,v not secnsincethe earlyda,vsof, u,ell,Metallica. Unlessyou'rcamongtheTri\.ium faithful,it night all

] ..:

sound Iike a lotofbluster. But lhe Crusddeis that special kind oialbum that altels a band's career and enlarges its fanbase. Asmartshotoflucid record making, it cuts to the chase faster than its predecessor,Ascâ&#x201A;Źnddncy.Theglitars s[ortfiom the l.ery start andbuild into a permanent uproar ofcauterizilg riff.s,u.hiz bang solos, sheets ofdissonance and grand themes. But Trir.iurn bling moIe to the proceedings thanjust garden vadety fcrocityt they perform \i-ith rrue avidio and heart, and thc fusillades ofsound they create feel like poetic acts of$-i11, u,hich nakcs them all the more transfixing "We try to make each cu! nore i n t e n s ea n d s u r p r i s i n g t h a n t h e l a s t one," sa)IsNIatt Heafi7,Trivium's 20 ,vear old singcr and co-gllitarist. "Our artistic goals are exceedingly high. We strir.c for originality on all fronts.Ior us t0 makc a record u,ith one or two good tracks u,ould be a terrible let down, to us and our fans." Admittcd $'orshippers at the throne ofMctallica, Trivium, Iike most art ists, honcd their craftbv stealingfrom their hcrocs, takingany and evervthing that wasrl't nailed doun. But Tdvium reimagine their sourcc material in ways that feel startlingly fresh. They ratchet up each nuance, finding new shadows and light inthc original photograph.In doingso, thet\.e managed to pull off an exhilarating syDthcsis ofthc classic and the modern thatwill lcar.c listeners praying for more. The gui!ar interpla,v betweeD Heair and 23-year-old fel lorv guita rist Corey Beaulier.rreached hurricane force onAscenddnc.,,'s"Pull Ilarder on the Strings ofYour N{arq'r." On Crusdde c u t s i i k e " D e t o n c r i o n "a n d t h e n i n e minute title cut thrt closes the albun, the duo have their sights seton nothing less than an apocalypse.They're rvell supportâ&#x201A;Źd b\, TriYium's rh!1hm section: clrulnmcf Travis Smith and bassist Paolo Clcgolctto near.e intense, syncopated, knottl'patterns thataccentuate the guitar crunch. And Heabr's singing, rvhich for vears resembled the screech i n g o f a c a t \ r . i r hi t s t a i l c a u g h ! i n a c a r door, has nratur-ed;his vocals come at,vou in scc'thing, melodic bursts.

-_<--.--+-*-

{ffiff

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(Ironically,he nowsoundsmore like JamesHetfieldthan JamesHetfield everdid.) You can'tcallTrivium's musiclnet alcoreorthrash, nor is it progressivemetaljit's a remarkable hybrid,one that increasinglydefiesdescription. formed in orlando. Floridain 2000.when the then l3-year-oldHeaE hookedup with then u year-oldTravis Smith,Tdvium quicklysecureda dealwith the ce.man imprint Lifeforce,and in 2003issuedtheir debutalbum, Emberto Inferna.I.ora while, Heafr and Smithwent through bandmemberslike ParisHilton goesthroughfianc€s.After theband signedto Roadrunnerand releasedAscenddncJ in

2o05,its personnelshiftedagain,result ing in the presentlineup.Ascendancy madebigwavesin the States,but in Englanditcauseda sensation,and ulti matelywentGold.Trivium put the successto strongadvantage by tou ng constantly."You namethem,we've opened up for them,"saysHeafu."Three tjmes." Alongthe way,Trivium madeno bonesabouttheir intentionto dominate metai.The]' immodestlyreleasedtheir

GUIIARS(Heafy)

EFFI(TS(Heafy)

own scorchingversion of Metallica's "Master of

A ''(HeatlMaEharl a cindte -:.-::-,-'r c -,'::' lcMroooDsr.roowatthead;(Eeaulieu) wassuosequenlly MaBhall.tMPr, €l341oo/1ooaddedto pressings MaBhall wanpoweramp, ofAscenilancy. (both) 1960Maish'll More to the point, in inteIview after interuiew,Healy srRlrcs(both)DR Pl(xt(bothlDunlop wentonrecord statingTrivium's eminence,goingsofar asto claimthey were goingtobe "the next Metallica." while suchpronouncements canbe chalkedup to youthful insouciance, manyfanswere not amused,"I don't takebackthingsI've said,"Heafy says,"But moreandmore,Ijustwant Metallicato be Metallica, andwe'llbe Trivium. On the other hand,l0 years from now, I wouldn't mind reading interviewswithbaDdswhere they say they want to be'the next Trivium."' Not surprisingll',when Heafoand Beauli€ustrut irlto the GuitarWorld offices,they arethe cooiestofcuston ers.Tall andtattooed,dressedinblack, they are a commandingpresence. Heaft's insightand eloquencearepreternatural,the wheelsofhis intellect spinningsmoothlybehindhis confident mien,Beaulieucones offmore asa "regularJoe,"the kind ofguywho, if he smoked,would stashhis cigarettes in an upturnedT shirt sleeve.As they takeseatsin the conferenceroom, Beaulieutearsinto a pre-interview sandwich.HeaE wavesofflunch; he's hereto talk, and he doessowith laserbeamfocus. p,,nnpiq,.

--*a*+{--

GUTTAR wonlD You guysarelike rap starsitl that you boastaboutyour trwesomeskills andplansforworld dominatior. ttATTHEAFY We're confident,and we're fine with sayingso,From avery earlyage,I knew I wantedto be in a really,really bigband and playin front oftholrsandsofpeopleeveryday.why elsewould you stert e band? (oREYBIAULTEU We're all fairly accomplishedmusicians,andwe have (cantnued bigdreams.I onpage96)

HE MREa time of gloriouslyunashamed soloingandshreddingexcess. The metal world was dominatedby playerswho were only too happy to shetch out in virtuoso efforts dlat not only took guitar playing to new realms but alsoinspired others to reach for a higherlevelof musicianship Then camethe Nineties,a decade that was,for the mostpait, a leaddeprivedwasteland.While the likes ofKirk Hammett,Zalk Wylde,Joe Satriani,SteveVai,Marryf riedman, DaveMustaineand Zalk Wylde were fightingto keepthe sacredart ofshred alive,mosteveryoneelsewas doing their bestto bury it. Not playinglead guitarbecamea badgeofhonor In truth, the Ninetieswere sucha bad time for guitar solosthat just one tlue metalguitar heroemergedin that decade:DimebagDaIIell.At artOzzfest severalyears ago,Zakk Wylde surveyed the namesofbandson the tour and, turning to his pal Dime,said,"It lools like you aod me arethe onlyoneson this bill that can safelygo fom the low E stringto the high E andback again, bro." His commentspeaksvoluries

\,â&#x201A;ŹIy much alivesndkicking assin 2007 In fact it is the very reasonDave MustainespawnedGigantour. "This tour is first and foremost aboutmusicianship,"saysMustai$e. "onmostofthe rocl packagesout there, the guys in the bands are aftaid to playguitar solos.?alt ofthat hasto do with the fact that they can,t.,, Gigantou!he sa!s,is for a difrerent breedofguitadst "It's abouthavingaspiri! atalmL And iCsaboutbandsthat arecenteredarounddle guitarandthe leadguitar.,, Ifthat soundslike your Lind ofgig you're ilr luck. In this Guitdr World exclusivg we've gatheredtogether Mustaine and his Megadethcoguitarist clen Drovet Lamb of God'sMark Morton and Willie Adler, Arch Enemy,s Michael Amott and Fredrik Akesson, and Trivium's Matt Heafi and Corey

Beaulieuto teachyou the essential ofmodem shred.Usingtheirown examples,we'll show you eve4thing from rhlthm and lead playing to speedpicking and sweeparpeggios.Sograbyour guitar and get ready for the ultimate lessonin shedding-2lst centurystyle. lNote:Due to anunforeseenissue, thereare gdps in thefgure numbersin thefollowing lesson Restd'ssured,holrever,no content is missingf,

0IIAPTEB | "SP0RT METlli': ltl0DEnll RIIYTIIIYI METIIODS All the guitarists involved in this lessonhaveonething in common:they arepassionate and dedicatedplayem who write great ffs, many ofwhich are quite challengiig to play.In fact, Arch Enemy'sMichaelAmott describedthis t ?e ofplayingas"sport metal."

FIGURE 1J Mark Morton ,.TheHangoverriff, playedold-schoolstyle drop-D tudng (low to high: D A D G B E)

F5 D5

BbsA5 G5 G'5A5Abs

? , M . __ .

FIGURE 1:2 Mark Morton,.TheHalgover riIP'played,.contemporury style', drop-D tuning (low to high: D A D G B E) n------

llr-4i-

.6-6 5 5-8-8-7-7-5-5-4-4-7-7-6-6

FIGURE 1;4 DaveMustaine Freely B5/F{ Cs/G

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aboutthestateofshred in the posF Eightiesmlrsicworld. Rhlthm chopssufferedin the Ninetiâ&#x201A;Źs,aswell asmanybandsopted for the one-fingeredsimplicity ofdropD tunings.W1ile simpleriffs makeup the majority ofmetal's most mernorablg crushingmotifs from "Smole on the Water" and "Paranoid' to '"\ryalk'and "Maninthe Box" it's niceto comeacross a challengingrifffiom time to time. But neverhavewe hadto wait solong. Well,my fiends, we aregladto say that the wait is over.Thanks to a new breed of bands-includingArch Enem$ Lamb ofcod, Tivium, Nevermore, Childrenof Bodom,Dr.agonforcgShadows Fall,Mastodon,OpethandAvenged Sevenfold-aswell asseminalmetalicons like SlayerairdMegadeth,shreddingis 64 GUITARwoRLD

B5/Fl C5/G Bs/FlCsiG F$5c5 F{5c5F{5c5Fls cs

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FIGURE 1:5 DayeMustaine Es c5 D{5

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FIGURE 2l Willie Adler drop-D tuning (low to high: D A D G B E) --

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metal," a real finesse

- sayswi1lie to a lotofthe riffs, andthey'rephysicallychallengingeverytime you play them.with the newsongswe'replaying l've got to u'arm up for from Sacrdment, at leastan hourbeforewego onstage." we askedAdler'sco-axman,the alwayseloquentMark Morton, to explainsomeofthe rhlthm playingdifferencesbetweenmetal's"old-school" and "nu-school."Despiteabrutal hangovet Morton not only steppedup to the platebut alsocameup with "the hangoverriff" to illustratehis Point. "Here'san exampleofwhat I would considermoreofa iate-Eighties,Bay Area thrashtale on the riff And here's a morecontemporaryst!.leofdoingthe samefiff," Morton saysashe Performs 1r2.'As you can rrcURE 1!l then IIGURE see,they'rethe samepattern,the same note choices,but with a differentand giving it a faster ght-handcadence, moremodern,'deathy'feel."

than having to move

'Holy

busl,,and there'ssodruchstuff in therethat you've really got to be on top of -vourgame." ln addjtionto his ultraprecise picking and knackfor writing riffs, Mustaineis the masterof rhlthmic nuance."Onethingl'll oftendo with my rhythm playingis slideinto a chord,"saysMustaineashe plays FlcuRE1!a. "That makesthe chords reallygrowl, like in Ashesin My Mouth." Another must know Mustaine techniqueis his "spiderfinger"chordgrabbingtechnique,which he demona andB. &5 andPHoTos stratesin rrGUnE 'Alternatingpairs offingers like this is

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the your entirehandback ar,dforth Lsee "regular"fingeringunderthetablaturef. lfyou haveto mo\â&#x201A;Ź your hand,your timing is gonnabeoff andtherewill be stringnoise.Plus,you'll be relyingtoo much on guesswork," Like all metal masters,Mustaine usespdlmmufing(?.M.)to greateffect Palmmuting is the techniqueofrollingthe fleshypartofyour palm [PHoro cl forward ftomthe bridgeto damPen the st ngs.But asMustarnepointsout, thereis anotherway to stopnotesfrom ringing,andyou can do it with your pick. "Somanypeoplethink picking

2:2aWillie Adler FIGUBE

FIGURE 2:2bWillie Adler

drop-D tuning (low to high: D ^ D G B E)

drop-D tuning (low to high: D A D G B Ei P.M.

PM.

-_----_

2:3 willie Adler FIGURE drop-D tuning (low to high: D A D G B E) P . M- - -- , -6-5-

FIGURE 2:5 MichaelAmott "I Am Legend" Gtr. tunâ&#x201A;Źd two whole stepsdown (low to high: C F Bb Eb G C) n

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FIGUFE 2:6 MichaelAmott "Nemesis"riff Gtr. tuned donn two whole steps (lon to high: C F Bb Eb G C ) N.H.l-_,(l2rh tI.)" n

As you canseeandhear,the " ght handcadences"Morton is referringto involve'gatlop"and"rcversegallop" pickingpatternsplus doublepickinga lotofthe notes. to We askedall our guestteachers namea fe$'albumsthat they consider to greatmetal rhlthm vital refer'ences work.In additionto Metallica'sseminal Mastcr ofPuppets ar\dPanteras vukdr ,ispldJ o/Powcr,Megadeth'sclassic Rustin Pedceioppedthe tally Says Amott, "That albumdefinitelysetthe bar pretty high for musiclike this.It's full of 'Hall ofIame' riffs." leadguitar clen Drover,Megadeth's ist,hasa prettychallengingrole-not only doeshe haveto performleadsby ChrisPoland fis virtuosopredecessors andMarty Friedmanjhealsohasto double Mustaine'svastrepertoireof"Hal1 ofFame"riffs."Someofthe rhythm pat ternsareequallydemandingtoplayas the solos,"saysDrover "Takea songlike 6 6 c U I T A Rw o R L D

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(3)

natrrul hathohics

2:7 Matt Heafy FIGURE C(adds)

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is just aboutmovingthe pick up and down," he says."Butyou'vealsogot to think abouthowto killthe string's vibrationto givethe line articulation. On a rifflike the onefrom'Hanger 18,' I'm not reallypalm-mutingtheD string with my right hand; I do it all with pick articulation." Mustaineexplainsthat this involves playingin astrictstaccatofashion."The [ote dieswhen the pick touchesthe sffing again,"he says.Furthermole, it requiresusinglessof the guitarpick's point.'nvhen I'm reallypedaling, the amountofpick stickingout liom my fingers is minute [PHdo D]," says Mustaine."But when I'm doingpercussivestuff,like 'Train ofConsequences' I slide my fingers awayfrom the tip of the pick lPtoroE]." In conclusion,Mustaineoffersthis advice:"I thinkthe secretto accumte picking is slowlyspeedingup.It's really

string jumping and wide-stretchriffs

minor exampleof "gettinga picking pattem going and then throwing in a same-key,scale-typerun to makeit more interesting,"a ploy endorsed by Dragonforce. This sectioncloseswith a riff offeredby Fredrik AkessonofArch Enemy."This is a rhl'thm riff I came up with [FrcurE 2!9].It's gotgallops inthe firstpart and l6th notesand octavesin the secondpart, I alsouse mysecondfinger to fret the bassnotes on the bottom string lPfloro{."

lPHoto f dnd flcutE 213l."

MichaelAmott hasa similar and equally lengthy pre gig warm up. T\vo Arch Enemyriffs he often usesin this ritualare ftom "IAm Legend"(FrcurE z!5) and "Nemesis" (acuRr 2!6).flcuRE 2!7is a cool,off kilter offeringfrom Trivium's Matt Heafy that uses all six strings,'gets all your fingersworking and alsogetsa galloppick going" llcunr 2r8is from Heary'sbandmate,CoreyBeaulieu,and is a greatf#

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FIGURE 2:9 Fredrik Akesson Gtr. tuned do$n two whol€ sa€psoow to hiehr C F Bb El G C) P.M.--__-.

easyto play rhythm superfast,butwith mostguitarists,ifyou slow down their recordingsyou'll seethat they aren't very accurate at all. Most of the time they'reterrible-Ifyouwanttobefast dnd accurate,learnyour rhythm parts byplayingthem slow and then gradraliybring them rp to speed,conceftrating the whole time on beingaccurate. Thereis no other way."

CIIAPTEB ll "110 PAll{, 1{0GAlll"r WABMIIIG UP As Lamb of cod's willie Adler has alreadystated,warming up for an hour or more is vital for "Sport Metal" participants."We'vegot someriffs similar to this that a.e hard asshit," he sayswhile playingtlcurEt,r. 'rso I haveto warm up for an hour or more before everyshow,mainlybyplaying the riffs in our set that I find the most demanding.I work on my picking speedand staminaby doingsimple, quick chugswith triplets fuallopsl thrown in tflcuREs t!2: dndbl, repeatingthem over and over and speeding them up asfast asI can.I'11alsodo 68 cUITAR woRLD

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@ FIGURE 3:4aclen DrcYer

FIGURE 3:4b clen Drover

FIGURE 3:4cGlenDrover

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FIGURE 3:5 Fredrik Akesson Gtr. tun€d two whol€ steps do$T (low to high: C F B , Eb C C)

t: There's only one way to mastcr this: "Practice...a lot of fucking practicc," says Megadeth's Glen Dro\er. "It t*es dedication end a sensethat]'ou'fe never totally colllfortable with your' skill level. That's ebsollrtely a healthJ attitude for glo\l-th as a guitarist." Drover then procccds to show us three simple "st tolrt slowly andbuild up speed scnsibly" alternate (dorvn-up) pick ing excrcises in E nlinor, FtcuRE 3{ .{, that enable you to focus on-vour pickingtechlique and "really get the blood pumpitg."

notesfi om 'bleeding'iuto oneallother and soundingliken strunmed chord." HeedingYn$vie's\\.ords,work on FlcuRE4:4, a three-stdngAninor rrpeg gio from Tfivilln]'sMatt Hea6'.Orlce you'vemasteredthat,checkout the morechallengingfive-string\€rsion hc offersin flcurE4!5.As Heas says,"It',sall a malterofstartingthemoffreally slow andworkingyouru,ayup."When you havethoseLnderyoffbelt, try ttcuRt .r10,f redrikAkesson's slipperyBm7i5 diminishedaryeggio(B D FA) that continuallygoesbackon itselfandrepeats.

irg iechnique,sa],sYngg,ic,"Youha1,e strirgto stfing, to let the pick'fall'fl.om u,ereshulnmirga chord. asif )'_ou It's importantthat you doD'tseparate thc pick strokes.when executingan upward sweep,dngthe pick upu.ald overthe stringsin one fluid motion. Again,it's imperativethat you don't use individualupstrokes." The ftet-h:lndcomponentis equally impor-tant."Youleed to muteeach string$-ith the lret handimmediately afterpicking itby lightiy liftingor'r'o1ling'your frettingfinger to keepthe

once you'vepaidyour duespracticing theseessentialchopbuilders,1'ou're t!5, rcadyfor the bigleaguesandrtcuRE a blistering,exotic-soundingE minor' basedworkout ftom Akessonthat involvesthe "HungarianscalelrrcuR! t36lcombinedwith somechromatic stuff and elternatepickingall the wa-v." FrcuRES3? is a simplerbut equallyeffeclick. tivc E inor, Hungarian-spiced

l\l

FIGURE 3:6 Fredrik Akesson Gtr. tuned two whole stepsdown (low to hish: C F Bt Et C C) lllermre

pickine throughont

4 IEAD II: CIIAPTEi W|}R(OUT SWEEP PICI(IIIG ABPEGCIOS S$.eeppickingis probably the nost famous shred technique out thcrc.

YngwieMalmsteenis its undisputed as ter andthe gu-vwho put it on the rnetal l11ap. But ashe explains,most players rules. don'tknowor employthenecessary 2:l

32t32l32ll2ll

FIGURE 3:7 Fredrik Akesson Gtr. tuned two nhole stepsdown (low to high: C F Bb Eb G C)

2(+l) (21 I

4:5 Matt Heafy FIGUBE 4:4 Matt Heafy FIGUBE s-string A minor arpeggio 3-stringA minor arpeggio

t12t21t12t2.1

FIGURE 4:10Fredrik Akesson Gtr. tuned down two whole st€ps (low to high: C F Bt trb G C) "Ntost EiLritaristshav€ agelcral idca ofho\r to appr.oxilnato thc tcchnique, but on11'aferv do it cor-rcct1y,"hc sa"vs. "The rest ofthem lct thc notcs ring too longor tr,\' to playtoo fast and sacriflce precision and clariq'. Eithcf \r:\', it sounds like shit." As hc cxplairs, the onlywayto corrcct these en'ors is to separate thc light and lcft hand corr ponents of s\\-ccp picking, n1asterthem separately and then coordinate then1 rvith one anothcr. ofcourse, it's not eaq'. You'll havc to put in a lot ofprac tice time to gct it right. To get a fcel fol. the light hard pick

70 currAR \\'oRLD

FIGUBE 4:9 A minor arpeggiorun

J||URlIEY

offt"sJi. -J.e." Ashepoints "*"-pl" out, his wide-stretch,six-barchromatic "Legato"is a fancyItalian musical term for "smooth."For shredglitarists, playinglegatorequiresusingnumerous hammer-ol and pull-off combinations to makelinessoundassmoothaspos sible.once again,thereis no magic shortcut.Masteringthis rvayof playing willtake practicc,and lots ofit. when pullingoff, pullthe string slighrl,vin towardthe pa1m.This u'ill help keepthe stringvibratingand preventthe note from dying.when you'reready,checkout the moltenlava examplefrom GlenDroverin the key 5!5andthe ofF# minor shownin FrcuRE demented,diminished-flavoredrtcunt t:t, a lick iNpired bywhat Glencalls the "RandyRloads diminishedrun" (FrcuRE 536)And don'tbe afraidto break thesephrasesinto "bite-sizechunks" and chew then slow\'.

6 TEAI| W||BI(|IUT IV: CHAPTEI POIYEB PEIITATOIIIC with sweeparpeggios, diminished licks andHungarianscalesbeingtossed about,let'snot forgetthe almighty minor pentatonicandbluesscales.

For everyseriousguitarist,plalting As the gl.litaris alifetime achievement. Mark Morton wisel,vnotes,"There's no time spentpla-vingguitarthat's wast€dtime." r

climb is madeevenmorecljmacticbl' the factthatthere'san "almostsubliminal overtonefrom the high E striig becausethat st ng is alsofrettedwhile I'm fretting the G andB strings."

FIGUBE 5:5 GIenDrover

l3 2121], 'ha,,rer.n l'.tn

2 | 24 wthJrtl hant

".\$.rc prro,o,@

+6-7-9-7-6:

212l\l

2,1 12.1 2t2421121\l

. 13 2 1 3 . 1

I1\l/l

FIGUFE5:6Glen Drover"Randy Rhoads diminished run" 15-12_12+ +14]_14_11_14_11

312

11 _4

31213I3121l

t312131

FIGURE 5:7 Glen Drover 7-9

121123321321211

3 I 2 I 3 2 l\l 2I

FIGURE 6:5aMichaelAmott Gtr.tuneddowntwowholesteps (lowto hishrC F Bt Eb G C)

Sure,rhey'rcsimpleandubiquitous, but thesefi1.e-alld six note scales are responsiblefor moregxeatmetal riffs nndleadsthan all other scal€s combil1ed. Sometimes, the bestway to legato bleak up all the srveep-picking, and speedpickedmadnessis with a burst ofpentatonicpurity or ballsy blues.CheckoLltN{ichaclAmott'ssim ple but eflectiveE minorbluesscale(E G A Bb B D) \ride-stretchburst irrlcuRE 6:ta.As he corecdypoirts out, it's merelyan extensionof the nore com mon E minorpcrtatlrnic (E G A B D) clicheshownin thc first halfofacuRE 5:tb,but it definitelymakesanurk. The und€niableinpact ofpentatonic andbluesscalesis illustratedperabrilliantblast from fectlv in HGUnE6.6, DaveMustnine.Sinilar to a leadhe playsin "Holy wars," this is a textbook 72 cul'fAR q,oRLD

3i3121ll3l2l3l3l213Lll2l I pho'o,@

| 2 3 2 I 3

10t13-12-1

2 1\l : 3 I 2 3 2 I I 2 1\l

FIGUBE 6:5bMichaelAmott Gtr.tuneddowntwowholesteps (lowto highrC F Bb Eb G C)

l13tztllllllllll2l3l312l

FIGURE 6:6 DaveMustaine 15-

71512-121s171512;J17 1s

2l2l2t2

32tl Phot"'@

-rs -i i - . l l, -

-rs;{+r5_;-'

15f

CAST Kirk Hammett Mi(hael Amott Stephen Caipentel HermanLi SamTotman Matt Tuck Padge Devin Town9enaI Corev Eeaflieu Matt Heafy lerryCantrell

ffi v. *

**i ,:!

VIRTU0S|I GUITAR PR0G tEss0ll, tltAl{ilGt|JslvE PlGKll{c THE bttrtottsTnATEs ioltnprrnucu MEUilllERi tlcKsT0"PULL THE BEllll{I| TECHI{I0UE lislGBIrtctD MASTERPIEOES s0ils"Al{tl0THEB CAREER. SOII| HIS A1{ll THEATER IIREAM FROM irlllil'r iilJi ,:li,;i!l!l;i. HETHER SCORCHINC stagesell ovcr-the u'olld asa nember ofprog_metal masters Drcan Theater or bumingup the lretboarLl as ihe fiontman in his own po\\'cr trio, John Pctrlrcci consistently continnes to blir\! minds as one of toda]"s most brilli ant pl ayefs. In this exclLrsivelesson, the liuitarist unveils the key ele cnts to his Phenomenal tecirnique and demonstratcs the silin! tute ljcks to such ciassic DT songs es "Pull N{c Ul}der," "Sacrificed Sons' atld " l \ t e t r o p o l i s ,P t . 1 , " a s w e l l a s h i s s o l o m a s te.piece, "Damage Control " "When i! conesto aitefnate picking," Itetrucci explaits, ",vol1can make an anal ogl b drumming: a drunJneruses niJ{) handsto playpatterns, but might choose to have all ofthe accents soundcd \r'iththe right hand. Gldtarists use do\4'nstrokes and upstrokes to play fast patterns, btlt doublingup on dorvn- or upstrokes might be essefltial to the sound ofa specific melody. So as apla-ver,you've gotto sharPen

y o u r f i ( k i n g ' k i l l . am ' u c l :r s I o u c r n '

Petrucciepitomizesthe idealofhaving one'spicking skills together just checkout suchtimelessDreamTheatertracksas"tratal Tragedy"and "Erotomania,"aswell asthe aforementionedsongs.The 39-year-oldg!itar_ ist hasseenhisstaturerise steadilysince1989 andthe releaseofDream Theater'sfirst album, when DreamandDay Unife.BI the time of lg9 4'sImdgesdnd words,Petrucci'stechnical skillsplacedhim at the forefront of the metal/ prog-rock/shredworld. Recentstintsasthe third guitaristin JoeSatrianiand SteveVai's c3 guitar summittourshaveonlygarnered Petruccimoreacclaimworldwide."Our fan baseis bigger now than ever," saysthe gujtarist. "It's incredible how the fans have

Ia sDspended2ndl9th chords FIGURE csusZG c5 -T1n 1rl=4 ffi m

FIGURE 2 "Metropolis,ft.1" ,=104

Fsus2 Csus2

,.\

P,M. J

pedaltones FIGURE 4 open-string )=104 (111) 85/E 85

6 "SacrificedSons" FIGURE 'l=E4 N.C.(E5)

stuck with the band and have continued to grow in nurnbers." i. rDreamTheater'slate"r-elea.e,score, two-D\D/thee cD setthat includesthe bands Tour glandfinale,recorded 2othAnniversar,v RadioCiq,Music at NewYork'sprestigious Hall thiee hoursin length,90 minutesofwhich featuresafull orchesta.Otherrecentrcleases includethe cJi aive in ?o/rlo D\D and Petrucci's Animdtlon. 6rst soloeffo.t, suspended Petruccirecentl],took time out to stopby Gwheadquartersto offerup this exclusivelesson/interview. w0f,LDDreamTheater'smusic cUITAR rangesfrom the thmsh metalheavinessof Metallicato the technicallychallenginginten'iq ofcomple:'orog 'ocl. what band.or gui tar playershaveinfluencedyou the most? ,olrt{ PErnuC(lRushandguitaristAlex Lifesonare amongmy biggestinfluences. I11fact,ifl had to namemy favoriteband,it would be Rush.Oneofthe essentialthingsI pickedup fromAlex is how to makethe guitar 82 cuITAn \ URLD

N.c.(Fl5)

alternatepickingtechnique FIGURE ? developing

VnVnVnV

FVnVnVn

FIGURE 8

n - (loikstroke

\ = upstnke

soundreallybig, especiallyI'ithin the context ofat o.Thishasbeenusefulwhenplayingon myownwith mYsideProject. cw How do you go aboutmakingaBuitar part soundbigger? PErRU((lWhen playingrh)'thm guitar' oneway is to add ninths-or seconds to the chords,or addthe fifth on the bottom ofa voicing,and tryto useall six stringswhen plaving chords. ' 'Heie . anexampleLrtcur:tal: in-readof Dlavinsa strriqhtC5chord,I likero dddI\e sving thirdlrerl .".ond lo. secand 'usoetided bybarringairos'rl' rhe.lringsal l\e thifd

exampleFlcurr l],I'm usingthe openB string asap;daltone thatsustainsthroughthe entire whichhelps to createa chord orogression, -elodic cJnnectionbetweenall of the chords aswell ascreatean ominouskind offeeling I think thesetechniquesalsohelp to makea rhvthm part more interesting,andifyou add chorusand delayeffectsyou canend up with a guitar soundthat'sasbigasahouse!Here's

9 arpeggios FIGURE n '10-

1|) Steve Morse FIGURE .{

fret. This alsoenablesme to addthe low fifth, c, on the botton ofthe chord,rvhich fattens up !hesoundcoLlsidefablY cw Canyollsite2n exampleof l\'" rypeof chordin a DreamTheate.so[g? ?ETlu((l For oneofihe main rh)'thmgxitar 2l,I usea Dartsin "Metropolis,Pt.1" FIGURE tis fs voicingplayedacrossfive stringslbdr 2l;follow€dby a Csus2voicingin the nextbar' rhe rhischorJby dragging I Jlsoarpegtraat. pick acrossall ofthe strillgs,movingfrom low to high, insteadof strummingall the strings This is abigpart of my playingstyle. AryrimcI car rr-eoperrstfirg.in a chofd.or a d da n i n t h l, u i l l F o r . \ a m p l . l l l o f i e r r r r m e ' playtheseopensus2voicingsinsteadofregular powerchordslrtcurt r]. Usingopenstringsor ;dding the fifth on the bottom of a voicing below the root helpsto providea biggcr,richersound GwAre there any other rhlthm techniques pickedup from Alex Lifeson? vou ' ritgucct,q.big one is the useofopen stnng pedaltoneswithin a chord prcgression.Inthis 84 GUITARWORLD

Arpeggio exercise D/F*

anotherexample\{herein all of the chordvorc ingsincludethe top two openstringslflcun! 5]. cw A stapleof the DreamTheatersound,as well asofyour solowork, is the useof airtight lines,suchasthose Euitar/bassoctave_unison L the hearryinterluderiff in "sacrificedSons." Prriuccl That'sanotherexampleof the Rushinfluence.Alex and Geddy[Lee],especially on their early records,playedsomeincred_

ibly complexand kind ofbluesy riffs togethertn octaves,and we asabajld like to take that sarne approachto get a really thick soulld. Here'sthe "sacrificedSons"rifflFlquft 6]: in Lhekeyof E andis ba'edaround it s Dlayed scale,E C A B' B Dl u irh a the E minorblLres that arehalfsteps' lot ol chromaticismlnotes or onefl'et, dpartl added.This riff is palmandic pla]ed with rlrcl muredlhroughour nateldown-up]pickingexclusively,which tn this caseis essentialin order to achievethe machinelike executionthat I'm lookingfor. many cw The riffalso encompasses metershifts. prrrucctThaLs righr.The llfst phraseis only onebar iong,but it's a bar of6/4.It's followedby a bar of4/4 with a little 3/8-bartag that finishesoff the phrase.Thesefirst three barscanbe thought ofin groupsofnotes,the fifstbeingsix.followedb1 iwo groupsoffiv. and then two groupsofthree. Next comesthe

shouldbeplayedin. Agood exampleis the riff irr the ]asttrvobarsof the pteviousexample. We knew we neededa riffin Fl, and itjust cameoutthe way it didwithoutus thinking specificallyaboutodd meters.Butthere.rre momentswhenwe will want to makethi[gs moreinteresting,andwe'llstaftto think about how to takethingsevenfurther in termsof changingthe meter.We'll sey,"Is this phrase b c n e ri f i r ' sa l 'i n a 8 . o r - h o u l d irrl t e f n a r e between9/8 and a different n]eter?"we'll sometimestryeveryvariationand permutation untilwe get somethingthat soundsdght to all five ofus. A lol of times it's a malter ofcompromise

Oneof us might think a riff soundsgood sta]'rng thinksitsoundsbetter in 4/4, andsomeoneelse alternating with another meter, sowe'll figure out a way to do both. That way, we end up getting all ofthe differentvariationsjn there. 1w You'rewell known and respectedfor your incredibleprecisionwhenjt comesto altematepicking.Canyoudemonstratesome waysfor playersto developand improvetherr alternate-pickingtechnique? PEltu<(l There are acouple ofdifferent u a ) s r o p l a y l i c l t . l i k c t h e p r e r i o u s o n c :o n e v a y i s d o w L r u p - d o w n _ t l p .a n d t h e o l h e r i s startingon an upstroke and playingup downup down. When playingin en odd meter, it

"DamageControl" ,i=69 FlGUREllbnelody

1ta rh''thm fIGURE 2

P.M.

P.M. P.M.

Gtr. 2 Npeats Fig. 1|a thlee limes

riffin F4 lbdr 4], which is first plal'edin 15116 and then,with an added16thnote,is played in1/4. cw Is it difficultto get the bandtogether on shiftingmeterslike these? Sometimesit is, dependingon PETRu(cl the riff, but speakingformyself,I justfcel the riffgoing by, aswelt asthe inherentmelody within it. As far ashou.to countit, thatcan challgeat anygiventime, dependingonhow rrcdn) Theat,r & ummcrlis Mike lPorlnoy, phrasinghis part.I don'tconcernmyselflvith the mathematicalbreakdown,or evenhow I'm feelingi! I just focuson wherethe melodylies within the riff As a band,we sometimestake itto extremesby shiftingbackand forth between and*e cin havesomeprecty differenrmerers, aboutwhat metera phrase big disagreements 86 cUITAR woRLD

,.-

can get confusing becausethe phrasc might feel better starlingon a dowlstroke, and when the riffcomes back around you find that t-ou're on an upstroke because ofthe odd number of notes inthe phrase. You have to get used to being able to accent notes with either a dou'nstroke or anupstaoke as necessary. \ 4 h a L I d i d e a r l y o n a 5p r r r o ' r r y p ' e c r i c i r g

88 currAR u,oRLD

rvillhelp to work out anykinks inyourpick ingexecution.It pretty much soundsthe same when playingit eitherway,but it elablesyou to get usedto accentillgeither a downstrokeor an upstrokewith equalfacili!y. This skillprovesinvaluable whenyou're playingsomethingthat changesmetersand

rouunewasto pLaysomething-be it a riff, scale, arpeggioor whate\.er-with alternatepicking,fi rst beginningon a doi{'nstroke and then beginningon an upstroke.Thiswas p marilybecauseof the influence ofsteve Morse,who is both an amazingtechniciaras well asa brilliant guitar playeroverall.IfI had to pick my ail-timefavorite guitarist,it would be Steve. He's saidtha! vou should be preparedto alternate pick anlthing startingwith either a downstrokeor an upstroke.Theyboth feel

won'tr be alternate picking constantly;vou onsranrLy;vou won De thrown offor tempted to play consecutive downstrokes in the tricky spots. Double downstrokes can sound cool for certain riffs, but ifyou're looking for a consistent, "clock€d" type ofexecution, you have to be able to alternate pick both lvays. Here's another great exercise for getting your alteInate-picking technique together lFrcuRE8]. I drove a lot ofpeople crazywhen I was growing up; my family would yell atme, "Why are you playing the srme thing over and over?" and I'd say,

different, so *'hatever -voupractice, you should do it both ways. cw What's agoodwayto getstarted with this approach? PETRU((IYou can start \r'ith the sinplest thing like a scale fragment [FtGURt7]: this is an octave and a halfof a G major scale, and I like to practice this phrase ascending and descending repeatedly, starting fillstwith a downstroke and then playingit again starting with an upstroke. This is agreatwarmup that

"I'm not itjust soundsthat way!" cw Canyou give an exanple ofusing r h i sa p p f o a c h" h e np l a y i n ga c r o . .a d j a cetlt strit,Igs? PETRU((l Sure.Agood exampleis playing arpeggiosFtcuRt 9, bdrll: here'sa G major arpeggio,startingwith a downstroke.You havea little problemspotbetweenthe c and B \r-:ngbecru\erhedown.r_oLe or lhp B .rring is followedbl' an upstrokeon the G string, meaningthatyou haveto crossthe B stdng on

cw In the firsi bar ofthe melody,you allorv the wayto the c, andthen-vouhaveto cross the c to getbeckfor the next downstrokeon all of the notesto ring togetherthroughbeats the B. It's a lot easierto play lhis figurestar!threeand four. PEllu<(lThrt s anolhereren_ple ing with a downstrokeon the lorveststrin!, of t1'ng is to add lflcuRE9,bdr2].The nextlogicalstep pull-offslFrcuRE e, bdr3l, which u-ill feel the most natural.Butyou haveto practicethe hard FIGURE 13 solo onessoyorfll neverget stuckon atricky pickdouble-timefeel rng patterr E' cw Did you learnany specificpickingexercisesfrom SteveMorse? PITRU(CI Yes;this llextthi[gis something I learnedfrom one ofSteve'sclinics,and I still useitto \\-armup lttcuREt0]:the exercisecon ,isr-ofalterncrep.ckinga longsefie.oibarre chordshapes,andthose"problem"elements ofconsistentalternatepicking areaddressed Eachshape'.six ircross muchofrher-elboard. noteslong,playingdo\1'n-up-down, up-downup, with palm muting throughout. cw A $eat exampleofalternatepickingthlough shifringmetersis the melodyof "DamageContro1,"from your solorelease, Suspended Animation. PEriu((| Rigfit.Duringthe first eightbafs ofthe melody.the metershiftsbackandforth, onebar at a time,between7/3 and 4/4. Here's the rhlthn part [FrcuRE 11a],and here'sthe melodylflcuRr rlb]. My pickingapproachrs norrharsrricton rhisprrl, howeve-: sometimesI'll useconsecutivedorvnstrokes, and in other instancesI alternatepick consistently.

90 currAR $,oRLD

to makcthe guitar soundbigger;tl, e sameis true in bar 4, so,when playingtheseriffs, be sureto allorvall ofthe rotes to sustaininto eachother and fili up the space.

Gw Ho\r-do you plx) rhe chorus rnelodv? F r T R u c c r L i k ct h i s l F r c u R E 1 2 1 :v o u c a n s e e that the l1lelodic shapes here are bascd on the r " i r | . e o i l ) . L ' ui .r r l i , . e c r . ur . h c r . r " r : . 7/8 for three bers. folbrved br befs of9/8. 4/a ancl6/8. c w I n o t i c e f i a t y o u c h a n g el h e t o r c o l l r . . - r ' t . . . | \ e c o | . , , , l p t .\ i n g r h ( , meloclic figulcs. PIIRU(CT l hcle is somethiigtobe said for changing !'our t rc ns ]'ou pla!; I thinir it adds to ihe expression. This is somcthin[i that dcr.elops u.ith rimetyou rnal heer sonle young c r p l a y e r sw l t h g r c a t t c c h n i c a l a b i l i n , b u t attention to shapi[gthe tone rakes a degr.eeof matlr t]'and expericncc. Joe Satrieni has been a hugc influence for-mc in this fegrrdi Dot onh' r r p o , r i r, l \ , r d L e c lr-i . : l r . ' - : n r o n . : o r r i s j u s t u n b c l i e v a b l e - b u t h c c h a n g e sh i s t o n c . e'll usethe$'ah nar, b r i l l i a n t h : r s h e p l a , v sH of just pick ilong the length ofthe string et dif-

onedo that befirrelAndthen, nro barslrtc I'll think Uror', i vc ncvcr heard anlole do r h d f L r e f o r eIl h a v e l i t t l e p i c t u f e s o f S t e v â&#x201A;Ź i n r n \ . n,.orrlerlrrr r;ncodie. iker r.c. c w T h e s o l o s c c t i o no f " D n n r a g eC o r t r o l " sl'itchcs to a doubLe tirnc feel, and voLrcrenk up thc shled machine. P E T R U (I( lr F r e . , r e o c op r, , , f ' r . r i c k . i r therejhere s a four-barlick I play ovelthe Er section [FrcUREtt], e)iecured eitircl"vwith fast alternate picking. cw Let's go back into the pasl for a mor r c r r . I ) r e o f D f . r r - T \ e x r e . . b i J J c , rr J . l e .: . "Pull NIeUnder."

FIGUBE 14 "Pull NIeUnder"main ff . = lt)2 N . C . ( E 5A)5 G 5 E 5

I g e n e r a l l l l i k e t o p l i y h i g h e l m e l o t l i e so n the ncclc pickurp, and ifI {.nnt a specific note to jump out,I'llsrvitch ro rhe bridgepickup for that one note. Tlris nclodv combines a chordal outlinc along s ith an inhcrent melody. and the articul:rtion choiccs I make in terns of "speaking" the melody r-cvcalthe influence of -i.ltere.t:ng S . s \r V J i . S r e l e . L h ek i n L o Frr'.rf. ever-\rthiighe does grabs yon. l'1lbe listering to hlnl and think, \\'o\\,,l vc nc\'er heard anv-

ri|j 92 cr:rTAR tvoRLD

P E ! t u ( ( i T h e M e t a l l i c a i n f l u e n c el s a p p a r c n to n t h e n r a i n r i f f l F t c u R El a l . I oflen describe Drern Theirter es a malriage bet*ecn thc soundofYes and Metallica, meaning ir's the instrunentation ofYes bLrt with a hcavior sound in terns ofthe glitar ar. t h e c l o u b i eb a s sd r u m m i n g . This fiff is comprised ofdifferent slidirr3 n{o-note power chorlls pla}'ed agdnst a lo\\ opcn E pedaltone [FrcuRE 1 4 ] .E a c h o f t h e s e po\rcr-chords is eithcr a root-fifth or a fifthfoot voicing. When playingriffs like these the sound oi the ilnp becomes a verv imporlant factor: \ o!:

Fl5 c5 E5

d o n ' t w a n t t o o m u c h d i s t o r t i o' rn b e c a u s ct h e lo" ror.. ne.d . , ber:l'r. \ " rdof ri r, c l e s c r i b e ist a s t h e s o u n d o f a s t e e lp i p c b c i n g s m a s h e di n t o a b r i c k b r L i l d i n g . . . cw Tsthis a pafticLrlarly Yiolent flicl1d pETru(cr |/-dughfe,] A litlle bit! So the Lcy is rollirg offihe gainon the a p,asu'ellasthe bass; on sonre ofn) older_x'lcsa/Boogics, I'll h a r , et h e b a s so n z e r o . o f L o r 2 . r \ l s o i n p o r t a n t

FlGllBE15 "Nletropolis.Pt. l" t=120 NC

nri

is that tbe riffrnusrbe paln-nutcd, and when pla"vingthe chords -voushould dragthc pick across the strirgs in a staggered, deliberale manner, as opposed to stflrl11nringthcn1in quick s!ccession. cw Another Eireatexemple ofco1npleri . i r g l ,- n u r el , r e c p i - e d o \ e ' . h i f t i r r l ' ' n r, , 1 5i . the slow interlude section ol"N{etropolis, Pt. l," from Drean Theate r's lrldges dnd ll-ords. P E r n u ( ( rT h i s p e r i l r l c u R E1 5 ] c a r b e

intefprcted a nuruber ofdiffefent wx"vsl one is as t\{'o brrs of l2/8, s bdi\,ided as 5i I p l u s 7 , / 8 ,f b l l o w c d b y . r b a r o f 1 0 / 8 a n d t h e r t2ls subdn,ided as 7/8 plus 5/8 Through t h e l a s t t h r e e b a r s o l r h i s f i t + 1 r e ,I s \ r ' i t c h f r o l n s t r a i g h t a l t e r n a L ep i c k i n g t o L r s i n e i d o u b l e d o \ r ' n s t r o k e s\ { h c n n o v i n g f r o m o n . subdivided gfoup to another. The easiest\ra]' to p1a),fxst moling metri. _' n o d uL r : o r s l i \ e r r . . c i - r o l r L r r e n u l i ' smallerbitsi for exinple, the firsl riffcan L. t h o u E i h io f a s 1 - 2 - 3 ,l - 2 , t h e n 1 - 2 3 , I 2 , 1 - 2 B L r i ifI tr) to count ir and p1a\,it at the same tin1c. I get lostl r

. y'nntnVnVn b y r o t s NP E r R r a c [ r . t s a L L

L] 1l

^ Pi(r,tonb.hi tor riari rrrLn.rrcom.^arrrWzuus. r I 5 E r A r r s N a A d m n ,n r e d b y w B M L r s c c o R r r l R c h i ! o i h P , ; ' 5ie,edbY!!ARNIRIAMERTANt PLrsLsN H c a o R P U $ d U Y r . r n r$ P U I M E U N D € R W o ' d s : n d M t r s . b y ] O t s N P E r R LMr ia. tas A L L B RE : r d ( E V N M O O R T. o P l r 6 f : ' 9 9 : ! ! s M U s c . o R F a n d Y r t E' A M s N c A R g h t 5 A d nn ; t . e d i lrB IlLrsla aoRp lsEd by Perms on cl^ f Ff_oP!3L s- Nc ao N:

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don t know why peopleact lile thafs a crime. We'reproud of ourselves. HEAFY Here'swhere I'm supposedto say we're going to be "the next Metallica." leverybodylaughsl cw ObviouslyMetallicaare a greatband, but what was it about their music that spoke to you in such a profound way when you were younger? HEAIYHardto say.A friend of mine loaned me a copyofthe BlackAlbum,and Iwas like, "Holy shitlThis is what musiccan soundlike?,, Eve44hing about it mealt something important to me. BEAUUTU I \ras alreadyplayingthe guitar

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and I wasway into GunsN'Roses,but when theard Master ofPuppets, it was like hearing the kind ofmusic that I wanted to play one day.From Master ofPuryâ&#x201A;Źfs I went back to their earlier stufl HEAIYFor me, I went forward to Lodd and -Relo@d, and then I \rent backward. I know thaCsprobablyweird.butic\aorked forme. cW Takingyour agesinto accountone would assumeyouwouldhavebeeninfluencedby grunâ&#x201A;Źe. BEAULTEU It wasn'tinterestingto me.Guns N'Rosesdid it forme.Andthen Metallica really did it for me. NEAfYI've beenthrough every musical phase:emo,hardcore,blackmetal,symphonicdeathmetal,country,folk...And to 1!e,

Metallica" Pantera,Maiden, Megadeth are just better.End of story.But it all started with Metallica. cw Matt, your singing style has recently changed. Youvegonefromall-outlcreaming to spitfirevocals. HEAFY I know where you're going with this... cw Which, to me, has only madeyou sound morelike a youngJamesHetfield.Do you take offenseat the compa son? HEA]YNo, I don'ttale offense.He,smy favorite singer; there are worse guysyou could compareme to. Let's face it Hetfield hasthe most recognizablevoice in metal. Ifyou sing the kind of musicthat I do,you'regoingto be comparedto him; ids inevitable. But the reasonwhy I sound diffetelrt on The Crusade is becauseI've grown up. when this band started, I was 13years old. Problem was,I was going through puberty and shit, and every time I tried to sing normally, my voice would crack-not cool for metal. Then I hied sin8ing really low; my voice wouldn't crack, but it soundedvery awkward. However, I discoveted that when I screamedI could cut through the bald and my voice wouldn't crack. I was faced with a decision:do I singlow and soundsort ofstupid,or do I screamandsoundokay?SoI developedthe screamingthing. It feelsgood to be singing more now. Ifit comesout sounding like JamesHetfield, what can I tell you? cw You guys have met Metallica. Do you know what they think ofyour music? HEA;YWe've met all four ofthem, and tley approveofwhat we do.we got to opensome shows for them, got to play songswith them. All I wanted from that band was to hear thcn say,'You're doing okay," but they gaveus so muchmore. clv Triviumis doingquicenicelyin the States,but you guys are freakin' stars in Engiand. Whaes up with that? HEAfYI don't know' We just got word that in one day, the fi$t day lhe Crusddewas released,wesold10,000copiesandwe're alreadyNumberFiveon the charts.Thatjust blows my mind. If we knew what we were doing right over there, vre \irould try the same thing around the rest of the world. cW I would assumeyour parents are pretty proud ofyou? BEAUI,IEU My parentsaretotally stoked.My dad goeson the internet and reads all about us, buys tour posters from around the world. Just recently, I got an email and it was a picture of him with a Trivium tattoo. ladgfis] ttEAIYMy dad'sbeen managingthe band sinceIjoined, when I was13yearsold lfteno, co-mdndgesthegroup with Justin Arcangefl. He's alwayshelpedme,encouragedme-my mom,too, They evenencouragedme to drop out ofcollegebecausesomuch sruff washappening,I wasstart;ngclasses at a communiry collegeright when we got our first recorddeal. I thought to myself, Maybe I shouldn't do the recorddeal;I shouldfinish school.But my father was like, "No, no, you might never get this chanceagain.co for iL" cw Norv,the two ofyou hookedup in Orlando,Ilorida, but neitheroneofyou is originallyfrom there,am I right? HEAFY Thadsight.I wasborn in Iwaluni, Japan.My fatherwasin the Marines,sowe

mo\.edarounda lot when I wesa kid. From Japanwe movedto SallDiego,CaJifolnia,then to coral Springs,Florida,for a liitle while. Then \l'e u-entto Arlington Heights,Illinois, ard finall,v,toAhanont Springs,r'lorida,jmt outsideofOrlando,whereI've beenliving fifth grade. sincema1-be

arts at full Sail.Onc night I went io this club calledrheHavena.ldI qau rl'i. brndc.rlle. Trivium.I thougtt they were outstandirg! Thenr\e1 plarcd a shou .rrFullsai . rrrdrh"i. when Matt and I startedhangingout.A year later,I poppedon their \I-ebsiteand I sawthe-v rverelookingfor aguitar player.-.

BEAULTEU I {.as born in Brunss.ick, Maine, and I lived there for a few years when I was reallyyoung. Thenrve moved to southern N,laine,to a town called Dover Foxcroft, .,illich is {'here I lived allthrough high school andunrilthe time I picked up andwent down to Flo da. cw How soon after"vou moved to Flo da did it takeyou tojoirthe band? BEAur.rEu I went doNn to study recording

cw Wait aminute. You gu),s were friends, but Corcy, you discovered thatthe band was lookingfor aglitarist on theh web site? BEAullEulvell, we u.ollld hangout...*'e didn't really get into deep conversations about n1ebeing a guitarist or anlthing.I didn't n nd. I went o\.er and auditioned, iust likc anybodyelse. HEAFYldughsl He showed up at my ho[sc with this Peavey road case,$'ith allthis

all these effects boxes and 6oinlingshit everything. But\l'ejamned, and it sounded cool, and that was that. c w l ^ l - a t l i n d o f g u i r x r l e s s o n sd i d 1 o u take as kids? HEAFYJust general guilar-pl aying stuff. I can'i read music for shit. Everl'thing I kno*is byear and feel. But I did prnctice my ass off when I was in school.I'd come home, do my hornework, then I'd pick up the guitar and shred for hours. I can read tabs, but I can't read music. One day I'd liketo learn. SEAUlltu I took lessolls for a fe['years. I had agreatteacher, Bill Pierce. He taughtme scales and patterns, holrr to transpose. A very inspiring guy, verymusical. Anythingl wanted to learn, he showed me ho\,t,to play i!.

HEAFY My guitarteachergaveme a chart with all the differert modes,andI haveto sat'' it's beenvery helpful.If I canfigureout what key a songisin,I canusuallyfi$ue out ho*- to play the solo. cw Let's get into someofthe songson the new record.On "Ig:nition"and "Detonation" you speakolrt againsthomophobiaand ceorgeBush. We're not aimingdirectl-vat Bush HEAFY but more atgovernmentasawhole, cw Lyrically,from what kinds ofplacesdo y,oudra*. your ilspiration? Alot ofplaces."And Sadness HEAFY willsear" is aboutMatther-Shepardlrhe Ilnirersit! ofwlaming sfudentl'ho wds murdered in 1998becausehe wasgay]. That incidentreally affectedme."Entranccofthe Conflagration"is aboutAndrâ&#x201A;ŹaYatcslrhe he.fiv, hil&en: Te\asnrctherwhomurdered but 20011.I know a lot ofpeoplewill disagTee, I seeher asa \'ictim. cw And theAmadouDiallo killinginspired "ContemptBreedsContanination,"is that tight? lDidllo,e 23-year-oldMuslim Guinean ltuingin Ne\\,York City waskilledunder byfour police contro\lersialcircumstances offcers in 1999.) HEAFY Again,I thought it wasa casethat peopleshouldrefamiliarizethemselveswith. tr like rhrr k ird ofsirulrionhappe.r\ "eemq time and time again,all overthe world. cw In an intelviewyou did u'ith another publication,you describedthe song"Anthem (we Are the Iire)" ls havinga bit of a "Miitler Criie feel."Aren't the words "N{dtleyCdie"ar abominationto your audie[ce? HEAFY I hearwhat,vou'resaying.You kno$ I'm the worstat tryingtodesc beourmusic. thinkwe'reonlygoodatmakingit.Ifit sound like that, then I guesswhat I saidwascorreci. I nevergotthat much il1toMddey Criie. And I101'ethatshit. Dokken, BEAULTEU w i n g e r .\ h i r eL i , , r ' . S l ,R i do $ .M d r l e \C - i c . . lMdtt \\'incesat the soundofthe bandnamesl cw Matt, you look like you'rereadyto crawl under the table. I just rememberbeingon HEArY[chucAles] the tourbus, tr]'ingto sleepandhearingthese guyscrankingfuckingLynch Mob at,like, three o'clockin the noming. Talk aboutabso lute hell. [st'ghs] cw Let's talk aboursomeofthe guitar plai ing on thesesongs."Detonation"featuresa real tempestofshrieksand shredruns.Hol{ do you two plot out $,hat]'ou'redoingto do? 98 currARwoRLD

HEAFYWe had all the rhlthm Parts dot!n, so it\l-as n1ore ofn matter of"Hcy, Corey, what pert do ]'ou want to solo or?" Ilwasn't really worked-out or anything.I did ihe first solo, and basically my thouglltprocess was, Do I shred like hell or do some Dime squeals?So I opicd for the Dime squeals. StAULIEUThe really fast paft ofil is my solo. And then there's a mclodic solo latcl on r kind of la-vmy head bncL and lel it flo\l'. cw Do yor.rguys tradc solos in "Entrance ofthe Conflagration"? HlatY Yes. Coreyplays the first solo and then I comewith thatbluesy, heavy metal-lvpe solo. BEAULTEU Usually, u.here's there's along partwherc there's gonnabe a solo, we split it up so that each guy cxn do something cool w i t h i t . A l o t o f t i m e s , w e h a v e n oi d e a ' h a t the other gxy is goingto do, so it's always a neat surpnse, c w T l e f e a r c f . r r l s o f y o u r . . r l o i n go "Antheln (\Ve Are the Fire)" that recall someofthe shredding from the Shraprel r c l e e s e . o r r r ' r cL i g h r i e . . \ \ e " c r o L rg u r ' L r i g fans of people likc Mar!-v F edl1]an and HEAFYI'n1 a huge Jason Becker fan. Th" shit hc plal's is so impossible to learn

EiAUl,lEu I love all thoseEightiesshreddcr guys.They playedtheir assesoff Ifsjustcool guitar music,thc kind of stuff I can reall),8et offor, you know? cw There'ssomepretty coolvibratoon

the song"A,1d sadness will sear" u.ho's playing that? HEAFY Thntwould be n1e.I alwa"vsliked vibrato. People liLe Dimebag Darrell the way he could make one rote sound like 10 wasjustsc) cool- I was tryingto chalnel a littlc Dime there. cw'fhe soios ol1 "Unrepentatt" really jurnp out. Are the]' double trackcd? I harmodzed one little run, did BEAULTEU somc octale 5hit- I don't reallr- double things like Randy Rhoads or anything. God, jt's so hard io rememberthis stxffsometimesl llaughsl cw "Bâ&#x201A;Źcomiogthe Dragol" has a verylar ringbreak that recalls the machine gun section of Melall;ca's "One" - intcntiLrnal? BEAULTEU It's got a diFfcrcntpattem to it,I think. I never even thought ofNlerallica when we did that part. HraFY I guess the timc signature is soft of the same, but the onl,vband I was thirkingof 'hen we recorded that r\.asDrerm Theater. They're totally insnnc. cw Speaking ofinsane, thc nit1e-minute title cut is hellacious. HEATYIt took a year to wdte.I did all the riffs, and the band gave me a hand with arrangirg it.I trjed to write ly cs for it, but rt just$-anted !o be ar instrumental. The funny thinâ&#x201A;Źi is, Matt 'as BEAUUEU working on that sorg for a ,ve , but 1verecorded it ir a dayl HEAFYBetter-tha[ the otherway around.

flaughs]*

EA T A L O GFFEEDVD"CARVN 60 YEABSINTHE D ] R E C T S A 8L 0E0S. 8 5242 3 5. F R EC I 0 O L I U1 A R \ 4 ' n R L D

SUPERHEROES(contin edJiam pdse78) but I edo-1'just about eveq'thirgelse TU<( HoLrse. It's bullshit. It's j ust not my tnlng( A N I R E I LP l e n r yo f s r t r f l . f h e r e J f , a l o l ofdcdv:rtive bands whose rnusic doesn't retain thâ&#x201A;Ź fire oftheir inspirations The.e's no need to name names-there's awhole genre o f n ' u . i c l i l e r \ a t . I l l - i r k r h e \ \ h o l en u ' i . industr-v needs to be turned on its head lt seems to me that evelvthing is driven by the single, and there's less interest in longevity, in giving aband enough support and love to develop into a killer act. P A D G lEd s r t i n d i r r s m y l _ I p t o n ' r t l L \ 'u-l b i g " t r h ( I n o - n e r r rT' gry a' fucl. and ir . "o

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don'tget it.It's no ftrn \r'hen.lbandstardsstill onstagedoingfuck all. Ll We don't havea musicgenrekrytonite If$-e comeacrossa st-vleofmusic wc don't like,itjustgoesin oDeearandoutthcotherIi's that simple. TorMAl{For me,it's probablybooze.The right amountwill hclp rneplaybetter,but r,urrnuchandit c"uld tu.n ou! fuc\:rrghoanlthingthat rible.Actually,jazz sucks...and Hermanplays. tror me, itwould haveto be really HAMMETT .impy adult contemporaryj azz.You know the Kenny G kind ofcrap? Not fusionjjust reallybodngjazz musicwith really dumb no r\rl hate no artirLrde chordprogre..ions n'' crle-g].I nateall rypesof mu'ic irggrp'sion,

like that. You can play,like, polka rnusic for me, and ifii's cuttingcdge and has a real atti tude, I night like jt.

HAVE SEEREI MtlSISUPEBIIERllTS BE? YI|URS V{llULl| WHAT IIIEIIIITIES.

rucK I'd like to be ableto pull my Jipover m\.head.I'dbe like abiglip, sono oncwould know it was me.And my namewould be DustyFields,'causewe spendmostofthe

PADGE KieranConsumption,becauseI drtn like fuck afterthe showl row tE D Mine *'ould be Devin.The De! is the onethatgetsonstageandgoesmad; Devin is the onewith the hat and the glasses that watches?'uturdmdand drinks a little red wine. That'smy ClarkKent (ARPEITET l'd be a charitylvorker'That\\'r it',vouldbe no surprisefor me to be a superhe ro'causeI coulddobothjobs sirnultaneousl I'd definitelyneeda mask,'calrs BEAULIEU m.r,k.arebdoa.s.l d bequjrpJ drfk super whomyouthinkis avillainbu hero,someone $.homyou later realizeis good,it'sjust that he'sgot abadassedgeto him ToTIA l d bna fuc\i.lgfailcorl qearingflasher,but insteadofflashingmy knob, I'd flashmy guitar.Bet l'd still get arrested, though. u Well,I g essI'djust be a computer nerd. What can I say?I guesslln not as creepyassam,

HEAFYFuck,l'd be Herman's fluffer. AtioTT I wouldbe my own glitar tech HAM| lrT I'd be a politician Maybe Arnold Schlvarzenegger.

ACHIEYE CIIUTII IFYl|U MUSIC, 0l{ETlllllcwlrHY0uR II BE? WHATWIIUT|| HAiuiErr I think we alreadyachievedthat s ith _ore. {crually,$ewannaplayererywherein the world. We just playedAfrica.we wannaDlavChina.lndia,Antarctica...I want us to go inio outer spaceandbe the {irstband to play in zerogravitY (aRPETEROur musichasaheadyachieved morethan I everimagineditwould l've been

playingmusic myentire adult iife,lvhen all T hoped for in the beginnjng was to get a taste of suicess. That is such a thrill l never imagined ithappening. aMort I'd like to move people, and hopefully I do that. BEAULIEU fd like to succeed like Metallica have. They're celebratingthe 20th anniversary o l M a s t ? ro f P u p p e r c , a n de v e r y o n e \ p f r i s i n g them. Thacs whatl want for ollr music: to stand the test oftime, to stillbe relevant 20 years from now and to still have thatpower and strength. TUGKYeal,longevity iswhat I want;longevitv like Iron Maiden and Metallicahave l'd liie to write anthems thatkids born todaywill still dig in 20 years'time.

u \\'c'd like for asmanypeopleaspossibleto like our music.we havetried to pushour style ofmrNic-metal or \,i'hatevertoward what we think is missinginmusica!the momcnt

Al{D JlillHEll||RlX |rS1969 PAGE IIAVE JIMMY AIIll UIIS? WH|| IIUEL, AGUITAR HAMTiETT Thai's a tough one l would think Hendrix,becausehe wassocutting edgeand took so manychances, HEATY I don'tknow enoughabouteithergutar Dlaver,Thosetwo arewaybeforemytime, rt liendrix hasgot that magicthatenables himto be more outrageousand originalwlth his playing.Sohe would win. Plus,he could bybundnghis guitar' havea sideshowonstage row SrI|DMusically,Jimmy Pagewou]d kill him. The song"Friends"[fom Led on me Zeppelrnll | | \\ e' suchan influence with Page'suseofwhole tonesand suspen_ sions.Hewould bringthe soundofthe coun_ trysideinto his stuff.lf Zeppelindidn'thave RobertPlent I'n1not afan ofhis voice-they would be the ultimatebandfor me. on the other hand,ifit camedown to their improvisationalpowers,Jimi He[drix wolrld sla) Page.qcrurlly.I rhink DavidGiln'our's benerth:n bothofrhern.I rerll] I ikehi5lastetul style. TU(|(l'd go for Page.He'sjustgotmore ofa classicrock and roll thing, rather than a bluesstyle.

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P A T T CHEe n d d x \ l ' a s q i t e l o o s e w i t h h i s S U i r r _p ' r \ : n g .s o n r j b e : t s o u l d b e a r - i s . C A I P E N T EIR b gonna go \rrithJjmmy Pageon that one, and for one reasononhrl Page did everythirg on zuitar. Hendrix k) me was a bhres plaver. It n1ight ha\.e bcen blues rock, or whatever, but it was alwe\is bluesv, whereas Page plaved ever-vsty1e. L e d Z e p p e l i l 1r v e r e m a k i n g u p s t v l e s t h a t stiil sound new todav.you could put their e n r _ eb l c f c a t J t o go u r r o n r o r r o u a r d y o u r g p . o t l e ' r n l d g u . - W o : r r i p e o ; - l eh r r e s r i . not ceught up to theiI sound and page,s . r ' 1 " .T h e f " r r e l o r d . o . p e e p l eu h o c u o \ ' L e J Z e p p e l i n .h u r r t ' r r ' , i t ' i , , , , c o p , . i e d Zeplelin's stuff is still inspirirg today, espec i a l l y P a g e ' sp l a y i n g .

[|| YllU THITIK THERE ARE AIIYOUITAR SKILI.S sTtttT0BEotsc0ltEBElt? TOwl{sEnD O h , v e a h .] t , s a l l a b o u t w h a r v o u conrlrrrdofrl-egu.oror rh.1nrp.fonallt, the guitar is capable ofreachingdo{.n to the basemcnt and shootingup to the stratosphere. Right there, yolfve got the frame$,ork for ar c A R P EI E R \ c l l , f . o r t 1 . e c n n j c d l s t a n d _ p o i i r . l L l . r ' r h i n kr l - e r . \ r n \ r h i | g r e $ t n h e d r . c o \ e r e d\.o u c o u l d a l q r r . p u . t -r h e b , , u n J afies by addingne$' accessori;s to the zuitrLr to make itdifferert, but I think es far as \r,.hat,s playrble on theguitar, it,s ail been done. what should be lediscorered is the taste for doinc

it \r'ell xnd puttingthe right flavors togethcr. I h e a r a l o t o f m u s i c b " vn e i . b a n d s c o m i n g o u r t o d a ) a n d i t r e m i n d s m e o f a 1 o tm e t a l b a n d s ofthe earl), Eighties.It's cool, but sometimes I look at those bands alrd feelas thoush thev.re l r o c l r r gt h e p r . r i n . r , : d o l i r r e g r r r i l g i r i l r o r l ' r o u n . I l e . I f e e ll . l , c . r v ; 1 8 r o f h u . e b J r d . . " J u - t b r ') o L t r s e l v ei.l .\ ^ k e \ . t f r h a t: {.ho vou are, thcn I'm not offended.,, tr I definirelythink there's roon for new discoveries. Guitar progresses vear alter year.. People year-sago couldn,t imagire whatrve,re d o d r o $ . t h a r L . l d i e\ r n H a l c Fd i d o n g ! i tar has no\\,.beentaken to a new le\.eI, aMoTT I think pcople should go back and listcn to reallvgood guitar playing like there was in the Eighties. The problem is that a lot ofthe bands around nou- are influenced bv the Nineties bands, r;r,henmusic totallysucked and there was no lead guitar going on.

tIl|OI{E ISMAKIIIG |lRIGIl{AI. GUITAB MUSIC A]{YMllRE, DISCUSS, cARpE TERIt,s trire, but it,s srill fun to play and be unoriginalat the same lin1e. B!AULtEUEveq.thing has prettvmuch been dolcbefor'e, so norvit's twice as har:d!o putvour ovntiristorthingsto make it sound original. ToraA lfyou think about it, there are o n l " ve i g h t c h o r d s o n t h e g u i t a r a n d o n l v a certain nunber of combitations in.ivhiclL y o u c a n p l a Yt h e n 1 . Lr There's not so mlrch room for making

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trulyoriginal stuffwith a guitar on its own. But youcanal$ aysmix it up s ill- otherinsnumentsto makeyour soundmore original. IuaK I don't agreethat no oneis making originalglitar music.I think everysongis indiridual.regardles. of it. soric .ignarure. Besides,iCshard to soundtotatly originalthese days,becauserock musichasbeenaroundfor 50 yearsnow. Besides,Ithink originalityis a gift thatyou're bornwith. You get it not from readinga bookbut from tistening. HA IEII A lot ofmusicyou hearnowhas beennurturedby recordcompaniesthat want a certainsound,so ifs not necessarilythemost excitingsound.No one reallytakesrisksanymore.It's all safeandformulaic,and I think rharhasa lot lo do wirh thelackof inreresr-

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ingguitar musicnowadays.Butby the same token,I've hearda lot of greatnew bands.I love Trivium,I loveMastodonand Shadows Fall-they're more traditionalsounding like a lot ofmetal bandsfrom the Eightiesand early Nineties.I lovethe way Trivium harmonizc ever]thingand how theywrite reallygreat riffs and melodjes.Boththoseguyscanshredl

WIIAI ARTISN l|FTOllAY HAVE IlIFTUEIICEII YllU? TOWXSEID JamesHetfield.He's one ofmy all-timeheroes.That guy'sthe ultimatemetal rhlthm guitar player.Stufflike "Blackened,, is astounding.He's stiil the fuckingbest.The tone in his right handis amazing.

aMorr I usedto think Kirk totallyrocked. His leadguitarstyleon Metallica'sfirstthree studiorecordswasreally strong. roT A When I wasfirst startingout, Matt Tuck was a biginfluenceon me. LtI've beeninfluencedby Metallica James andKirk-and I learnedloadsofMetallica soloswhen I firststated playingguitar. HEAIYKirk for me.Metallicaaretheband thargormejnto metal.ard Kirk is Mho made me want to striveto be a goodguitat player, 'causehe'sthe firstlead playerI everheard. Everytime I tryto do somethingdifferent, whetherI rD rogo neoclassical or progressiv it always comesback to that Hammett style ofbluesyheaq' metalstuff.I totally learned from him. EEAUUEU I didn't reallylistento a lot of band'orherrhanMerallica. wl-en I wasslarting out, I learnedall sortsofMetallica sontss, andwhenyou'relearninByoupick up and storethingsthat comeout in your playinglater on.Ifyou listento a lot ofour solos,you'll hear the influence. (ARPEI{IER Jerry Cantrellis cool-I love Alice in Chains but I honestlyhavebeen influencedthe mostby the heaviestofall metai.I first heardMeshuggahin 1998,and up until then I would'vetold you the heaviest bandwasPantera,andbeforePanteraitwas Metallica.That'sthe progressionfor me.Kirk HammeRisgreal.roo.bul if I hadro picka \4etallica guirari5r lhar influenced my playing I'dpick JamesHetfield,becauseI loverhythm.

I love Kirk's plal'ing, and I think he does some s\{'eet-assshit. but it's reallv been Janes \\'ho's i n s p i r e Lm l e. ru(K Hetfield and Hammett.

lll AltaY? 00YouPBACTICE [0wMuclt TUC(An hour rday at least.l 'hen I \\'as in rnycarl) teens and didn't have muchto do,I'd practice five or-six hor.ns a day. As soon as I got home from school, T'd plug in tilll rventto bed." P A o c EI f l v e ' r e o n i h c b u s a i l d a ! , I ' 1 1 g e t m v laptop and do a feu' hours, just jamming alorg to songs.

TU(KFor \rarmingup I play our stuff the fir'stcoupleofsongsfrom thc set-to gei into thegroove.Idon'tdo scales-

PADGEI !ryto go over every solo I knou, justto get m,v fingers goin€i. HAMrtrTr Whcn I'm at home,I try lo pracr ; c . i o r a c o u t r u i h o u - . . r r o u r .I r i g \ r p l a r forthree hours inmyhotel roo . Sometimcs I just don'! have tin1e,especiallv rvhenwe're makirgan a1bumT . he Lastthingl wanna do when I've been in the studio all da,r'is come home and playguitar. aMorr It's hlfd !o sxy. I hrve a guitar in every room at home.I pla,vt'hen T check my emails, 'hen I'm eating breakfast... I practice a couplc ofhours every day, not becauseI'\'e hearrl you should butbecause I just love playi n g g u i t a r . I f I d o n ' t p l a " vS u i t a r f o r 4 8 h o u r s , i t will drir.e n1emBd. (ARPE TERNever. l don't practice because

there's no structure in our nusic thnt I feel I have to stick to. I tr,v to be constructive with song design rather than fit into the same for_ mat as everyone else. So \1.hybust to practice ever!'day? Quite often, when I'm wxtchingTV I'llpick up myglitar and play aroundu'ith it, but I'm not followjng any tuali it's more like n1y right hand neets ml' left.I'm makingsure the,v're sti11comn1unicatirg and notworking on separare pages. HEAFYI try to practice each day, even when I'm on the road.I usually shoot for around one to two hours a da,v,or ifit's bcfore a show I'll u . r f m u p f o - l 5 n i n J r e s .L J r e l J .l \ e b e e r u ' : r L the John Petruc ci Rocl ,iscrpline book and video. I just go through it co\.er to cover \r.llh a T o T M A xW e l l , I n e v e r p r a c t i c e .I m e a n , I ' n 1 not gonnagct anybelter thar I am now, which isn't thatgrcat an].way, so s.hat's the point? LrI don't rea11ypractice, blrt I used to quite a l o r . L i k c \ 4 a R - a d . $ l r e n\ u u r e I o u - ' r g ) n l i J . don'thave thetime. There's someone around vou distractingyou and it'sjust impossible. EEAULTEu I don't get much time duringthc dat', so I usually just play the first song on the set to warm up-

Y|lU AIIYTHIlIG ISTHERE MASTEBE|I IIIVEII'T YET T||? WllUTl| IIKE BUT |lIIGUITAB a M o r r O v e r a l l l ' d l i k e t o b e a l o i b e t t e r - .l l n ahvays tryingto improve my playin€t.l al\l'a\s

-This'guitar'si pieceof $#@% stridgiil It keepsbreakinq

nickel for every ttne I heardthatwhilewokingin a guitar shap or on the gigging! Brcakinga sting is narc thaninconvenient cant staytn lhe nanent' tf yau'rc worriedabautthe ne brcak.]t daesn'thaveta bethatwayanynarc.Findoutwh and disco,.t the tu," eal\ (a,tsc<9tflngbrcahaqP palentedSting SavertNSaddlesfrcn GraphTechGul lalrs/" 0aveDunwoodie,Presidenl. slay in lie Monentwilh SlringSaver'MSaddlesl JoinairlstslikeDickDale, (ennyWayne Shepherd, Bachman, Robert Cray, Randy LosLoney Boys,simplePLaf,Pea J a ma n dm a n ym o € w h os t a y i n t h e saddles. withStringSaverrM momenl"

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sayI'm notthatgreat, it'sjustthat everybody elsesucks.The level ofplaying is so bad that peoplelike myselfcanrise to the top. It wouid ne,rerha.tehappenedin the seventies or Eighties. row sE[D I'dlike to masterfolk music l know it soundsridiculous,butl'd like to be ableto incorporatefolkmusic into my playjng, so I could sit round acampfire,pick up any guitar and play somesongthat will stickin people's heads. _ clnptlrrr t would loveto playflamencostvlesuitar,but I would keepitsolely for my'eii,noLfor the band A'.o.t d likelo lrarn theory-I'vebeen piayingguitarfor 20 years, ,nd I think I'm still at a baselevel.lwish I knew theory soI could play in anysituatiol

FIRST A]IIIBETHE SPACE I]IT[|OUTEB TOGO US TYA]IT -IORKIIAilIMEfT GRAVITY." ItIZERO TOPTAY BAIID A t t h e s a m et i m e , l t h i n k t h a t i f l h a d t h a t knowledge l would play eve4thing based on that knowledge, whereas rightnow I have no k n o w l e d g ea n d r h e . k 1 s r b e l i n i t W h i l e i l may take me little longer to figure things out, it's more excitingwhe[ I do. HAIMEIT The guys in Trivium got me interested again in that neoclassical style the whole tremolo pickingthing. Theyre using thebest aspects ofthose techniques, and it's sparked my interest in neoclassical playing again.It's ironic, because Metallica are a huge

influenccon them,aDdnow they'reinfluencingus. It's comefull circlel ru(|( I'd like to be a$eatlead player.My rhlthm's down and I'mproud ofthat,but my lead!Icanbustouta soloifl wantto,but it's nothinga true soloistwoulddo I'mnot asolo olavcr.bur I d lovero be ableto playarpeggios i" up dnddownthe neckwilh;n secondsPadge lhar.His lead eeninitclo"erto accompli'hing ir o.k isgeningdou n. rran:lttgetring$icked. Yeah,I'm working on arpeggios. PADGE T a p 'a r ec o m i n gi n a l o L , I o ol { | c a n g e r m y leadplayingup to "cratch,togetherwrtu Matis rhlthm, we'll be ableto breakor smash anlthing in our way Ll I wannalea l eveqrthing,and I wanna be l0 times better than I am now. Just learning one or two skills is pointless;rhythm pl;yers just play rhythm and lead playersjust D l a \l e r d ,b u t I o u w e n n am i \ i f u p a n dp l a y u p .b e h i n dv o u rh e a d . i i r r i n g d o rn . . r a n d i n g back to front... HEAIYI'd like to play the overheadguitar solo to Drag)nforce's"Tlrough the Fire and trlames" BEAULIlu My goalis simplyto bebetter at eve4'thing. rolnA I'd iust like to learnhow to turn my gxitar off and put it ail'ayso I canstop annoyingpeople.if

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DISPTACE OUTTA OET OOTTA WE Incorporatin{ octave ilisplncement and urpe$fi,os into melodic ddeas In my lastcolumn,I demonstateda few ways to add chromatic Passing' licks in order to notesto scale-based createimprovisedmelodiesthat roll smoothlyover a chord progression. This month, I'd like to show You a way to spiceup licks that are playedover ocla!e a one-chordvampbyincorporaring displacementand arpeggios This molltl's examp]esare in the keY ofA minor and fit into the diatonicchords of the A naturalminor scale,alsoknown as the AAeolian mode.The notesofthis scale areAB C D EFG the samesetofnotes thatcomprisethe C major scale.The only difference is that we're starting fiom the sixth degreeofC major,whichis A. andcontinuing uo the note sequenceone octave.Itis for this reasonthat the Aeolian mode is referred to as the sixth modeofthe major scale.FIGURI I illustratesrhe A nanrralminor scale/Aeoliar modeplayedin 12thPosition Getting a graspofthe modescan seema bit overwhelmingat frrst,especiallywhen dealingwith scalesthat havemany sharps or flats.I choserhe A naturalminorscale for this month'slessonbecauseit doesn't containany sharpsor flats it's just the white kevson a Diano,from A to A I think this heips stre;mline things a bit and makesit easierto think aboutthe notesand seethem on the fretboard.once you understandthe theoreticalconceptwe'regoing to explore, it's simply a matter oftransposingit to the other 11keys. is a technique octale displocement a notein a melodic u hereby1outrarspose line up or down an octaveto createa wrder Eaoor intervalbetweentwo notesthatwere ireviously closertogetlterThis devicecanbe linesoundlikea ir.edto makea scale-based progressionof arpeggiatedchords FIGURJ 2 is an A naruralmrnorscale

114 GUITAR WORLD

1 A NaturalMinor (A Aeolianmode) FIGURE

4516

FIGURE2 n

= d.||hsiake

V = upn/ak

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nvnvrtv

nvnvnv

line that incorporatesoctavedisplacementto of impJiedarpeggios. ouiline a Drogression Noticehou riuch the linejumpsaroundand the useof intervalswider than an octaveln somecases,a chord is impliedwith only two notesthat form the intervalofa major or minorlotfr-an octavePlusa third As you can see,this involvesa greatdeal The lick 'houldbe played ofstrlngskipping. pickingbeginningwilh wirh brrictalrernate a downstroke.It will definitelytakeabit ofDracticeto get lhe shapeofthe melodic progression,nder 'o,lr fingerr and be ablero slowll ac6rst playlhe lineclean\.Proceed and graduallybuildup speedonceyou've memorizedthe note Pattern Ifyou concentrateonly on the lower notes you canhearthe A asthe line progresses,

afull naturalminor scaleascendingacross octave.The higher notesare intentionally mixed up a bit in order to avoidoutliningthe samearpeggiatedchord shaperepeatedly. This preventsthe line from soundingtoo predicableandgivesit a morevaried, interestingmelodiccontour. AlthoughI play this lick over an A minor one-chordvamp,it's very worthwhile to take the time to analyzeit in regard to the way the l ve indicaledrheoutlined melodvfuncrions. or imoiiedtriads abovethe tab For the sakeof swle ;d musicality, I end the phrase with an Aminor pentatoDiclick, and,just tobe weird, note. throw in a high D asthe second-to-last Next month,I'll talk aboutthe useof 16thnote triplets inthe building ofimprovised licks.Seeyou then.{6

ACHARM THREE'S Dirktin$

-, ---

--11 _-T

scalar nms into thtee'note {'rou1ts

Tune down one half stâ&#x201A;Źp (low to high: Et At Db Gb Bt Manyyearsago,I had a teacherwho told me that no matterwhat scale1 tlGtlRE1 A Dorianmode'threenotesPersfing was playing,it would be usefulto me rVnV nVnVnVnV to find its "Dorian position" He was referringto the secondmodeofanY 4-4 6-7 + major scale,which is known asthe Dorian mode.for example'the notesofthe \,1=@arckx c major scaleare GA B C D E Ff; if we start n = d.t{6n.ke the sequencefrom the secondnote,A, and or-r"o"t"u", *" getA B C D E F? G,thus 2b FIGURE ""."nd formingthe secondmodeofG major the A Dorian mode ln man\ oflhe scalarruns I plal.l lloften fingert hreenote,per string.asrhisfall5\ ery co;fortabty on the fretboard FIGURE I :how' the A Dorianmodeplaledrhiswa1 But T am alsocommittedto usingalternate(downwhichcanpresentsomerechnical uD)Dickinq, difGcultieswhen playing three-notes-persrringpafterns.The reasonis thal the tlrst rhr"Jnoresu-egenerrllyplaledasdownupdorn, but then I have to start the next strrng up-doun_up.Inmy experience,many players havetrouble startingthat next stflngon an for my:ell I hadro work Speaking upsrroke. reallvhardin orderto maslefthlstechnlque one ofthe thingst did in order to or ercomerhishurdle* ai lo createa melodic ideabasedon the three-notes-per_string conceptthattraversedthe entireiretboard' I begi; the patternwith one melodicshape butihen changeIharshaperoone(harffavels .rfaighlup anddownI heocaleasir rallsin eachascendingpositionon the neck' FIGIJRE2a illuslrateslhe first'hape.lhe first four notesof which ascendingstraightup A Dorian.I then skip onenote,C (third string/ fifth fret) and go ght to D (seventh fret) Next, I movestraightdown andthen straight 2b. which is articulatedwith a do'nstrolre, back uDthe scaleFIGURE 2b representsthe thus enablingme to continuethe rest of the next sliape,which is playedstraightup and up scalarparternby playingdown up-do\'r'n an upstroke with down the scalebutbegins Eliminating beat on edch notes l6th in stea;v in FIGURE This logicallyfollowsthe lastnote that onenote inthe firstbar resultsin the 2a,which is pickedwith a downstroke ''flippiogover" of the picking patternand thingtogether put whole the -pathof Now let's servesti createu hati thinl of asrhe into onelongrun, asdepictedinFIGURE lick' ofthe the execution in resistance" least 2c.Noticethatbar lbeglns with the pattem to learn alternate started I first When of firstnote the I add from FIGuRE 2a,but picking,mv pick haLrdwasvery-w-eak FIGURE2b to the endofit in orderro keep This is becausel m nalurall! a lelty Dutac the5lerdvstreamoi 16rhnotesflouing in in the local music store had no left-handed 2 Bar upsirolie wirh an 4.4 rime,ending guitars, I was forced to learn to play guitar rLrrnbegin"wil h rhesecondnoteoIFIGURE

E )

2, TIGURE

2c FIGURE

ffi

ts a full ronalb liningthe atedly. Dgtoo

rile to take he way the reoutlined r the sakeof rse with an tobeweird, Flastnote. useof 16thrrovised

richt handed.In developingmy picking ."".hnioue.lloundir heLplulroanchorthe middle aad ring fingers ofmy pick^handto the body ofthe guitar.I use thesenngers as a/ulcrum [or rhe resrofm) arm as Inuch $rltn.a of ny pickingmorioni5 Seneraled c o m b i r a t i o on f m y e l b o wa n dw r r s t l n l s has Drovento be a very comfortable and natural picking motion for me, and it's never sivenme anYProblemswhatsoever' " Ne*t month,t'll be backwith a look at the composition,"Rainforest"'from my No CD.seeyou then * Bounddries

G U I T A R W O R L D1 1 5

:60@i

'il$; ry ncx rowcorr sals Heatl' thro\!ing in movirg noles"' plalrng when3 metal guitar god like -, c a s e ,i t s a l m o s t l i k e I m i h i s " r n ttLts Kirk Hammeit of Me|allica g!itar''' o n e o n t w o D a f t s ms cuifar World that Triflum are At 1:3o lstction Fr, the bo-vs-rurn-up. the favorite new band, then wâ&#x201A;Źars thet Eear'v heatand lauoch into 3 riLf t h e ol band's T-shiit onstage in lront goodol'thrash w1In a s ' s o r n e d e " c r i b e s rock \ nen 80.000 faff at the biggest s i m p l e ,t \ v o n o t e p o $ e r c h o r d s you something tor fesd\ al in ;e U K it tell' , r e P e a t e d i s p h r a s e thiieiehr-bar guys are lhe rral oear' cI Beaubeu To ouiit simply drese t h e s o ; g s b r i d g e {s e c l i o n to nave world the in thing { D3r orr "Ita ihe ercriest through aY offhalfu breaks \ ou\e doLng' one of l;ur heroesdig urhaf harmonJ.pafi' compltmenlary a into ttur Mait Hertj savs T;vium's {rontman' _M\ Darr's a ldidtonic] lhird hrgher' ano rc or thE to have him actually suppoft what -vou i t a d d st o t h e w h o l e d y n a m i c s oclaves doins is eveLlbetter" h e s a \s " l p l a y s t r L l m m e d s o n q , " s n e \ v s I i d o e s r lt h u r t t h a t T r i v i r m r o u n d e db e t t â&#x201A;Ź r o v e r t u a n t h e y b e c i u " e ToP 25 harmony cD, The Ct rrsdde ma'le the the make help rhords Jnd in Englano ihe ro')r in America and the ToP 5 rerllv stand oul Matt s playing ot rne " E n t r x n c e r e l e a s e . i t s uDon , chord and I m plqrng o f e a c h i f t h a n d s hrst srngre so tne Conflacretion is the album the third, doubled in octavest ano and a viritable thrashfcsi Heary triadic furmo Y i s f u l l r e s u l t -down ( s e c t r o nt l ) ' h i s c o h o r t , C o r e , B e a u l i e u 's a t Next up is ihe inierlude the song_s to explain l{orld ":'1" with Guitdr *hich Mat! fefers ro as "'if!! ho$ to plxv rt senesis and demonstrate juxtapose a simplite'l.hea\'r' !o s snted a " " M u s i c a l l y ,t h e r e u a s n t e x a c t j y rrerw c l e a r i n s p i r a ! i o nb e h i n d i l , ' " a y s _Ii was iusitime to start writing some ke):it'sjusttbeexact, in anr'specilic l-remcmber clamn songs for the record p"tt"tn shiftedarouno fi,ig"ri',g sam" rn tne. comine up wilh lhe guitar ntis the neck." TLleater n1 dressing ioon ofthe Gothic Next uD is an A minor solo sectron ls almosr v c r s i o n r e c o r d e d T h e 82) that Denver, c r i f f ( b e g i n n i n gr t i n b a r w i t h I oro' Ergntlest h e s a m ea s t h e o r i g i n a l d e n l o . . unalhamecl gloriousl)r rer'eals a to ha!e tnls _l! s 3 coo!cnaLrge saJexceDt for the intro lt used i n f l u e n c e m e L a l w a s r l in it' but pret) t3sr r i d i c r o u s s h r e de r e r c i s e Beaulieu, "bccause the song's \vecLltrt,, k i n d o f t a c k Ya n d i n s c n e s o and then t h a t p o i n t u p t o andth13shv root/nrm K Notice the use of inverted this meloJic riff with :I I icked-bac rype on the f i f l h t h e c h o r d s w i t h oorver in lt s a redl\ coollLitto,solo f e e l c o m e s iottom in bar z of the tfrrlscrrptron' Jlrs mostLl' over, tno. My soln Lseclion These !end which begin" on pagelI8 a n d e n d s$ i t h m A m l n o r i m o r o v i s e d om]rlolls soun'ls lrke the song s intro ri[f a dark ar;essio rLrn (bar lo4r that octaves but 1m \'ibe, as do the dual-guitar b.,n"h ofdiff"."ttt "tpeggros " inbar 4. "Thatline was ollgrnally. bet\\ een differenl A mrnor moving iusl BeaulLeu a musrcirL harmorized in rhirds says shxpes on ihe neck, so it has line' and Nlatr ' "My part v,'asthe main goN io it ne the sPor' uas harmonizing it a ihrrd hlgner' "Mv solo \vrs imPro\ ed on toan octave part harmony his chanEed b l c z i n gA m i n o r l e a d o f h i s H e a f v s a r s betau\e belori,. and ir lit much betler' (s;ctionK)'I jusiletthe songspeaK.ro L o , h L g hL t s solo Len he wasn'tjumping from low fle md followed $ here Corq'-s souno' n g o o d o l ' b L u e s \s r y l c ' retw cool, interestlng s o m e I t n c e d e d o f f . is cre3teo lLorr Anoihef interesting sound h e a l a m e t a l s o l o i n g ,s o I s t a r t e d ,, cnorus. purL bv the chords in the song's h a m m e r o n s ' b e n d sa n d o f l o t s r v i t h r ' lo (;ee sectio D jn the iran-scrrptron r.hco st'lo' of{s. After I'd recor ded lhe ot uslng In'er n "I ve aluavs been a irn the damn thiLrg to plat rt relearn ano nontraditional chord lbrms

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116 culrAR woRLD

TheTunes! Behind TheTones A Guideto the Perfecclone

h doesnt natter what kind ofmusic you like or who your favorite artist b, heving the ight tone is the key to better playing Y&edrer your into classic rcck like "My Generation" by The \Vho, or into dre heara metal sounds of Dio, getdng Lhe nghL 'ound *dl m.rke vour pracnce sesions nore enjoyable. So plug into the tones of these and the rest of this month's ardts and make the time spent widr your guitar tun' and 2s an added benefit, llstch ]our playing imProve! Ncnv LJut I !e used $e CFIX4 Cuirar lVo*sution@ for the last few montlx' I still have only begun to lap into the many applicatrons it has to ofer. Not only do you have aI the grear modeling and e$ecs ararJablefor gening ftis month's tones (you can get them at you but www.digitech-com/guitarworld), have a wealth of oPtioru pncticing and song creacion.

for

recordng'

Wolfmother"Joker and the Thief"

Dio"Rainbow in the Dark" Namei

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trT One of the coolest features is the MP3 player, which les me dorvnload all the great lesson clips from the nagazine at: >>r{! R rt ot{uxE wwr tGuraRv,oirD.coM Load these or your favorite arost MP3s on rhe comPact

Reved off ErpAriign bPl

oK Go "Here lt Goes Again"

flash card and you have your own portxble tutor to pnctice with Feeling iispired? The onboard recorder rnd Cenenl MIDI Dmm machire with over 100 patterns and 8 kis will keep those creativejuices flowing long into the night' Check out ww1v.g{itarwork$ation com for rhe latest updated applicarion tips and tuiotirk that can help you get the most out of yor1l GNX4 Guier[/o*sradon. See you on stage 'lone aIthe ttdre Gltu Billf CIeffinLsk 4 20'y. "eteta and stediodfld ir 4 pnlifu tEdtorof to et head ii esntle$ ftndings afldpdJorndttztdtoundth. wo d

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Trivium OFTHECONFIAGRATION" "ENTRANCE As heardon The Crusade(ROADRUNNER) byJelfPerrin K' Heafy' Transcribed byMatlhew Words andMLlsic cs

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I18 GUITAR WORLD

Pub ished by @ 2006 Robot of ihe CenturvSongs (BMl)/Hammerihe Curedis ProducU Pub shins(Br Sonic Assaut Music,l-lamm;r Fal Publshlng, MotalKld Publ sh ng and williamsburg Land AllR ghts Reserved.!sed bY Permiss

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torcingherown. B/Df; c5 c6 P.M.

blood

thc rvaterslo drovrn B5

benealh Am

down

Gt!s. 1 dd 2 P.M

BassEig. 2

with

ryes

wideopen B/D$ P,M.

lDl 2od*d 3.dv"oo (o,tt,r,ss) 2 Spiralin0downward [8cx da0gsr licks her worsen 3.Conditions tut Water lills tho B5

relusing desiiing searchlng all ol E5

all gscape

help

lot her

answers childr€n PM..

Gtis, 1 md 2

*Gff, I plaYsbotto

iilf{iiifi!iil'!#f{i o"" o",' t

selt-mulilation Salan Succumbirg $criptures holy in floating hehl€ssly

lhe lleglects robbedby the sevonth systcrnatic srays innocence

tutes: Gtr' 2, toP

childreI deadly plan down

es cs ofs

(Iet rikS nert 3 beats)

CUITAR WORLD I19

..ENTRANGE OFTHEGONFIAGRAT'ON" E sin dl0wns

an!

GtL I plars RhY FiU 1

2nd and 3rd Choruses(1154:01)

CmaiT

Forcingher own Satan Believinq B/DF c5 c6 c6

blood

down wasinside

Gtrs l and 2

!,s.e.!!t!'!!:yg:L.

ieneath ordering Am

with neI

eyes c!lse0

lhe waters to Ir0wn to abide B5 P.M..

dead lying to destroy 85 D5 D{5E5

| znd tine) hou and fad?o t knd ofsong) (Gtr' -l let.ting, nert J. r Dars)

oPen wide tn"Ortn rr'$

PM.

[Fl - n,:or

)=2oo

c$ 2 Rhy. Fig 1

PM.

Df5

Gir.2

end Rhr. Fig. l PM.

t2O GUITAR WORLD

..ENTRANGE OFTHEGONFLAq!4T!ON'' E

Bridge (1:461 ol

Enirance E4 -itrs. t and 2 repeat

c0nllagration

lhe

TlrC Rhv Fis l (see bat 47)

Dfi5

55 Barr ri8. J

Enlrance E5

Gtr.2 pl.rs RhY.Fii. I (seebar 47) -- ' ?M'63Gtr.1 :::

-*-

lhe

PM--

P.M,.- ---

Bassptats BassFis 3 (seebar s5)

(0h) Gr. I

rrol @ I"t "ma"1z,os,

Go (tst tine) (Oltl (2nd and 4th tines)

E(b5)

N.C.(Cm)

(Dfim)

Grr. 5 plays Fill I thir.l tine (seepace I 19) 71

PM r

33 tubstitute BassFill I secon.l and fourthnnes seebar 35)

I CUITAR WORLD I2I

..ENTRANCE OFTHEGONFLAGRATION''

E t"'t

cs/A

D5/A

c5/G

Rh\.FiR.2 5 5

2 Ch.d

n ie.1th.h

r.calle.las

Rht.' Fic 2

B a s st ' i B . 4 i

| *2 Nat. i

ti.dvhen

3r3

,il

udss Fit<.4

rccall.tlut

c5/G

c5/E

c5/A

E lst Guitar Solo (2:37) D5/A

c5/A

Ctrs. 1 atld 2 plq, Rhy Fis 2 twice (seebtr 82) Glr. :J ."^..^r\^.*PM. 90

L =f

14)

F l-t t.- - - r r

,.--.

+5)

r-r ltassplays BassFi].4 h-ice simile (seebar 82)

cstA

C5/E

+topnoter pldredq Atr l ltlet \11it1 )

I22 GUITAR WORLD

..ENTRANGE OFTHECONFLAGRATION'

@ zoa Coit . Soto 1z,sz) D5/A Gt^. I and2 plar Rhr. Fig.2twice(seebar 82)

Basspta\t

Aass Fi8. I taicc sinil? tscc bar 82J

115 --

Gts.I and2 substitute Rhy. Fi 2 (see betow)

Rhr. Fill2 (3t15)

GUITAR WORLD 123

"CANONROCK"JerrvC. Basedon "Canon in D" by Johann Pachelbel Transcr bedbyJerryC.andAndyAledort

Moderately Slow .l = 90 DA

F*m

FSm

Fast J = 200 D

F{ nl P.M.,.-

11.

P.M.-

P.M.

P.M. -

12. P.H.

I 2 4 G UI T A R W O R L D

..GANONROCK'

pnch:E

-, '+

n - - - - - - -. ^ s-i2d7l2-

Bm 58 at* 14-

-17

t4 -17

-;:;:--;:17;i--l--+--F

-15-17 14-

-14-15-

t7 -14-15-17

14-15-17

17_15_14_

-t---'t--

Fflm

t4-14,j-15-17-17-

17-14-15-17 -1/-l .r'15-r+--rrr-

----:: 1A-17

68,."..i6-P=i6-14-

14-1516-14- rU------r-1-

14-16I

-14-',14-15 -i-17-16-17--t---l---l-

16------f--T---t--

-15-

-14-15-17-15-14-15-::-14o -rf---f----1- --t----l-l-r

FSs

E5 P.M.-.

P.M.

G P.M.

P.M.

GUITAR WORLD I25

..CANONROCK' 12-12-12-12-14 -14-14-14-15-15 -15-

17-t5.14-141517

92*

-15-19_17

19-17

* ,r V--,--. /\ /\ V--.--' ,^. -1915-1519151915-1519 1

-Zt

15-'lsi--+---F--r--+-15-

i I I

F{ rn

.li

P,M,

ii. I

P,M,

P.M.

P.M. P,H,

P,M,

2-0-3-0-7-0-+10'

7-10-+12-0-10-0-A-0-12-0-

7,29-r.=6-7-9-:--+-

GA 102 v_,r.r_,,_-. V_.-___,,. 12----::

12r-t-f

v_.

12-.-----.- 12i---f 1_-l_14

v_, 14

P.M. | 7-5

P.M.

P.M,

-7----------,^-

l-l--r14 t--r---r14i7r---0--0--0-4-5-

.-!4ffi!ar

P.M.

-, -e-

1-o-t

-e---l----1-

'|12

D 1*

|7-14-'|5_17-14_15117-14_15T14-

117 -17-'t4-15-17 -17 -(14 15-14-

F{m

122 e -----f-----!5-f-f

126 GUITAR WORT,D

1 5 - ' 1 41 5 *

15 14.-

14-15-r-17-16-17

15_14_1s-14-

"GANONROCK" Mod€rately Slow J =100

(of)-"<nf

"<.

;;:

| = 2OO D

F{m P,M.

P.M,

P.M.

12121012.A-12I 1O-A-7-

+1rNlO1 tz14 -16\14_

i--o_/-l'|

1F-F+_ffig-7

e-10.7 e1o12.e.1o12rrao X-' l;;'arao

-10108 10,7-10- A--

u ' ";,,i

Bm v

, :O- .1. . 4 . . .7_ 1 7 7-t0.7 _ r ----r 7-7-7-7#

V.---.,--

.tO 7-7-10

v . u--. v,, ..........._52---

, - \ V _ _ .- - - ^ r7-3--=

-3-7

, - . v _ _ .- - ,

3-10-7

G v--. a v..- a ^ -11540- 1 0 _ 1 4 . 1 0 _ 1 5 - 1 0 | 10-10-lo.

V _ - _r 1?_

,--

V -. ---.

,-.

V--. -

lPr.--*i9j9jlllJr,'"-'.lljl

- 14_17-14

Bb t3- 5 - 1 7 - r 3 -

15_17_13_ 15-t7 15-17

i' i" ;' i? f'-f-T-T--

Gnr

14-12 10-12 14

t1 ta-t5-t1

15-14

14-1a 17

11_15_13_11

GUITAR WORLD I27

..GANONROGK' 1z-le 17nj !-Y:!

fi1-frI-u-rs-

jglrlqE:lq-rz-11-1sl5;:

Yi::::u-1f"-f,:::\4-1srlg

ffi

P-M.,-----.

FSm tu1l

fftll.-17

iz - i+-tt--t+-ta-

I28 GUTTAR WORID

-in s -1s-12 -ii

.IOKER& THETHIEF''

(o:58,2:05) [D-llstand3rd verses wanted the 1.I said ioker is a 3.WhatYousee wellYou miqhtnol

man Nnow

way all acrosslhe land He makeshis Youqetthe leelingcomin'attertheglow

171 Gtr. t pln\: Rh. ft-. I Ih'." ttd^ .5.' bar 2 r1'^\ Fill I stt\1d ltrt (\tt netont tj

= Seehimsitlinq The vagabond is

sol'll sol'll

throuohlhe sand llow m0vin'

tine (seebar 13) t;ne tseffar D) ana nrr'-Filt t second RN Fis.2fir'st Etr. t plars

(seebor 19) Aasr suDrritutesBrrs F;8.2 secondtittt'

-+ F i g .I

,Hllll: i3[:l:ll lffilli:iil lffili![l l:iiisr:iilffi:lsfl

EI 2ndatrd4th verses(1162 24) power - alwayslaughing - in the midstol -2.He's i.lii rfrepeo-plethatyou seein the niqht D5 Gt. I ptarsRhJ.Fig.I ttrice(seebat 13) Zt, z 'ui'tit'rt"' r ilt z sec''ndtiltrc(seeh?Lo||)

nour light

always livinq in lhe linal to the holdlheir dreamsup

efilcrs) Ctr.2 (clec.$/lightdisl - fasl lrcmolo and sub octale

entl Riff B

-f

- 15 /15

I t d s sp k r y rB n s sF i g i t l t t e e t i n e s ( s e e b a r 2 l )

I ti

,.-' \17

^4.

lL iE4L

na, L\-7

-,4 ii lv

tn I

,{n t..t

fl I

--l

l -

I 1 I

GUlTAR WORLD I3I

.TOKER & THETHIEF'' s0 and

s0ur sweet in searchingtor sight Gtr.2 repeatsRiIfB fitst time (seebar 37)

nol nol G5

n4 ritLt

''I G!r.

are are

we we F5

,=E-+=---*-,-,-=;-.==".-==,=--= -17igj{1p=17;a-lli--11-Bassplals BassFi?.2 (seebar l9)

n0me n0me (D5)

(c5) (rcpeatprelbus Dar)

iw/slow sweepinsfixer ctreco

(seebat 5) Bassplors frst foul bars of BassFis l

@ clo."'

Can as (05)

11:35,2:42)

the loker in

you see she's standing

flyiIg ol the tield

0ver clovet (c5)

33 Bass Plq's BassFis l (seebt 5)

(2ndtine) ski1aheadtu@Inte ude

every day

oul watching (F5) iltr. I ptalsRiIfA tuice(seebar 1)

wonderwhatwouldhappenif he t00k her away (G5)

Gr. 2 (Wdisr od slos sweepi4liher efeco

Gtr. 3 (el@. s/dist and sios sweeping rlller effcco ir-1d

+j,12t4+ff +l-f

so back tu @

D5 Gtr. I (filter effec! oft) I

iF lp-1F-18

I32 GUITAR WORLD

.iIOKER& THETHIEF''

= =

) Ba$ (w^ub-octave eff@t) Bass Fig.4

= =

L3-

]

Bassrcpeats BassFiq 4 (seebar61) (F5) 14-

-{14]_-

tt9-

@ ts,ast

Whalf-timefeel(,rJ= '|:) D5

Gtr- 1

, snilp ^ o4h ranath ficn.d oPpt!abnnorcp,c'suretathPstdne thc Mt ^uttue i bi doni oI'*do\natt 'n'"\., ""* "-ptt "i"ta i,.i

Bds Gub octave effecr off)

B a s sF i g . 5

,--

--l] -

3J Bass plaJs Bass Fis

S t\9ice (see bar 79) CUIAAR WORLD 133

.TOKER & THETHIEF''

'ft l L

r-T

12-

16r

lt -T

t:1"

(end half-tine Ieel)

N C( 0 5 ) . ,

Jlick pickup toqqLe switch back and forth , 1 c n , e d l t r s " n e e Ap r A u p n t u n e r o 0 '

CIJ I

91 2.,,----'1.-. 14

Bassplays BassFis. 3 r\|ice (seebar 2l)

(G5)

(F5)

' A,ripld)i

Aa\i F/S 2tseeht

Bassplq-s BdssFis. 3 t||ice (seebar 2l )

le)

Eloutro (4r4) I D5

saidlheioker

lz la i=g la-lg L____.1

land

Makeshiswayall acrosslhe

tsa

17 18tZi8 1?i B.1ssplays Bass Fig. 3 three tines (se. bar 2l)

Seehimsitling

throughthe sand

lell you all thesloryaboultheioker ald lhe t h i e l s a i d l ' l l lell you all thestoryaboullheioker andlhe thielI said

l'll

'103

I-

r, tl

10 12 O 12 I 1 1t1R i5 1 p8 1 1 23 lt 8 t l g 9 1 1 29 1

12 12

't 1 2 i 12-

't 11 77

Basspla'-s BossFiq.2 twice (seebar 19)

l'll tell you all aboul F5

the

ioker G5

and the lhief in the nighl

I34 CUITAR WORLD

AGAIN"OKGo "HEREITAsGOES heardon Oh No (cAPlroL) by DamianKulash,Jr. . TranscribedbyJeff Perrin Wordsand l\,4usic

c5cGBfEEmAir&BlEtB *;.'*

ffiffiffiffiwq#jjffiffiffiffiffi E] fntro O,oot Morterately fast J = 1il8 Gtr. 1 (e14. q,/dis.)

Grs, I dd2

Ga.1only

kt Ye$e (or1) csn'tremembef hall an hour slnc€a qu br lo loul couldbe len bul lhenagaln It lloof msYtilhmYiav on lhe ol SurGt Ro€a and you leave tho secondside throryon vourclothes

Hey

Gtr.2 Nry. Fig. ]a

end.My. Fis. ta

ott t P.M.---------,

PM.-----.

,.a.-----,"**t

Bess Fig. 2

rol) @ o,zs,

c 12 Gtrs.r and2

Ba"tsplays BassFiq. I (see

I35 GUlTAR WORLD

Copy8ht@2005OKGoPublls All Riej.lsReseded,U*d by Permis

..HERE IT GOESAGAIN'' lros) Pre-chorus (o:zs,

think Juslwhenyou Gf2

thatyoulein contlol Am

jusl vrhen you think

you've g0l a hold

Enl

iuslwhenyougel 0n a G

rcll

( ln Chon6) play firice (2nd Chotus) pla! 3 ti,nes and tkip dh.ad to@ (3rd Chorus) plar 7 ti,1es antl skiP ahea.l bE

ir4,2r2) @ cno.o" (o:3s, goes 0h here it have known | should goes Ah here it

(1.,3.,6.) (2.,1..i.) (s.,8.)

0h here it But here it Ah herc it

goes again goes here il here il shouldhave known should have Knol]vnagaln goes it Ah herc

goes again qoes again goes again

(9.-12.),/ddlibvalt

+ +

G jg

ctrs. I and

l P.M.

fl t2nd !me) Bo back tan

@ zttav".r" 1o,sr1

inching pastlhe edgeof â&#x201A;Źserue sleazy something simplesomething ll starlsouteasy something youl cal ls pulling off ol the cud venetian blinds Nowthrough thelines of lhe cheap

hey

Gtr. I pla)"s Rht. Fis. I tvice (see barS) Gt/.2 plals Rh!. Fis. ]a twne (see bar 8)

.n II .tr

@ t,,zst

here

goes

again Bb

CUITAR WORLD I37

'HEREIT GOESAGAIN' @ nto.ua" 6'44 0h Hoy

y3sh

goes

gocs

ll.

oh hereit oh hereil

oh hey

herc it

ll2.

goesagsln

all

plays Bals Fi I (see bar 20)

3rd VeIs€ (1:5n l1' bul Jesus wienit rainshowil pours brcakin lhe monotony I gue8sthetr's got tobe r you yeah yourctot-hee you leaveme anq Thrdivon $e socond slde of surfer Fosi Et

Gtr, 2 plnys Rhr. Fig. Ia b,/ice (seebar 8) il

P.M.

R6s plots Bass FiE.2 twice (seebar 8) 8o ba.k to @Chotul

t@veme F

I3E GUITARWORID

[oot-

1z,roy on

Fr€ely oh heeitgoe8agsln B'

right

TheWho "MYAsGENERATION" heard on The Who Sings My Geneation (McA) Words and N4usicbv Peter Townshend' Transcrbed by Andy Aledort

quarter step aboYeconcert pitch' NOTE: On the recording, all instruments sound approximately one To play along, tune all strings slightly sharp' * Gs/F A5 G7 G6 C5 cs!s4 G5

fli*i'.r.

fffi

HiI+ Asus4

ffi,,.

ffi'-

ffTr] r1-1]] ' n t"r'ar,,

ff+r Er::IE

FFtrIh

ffiF

Mod€rately Fast WtriPlet feel ( f:

Bb7

Bb6

Bb5

f+H

f+ Ff.H

A7 ffi FFTM ffi F5(6)

ffi,'. nff

fiTrfr",

i!"-

H+ff

i-i:i

i+-n"" ffi

=:']) J =18e '

G5/F

Grr. I (cleanclec )

I +Th

f-iif .,,

ffi'", l-+-itst-H t]::@

fln+i, ,

(rep.a1pre\tots ^'o ]n asurcs)

t:r c ho ]a " I ep?dt Pr I aus

iIrct @whhunb

ElstV€rse (o:05) try People G5

justbecause Gs

put us (F)

get

down

around

(Talkin' G5

{Talkin'

'boul my

generation)

'bout my

generation)

'boul

generation) G5/F

(F)

Ch. I plq-s Rh)^.Fig. I three tin s (see bar 5)

Things they G5

look aMul (F)

3-3

get old

I4O GUlTAR WOR],D

'boul

I said mY generalion)

generation

MuncLid LondonEis: arprerrio 1965(Reiewed)Fabllous andcrn pubicrtoirisnsrorUSA r R o D e v . .r ' , 1 , ! . ' , i r i * r - t - t t t t t ' lsed bYPermis A lR shGRese_ved

..MYGENERATION''

generallon G Gsus4

Thisis my ,G5/F

Gsus4

Ctr. I Rh!. Fig. 2 tu nnE thrcushdtt

@ 2ttd v"."" 1o,eo; you all whydonl I don't lry to dig what I nol tryin' lo causea I 'bout my htkin'

end Rhr- Fig- 2

away ttalkin'

fade

we al

say

big

(Ialkln'

sens8l|on

(Talkin' qenelalton (Talkin'

generalion)

'bout my 'bout my

generation)

'Ctt.

And

'boul my 'boul my

I'm genetalion) I'm iust My

gene

generalion) G5/F

I p l o ) \ R h v r i g . I t o u t l i d ? t t s c Pb a r 5 t

26 B^'

Ialion ration 30G

Said

gene-

@ BassSotoiorssl (G5)

I Fig. I

,_l

33 Gb.2 Glighdy diny elec.)

fGtr. 1 plals Rhy- Fig. 3 two and one half tines (see bar 31)

- l-

39 cff.2

dion

F - 5= f--t

GUITAR WOR],D I4I

'MY GENERATION'

E 3rd Verse(lre) don't youall lwhy by and d

Not

tryin' to cause

blkin'

'bout

hde

whal

dig

don't

big

we all

s€rlsalion

generallon

Gsus4

Gtr. 1 plqs Rhy. Fis.2 (seebar 22) bri,s-" fiill

av6y (Ialtln' ss (Ialhn'

'boul

my s9 'boul my

generation)

(Ialkln'

'bod

(Talkln' A5

'boul

g€|leratlon) generation tY 899. qen9|aron, .A6/G .A7tG

Say

generation)

Jusl

Gf. I

end Rhy.FiB.4

52 My. Fie.4

ThiE i8

I42 CUITAR WORLD

boby

g€neratioo

gen€ration

..MYGENERATION'' (1r49) oonmy Asus4

u,a-

li,ly

my -Bb5/Ab

Bb5

generation

F =

@ 4th V"..e 1t,s+1

try

lreonte

pul us

wesgg

I lust I'

00wn

(Tallin'

'bout my

generation)

(Ialkin'

'bout my Bb6

generation) 'BbTlAb

gel around

Bbs Sub,titurc Rhr. tiM

'Bb6/Ab

^atft on r.ppal (s?" bat 6a)

Thingsthey nopeI

00 die

look awful belore

c I

c c gel old

cold

fralkin' (Ialkin' Bb

(Bb) ,/,

'bout my 'bout my Bbsus4

qeneration) Yeah ieneraiioni ttly -Bbsus4/Ab

I gener-

Fig.4

= ----tl a

= atlon

@ oot"o 1z,zl1

= =i=

cirs. I dd 2 (composite mdgement)

genelalion Thisis my . generatron my my Bb Bbsus4/Ab

c bt nng

I .= --r----l

CUITAR WOR]-D I43

'MY GENERATION'

tetnhS ------

,-----1

*with n;ck pickrp votwe au the wat do-n, Jtip toesle s||itcn bek and Jonh lrM

btidEe pickup to reck PictuP in rhtthtu indicat.d

(2:49) ( lead vocal ad lib neri 15 bars)

(Talkin' F5{6)

generatlon) F5(6) 103sas

generation) F5(6) 1 0 7G t . I

144 CUITAR WORID

'boul

ml,

(Talkln'

'boul my

fialkin'

generation) F5(6)

(Talkin'

gene|ation) F5(6)

(Ialkin'

'boul my

c Gi 1 plaJs Rhy. Fi8. 5 rwo andone haff mtes (see bat 100)

Thisis my generation) F5(6)

generalion c

(plat 4 tines)

(pla), 4 'ircs)

ti\

lN THEDARK'Dio "RAINBOW As heardon Holy Diver (REPRISE) ' Transcribedby Andy Aledort Words and lMlsic by RonnieJames Dio, Jimmy Bain, vivian Campbelland Vinnie Appice

E Intro (oro0) ModeratelyJ = 116

slnth. {arr-for 8tr)

+lf tou haw a 2a.J'.t Auitu, theh qofo n oth.Nite. justp|ar |h. note t'etaw

Rhy. FiB.I

L-l

A5 Synth-plays Riff A thrce times (seebar 2) enll Rhr. Fiq. l ?H.-,,- ------ .

Gtr. I

Bassplars BassFig. I twice (seebar2)

1. When Let/h8,-----

lhere's p r c Ks c r a p c - - - - -

-1

ttll

C o p y r i E h i O 1 9 a 3 N lM u s l c ( 8 M l ) L t e D u s t n S M u s c ( A S C A P ) a n d V i n n v A p p i c e M u s c ( A S C A P ) AlRghls Reseded. Used bY Permisson

CUITAR WOR',D I45

.:RAINBOW IN THEDARK' 1ors,t,oa,z'ot1 @v"rr" G" 3J ligh$lng ma$c (2.)oemons pictutp A5

vo! know il alrrayS i hel it danclng do theyevet youte an image

" me down b nss -lhe llght in you 90 .. caugnl In $ma A5

lel

Bassplrts BBs Fis. 1 fout ti.nzs simile (see bar 2)

(1.,3.) 'causeit's lreo. It wa8 cold (2.) when you'vet ed w6're a lie

and I

ge€

thal lts lod 0€€p you ano

do lhey hlde

me my hold insid9 I

yrho'slost and never io lheshadows ol ths night thalYou ls it someone vtilh wete uods

(1st tine or 3td vejd

0,3.) found (2) know our A5

PH. ___----------------1

skip aheadloB

lor

ll'

iust

1:41) lC I lst and 2nll Pre-choruses (0:52' signof ihe momi||g No

You'vob€€rlgtlon Yolr own

comng

RhJ. Fi8.2 1-

B a s sF i l - - " - - - - - - - - - - - - - - - - - - -

B a s sF i g . 2 -.t-1-1-3-1

trll

(2nd tine) skh aheai. to@2rl

cltor4s lpl

1st Chorus (1:00)

a lainbow

like a rainbow inlh€dark A5 G5 end Rht. Fig. 2

Sthth Plays RlffA

end BassFig.2

146 GUITAR VIORLD

in lhedad( A5

twice (see bar2)

..RAINBOW IN THEDARK' ( l s t t i n e )e o b a c k b @ v e l e E 2 n d

chorus (1r48)

2. Doyoul

Justa A5

rainbov{inthedark A5

Yeah Gtr.1

p i c Ls c r a p â&#x201A;Ź- - - - - - r

BossFig. 3

end Bass Fig. 3

uer

n you [F

@ Goit .Solo 1t,sz;

Gtt. I plats Rhr. Fie.1fow nnes (seebar 2) Gtr' 2

---

w/btu P.M.

P.H

P.M.

Bassplays Bass FiE. I eight times (seebar2)

34tr-

A5 l own

-t

-l

:iJ 40@

_17 1 7_ 1 7 1-17--1-17-17-

_17

_17 17

17 17

I 42 ........_17-19-20-19-17.-m

-9-

-17-m-17-19-17-fl-m-17

tF5G5

1S17-'_17 m- t7.19-17-.._17-m-17 -19-17-17

-zJ.17-19-17-m.fl -2-17 -m-17

-3J

I fl m 17 2.17m

fl 19 fl m-O-17-m-fl-19-17-

) CUITAR WOR!D 14'

'RAINBOWIN THEDARK' Gtr. 1 plays Rht. Fis.2 (seebar 19)

Bass substitutes B6s Fill I (seebar 18)

Pli

Bassplays BassFis.2 (seebar 19)

1312-12-13-15-13-

E] rnterlude (2i8) A5 51

Gtr. I

Bal,splays BassFis. 3 (see bat 27) so back to B verse

nevet

3, We A5

Lt riig-,---

53 Gt.1

see

--- - - - - - - - - p i c k 3 q a p e r- - - - - - - - - - - - - - -

----- -.

lIIl 3rd Versecont. {3:00) Feel

the

leel

magic A5

floating

in the

Bassplals BassFiI 1 (seebar 18)

Bassplits BassFi8. 1 three and one hartines (see bar 2)

Bul ii's

and you'llhear

feir A5

calling

you

bewarc A5

Lookout PH -

-- -----------------r

BassplaJs BassFi I48 C U ITAR WORLD

l(seebatt8)

..RAINBOW IN THEDARK' [3rd

Pre-chorus 1s,re1 There's no

sight ol

lhe

noming

coming

There's no

sign of

the

day F5

Le'nns, -,

ttl -.t-1-1

tttl You'vebeonIelt

your

like a

rainbow

tut1

: 1

=,__l

[:.a

1-1-3-1

trl

t_l-l_-l

cno.us p,eoy Iike a Youtea

yeah A5

-l

rainbow rainbow

in thedark in lhedark A5

St 1th. plals RiffA.four

tines (see bdr 2 )

P.lt.

Bvqse

..-' : -Tl

Bdss?ldrs BdssFiU 2 four 1

theh Bass FiE. 3 (see

Yeah

Gr. I

12.

P,H. prcf scrape, - _____________- __--,,1

n the

---f-'1 -I 1 o -f.,

J 'll hear

I @ outro Chorus 1s,+ry

(1,) (2,)

(3.) ho

Jusl a Youle a

rainbow lainbow

the

rll

Bass plat\ Bass FiE. I simile untilfade (see bdr2)

(1.) da.k (2.) in theda*

Whoa

sign

plar 3 times a dfade lhe mohing