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ALSO…Lessons, interviews and gear profiles from: Thousand Foot Krutch, Renegade Creation (Robben Ford, Michael Landau), Nuno Bettencourt, Johnny Moeller, Duke Robillard, John 5, Greg Koch, The Black Crowes, & more!

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TRAINHey, Soul Sister

jeff LOOmiS

DEF LEPPARDBringin’ on the Heartbreak

GODSMACK Cryin’ Like a Bitch!

THE DEREK TRUCKS BAND I’ll Find My Way

THE BEATLESNorwegian Wood

JASON MRAZ (FEAT. COLBIE CAILLAT)Lucky

THE BLACK CROWESHard to Handle

MERLE TRAVISSixteen Tons

THE ALLMAN BROTHERS BANDJessica

PEARL JAMJeremy

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GeAR!PRS SE Torero, Fender G-DEC 3, Orange Crush PiX CR20LDX, Dunlop Jerry Cantrell Wah

Nevermore’s Jeff Loomis talks about his approach to 7-string guitar and how an open mind can keep the musical ideas flowing. DeRek TRuckS

Derek Trucks talks about his new live album, Roadsongs and gives us an inside look at his slide technique, playing with Eric Clapton and why he has become so attached to his Gibson SG.

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5 Questions with Johnny Moeller

DEREK TRUCKSTRUCKS

ALSO WITHNuno Bettencourt Thousand Foot Krutch Dethklok

Reviews Dunlop Jerry Cantrell Wah

Fender G-Dec 3 AmpPRS SE Torero

Orange Crush PiX CR20LDX Amp

Jeff Loomis Nevermore’s Ace Shredder

Robben FordRockin’ with Michael Landau

Sneak peek — Schecter hellraiSer Special

train “Hey, Soul Sister”

Godsmack “Cryin’ Like a Bitch!”

Pearl jam “Jeremy”

merle travis “Sixteen Tons”

jason mraz (Feat. colbie caillat)

“Lucky”

allman brothers band “Jessica”

derek trucks band “I’ll Find My Way”

the beatles “Norwegian Wood (This Bird Has Flown)”

the black crowes “Hard to Handle”

deF lePPard “Bringin’ on the Heartbreak”

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w w w . g u i t a r e d g e . c o m2 J U LY / A U G U S T 2 0 1 0

Guitar EdGE, LLCHal Leonard Chairman & CEO KeithMardakHal Leonard President LarryMortonHal Leonard VP Pop & Standard Publications JeffSchroedlPremier Guitar CEO PeterF.SpraguePremier Guitar COO PatriciaA.Sprague

EditOriaLEditorial Director JeffSchroedl jschroedl@halleonard.comEditorial Director JoeCoffey joe@guitaredge.comSenior Editor AdamMoore adam@guitaredge.comEditor ElliottPolitte elliott@guitaredge.comEditor JasonShadrick jason@guitaredge.comSenior Art Editor SaraLegore sara@guitaredge.comArt Editor MeghanMolumby meghan@guitaredge.comMusic Editor JimSchustedt jschustedt@halleonard.comMusic Engraver CharlieJarvisMusic Engraver JohnRoseContributing Editor ShawnHammond shawn@guitaredge.comContributing Editor RebeccaDirks rebecca@guitaredge.comContributing Art Editor LoriKeehner lori@guitaredge.com

CONtriButOrSJohn5,JasonAllwood,JeffArnold,JoeCharupakorn,ChadJohnson,ChrisKies,GregKoch,AdamLovinus,MichaelMueller,ChristopherOwyoung,KurtPlahna,DukeRobillard,EricWills

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JULY/ AUGUST 2010

Whenitcomestoup-and-comingguitarheroes,fewmusicianscancomparetoDerekTrucks’alreadyimpressiveresume.WecaughtupwithhimduringtheAllmanBrothers’annualNewYorkCityresidency.WhilesittinginthenewSoHolocationofRudy’sMusic,Trucksdiscussesjusthowfarhe’scomeinsuchashorttime,andgivesusthescooponhisnewlivealbum,Roadsongs.Wealsohaveanin-depthlessonandtranscriptionoftheDerekTrucksBand’s“I’llFindMyWay”andtheAllmanBrothers’classicinstrumental,“Jessica.”

JeffLoomisofNevermoreisanotherguitarheroforanewgeneration.Wetalkwithhimabouthisnewalbumwiththebandandhegivesussomecoolinsightsintohistechnique(twowords:gypsy-jazz)andwhatit’sliketohaveyourownsignaturemodelSchecter.Wealsotouchbasewithup-and-comersThousandFootKrutch,BrendanSmallfromDethklokandtheNadas.

That’snottosaywe’veforgottenabouttheguyswhohaveathingortwototeachthenextgeneration.AprimeexampleisNunoBettencourt,whodominatedairwavesinthe‘90swithhisBoston-areaband,Extreme.InadditiontoBettencourt’snewgigwithR&Bsuperstar,Rihanna,Extremeisbackandreadytorockonceagain,andwe’vegotthelowdown.WealsotalktobluesmanRobbenFordandstudiolegendMichaelLandauaboutsharingguitardutiesintheirnewest“supergroup,”RenegadeCreation,whichpromisestodishoutmorelicksthatyoucancount.

Eachmonthwegiveyoutensongsfromawidevarietyofgenresandthismonthisnodifferent.WehaveJasonMraz’shitsongwithColbieCaillat,“Lucky,”MerleTravis’“SixteenTons,”theBeatles’“NorwegianWood(ThisBirdHasFlown),”Train’s“Hey,SoulSister,”thenewGodsmacksingle“Cryin’LikeaBitch!,”andmuchmore.Alongwiththetranscriptionswehavelessonsaboutdouble-timesoloingwithDukeRobillard,hybridpickingmadnesswithJohn5,whileGregKochtriestoreasonoutwhoisreallythebestgui-tarslingeraround.

Forallyougearheadsoutthere,thismonth’sreviewswillgiveyoutheinsidetrackonsomecoolnewgear.FirstupwecheckoutthenewlyreleasedFenderG-DEC3ampandthePaulReedSmithTorero.WealsoputtheOrangeCrushPiXCR20LDXandthenewDunlopJerryCantrellSignatureWahthroughthepaces.WealsotakealookinsidehowtogetthetonefortheBlackCrowes’soulclassic,“HardtoHandle.”

Wepackasmuchaswecanabouttheartists,gearandsongsthatyoucareaboutintoeveryissue.Don’tforget,youcanalwaysreadourmagazineforfreeonlineatdigital.guitaredge.com.Stopby,checkitoutandletusknowwhoyouwanttoseecoveredinthenextissue.—GE–

he’s such short

JULY/AUGUST 2010

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5 Questions with Johnny Moeller

DEREKTRUCKSTRUCKS

ALSO WITHNuno BettencourtThousand Foot KrutchDethklok

ReviewsDunlop Jerry Cantrell Wah Fender G-Dec 3 AmpPRS SE ToreroOrange Crush PiX CR20LDX Amp

Jeff LoomisNevermore’s Ace Shredder

Robben FordRockin’ with Michael Landau

SNEAK PEEK — SCHECTER HELLRAISER SPECIAL

TRAIN “Hey, Soul Sister” GODSMACK

“Cryin’ Like a Bitch!”PEARL JAM

“Jeremy” MERLE TRAVIS

“Sixteen Tons” JASON MRAZ(FEAT. COLBIE CAILLAT)

“Lucky” ALLMAN BROTHERS BAND“Jessica”

DEREK TRUCKS BAND“I’ll Find My Way”

THE BEATLES “Norwegian Wood (This Bird Has Flown)” THE BLACK CROWES

“Hard to Handle” DEF LEPPARD “Bringin’ on the Heartbreak”

On the COver — Derek trucks of the Derek trucks BandPhotographer: Chris OwyoungCover Design: Meghan Molumby

playlaguna.com

w w w . g u i t a r e d g e . c o m4 J U LY / A U G U S T 2 0 1 0

STYLE FILEWho’s Hot ThousandFootKrutch’sTyDietzler 6RenegadeCreation 7NunoBettencourt 85 Questions With… JohnnyMoeller 8

SoundcheckAcoustic Multi-Effects Units 12Workin’ Band TheNadas 14Sights & Sounds CD,DVD,andWebReviews 20Studio Edge Harmonic Clarity 114

GEAR HEREdial toneTheBlackCrowes 30

PrS SE torero 138Fender G-dEC 3 140Orange Crush PiX Cr20LdX 141Jerry Cantrell Wah 141New Products 142

Backstage Pass BrendonSmall 152

LESSONS tip Jar The CAGED System 10zen GuitarRepeatasDesired 146Guitar GumboWho’stheBestGuitarPlayer? 148Stretchin’ the Blues It’sAboutTime 150

SONGS 33 TrAiN Hey, Soul Sister 40 GOdSmAck cryin’ Like a Bitch! 51 def LeppArd Bringin’ on the Heartbreak 59 THe derek TrUckS BANd i’ll find my Way 70 THe BeATLeS Norwegian Wood 78 JASON mrAz (feAT. cOLBie cAiLLAT) Lucky 86 merLe TrAviS Sixteen Tons 94 THe BLAck crOWeS Hard to Handle 103 THe ALLmAN BrOTHerS BANd Jessica 119 peArL JAm Jeremy

feATUre: Jeff LoomisWiththereleaseofThe Obsidian Conspiracy,Nevermore’sJeffLoomistalksabouthisapproachto7-stringguitarandhowanopenmindcankeepthemusicalideasflowing.

iN THiS iSSUe

24cOver STOrY: derek TrucksDerekTruckstalksabouthisnewlivealbum,Roadsongsandgivesusaninsidelookathisslidetechnique,playingwithEricClaptonandwhyhehasbecomesoattachedtohisGibsonSG.

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w w w . g u i t a r e d g e . c o m

Modern rock outfit, Thousand Foot Krutch, made some significant changes this year following the release of their hit album, Welcome to the Masquerade, in late 2009. One of the biggest was the decision to part with their previous guitarist, Nick Baumhardt, and bring Ty Dietzler into the fold.

Dietzler, a former musician-for-hire working everywhere from smaller-capacity venues to arena-sized world tours, immediately brought both a well-honed sense of musicianship and an even stronger stage persona to the band. What’s even more impressive than his seemingly endless fretboard talents is his ability to maintain complete composure in the midst of all the madness, making Dietzler one of the most unique talents on tour today.

What was it like being the hired gun for so many projects before joining TFK? There are pros and cons to it. It can be such a high stress situation since most times you have a couple days (or less) to learn the entire set and get comfortable with it before being thrown into the mix in front of 4,000 people. Entertaining is very important but it shouldn’t ever be at the cost of your playing.

Tell me about how you landed the gig in Thousand Foot Krutch.

I was actually over in Germany playing with The Letter Black on a show that TFK was headlining. We ended up staying in the same hotel, so after the show we ended up going to a little pub and just hanging out. Shortly after that, I received a call from them asking me if I wanted to

fly to Toronto for a private audition. I was really interested so they gave me 14 or 15 tracks with three days to learn them [laughs].

So tell me the story behind the wild makeup.

Well I absolutely love art; I just was never good enough to do it full time [laughs]. I see it as another opportunity to integrate a different creative outlet into what I do live. It also gives some time before the show to clear my mind and get centered before going out and throwing down hard.

When we saw you last, you were playing some Michael Kelly guitars, but recently you’ve been endorsed by PRS. Are you still playing the Michael Kellys live?

Oh, the Valor Customs! Well, I still break them out every now and then, but since my endorsement I’m pretty much rocking PRS full time.

There’s something custom going on with your guitar right?

Well it was a secret, but I suppose I can let the cat out of the bag [laughs]. On my Paul Reed Smith Custom 22 I have a Dragon II pickup in the neck and a HFS pickup in the bridge. I also put a three-way push pull knob with a three-way toggle instead of the five way rotary. They are making me a new one with an ebony neck right now that I’ll be using live very soon.

Any other secret weapons?

It would have to be my Mesa/Boogie Roadster with matching 4x12 cab. It was actually the first one that they did with matching wine-colored Taurus and a black diamond plate grill on the amp. It looks sexy. That amp will do anything from clean jazz to thrash metal once you really dial it in.

Any tips for players?

If you’re a hired gun like me, you have to work as hard as you can to stay at the top of your game. If you’re not, then there is always going to someone out there that is practicing and working harder than you so you should always strive to be the best guitarist you can be. Otherwise you don’t eat [laughs]. —Elliott Politte

STYLE FiLE

Who’s Hot? Thousand Foot Krutch’s Ty Dietzler

Dietzler’s Gearbox GuiTars: Paul Reed Smith Custom 22, Strings: GHS .013 –.070, Paul Reed Smith SE Mike Mushok Baritone, Strings: GHS .013 – .070, Michael Kelly Valor Custom T MKVCT (2), Strings: GHS .010 – .060 PiCKs: Dunlop Nylon Standard .73sTraPs: Planet WavesaMPs: Mesa/Boogie Roadster CaBs: Mesa/Boogie 4x12 Cab with Celestion Vintage 30 speakersCaBLEs: Mogami EFFECTs: Rocktron Hush Super C (tours), Rocktron Guitar Silencer (fly dates), Boss TU-2 Chromatic Tuner, Ernie Ball VP Jr. Volume Pedal, Ibanez WD7 Weeping Demon Wah, Line 6 Echo Park Delay

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Photo by Shane Summers

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 7

When it comes to creating a band, it is all about the chemistry betweenthemusicians.WhenapproachedbyproducerMikeVarneytocreateanotheralbumwithJingChi—thefusiongroupwithbassistJimmyHaslipandüberdrummerVinnieColaiuta—RobbenFordwasallforit.HaslipandFordhadbeenplayingtogethersincethelateseventies,developingarapportthatfewguitar/basscomboshaveachieved.

Unfortunetly,duetoColaiuta’sintenseschedule,hewasunavailableandtheduobroughtindrummerGaryNovak.AccordingtoFord,thatpersonnelmoveledtothedecisiontocreateacompletelynewband.GuitarlegendMichaelLandauwasalsobroughtinandRenegadeCreationwasborn.

“ThishasbeenalongtimecomingforMikeandme.Heplayedinmybandforalittlewhile—actually,itwastheYellowjackets”saysFordwhenaskedaboutfirstmeetingLandau.“TheYellowjacketshadevolvedoutofmybandandhehadplayedafewshowswithusintheearlyeighties.Ialwayslovedthewayheplayedandlookedforawayforustoworktogether;thisgroupseemedaperfectfit.”

Theformationofthegroupwasveryorganic,withNovakplayingrecentlywithbothFordandLandau’ssolobands.Itseemedobvioustoeveryoneinvolvedthatitwastimetogetintothestudioandmakearecord.

Aswithmanygroupsthathavetwomajor-leagueguitarists,itcanbeeasytomakeanalbumfullofpyrotechnics.Thatwasn’tthecaseforthesetwolong-timefriends.“ThereisarealnaturalgiveandtakebetweenMikeandme,”saysFord.“IwanthimtoplayandIwanttohearhimplay.Hefeelsthesameaboutme.Youdon’twanttodotoomuch

ofthe“backandforth”thingonanalbum.UsuallyonMike’stunesIamthefeaturedsoloistandhesolosmoreonmytunes.”

Thematerialonthealbumrangesfromlaid-backswamprock(Landau’s“What’sUp”)tojazzyinstrumentals(Ford’s“Peace”).Bothguitaristsbroughtmaterialfortherecordintothesessions.DrummerNovakcontributedtheclosingtrack“Brothers”andthegroupcollaboratedonthebluesy“TheDarkness,”whichaccordingtoLandaubeganwithanideafromFordandthenfinishedduringthesessions.

“Iwrotethreetunesbeforethesessions,”saysLandau.“Weknewfromthebeginningthatwewantedtomakearock'n'rollrecord.Imadedemosformytunesandweendedupusingsomeofmydemopartsontherecord.Mysolofor‘What’sUp’camefromthosedemos.”

Theself-titledalbumwasrecordedatLandau’shomestudioinLosAngeles.AccordingtoFord,oncethebandwassetupinthestudio,itwasjustamatterofhittingrecordandlettingthingshappen.Haslipproducedthesession,andalongwithNovak,broughtsomerealenergytothealbum.“Jimmyputthewholeprojecttogether.He’snotabadbassplayereither[laughs],”Landaurecalledaboutthesessions.“IthinkGarybringsanincredibleamountoffiretothesongs.Inmyopinion,Ithinkthisissomeofthebestdrumminghehasdoneinarock'n'rollvein.”

Consideringeveryone’sbusyschedules,touringcansometimesbedifficult.RenegadeCreationjustwrappedupashortWestCoasttourandaccordingtoLandau,thegroupwillhittheroadlaterthisyearwithshowsontheEastCoastandinJapan.—JasonShadrick

RENEGADE CREATIONROCK

RENEGADE CREATION’s GEARbOX

RObbEN FORDGuITARS: ’55 Gibson Les Paul, ’60 Fender Telecaster, ’63 Epiphone Riviera, ’68 Gibson ES-335AMPS: Dumble Overdrive SpecialCABS: Dumble 2x12 with Celestion Super 65sEFFECTS:Hermida AudioZendrive OverdriveSTRINGS:D’Addario .010–.046PICKS:D’Addario 1mm

MICHAEl lANDAuGuITARS:’63 fiesta red Fender Strat, ’68 Gibson Les Paul goldtop, ’63 Gibson SG AMPS:Shur Badger 18 headCABS:Kerry Wright 4x12 open-back cab with Celestion Heritage Series G12-65 speakersEFFECTS: Lovepedal COT 50, Lovepedal Eternity Fuse, Maxon SD-9STRINGS: D’Addario .010-.046 or .011–.049PICKS:Dunlop Nylon 1mmCABLES:Belden 9778

(L to R) Michael Landau, Gary Novak, Robben Ford, Jimmy Haslip. Photo by Glen LaFerman

w w w . g u i t a r e d g e . c o m8 J U LY / A U G U S T 2 0 1 0

1 You’re from texas but you don’t sound like albert Collins, Stevie ray vaughan, or others from the

Lone Star State. What’s the genesis of your guitar style? Ilovethoseguys,andlistenedtobothAlbertCollinsandStevieinthepast.

Asfarasmystylegoes,IgrabbedalotfromotherTexasguyslikeFrankie

LeeSims,Lightnin’Hopkins,LongJohnHunter,andJukeBoyBonner.We

usedtogoandseethisguyU.P.Wilsonwhenweweregrowingup.He

wasthewildest!Also,whenImovedtoAustin,JimmieVaughan,Denny

Freeman,andDerekO’BrienwereatAntone’s[Nightclub]everyothernight!

2 When touring with the Fabulous thunderbirds, do you use a capo like Jimmie vaughan or emulate his

parts another way? IrarelyuseacapowiththeT-Birds.IuseitalittlemorewhenI’mdoingmy

ownthing,butintheThunderbirdsInevertrytoemulateJimmie’sparts.

HewassuchabigpartoftheT-Birds’soundearlyon;youhavetoknow

thatstyleofplaying,butIalwayswanttoputmyownstamponit.

3 Your new solo album, BlooGaLoo, captures a distinctive blues vibe. How do you describe your sound?

Ireallylovethebluesstuffthatcameoutinthe’60s!Iwantedtohave

thatvibe.I’mintoallthosewild’60sbluesguys.Youhearalotof

shufflesbutalsoalotoffunkygrooves,too.

4 What is your current gear setup?MymainguitarwiththeT-BirdshasbeenaNash’50s-styleStrat.BillNash

makesagreatgeetar!LatelyI’vebeenplayingareissueEpiphoneRiviera.Ithas

themini-humbuckersjustliketheonesinthe’60s.WhenI’mhomeinAustinI

playinalotofdifferentkindsofbands,soIuseavarietyofguitarsandamps.I

haveaJapaneseMemphisTelecasterDeluxecopyfromthe’70sthatIlove,and

anEpiphoneCrestwoodfromthe’70sthatwasalsomadeinJapan.Foramps,

myfavoriteisaKayGalaxy.Itlooksreallycoolandsoundsevercooler!Idon’t

useanyeffectslive,butIhavebeenusingaKlonCentaurinthestudio.

5 How did your gig as Severn records’ ‘house guitarist’ come about?

IstartedrecordingforSevernover10yearsagowithsingerDarrellNulisch.

Afterthat,Iwasluckyenoughtogetthecalltoplayonalbumsofotherartists

DavidEarlwasbringingtothelabel.Weallplayandworkreallywellwithone

anothersoit’salwaysagoodthingwhenwegettogether!—JeffSchroedl

5With…

QuestionsAfterdefiningagenerationwithhitslike“MoreThanWords”and“HoleHearted,”ExtremeguitaristNunoBettencourtcontinuestomakebigwavesinthemusicindustry.NotonlyishestillrockingcrowdswithExtreme,butheisalsochangingitupbybeingapivotalpartofR&BartistRihanna’snewliveshow.

“Atfirst,IwasreallyworriedaboutdoingitbecausewhenIhadlistenedtohermusicIdidn’thearmuchguitar,“saysBettencourt.“Aftertalkingtoher,shesaidshewantedtoaddsomeheavyguitarstoreallymaketheshowrock.“TheshownowrevolvesaroundBettencourt’sriffinginawaythatgivesnewaudiencesalookathisphenomenalplayingchops.

BettencourthasalsokeptbusywithExtremebyrecordinganewliveCDandDVDpackage,whichwillmarkthefirstDVDinExtreme’shistory.HesaysthebandheldofffromdoingaDVDbecause“theliveenergynevergetscapturedproperly,”buttheupcomingreleaseshouldpleaseguitarconnoisseurseverywhere,asBettencourt’smind-bogglingtechniqueandsmooth,articulatetonearebothondisplay.

Whenitcomestothattrademarktone,Bettencourtreallytakestimetohoneinonhowhecomesacrosstoeveryaudience,everynight,constantlyexperimentingwithhistone.“Anyonethatsaysthey’rehappywiththeirtoneistotallylying,”hesays.“Ithinkthatthat’showit’ssupposedtobe,though.You’realwayssupposedtobesearchingforthisthingthatdoesn’treallyexist,butyoucanalwayshearitinyourhead.”

AndwhileExtremehavegonethroughtheirhardships,thebandhasreturnedwithanewoutlookandthesamekickassshow.

“Theproblemwiththebandbeforewasthatwenevertookbreaksfromeachother.NowthatweallhavedifferentprojectslikeRihannaforme,theband’shealthierthanever,”hesays.“Extreme’sbackandreadytorock!”—ElliottPolitte

ROCK

NuNO bETTENCOuRT

JOHNNY MOELLER

bettencourt’s GearboxGuITARS: WashburnN4NunoBettencourtSignaturePICKuPS:Neck:SeymourDuncan’59;Bridge:L500BillLawrence(bothstock)STRINGS:DeanMarkleyNunoBettencourtElectric(.010-.052)AMPS:RandallNBKing100NunoBettencourtSignatureCABS: RandallNB412NunoBettencourtSignature(CelestionGreenbacks)EFFECTS:BossGT-8GuitarEffectsProcessor,BossOC-1Octave,BossTU-2TunerSTRAPS:DunlopPICKS: Custom-made

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• True bypass

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Check out Slash’s new self-titled album!www.slashonline.com

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Slash photo by PR Brown

w w w . g u i t a r e d g e . c o m10 J U LY / A U G U S T 2 0 1 0

There are about as many ways to learn the notes on the fretboard as there are ways to play them. To this day, I remember my first guitar teacher tell-ing me that I had to learn all the notes on the fretboard. I proceeded to think, “There goes the next three years of my life.” Becoming comfortable with the fretboard is a hurdle that guitarists must tackle in their own way. The CAGED system is a method for dividing up the fretboard into sections based on some basic open chords. Used at many colleges and universities, CAGED gets its name from the five open chords that are used to create the five fingerings.

In this lesson, I am going to walk you through each fingering and give you the associated chord shape. To make things easier, all the examples will be in the key of C major. One thing to remember is that the name of the shape doesn’t relate to the key of the scale. For example, the “C” shape means that the fingering is based on the open C chord and isn’t an indicator of what key the scale is in.

A good way to help visualize these scales is to play the chord first and then play a fingering that lies within that chord. This will also help you learn arpeggios as well. The key to unlocking the fretboard using the CAGED system is developing the ability to see these patterns all over the neck.

In Fig. 1 you can see how to play a one-octave scale in the open position using a typical C major chord shape—thus the “C” shape. Both your first and third fingers are playing the root, and that makes this scale fall under the fingers very easily. As with anything you play in the open position, be sure to learn this in the twelfth position, too.

The “A” shape in Fig. 2 comes from the C major barre chord in third posi-tion. This is usually the first scale fingering many guitarists learn and are most comfortable with.

The “G” shape falls in the fifth position and is shown in Fig. 3. Be sure to stretch your pinky finger for the B on the 4th string at the ninth fret. The octaves in this fingering fall on the 6th, 3rd, and 1st strings.

Probably the most popular fingering for the major scale (the first one I learned) is the “E” shape given in Fig. 4. This scale comes from the standard 6th string major barre chord. Keep to the one-finger-per-fret rule and this one should come together pretty quickly.

Finally, Fig. 5 shows the “D” shape that begins in the ninth position. I only notated one octave of the scale to help you visualize the relationships of the root notes. Shift up to the tenth position for the A on the 2nd string.

The CAGED system is just a way to organize and help visualize patterns on the fretboard. This system won’t make you a better player overnight, but it will put a method to the madness of learning the notes on the fretboard better. Experiment with these fingerings in as many keys as possible. For example, take one shape and play it through all 12 keys around the circle of fifths. Another exercise is to connect patterns through a random order of key centers. If you stick with this method and make it a part of your daily practice, it will not only help your technique but open your eyes to how the fretboard works.

Take the Fear out of the Fretboard: The CAGED System

by Jason Shadrick

Click here to see full-size music notation

Fig. 1

32 1

30 2 3

0 20 1

Fig. 2

3fr

1333

3 52 3 5

2 4 5

Fig. 3

5fr

43111

85 7 8

5 7 95 7

5 6 85 7 8

Fig. 4

8fr

134211

8 107 8 10

7 9 107 9 10

8 107 8

Fig. 5

12fr

132

10 129 10 12

10 12 13

Fig. 1

Fig. 2

Fig. 3

Fig. 4

Fig. 5

w w w . g u i t a r e d g e . c o m12 J U LY / A U G U S T 2 0 1 0

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Street Price is the price you’re most likely to find if you buy it from your local or online music retailer. It is not the manufacturer’s suggested retail price (MSRP).

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w w w . g u i t a r e d g e . c o m14 J U LY / A U G U S T 2 0 1 0

Theprocessofmakinganalbumisdifferentforeveryartist.Somebandsliketotestouttheirmaterialontheroadbeforecommittingtoastudioversion,whileothersfeelthestudioistheplacetowrite,record,andproducetheirmusic.Overtheyears,TheNadashaveexploreddifferentwaystocreateanalbum,andwithAlmanac,theirlatestrelease,theychosetoreallytaketheirtime.

HistoryFormedasacollegebandin1995whilefoundingmembersJasonWalsmithandMikeButterworthwereattendingIowaStateUniversity,TheNadashavereleasedsevenalbumsandtouredalloverthecountry.ThebandbeganasanacousticduowithjustWalsmithandButterworth.“Mygirlfriendatthetimegavemeamixtapeandwejustlearnedallofthosesongs,”recallsWalsmith.Sincethen,theyhaveplayedSXSW,openedforBonJoviandwerenamed“BestCollegeBandYouHaveNeverHeardOf”byPlayboymagazinein2001.BothWalsmithandButterworthshareguitarandvocaldutiesandarejoinedbyJonLockeronbass,JasonSmithondrums,andBeccaSmithonviolinandkeyboards.

Bright ideasWithAlmanac,TheNadastookadecidedlymoreinteractiveapproachtodevelopingthematerialbyincludingtheirfansintheentireprocess.“Itwastimeforustodoanewrecord.Wemayhaveevenwaitedalittlebittoolong,”saidWalsmithbeforearecentsold-outgig.“Thesedays,itisreallyhardtokeeppeople’sinterestandattention.Ithinkthatthemorecontentyouputoutthere,thebetterchanceyouhavetokeeptheirattention.Soweopeneduptheprocessofcreatingarecordtoourfans.”Theprojectrequiredthebandtowriteandrecord

onesong—andonlyonesong—eachmonthin2009andthenreleasethecollectionofsongsasanalbum.“Duringtheprocess,wemadeourownrules.Therewasonerulewherewecouldn’tcarryasongoverfromonemonthtothenext.Weonlyworkedonthatonesongduringthatmonth,”hesaid.

Booking adviceLikemostbands,TheNadaswereentirelyDIYinthebeginning.“Earlyon,wedideverythingourselves.Incollegeweplayedeveryparty,festival,mall,ornursinghomewewereaskedtoplay,”hesays.Developingrelationshipswiththevenueswasextremelyimportantaswell.“Assoonaswestartedtoplayoutsideofourtown,wesetupanofficeandbuiltadatabaseofcontactsandvenues.Itwasallaboutpersistenceandlearninghowthevenueswantedtobecontacted.Forexample,onevenueonlytookbookingcallsat3a.m.onTuesdays.Learningthoselittlethingswentalongway.”

Essential GearBothButterworthandWalsmithkeepitprettysimplewhenitcomestothegeartheyuseinthestudioandontheroad.Walsmith’sgo-toguitarisa’74FenderCustomTelecasterthatheplugsintoa’74FenderDeluxeReverb.HealsousesacustomBilTGuitarwithabuilt-intremolocircuit.Butterworthhasa’77GibsonLesPaulGoldtopandaVoxAC30thatformthefoundationofhissound.Butterworthdescribestheampasprettymuchstock,withtheexceptionofafewmods.“TheVoxisfromtheearly‘80sandIswitchedoutthespeakertoaCelestionVintage30.IalsoaddedaspeakeroutjackforanextensioncabifIeverfeellikegoingforsome‘bigrock!’”

Best GigsAlthoughTheNadashavehadseveral“breakthrough”gigs,Walsmiththinkstherealturningpointforthebandwaswhentheyhittheroad.“Thereisalwaysthisquestioninthebackofyourmindaboutifyouarearealbandorisitjustyourfriendsshowinguptothegigs.Whenwefirsthittheroadandplayedinfrontofnewaudiences,itwasverymotivatingtolearnthatotherpeoplewereintous.”Manycollegebandsalsostrugglewithwhattodowheneveryonegraduates,butWalsmithpoweredthroughit.“WhenIgraduatedfromcollege,I thoughtIwasjustsupposedtogooutintotherealworldandgetarealjob.IwonderedifIcouldcallmyselfaprofessionalmusician.Togetthroughthatphaseandbecomeamusicianwasaprettybigwin.”

Other tipsWhenitcametimetotakethenextstepandhireamanager,publicist,andanagent,Walsmithsaidtheearlydaysreallyhelpedhimmaketherightchoices.“Ithinkwitheverypieceofthepuzzleitisimportanttodoityourselffirstsoyouunderstandwhatthatjobisandwhatyourexpectationsforthepersondoingthatjobare.”Networkingwithotherbandsyouemulateisagreatwaytomakeconnectionsaswell.“Findbandsyoulikeandseewhotheyworkwith.Itismuchharderinthisnewenvironment,sincethereareamillionbands,butdoingthelegworkwillpayoffinthelongrun.”

If you would like your band featured in this column, email Jason Shadrick at jason@guitaredge.com

by Jason Shadrick

The Nadas

Hometown: Des Moines, IA Gigs/Year: 120 Income: Varies, usually based on a percentage of ticket sales. Tickets are usually $10-$20.

Style: Alt-rock Website: thenadas.com Contact: thenadas@thenadas.com

SET LIST:Bitter Love, Long Goodbye, Feel Like Home, Blue Lights, Crystal Clear, River, Dancing Lucinda, Carve, Cry, Drink It ‘Till It’s Gone, Dodged a Bullet, All I Want Is You, Walking Home Alone, New Start, Good Night Girl

Guitar Edge’smonthlyconversationwithalocalbandwillingtosharetheirexperiences,tips,andstories*

(L to R) Jason Walsmith, Jason Smith, Becca Smith, Mike Butterworth, Jon Locker Photo by Joe Crimmings

The Nadas

SET LIST:Bitter Love, Long Goodbye, Feel Like Home, Blue Lights, Crystal Clear, River, Dancing Lucinda, Carve, Cry, Drink It ‘Till It’s Gone, Dodged a Bullet, All I Want Is You, Walking Home Alone, New Start, Good Night Girl

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 17

Jeff Loomis Back in Black

Metal fans have been yearning for the next installment of brutality from guitarist Jeff Loomis and Nevermore for five longyears.Butcanthelong-awaitedreleaseofthegroup’sseventhalbum,The Obsidian Conspiracy,liveuptoallthehype?

Fordiehardswhohavefollowedthebandsincetheirself-titledrelease,thenewrecordwillbeadeparturefromwhatthey’reaccustomedto.Loomishasfocusedonwritingwithamorestraightforwardstylethistimearound,keepingmosttracksaroundthethree-tofour-minutemark,asopposedtotheepictenminutesongsofNevermore’spast.Butdon’tletthetracktimesfoolyou—thisisstillaguitar-driven,fullthrottlejourneythatwillhaveyoucontinuallyrackingyourbrainoverLoomis’intricate,powerfulcreations.

Whetherornotyou’retunedintometal,Loomis’playinghasaccountedforsomeofthedecade’sbestriffs,fromtheheavyploddingof“BittersweetFeast”tothemelodicdepthof“NoMoreWill,”andhecontinuestobetherecognizedasatruevisionaryofthegenre.Ofcoursehe’sblazinglyfast,butasmanyplayersagree,it’snotallaboutspeed.Loomishasthechopstomatchthetechnique,andthat’swherehetrulydefineshimself—bycontinuingtopushhimselftonewheightsoneveryalbum,allwhilestayingunique,currentandcompletelyauthentic.

Interview by Elliott Politte Photography by Stephanie Cabral

w w w . g u i t a r e d g e . c o m18 J U LY / A U G U S T 2 0 1 0

With the new album being more straightfor-ward, have you scaled back your playing at all?

Notreally.There’sbeensomuchstuffinthepastthatwe’vedonethathadreallyguitar-orientedthingsgoingonwithinthesongs.Onthisone,therearemorechordsthansingle-noteruns.Thewholestructuresofthesongshavebeensimplified.

What was the reason for the new approach on this record?

I’mnotsurewhywetookthisapproach,otherthanwewantedittobeeasierforthelistenertocatchonto.Itcouldbeagoodthingforus,oritcouldreallybiteusintheass,butitwillbeinterestingandhasmadetheanticipationveryhighforusonthisrecord.

You’ve been an icon on the seven-string. What was it like when you first started playing them?

Istartedplayingsevensabouttenyearsagoandthefirsttimewasveryweird.PeoplegavemealotofflackforitatfirstbecausetheythoughtIwasgoingtostartsoundinglikeKornorsome-thing.[Laughs]Inreality,itopenedupalotof

doorsformemusically.Itdidtakemequitealongtimetogetusedtoitbecauseit’sanobvi-ouschange,butIreallylikedtheoveralltoneandtheheavinessofthem.IjustkeptrecordingdemoswithituntilIgotreallycomfortable.

What was the first album that you inte-grated the seven-string into?

ThefirstoneIusedthemonwasDead Heart in a Dead World.

Your playing combines an eclectic amount of influences. Where do all of these come from?

Iwasfortunateenoughtogrowuparoundalotofinterestingmusic.Myfatherhadahugerecordcollectionofallsortsofdifferentstuff.IwasalwayslisteningtobandslikeQueen,ELO[ElectricLightOrchestra]withJeffLynne,andtheDoobieBrothersifyoucanbelieveit.LatelyI’vebeenreallyintogypsy-jazzguitarplayers.Areyoufamiliarwiththatatall?

i’m not too familiar; fill me in.

Dude,theseguysarethefastestguitarplay-ersoutthere—guyslikeDjangoReinhardt

andStocheloRosenbergfromHolland.[Ed. note: Reinhardt passed away in 1953.]Theyarephenomenalguitarpickersandusetheseawe-some-soundingscalesandgreattechniques.Ireallyfeellikeyoushouldalwayskeepanopenmindwhenapproachingtheguitarbecausetherearesomanydirectionsyoucangoin.Ialwaystryandkeepmyoptionsopen.

Besides Nevermore, are we going to see a new Jeff Loomis record anytime soon?

Absolutely!I’msignedonfortwomorerecords[withCenturyMedia]andI’mworkingonthenextonerightnow.ThefirstonewasputtogetherveryquicklyandIimprov’edalot,whereasthisoneismoreorchestratedandworkedout.I’mreallyexcitedaboutit.Ifevery-thingpansout,you’llseeitoutinearlyfall.So with all of these ideas you’re putting togeth-er, do you have a portable recording rig?

Yeah,Ido,butit’sprettysimple.IhavealaptopwithGarageBandequippedwithToontrack’sDrumkitfromHell,whichisadrumprogramthatletsyouarrangethedrumpartsbyhand.SoanydowntimeIget,whetherit’sonthebusorinthehotel,I’llputtogethersimpleideas,nothingtoo

Jeff Loomis Back in Black

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 19

Jeff Loomis’ GearboxGuitars

SchecterFR-7JeffLoomisSignatures

PickupsEMG707

StringsErnieBall,.009-.046and.064onthebottom

ampsENGLSavage120

CabinetsENGLXXL4x12withGreenbacks

EffectsFractalAudioAxe-Fx

StrapsDiMarzio

PicksJimDunlop2mmSharpies

serious.ThenItaketheideasandgivethemtomydrummerandstartworkingthemout.

How does it feel having your own signa-ture model guitar?

[Laughs]I’msooverwhelmedbecauseIstillcan’tbelieveIhavemyownguitar.IstartedusingSchecteraboutfiveyearsagoandIwasusingtheHellraiserSeries.That’swhatmyguitarisbasedon.OnedayIgotacallfromSchecter’svicepresidentaskingifIwantedtodomyown,andhowwouldyouwanttodoit?

What specifics did you request?

IdefinitelyknewIwantedamapleneckbecauseIlikethelooksandIthinkithasabrightersoundoverall.It’sreallyjustasimplifiedversionoftheHellraiserexceptithasonevol-umeknobbecauseIlikeasimpleon-off,insteadofmessingaroundwithtoneknobs.ItalsocomeswithEMG707pickupsandeitheraFloydRoseorstandardbridge.ThenewthingisthatitwillnowcomeinablacksatinfinishalongwiththeoriginalVampyreRedSatin.

are there any changes from the model con-sumers buy versus the one you use on stage?

No.TheoneyoubuyfromstoresisexactlywhatIuseonstage.Nomodifications.

i heard that you’re currently using Fractal audio’s axe-Fx live now.

AtthemomentIonlyusethatathome,notlive.IuseanENGLSavage120headthroughENGLcabs.I’mthinkingofworkingtheAxe-Fxintomylivegearforeffectsthough.

Being a seven-string guy, a lot of artists in those lower registers have been finding their tone with ENGL.

Ohabsolutely!Theyaresuchamazingampsthatdon’thavejustonesound,butmanytopickfrom.Youcanhitachordwithcompletesaturationanddistortiononit,butstillheareverystringbecausetheseparationissophe-nomenal.Simplybrilliant!

technique-wise, is there anything new you’re working on?

I’mstilltryingtomastertheartofpicking.I’malwaysworkingonmixingindifferentstylesofpickingintomyplaying.Iwon’tjustuseup-downpicking,soIintroduceeconomypicking,

alternatepicking,andlegatostylesintomyplaying.IhavetomixitupasmuchasIcan.

How important is pick selection to you?

Tome,it’sextremelyimportant.I’musingtheJimDunlop2mmSharpiepick,whichhasthereallypointyedgeonit.Withthatpickyoucan’treallymaketoomanyerrorsinyourtech-niquebecauseifyoudigtoodeepthepickgetscaughtup.SoIreallyhavetofocusonusingtheveryedgeofthepicktogetthetonegoing.That’swhyit’ssoimportant—you’repickingtogettoneoutofthestrings,nomat-terhowsoftorhardyoupick.

What’s your “gear that got away” story?

It’skindofafunnystory.TheveryfirstguitarIhadwassocool.ItwascalledthePVT15anditwasasmallerguitarforakid.Thecoolestthingaboutitwasthatthecaseforitactuallyhadanamplifierbuiltinsidetheguitarcase.Moreguitarcompaniesshouldtrydoingthatagainbecausethatwassuchagreatidea.IsoldittooneofmyfriendsandIwishIwouldn’thavebecausethatwassuchaconversationpiece.

w w w . g u i t a r e d g e . c o m20 J U LY / A U G U S T 2 0 1 0

STEVE HACKETT OutoftheTunnel’sMouth(MagnaCarta)

Itsimplydoesn’tgetmuchmore“prog”thanopeningyouralbumwithmusicbox/toypianoplunkingfollowedbyagargantuanlyric-less

chorus,doesit?Well,howaboutifyouhadsoaringguitarmelodiesbook-matchedwithmonstertone,mixinbitsofclassicalandflamencoguitar,andwrapitallindramaticflair?Well,thenyou’dbedescribingthenewalbumbyprogressiverockguitarlegendSteveHackett.Interestingly,thealbum’sbesttrack,“LastTraintoIstanbul,”istheleastprog-rocksongoftheset.TheMiddleEastern–inspiredcomposition,featuringstellarpercussionaswellasaviolinsolofromFerencKovacs(Djabe)andaflutesolofromJohnHackett(Steve’sbrother),isaByzantinejourneyyou’llwanttorepeatagainandagain.–MMHighlights:“FireontheMoon,”“Sleepers,”“LastTraintoIstanbul”

MOESmashHits,Volume1(Fatboy)

For20years,guitaristsChuckGarveyandAlSchnierhavebeenprovidingsomeofthemostfunk-aliciousgroovesonthejam

scene,lettingimprovisationrulethedaywithapremiumnotonlyonchopsbutalsoonmakingsureeveryone’shavingagoodtime.Andwhileit’sdifficulttocapturethemagicofjambandsinthestudio,moe.doesjustthatonSmash Hits,acompilationofbandandfanfavoritesspanningfromtheir1992debutalbumFatboytothe2010-releasedsong“SeatofMyPants,”alongtimelivestaplebutmakingitsfirstappearanceonastudioalbum.Throughout,theguitartonesarerich,crisp,andorganic,withGarveyandSchnier(asusual)drawingfromabroadpaletteofmusicalinfluences.–MMHighlights:“Yodelittle,”“Mexico,”“SeatofMyPants”

PETER PARCEK TheMathematicsofLove(Redstar)

OnhisnewalbumPeterParcekservesuppropulsive,fuzz-tonedbluesandslideexcursionsthatvisitparcelsofrock,

jazz,country,andfolkwhilekeepinghomesteadintheswampandsurroundinghillcountry.Theplayfulslapbackshred-billyinstrumental“Rollin’WithZah”willmakechopsfanstakenotice,aswill“GetRightWithGod”andParcek’sversionoftheRayCharlestune“Busted.”Meanwhile“KokomoMeBaby”offersoccasionalflashesofDjango-inspiredjazzphrasesnestledintodown-homeblues,whiletheslowspiritual“LordHelpthePoorandNeedy”isamasterclassintastyrestraint.–MMHighlights:“ShowbizBlues,”“Rollin’WithZah,”“Busted”

PERIPHERY Periphery[DeluxeEdition](Sumerian)MMMMM

ExpectationswereveryhighforthefirstofficialreleasefromPeriphery,thethree-guitarprogressivemetalbandthatisknownforitshuge

onlinefollowinganditssoundthatisdefiningwhathasbecomeknownasthe“Djent”movement.Chugga-chuggametalthisisnot,butratherawell-composed,fistpumpingjourneyintoguitar-drivengenius.Thetriple-axeassaultofMisha“Bulb”Mansoor,AlexBoisandJakeBowenismust-listen-tostuffthat,onatechnicallevel,isbestappreciatedontheDeluxeEdition’sbonusdiscofinstrumentalversions.WhenfusedwithSpencerSotelo’spowerfulvocals,theband’sresultingsoundisgame-changing—brutalandbrilliant.–EPHighlights:“LetterExperiment,”“TheWalk,”“IcarusLives,”“JetpacksWasYes”and“Racecar”(Feat.JeffLoomis)

ALEX MACHACHEK 24 Tales (Abstract Logix)Whereas many guitarists think the drum solo is a great time to fetch a beverage, Austrian-bornjazz-fusionmonsterAlexMachachekinsteaddecidedtocomposehisentirenewalbumbasedona51-minuteone-takeskin-bashingsessionbydrummerMarcoMinnemann.Theresultisastunningdisplayofcompositionandvirtuosity,anda’70s-stylefusionvibeinthebesttraditionofReturnto

Forever,MahavishnuOrchestra,andAllanHoldsworth.Throughout24 Tales,Machachekseamlesslyalternatesbetweenclean-tonedstaccatomachine-gunattacks,soaringoverdrivenlongtones,andgymnasticintervallicplay—andalloversomeofthecraziestrhythmsandtimesignaturesaguitaristwilleverencounter,including15/16,9/16,andsuperimposedpartstocreatebrain-meltingpolyrhythms.Ifthisallsoundsscary,itis.Whichiswhyeventhoughheisajazzboatheart,Machachekengagedinverylittleimprovisationonthisrecord,insteadcarefullycomposingnearlyallofthepartsforthisadventureincontrolledchaos.Still,theguitaristsomehowachievesawittyspontaneitythatcomplementstheoeuvre,andthat’sthegrandachievementof24 Tales.Its51minutesseeminglyflyby,muchlikeagreatbook.Thematerialonthisalbumisnoteasylistening,butasawhole,itsureisaneasyread.Bestofall,it’ssocomplexthatyou’resuretofindsomethingnewandexcitingoneachlisten.–MM

Highlights:“OnYourMarks…”“SweetTorture,”“AttheClub,”“EaudeConlon”

photo: Ash Newell

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CDs

INSTRUCTIONALMIKE STERN SignatureLicks[HalLeonard]HalLeonard’sSignatureLicksserieshaslongofferedguitaristsinfor-mativeandinsightfullessonsonthestylesandtechniquesoftheirfavoriteplayers,butthenewMike SternSignatureLicksbooktakesit

upanotch,actuallyenlistingSternhimselfasacon-sultantthusmakingitatrulyspeciallessonbookforfansoftheprodigiousguitarist.

WrittenbyJoeCharupakorn,aNewYork–basedgui-tarist,authorandformerstudentofStern,thisbook/CDexamines14ofStern’sbesttunes,focusingontheheadandguitarsolo(s)ineach.Titlesincludethegentleballad“AfterYou”;thefunktune“Jigsaw,”whichexploitsthecompositionalpoweroftheminor2ndinterval;“OneLiners,”whichisacontrafactofthestandard“SoftlyasinaMorningSunrise,”whichinturnhasbeenaliveSternfavoriteforyears;and“Swunk,”withits16th-notesyncopationgivingtherhythmicallychallengedfitswhiletryingtoplayit.

Inadditiontothe14songlessons,Charupakornalsoincludedaguitar-intensiveinterviewwithSternplusasix-pageone-on-onelessoncalled“Bop’n’Roll”thatcoversimprovisationaltopicssuchastheuseofchordtones,passingtones,lower-andupper-neighborlead-ingtones,andmore.Thereisalsoadetailedbreak-downofStern’sgear,adiscography,andanin-depthintroduction/mini-biography.

Igotmyhandsonthisbookfourweeksbeforethisreviewwenttoprint,andithasn’tleftmymusicstandyet.–MM

CD, DVD, Book & web Reviews by Michael Mueller & Elliott Politte

&SIGHTS SOUNDS

DVDsPORCuPINE TREE Anesthetize(TKTK)MMMM

PorcupineTreefansoftenspeculateaboutwhetherStevenWilsonhasanobses-sionwithtrains.(There’sevenaFacebookpagededicatedtothis,Ikidyounot!)Butoneobsessionthatrequires

nospeculationisWilson’sdesiretopresenthisbandvisuallyandsonicallyinthehighestqualitypossible.RecordedliveinTilburg,TheNetherlands,inOctober2008,attheendoftheFear of a Blank Planettour,Anesthetizeisallyou’dexpectfromtheperfection-istWilson.FilmedinhighdefinitionbylongtimePorcupineTreecollaboratorLasseHoile,forbothstandardandBlu-Rayreleaseandwithanavailable5.1surroundmix,thisDVDreachestechnologicalheightsnotoftenassociatedwithliveconcertvideos.

Butmakenomistake:thesubstancematchesthestyle.Thesetkicksoffwithaperformanceoftheband’sthen-newalbumFear of a Blank Planetinitsentirety.It’srefreshinginthisageofdigitaldownloadsandsinglessalestoseenotonlyanartistwhostillembracesthealbumconceptbutalsoafanbasethateatsitup;indeed,Wilsonholds“thealbum”insuchhighregardthatheemployedthesametacticonlastyear’stourbehindThe Incident.

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photo: Ash Newell

THE DIGITAL EDGE ByJasonShadrick

MuSICIANwAGES.COMWhenitcomestobeingafreelancemusician,develop-ingsomebusinesschopsareessential.Musicianwages.comisawebsitethatisspecificallyaimedatworkingmusicians.Thereisadifferencebetweenthemusicbusinessandthemusicianbusiness.Thiswebsiteisallaboutmakingalivingasamusician.Everythingfromtheessentialpianobarsongstobookingatouriscov-eredinamazingdetail.

ThewebsitewasstartedbytwoworkingmusiciansfromNewYorkCity,guitaristCameronMizellandpianistDavidJ.Hahn.Combinedwithcontributionsfromastableoffreelancewriters,theyhavecreatedadeepwellofarticlesthatanymusiciancangetsomethingoutof.OneofthecornerstonesofthewebsiteisHahn’sblogaboutbeingacruiseshipmusician.Thisblogtouchesonnearlyeveryaspectofbeingonacruiseshipandshouldbeessentialreadingforanyonetakingthetrekonthehighseasandwantingtokeeptheirsanity.

Oneespeciallyinterestingseriesofarticlesisacollectionofprofilesofmusicjobsthattendtobealittle“undertheradar.”Amusiceditorwroteoneofthemoreinterestingprofiles.HewasfromChicagoandgavearealworldperspectiveonhowhegothisjobandthingshelearnedalongtheway.Oneofhisfirstbreakswaswritingascoreforadocumentarymoviethathissister-in-lawwasmaking.Theexperienceofworkinginthefilmindustrygavehimanentirelynewperspectiveonhowcomposersanddirectorscollaborate.Abigthemerunningthroughthewebsiteisnetworking.Therehavebeenseveralmeetupsorganizedbythewebsitedesignedtoconnectmusiciansandtradeknowledge.

Ifyouareouttheresluggingitoutinthetrenchesandhavingatoughtimehandlingthebusinesssideofthings,thiswebsitewillkeepyoufromwaitingtablesanddeliveringpizza.

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BANDCAMPThegoalofnearlyeveryindependentmusicianistobeabletomakealivingoffofyourmusic.Nomatterwhatyourartisticviewsare,thatprettymuchmeansyouneedtosellyourmusictopeoplewhowanttohearit.Bandcampmakesiteasytogetyourmusiconline(with-outgoingtoMySpace)andisspecificallyaimedatartistswholiketheDIYapproach.Essentially,Bandcampwantstobethemusicareaofyourwebsiteandgivesyouthetoolstointegratetheirfeaturesintoyourwebsite.

AtthecoreofBandcamp’sfeaturesistheabilitytouploadyourmusicandhaveyourfansdownloaditinavarietyofformats(FLAC,Mp3,AACandseveralmore).YoucantakeapageoutofRadiohead’sbookandhaveaname-your-pricesystem,giveawayafreecompilationorusethetraditionalpay-per-trackmodel.Alongwiththedigitaldown-loads,theyoffertheoptionofsellingphysicalmerchandiseaswell.AllpaymentsarehandledthroughPayPal,withthePayPalfeesbeingtheonlychargetousetheservice.

Forbeingafreeservice,Bandcampoffersaprettyimpressivelistoffeatures.ThesitereportsallofthesalestoSoundScan,allowscustomdomains,enablesdiscountcodesyoucangivetofansandincludestoolsforyourfanstousetospreadyourgospel.Forbandswhowanttogrowtheirmailinglist(i.eallofthem),youcansetupafreedownloadinexchangeforanemailcampaign.Ifyouarelookingforawaytogetyourmusictothemassesinaneasy,professionalway,Bandcampisdefinitelyworthcheckingout.

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ME

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CD, DVD, Book & web Reviews

&SIGHTS SOUNDS

Thebonusdocumentaryisasentertainingasthemusicitself,whichcouldbeinterpretedtomeanthemusic’snotthatgood.Notthecasehere;rather,thedocumentaryisjustthatfunny.DrummerChadSmithplaysuphisuncannyresemblancetocomedianWillFerrelltogreateffect,show-ingthatheevenpossessessomeofFerrell’scomedictiming.HumoroussegmentswithBobWeir,AdamCarolla,andChristopherGuest(infull-onNigelTufnelcharacter)makeitwellworthwatching.–MMHighlights:“DowntheDrain,”“OhYeah,”“BadMotorScooter”

Sixsongsand51minuteslater,Wilsondelvesdeepintotheband’sbackcatalogforanadditional11songs,including“DarkMatter”and“Sever”from1996’sSignify,andseveral“non-album”tracksyetfanfavoritesnonethelesslike“Normal”(fromtheFear of a Blank Planetsessions)and“DrownWithMe”(fromtheInAbsentiasessions).Conspicuouslymissing,however,is“Trains,”whichsinceits2002releaseonIn Absentiahasbecomeanencorestapleandfanfavorite.Perhapsthatlocomotiveobses-sionisn’taskeenaswesuspect.–MMHighlights:“Anesthetize,”“WayOutofHere,”“Normal,”“Sever,”

ANNIHILATOR LiveatMastersofRock(SPV)MMM

Despitenumerouspersonnelchangesandafewmusical-changes-of-direction-gone-awry,CanadianthrashmetalactAnnihilatorshowsonthisnewDVD/CDsetthatevenafter25years,theystillrockharderthanyou.Filmedliveinthesummerof2008infrontof30,000head-bangersattheMastersofRockfestival

intheCzechRepublic,theshowisano-frillsmetalonslaught.Accordingly,that’sallyou’llfindontheDVD—nodocumentaries,nohiddenbonusfeatures,nothin’—justmetal,pureandsimple.

AfterintrofootageandphotosofthousandsofEasternEuropeanmetalfansfilingintothevenueanddoingtheirbesttocoolthemselvesfromthescorchingCzechheatthatblanketedthefestivalthatday,thesetkicksoffwith“KingoftheKill,”thetitletrackoftheirimpressive1995release.Butit’snotuntil“OperationAnnihilation”and“ClownParade”thatthebandtrulyhitsitsstride.Fromthere,theintensitykeepsrisinguntilthebandclimaxeswithatriooftunes(“W.T.Y.D.,”“WickedMystic,”“AlisonHell”)fromtheirhighlyacclaimed1989debutAlice in Hell.

Perhapsthebiggesthighlight,though,ishearingJeffWaters,whoisthesingularmainstayofthebandthroughalltheyears,expresshisappreciationforthecrowdandhisgratitudefortheopportunitytostillbedoingwhathelovestodoafterallthistime.Whosaysyoucan’tbeaniceguyandinspiremoshpitsatthesametime?–MMHighlights:“OperationAnnihilation,”“Never,Neverland,”“WickedMystic,”“AlisonHell”

CHICKENFOOTGetYourBuzzOnLive(DC3)MMM

Therearen’tmanybandsthatcanreleasejustonealbum,headlineaworldtour,andthenmakeaDVDtocommemorateitall,butthenChickenfootisn’tjustanyband.Asupergroupcomprisingenoughindividualhistoryandpersonalitytoappealtoamassiverockaudience,“the

Foot”showsonthisDVDthatmorethananythingelse,theyareallaboutmakingsureboththeyandtheiraudiencehasagoodtime.

TheDVDfeatures10ofthe11tracksfromtheband’sself-titleddebutalbum,plus“BittenbytheWolf”fromthedeluxeedition(inplaceof“Runnin’Out”),aswellastheMontroserocker“BadMotorScooter”andtheWho’s“MyGeneration.”Foragroupcomprisingrelative“geezers,”theband’sliveenergyisthroughtheroof.It’sparticularlyinterestingtowatchguitaristJoeSatriani,whoforthisprojectreinventedhimself,focusingmuchmoreonrhythmguitarandfillingthespacewhileatthesametimepullingbackontheleadguitarthrottleenoughthattheband’s“party-rock”fansdon’tfallintoanoodle-sessioncoma.WhileacomparisontoEddieVanHalenmayseemuncomfortablegiventhegroup’smembership,athispeakEddiewasthebestrockrhythmguitaristofthepast30yearsorso,andSatchissimplyfollowingthatexample.

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SCHECTER HELLRAISER SPECIALWicked Guitar Lineage Spawns a New Generation

Formorethan35yearsSchecterhascreatedgroundbreakingguitars,basses,acousticsandhandcraftedUS-madecustominstruments.Throughout,Schecterhasbeenguidedbyagut-levelinstinct:tocreateguitarswithanunparal-leledcombinationofqualityandaffordability.

ThebrandnewHellraiserSpecialseriescontinuesthisplayer-friendlyapproach…withavengeance.Asthenameimplies,Schecter’sHellraiserguitarsareprizedfortheirtake-no-prisonersattitudeandbattletestedreliability.Schecternowupstheante.BrandishingEMGActive81X&85Xpickups,Schecter’sUltraAccessNeckandaFloydRosetremolo,thenew

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WhileVH1hascreatedanindustryoutofexploitingformerchildstarslookingfortheirsecondshotatthelimelightorsomeextrabeermoneyfortheweek,theonepersonthatyouwon’tseeonacelebrealityshowisguitarphenomDerekTrucks.TrucksburstontothesceneasachildprodigyovertwodecadesagoandmadehismarkbysittinginwiththelikesofBuddyGuy,BobDylan,andtheAllmanBrothers,withwhomhesharesstrongfamilyties(hisuncle,drummerButchTrucks,isafoundingmemberoftheAllmans).However,unliketheDannyBonaduceandDanaPlatosoftheworld,Trucks’careercontinuestoflourishwellintoadulthood.

TrucksformedtheDerekTrucksBandatage14andsimultaneouslyspentagoodpartofhisteenyearsappearingasaguestwiththeAllmans.Atage20,hewasa“mademan”—officiallybecomingamemberoftheAllmans.Whenhewas27,hespenttheyeartouringwithEricClapton.Now,havingrecentlyturned30,Trucksisperhapstheleadingguitarvoiceofhisgeneration.TheDerekTrucksBandrecentlywonaGrammyAwardforBestContemporaryBluesAlbum,andheavyweightplayerslikeMikeLandauopenlycitehimasaninfluence.Norehabneededforthisguy,justanSGandaslide.Roadsongs,Trucks’newliverelease,featurestellingexamplesofwhyhisplayingissorevered.Fieryyetaccessibleimprovisationsmarktheouting,andTrucks’uniqueamalga-mationofrootsmusic,blues,andjazzinfluencesissummonedtobringeachsmolderingsolofromoneclimaxtoanother.

WhileinNYCfortheAllmanBrothers’annual,perpetuallysold-outMarchresidency,TrucksrecentlytooktimeoutfromapackedscheduletochatwithusatthecolossalnewlocationofRudy’sMusicinSoHo.EventhoughTruckshadbeenup’tiltheweehoursofthemorningcheckingoutaCubanbandinMidtown,hearrivedbrightandearlytodiscussgear,hislat-estrelease,hisuniqueapproachtoplayingguitar,theAllmans,andwhetherwe’lleverhearhimgetbehindthemic.

Veteran slide master derek trucks sits down with Guitar EdGE to talk

about improVising, playing with some of the biggest names in the guitar uniVerse, and his band’s new liVe album, roadsonGs

Interview by Joe Charupakorn Photography by Chris Owyoung

Long Haul Trucker

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tell us about your new live Cd, Roadsongs.

Ourcoreaudiencehasbeenaskingforaliverecordforawhile.Roadsongsencompasses16yearsofnon-stoptouring,circlingtheglobe,andmakingrecords.ItwasrecordedatParkWestinChicago;thesameplacewedidtheSonglines LiveDVD.Forsomereasonwehavealwayshadgreatshowsthere.Chicagohasthatbubblingenergyandtheaudienceiswellversedandlistens.They’requietattherighttimesoyoucangetsubtle,andthenwhenit’stimetogo,they’rerightthere.

Thisbandhasgottenbetterandbetteratmakingstudiorecords,butliveisacom-pletelydifferentsideofwhatwedo,andwe’vedonethousandsandthousandsofshowstogether.Werecordeveryshow,andwhenwetalkedaboutreleasingalivealbumthatwasthefirstshowthatcametomind.Weweren’tpreparingtodoalivealbum.Wejustcapturedagreatnight—themostexploratorythingswedohappenliveinthemoment.Whenwefinishedthesecondshoweveryonejustfeltreallygood,whichisunusualbecauseyoualwaysfeellikethere’ssomethingelseyouwantedtodo.

do you discuss the good and bad moments of a show with the band afterward?Youalwaystrytobetteryourself.There’salwayssomethingthathappensduringashowthatwetalkthroughbriefly.Orwetalkabouthowthenightfeltoverall.ThatwasoneoftheveryfewshowsthatIcanrememberwhereeveryonefeltgreatafterward.

Were there any fixes?

Noguitarorinstrumentfixes.Somelittlecol-oration,likemaybeanextrabackgroundvocalhereandthere.Wespentalotmoretimewiththisinproductionthananythingelse,mixingitthewaywewanttohearit.ChrisShawdidanamazingjobofmakingitfeellikealiveshow,protectingtheambience,andmakingsureitdidn’tfeeltooclinical.

What are some highlights of the album?

Usually,thereareoneortwosongsanightwherewe’relike,“Thatmightbethebestwe’veplayedit.”Thatnightitwasoneafteranother.Theshowhadsomeofthebestversionsweplayedoftheseindividualsongs.Noonewasbeingconservative;everyonewasthrowingitoutthere,yetitdidn’tgooverthecliff.

There’sagreatversionof“AfroBlue”andagreatversionof“RastamanChant.”Thosesongsfeltamazing.Thehornarrangementsforsomeofthesetunesarereallynice.WewantedtomaketheChicagoshowsunique,soweflewthehornplayersupforthosetwoshowsandrehearsedthemeveryday.Alotofthosetunesweonlyplayedoncewiththem,sowecap-turedafreshnesswiththat,too.

You seem to play and record a lot of 6/8-type tunes.

Ihaveanaffinityforcertaingrooves,timesignatures,andthatmodalapproach.Certainthingsjustfeelgoodtosolooverandare

alotoffuntoplay.Iappreciatetunesthatstretchtheboundariesalittlebit.Anythingyoucandotogetthemusicoutofthestocknormthateveryoneisusedto,evenifit’sasubtleshiftlikethat.Aslongasyoucanmakeitfeellikeit’shomeforpeoplebutstilladdadifferentcolor.

Sometimesyouheargreatrecordingsanditwidensyourconceptofmusic.IheardtheColtraneversionof“AfroBlue”earlyonandthat’swhenthedoorwasopened.

On “afro Blue” from Roadsongs, it sounded like you were shifting blues-scale shapes in and out of key. Can you explain that?

Long Haul Trucker

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A lot of time it’s just feeling free enough tomoveoutofthescale.James“Blood”UlmersatinwiththeAllmanBrotherstheothernight,andit’ssoliberatingplayingwithaguylikethat.Whenhewantsto,hecanbetraditionalandinthepocket,butmostofthetimehe’sjust“outtolunch.”Ithinkwhentheintentionisrightandyouknowwhereyouwanttoendup,youcanroamanywhere,aslongasyoudoitwithenoughconviction.Ifit’stentativeitsoundswrong.

are you approaching it analytically, like super-imposing alternate scales to generate specific tensions or are you doing it instinctively?

SometimesI’mthinkingpatternsandmovingthemaround,knowingthatI’mgoingtoendupbackatthekeycenter.OrmaybeI’lljustgoupinfourthsuntilImakeitbackhome.Alotofitisintentionallyputtingthattensionoutthere;youholdthetensionaslongasyoufeelcom-fortableormaybealittlepastthat[laughs],andthenyouworkyourwayback.Youhavetohaveenoughfaiththatyoucangetoutthereontheplankandyou’regonnabeallright.It’swhenyougetoutthereandstartsecond-guessingyourself,that’swhenitfallsflat.

is your legato playing inspired by horn players?

Yeah.JohnGilmore,WayneShorter,JohnColtrane.ThoseareguysthatIthinkaboutalotwhenI’mplaying.

a couple of years ago, you played on pianist McCoy tyner’s Guitars album. Considering McCoy’s historic association with Coltrane, that must have been really special.Itwassuchanhonortobepartofsomethinglikethat.McCoyissuchasweetguyandisstillplayinghisassoff.He’sreallythelastdirectlinktoColtrane.Thoseweremomentsthat,whiletheyweregoingon,yourealizehowfortunateyouaretodowhatyoudo,andyourealizethatthisisamomentthatyou’regoingtorememberfortherestofyourlife.

Sometimesyoumeetoneofyourheroesandit’salittlebitofaletdown.WithMcCoy,Ileftfeelingevenbetteraboutit.It’sgreatwhenyouridealofsomethingactuallyexists.That’sararething.

What tuning do you use?OpenE.WhenIplayedinFrogwingswithJimmyHerringduringmyteenyears,hewouldsitdownandshowmesomeofthevoicingsheused.WewouldthenfindtheminopenEanddrawouttheneckoftheguitarandwriteouteveryscalewecouldfindinthistuning.Ifindthattobeareallyeasywaytoseethings.

Would a guitar in standard tuning throw you off?Idon’tplaystandardmuch.It’sfunthough.IenjoypickingupguitarsinalternatetuningsthatIdon’tknowandjustfindingthings.Youplaypatternsthatyounormallyplayandit’sabsolutelydifferent.Iwritealotoftunesthatway.

Can you explain your right-hand technique?

MostofthenotesarecleanlypickedandIusemyindexfingeralmostlikeapicktogoupanddown,kindoflikethewayWes[Montgomery]wouldusehisthumb.OrsometimesIgobetweenthethumbandfirstfinger.Fromayoungage,myrighthandwasalwaysfairlyconsistent,andasIwentalongIwouldaddthingslikeflamenco-esquetech-niquesorarhythmthing.

When you practice technical things like scales, is it very methodical?

Photo by Ken Settle

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It’smuchmoremethodicalinthelefthand.Ijustlettherighthanddoitsthing;alotofitisintuitive.ThelasttimeIwasinJapan,theywerefilmingaguitarlessonandtheyweretry-ingtogetmetobreakdownmyrighthand.InoticedthatwheneverIwouldpayattentiontoit,itwouldjustfallapart.Ihavenoideawhatthatmotherfuckerisdoing[laughs].

You also do a lot of single-string pull-off figures.

SomeofthatisfromlisteningtoIndianclas-sicalplayers,especiallythismandolinplayernamedU.Srinivas,whohasplayedwithJohnMcLaughlinforawhile.Hewasachildprodi-gy.Therearerecordsofhimat11or12yearsoldthatarejustdevastating.Hedoesalotofthesesingle-stringrunsthatarejustinsane.Thatinfluencedmequiteabit,alongwithlis-teningtoIndianclassicalsingersandAliAkbarKahn[Ed. Note—Kahn passed away last year].Forme,AliAkbarwasoneoftheveryfewtotal

heavyweightsthatwereleft—therealdeal,likeRayCharles.

What tips do you have for aspiring slide players?

Firstthingsfirst,musicissupposedtosoundandfeelgood,sointonationisoneofthemostimportantthingstothinkabout.Whenyou’replayingmusic,you’redealingwithsoundandtone.Havingthenoteswhereyouwantthemissuchahugepartofthat.Ithinksomepeoplegetlazythewaytheyhearorthewaytheyapproachintonationanditbecomesmoreaboutpatternsthanactualsounds.Ifyourunscalesalldaybuttheintonationissquirrellyorthetoneisterrible,thennobodywantstohearit.

Also,onceyoureallygetthenotesrighton,youcanplaywithit.Forexample,sometimesyouwantittobeahairflatorfortensionyouwanttobenditalittlesharp.That’swherealotofthefunisandthat’swhatmakesmusic

suchanendlesssearch.Youcanhearonesongplayedbyahundreddifferentpeopleandit’sahundreddifferentsongs.

What was it like when you joined the allmans?Iwas20yearsold,goingintoabandthatjustturned30.Yougointoitwithalotofconfi-denceinwhatyoudo,youdoyourhomeworkandlearnthecatalog,youjumpintoitwithbothfeetbutyouhavetocomeintoitwithtotalrespectforthehistoryandthemusic.Youwanttobringyourownthingtothetable,butthefirstfewyearsareaboutfeelingoutthesituation.Youhavecomeintoitfromadef-erentialpositionandittakesawhiletogaineveryone’srespect,personallyandmusically.First,Ilearnedthepartsfromtheoriginalrecordings,especiallyfortheguitarharmo-nies.Alotofthesongshavemorphedovertheyearsandtheoriginalpartsweren’tbeingplayed.Dickey[Betts,formerAllmanBrothersguitarist]wouldplayadifferentpart,which

Caption here

Long Haul Trucker

Trucks with his ‘61 Gibson SG Reissue at Rudy’s in SoHo, NYC.

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made Warren [Haynes, co-guitarist] play a dif-ferentharmony.Iwentbacktotheoriginalrecordingsandwaslike,“Waitaminute…”Andoftentimesitwouldchangeforthebetter,butsometimesnotnecessarily.Meand[bassist]OteilBurbridgesatdownandreallydugintowhattheoriginalbandwasdoingontheorigi-nalversionsofthosetunes,andalotoftimesweresurrectedthem.Atleastbacktotheorig-inalform,whichisgreatbecauseyou’restart-ingfromgroundzeroagainandyoucanbuilduponthatwithyourownvocabularyinsteadofbuildingonsomebody’sinterpretationofit.Itwasnicegoingbacktotheblueprint.

did going on the road with Clapton a few years back create any weirdness with the allmans?

Theywerehugelysupportiveofit,andIwasn’tsuretheywouldbe.Iwasreallysurprised.Iwenttothemandsaid,“Look,IgotthisoffertodoafullyearwithClapton.It’skindahardtonotdoit.”Theywerehugelyinmycornerandworkedaroundhistour.Itworkedoutreally

well,andprobablybecauseofhowwellthatwentdown,EriccametotheBeaconTheatrelastyearandsatinwiththeAllmanBrothersforthefirsttime.

IthinkthefactthatDuanehadplayedwithEricandthattheyhaddonethatgreatrecordtogetherrightattheendofDuane’slife,therewassomuchmutualrespectbetweenEricandDuaneandviceversa.Theyfeltlikeitwasagoodthingandalmostclosure,inaway.

in Rolling Stone magazine, Eric Clapton said that he thought you should sing. is that going to happen anytime soon?Whoknowsman?[Laughs]We’vegotallkindsoftime.

You’ve primarily played an SG throughout your career. What is it about the SG that attracts you?

Comfort.I’vebeenplayingtheSGsinceIwas10or11.It’sbalancedright.Forslide,havingaccess

wayuptheneckisahugepartofit.It’sjustcleanallthewayuptothetop.IalsoliketheedgethattheSGhas.It’sstillthatwarmGibsonsound,butitbitesalittlemorethanaLesPaul.

if you had to play through a replacement rig, would you have any difficulty adjusting?

Sometimesyou’reforcedto.Ireallydopre-fertohavetherightgear.Yourgeariswhatsoundsgoodtoyou—it’syourvoice.Ifyou’rehandedadifferentvoice,youhavetoadjustthewayyouplay.Evenifit’sareallysimplechangefromaguitarthatyou’recomfortablewithoracordandampthatyou’recomfort-ablewith,thatcanmakeallthedifference.Forme,onceyougetthegearoutoftheway—whenyou’renotthinkingaboutitandhowyouneedtotweakit—that’swhenthemostinspiredplayinghappens.Whentheactualsoundcomingfromyourampinspiresyou,that’swhenitgetsgood.

Trucks‘ GearboxGuitarS’61GibsonSGReissuewithoriginalPAFhumbuckersandreplacementKlusontuners;GibsonDerekTrucksSignatureModelprototypewithreplacementstopbarMaestrotailpiece,SheptonePAFs,andKlusontuners.Allguitarsaresetupto1/16"at12thfret

aMPSWith the allman Brothers:PRSDallasampswithCelestionVintage30speakers,Phillips6L6powertubes,Mullard12AX7preamptubes,aMullardCV2042drivetubeandatransformermodeledafter100-wattMarshalltransformers(PRScallstheamps“SuperDallases”)andcantakeeither6L6orEL34powertubes.

With the derek trucks Band: Vintage‘64SuperReverbswithPyleDriverMH1020speakers,Phillips6L6powertubes,Mullard12AX7preamptubes,andMullardCV2042drivetube.

in the Studio:FuchsOverdriveSupreme-50

EFFECtSMoollonCompressor;PlanetWavestuner

StriNGSDRPureBlues.011–.014–.017–.026–.036–.046

CaBLESPlanetWaves

PiCkSNopicks,onlyblisters

SLidEDunlopBluesBottle

Pho

to b

y Ke

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ettle

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by Chad Johnson

The Black CrowesHow to Achieve the Tone on “Hard to Handle”

In1990,hairmetalwasstillreigningthekingdomofrock,theterm“grunge”wasprobablyonlybeingusedbyafewhundredpeopleinSeattle,andrapwasstillconsideredtooedgytobecompletelyembracedbythemainstream.Nevertheless,theBlackCrowesarrivedwithShake Your Money Maker,whichsounded(forgivingtheproduction)morelikesomethingoutof1970than1990.Theyenjoyedmodesthitsin“JealousAgain”and“SheTalkstoAngels,”butitwastheirspiritedcoverofOtis

Redding’s“HardtoHandle”thatsentthealbumtotripleplatinumsuccess.

THE BAND’S GuITAR SOuNDOntheirfirstalbum,theCrowes’guitardutieswerehandledbyRichRobinsonandJeffCease.ThesoundoftheBlackCroweshasalwaysbeenaboutguitars,andRichRobinsonhasamassedanenviouscollectionofvintagetonemachinesofboththestrungandtubedvariety.Formanytone-fiends,

itdoesn’tgetmuchbetterthantheearlyCrowesalbums—particularlytheirsophomoreeffort,Southern Harmony Musical Companion.JeffCeasereliedonLesPaulsandMarshallsalmostexclusivelyduringthosedays.Hepluggedstraightinandtendedtoremainonthebridgepickupmostofthetime,asisdefinitelythecaseforthesolosin“HardtoHandle.”ThoughRich’smosticonicguitarishisblondeTelecaster,he’salmostequallyknownforhisGibsoncollection.Hemakesgeneroususeofhischerry335onjustabouteveryalbum,buthestrummedhisGibsonLesPaulSpecialinTVyellowwithP-90pickupsforthistune.HemostlikelypluggedintooneofhisvintageFenders—atweedTwinorBassmanorablondeTremolux—againbypassinganyeffectsandgoingforpureampgrit.

HOw TO MIMIC THE SOuNDThebasicsofthistonearefairlysimple.GrabaGibson-styleguitarwithhumbuckers(oraLesPaulJr.),plugintoavintage(orvintage-styled)tubeamp,andturnup.ThistoneismoreontheBritishsideofthings,whichtranslatesintoMarshallsortweedFenders.(JimMarshall’soriginalampdesignisnearlyidenticaltothatofatweedBassman.)Thedistortionheardontherecordingiscreatedbyoverdrivingthepowerstageoftheamp.Ifyourampdoesnothaveamastervolume,justturnitupuntiltheproperamountofgainisreached.Thelouderitgetsand/orthemoreyoudigin,themoreitwillbreakup.Lower-wattageampsareniceifnoiselevelisaconcern(asitisformany).TheTweedDeluxe(12watts),whichFenderhasreissued,orthe1974x(18watts),whichMarshallhasreissued,wouldbenicechoicesinthisregard.

Ifyourampdoeshaveamastervolumeand/orgainknob(suchasaFenderBluesDeluxeorPeaveyClassic30),thenyou’llcomeclosesttothesoundbycrankingupthemastervolumeandkeepingthechannelvolumeand/orgainknoblow.Thismaysoundcounterintuitiveforsomeonewho’sstartingout.Butyouhavetorememberthatthetoneyouhearonthesongisn’treallythatdistorted.Infact,ifRobinsonorCeaseweretopicklightlywiththesetupstheyused,thetonewouldsoundalmostclean!

(L to R) Jeff Cease, Rich Robinson. Photo by Ken Settle

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 31

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 33

At the center of Train’s sound is vocalist Pat Monahan, guitarist Jimmy Stafford, and drummer Scott Underwood. Together, they have released five albums and sold millions of records. Since forming in San Francisco in the mid ’90s, Train has established a sound that is equal parts alternative and country, with a roots rock feel.

Their self-titled debut was released in 1998 and was a huge success, with the second single, “Meet Virginia,” becoming a Top 20 hit. In addition to the core trio, the band at the time included bassist Charlie Colin and guitarist Rob Hotchkiss. While most bands fall short when it comes to following up a hit album, Train released Drops of Jupiter in 2001 to critical and commercial acclaim.

After their third album, My Private Nation, Hotchkiss and Colin left the band and Train decided to bring in bassist Johnny Colt and keyboardist Brandon Bush to help with the next record. Following eight years of recording and non-stop touring, the band announced in November of 2006 that they would be going on hiatus. Monahan took this time to release a solo album that was met with some critical praise despite being commercially unsuccessful.

“Hey, Soul Sister” was released in August of 2009 and marked the reformation of the band. It soon landed in the Top 10 on the Billboard charts and became a huge single for the band.

CAPO + GUITAR = UKULELE As you can easily tell from the recording, Gtr. 1 is actually a ukulele arranged for guitar. A uke is tuned G – C – E – A, with the 4th string (G) tuned a whole step below the 1st string, so the lowest note is actually C. If we place a capo at the fifth fret of a standard-tuned guitar the top four strings match the uke (except for the octave transposition of the G). The Gtr. 1 part is written in the key of B major (five sharps) and the chord symbols in the parentheses reflect the transposition due to the capo. If you have a

uke, you can disregard the tab and play the chords shown in Fig. 1.

Guitarist Jimmy Stafford altered the tuning of his uke a little bit to make some chords easier for him to play. He tuned the 4th string up a whole step to A and lowered the 1st string a whole step to G. Stafford’s tuning from low to high would be A – C – E – G.

INTRO AND VERSETo give the tune a little more interest, the sixteenth notes are played with a swing feeling,

as indicated by the marking next to the tempo. After the muted strums in the first measure, Gtr. 1 plays a simple four-chord progression that goes B5 – F# – G#m – E and is marked Rhy. Fig. 1. For the G#m chord in the third measure, use your ring finger to barre over the top three strings and then use your index finger for the E chord. Notice the accents above the notation; in the second measure you will see sim, which means to continue the accents in a similar manner.

Monahan enters at the end of the Intro while Gtr. 1 continues with Rhy. Fig. 1. This figure is

“Hey, Soul Sister” Train

RIFF NOTES

By Jason Shadrick

Fig. 1Fig. 1

23 1 234121

4fr

21113211

(L to R) Jimmy Stafford, Patrick Monahan, Scott Underwood. Photo by Mark Holthusen

w w w . g u i t a r e d g e . c o m34 J U LY / A U G U S T 2 0 1 0

identical to the first Chorus, so keep an eye out to make sure you don’t mistakenly end up on the first Chorus.

Gtr. 2 enters with a clean, sparkling tone and plays some sus chords. A sus chord is neither major nor minor due to the missing third, which is usually replaced by a second or fourth. The chords that aren’t in parentheses refer to Gtr. 2’s chord voicings.

played one and a half times before Rhy. Fig. 2 comes in with a two-measure variation on the original progression.

CHORUSThe Chorus comes in strong after the second Verse and adds a variation on both the progression and strumming rhythm. Fig. 2 shows how to count the rhythm for the progression. We are using the “1 – e – & – a” method for counting each beat, where the “1” is the number of the beat in the measure. Any rhythm names in parentheses are counted but not played.

In the second measure of the Chorus, there is a quick change to a B chord for beat 3 before changing back to F# for beat 4. Be sure to follow the accent markings over the notation as they become more pronounced during the Chorus.

After the Chorus, there is a short Interlude where Gtr. 1 continues the progression marked Rhy. Fig. 1. After the Interlude, follow the D.S. al Coda label back for the third Verse. At the end of the fourth Verse, skip to the Coda on the third page. Both the lyrics and uke part are

Dial TOneWhat They UsedOn the recording, guitarist Jimmy Stafford uses a ’63 Relic Fender Telecaster for the guitar parts, in addition to his ukulele. For amps, he usually plugs into a Vox AC30.

How to Get the Sound If you don’t have a uke handy, you can simulate the effect with an acoustic guitar capoed at the fifth fret. When the band per-forms live, it basically becomes a drum/uke duet. This is a great strum-along song that would work with nearly any type of setup.

• DownloadmoreTraintabatguitarinstructor.com• GetcoolTraingearfromoldglory.com• Get“TheBestofTrain”guitartabfrommusicdispatch.com• Download“Hey,SoulSister”oniTunes• VisitTrainonlineattrainline.com

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Fig. 2

count: 1 (e) & a 2 e & a 3 (e) & a 4 e & (a)

Fig. 2

Get Cool Traingear at

oldglory.com!

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 35

Intro Moderately q = 98

© 2009 EMI APRIL MUSIC INC., BLUE LAMP MUSIC and STELLAR SONGS LTD.All Rights for BLUE LAMP MUSIC Controlled and Administered by EMI APRIL MUSIC INC.

All Rights for STELLAR SONGS LTD. in the U.S. and Canada Controlled and Administered by EMI BLACKWOOD MUSIC INC.All Rights Reserved International Copyright Secured Used by Permission

Reprinted by Permission of Hal Leonard Corporation

Hey, Soul SisterWords and Music by Pat Monahan, Espen Lind and Amund Bjorkland

from Train - Save Me, San FranciscoTranscribed by Pete Billmann

= 3 Gtr. 1: Capo V

**

E5[B5]

Hey,

B[F#]

hey,

*Gtr. 1

mf

Rhy. Fig. 1

sim.

*Ukulele arr. for gtr.

XXXX

XXXX

XXXX

XXXX

XXXX

XXXX

**Symbols in parentheses represent chord names respective to capoed guitar. Symbols above reflect actual sounding chords. Capoed fret is “0” in tab.

402

402

402

402

402

402

402

402

402

402

402

402

402

402

322

322

322

322

322

322

322

322

322

322

322

322

322

322

C#m[G#m]

hey.

A

[E]

Your1.

End Rhy. Fig. 1

444

444

444

444

444

444

444

444

444

444

444

444

444

444

100

100

100

100

100

100

100

100

100

100

100

100

100

100

lipJust3.

Gtr. 1: w/ Rhy. Fig. 1 (1 1/2 times)

Verse

E5[B5]

stickin

- stainstime,

B

[F#]

onI’m

theso

frontglad

lobeyou

ofhave

mya

leftone

C#m[G#m]

sidetrack

--

brains.mind

like me.

A[E]

I knew

You gave

Imywould

life

n’t-di

forrec-

get

E5[B5]

- ya,tion,-

anda

sogame

Ishow-

wentlove

andcon nec-

let

B[F#]

tion

-you blow

we can’t

my

demind.

-

This song is sponsored by emginc.com

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w w w . g u i t a r e d g e . c o m36 J U LY / A U G U S T 2 0 1 0

ny.

C#m[G#m]

I,

I,

A[E]

B[F#]

YourI’m

2.4.

Gtr. 1Rhy. Fig. 2

End Rhy. Fig. 2

444

444

444

444

444

444

444

444

444

444

444

444

444

100

100

100

100

100

100

100

322

322

322

322

322

322

322

sweetso

VerseGtr. 1: w/ Rhy. Fig. 1 (1 1/2 times)

E5[B5]

moonob

beam,sessed,

-

-

B[F#]

themy

smellheart

of

isyou

bound

into

evbeat

’ryright

- sinout

C#m[G#m]

glemy

- dreamun

Itrimmed-

dream.chest.

A[E]

I knew

I

when

be lieve-we

incol lid

you.-

E5[B5]

ed,- you’reLike

thea

onevir

Igin,-

haveyou’re

deMa don-

--

CTo oda

cidna

B[F#]

ed-and

I’mwho’s

alone

ofways-

mygon

na-kind.

wan

Gtr. 1: w/ Rhy. Fig. 2

C#m[G#m]

na- blow

your mind.

A[E]

B[F#]

Hey,

ChorusA

[E]

soul sis

ter,-

ain’t

B[F#]

that Mis ter- Mis

E[B]

ter- on

B[F#]

the

Gtr. 1Rhy. Fig. 3

End Rhy. Fig. 3

100

100

100

100

100

100

100

100

100

100

100

100

100

322

322

322

322

322

322

322

442

442

442

322

322

322

ra

Gtr. 1: w/ Rhy. Fig. 3 (1 1/2 times)

A[E]

di- o,-

ster e- o?-

The

way

B

[F#]

you

move

ain’t

fair,

E

[B]

you know.

B[F#]

Hey,

A[E]

soul sis

ter,-

I

HEY, SOUL SISTER

Sorry, the free period for viewing/printing this tab has expired.

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 37

B[F#]

don’t wan na- miss

E[B]

a sin

B[F#]

gle- thing

A[E]

you do

B[F#]

to night.-

Gtr. 1

322

322

322

322

322

322

322

442

442

442

322

322

322

100

100

100

100

100

100

100

100

100

100

100

100

100

322

322

322

322

322

322

322

D.S. al Coda

InterludeGtr. 1: w/ Rhy. Fig. 1

E5[B5]

Hey,

B[F#]

hey,

C#m

[G#m]

hey.

A

[E]

Coda

Hey,

ChorusGtr. 1: w/ Rhy. Fig. 3 (2 1/2 times)Asus2

[E]

soul sis

ter,-

ain’t

Bsus4[F#]

that Mis ter- Mis

E5[B]

ter- on

Bsus4[F#]

the

Gtr. 2 (clean)Rhy. Fig. 4

mf

End Rhy. Fig. 4

02200

24400

79

09

0

24400

ra

Gtr. 2: w/ Rhy. Fig. 4 (1 1/2 times)

Asus2[E]

di- o,-

ster e- o?-

The

way

Bsus4

[F#]

you

move

ain’t

fair,

E5[B]

you know.

Bsus4[F#]

Hey,

Asus2[E]

soul sis

ter,-

I

Bsus4[F#]

don’t wan na- miss

E5[B]

a sin

Bsus4[F#]

gle- thing

Asus2[E]

you do

Bsus4[F#]

to night.-

Gtr. 1

Rhy. Fig. 5

End Rhy. Fig. 5

322

322

322

322

322

322

322

442

442

442

322

322

322

100

100

100

100

100

100

100

100

100

100

100

100

100

322

322

322

322

322

322

322

322

322

322

322

322

322

322

Gtr. 2

Rhy. Fig. 5A

End Rhy. Fig. 5A

24400

79

09

0

24400

02200

24400

HEY, SOUL SISTER

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w w w . g u i t a r e d g e . c o m38 J U LY / A U G U S T 2 0 1 0

VerseGtr. 1: w/ Rhy. Fig. 1 (1 1/2 times)

E5[B5]

The5. way you

can cut

a rug,

watch

B5[F#]

ing- you’s

the on

ly- drug

I need.

C#m7[G#m]

Some

gang

sta,- I’m

so thug.

You’re the

Gtr. 2

let ring

let ring

79

09

0

79

09

0

79

09

0

79

09

0

79

09

0

79

09

0

79

09

0

79

09

0

2440

440

440

2440

2440

46

06

6

06

46

06

46

06

on

Asus2[E]

ly- one

I’m dream

in’- of.

You see,

E5[B5]

I can be

my self

- now, fi

nal- ly.-

B5[F#]

In fact,

there’s noth

in’- I

can’t be.

let ring

let ring

let ring

0

200

200

200

0

200

200

200

7

0

99

0

99

0

99

0

99

0

99

0

99

2440

440

440

440

440

440

Gtr. 1: w/ Rhy. Fig. 2

C#m7[G#m]

I want the world

to see

you’ll be

Asus2[E]

with

Bsus4[F#]

me.

let ring

let ring

4

400

400

400

400

400

400

400

0

200

200

200 0

40

40

40

Hey,

ChorusGtr. 1: w/ Rhy. Fig. 3 (5 times)

A[E]

soul sis

ter,-

ain’t

B[F#]

that Mis ter- Mis

E[B]

ter- on

B[F#]

the ra

A[E]

di- o,-

ster e- o?-

The

way

B

[F#]

you

move

ain’t

fair,

E5[B]

you know.

Bsus4[F#]

79

09

0

24400

HEY, SOUL SISTER

Sorry, the free period for viewing/printing this tab has expired.

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 39

Hey,

Gtr. 2: w/ Rhy. Fig. 4 (3 times)

Asus2[E]

soul sis

ter,-

I

Bsus4[F#]

don’t wan na- miss

E5[B]

a sin

Bsus4[F#]

gle- thing

Asus2[E]

you do

to

night.-

Bsus4[F#]

E5[B]

Bsus4[F#]

Hey,

Asus2[E]

soul sis

ter,-

I

Bsus4[F#]

don’t wan na- miss

E5[B]

a sin

Bsus4[F#]

gle- thing

Gtrs. 1 & 2: w/ Rhy. Figs. 5 & 5A

Asus2[E]

you do

Bsus4[F#]

to night.-

1.

OutroGtr. 1: w/ Rhy. Fig. 1 (1 3/4 times)

E5[B5]

Hey,

Bsus4[F#]

hey,

C#m7[G#m]

hey.

Asus2

[E]

[F#]Bsus4

to night-

Gtr. 2

79

09

0

24400

46

06

0

02200

24400

2.

Asus2[E]

B[F#]

to night.-

E5[B5]

Gtr. 1

100

100

100

100

100

100

100

322

402

Gtr. 2

02200

HEY, SOUL SISTER

Sorry, the free period for viewing/printing this tab has expired.

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w w w . g u i t a r e d g e . c o m40 J U LY / A U G U S T 2 0 1 0

Formed in 1995, Godsmack has sold nearly 20 million albums worldwide and has been nominated for four Grammy awards. Their self-titled debut album was released in 1998 to critical acclaim and led to the band playing the Woodstock ‘99 festival and the Ozzfest tour. The second album released by the band, Awake, didn’t quite live up to the success of the previous album but gave them their first Grammy nomination for “Vampires,” an instrumental track from the album.

By 2003, Godsmack debuted at number one on the Billboard 200 with their album Faceless. This album led to opening slots for Metallica and yet another Grammy nomination. In 2006, after the release of a greatest hits album, the band took a hiatus, which led to rumors of them breaking up. In the summer of 2009, they supported Mötley Crüe’s Crüe Fest 2 and shortly thereafter began planning for the next record.

“Cryin’ Like a Bitch!” is the first single from the band’s recently released album, The Oracle, which was produced by Dave Fortman and recorded at Serenity Studios in Hollywood, California. After several personnel changes, the current lineup for the band includes vocalist Sully Erna, guitarist Tony Rombola, bassist Robbie Merrill, and drummer Shannon Larkin.

THE TUNING Guitarists Tony Rombola and Sully Erna tune their low E strings down a whole step to D for this song. The tuning from low to high is D – A – D – G – B – E.

INTRO AND VERSEThe tune begins with Gtr. 1 and Gtr. 2 playing a syncopated riff on the low two strings. The 6th and 5th strings, when played as open strings, form a D5 power chord. The

chord symbols used here reflect the overall harmony of the song, so we’ve placed B%5 and C5 chord symbols over the octaves at the end of the main riff. Since neither major nor minor harmonies are implied, we default to 5th chords. We’ve added chord symbols for the single-note line at the end of the fourth measure for this reason as well.

The rhythm for the riff from the Intro can be tricky to count. In Fig. 1, the rhythm is notated using the “1-e-&-a” method. Any

rhythm notations in parentheses are counted, but not heard. Use the fingers of your left hand to mute the strings during the sixteenth-note rests. During the first few measures of the Intro, you can hear some harmonics due to the left-hand muting. Both guitars play the exact same part until the last system of the first page. If you are the only guitar player, stick with the Gtr. 1 part.

Erna comes in with the vocals at the Verse, while the riff from the Intro continues. In

“Cryin’ Like a Bitch!” Godsmack

RIFF NOTES

By Jason Shadrick

Godsmack guitarist Tony Rombola throws down with his David Thomas McNaught guitar. Photo by Wayne Dennon

Fig. 2

Fig. 1

count: 1 e & (a) 2 e (&) a (3) e (&) a 4 e & a

Fig. 2

Drop D tuning:(low to high) D-A-D-G-B-E

9 9 9

15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15

Fig. 1

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 41

This same technique appears again in the Bridge, but this time with a sixteenth-note pattern. Fig. 3 shows this picking pattern. In the tab, the harmonic is notated as 2.6, which is partially between the second and third frets on the 6th string. Along with the high C harmonics, the low open D can also be heard.

this transcription, Gtr. 1 and Gtr. 2 are notated as a composite arrangement. This means that the parts are nearly identical, but arranged as one.

CHORUS AND INTERLUDEGtr. 3 comes in at the Chorus and plays a sliding octave riff that compliments Gtr. 1 and Gtr. 2’s crunchy rhythm part. In the first measure, use your index and middle fingers for the D5 chord (Gtr. 1 and Gtr. 2), and then reach your middle finger over to fret the bottom three strings to play the F5 chord at the third fret.

The Interlude on the fifth page adds some cool effects to the mix. Gtr. 4 uses a tremolo effect that is set to repeat a note nine times per beat. The note is marked “w/amp tremolo” to differentiate from the use of the tremolo bar. If you don’t have a tremolo pedal (or the effect built into the amp), then you can use tremolo picking to achieve the same sound. Fig. 2 shows how to pick the note using this technique.

DIAL TONEWhat They UsedBoth Erna and Rombola have similar tastes in guitars. Gibson Les Paul Standards became go-to guitars for the sessions, with Rombola also using a Les Paul Custom and a McNaught guitar with Rio Grande pick-ups. Rombola relied on a Bogner Uberschall, Splawn Nitro and an ENGL Ritchie Blackmore amp for his distortion tones. For clean sounds, he plugged into a Roland JC-120 while Erna used the Uberschall.

How to Get the Sound When it comes to the hard rock crunch that Godsmack is known for, all it takes is a gui-tar with high output humbuckers matched with a modern high-gain amp. If you can’t grab a Gibson Les Paul, try an Epiphone model plugged into a Mesa/Boogie or Bogner amp.

• Gettabfor“Cryin’LikeaBitch!”atguitarinstructor.com• Get“Godsmack”guitartabbooksatmusicdispatch.com• Download“Cryin’LikeaBitch!”fromiTunes• VisitGodsmackonlineatgodsmack.com• GetcoolGodsmackgearatoldglory.com

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“Cryin’ Like a Bitch!” Godsmack

Fig. 3Fig. 3

Drop D tuning:(low to high) D-A-D-G-B-E

2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6

Harm.

2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6

Harm.

Pitch: C

2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6

Harm.

2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6 2.6

Harm.

Get Cool Godsmack

gear at oldglory.com!

w w w . g u i t a r e d g e . c o m42 J U LY / A U G U S T 2 0 1 0

Intro Moderately q = 95

Words and Music by Sully Erna, Tony Rombola, Rob Merrill and Shannon Larkin

Cryin’ Like a Bitch!

Copyright © 2010 UNIVERSAL MUSIC CORP., MEEENGYA MUSIC, HAMMERCLAW, MICK DOG and SHANNON LARKINAll Rights Controlled and Administered by UNIVERSAL MUSIC CORP.

All Rights Reserved Used by PermissionReprinted by Permission of Hal Leonard Corporation

from Godsmack - The Oracle

Guitars: Tony Rombola & Sully ErnaTranscribed by David Stocker

Gtrs. 1 & 2 (dist.)

Drop D tuning:(low to high) D-A-D-G-B-E

* D5

f

P.M.

Bb5

C5 D5

P.M.

Bb5

C5

*Chord symbols reflect overall implied harmony.

00

00

00

00

00

00

00

00 1

X3

3

5

3X5

00

00

00

00

00

00

00

00 1

X3

3

5

3X5

3X5

D5

P.M.

Bb5

C5 D5

P.M.

A5 Bb5 C5

Bb5 G5 A5

00

00

00

00

00

00

00

00 1

X3

3

5

3X5

00

00

00

00

00

00

0 7 8 10 8 5 7

Gtr. 2

Rhy. Fig. 1A

D5

P.M.

Bb5

C5 D5

P.M.

A5 Bb5 C5

Bb5 G5 A5

00

00

00

00

00

00

00

3 0133

355

355

355

00

00

00

77

00

00

00

1010

0 7 8 10 8 5 7

Gtr. 1

Rhy. Fig. 1

P.M.

P.M.

00

00

00

00

00

00

00

0133

355

355

355

00

00

00

00

00

00

0 7 8 10 8 5 7

This song is sponsored by jimdunlop.com

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 43

D5

P.M.

Bb5

C5 A5 F5

G5 F5 G5

F5 G5

F5 G5

F5End Rhy. Fig. 1A

Fsus4 D5

00

00

00

00

00

00

00

3 0133

355

355

022

022

33

55

55

33

55

55

33

55

55

33

55

55

555

333

0333

0002

P.M.

End Rhy. Fig. 1

00

00

00

00

00

00

00

0133

355

355

022

33

55

55

33

55

55

33

55

55

33

55

55

555

333

333

002

Strut1.

VerseD5

on

by like

Bb5

C5

a king

D5

Bb5 C5

*Gtrs. 1 & 2

Rhy. Fig. 2

P.M.

P.M.

*Composite arrangement00

00

00

00

00

00

00

3 0133

355

355

00

00

00

00

00

00

00

3 0133

355

355

355

tell

D5

in’- ev

’ry- bod-

y- that

Bb5

C5

you’re noth

D5

ing.-

A5 Bb5 C5

Bb5

And

G5 A5

P.M.

P.M.

End Rhy. Fig. 2

00

00

00

00

00

00

00

3 0133

355

355

00

00

00

300

00

00

5 0 7 8 10 8 5 7

long

Gtrs. 1 & 2: w/ Rhy. Fig. 2

D5

live

what you thought

Bb5 C5

you

D5

were,

Bb5

C5

and time

D5

ain’t

on

your side

Bb5

C5

CRYIN’ LIKE A BITCH!

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w w w . g u i t a r e d g e . c o m44 J U LY / A U G U S T 2 0 1 0

an

D5

y- more,-

A5

an

Bb5 C5

Bb5

y

G5

-

A5

more.

Gtrs. 1 & 2: w/ Rhy. Figs. 1 & 1A (last meas.)

F5

-

G5

F5 G5 F5

G5

F5 G5

F5

And

D5

Gtr. 3 (dist.)

mp

5 5

1 1

so

ChorusD5

F5

you tell

me

D5

I

F5

can take

my

Gtr. 3

mf

Riff A

5X7

5X7

5X7

X8

10X8

10X8

10X8

10X8

10X8

10

5X7

5X7

5X7

5X7

X8

10X8

10X8

10X8

10X8

10X8

10X8

10

Gtrs.1 & 2

Rhy. Fig. 3

00023

00023

00023

333

333

333

333

333

333

000

00023

00023

00023

333

333

333

333

333

333

333

chanc

D5

es,-

F5

and I told

you one

G5

too man

y- times,

Bb5

and you were cry

in’- like a

End Riff A

X8

10

5X7

5X7

5X7

5X7

X8

10X8

10X8

10X8

10X8

10X8

10X8

10X10

12X10

12X10

12X13

15X13

15X13

15X13

15X13

15X13

15X13

15

End Rhy. Fig. 3

333

000

000

00023

00023

333

333

333

333

333

333

333

555

555

555

888

888

888

888

888

888

888

0

CRYIN’ LIKE A BITCH!

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 45

bitch.

InterludeGtrs. 1 & 2: w/ Rhy. Figs. 1 & 1AGtr. 3 tacet

D5 Bb5 C5 D5

A5 Bb5 C5 Bb5 G5 A5

D5

Bb5 C5 A5 F5

G5 F5 G5 F5 G5

F5 G5

2. Well,

F5

I’m

Fsus4 D5

tough

Gtrs. 1 & 2: w/ Rhy. Fig. 2 (1 1/2 times)

Verse

D5

er- than nails,

I

can prom

Bb5

ise

C5

- you that.

D5

Bb5

C5

You

step

D5

out

of line

and you’ll

Bb5 C5

get bitch

D5 slapped

back.

And

A5 Bb5

you

C5

Bb5

can

G5 A5

run

D5

oh,

your lit tle- mouth

Bb5

C5

all day,

D5

but

Bb5

C5

the

hand

F5

G5

of

F5 G5

God

F5

G5

just

F5 G5

smacked

F5

G5

you

D5

back

F5

G5

in

F5 G5

to

F5

-

G5

yes

F5

ter

G5

- day.

F5

-

G5

And

Gtrs. 1 & 2

33

55

55

33

55

55

33

55

55

33

55

55

33

55

55

00

1515

1717

1717

1515

1717

1717

1515

1717

1717

1515

1717

1717

1515

1717

1717

1717

so

ChorusGtrs. 1 & 2: w/ Rhy. Fig. 3 (1 1/2 times)Gtr. 3: w/ Riff A (1 1/2 times)

D5

F5

you tell

me

D5

I

F5

can take

my

chanc

D5

es,-

F5

but I’ve told

you one

G5

too man

y- times,

Bb5

and you were cry

in’- like a

bitch.

D5

F5

And you won

der-

D5

why

F5

no one

can

CRYIN’ LIKE A BITCH!

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w w w . g u i t a r e d g e . c o m46 J U LY / A U G U S T 2 0 1 0

stand

D5

you,

F5

and there’s no

de

CTo oda

ny

G5

- ing-

you

Bb5

were cry

in’- like a

A5

Gtr. 3

X8

10

5X7

5X7

5X7

5X7

X8

10X8

10X8

10X8

10X8

10X8

10X8

10X10

12X10

12X10

12X13

15X13

15X13

15X13

15X13

15X13

15X13

15X12

14

Gtrs.1 & 2

333

000

000

00023

00023

333

333

333

333

333

333

333

555

555

555

888

888

888

888

888

888

888

777

bitch.

You were cry

in’- like a bitch.

Gtr. 3 tacet

Interlude

D5

µ

Gtr. 4 (dist.)

*w/ amp tremolo

mf

*Set for nine repeats per beat.

15

Gtr. 3

Gtr. 5 (dist.)

f

Riff B

P.M.

P.M. P.M.

P.M.

X12

14X12

14X12

14X12

14X12

14X12

14

50 0 5

3

53 5

0 0 0 5

3 33 3

Gtrs. 1 & 2

Rhy. Fig. 4

P.M.

777

777

777

777

777

777

00

00

00

00

00

00

00

00

CRYIN’ LIKE A BITCH!

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 47

D5

µ

Gtr. 5: w/ Riff B

D5

µ

let ring

1515

15

P.M.

P.M. P.M.

P.M.

End Riff B

50 0 5

3

53 5

0 0 0 5

3 33 3

P.M.

P.M.

00

00

00

00

00

00

00

00

00

00

00

00

00

00

00

Gtr. 4 tacet

D5

A5 Bb5 C5 Bb5 G5 A5

Blind

BridgeGtrs. 1 & 2: w/ Rhy. Fig. 4 (2 times)

D5

ed-

by

your

µ

sa

cred-

Gtr. 2

P.M.

Gtr. 6 (dist.)

**Harm.*w/ amp tremolo

Riff C

mf

00

00

00

00

00

00

07 8

Pitch:

**Harmonic located six-tenths the distance between the 2nd & 3rd frets. Harmonic & open string sound simultaneously.

*Set for sixteenth-note regeneration.C

2.610 8 5 7

Gtr. 1

P.M.

End Rhy. Fig. 4

00

00

00

00

00

00

0 7 8 10 8 5 7

CRYIN’ LIKE A BITCH!

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w w w . g u i t a r e d g e . c o m48 J U LY / A U G U S T 2 0 1 0

fad

D5

ed-

pass

times- on

µ

ly- time

D5

is

your en

e-

µ

my.-

D5

A5 Bb5 C5

Bb5

If

G5 A5

Harm.

Harm.

Harm.

End Riff C

C2.6

C2.6

C2.6

grant

Gtr. 6: w/ Riff C

D5

ed-

a sec

ond-

µ

chance

to prove

D5

that

your ar

ro- gance-

µ

is

strong

D5

er- than you’ll ev

er-

µ

be,

D5

it’s strong

er- than

A5 Bb5

you

C5

Bb5

can

G5 A5

be.

InterludeGtrs. 1 & 2: w/ Riff B (4 times)

D5

F5

G5

Gtr. 4

w/ wah-wah & flanger

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10

8X10

10

12

Bb5

Oh,

strong

er- than

A5

you

can be.

*

D5

F5

X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12

10X12

13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15

13

15X

12

14

*w/ echo set for quarter-note regeneration w/ 6 repeats.

X12

14X12

14X12

14

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

5X7

8

10

CRYIN’ LIKE A BITCH!

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 49

*

Ah.

G5

Bb5

Oh,

strong

er- than you

can

Gtr. 4

X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10X8

10

8X10

10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12X10

12

10X12

13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15

Gtr. 6

P.S.

*w/ echo set for half-note regeneration w/ 3 repeats.

XX

XX

InterludeGtrs. 4 & 6 tacet

D5

Bb5 C5 D5

A5 Bb5

be.

**

C5

Bb5 G5 A5

Gtrs. 1 & 2

P.M.

P.M.

00

00

00

00

00

00

00

00 1

X3

3

5

3X5

00

00

00

00

00

00

**w/ echo set for quarter-note regeneration w/ 3 repeats.

0 7 8 10 8 5 7

D.S. al Coda

D5

Bb5 C5 F5

G5 F5 G5 F5 G5

F5 G5

F5

And

D5

P.M.

00

00

00

00

00

00

00

4 01X3

3

5

3X5

XXX

33

55

55

33

55

55

33

55

55

33

55

555

555

333

333

000

CRYIN’ LIKE A BITCH!

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w w w . g u i t a r e d g e . c o m50 J U LY / A U G U S T 2 0 1 0

Coda

ny

G5

in’

- you

Bb5

were cry

in’- like a

Outro

bitch.

Gtrs. 1 & 2: w/ Rhy. Fig. 2 (1st 3 meas.)Gtr. 3 tacet

D5

You were cry

Bb5

in’

C5

- like a

X

10

12X10

12X10

12X10

12

10

12X13

15X13

15X13

15X13

15X13

15X13

15X13

15X13

15

555

555

555

555

555

888

888

888

888

888

888

888

888

bitch.

D5

You were cry

Bb5

in’

C5

- like a bitch.

D5

You were cry

Bb5

in’

C5

- like a

bitch.

F5

G5

F5 G5

F5 G5

F5 G5

Oh,

F5 Fsus4 D5

bitch.

µ

Gtrs. 1 & 2

P.M.

33

55

55

33

55

55

33

55

55

33

55

55

555

333

0333

0002

00

00

00

00

00

00

00

00

CRYIN’ LIKE A BITCH!

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 51

With the appearance of MTV in the early ‘80s, music videos became an important way for bands to broadcast their music to the masses. One of the first heavy metal videos in rotation on the station was Def Leppard’s “Bringin’ on the Heartbreak,” from their 1981 album High ’n’ Dry.

This album was the first time the band worked with producer “Mutt” Lange, who was integral to their polished sound. Guitarists Steve Clark and Pete Willis shared lead duties and together were responsible for some of the most memorable riffs from the first few Def Leppard albums. Willis was fired during the recording of Pyromania and replaced by Phil Collen. Clark continued with the band until his death in 1991 due to drug overdose.

INTRO The tune begins with Gtr. 1 and Gtr. 2 playing a line in harmony. Although the parts shift through different intervals, there are some fingering considerations that work for both parts. Start the phrase with your index finger and play the bends in the third measure with your ring finger, supported by your middle and index fingers. On the “and” of beat 3, play each note with your pinky finger.

After the dual guitars, Gtr. 3 comes in with a clean tone and plays arpeggios from the chords shown in Fig. 1. In the second measure

of Riff A, keep your index finger on the E at the second fret on the 4th string while you reach for the G on the 6th string with your middle finger. Although the chord symbols may look intimidating, they are quite easy to play.

PRE-CHORUS AND CHORUSAs with many power ballads of the time, the Pre-Chorus is a perfect set-up for the Chorus. It begins with Gtr. 4 playing a C5 chord with a sliding double-stop lick. Use your index, ring, and pinky finger for the C5 and then lift your index and slide both your ring and pinky fingers on beat 2. For the double-stop slide in

the next measure, use your index and middle fingers. The second measure of the Pre-Chorus shifts to a 5/4 time signature. Aim for the C5 chord on beat 5—that will keep things together for the shift back to 4/4 in the next measure.

Crank up the distortion in the Chorus to thicken up the sound so that Riff C will have some weight to it. In the last measure of the Chorus before the Interlude there is a pre-bent note at the second fret. This will be difficult to play unless you have ultra-light strings since it is so close to the nut. Another option here is to play this bend at the seventh fret on the 4th string.

“Bringin’ on the Heartbreak” Def Leppard

RIFF NOTES

By Jason Shadrick

(L to R) Steve Clark, Rick Savage and Pete Willis - August 1 1980 at the Palladium, New York CIty. Photo by Bob Leafe / Frank White Photo Agency

Fig. 1Fig. 1

12 321 242 1414

3fr

24

E7(no3rd)

w w w . g u i t a r e d g e . c o m52 J U LY / A U G U S T 2 0 1 0

before the Pre-Chorus comes around again. Fig. 2 shows fingerings for the A minor pentatonic scale in the fifth and twelfth position.

FINAL CHORUSIn the final Chorus, Clark fills behind Joe Elliot’s vocals. After the oblique bends, Gtr. 2 plays a phrase out of the 17th position based on the A minor pentatonic scale. Use your third finger for the bends on the 1st and 2nd strings, along with your middle and index fingers for added strength. The final Chorus ends with a tempo change that acts as a segue to “Switch 625,” the next track on the album.

Either way, use a couple of fingers for added strength and pull the string towards the floor.

INTERLUDE AND GUITAR SOLOClark used oblique bends in several places. An oblique bend is when you strike two strings and bend the lower-pitched string up to match the other string. Beginning in the Interlude, he uses some ambient delay and bends the G on the twelfth fret of the 3rd string to match the fretted A at the tenth fret of the 2nd string; this also appears at the beginning of the Guitar Solo and at the very end of the final Chorus.

For the bend, use your index finger on the 2nd string and your ring finger for the 3rd string; make sure to use vibrato only on the ring finger notes. For the bend in the final Chorus, use your ring finger on the 3rd string and your pinky on the 2nd string.

After the oblique bends at the beginning of the solo, Gtr. 2 plays a lick straight out of A minor pentatonic (A – C – D – E – G) in the fifth position and lands on the fifth (B) of the E5 chord. The solo continues in this position until two measures before the Pre-Chorus, where it shifts to the twelfth position. The time signature goes to 5/4 for the measure

DIAL TONEWhat They UsedDuring this time, Steve Clark was seen on stage most with his white Hamer Standard. The guitar resembled a Gibson Explorer and was likely made out of Honduran mahogany. Clark plugged into Marshall JCM series amps for the first three Def Leppard albums.

Pete Willis had a very similar approach to gear. For the High ’n’ Dry sessions, he used

Hamer and Gibson Les Paul guitars with Marshall amps.

How to Get the Sound For guitars, use a mahogany-bodied axe with high-output pickups. Pair that with a high-gain tube amp such as a Marshall or Mesa/Boogie and throw a distortion box on the floor for a boost during the solos.

• Get“Bringin’ontheHeartbreak”guitartabandmoreatguitarinstructor.com• CheckoutDefLeppardonlineatdefleppard.com• GetcoolDefLeppardgearatoldglory.com• Get“BestofDefLeppard”guitartabonmusicdispatch.com

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Fig. 2

Fig. 2

fret-handfingerings:

1 4 1 3 1 3 1 3 1 4 1 4

1 4 1 4 1 3 1 3 2 4 1 4

5 85 7

5 75 7

5 85 8

12 1512 15

12 1412 14

13 1512 15

Get Cool Def Leppard

gear at oldglory.com!

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 53

Intro Moderately slow q = 76

Transcribed by Steve Gorenberg

Guitars: Steve Clark & Pete Willis

Bringin’ on the HeartbreakWords and Music by Joe Elliott, Richard Savage, Richard Allen, Steve Clark and Peter Willis

from Def Leppard - High ’n’ Dry

Copyright © 1981 Sony/ATV Music Publishing UK Ltd. and Deff Lepp MusicAll Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203

International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation

Gtr. 2 (dist.)

f

* Am

F

C

Dm

Em

9

10 12

9 9

1012

10 9 710 12 12

hold bend

7

1

78

77 5

7

5

4 5 4

5

1 1

Gtr. 1 (dist.)

f

5

*Chord symbols reflect implied harmony.

75

5 5 75

75

87

5

hold bend

8

1

88

8 5 8 6 57

57 4

1

Gtr. 2

Am

F(#11)/A

Gtrs. 1 & 2 tacet

Am

G6 Fmaj13

Bm(,7)b5

E7(no3rd)

7 7

Gtr. 1

5 5

Gtr. 3 (clean)

w/ chorus

Riff A

mf

let ring

let ring

let ring

let ring

End Riff A

let ring

02 2

2 02 3

50

5

02

52

3

42

3 1

23

2

03

20

13

33

3 43

03

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w w w . g u i t a r e d g e . c o m54 J U LY / A U G U S T 2 0 1 0

Gyp

Verse

1.

1st time, Gtr. 3: w/ Riff A (3 times)

Am

sy,-

sit

F(#11)/A

ting- look

ing- pret

Am

ty,-

a bro

G6

ken- rose

with laugh

Fmaj13

ing- eyes.

Bm(,7)b5

E7(no3rd)

You’re a mys

-

2nd time, Gtr. 3: w/ Riff B (2 times)

Am

t’ry,cret,

-

al

mist

F(#11)/A

waysy

-- eyed

run

ningand

- wildshad

Am

y.-

likeLa

G6

ady,-

childhow

withyou

-

outhold

Fmaj13

a home.

the

key.

Bm(,7)b5

Oh,

E7(no3rd)

You’reyou’re

allike

waysa can

- search

Am

ing,dle-

-you’re

flamesearch

F(#11)/A

ing-is

forslow

aly- fad

feel

--

Am

ing,ing,

--

but it’s eas

burn

G6

ying

--

comeout

andand

easburn

Fmaj13

ying

--

go.me.

Can’t

Oh,

you see?

Bm(,7)b5

I’mJust

sortry’n’

E7(no3rd)

ry,-

tobutsay

it’sto you,

true,

Pre-ChorusC5

you’re bring

G5

in’- on

the heart

D5

- ache,

tak

B5

in’- all

the best

C5

of me.

G5

Oh, can’t

C5

you

*Gtr. 4 (dist.)

Riff B

f

let ring

let ring

let ring

End Riff B

let ring

P.M.

*Doubled throughout

35 5

577

55

35

55

02 2

345

23

24

44

355

35

35

35

35

35

35

35

35

35 3

55

see?

G5

You got the best

C5

of me.

G5

Oh, can’t

C5

you see?

G5

You’re bring

in’- on

the heart

-

P.M.

slight P.M.

35

35

35

35

35

35

35

35

35 3

55

35

35

35

35

35

35

35

35

35 3

55

35

35

35

35

35

35

35

BRINGIN’ ON THE HEARTBREAK

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 55

ChorusA5

- break,

F5

*Voc. Fig. 1

G5

bring(Bring

in’in’

--

onon

thethe

heartheart

--

Riff C

End Riff C

let ring

5 5 1*Applies to downstemmed vocs. only.

1 3 3 3 3 3 3 3 3 3

5

3

CoT oda

Gtr. 4: w/ Riff C (2 times)

A5

- ache.ache.

-

F5

G5

You’re bringBring

in’in’

--

onon

thethe

heartheart

A5

- break,break.)

-

F5

End Voc. Fig. 1

G5

bring in’ on

the heart

-

A5

- ache.

F5

Can’t you see?

G5

Oh.

InterludeGtr. 3: w/ Riff AGtr. 4 tacet

Am

F(#11)/A

Gtr. 4

Gtr. 2

w/ ambient delay

5 5 1 1 35

Steve Clark

1210

12 12

10

1 1

Gtr. 1

2

1

2

1 1/2

D.S. al Coda

Gtr. 1 tacet

Am

G6 Fmaj13

Bm(,7)b5

E7(no3rd)

You’re2. such

a se

-

Gtr. 2

12 12 12

712 7

7

1 33

3 53

55

3 75 4 4

4

1 1 1

BRINGIN’ ON THE HEARTBREAK

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w w w . g u i t a r e d g e . c o m56 J U LY / A U G U S T 2 0 1 0

Coda

A5

ache.

-

F5

Can’t you see?

G5

Can’t you see?

No,

Gtr. 4

dim.

5 5 1 1 35

Guitar SoloA5

no,

F5

no.

G5

E5

Gtr. 2

12

1

1210 10

12 12 12

10 10

12

55 8 7 5

65

8 55 4 4

2

1 1 1 1/2

Gtr. 4

let ring

let ring

let ring let ring

57

7 7

5 13

3 3

1 35

5 5

3 02 2

2 22

C5

P.H.

A5

G5

F5

3

3

0 0 5

7

75 7

5 7 57

7 7

5 5 5 5 8 8 8 8

9

10

9

15

11

let ring let ring

let ring

let ring

35

5 5

35

77 7

5 35

5 5

3 13

3 3

1

BRINGIN’ ON THE HEARTBREAK

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 57

Gtr. 4: w/ Riff B

C5

G5 D5

B5

You got the best

C5

of

Gtr. 2

8va

3 33

15 15 12 15 1215

1215

13 12

14 14 4 5 75 6

5 87 7 20 19 17

1717 16

17 17

1

me.

Pre-ChorusGtr. 2 tacet

G5

Oh, can’t

C5

you see?

G5

You got the best

C5

of

Gtr. 4

35

35

35

35

35

35

35

35

35 3

55

35

35

35

35

35

35

35

35

35 3

55

me.

G5

Oh, can’t

C5

you see?

G5

You’re bring

in’- on

the heart

-

35

35

35

35

35

35

35

35

35

35

35

35 3

55

35

35

35

35

35

35

35

35

ChorusBkgd. Voc: w/ Voc. Fig. 1 (2 1/2 times)Gtr. 4: w/ Riff C (6 times)

A5

- break,

F5

G5

bring in’- on

the heart

A5

- ache.

F5

G5

You’re bring

in’- on

the heart

A5

- break,

F5

G5

bring in’- on

the heart

-

BRINGIN’ ON THE HEARTBREAK

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w w w . g u i t a r e d g e . c o m58 J U LY / A U G U S T 2 0 1 0

A5

- ache.

F5

G5

You’re bring

in’- on

the heart

A5

break,

-

F5

Gtr. 2

3

2019

2019

2019

2019

2019 19 19 17

19

19 1917

1917

1917

19

hold bend

17 19

1 1 1 1 1 1

G5

bring in’- on

the heart

A5

- ache.

F5

G5

You’re bring

in’- on

the heart

-

8va

loco

steady gliss.

192020

19 172020

2020

20

2020

17 2020

2020

2020

20

20 19 17

20 20

1717

1717

1 1 1 1 11 1 1 1 1

1

rit.

rit.

rit.

Faster q = 138

A5

ache.

-

Segue to “Switch 625”

F5

G5

Gtr. 2

w/ bar

grad. dive

fdbk.

grad. release

2

4 5

35 4 0 0

-1 -1 1/2 -2 1/2-3

-3 1/2-3 -2 1/2

Gtr. 4

5 5 1 35

BRINGIN’ ON THE HEARTBREAK

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 59

Although Derek Trucks became a guitar hero by spending the better part of his teenage years playing as a featured guest with the Allman Brothers—eventually becoming a full-time member in 1999 at the age of 20—his main musical outlet outside of the Allmans has been The Derek Trucks Band. Joining Trucks in the sextet is bassist Todd Smallie, drummer Yonrico Scott, keyboardist Kofi Burbridge, vocalist Mike Mattison, and percussionist Count M’Butu.

The band’s debut album, The Derek Trucks Band, was released in 1997 and featured everything from straight-up blues to covers of tunes by jazz musicians John Coltrane and Miles Davis. Since then, the group’s sound has incorporated more world influences into both their studio albums and live concerts. “I’ll Find My Way” came from the band’s 2006 album, Songlines, and offered fans a mix of jazz, blues, and world music that the DTB has become known for.

THE TUNING One of the most unique things about Trucks’ style is that he plays predominantly in open E tuning (E – B – E – G# – B – E), even without a slide. This came from when he was younger and it was difficult to get his hands around the guitar neck. He picked up the slide, set his guitar up for open tuning, and began forming his view of the fretboard from there.

INTRO AND VERSESThe progression in the Intro follows a descending pattern using the voicings in Fig. 1. It begins with a C7 chord and descends down to G%7 before moving up to a C13 voicing and repeating the progression. Since this progression doesn’t point specifically to a key center, it is written in the key of C major. Vibrato markings are usually written above single notes but here they apply to all the notes in the chord.

Vocalist Mike Mattison takes some liberties with the vocals as well. To create a more bluesy sound, he often lands on minor thirds, minor sixths, and dominant sevenths over major chords. This creates some tension in the Verse and makes the key change in the Chorus a little smoother.

Gtr. 3 enters in the second Verse playing quarter notes. The double stops are played with heavy reverb. In the second measure, the sim. abbreviation means to continue the staccato pattern in a similar manner until the last note in the eighth measure. For the double stop at the second fret, you want the notes to ring during the slide that leads back to Rhy. Fig. 3.

THE CHORUSThe key changes to C minor (which has three flats) for the Chorus. Some of the voicings used

are unusual due to the open tuning. Fig. 2 shows the voicings for the Chorus. When the V chord first appears (on the “and” of beat 2 in the first measure), it is minor and then in the third measure switches to a dominant 7th.

In the sixth measure, begin by barring your index finger over the top four strings at the third fret. Use your pinky finger for the B% on the high E string and the pull off to the G while letting the A%maj7 chord ring.

THE INTERLUDE AND GUITAR SOLOIn the first Coda, there is a short, five-measure Interlude that combines a few different time signatures. It begins with a measure of 4/4 before going into a measure of 2/4, a measure of 5/4, and ending with a measure of 4/4 and 2/4 before going into the Guitar Solo.

“I’ll Find My Way” The Derek Trucks Band

RIFF NOTES

By Jason Shadrick

Derek Trucks performing with his ‘61 Gibson SG. Photo by Ken Settle

w w w . g u i t a r e d g e . c o m60 J U LY / A U G U S T 2 0 1 0

Fig. 2Open E tuning:(low to high) E-B-E-G#-B-E

3 143 14

6fr

123

3fr

1223412

6fr

3412

Fig. 1Open E tuning:(low to high) E-B-E-G#-B-E

5fr

1234

7fr

1234

8fr

1234

9fr

1234

10fr

1234

11fr

12342 3

6fr

3 14

2fr

3 14

4fr

3 14

Fig. 1

ALL ABOUT THE TREMOLOFive measures before the end of the tune, Gtr. 1 plays two notes using a variation on tremolo picking. For this section, pick the low F on the 6th string with your thumb and the A on the 3rd string with your index finger. The three short lines underneath the tab indicate that you should pick between these notes rapidly for the length of the note.

Trucks begins the Guitar Solo in the eleventh position with some blues licks based out of C minor pentatonic (C – E% – F – G – B%). In the third measure of the solo, remain in eleventh position for the first three notes and then quickly move to eighth position for the huge two-step bend. There is a footnote that indicates that the bend is played behind the beat. This shows that Derek is not in a hurry to make the position change. Another stylistic element is the use of microtone or quarter-step bends. The first one shows up near the end of the third measure. The goal with these bends is to land somewhere between the original note and the note a half-step above.

The fifth measure begins with a rake into a high E on the 1st string. Use your ring finger for the E and then hammer on the F with your pinky. This will set you up for the legato phrase that follows.

Near the end of the Guitar Solo, there is a short Interlude that changes things up a bit. Trucks breaks out the slide (Gtr. 4) and plays a very ambient, ethereal solo phrase before going into an octave passage à la Wes Montgomery.

DiAL TOnEWhat He UsedFor the Songlines sessions, Trucks kept it simple by plugging his workhorse Gibson SG directly into his Fender Super Reverb. Derek’s main SG is a ’61 reissue from the late ‘90s. It has the original Maestro-style tailpiece but the Maestro itself is not functional and all mechanical aspects have been removed to make room for a standard stop tailpiece. The pickups are Gibson ’57 Classics and this guitar is one of the few that Trucks has covered with

signatures of musicians he has played with and respects highly. The amp is a pre-CBS ’64 Super Reverb with JAN-Phillips 6L6 power tubes.

How to Get the Sound When it comes to copping Trucks’ tone, get a guitar with vintage-sounding humbuck-ers and an amp that you can push hard enough to get it to break up. Any guitar with vintage-voiced humbuckers and plugged into a Fender amp will work nicely.

• Get“I’llFindMyWay”guitartabandmoreatguitarinstructor.com• GetDerek Trucks - Already Freeguitartabfrommusicdispatch.com• Download“I’llFindMyWay”oniTunes• CheckouttheDerekTrucksBandonlineatderektrucks.com

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Fig. 2

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 61

Intro Moderately q = 98

Words and Music by Jay Joyce and Derek Trucks

I’ll Find My Way

Copyright © 2006 Sony/ATV Music Publishing LLC, Joyjayce Music Publishing and Younkin MusicAll Rights for Sony/ATV Music Publishing LLC and Joyjayce Music Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203

International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation

from The Derek Trucks Band - Songlines

Guitars: Derek TrucksTranscribed by Pete Billman

Gtr. 1 (clean)

Open E tuning:(low to high) E-B-E-G#-B-E

mpw/ fingers

C7

= 3

let ring

Bb7

let ring

Ab7

let ring

Gb7

let ring

6

8

7 86

86

8

68

6

46

46

4

6

46

4

24

24

2

4

24

2

let ring

C13

let ring

B13 Bb13

let ring

A13

3 3

20

20 X

X

011121313

12

13

111213

121313

101112

91011

10

11

91011

101111

910

Ab13

let ring

Gb13

let ring

B7

let ring

3

789

789 9

9

789

99

678

567 7

7

5677

67

7

VerseC7

1.

There comes

a time

Bb7

in each

man’s

life

Ab7

to find

your

way

Gb7

Gtr. 1

Rhy. Fig. 1

let ring

let ring

let ring let ring

7

57

8

68

8

86

8

6

46

6

64

6

4

24

4

24

2 24

2

This song is sponsored by seymourduncan.com

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w w w . g u i t a r e d g e . c o m62 J U LY / A U G U S T 2 0 1 0

or fall

be hind.-

B7

C7

Who you are

Bb7

is the path

you’ll

take,

Ab7

let ring

let ring

let ring let ring

02

0

20

2

7 7

57

8

68

68

6 68

6

46 6

46

4

6

46

4

and I’ll find

my

way,

Gb7

uh, through your

mis take.-

B7

let ring

let ring

End Rhy. Fig. 1

let ring

24

24

2 24

2

02

02

0

2

02

7

C7

Some times

- your

tears

B7 Bb7

are your bridge

to the sky,

A7 Ab7

but you can’t

trust

souls

Gb7

let ring

let ring

let ring let ring

3 3

7

7

8

86

86

86

8

68

57

46

4

6

64

6

46

35

24

2

4

42

4

24

2

with no truth

in their

eyes.

B7 C7

Who you are

B7 Bb7

is the path

you’ll

take,

A7

let ring

let ring

let ring

let ring

3 3

02

0

2

20 5

7

2

2

7

68

68

6

8

68

57

46

4

6

64

6

46

35

I’LL FIND MY WAY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 63

Ab7

and I’ll find

my

way,

Gb7

through your

mis take.-

Rhy. Fig. 2

let ring

End Rhy. Fig. 2

let ring

24

2

4

24

4

24

2

20

2

2

ChorusCm7

Time will

Gm7

heal,

and all

Abmaj7

we know,

Eb

if noth

ing’s-

G7

learned,

ba

by,- noth

-

Gtr. 1

mf

8867

8867

3312

344

44

567

678

78

3

13

Gtr. 2 (dist.)

mf

8867

3312

344

678

678

3X13

ing

Ab7

grows.

Cm7

Time will

Gm7

heal,

and all

Abmaj7

we know,

ev ’ry-

Eb

-

let ring

4

24

8867

8867

3312

344

3 6 34

4

6

4X24

8867

3312

344

I’LL FIND MY WAY

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Check out this month’s free tab in the current digital

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w w w . g u i t a r e d g e . c o m64 J U LY / A U G U S T 2 0 1 0

1CTo oda 2CTo oda

thing.

stays the

G7

same,

noth in’- chang

Ab7

es,-

Bb7

noth in’-

let ring

let ring

let ring

678

78

3

13

3

3

4

24

4

4

6

64

6

6

678

3X13

44

44

66

(Oo.)change

Interlude

C7Voc. Fig. 1

es.-

Bb7

Gtr.2 tacet

Ab7

G7

End Voc. Fig. 1

B7

let ring

let ring

let ring

let ring let ring

3

3

3

6

6

8

8 98 8

6

64

76 6

4

42

5

4

4 4

3

31

3

3

7

6 8

Gtr. 1: w/Rhy. Fig. 1 (1 1/4 times)

Verse

C7

2. A man’s

not a

man

Bb7

when

he takes

the low

er- road,

Ab7

drag gin’- his

tail

Gb7

Gtr. 3 (clean)

Rhy. Fig. 3

w/ heavy reverb

mp

sim.

88

88

88

88

44

44

I’LL FIND MY WAY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 65

to cov

er- his

tracks.

B7 C7

When you plant

the

seeds

Bb7

of doubt

in my

mind,

Ab7

End Rhy. Fig. 3

22

22

88

88

66

66

you know you run

the

risk

Gb7

of be in’- left

be hind.-

B7

Gtr. 3: w/ Rhy. Fig. 3

C7

When I turn

the mir

ror,-

Bb7

44

44

22

22

D.S. al Coda 1

I turn

it back on

my self.-

Ab7

Gtr. 1: w/ Rhy. Fig. 2

I can see

your

way

Gb7

was a cry

for

help.

1 Coda

chang

Gtr. 2 tacetInterlude

C13

es.

Bb13

-

C13

Bb13

Gtr. 1

11121313

9101111

11121313

9101111

I’LL FIND MY WAY

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w w w . g u i t a r e d g e . c o m66 J U LY / A U G U S T 2 0 1 0

Gtr. 4 (slight dist.)

C13

Bb13

G7#5Guitar Solo

C7

w/ fingersmf

(13)13

13

1/2

1313 11 13

1 1/2

Gtr. 1

let ring

11121313

9101111

6778

8

68 8

6

7

57

Bb7

A7 Ab7

*

A7 Bb7

B7

13 1113

11

11 13

*Played behind the beat.

1111 13

11 11 8

911 8

9 78

7 9 78

7

2 1/41 1/4

let ring

let ring

let ring let ring

6

46

46

4

5

35

4

24

24

5

35

6

46

46

46

7 7

57

C7

rake

B7 Bb7

A7

33

3

XX

12 13 13 12 11

9

1011 13

10 9 7 97 8

10 9 8 7 98 8

7

1/4

let ring

let ring

8

68

68

6

7

57

6

46

46

4 46

5

35

I’LL FIND MY WAY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 67

Ab7

*

A7

Bb7

**w/ delay

*Upstroke

7

8

9 78

7 7

8

9

8

7 98

7 11 78

7

6

**Set for quarter-note regeneration w/ 4 repeats.

86 4

8

1/4 1 1/2 1/4 1/2

let ring

4

24

24

24

5

35

6

46

Gtr. 1 tacetInterlude

C7

Bb13 Eb13

Db9#11 C9

Hey,

***Bb13

F9

Eb9

hey,

Gtr. 4

**

w/ slidew/ ambient delay

p

mp

8va

**Vol. swell

8 18 20 20

***w/ echo set for quarter-note regeneration w/ multiple repeats, next 4 meas.

17 18 18

18 14

C7

hey,

Bb13

hey.

Eb13

Db9#11

C9

Bb13 F9

Eb9

loco

w/o slide

11 13 11 8

4

4

7

6

9

4

7

6

9

5

8

1

4

4

7

6

9

4

7

1

4

D.S. al Coda 2

Gtr. 4 tacetVerse Tag

C7

There comes

a chance

Bb7

in

your

life

Ab7

to find

your

way

Gb9

µ

or fall

be hind.-

Gtr. 3

899

I’LL FIND MY WAY

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Check out this month’s free tab in the current digital

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artist-approved tab from the current issue of

(issue is current for 30 days).

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w w w . g u i t a r e d g e . c o m68 J U LY / A U G U S T 2 0 1 0

2 Coda

chang

Bkgd. Voc.: w/ Voc. Fig. 1 (7 times)

C7

es.-

Bb7

Ab7

G7

Gtr. 1: w/ Riff A (6 times)

C7

Bb7

Time

will

Gtr. 4

13

16 16

1413 13 13

14

1 1/4

Gtr. 1

Riff A

End Riff A

3 3 3

8

86

98 8

6

64

76 6

4

42

54 4

3

31

3

heal,

Ab7

G7

time

C7

will

heal

Bb7

it.

Ab7

G7

Gtr. 4

3

119 7 9 7

87 9 7

87

8

11 13 1311

13 13

9

1111 9 7

8 897 7

1 1/41/4

1/2 1

C7

Time,

* Bb7

Ab7

time,

G7

rake

98 8

*w/ echo as before, next 3 meas.

7X

X13

11 13 13 11 13

1/41/4 1

I’LL FIND MY WAY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 69

C7

time,

Bb7

Ab7

time will

G7

heal,

C7

Bb7

time

8va loco

3 3

11 1113 13

20 20

9 9 77

8

9 78 8 8 8

68

8

9 10 9 7

8

9 78

11/2 1/2

will

Ab7

heal.

G7

C7

Bb7 Ab7

G7

3 3

9 10 7

8

9 78

78

9

8

10 77

8

9

8

78

8

98 8 6 8 6 4 4 4 6 4 3

(Oo.)

F

*

D9

B7

Ab

Gtr. 4

**w/ delaydon’t pick

w/ slidemp

**Set for quarter-note regeneration w/ multiple repeats.

101010101010

101010101010

777777

777777

161616161616

Gtr. 1

p

1

1

1

1

*Segue into “Crow Jane.” Chords transitioning to the key of Ab.

1

I’LL FIND MY WAY

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w w w . g u i t a r e d g e . c o m70 J U LY / A U G U S T 2 0 1 0

You would be hard pressed to find a band more influential than the Beatles. Formed in 1960 in Liverpool, England, the Beatles combined pop sensibilities with a hunger for experimentation. Rubber Soul was released in 1965 and pushed the boundaries of rock music. The album was produced by George Martin and featured songwriting contributions from each member of the group. Vocalist/guitarist John Lennon and bassist/vocalist Paul McCartney contributed a majority of the tracks, with guitarist George Harrison offering “Think for Yourself.”

“Norwegian Wood (This Bird Has Flown)” is one of the tracks on the album that best shows the group’s desire to incorporate different instruments into their music. Harrison plays a sitar for the main melody. During this time the sitar’s sound was foreign to many radio audiences. This influence likely came from Harrison spending time in India and learning about music from that region.

As with many Beatles tunes, several generations of artists have covered “Norwegian Wood.” Some of the more notable (and interesting) versions are by bassist Victor Wooten, jazz pianist Herbie Hancock, and Frank Zappa’s satirical version about televangelist Jimmy Swaggart.

Fig. 1

count: 1 (&) 2 & 3 & 4 & 5 (&) 6 (&) 1 (&) 2 & 3 (&) 4 (&) 5 (&) 6 (&) 1 (&) 2 & 3 (&) 4 (&) 5 (&) 6 (&) 1 & 2 & 3 & 4 (&) 5 & 6 &

THE CAPO The Beatles were big fans of using capos to make standard chord shapes more interesting. For “Norwegian Wood,” Gtr. 1, Gtr. 2, and Gtr. 3 are capoed at the second fret. Although the song sounds like it is in the key of E, these guitars are played in the key of D due to the whole step transposition of the capo. Gtr. 4 uses a capo on the seventh fret. The chord symbols

for Gtr. 4 are shown in double parentheses at the bottom of the stack, beginning at the top of the third page.

THE INTRO AND VERSE

The song begins with Gtr. 1—played by John Lennon—strumming a pattern in 6/8. Although the rhythm might look a bit complicated, Fig. 1

shows you how to easily count it out. In 6/8 time, there are six beats per measure and each eighth note gets one beat. The pulse is comprised of three beats. A dotted quarter note is equal to three eighth notes, so this means that there are two pulses in each measure. The tempo marking isn’t determined by beats per minute, but rather by the pulse. The tempo is marked as dotted quarter note = 60. Set your metronome to 60

“Norwegian Wood (This Bird Has Flown)” The Beatles

RIFF NOTES

By Jason Shadrick

Fig. 1

Fig. 2

fret-handfingerings:

1 4 1 4 1 4 2 1

2 4 2 04 2

04 0

3

0

2 0

Fig. 2

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 71

beats per minute and practice strumming three beats per click. The click of the metronome should line up with beats 1 and 4.

Both the Intro and Outro match the chord progression found in the Verse. This makes the form of the song unique because there is no Chorus, only a Verse and Bridge. Normally, you would see an indication for let ring and then a dashed line that shows where to change the chord shapes. Here, all of the notes throughout the song ring together, as indicated by the let ring throughout marking at the beginning of the Intro.

Start the song by holding down the standard three-finger open D chord. For any of the notes on the fourth fret, use your pinky finger. Anchor your ring finger on the D note (2nd string, third fret) through the entire Intro and Verse.

Gtr. 2 is actually a sitar—played by George Harrison—arranged here for guitar capoed at the second fret. Gtr. 3 is a 12-string acoustic that is placed in the left channel of the stereo mix. If you listen closely, you will hear several high A notes that sound like they are played on the 1st string at the fifth fret, but are actually coming from the higher-octave 3rd string.

Lennon begins the vocal in the Verse. Fig. 2 shows how to play the vocal melody on the guitar to better understand how the basic melody is integrated into the Gtr. 1 part. The Verse is short—only eight measures—but a prime example of Lennon and Paul McCartney’s efficient songwriting style.

THE BRIDGEThe Bridge is where all the guitars come together to create a cohesive, jangly sound. McCartney joins in with harmony vocals that appear in cue-sized notes above Lennon’s part. In the Gtr. 3 part there is a wavy line that points down next to some chords. This means that you should strum the chord slightly slower in the direction of the arrow. For example, the Dm chord in the first measure of the Bridge should be strummed with a downstroke. After that, pay attention to the staccato marking underneath the chords. To play these, release a little pressure from your fret after each strum to keep the notes from ringing.

Gtr. 4 is slightly hidden in the right channel of the stereo mix. The Beatles were well known for using the studio as an instrument, and this is a great example. The chords used for this section are shown in Fig. 3. The tonic chord is changed to minor (Dm) in the Bridge, while the other chords remain in the key of D major. Pay attention to the accidentals in the first, second, fifth, and sixth measures.

DIal TonEWhat They UsedDuring this period, the Beatles were known to favor Gibson acoustic guitars. The model most likely used on the sessions was a Gibson J-160E. Lennon also owned a Framus 12-string guitar that was used on “You’ve Got to Hide Your Love Away,” in addition to other songs from the Rubber Soul sessions.

How to Get the Sound A good dreadnought acoustic will work for the acoustic parts. If you don’t have a 12-string, try setting up a guitar for Nashville tuning. For this tuning, the lower four strings are tuned up an octave. Since the tension would be considerably different, use the following string gauges: .010, .014, .009, .012, .018, .027 from high to low.

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“Norwegian Wood (This Bird Has Flown)” The Beatles

Fig. 3

Fig. 3

231 12323 421 3

Get Cool Beatles gear at

oldglory.com!

w w w . g u i t a r e d g e . c o m72 J U LY / A U G U S T 2 0 1 0

Intro Moderately q. = 60

Norwegian Wood

Words and Music by John Lennon and Paul McCartney

Copyright © 1965 Sony/ATV Music Publishing LLCCopyright Renewed

All Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation

from The Beatles - Rubber Soul

(This Bird Has Flown)

*Gtr. 1 (acous.)

Gtrs. 1, 2 & 3: Capo IIGtr. 4: Capo VII

**

mflet ring throughout

E[D]

E'4[D'4]

E[D]

D'9[C'9]

A/C#[G/B]

E[D]

*John Lennon

**Symbols in parentheses represent chord names respective to capoed guitars. Symbols above reflect actual sounding chords. Capoed fret is “0” in tab. Chord symbols reflect basic harmony.

002 2

3 32

232

32 4 2

32

003

403

40

32

04032

203

403

02 2

3 32

0 30030

200

00

30

0

2

2

00232

00232

232

00232

0023

0032

00232

0232

***Gtr. 2

f

E'4

[D'4]

E[D]

D'9[C'9]

A/C#[G/B]

E[D]

***George Harrison Sitar arr. for gtr.

5 5 7 5 3 2 0

2

1/2

23

4

1/2

30

2

Gtr. 3 (12-str. acous.)

mplet ring throughout

232

32

2 4 2 04

232

232

232

232

20

4 0232

232

232

3

0

2 0

232

232

232

0

23

2

23

2

Gtr. 1Rhy. Fig. 1

End Rhy. Fig. 1

0023

002 2

32

00232

232

0

32 4

023

003

40

40

3

4 203

4 02

023

232

0 3

030

200

00030

2

2

0

232

00232

023

0

0

00

32

2

00232

032

00232

32

This song is sponsored by fishman.com

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 73

I

Verse

John Lennon:1.

E[D]

once

had a girl,

E'4[D'4]

or should I say

E[D]

she

D'9[C'9]

once had

A/C#[G/B]

me.

E[D]

4

30

1/2

Rhy. Fig. 2A

023

23

023

2

232

0232

232

0232

232

0232

232

23

23

0232

232

3

0

2

Rhy. Fig. 2

3

00232

002 2

32

0002

0

32 4

023

0030

403

403

04

032

0403

032

203

4002

00232

00232

300

2 00 0

2 032

00232

00

00 0

232

00232

She

showed me her room,

E'4[D'4]

is n’t- it good,

E[D]

Nor

D'9[C'9]

we- gian

A/C#[G/B]

- wood.

E[D]

She

2

4

1/2

3

4 4

End Rhy. Fig. 2A

0232

232

0232

232

0232

232

0232

232

0232

232

0232

232

0232

232

0232

232

End Rhy. Fig. 2

3 3

0023

00

232

00232

0

32 4

0232

003

403

40 0

32

04032

203

4 02

00

232

002

3

030

200

00030

2

2

00

002 0

32

00232

232

00232

002 0

32

0023

000

NORWEGIAN WOOD (THIS BIRD HAS FLOWN)

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w w w . g u i t a r e d g e . c o m74 J U LY / A U G U S T 2 0 1 0

askedtold

Bridge

*

2nd time, Gtr. 2 tacet

**

[[Am))

Em[Dm]

meme

toshe

stay,worked

andin

shethe morn

told

Gtr. 2 tacet

meing-

toand

sitstart

aned-

yto

- where.laugh.

-

A[G]

[[Dsus2]]

SoI

Gtr. 2

2

Gtr. 3

mf

0231

0231

0231

0231

0231

0231

023

320003

320003

320003

320003

320003

320003

320003

320003

Gtr. 1

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

000

320033

320033

320033

320033

320033

320033

320033

320033

320033

320033

320033

320033

320033

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320033

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mf

*Symbols in double parentheses represent chord names respective to capoed Gtr. 4.

**Paul McCartney, harmony vocals

02210

02210

02210

02210

02210

02210

02210

02210

02210

02210

02210

02210

0230

0230

0230

0230

0230

0230

0230

0230

0230

0230

0230

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0230

NORWEGIAN WOOD (THIS BIRD HAS FLOWN)

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 75

Itold

Em[Dm]

[[Am]]

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rounddid

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n’t-and I

andno

crawled

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Gtr. 3

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0323

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0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

0323

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Gtr. 4

02210

02210

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02210

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F#m7[Em7]

[[Bm7]]

B[A]

[[E]]

let ring

022030

022030

022030

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222

23

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NORWEGIAN WOOD (THIS BIRD HAS FLOWN)

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w w w . g u i t a r e d g e . c o m76 J U LY / A U G U S T 2 0 1 0

IAnd

VerseGtrs. 1 & 3: w/ Rhy. Figs. 2 & 2AGtr. 4 tacet

2.3.

E[D]

satwhen

onI

aa

rugwoke

E'4[D'4]

-

bidI

ingwas

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time,lone,

E[D]

-

drinkthis

D'9[C'9]

ingbird

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A/C#[G/B]

wine.flown.

E[D]

Gtr. 2

0 0

CTo oda

WeSo

talkedI

unlit

tila

- two,fire,

E'4[D'4]

andis

thenn’t-

sheit

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E[D]

“It’sNor

D'9[C'9]

timewe-

forgian

A/C#[G/B]

-bed.”

wood.

E[D]

0 0

Gtr. 2

InterludeGtr. 1: w/ Rhy. Fig. 1 (2 times)

E[D]

E'4[D'4]

E[D]

D'9[C'9]

A/C#[G/B]

E[D]

5 5 7 5 3 2 0

2

1/2

23

4

1/2

30

2

2

Gtr. 3

232

232

2 4 2 04

232

232

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0

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NORWEGIAN WOOD (THIS BIRD HAS FLOWN)

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 77

D.S. al Coda

[D'4]E'4

[D]

E

[C'9]

D'9[G/B]A/C#

[D]E

She

5 5 7 5 3 2 0

2

1/2

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232

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0

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232

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Coda

Gtr. 2

Outro

[[A5]]

E[D]

E'4[D'4]

E[D]

D'9[C'9]

[[G'9]]

A/C#[G/B]

E[D]

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1/2

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Gtr. 3

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232

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002

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0

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02

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NORWEGIAN WOOD (THIS BIRD HAS FLOWN)

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w w w . g u i t a r e d g e . c o m78 J U LY / A U G U S T 2 0 1 0

In 2002, Jason Mraz released his debut album on Elektra Records, Waiting for My Rocket to Come; since then, his brand of quirky pop music has earned him fans all over the world. Originally from Virginia, Mraz’s style is equal parts folk, rock, and soul, with a healthy dose of beach-party vibe. After the monster success of his first album, he continued with Mr. A-Z, an infectious dose of clever lyrics and acoustic funk that proved to everyone he was not a one-hit-wonder.

Once the tour for Mr. A-Z ended, Mraz decided to take an entire year off from recording and touring. It was during this time that he wrote and developed material for this third album, We Sing, We Dance, We Steal Things. “Lucky” was the second single released and features singer Colbie Caillat. Mraz heard that Caillat was a fan and, after meeting her, sent over part of a tune he was working on.

“I decided to email it to her and say ‘Hey, this is my idea.’” Mraz recalled. “Then she, along with [guitarist] Tim Fagan did a great job of adding more lyrics, things that she would sing back to me, tweaking the arrangement. The whole thing was an email collaboration. Then when it came time to get it recorded, it ended up being a completely underground recording because, at first, neither of our labels were really into the idea.”

Despite the labels’ initial hesitance, “Lucky” became so successful that two versions were recorded. In addition to the version with Caillat, Mraz teamed up with Mexican singer-songwriter Ximena Sariñana to record a version in Spanish.

THE INTRO AND VERSE The Intro begins with Gtr. 1 playing a standard open C chord and using palm muting to make each attack staccato. You will want to use a combination of right-and left-hand muting to make this work. Right after you pluck the strings with your fingers, release your fret hand just enough to stop the strings from ringing. This, combined with placing your picking hand

over the strings right at the bridge, will create the right effect.

Mraz’s vocals come in during the two-measure Intro. Another thing to keep in mind is that male vocals are transposed an octave above the sounding pitch (just like guitar) while female vocals are written as they sound. This is important because, later in the song,

Caillat sings higher notes than Mraz, but her part is written lower on the staff. The names and initials of who is singing are indicated before each part.

A cool part about this song is that the chords are relatively easy, which makes this a great song for beginners. The basic chord shapes for the Verse are shown in Fig. 1. In the measure

“Lucky” Jason Mraz (featuring Colbie Caillat)

RIFF NOTES

By Jason Shadrick

Jason Mraz playing his signature Taylor nylon-string guitar. Photo courtesty of Taylor Guitars

Fig. 1

32 1

4fr

1234

3fr

13121

3fr

13124234

5fr

1341321

5fr

3241

3fr

1342

5fr

1312

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 79

leading into the Chorus, the accented chords on beats 2 and 4 are strummed with your fingers. This happens again on the sixth page right before the D.S. al Coda.

THE CHORUS AND INTERLUDEAt the Chorus, Mraz and the band go into a half-time feel. Rhy. Fig. 2 presents a variation on the progression from the Verse, but this time allows for the chords to ring instead of being muted. There are two new chords in this section that are shown in Fig. 2. The Gadd4/B chord acts as a transition from the C to the Am in the fourth measure. The fingering for Gsus4 in the seventh measure can be tricky. Keep your index finger on the G at the third fret of the 6th string. Barre your third finger over the 5th, 4th, and 3rd strings, and then slightly lift up your third finger to play the B on the 3rd string on the fourth fret.

On the third page, there is a four measure Interlude that cycles through a I (C), vi (Am), iii (Em), V (G) progression while Mraz and Caillat sing a melodic figure. The shapes that are used here are standard open-position voicings.

In the Chorus on the fourth page, Gtr. 2 plays the same progression but uses slightly different voicings. The voicings for the Chorus are shown in Fig. 3. For this section the chords use more open strings, which makes it easier to let the notes ring.

THE BRIDGEAfter the Interlude, the Bridge begins with a return to the staccato chords that first appeared in the Verse. The difference here is that they are not palm muted. The first chord, Dm9, is played with your middle finger on the D at the fifth fret on the 5th string. Place your index finger on the F at the third fret on the 4th string and barre the 3rd and 2nd strings at the fifth fret with your ring finger. The rest of the chords used in the Bridge are the same voicings used in the Verse. At the end of the Bridge, Gtr. 2 (a piano arranged here for guitar) enters and plays the chords shown in Fig. 4.

DIAL TONEWhat He UsedIt’s no secret that Jason Mraz is a big fan of Taylor guitars. They are made in his back-yard and have been a key to his sound since his days in coffee shops around San Diego. For “Lucky,” Mraz likely used either his Taylor NS72ce or his Signature JMSM model. Both feature nylon strings and ES-N electronics.

How to Get the Sound Mraz likes a fairly straight-ahead sound for this tune. Either a nylon or steel-string guitar will work. If you are plugging in, tweak the EQ to emphasize the mids and add a small touch of reverb.

• Getthetabfor“Lucky”atguitarinstructor.com• Download“Lucky”fromiTunes• GetWe Sing, We Dance, We Steal Thingsguitartabbook

frommusicdispatch.com• VisitJasonMrazonlineatjasonmraz.com

Want more? Check out these cool links at guitaredge.com

“Lucky” Jason Mraz (featuring Colbie Caillat)

Fig. 2

Fig. 2

3fr

13332 1

Fig. 3

214 211 3 1 3 1 2 1Fig. 4

3 1 2 1

Fig. 3

Fig. 4

w w w . g u i t a r e d g e . c o m80 J U LY / A U G U S T 2 0 1 0

Intro Moderately fast q = 131

LuckyWords and Music by Jason Mraz, Colbie Caillat and Timothy Fagan

Copyright © 2008 Sony/ATV Music Publishing LLC, Wrunch Time Music, Goo Eyed Music and Cocomarie MusicAll Rights on behalf of Sony/ATV Music Publishing LLC and Wrunch Time Music Administered by

Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation

from Jason Mraz - We Sing, We Dance, We Steal Things

Transcribed by Jeff Jacobson

Guitar: Jason Mraz

____

= 3

C

’N’Jason Mraz: 1. do you

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hear

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3

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ter,

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blue

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This song is sponsored by carvin.com

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 81

dreams.

Asus4

Am

I feel your whis

Dm7

per

-

a cross- the sea.

G13

* G7/F

I keep you

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with

E7

me

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Chorus Half-time feel

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y- I’m in

Dm7

love

with my

best friend,

Rhy. Fig. 2

let ring

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04

*Chord symbols reflect implied harmony, next 12 meas.

4567

0

**Jason Mraz: lead vocals Colbie Caillat: harmony cues

57

75

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56

5

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G

luck y- to have

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35

5

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01

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02

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Sorry, the free period for viewing/printing this tab has expired.

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w w w . g u i t a r e d g e . c o m82 J U LY / A U G U S T 2 0 1 0

com

Dm7

ing

- home

a

Gsus4

gain.

-

G

let ring

End Rhy. Fig. 2

let ring

57

56

5

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55

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45

5

3

Oo,

Interlude

C

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Em

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01

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BridgeDm9

don’t

knowTheyJ.M.:

howdon’t

longknow

Am7

ithow

takes,

long

it

takes,

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waitwait

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Sorry, the free period for viewing/printing this tab has expired.

If you want this tab, click here to buy it online at GuitarInstructor.com for

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 83

waitwait

Dm9

forfor

you,you,

II

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--

youyou

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001

ChorusGtr. 1: w/ Rhy. Fig. 2 (1st 4 meas.)

**

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**2nd time, Voc. tacet on beats 1 and 2.

***J.M.: lead vocals C.C.: harmony cues

0

21

3

02

11

3

00

1

3

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Gtr. 2

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0

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3

02

11

LUCKY

Sorry, the free period for viewing/printing this tab has expired.

If you want this tab, click here to buy it online at GuitarInstructor.com for

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Check out this month’s free tab in the current digital

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Readers have free access to view and print fully-licensed/

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w w w . g u i t a r e d g e . c o m84 J U LY / A U G U S T 2 0 1 0

1st time, Gtr. 1: w/ Rhy. Fig. 22nd time, Gtr. 1: w/ Rhy. Fig. 2 (1st 7 meas.)Gtr. 2: w/ Rhy. Fig. 3

Am7

Luck y- we’re in

Dm7

love

in ev

’ry

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G7

luck y- to have

C

stayed

where we

C/B

have

stayed.

CTo oda End half-time feel

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Dm7

ing

- home

some

Gsus4

day.

-

G

AndJ.M. 2. so I’m

sail

VerseGtr. 1: w/ Rhy. Fig. 1 (1st 6 meas.)

C

ing

-

through the

Am

sea

to an is

Dm7

land

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we’ll

meet.

G

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E7

sic

-

fill the air;

Am

I’ll put a

flow

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er

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in

G

your

hair.

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C

es

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through the

Gtr. 1

P.M. let ring

5756

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32

01

0

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trees

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move so pret

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-

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G

* G/F

As the

let ring

let ring

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02

23

2

0

0

57

56

5

5

0

*Bass plays F.3

55

45

3

0

LUCKY

Sorry, the free period for viewing/printing this tab has expired.

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Check out this month’s free tab in the current digital

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 85

D.S. al Coda

world

E7

keeps

spin

ning- ’round,

Am

you hold

Dm7

me

right here,

G

right

now.

G#(b5)

3

let ring

let ring

let ring

76

75

7

7

0

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7

55

7

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5

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Coda

G

Outro

Oo,

C

Am

Gtr. 1

let ring

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5

3

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01

0

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let ring w/ thumb

02

21

2

0

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02

2

00

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0

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0

00

2

0

32010

LUCKY

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w w w . g u i t a r e d g e . c o m86 J U LY / A U G U S T 2 0 1 0

Fig. 2

0

0

20

0

0

2

0

00

20

0

0

20

Born in 1917, Merle Travis was a huge influence on generations of guitar players. While growing up in Kentucky, Travis developed a playing style that would bear his name. “Travis picking” now refers to playing an alternating bass line with your thumb while playing a syncopated melody with your fingers. One of Travis’ biggest followers was Chet Atkins, who first heard Travis on the radio as a young boy in Georgia.

“Sixteen Tons” is a song written about the life of a coal miner—a popular topic for several of Travis’ tunes—and was first recorded in 1946.

THE INTRO As indicated next to the tempo, the eighth notes have a strong shuffle feel. This adds to the “galloping” feeling that was popular in country music at the time. Sometimes Travis plays straight eighth notes to create tension in the rhythm. These sections are notated below the tab. The N.C. indication tells us a few things. The first is that there shouldn’t be a chord strummed during this section. The other is that the parenthetical chord symbols indicate the implied harmony of the riff. In the measure right after the 2/4 bar, the chord symbols return to normal.

Throughout this song, you want to have a “let it ring” sensibility. Use the chord symbols as a guide to where to place your fingers and hold the notes to those chords in those beats. (The palm mutes indicate when to omit ringing.) When Travis palm mutes, most of the strings are muted with the exception of the first two.

Travis begins the song with a lick that comes from the last vocal phrase of the Chorus, but he alters it slightly as shown by the measure of 2/4. The next four measures reflect an Em6 (E – G – B – C#) sound. Hold down the Em6 voicing shown in Fig. 1 to allow the strings to ring.

TRAVIS PICKINGOne of the defining elements of Travis’ style is the unique fingerstyle pattern that bears his name. The basic idea of Travis picking is to keep your thumb playing a steady alternating bass while adding melody notes with your other fingers. This became a popular way for country musicians to accompany themselves on guitar and keep the feel of having a band.

The basic Travis picking pattern is shown in Fig. 2. There are a few key things to remember. First, you want to slightly mute the down-stemmed notes played by your thumb in order

“Sixteen Tons” Merle Travis

RIFF NOTES

By Jason Shadrick

Fig. 1

Fig. 1

23 4 2133332 123

Fig. 2

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 87

to emulate the sound of a bass. Next, you want to let the melody notes ring as long as possible. This gives a flowing feeling to the phrase and really emphasizes the two independent parts.

Also shown in the example are suggested right-hand fingerings. Essentially, play the bass notes with your thumb and the other notes with your index finger. Travis anchored his middle, ring and pinky fingers to his pickguard. This made it easier to play the other strings.

THE VERSEDuring the Verse, Travis uses a descending progression using the chords shown in Fig. 1. As you will notice from the recording, Travis uses a lot of dynamics when he performs. This makes some notes inaudible while others are very prominent. If we were to notate every change in dynamics, the music would be cluttered and difficult to read. Don’t be afraid to experiment with your pick attack in order to better emulate the dynamics on the recording.

THE GUITAR SOLOTravis begins his guitar solo by playing some open string licks based out of the E minor pentatonic scale (E – G – A – B – D). On the “and” of beat 4 in the third measure of the solo, play the G with your ring finger

to set up for the slide from C7 to B7 in the next measure.

The fingerings for the next section of the solo can be tricky. This is a variation on the traditional Travis picking pattern and is shown in Fig. 3. The right-hand fingerings are indicated between the note and tab staff. The p represents your thumb and the i represents your index finger. Travis had a unique approach to picking—using his thumb and index finger. For the Em(add9)/B chord, play the B on the 5th string with your index finger and the F# on the 1st string with your pinky. Play the Am6/E chord as a standard Am voicing, but keep your pinky on the F# on the 1st string. A measure of 2/4 follows before Travis goes back to holding an Em6 chord for four measures and then going into the next Verse.

DIAL TOnEWhat He UsedMerle Travis was known for playing his cus-tomized Gibson Super 400 and likely used it for this recording. In videos, he is also shown performing this tune on a Martin D-28 with a thumbpick.

How to Get the Sound For this tune, you need a sparkly, clean sound with a touch of reverb. A big archtop guitar with thick strings and a Fender amp will get you there.

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“Sixteen Tons” Merle Travis

Fig. 3Fig. 3

P.M.

p ip

i ip

i p i p ip

i ip

i p ip

ip

ip

i p

02

2

20

2

2 0

22

00

2

21

0

2 0

222

3

2

0

2

0 33

3

w w w . g u i t a r e d g e . c o m88 J U LY / A U G U S T 2 0 1 0

Intro Moderately q = 132

Copyright © 1947 by Unichappell Music Inc. and Elvis Presley MusicCopyright Renewed

All Rights Administered by Unichappell Music Inc.International Copyright Secured All Rights ReservedReprinted by Permission of Hal Leonard Corporation

Sixteen TonsWords and Music by Merle Travis

from Merle Travis - The Merle Travis StoryTranscribed by Dave Whitehill

____

= 3

Gtr. 1 (clean)

mfw/ pick & fingers

µ (Em)

let ring

*

(B7)

(Em) ** Em6

let ring

0 4 5

00

0

*Played as even eighth notes.

2 22 2

1

**Chord symbols reflect inplied harmony.

2

02

20

2 20

Some1.

peo

VerseEm

ple- say

a man

Em7/D

is

made

C

out of mud.

B9

But, a

3

***

3

let ring †

P.M.

0***Played as even eighth notes.

22

0

02

0

22

20

†6th - 3rd strings only throughout

0

02

0

03

0

2

2

12

2

poor

Em

man’s

made

Em7/D

out of mus

C9

cle- and blood.

B9/F#

Mus

Em

cle- and blood,

Em7/D

Am7

skin and

bones,

3

they got a

3

P.M.

mp

P.M.

0

0

2

0

00

0

3

33

2

12

0

0

00

0

0

0

10

01

2

This song is sponsored by ernieball.com

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 89

mind

Em/B

µ (Em)

that’s weak

and a back

that’s strong.

You load

six

ChorusEm

teen

- tons

Em7/D

and what

C9

do you get?

B9/F#

Ya get

an

3

-

P.M.

P.M.

22

00

20

0

00

32

33

22

2

12

0

oth

Em

er- day

old

Em/B

er-

and deep

C9

er- in debt.

B9/F#

Saint

Pe

Em

ter- don’t ya

call me

Em7/D

’cause I

C/A

can’t

go.

I

3 3

P.M. P.M.

P.M.

P.M.

3

2 20

2

00

3

3

0 12

22

0

0

0

0

00

3

1

2

01

01

owe

Em/B

µ (Em)

my

soul

3

to the com

(B7)

pa- ny- store.

(Em)

Interludeµ (Em)

(B7)

P.M.

mf

let ring

P.M.

22

0 2 4 50

02 0

2 22 2

1

Em6

Well,2. I was

let ring P.M.

*

let ring

3

02

20

20

0

20

22

0

*Played as even eighth notes.

20

20

20

SIXTEEN TONS

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w w w . g u i t a r e d g e . c o m90 J U LY / A U G U S T 2 0 1 0

born

VerseEm

one morn

Em7/D

ing- when the sun

C

did n’t- shine.

B9/F#

Em

Picked up my shov

Em7/D

el- and I walked

C9

to the mines,

B9/F#

I load ed-

mp

P.M.

20

00

0 3

02

22

2

12

0

02

0

00

23

3

2

22

2

1

six

Bm

teen-

tons

Em7/D

of num

C/A

ber- nine

coal.

The straw

Em/B

boss

µ (Em)

said,

“Well, bless

my

soul!

3

He load

ed-

3

P.M.

0

2 00

3

1

2

01

20

22

six

ChorusEm

teen-

tons...”

Em7/D

And what

C9

do you get?

B9/F#

Ya get

an oth

Em

- er- day

old

Em7/D

er- and

deep

C9

er- in debt.

B9/F#

Saint

3

p

P.M.

200

000

3

33

22

2

12

X

20

00

3

3

23

2

22

X

Pe

Em

ter- don’t ya call

me

Em7/D

’cause I

C/A

can’t

go.

I owe

Em/B

my

µ (Em)

soul

to the com

(B7)

pa- ny- store.

(Em)

P.M.

let ring

P.M.

mf

0

0

00

0

0

0

0

3

1

2

01

22

22

0 2 4

SIXTEEN TONS

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 91

Guitar Solo

µ (Em)

C7

B7

let ring

let ring

50

0 2 4 50

00

2 5 02 0

2

3 50

0 5 00

53

535

424

XXX

00

Em('9)/B

Am6/E

Em

P.M.

C9 C9/G

B7/F#

Em

02

2

20

2

2 0

22

00

2

21

0

2 0

222

3

2

0

2

0 33

3 2

2 02

01 2 1 2

Em6

Was3.

let ring

let ring

02

00

20 0

02

00

20

born

VerseEm6

one morn in’,-

Em7/D

it was

a

3

driz

C

zlin’- rain.

B9/F#

See fight

Em

in’- an’ trou ble

Em7/D

- is my mid

C

dle- name.

B9/F#

3

mp

P.M.

0

202

00

3

0

22

22

02

0

000

3

02

22

2

12

Raised

Em

in the cane

Em7/B

break by an ol’

Am

ma ma- li on.

- There can’t no high

Em/B

µ (Em)

tone

wom an- make me walk

the line.

You load

P.M.

200

20

0

0

21

01

22

SIXTEEN TONS

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w w w . g u i t a r e d g e . c o m92 J U LY / A U G U S T 2 0 1 0

six

ChorusEm

teen

- tons

Em7/D

and

what

C9

do ya get?

B9/F#

Ya get

an oth

Em

- er- day

old

Em7/D

er- an’

deep

C9

er- in debt.

B9/F#

Saint

3

P.M.

0

0

00

3

3

2 12

22

0

0

2

0

03 3

33

22

Pe

Em

ter- don’t ya

call me

Em7/D

’cause

I

Am/E

can’t

go,

I owe

Em/B

my

µ (Em)

soul

to the com

(B7)

pa- ny- store.

(Em)

3

P.M.

mf

let ring

0X2

00

00

00

21

0

22

22

0 2 4 5

Interlude

µ (Em)

(B7)

(Em) Em6

let ring

P.M.

*

let ring

00

2 02 2

2 21 2

02

20

20

20

1 20

*Played as even eighth-notes.

22

0

0

Well,4. if ya see

VerseEm

me

com

Em7/D

in’,- bet

ter

-

3

step

C

a

side.-

B9

A lot

Em

ta- men

did n’t-

Em7/D

and a

3 3 3

3

let ring mp

P.M.

022

020

20

20

0

0

0

0X

X 32

2

2

12

0

0

0

0

0

0

SIXTEEN TONS

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 93

lot

C9

ta- men died.

B9/F#

A one

Em

fist of iron

Em7/D

and the oth

Am

er- one of

steel.

If the right

Em/B

one

µ (Em)

don’t

get cha- then the

3

3

P.M.

3

33

22

2

0

00

0

1

2

01

2 2

left

one will.

You load

six

Outro-ChorusEm

teen

- tons

Em7/D

and what

C9

do ya’ get?

B9/F#

Ya get

an oth

Em

- er- day

old

Em7/D

er- an’ deep

3

-

*

P.M.

*Slap the muted strings w/ pick hand.

0

00

3 3

3

23

2

12

0

0

2

0

00 0

er

C9

in debt.

B9/F#

Saint

Pe

Em

ter- don’t you

call me

Em7/D

’cause I

Am

can’t

go,

µ (Em)

I

3 3

P.M.

3

3

1

2

1

0

0

0

0

0

0

0

0

02

1

owe

Free time

my

soul

to Ten

(B7)

nes- see- Er

nie- Ford.

(Em)

Em6

3

let ring

3

02

20

20

SIXTEEN TONS

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w w w . g u i t a r e d g e . c o m94 J U LY / A U G U S T 2 0 1 0

The Black Crowes formed in Atlanta, Georgia, in the mid ’80s around brothers Chris and Rich Robinson. Vocalist Chris and guitarist Rich are the driving force behind the songwriting, even though there have been several incarnations of the band. Their first album, Shake Your Money Maker, was released in 1990 and contained six singles. This was the only album to feature guitarist Jeff Cease, who was replaced by Marc Ford shortly after its recording.

Since their debut album, the Black Crowes have released eight studio albums and shared the stage with everyone from the Grateful Dead to Jimmy Page—who also toured and recorded an album with the group. Their latest album, Before the Frost…Until the Freeze, was released in August of 2009 and was recorded at Levon Helm’s studio in Woodstock, New York. In April of 2010, the band announced the release of Croweology, an all-acoustic album, along with a lengthy tour that, according to the band, will be their last.

INTRO AND VERSE This tune is in the key of B major (which has five sharps) and contains some exceptionally bluesy elements. In both the vocals and the Gtr. 1 part, there are some D naturals (dominant seventh) and A naturals (minor third). The struggle between the major key and the minor third give a real dissonant feeling to the song and creates that “blue note” sound.

The key is solidified by Gtr. 2’s part with the B major triads. To play the B major chord, barre your index finger at the fourth fret. For the B6sus4 chord, keep your index finger barred and then place your middle finger on the E

(2nd string, fifth fret) and your ring finger on the G# (4th string, sixth fret). At the end of the second measure, the x’s represent fret-hand mutes. To play these, lift your fingers slightly off the fretboard and strike the strings to create a percussive effect. The chord symbols are a direct reflection of this part.

Gtr. 1 plays more of a Chuck Berry-type rhythm that is found in more traditional blues and R&B tunes. Take your index finger and barre across all the strings for the entire Verse. When the double stop comes in on the “a” of beat 3, your index finger will already be in place. Flatten your pinky finger at the eleventh fret to play the C# and G#

in beat 4. Gtr. 2 jumps to the rhythm slashes on the second page while Gtr. 1 plays a variation of the original boogie-woogie part. Notice the footnote about the chord diagrams. Anytime there is a part notated in rhythm slashes, the chord diagrams are given at the beginning of the transcription. The very last note before the Chorus in the Gtr. 1 part is played with your index finger to prepare for the F# chord.

CHORUS AND INTERLUDEOverall, the form of this song is rather unique. The Verse stays on the I chord (B major) the entire time. When the Chorus comes around, it moves to F#. In this transcription, we have

“Hard to Handle” The Black Crowes

RIFF NOTES

By Jason Shadrick

(L to R) Steve Gorman, Rich Robinson, Chris Robinson (seated), Jeff Cease, Johnny Colt - circa 1990. Photo by Ken Settle

Fig. 1Fig. 1

10fr

211

11fr

132

5fr

211

12fr

211

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 95

notated them separately, but you could easily think of them as a 12-bar Verse. The separation is helpful when you come out of the Guitar Solo back into the Chorus.

After the break in the Chorus, there is an Interlude that combines a few triads on the top strings. The voicings are shown in Fig. 1. Begin with a D triad (in first inversion) at the tenth fret and then slide that shape up two frets to E. That same shape slides down to the fifth fret for the A chord and then finishes up at the eleventh fret with a B major chord in second inversion.

GUITAR SOLOLead guitarist Jeff Cease begins his short but sweet solo in the seventh position using the B minor pentatonic (B – D – E – F# – A) fingering shown in Fig. 2. Begin by bending the G# on the 2nd string up a half step to A before descending down the scale. For the F$ in beat 4, use your pinky finger to pull off onto the E. At the end of the second measure of the solo, he shifts down to the B major pentatonic scale with minor 3rd passing tones in fourth position shown in Fig. 3. After a brief move back to the seventh position, he moves to the twelfth position before ending the solo with some oblique bends at the seventeenth fret.

For the Outro-Guitar Solo, Cease continues with some oblique bends at the seventeenth fret before quickly shifting back down to seventh position. The chord progression of this section follows the Verse for eight measures before switching to the chords from the Interlude. For the double stops in the fourth measure, use your flattened ring finger to hammer-on both notes. In the ninth measure, there is a double stop bend on the 2nd and 3rd strings. Focus on bending the G# up a half step and the E will automatically bend a quarter step. This happens several times before the end of the tune.

DIAL TOneWhat He UsedGuitarist Rich Robinson is no stranger to collecting cool gear. Rich’s website outlines his extensive collection, but at the time he was seen playing a TV Yellow single cut-away Les Paul Special with P-90 pickups. For amps, he prefers tweed Fender amps from the ’50s, such as a Tremolux and a Vibrolux. On the floor, he uses a Fulltone Full-Drive 2, Voodoo Lab Micro Vibe, DOD

EchoFX 96, Hughes & Kettner Rotosphere, Moogerfooger 12-stage phaser and two Fulltone Tube Tape Echos. How to Get the Sound Either a Strat or Les Paul will work to cop the vintage vibe that Robinson gets. Plug into a Fender amp that you can push hard enough to get some overdrive and combine that with an overdrive pedal for an extra push.

• Get“HardtoHandle”guitartabandmoreatguitarinstructor.com• GetcoolBlackCrowesgearatoldglory.com• Download“HardtoHandle”oniTunes• GetBlack Crowes – Guitar Anthologyonmusicdispatch.com• CheckouttheBlackCrowesonlineatblackcrowes.com

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“Hard to Handle” The Black Crowes

Fig. 2Fig. 2

fret-handfingering:

1 4 1 3 1 3 1 3 1 4 1 47 10

7 97 9

7 97 10

7 10

Fig. 3

fret-handfingerings:

4 1 2 3 1 3 1 3 4 1 4 1 47

4 5 64 6

4 6 74 7

4 7

Fig. 3

Get Cool Black Crowes

gear at oldglory.com!

w w w . g u i t a r e d g e . c o m96 J U LY / A U G U S T 2 0 1 0

Intro Moderately q = 102

Words and Music by Allen Jones, Alvertis Bell and Otis Redding

Hard to Handle

Copyright © 1968 IRVING MUSIC, INC.Copyright Renewed

All Rights Reserved Used by PermissionReprinted by Permission of Hal Leonard Corporation

from The Black Crowes - Shake Your Money Maker

Guitars: Rich Robinson & Jeff Cease

(Drums)

µ

*Gtr. 1 (slight dist.)

mf

4fr

111

B

** F#

4fr

312

B6sus4

2fr

1342

F#

2fr

1333

B

B

F#

*Rich Robinson

7 7

**Chord symbols reflect basic harmony.

6 74

7 5 7 57 7 7

6 74

7 5 7 5

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2.1.

3.

VerseB

tion-by,

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444

444

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645

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444

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XXX

Gtr. 1Rhy. Fig. 1

P.M.

P.M.

P.M.

P.M.

P.M.

End Rhy. Fig. 1

P.M.

79

79

79

711

79

79

79

79

79

77

1111

79

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79

79

79

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79

79

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This song is sponsored by playlaguna.com

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 97

III

Gtr. 1: w/ Rhy. Fig. 1

B

canknowcan

yougivegotgive

youanyou

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er-you

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want,man,want

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love

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to

to

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home

ter-withthanwith

me.him.me.

B6sus4

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Gtr. 2

(cont. in slashes)

444

444

444

444

444

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Gtr. 2

* B

B6sus4 B

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P.M.

P.M.

P.M.

*See top of first page of song for chord diagrams pertaining to rhythm slashes.

79

79

79

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79

79

79

79

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79

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End Rhy. Fig. 2

when

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9

HARD TO HANDLE

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w w w . g u i t a r e d g e . c o m98 J U LY / A U G U S T 2 0 1 0

Chorus

Rhy. Fig. 3A

F#

BoysBoysBoys

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havecomerun

aa

thingslong,long,

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Rhy. Fig. 3

911

9119

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CTo oda B

(cont. in motation)

End Rhy. Fig. 3A

Pret ty- lit tle- thing,

let me light

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ma,- I’m sure

hard to han

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a round.-

End Rhy. Fig. 3

7998

1.

Gtr. 2

InterludeD

E

A

E

B

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131212

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Gtr. 1

5777

5777

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7999

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0222

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0

HARD TO HANDLE

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 99

2.

InterludeA

E B

Yeah.

A

E

Hard

B

to han

dle- now.

Gtr. 2Rhy. Fig. 4A

655

655

131212

111211

111211

111211

655

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111211

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Gtr. 1Rhy. Fig. 4

022

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244

2444

2444

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0 0 022

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244

2444

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D.S. al Coda

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End Rhy. Fig. 4A

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022

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2444

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244

244

244

0 00

Coda

InterludeGtrs. 1 & 2: w/ Rhy. Figs. 4 & 4A

A

E B

Hard,

A

E B

hard to han

dle- now.

HARD TO HANDLE

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w w w . g u i t a r e d g e . c o m100 J U LY / A U G U S T 2 0 1 0

A

E B

Oh, yeah,

yeah,

A

hey,

E

yeah,

B

oo, yeah.

*Gtr. 3 (dist.)

f

*Jeff Cease

9

1/2

Guitar SoloGtr. 1: w/ Rhy. Fig. 1 (3 1/2 times)Gtr. 2: w/ Rhy. Fig. 2

B

B6sus4 B

B6sus4

9

1/2

9

1/2

9 9 79

710 9 7 9

97 8

9 9 9

49 6

B

P.H.

B6sus4

B

B6sus4

B

B6sus4

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4 4

4 5 64 7 6 4

64

9

XX

109 7 10

11

1013

1/2 1 1

B

B6sus4

B

B6sus4

Gtr. 1: w/ Rhy. Fill 1

B

8va

3

12 14 1213

15 1214

12

hold bend

XX

17

1

1717

1717

hold bend

1717

1

17 1717 17

17 1517

1 17

Boys

ChorusGtrs. 1 & 2: w/ Rhy. Figs. 3 & 3AGtr. 3 tacet

F#

that run a long,

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en.-

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in’- but ten

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in’.-

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B

ty- lit

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tle- dame,

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your can dle

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ma,- I’m sure

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dle- now, yes,

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HARD TO HANDLE

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 101

InterludeGtrs. 1 & 2: w/ Rhy. Figs. 4 & 4A

A

E B

Yeah.

A

E B

So

hard to han

A

dle- now.

E

B

Oh,

yeah.

A E

B

Gtr. 3

rake

8va

XX

X1717

1

Ba

Outro-Guitar SoloGtr. 1: w/ Rhy. Fig. 1 (3 1/2 times)Gtr. 2: w/ Rhy. Fig. 2

B

by.-

Uh,

B6sus4

good lov

B

in’.

-

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B

by.

-

B6sus4

3

8va

3 3 3

1717

1717

1

1717

1 hold bend

1717

1

17 1717 17

1717

1717 17

1717

17 17 15 17 15 1516

Ba

B

by,

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oh,

B6sus4

good lov

B

in’.-

I need

B6sus4

good

8valoco

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6

16

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9

77

99

77

99

0

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14 1516

14 1516

14 1516

15 14 1213

12

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B

in’.-

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8va

14 1516

14 1516

14 15

16

15 14 X

17

12 XX

1

1717

17 16 14

1714

15 14 12

HARD TO HANDLE

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w w w . g u i t a r e d g e . c o m102 J U LY / A U G U S T 2 0 1 0

have

Gtr. 1: w/ Rhy. Fill 1

B

it.

Oh,

yeah.

Gtrs. 1 & 2: w/ Rhy. Figs. 4 & 4A (1st 3 meas.)

A

E

B

Yeah.

loco

77

710 9 7

9 9

9

9 09 9

99 7 9 7

9

9

1/2

1/4

A

E B

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to han

A

dle- now.

E

B

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3

99 9

97 9

9 100

10

9

00

00 9 9

97 9

97

9

00

00

1/2

1/4 11/2

1/4

Begin fade Fade out

A

E B

Free time

Mm, mm.

Gtr. 3

99 9

97

9

10

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10 10

1/2

1/4 1

Gtr. 2

655

655

131212

111211

Gtr. 1

022

XXX

0221

XXX

244

HARD TO HANDLE

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 103

When it comes to southern rock, there is Lynyrd Skynyrd, the Allman Brothers Band, and everyone else. The Allman Brothers Band essentially defined the genre with harmonized lead guitars, country influences, and long, improvisational jams. “Jessica” is from the 1973 album, Brothers and Sisters, which was the first album after the deaths of guitarist Duane Allman and bassist Berry Oakley. This marked a new era for the band. Dickey Betts wrote the song in tribute to his daughter Jessica.

MAIN MELODY AND BRIDGE The tune opens with a strummed acoustic guitar—played by Les Dudek—and follows a simple progression in the key of A major. After the 12-measure Intro, Dickey Betts—who plays both parts—comes in with the signature theme played in harmony. If you are the only guitarist in the band, play the Gtr. 2 part and try using a harmonizer set for diatonic thirds.

For Gtr. 2, begin in ninth position and visualize an open D shape for the first three notes. Use the tips of your fingers and then slide down to seventh position on beat 3 of the second measure and then to sixth position on the “and” of beat 3. Remain in sixth position until you play a variation of the main motif beginning in the fourth measure.

After the A section Gtr. 1 and Gtr. 3 tacet and Gtr. 2 plays a simple melody that is based out

of A Dorian (A – B – C – D – E – F#– G). Begin with your index finger on the B at the fourth fret of the 3rd string. In the second measure, shift up to seventh position. Over the last four measures Gtr. 2 walks up an A Mixolydian scale (A – B – C# – D – E – F# – G) before heading back into the main theme at letter D.

BREAKDOWNLetter E begins with Gtr. 1 playing the rhythm figure from the Intro. Gtr. 2 joins in with a simple riff. As this section builds, more and more instruments are added to the mix. Gtr. 5 is a piano arranged here for guitar and comes in with a repeating figure marked Riff B. For this riff, barre your index finger on the 2nd and 3rd strings at the second fret for the pickup notes and then jump to fourth position and use your index finger to hold the B (3rd string, fourth fret) and your middle finger for the E note (2nd string, fifth fret). While holding down the E, hammer on

to the C# on the 3rd string and play the notes at the seventh fret with your barred pinky finger. Underneath the notation you will see a cresc. poco a poco marking. This means that you should slowly get louder as you are playing through the pattern. After the first time through, disregard the p marking and continue to crescendo. By the end of the fourth measure, you should be at mf (medium loud).

At letter F, the piano takes a solo while Gtr. 1 plays a rhythm part that is similar to the Intro. After you repeat the four-measure accompaniment 16 times, an ascending A Dorian scale (A – B – C – D – E – F# – G) is played. This time it’s played with eighth and quarter notes, as opposed to half notes like in section D. To make this section easier, make them into groupings of three eighth notes and accent every third note. Things settle down in the fourth measure, where the key changes to D major and the guitar solo begins.

“Jessica” The Allman Brothers Band

RIFF NOTES

By Jason Shadrick

Dickey Betts playing his trusty Les Paul in Holland circa 1974. Photo by Laurens Van Houten / Frank White Photo Agency

Fig. 1Fig. 1

fret-handfingerings:

4 1 3 1 3 1 2 1 3 110

7 97 9

7 9 1110 12

10

w w w . g u i t a r e d g e . c o m104 J U LY / A U G U S T 2 0 1 0

Gtr. 3 and Gtr. 6 (which is a 12-string acoustic) join in six measures before letter H. At letter H, Gtr. 6 drops out and Gtr. 2 plays the melody from section C. The key also changes to A major from D major.

CODAAfter letter H, you take the D.S. al Coda back to letter B for the main theme. Be sure to jump down to the fill box for measure 5 and take the second ending. Before you get to letter C, follow the Coda sign to the 13th page. There isn’t a strict tempo during the Outro, therefore the measure lines are dotted.

THE GUITAR SOLOThe solo is a complete master class on how to use the major pentatonic scale. Throughout the solo, Betts uses a D major pentatonic scale (D – E – F# – A – B). Fig. 1 presents a fingering for this scale that begins in seventh position and then shifts to tenth position.

There are several areas of the solo where Dickey plays some of his signature licks. One of the more recognizable aspects of Betts’ style is the use of repeating figures. Starting at measure 32, Betts begins a lick that contains a six-note figure that is shown in Fig. 2. The figure begins on the “and” of beat 2 and repeats four times. The real secret to this type of lick is that it begins in different parts of the measure each time it comes around.

Another example of this is shown in Fig. 3. Betts uses a six-note pattern and starts the pattern on beat one. Since the pattern is 3 beats long, each time it comes around it starts one beat earlier in the measure. This builds tension by mixing up the accents and attacks of the phrase.

The solo continues with a repeating bending figure that gives an unmistakable “southern rock” vibe. For the most part, Betts keeps the solo between a few positions. Another unique aspect of this solo is that there are large sections where he plays on one string.

DIAL TOnEWhat He UsedDickey Betts has long been associated with two pieces of gear that have been staples of rock guitar—Gibson Les Paul guitars and Marshall amps. Betts prefers 50-watt Marshall heads and is known for using “Goldie,” a ‘57 Les Paul that he later painted red.

How to Get the Sound The key to copping the tone is in the sustain of the guitar and the smooth overdrive. A solidbody guitar with vintage humbuckers should give you the tone you need. Match that with a tube amp and a good overdrive pedal, such as a Boss Blues Driver BD-2, for a boost during the solos.

• Downloadtabfor“Jessica”atguitarinstructor.com• GetAllmanBrothersGearatoldglory.com• GetThe Allman Brothers Band – Definitive Collection Vol. 2guitartabbook

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Fig. 2

Fig. 2

six-note repeating figure

7 7 97 9 7

99

97 9 7

99

97 9 7

99

97 9 7

99

97 9

7

Fig. 3

six-note pattern

10 12 1012

1212

10 12 1012

1212

10 12 1012

1212

10 12 1012

1212

Fig. 3

Get Cool Allman Brothers

gear at oldglory.com!

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 105

A

Intro Fast q = 208

Written by Dickey Betts

Jessica

Copyright © 1973 by Unichappell Music Inc. and F.R. Betts Music Co.Copyright Renewed

All Rights Administered by Unichappell Music Inc.International Copyright Secured All Rights ReservedReprinted by Permision of Hal Leonard Corporation

from The Allman Brothers Band - Brothers and Sisters

Gtr. 1 (acous.)

mfw/ slap-back delay

A

D/A

A G/A A

D/A

A G/A

0 0222

0222

30 0 0

423

0423

0423

0423

222

000

0 0222

0222

30 0 0

423

0423

0423

0423

222

000

Rhy. Fig. 1

A

G/A

A

D/A A

G/A A

G/A

A

D/A A

G/AEnd Rhy. Fig. 1

0 0222

000

30 0 0

423

0423

0423

222

000

000

0 0222

000

30 0 0

423

0423

0423

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000

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Gtr. 3 (elec.)

Gtr. 1: w/ Rhy. Fig. 1

A

G/A A D/A

A G/A A

G/A A D/A

mf

A

G/A

14 14

12 14

Gtr. 2 (elec.)

mf

910

9 10

This song is sponsored by guitarfetish.com

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w w w . g u i t a r e d g e . c o m106 J U LY / A U G U S T 2 0 1 0

B

1st time, Gtr. 1: w/ Rhy. Fig. 1 (3 1/2 times)2nd & 3rd times, Gtr. 1: w/ Rhy. Fig. 1 (4 times)

A

G/A

A D/A

A

G/A

A

G/A A D/A

A

G/A

17 14 1214

14

11 9 11

10

14

1412 14

10 10 10 910

9

7 6 7 9

9

109 10

1

3rd time, Gtr. 2: w/ Fill 1

A G/A A

D/A

A

G/A

A

G/A A D/A

A

G/A

14

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14 11 11

9 11

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14

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10

14

1412

14

10 10 10 910

9

7 6 7 9

9

109

10

1

Fill 1Gtr. 2

10 9 10

9

109

7

JESSICA

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 107

A

G/A A

D/A

A

G/A

A

G/A A

14 12

1414 11

11 9 11

109

6 7 6 7

5 7

10 9

109 7

7 6 7 9

7

7 9 7 96 7

2.

D

A

G/A

A

75 7

5

5 7 5 7 9 10 9

14

12 1410 12 10

7 97

6

9 11 9 11

10 12 10

10

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D/A

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G/A A

G/A A

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G/A

A

G/A A D/A

A

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10

14

1412 14 12

14

14 11 11 9

11

109

3

5

9

109 10 9 10 9

10

9 7 6

7 9

7 7

4 5

C

Gtr. 2

Gtrs. 1 & 3 tacet

G

A

3

G

3

4 4 5 7 7

7 9 6

7

7 7

4 5 5 5

7

JESSICA

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w w w . g u i t a r e d g e . c o m108 J U LY / A U G U S T 2 0 1 0

A

G

3

47 5 4

7 4

5 74 5

74 4

5 7 7

9

A

G

E

9 6 7

9

7

8

10

12

10 12 12

1

12 12

D

Gtr. 3

Gtr. 1: w/ Rhy. Fig. 1 (3 1/2 times)

A

G/A

A D/A

A

G/A

A

G/A A D/A

A

G/A

1414

12 14 17 17 14 1214

14

11 9 11

10

14

1412 14

Gtr. 2

12

910

9 10 10

1

10 10 910

9

7 6 7 9

9

109 10

A

G/A A

D/A

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14 12

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11

109

14

1412 14 17 14 12

14

10 9 10 9

109 7 6

7 9

7

9

109 10 10

1

10 10 910

JESSICA

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 109

D/A

A

G/A

A

G/A

A D/A

A

G/A

3

A

3

G/A

A

3

D/A

3

A

G/A

3

1414

11 9 11

10 12 10

14

1412 14 12

14 1011 9 11 9 11

1011 9

3

3

3

3

3

109

7 6 7

5 7 5 7 5

9

109 10 9

109 7 6 7 6 7

57 6

Gtr. 2

Gtrs. 1 & 3 tacet

µ

7

4

5

7

5

7

8

10

7

8

10

10 15 12

*Gtr. 4

w/ fingers

mf

*Gtr. & piano arr. for one gtr.

5

7

7

9

8

10

10

127

9

9

11

10

12

12

149

12

10

13

12

159

12

12

15

9

12

E

Gtr. 1

Rhy. Fig. 2

Gtr. 4 tacet

A

D/A

A G A

D/A

AEnd Rhy. Fig. 2

G

0 0222

0222

30 0 0

423

0423

0423

0423

222

00

0 0222

0222

30 0 0

423

0423

0423

0423

222

00

Gtr. 2

5

2 2 5

2

1/4 1/4

JESSICA

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w w w . g u i t a r e d g e . c o m110 J U LY / A U G U S T 2 0 1 0

Gtr. 2

Riff A

Gtr. 1: w/ Rhy. Fig. 2 (9 times)

A

D/A

A

G A

D/A

A

End Riff AG

235

5

2 2 5

2

1/4 1/4

*Gtr. 5

Gtr. 2: w/ Riff A (6 times)

A

D/A

A G A

D/A

A G

*Piano arr. for gtr.

2 42

Play 5 times

Riff BA

D/A

A

let ring

G A

D/A

A

let ring

End Riff BG

0

45

6 45

7 77

2 42

0

45

6 45

7 77

2 42

Gtr. 2

Gtr. 5: w/ Riff B (2 times)

A

p cresc. poco a poco*

D/A

A

G A

D/A

A

G

*Next 8 meas. to mf.

25

25

25

25

25

25

35

35

35

35

35

35

25

25

25

25

25

25

35

35

35

35

35

35

F

Play 16 times

Gtr. 1

Gtr. 2 tacet

A

D/A

A

D/A

0 0222

0222

0222

0222

0423

0423

0423

0423

0423

0 0222

0222

0222

0222

0423

0423

0423

0423

0423

Gtr. 2

Gtr. 1 tacet

µ

5 5 52 2 3 3 5 5 5 7 7

4 4 5 5 5 7 7 74 5 7 9

JESSICA

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 111

G

Gtr. 2

f

D

G

D

A7sus4

D

G

D

A7sus4

10

10 12 12 12 12 12

12 10 12 12 12 12

1 1

Gtr. 1Rhy. Fig. 3

End Rhy. Fig. 3

5777

777

777

978

978

777

575

575

5777

777

777

978

978

777

575

575

Gtr. 2

Gtr. 1: w/ Rhy. Fig. 3 (24 times)

D

G

D

A7sus4 D

G

D

A7sus4

D

12 10 10 10

10

10 1210 12 10

1210 12 12 10

10 10

12

10 10 10

10 1210

G

D A7sus4 D

G

D

A7sus4

D

10 1210 12

10 10 10

10 1210 12 12

10 12

10 12 12 12 10 1210

12

1

G D

A7sus4 D

G

D

A7sus4 D

G

D

A7sus4

10 12 1012

1012 10

1112

1110 12 10

1112

1110

11 9 79 7

79 7

9 7 97 7 7

7 97 9 9

7 9

D

G

D

A7sus4 D

G

D

A7sus4 D

7 7 7

7 97 9

7 9 9

7 97 7 7

7 97 9 9

7 97 9

79

7 9 79

99

7 9

JESSICA

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w w w . g u i t a r e d g e . c o m112 J U LY / A U G U S T 2 0 1 0

G D

A7sus4

D

G

D A7sus4

D

G

D

A7sus4

7 8 79

79

7 7

7 8 8 10 10

1

10 10 10 10 10 7 10 7 7 7

8

D

G

D

A7sus4

D

G

D

A7sus4 D

8 7 7

8 7

97

7 7

7 9

7 7 97 9 7

99

97 9 7

99

9

G D

A7sus4 D

G

D

A7sus4

D

G

D

A7sus4

7 9 79

99

7 9 79

99

7 97 8 10 12

10 12 12

1

12 12 10 10 10 1010

12

D

G

D

A7sus4 D

G

D

A7sus4

10 10 10 1010

12

10 10 12

1210 12

10 10 10 10 10 10

10 12

D

G

D

A7sus4

D

G

D

A7sus4

3

10 10 10 10

12 12 1210

10 10 10 10 10 10

10 12

1

D

G

D

A7sus4 D

G

D

A7sus4

10 12 1012

1212

10 12 1012

1212

10 12 1012

1212

10 12 1012

1212

10 12 1012

1212

10 12

JESSICA

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 113

D

G

D

A7sus4

D

G

D

A7sus4

1012

1212

10 12 1012

1212

10 12 1012

10 12

1

1212 1212 12 12 12 12

1

1212

1 1 1 1

D

G

D A7sus4

D

G

D

A7sus4

1212 12 12 12 12

1

1212 1212 12 12 12 12 12

12 12

1 1 1 1 1 1 1 1

D

G

D

A7sus4

D

G

D

A7sus4

12 12 12

1

1212 1212 12 10 12 10 10 10 10 10

10 12

10 12 10

1 1 1

D

G

D A7sus4

D

G

D

A7sus4

D

10 12

1410

10 12 10 10 12

14 1414 15 15 14 14 14

14 15 14

G

D

A7sus4

D

G

D

A7sus4 D

G

D

A7sus4

8va

14 14

14 15 15

1

15 15

15 15 15 14 14 14

15 14 15 14 14 15

D

G

D

A7sus4

D

G

D

A7sus4

8va

15

1

15

15 15 14

14 15 15 14 14 12

12

14 15 17

JESSICA

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w w w . g u i t a r e d g e . c o m114 J U LY / A U G U S T 2 0 1 0

D

G

D

A7sus4

D

G

D

A7sus4

8va

17 17 17 17 17

1

17 17

17 17 17 15 17 17 15 15

1

D

G

D

A7sus4

8va

loco

D

G

D

A7sus4

15 14 14 14 14 14 15 12 14 10 12 10 1012 12

12 10 10

11

11

11

12

D

G

D

A7sus4

D

G

D

A7sus4

1011

10

012 10

1112

11

010 10

10

1110 12 10

11

1012 10

1110 12 12

12

11 11

D

G

D

A7sus4 D

G

D

A7sus4

10 12 1011

1012 10

1112

11

1012 10

1112

11

1012 10

1112

11

1012 10

1112

11

1012 10

11

D

G

D

A7sus4 D

G

D

A7sus4

1012 10

1112

1110 12 10

1112

1110

11 9 1110

1112

11

1012 10

11

1012 10

11

1012 10

11

D

G

D

A7sus4 D

G

D

A7sus4

1012 10

11

1012 10

11

1012 10

1112

1110

11 9 79 7

79 7

9 7 97

99

97 9

JESSICA

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 115

Gtr. 2D

G

D

G

7

7 9 97

7 9

9

7

7 8 8 10 10 12 12

10 10 12 12 14 14

Gtr. 1

5777

777

777

777

978

978

978

5777

777

777

978

978

978

D G

D

A7sus4

10 1012

10

11 9 77 9

7 7 7

9

97 9 7

9 7 97

Rhy. Fig. 4

End Rhy. Fig. 4

5777

777

777

777

777

978

978

777

575

Gtr. 2

Gtr. 1 tacet

D

Gtr. 1: w/ Rhy. Fig. 4

G

D

A7sus4

1012

10

11 9 7

7 97 7 7

9 7

79 7

9 7 97

Gtr. 1 tacet

D

1012

10

11 9 7

1012

10

11 9 7

JESSICA

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w w w . g u i t a r e d g e . c o m116 J U LY / A U G U S T 2 0 1 0

Gtr. 3

µ (D)

3

3

3

3

3

3

3

3

7 97 10 10 12

10 17 15 14 12 1012

10 1212

1012 10 12 10

11 9 77 10

7 97 8 10

Gtr. 2

3

3

3

3

3

3

3

3

7 97 9 9 11

1010

12 1011 9 7 9

77 9 7

97

9 79 7 5 7

4 5 74 5

Gtr. 6 (12-str. acous.)

mf

3

3

3

3

3

3

3

10 710 7 10

77 10 7 10

710 7

7 7 7 9 9 9 10 10 10

H

Gtr. 3

Gtr. 6 tacet

G

Gtr. 3 tacet

A

G

8 8

8 8 8 8 8

Gtr. 2

3

4 4 4

7 7 7

9 6

7

7 7

4 5 5

5 7 47 5

A

G

3

A

47 4

5 74 5

74 4

7 7 7

9 6 9 6 7

9

7

JESSICA

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 117

D.S. al Coda(take 2nd ending)

Gtr. 3

G

E

1414

12 14

Gtr. 2

8

10

12

10 12 12 12

910

9 10

1

Coda

D/A

A

G/A

Gtr. 1: w/ Rhy. Fig. 1 (4 times)

A

G/A

A D/A

A

G/A

A

G/A A

9

14

1412 14 17 14 12

1414

11 9 11

10

7

9

109 10 10 10 10 9

109

7 6 7 9

1

D/A

A

G/A

A

G/A A

D/A

A

G/A

A

G/A A

10

14

1412 14

12

1414 11 11

9 11

109

9

9

109 10 9 10

9

109 7

6 7 9

7

JESSICA

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w w w . g u i t a r e d g e . c o m118 J U LY / A U G U S T 2 0 1 0

D/A

A

G/A

A

G/A

A D/A

A

G/A

A

G/A

A

9

14

1412 14 17 14 12

1414

11 9 11

10 12 10

7

9

109 10 10 10 10 9

109

7 6 7 9 11 9

1

D/A

A

G/A A

G/A A

D/A

A

G/A

A

G/A A D/A

A

G/A

10

14

1412 14 12

14

14 11 11 9 1110

9

3

9

9

109 10 9

10

9 7 6 7 97 7

4 5

Gtr. 2

Outro Free time

Gtr. 1 tacet

G

A

3

4 4

5 7 7 4 4

5 5 7 76 7 6

5 7 5 7 5

10 12 10

9

10 9 12

14 12

f

8va

17 19 17 19 1719

17 19 17 19 17 19 17 19 17 19 17 19 17 19 17 19 17

JESSICA

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 119

Few bands are as closely associated with a city and sound as Pearl Jam is with Seattle and grunge. During the early ’90s, along with Soundgarden and Nirvana, Pearl Jam made everyone take notice of the Pacific Northwest and start to load up their closets with flannel. Ten was released in August of 1991, and combined a classic rock feel with dark lyrics about depression and loneliness. Since its release, it has become one of the highest-selling rock records of all time with over 13 million copies sold.

TUNING All the guitars and basses in this song are in standard tuning except for Gtr. 6, which is a 12-string acoustic in Drop-D tuning. From low to high this is D – A – D – G – B – E.

INTRO AND VERSESThe song begins with bassist Jeff Ament playing Riff A on his 12-string bass. In this transcription, the part is arranged for guitar along with an octave pedal set for one octave below. Ament’s 12-string bass consisted of four groups of three strings. Each group of strings is tuned as a standard bass (E – A – D – G), but within each group two strings are tuned an octave above the standard pitch. The added octave pedal will give you the sound of the three notes being plucked. Gtr. 2, which is also a 12-string bass arranged for guitar, plays some overdubbed harmonics that are drenched with reverb.

Riff A continues throughout the Intro while Gtr. 3 enters in the measure before the Verse

with a clean tone enhanced with a Uni-Vibe and compressor. The tempo picks up at the Verse and vocalist Eddie Vedder enters with somewhat dark lyrics. Gtr. 3 takes over the main riff duties with Riff B and Riff C. Both of these riffs are based on the bass riff from the Intro.

In the second Verse on the fifth page, Gtr. 7 comes in with a clean tone and a touch of chorus. In between some single-note and double-stop riffs, it plays a few barre chords on the sixth page shown in Fig. 1 that sound like they come straight out of the Who’s “Pinball Wizard.”

PRE-CHORUS AND CHORUSAt the Pre-Chorus, Gtr. 4 comes in with some power chords played on strings 4, 3, and 2, and are shown in Fig. 2. In the fourth measure of the Pre-Chorus Gtr. 4 plays a lick that outlines an Asus2 chord. To play this lick, barre your index finger across the top two strings at the twelfth fret and hold down the A note on the 3rd string, fourteenth fret. Use your

pinky finger to play the C# on the 2nd string, fourteenth fret, causing the sus2 to resolve to the major third. The key here is to let all the notes ring for the first three beats of the measure as indicated by the let ring marking.

At the beginning of the Chorus, Gtr. 4 plays an A minor triad (A – C – E) on the top three strings while the bass plays an F. This creates an overall harmony of Fmaj7. Gtr. 6 enters playing some heavily accented strums with the Drop-D tuning. At the end of the Chorus, both Gtr. 6 and Gtr. 3 are written in divisi, which means more than one part on a single staff.

BRIDGEGtr. 4 and Gtr. 5 come in with Riff D at the beginning of the Bridge. The pickup notes for this riff happen in the measure before with a few additions. First, there is vibrato on beat 1 and the “and” of beat 2. In the second measure, the lick makes an early entrance on the “and” of beat 1. The bass plays an ascending line in the tenth

“Jeremy” Pearl Jam

RIFF NOTES

By Jason Shadrick

Left to right: Mike McCready, Matt Cameron, Eddie Vedder, Jeff Ament, and Stone Gossard. Photo by Glen E. Friedman

w w w . g u i t a r e d g e . c o m120 J U LY / A U G U S T 2 0 1 0

measure, walking up the first three notes of a D minor scale (D – E – F). The bass continues its ascent up the first four notes of the A minor scale (A – B – C – D) in the next measure.

As the song nears the end, layer upon layer of guitar is added. Pay attention to the vibrato-bar dips throughout the last Chorus. After striking the strings, quickly tap the bar to drop the pitch a whole step and then let the bar return on its own. Dip the bar in steady eighth notes as written and notice the ritard five bars from the end of the tune.

Dial ToneWhat They UsedGuitarist Stone Gossard relies on a few tried-and-true axes for his tone. For the Ten ses-sion, he likely used one of his two goldtop Les Pauls (a ’54 and a ’72) plugged into a Matchless HC-30 head powering a Marshall 1960 100-watt 4x12 cabinet. For effects, he prefers floor pedals as opposed to rack-mounted gear. During that time, he used a DOD graphic EQ pedal, Boss FZ-2 Hyper Fuzz, and an Ibanez TS-9 Tube Screamer.

If you looked up “classic mid-’70s rock rig,” you would probably find a picture of Mike McCready’s setup. McCready favors Fender Strats (his main axes include a hardtail ’56, a ’58, and a ’59) through Marshalls. Usually

the amps include a 50-watt ’68 Marshall “plexi” or a 100-watt Marshall Super Tremolo that has the tremolo disabled. Like Gossard, he plugs into an Ibanez TS-9 Tube Screamer in addition to an original Uni-Vibe, a Crybaby wah and a Boss DM-2 analog delay.

How to Get the Sound Considering the straight-ahead nature of McCready’s and Gossard’s rigs, getting the right tone isn’t too tough. Start with either a Strat or Les Paul and plug into an all-tube (preferably non-master volume) amp. For ped-als, use something like a Uni-Vibe, Boss CH-1 Super Chorus, and an Ibanez Tube Screamer.

• Get“Jeremy”guitartabandmoreatguitarInstructor.com• GetcoolPearlJamgearatoldglory.com• CheckoutPearlJamonlineatpearljam.com• Download“Jeremy”oniTunes• GetPearl Jam – Tenguitartabonmusicdispatch.com

Want more? Check out these cool links at guitaredge.com

Fig. 1Fig. 1

5fr

3411

5fr

3211

Fig. 2

7fr

134

5fr

134

Fig. 2

Get Cool Pearl Jam

gear at oldglory.com!

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 121

Intro Moderately q = 94

Music by Jeff AmentLyric by Eddie Vedder

Jeremy

Copyright © 1991 UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC., SCRIBING C-MENT SONGS and INNOCENT BYSTANDERAll Rights for SCRIBING C-MENT SONGS Controlled and Administered by UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC.

All Rights Reserved Used by PermissionReprinted by Permission of Hal Leonard Corporation

from Pearl Jam - Ten

Guitars: Stone Gossard & Mike McCreadyTranscribed by David Stocker

Gtr. 6: Drop D tuning:(low to high) D-A-D-G-B-E

*** A5

G5/A†Gtr. 2

††w/ heavy reverb & octaver

f

A5

Harm.

Pitch:

†12-string bass arr. for gtr.††Octaver set for 1 octave below.

D

5

G

5

*Gtr. 1

**w/ octaver

mp

Riff A

let ring

End Riff A

*12-string bass arr. for gtr.

***Chord symbols reflect overall implied harmony.**Set for 1 octave below.

0 5 7 07

05

0 5 7 0

Gtr. 2

Gtr. 1: w/ Riff A (3 times)

G5/A

A5

G5/A

Harm.

5

Pitch: D

5

A

5

A5

Harm.

G5/A

A5

Pitch: D

5

G

5

A

5

Gtr. 3 (elec.)

w/ clean tonew/ Uni-Vibe & compressor

mp

54

54

54

0 5 7 0

This song is sponsored by schecterguitars.com

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w w w . g u i t a r e d g e . c o m122 J U LY / A U G U S T 2 0 1 0

Faster q = 104

Verse

Gtr. 2 tacet

A5

1.

At

home

G5/A

draw

in’- pic

tures-

of

moun

A5

tain- tops

with

A

him on

Gtr. 3

Riff B

let ring

let ring

70

50 5 7 0

70

76

top,

lem on-

A5

yel low

- sun.

Arms

G5/A

raised

in a V,

A5

let ring

End Riff B Riff C

let ring

76

0 5 7 07

05

0 5 7 0

and the dead

lay

A

in

pools

of ma roon

- be low.

-

Gtr. 3 tacet

Pre-Chorus

A5

Dad

G5/A

dy-

did n’t-

Gtrs. 4 & 5 (elec.)

w/ dist.(Gtr. 5 cont. in lower staff)

f

Rhy. Fig. 1 Gtr. 4

let ring

0 5 7 079

10

00 5

78

0 0 00

Gtr. 3

End Riff C

let ring

Rhy. Fig. 1 AGtr. 5

70

76

79

10

0 0 578

0 0

JEREMY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 123

give

Dadd4/A

at ten- tion-

A5

Gsus2/A

oh,

A5

to the fact

A

that

mom my-

A5

did n’t-

let ring

0407

0 0 5 7 0 007

0 079

121212 14 12

1414 12

14

000

000

000

0

477

0 5 7 0 0578

0 079

10

0 5 7 0

care.

G5/A

King

Dadd4/A

Jer e- my,-

A5

the

wick ed-

Gsus2/A

A5

oh,

let ring

79

10

0 0 578

578

00

00

0407

0 5 7 0 007

0 079

1214

79

10

0578

0 0477

0 5 7 0 0 0578

0 079

10

JEREMY

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w w w . g u i t a r e d g e . c o m124 J U LY / A U G U S T 2 0 1 0

ruled

A

his

world.

A5

Chorus

Jer

Fmaj7

e- my

- spoke

in

Dm

class

Dm(add9)/E

Dm/F

to

-

Gtr. 4

End Rhy. Fig. 1

let ring

121212 14 12

1414 12

14 14 1413

1213

14 1412

Gtr. 5

End Rhy. Fig. 1A

079

10

0 5 7 0 81010

81010

08

10

8X10

Gtr. 6 (12-str. acous.)

Rhy. Fig. 2

f

00320

00321

0002

2002

3002

day.

A

Jer

Fmaj7

e- my

- spoke

in

let ring

121212 14 12

1414 12

14 14

121212 14 12

1414 12

14 1413

1213

14

022

022

0 5 7 0 81010

81010

sim.

022

022

00320

00321

JEREMY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 125

Dm

class

Dm(add9)/E

Dm/F

to day.

A

-

let ring

14

1213

14

121212 14 12

1414 12

141412

string noise

81010

08

10

X8

10022

5

XX

Gtr. 6

Gtr. 3divisi

End Rhy. Fig. 2

0002

2002

3002

022

0 5 7 0

VerseGtr. 3: w/ Riff B (3 times)Gtrs. 4, 5 & 6 tacet

A5

2. Clear

G5/A

ly

- I

re mem-

ber

-

pick in’-

A5

on

the boy,

A

seemed a harm

less-

lit tle- f**k.

A5

Mm,

G5/A

but we

un leashed-

a li

on.-

A5

Gnashed

his teeth and

bit the

A

re

cess- la dy’s

- breast,

how

A5

could I

for get?

-

G5/A

And he hit

me with a

3

Gtr. 7 (elec.)

w/ chorusw/ clean tone

mf

0 5 7 07 7

05

JEREMY

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w w w . g u i t a r e d g e . c o m126 J U LY / A U G U S T 2 0 1 0

sur prise-

left.

A5

My

A

jaw

left hurt in’,-

Asus4

oo,

A

dropped

A5

right o

pen,-

let ring

let ring

3

978 10 8

0 5 7 07

65 5

5

7655

77755

7755

7655

0 5 7 0

Gtr. 3: w/ Riff C

G5/A

just like

the day,

A5

oh,

like

the

A

day

I

heard

let ring

7 700 5 9

78

0 5 7 07

655

655

655

Asus4 A

Gtrs. 4 & 5: w/ Rhy. Figs. 1 & 1AGtr. 7 tacet

Pre-Chorus

A5

dad

G5/A

dy-

did n’t- give

Dadd4/A

af fec- tion,

-

A5

no.

Gtr. 7

Gtrs. 4 & 5divisi

let ring

7655

77755

7755

7655

0 5 7 0

Gsus2/A

And

A5

the boy

was some

A

thin’-

that mom

my-

A5

would

n’t- wear.

G5/A

King

Dadd4/A

Jer e- my,-

A5

the wick ed

Gsus2/A

-

A5

oh,

ruled

A

his world.

A5

JEREMY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 127

Jer

ChorusGtr. 6: w/ Rhy. Fig. 2

Fmaj7

e- my

- spoke

in

Dm

class

Dm(add9)/E

Dm/F

to day.

A

-

Gtr. 4

let ring

1413

1213

14 1413

1413

1412 14 12

141412

1214

Gtr. 5

0 8 8

002

22

3 0 022

Jer

Fmaj7

e- my

- spoke

in

Dm

class

Dm(add9)/E

Dm/F

to

-

let ring

12 14 1214

1412

1214 14

1212

1312

1314 14

131413

1412

022

0 5 7 0 0 10 10

002

22

3

JEREMY

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w w w . g u i t a r e d g e . c o m128 J U LY / A U G U S T 2 0 1 0

day.

A

Jer

Fmaj7

e- my

- spoke

in

Gtr. 4

let ring

121212 14 12

1414 12

14 14

121212 14 12

1414 12

14 14 1413

1213

14

Gtr. 5

0 0 5 7 0 0 8 8

0 0

Gtr. 6

let ring

00320

00321

321

321

00

Dm

class

Dm(add9)/E

Dm/F

A

to day.

-

A5

let ring

1413

12

14

121212 14 12

1414 12

14 14

121212 14 12

1414 12

14

002

224

335

0 022

024

024 2

0 0 022

024

0 5 7 0

0002

2002

3002

0002

0222

0222

JEREMY

Sorry, the free period for viewing/printing this tab has expired.

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 129

BridgeGtr. 6 tacet

A5

Hoo, hoo,

G5

hoo,

A5

hoo,

hoo, hoo,

G5

hoo,

A5

hoo,

Gtrs. 4 & 5: w/ Riff D (2 times)

hoo, hoo,

G5

hoo,

A5

hoo,

*Gtrs. 4 & 5 Riff D

End Riff D

*Composite arrangement

7

00 5

0 5 7 00

7

0 0 5 75

0 5 7 00

hoo hoo.

G5

Try

A5

to for get-

this.

(Try

G5

A5

to

for get- this.

Try

G5

A5

to

e rase-

this

Try

G5

A5

to

e rase

- this.)

from

the black board.

Fmaj7

3

Gtr. 4

P.M.

let ring

7

00 5

0 5 7 00 7

0 02

02

022

022

022

0

12

141312

1314

Gtr. 5

P.M.

7

00 5

0 5 7 00 7

0 02

02

022

0 5 7 0 0X8

10

8

10

Dm7

Dm(add9)/E

Dm/F

(Oh.)

Am

Am(add9)/B

Am/C

Am(add9)/D

Am/E A5

(

**

) (

)

1314

13

**4th string is not muted and vibrates sympathetically with the other strings.

0141312

0141312

1413

let ring

002

224

3X5

022

2X4

3X5

5X7

7X9

5 7 0

JEREMY

Sorry, the free period for viewing/printing this tab has expired.

If you want this tab, click here to buy it online at GuitarInstructor.com for

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w w w . g u i t a r e d g e . c o m130 J U LY / A U G U S T 2 0 1 0

Jer

ChorusFmaj7/G

e- my

- spoke

in

Dm

class

Dm(add9)/E

Dm/F

to day.

A

-

Gtr. 4

let ring

let ring

1213

1213

14 141312

14 14

121212 14 12

1414 12

14 14

Gtr. 5

Rhy. Fig. 3

0X10

12

10

12

0 002

224

3X5

022

022

Gtr. 6

let ring

00320

00321

0002

2002

3002

0222 0

2

Jer

Fmaj7

e- my

- spoke

in

Dm

class

Dm(add9)/E

Dm/F

to

-

let ring 121212 14 12

1414 12

14 14

1213

1213

14 1413

14

022

0 5 7 0 0X8

10

8

10

0 002

224

3X5

0

let ring

0222 3

2

00320

00321

0002

2002

3002

JEREMY

Sorry, the free period for viewing/printing this tab has expired.

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 131

day.

A

Jer

Gtr. 6 tacet

Fmaj7

e- my

- spoke

in,

let ring

121212 14 12

1414 12

14 14

121212 14 12

1414 12

14 14

12

14

1213

14

End Rhy. Fig. 3

022

022

0 5 7 0 0X10

12

10

12

let ring

0222

0222 3

2

Am(add4)

spoke

Am(add9)

in.

Am

Jer e- my

- spoke

in,

spoke

in.

Gtr. 4

let ring

141312

1314

121312 12

141312

1312

141312

1312

14

12

1413

1413 13

12

Gtr. 5

002

224

3X5

0 022

022

022

022

JEREMY

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w w w . g u i t a r e d g e . c o m132 J U LY / A U G U S T 2 0 1 0

Jer

Fmaj7

e- my

- spoke

in,

G

class

Am

to day.

-

let ring *

*

Harm.

1312

1312

1413 13

121312

1413 13

121312

1413 13

12

1413 13

12

1413 13

12

12141312

12141312

12141312

12141312

12141312

12141312

12141312

*4th string only.

0X8

10

0 002

2X4

3X5

0 022

022

022

Gtr. 5: w/ Rhy. Fig. 3 (4 times)

Fmaj7

Hoo,

hoo,(Spoke

hoo, hoo,in,

G

hoo, hoo,spoke

hoo, hoo,in.

Harm.

let ring

12141312

12141312

12141312

12141312

12141312

12141312

12141312

12141312

12141312

12141312

12141312

12141312

12141312

1312

1413 13

12

1413 13

12

1413 13

12

1413 13

12

1413

chorus off

Riff EGtr. 7

let ring

022

022

022

022

0

05

0

05

JEREMY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 133

Am

Voc. Fig. 1

hoo, hoo,Spoke

hoo,in,

hoo,

hoo,spoke

hoo,in.

hoo,End Voc. Fig. 1

hoo,

Gtr. 4: w/ Rhy. Fig. 4 (2 times)Gtr. 7: w/ Riff E

Fmaj7

hoo, hoo,Spoke

hoo,in.

hoo,

Rhy. Fig. 4 End Rhy. Fig. 4

let ring

1312

1413 13

12

1413 13

12

1413 13

12

1413 13

12

1413 13

12

1413 13

12

1413 13

12

1413

End Riff E

0

G

hoo, hoo,

hoo, hoo,

Am

hoo, hoo,Spoke

hoo,in,

hoo,

hoo.

spoke

in.)

(Ah.)

Oh.

F

G

Bkgd. Voc.: w/ Voc. Fig. 1Gtr. 4: w/ w/ Riff F (11 times)

A

Gtr. 4

Riff F

End Riff F Gtr. 8 (elec.)

w/ dist.

f

_1 _1

_1

w/ bar

_1

_1

w/ bar

0

X7

10

0

X7

10

0

X7

10

0

X7

10

0

X7

10

0

X7

10

0

X7

10

0

X7

10

_1

_1 _1

5X7

5

7

5

7

5

7

_1

_1

5X7

5

7

5

7

Gtr. 7

w/ dist.

Riff G

f

5X7

7X9

X8

10

5X7

JEREMY

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134 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m

Gtr. 7: w/ Riff G ( 5 times)

F

G

_1

w/ bar

_1

_1 _1

_1

w/ bar

_1

_1 _1

_1

_1

_1 _1

w/ bar

_1

_1 _1

_1

_1

_1

w/ bar

_1

5

7

_1

5X7

_1

_1 _1

5

7

5

7

5

7

5

7

_1

_1 _1

_1

3X5

3

5

3

5

3

5

_1

_1 _1

3

5

3

5

3

5

3

5

_1

_1 _1

_1

2X4

2

4

2

4

2

4

_1

_1

2

4

2

4

2

4

5X7

End Riff G

5

7

Am

(Spoke

in,

spoke

in.

oh.

F

Spoke

in.

Gtr. 8

_1

_1 _1

_1

_1

_1 _1

w/ bar

5

7

_1

_1 _1

_1

5X7

5

7

5

7

5

7

_1

_1 _1

5

7

5

7

5

7

5

7

G

A

Oh.

Spoke

in.

_1 _1

_1 _1

_1

_1

_1 _1

_1

_1

_1 _1

_1

_1

_1 _1

_1

_1

_1 _1

_1

_1

_1 _1

w/ bar

_1

_1 _1

_1 _1

5

7

5

7

5

7

5

7

_1

_1 _1

_1

5

7

5

7

5

7

5

7

_1

_1 _1

_1

5

7

5

7

5

7

5

7

_1

_1 _1

_1

5

7

5

7

5

7

5

7

_1

_1 _1

_1

5

7

5

7

5

7

5

7

_1

_1 _1

5

7

5

7

5

7

5

7

JEREMY

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w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 135

F

Spoke

in,

G

spoke

in.)

Ah.

A5

_1 _1

_1 _1

_1

_1 _1

w/ bar

_1

_1 _1

_1

_1

_1

w/ bar

_1

_1 _1

_1

_1

_1 _1

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w w w . g u i t a r e d g e . c o m136 J U LY / A U G U S T 2 0 1 0

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TORONTO, ONTARIO | SESSION 1: JULY 18-23 | SESSION 2: JULY 25-30VANCOUVER, B.C. | AUGUST 8-13, 2010

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Robben Ford

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John Petrucci Andy Timmons Greg Howe

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138 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m

PRSSE Toreroby Adam Lovinus

The newesT guiTar in The Prs se lineuP feaTures a couPle of exciTing new firsTs for The bouTique manufacTurer, coming wiTh a Pair of hoT-as-hell emg acTive PickuPs and a floyd rose Tremolo sys-Tem. These new addiTions, when Paired wiTh The Prs Pedigree of ulTra fasT necks and ToP-qualiTy crafTsmanshiP, creaTe a monsTer of an axe caPable of fasT, soaring leads and solar Plexus-raT-Tling dive-bombs. The Torero is a shred-masTer’s dream come True.

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 139

feaTuresThe story here is in the hardware: the SE Torero features two EMG active pickups, an EMG-81 at the bridge and an EMG-85 at the neck. The Floyd Rose tremolo features its signature double-lock design that braces the strings both behind the bridge and at the nut to ensure you remain in tune after the most brutal of bar dives. The Torero also includes a three-way toggle, a volume and a tone control.

The 24-fret maple neck is constructed through the body—another first for PRS. A low cutaway allows easy access to the high frets. The fretboard is bound ebony without inlays, and it gives the neck an undeniable black metal aesthetic when compared to the traditional PRS “bird” inlays. The neck has jumbo-sized frets and a 25½-inch scale length, giv-ing the guitar added flexibility when bending strings, and a low, speedy action. The body is fashioned from mahogany and includes a flamed black cherry or grey-black veneer.

sound and PlayabiliTyAs is the case with all PRS SE models, the Torero is built for quick fingers and crushing rhythms; that explains why the SE line is now the line of choice for shredders like Mikael Åkerfeldt, Nick Catanese of Black Label Society, and Cradle

of Filth’s Paul Allender. True to form, the Torero accommo-dates fast and furious guitar work. The EMG pickups allow shred-style players to push the envelope even further over the top, providing massive output and maximum sensitiv-ity. The EMG-85 offers crunchy warmth while the EMG-81 cuts like a razor without a hint of shrillness. This makes the Torero a very forgiving guitar; even notes played less than clean resonate with metallic clarity. Harmonics and pinched notes howl like werewolves, opening up countless sonic possibilities. Even the clean tone is nothing to scoff at; jazz players will love the robust, natural sound, and the wide neck comfortably accommodates four-finger chord shapes.

Players wanting the lowest possible action will want to tweak the truss whenever switching tunings. The lock-style tremolo system requires some patience when tuning, and God help you if you break a string on stage, but once it’s locked in, it’s in for good, no matter what kind of dive bar abuse you inflict. is iT for you?If you like overdrive and enjoy playing at 140 bpm or faster, then hell yes. This is everything a shredder could possibly want from a technical standpoint. The fact that it looks as sexy as it plays is just a bonus.

SE Torero

REVIEWS

• Floyd Rose tremolo • EMG-81 and 85 pickups • Neck-through design• 24-fret maple wide/thin neck• Mahogany body with a flamed gray-black or cherry veneer

Street Price $995.00prsguitars.com

IN A NUTSHELL

Click here to hear soundclips!

140 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m

Today’s practice amp isn’t just for quietly hon-ing one’s technique in the living room any-more. The Fender G-DEC 3 provides a perfect example of how a little solid-state amp can be transformed into one of the most useful cre-ative tools a guitarist can own.

feaTuresAn all-in-one practice amp and recording station, the G-Dec 3 Thirty is a 30-watt unit that comes with 100 factory digital guitar tones and a vast assortment of backing tracks to jam with. The amp features two instrument inputs, a single Tone knob and two Volume knobs—one controls guitar volume, the other the playback volume. There is a Headphones jack that bypasses the speaker, an auxiliary input for MP3 devices, and two stereo Line Out jacks for additional speakers. The main LCD info screen is controlled by a sim-ple start/stop/record/select configuration with an oversized wheel-knob to cycle through settings.

The factory tones and backing tracks range in style from Nashville blues, to Latin grooves, to ultra-heavy metal, and all spaces in between. Many were contributed by Eric Johnson, Hatebreed, John 5, Brad Paisley and other artists. Classic Fender amps (Blackface, Tweed, Deluxe, Jazzmaster, Sunn) and otherwise (British amps, modern metal, etc.) are emulated and can be altered with digital effects (Tremolo, Chorus, Flange, Reverb, Delay). Settings can be tweaked using either the amp’s front controls, or by using Fender FUSE software installed on your home computer that interfaces with the amp via USB. (An included disc contains a free copy of Ableton Live Lite.) The G-DEC 3 can also play .WAV, mp3 and MIDI files. New settings can be saved and accessed using an SD memory card that’s then plugged into a built-in reader. Memory is virtu-ally unlimited. The Thirty’s backing track play-back fidelity is impressive—the woofer/tweeter arrangement is set up so that your guitar signal does not go through the tweeter. Very cool.

Fender FUSE lets players build tones from the ground up and facilitates recording and import-ing new backing tracks. It includes a simplified version of Ableton Live, a professional-grade pro-duction program that allows you to build drum beats and add MIDI accompaniment, which can then all be incorporated into the amplifier. Tones and backing tracks are also shared online at http://fuse.fender.com. Guitarists can download

new tone presets and backing tracks offered by Fender, as well as by other G-DEC 3 users.

sound and ease of useThe built-in interface is set up intuitively enough so that basically any guitarist can figure out how to use tones and presets right out of the box. The Fender FUSE interface is fairly self-explana-tory—anyone with a rudimentary understand-ing of how to use a personal computer should have no trouble creating with this program.

The amp replications are respectable enough in a practice setting, but the tones won’t be mistaken for vintage equipment. At the end of the day, it’s still a practice amp in terms of push and clarity. But for songwriting and sonic experimentation, it’s perfect. When building tones, the “less is more” rule applies; you’ll see how the “Blackface Clean” setting captures the signature Fender tube clean tone righteously with some lightly-applied Reverb added after the amp. The “Modern Metal” sound clip (accompanying this review at guitaredge.com) is a decent Mesa/Boogie replicator, heard straight-up with an Overdrive stomp box out front. The “Alien Delay” is the result of a bizarre experiment involving a Pitch Modulator, sim-ple Reverb and a Ping-Pong Delay rack played through a Tweed replicator.

Using this amp in a live setting isn’t out of the question, though the footswitch (sold separately) is an absolute necessity for playing the one-man-band style made feasible by the G-DEC 3. The stereo Line Out feature makes it possible to route either or both the guitar and backing tracks to additional speakers, which gives the amp the nec-essary sonic separation and projection for playing small venues, like a coffeehouse or outdoor patio.

Let’s make one thing clear: using Ableton Live takes practice. The instructional DVD covers its operation, but do not expect to be a pro right away. It’s a professional-grade program, and thus very sophisticated. It offers a great deal of possi-bilities, but takes a while to operate effectively. is iT for you?The G-DEC 3 Thirty is an excellent tool for prac-ticing soloing technique against playback, for “jotting” down musical ideas, and for experi-menting with tone. It is the crème deluxe of the living room practice amp, and it’s useful for guitarists of every level of musicianship. Most importantly, it’s a piece of equipment that not only facilitates musical growth, but also grows with you as your aptitude progresses.

—Adam Lovinus

G-DEC 3 Thirty Fender

• 30-watt feature-packed amp • Digital amp and effects models• Includes Fender FUSE software• Great presets built-in and online • Onboard mp3 and wave file storage/playback• Multi-function SD card slot

Street Price $399fender.com

IN A NUTSHELL

Click here to hear soundclips!

REVIEWS

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 141

Although the original version of Dunlop’s Crybaby wah is indeed a clas-sic and will most certainly continue to be widely used for its great tones and rugged dependability, many players are enjoying the various itera-tions of the pedal that the company has released more recently. These signature versions get you as close as possible to the custom, tricked-out wahs that players like Zakk Wylde, Kirk Hammett, Jimi Hendrix, Dimebag Darrell and others have relied on for stage and studio use.

This time around, the Dunlop folks have collaborated with Alice in Chains axeman Jerry Cantrell for their newest offering, the JC95 Jerry Cantrell Signature Crybaby Wah.

feaTures The JC95 Crybaby is at its heart a modified Crybaby, but adds true bypass, an aged finish, a custom tread, a fine tune knob which adjusts the brightness of the ‘toe down’ position and customized tone shap-ing. Oh, and it has the lyrics to “Black Gives Way to Blue,” printed underneath the pedal—significant, as the song was written for the late Alice in Chains frontman, Layne Staley (on a lighter note, the singer in your Alice in Chains cover bands may want to use the pedal as a ‘cheat sheet’ when it comes up on the set list).

sound and ease of use When it comes to ease of use, the JC95 Crybaby couldn’t be simpler: plug it in, set the treadle and use the fine tune knob to adjust the unit’s toe down treble response. Using it with a Strat, Les Paul and a Marshall JCM900, the sound was all Cantrell. Of course, I had to cue up “Rooster,” “Dirt,” and “Man in the Box,” but I also enjoyed the ability to tweak the highs and literally make notes cry and scream. In short, it’s a very cool take on the same ol’, same ol’.

is iT for you?If you’re looking for a modern take on a classic, or just want to get one step closer to what your idol plays live, the new Dunlop JC95 Jerry Cantrell Crybaby will give your tone the ‘facelift’ it deserves.

—Jason Allwood

Orange has always been a musician’s company. While not a household name like Fender or Marshall, great acts from Sabbath to T. Rex to Prince have continuously sought the company out for their signa-ture tones and reliability. This month we’ll check out the new Crush PiX CR20LDX amp, which promises a load of digital effects and features, all with that unique Orange twist. feaTuresAt first glance, the Crush PiX CR20LDX is loaded. The unit features 16 studio-quiet digital effects, an auxillary input for your iPod or mp3 player, a headphone out, overdrive channel, 3-band EQ and an onboard chromatic tuner and 16 studio-quiet digital effects. Now, when I say 16 digital effects, I don’t mean they give you 16 and only two or three sound decent—the CR20LDX includes 16 usable effects. That includes surprisingly great reverb, delay, chorus, flange, tremolo, and vibrato settings (the Reverb Chapel, Vibrato and Delay 650ms settings are especially notable). Unfortunately, you don’t have control over the effect’s depth or speed, but the engineers at Orange have programmed them at what I would consider optimal settings. sound and ease of use I plugged in my favorite guitar, a Fender Custom Shop 1965 Relic Strat, and was quickly lost in sonic nirvana—after 30 minutes of rocking, I real-ized I still had 12 settings to explore. While many modern digital amps fall short on their promises, the CR20LDX dished out consistently great tones that instantly sparked new ideas from my fingers. At 20-watts, it would definitely make for a great songwriting tool or sonic sketchpad.

The overdrive was sufficient, but after plugging in my favorite dirt box, I was beyond satisfied. Actually, my only complaint about the amp was the fact that the onboard chromatic tuner could easily spoil me forever. is iT for you? If you want a small, reliable amp with amazing features at an equally amazing price, the new Orange Crush PiX CR20LDX is definitely worth checking out. —Jason Allwood

Orange Crush PiX CR20LDX

• True Bypass • Adjustable Fine Tune knob• Cantrell-approved A.I.C tread• ‘Aged’ finish • “Black Gives Way to Blue” lyrics on underside of pedal

Street Price $159jimdunlop.com

• Controls for: Volume, Low, Mid, High, Overdrive, Gain, FX Mode, and FX Level • Onboard chromatic tuner • 16 quiet, useable effects• Aux in for mp3 or iPod

Street Price $159orangeamps.com

IN A NUTSHELL IN A NUTSHELL

DunlopJC95 Jerry CantrellSignature Crybaby Wah

Click here to hear soundclips!

Click here to hear soundclips!

142 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m

BlackstarHT-Delay

British amp company’s newest addition to its high-per-formance line of pedals. Combines real tube electron-ics with innovative circuitry for eight different delay effects, including multihead tape delays and classic analog. It also includes tap tempo, two loop modes, stereo outputs and lots more. Power supply included.

Street Price $299blackstaramps.com

NEW PRODUCTS

WashburnBlack Knight Series New line of affordable acoustics fea-tures gloss piano black finishes, solid spruce tops, mahogany backs and sides, and mahogany necks. Available in four different body styles: dread-nought, mini jumbo, petite jumbo, and grand auditorium. The cutaway mini-jumbo acoustic/electric shown here features an MET-A07 tuner/preamp system.MSRP $354.90washburn.com

SKB 1SKB-62 Molded to fit your Fender Jaguar or Jazzmaster, the 1SKB-62 offers Hardshell protection with a plush-lined interior to securely hold either model. It also includes a TSA latch so you can lock your case with inspector-friendly access for airline security and comes with a lifetime warranty. Street Price $129.99skbcases.com

RandallRT 100 The flagship of Randall’s new line of all-tube amps, rugged, affordable 100-watt head with spring reverb, effects loop, and three footswitchable channels: one clean and two for distortion. The RT line features power-tube bias test points that allow you to replace, bias, and match tubes on your own. No need to purchase matched tube sets—you can do it yourself with the aid of a simple volt meter.MSRP $1499.98 randallamplifiers.com

Levy’s LeathersSkulls & Crosses StrapsHeads up! Levy’s new printed-cotton series feature six chillingly original designs.MSRP $37.88levysleathers.com

Hearos High Fidelity Earplugs

Specially designed to pro-tect your hearing while

offering natural, full spec-trum sound—perfect for

concerts and jam ses-sions. Now available in

new smaller size. MSRP $19.99

hearos.com

http://www.fishman.com

144 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m

While mixing a project, have you ever had trouble getting your instruments to really pop out of the mix like the big budget record-ings do? Well, don’t get your dobber down, because in this month’s Studio Edge I’m going to walk you through frequency painting, a surefire way to un-muddy any mix as well as train your ears while you do it.

What exactly is frequency painting?Think of your mix like a piece of art, literally. Each instrument’s frequency range will be a color in your masterpiece. Each color needs its proper place and also needs to blend well with other colors that you’re working with, but if you have two colors that aren’t blending properly, then the picture loses its focus. Make sense?

Understanding frequenciesFor those of you who are not completely familiar with frequencies, a baseline under-standing is highly recommended. Without going into a thoroughly scientific (and bor-ing) explanation, the easiest way to under-stand frequencies is this: the human hearing range goes from the extremely low pitch of 20Hz (hertz) to the extremely high pitch of 20,000Hz. Everything in between those fre-quencies is on your palate to work with.

The colors on your palateWhen we talk about painting frequencies we have to look at what we have to work with, which in most sessions are guitars, bass, vocals, and drums. Each instrument has its place in the

mix, frequency-wise. The first goal is to figure out what frequencies each instrument is sitting at. These individual ranges for each instrument will be the “colors” that we will work with.

What if I don’t know where the frequencies are?

The easiest way to map out the frequencies of an instrument is to use an analyzing equalizer. With a soloed track running through the EQ, you will see a graphic display of the instrument’s frequency on a grid that spans 20-20,000Hz (very nifty). You will also be able to make the adjustments we’ll discuss in the next step.

Where do I start?The first thing you want to do is close your eyes and listen to the mix. Can you hear every instrument and vocal? This will determine what instruments are conflicting with each other and where to start.

I personally always start with the lower fre-quencies because if the lows have no defini-tion it drives me bonkers. So let’s paint our lower frequencies to give you an idea how the process works.

If we look at guitar frequencies, which start around 80-120Hz generally, and at the bass frequencies, which can start as low as 20-80Hz, you’ll notice that we have a conflict at 80Hz. These low, overlapping frequencies can sometimes get muddy, so use your EQ

and gradually cut 80Hz out of the guitar until you start hearing the bass compliment the guitar. Once they compliment each other, turn your attention to the other instrument that impacts the lower frequencies: the kick drum.

The kick and bass guitar are always going to be battling, since they both reside in the same range. But now that we know where the bass sits, we can mold the bass’s lows around the low punch of the kick. So use the EQ on the bass and take out the frequency that conflicts with where the kick impact resides. You’ll tend to feel when the kick impact and the bass’s low attack separate and become articulate, so be patient as you work on them. Continue to follow these steps for all the instruments through the mid and high ranges, and you’ll soon find that every-thing has its proper place in the picture.

Be prepared for butt numbnessGet nice and comfy because this method takes a lot of time to go through if you haven’t done it before, but the more you do it the more your ears will learn how to imme-diately fix frequencies without an analyzer. Frequency painting isn’t easy, but once you get it, you get it, and it will eventually become a major tool in getting your mixes dialed in. Just remember to be thorough and trust your ears because practice makes perfect. GE

Elliott Politte is a recording engineer whose experience includes a wide range of different genres and artists, including Black Label Society and Willie Nelson.He currently owns and operates J Sound Studios.

Finding Harmonic Clarity with Frequency Painting

by Elliott Politte

STUDIO EDGE

Illustration by Lori Keehner

w w w . g u i t a r e d g e . c o m J U LY / A U G U S T 2 0 1 0 145

Finding Harmonic Clarity with Frequency Painting

146 J U LY / A U G U S T 2 0 1 0 w w w . g u i t a r e d g e . c o m

w/ pick & fingers &slight P.M. throughout

6 6 6 6

m

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19

One of the ways I like to create licks and musi-cal ideas on guitar is to take a shape or pat-tern that I like and repeat it in different places around the neck. This might sound kind of vague or obvious, so allow me to demonstrate its power with a killer repeating lick.

This is a frantic, tension-building lick in the key of B minor that includes some of the concepts discussed in my previous Zen Guitar columns—namely, hybrid picking and the Phrygian mode. Hybrid picking means to pluck the strings with your pick and fingers. Hold the pick between your thumb and index finger as usual, but keep your middle and ring fingers ready to pluck strings as well. In this lick, you’ll simply be picking the D string with your pick and the B string with your middle finger.

The repeating pattern cycles through six notes in a sextuplet rhythm, but it’s probably easier to think of this in groups of three. The first group begins with a picked note on the D string (a downstroke with your pick), followed by a hammer on, and then another picked repeat of the hammered note. The next group of three starts with a fingerpicked note on the B string (picked with an upward motion of the middle finger, m), followed by a pull off to the open B string, and then a repeat of the earlier picked note on the D string. To add more clarity and speed, use a slight palm mute to dampen the strings.

You can fret all of this with just your index and ring fingers. The index will bounce back and forth from the D string to the B string to assist

with the hammer on and pull off, while your ring finger stays anchored on the D string as sort of a pivot point. Study the music carefully and take it slow at first.

This same picking pattern and fret-hand shape continues up and down the fret-board through notes of the B minor scale. Technically, this could be called the Phrygian mode because of the C natural (the flat sec-ond interval that defines the Phrygian sound), which lends an even darker quality than the minor scale (or Aeolian mode). Also, notice how the unison notes, octaves, hammers, and pulls create the illusion of complexity, while the basic idea is relatively simple. Once you crank up the speed, however, things can get pretty gnarly! GE

John 5 is the lead guitarist for Rob Zombie. Learn more wicked techniques in his instructional DVD The Devil Knows My Name. Also be sure to check out his newest solo album The Art of Malice and its accompanying tab book. Get more at john5.com.

Repeat as DesiredA Hybrid-Picked Repeating Lick

by John 5

ZEN GUITAR

Click here to hear sound clips and see the entire music notation!

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Repeat as Desired

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I felt the need to take a pause from our usual buffet of lickery and riffery to address the question that is the title of this month’s mis-sive, as it has been asked of me in clinics and discussions with other guitar enthusiasts time and time again. I immediately begin to wonder aloud when asked this why it is that guitarists and guitar enthusiasts are so obsessed with an imagined hierarchy of musicianship—a pseudo Mt. Olympus of guitar wielders replete with corresponding myths and legends all based on hearsay and conjecture. They then seek to reinforce these opinions by asking supposed people in the know. Well, rest assured, as a youngster I was caught in this strange quandary, but I would like to explain how I came to realize that this question (to me) is pointless and, furthermore, what I came to believe makes a guitarist (or any musician) great.

I can vividly remember entering the bedroom that I shared with my older brother of 14 years on a summer afternoon; he was sitting on the floor, studying an album cover while listening to its savage contents. Upon inquiring as to who we were listening to, I was informed that it was the best guitarist in the world, the best bass player in the world and the best drummer in the world, all in the form of the group Cream.

I was perplexed by this, because I clearly remember hearing in previous discussions that Jimi Hendrix was the best guitarist. When I called my brother on this, he informed me that Hendrix being the best goes without saying. I then had to assume that Hendrix was Zeus and Clapton was Apollo, with everyone else in the electric guitar realm inhabiting some lesser place on Mt. Olympus. As I began playing the guitar, this magical para-digm was challenged time and again by people and magazines stating that Jimmy Page or Jeff Beck were the best, or Steve Howe was overall the best, or that Steve Morse was clearly the best. What about Allan Holdsworth? And then came the shredders from Randy Rhoads, Ed Van

Halen, Yngwie, Steve Vai—surely one of those guys had to be the best.

Then I started hearing jazz players thrown into the mix; having so much more har-monic knowledge, they had to be the best. What about Chet Atkins and Lenny Breau…you’ve got to be kidding me. Then the mys-terious Tele manglers entered into the fray: Jimmy Bryant, James Burton, Albert Lee, Roy Buchanan and Danny Gatton. They can’t all be the best, right?

So then came the great categorization of the best. Hendrix was best rock-blues innovator/artist guitarist, Clapton was best of the British blues guys—but then there’s Peter Green. Duane Allman was best electric slide guitar-ist—but what about Ry Cooder? And now you have Sonny Landreth and Derek Trucks!

You get the idea of how pointless this track is. For one, playing guitar is not a competition, it’s about expressing artistry. Even though someone’s playing may speak to you on a visceral level more than someone else’s, I guarantee you that there are other people on the scene that you haven’t heard of that may speak to you even more. That’s not to mention the legions of extraordinary guitarists play-ing in little dives all over the world or even in their basements who would blow your mind but that you will never hear of because they are not willing or able to overcome the gaunt-let of skullduggery that exists between a musician and a larger audience. When some-one says, “I think so-and-so is the best,” they are really saying that so-and-so is their favor-ite, and that is all well and good, but there are no ultimate superlatives in music—there are just those who you like, those you don’t, and those you’ll never hear of. Now, I know that there are people out there who possess unbelievable skills in a variety of styles and what they do just doesn’t seem humanely possible. They have cult follow-ings that defend them vigilantly (usually on

the internet) as the best. You will also note that these folks are usually not very well known because their music sometimes is too advanced for the general public to digest or even hear because the powers that be would never take a chance pushing anything remotely unpalatable to the masses.

This further invigorates the followers and gives them a sense of righteous indignation that greatness is not getting its due. I’m sure if you actually talked to the musicians in question, they would say that being a great musician is not a means to an end, it’s an end unto itself. The ability to create music and have the drive to continue to improve is a gift, and to be able to do it is reward enough. If you can make a living doing it, you’ll never really work a day in your life! So, the venom at the general public’s ignorance is pointless. The point is, music is the best for those who take the time to listen!

To me, a great musician is someone who makes everyone else around them sound better as a result of their playing, and then when it is their turn to express themselves via a solo, they are able to do so in a way that is unique to them while still making the whole ensemble shine. This requires listen-ing intently to what everyone is doing, being aware of your surroundings, and doing what is appropriate. Such people may or may not be identified as the best in their field, but rest assured, if they have personalities that match their musical sensitivity, they will always work and will be happy doing it.

This is just my opinion of course...

See ya next time.

Greg Koch is one of the most in-demand guitar clinicians in the world for Fender Musical Instruments and Hal Leonard Corporation. Learn more savage licks and techniques in his instructional DVD Guitar Gristle. Check out his latest CD, Nation Sack, available at gregkoch.com.

by Greg Koch

Who do you think is the best guitar player in the world?

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In case I haven’t mentioned it before in my column, playing a great solo is all about mas-tering the art of phrasing. It’s about mixing together the right concoction of timing and melody to create something lyrical, expressive, and, hopefully, memorable to the listener. With that in mind, let’s take a look at the first four measures of a slow blues in B%, concentrating on a few different phrasing tools: the use of space, rhythm variations, and imitation.

We open with a Lester Young-inspired phrase that nicely outlines the B% dominant harmony by nicking the A% (%7th) during the descent. Measure 2 begins by imitating beat 1 of mea-sure 1, using the same half-step grace-note slide into a repeated note. The difference is that, this time, we’re sliding into the fifth (F) of B%7 instead of the root, as in measure 1. This device (imitation) can really lend cohesion to your solos and make them more memorable

to the listener. (People generally enjoy it when they recognize things!) Measure 2 finishes off with a classic jazz-blues line from the B% major scale (notice that the major seventh, A, is used, even though the chord is B%7). This line is dressed to the nines, however, with grace-note slides from both directions, lending a very vocal, fluid sound.

We lay out for pretty much all of measure 3, just sustaining the tonic B% note. The emphasis here is on using space and letting the music breathe. It’s a nice way to contrast a quicker line that follows. At the end of measure 3, we illustrate this point with a double-time lick (sixteenth notes played over a swing eighth-note groove) that begins with a chromatic B%–B$ line, targeting the C on the downbeat of measure 4. What I’m doing in measure 4 is superimposing a ii–V progression of the IV chord, E%. Even though the chord is still B%7,

I’m thinking Fm7 (ii of E%) for the first two beats and B%7 (V of E%) for the last two. This is extremely common in jazzier blues styles. Notice that the first three notes on beat 1 out-line an Fm triad (C–A%–F), and the first three notes on beat 3 outline a B% triad (F–D–B%). The three-note chromatic legato run up to the fifth (F) in beat 2 is very saxophone-like and keeps with the Lester Young vibe. Measure 4 ends with another staple of jazz-blues: a chromatic descent from the tonic (B%–A–A%) that resolves to the third (G) of the IV chord, E%. Most jazz players have a huge repertoire of ii–V licks. If you know some, you can try plug-ging them into measure 4 of a blues to shake things up a bit. Remember, though, that it’s a ii–V of IV—not a ii–V of the tonic. Enjoy! GE

Slowly

____

= 3

Bb7

3

33

56 8

56 68 9 8 6

8

5

89

6 68 6 7

588

7 8

*

Eb9

let ring 3

8

*Played as even sixteenth notes.

6 7 89 6

88

87 8 9

67

8 7 6 6 5666

It’s About TimeContrasting Space with Well-Placed Double-Time Licks

Four- time W. C. Handy Award winner and Grammy-nominated guitarist Duke Robillard is a legend of blues, jazz and roots music. Check out his latest album, A Swingin’ Session, or find out more at dukerobillard.com.

STRETCHIN’ THE BLUESby Duke Robillard

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Brendon Small has a dry distorted rhythm tone and he keeps his Marshall head’s built-in noise gate on, using effects only on his lead tones. Small sets up his effects on a SKB PS-55 Stagefive Professional Pedalboard Management System, which houses a Boss TU-2 Chromatic Tuner, an Ernie Ball VP Junior 25K Active Volume Pedal, a DigiTech Whammy, an MXR Phase 90—script logo—a Boss GE-7 Equalizer, and a Dunlop DB-01 Dimebag Crybaby from Hell wah. He doesn’t use the MXR Phase 90 on any of the Dethklok albums, but described it as a necessary live tool because “it is one of those things that sharpens your sound, compresses it a little more, and makes it punch out a bit in the mix.” His newest tone secret in live settings is the Rivera RM-1 Routmeister Pedal Effects Controller. “When I’m barking out guttural sounds and playing guitar while trying to stomp off an effects box while downbeating a note on the guitar… it is nearly impossible for me to keep it together,” says Small. “So I was looking for a solution that would kick my phaser, wah, and Whammy on and off at the same time. I came across the Rivera RM-1—I just figured out how to work it, so that is really good news [laughs]. It also does MIDI switching when I’m doing octave jumps on solos… it’s a great tool because all I do up there is make tons of mistakes, so I’m just trying to make it as simple as possible.”

“If you have an okay amp and an okay guitar… the rest is probably your fault,” says Small. For the third season of Metalocalypse, which is twice as long and has a running time of half an hour, Small switched from the standard Dethklok setup of a Krank Krankenstein + to a Marshall 2203 Kerry King JCM800. “I love the frown curve EQ setup on it, with a strong, solid midrange feel,” says Small. His most recent amp settings during Dethklok’s tour with Mastodon were Presence–6, Bass–6, Middle–4, Treble–3, Master Volume–3, Preamp Volume–8, Gate Threshold–5, and Assault Intensity–10. During that tour, he ran everything through a Randall 4x12 loaded with Celestion Vintage 30s. The endorsement deal with Marshall was so new before the tour that Marshall couldn’t get Small a backline cabinet in time, so he just used one of his own Randall cabs.

Brendon SmallPhotos and captions by Chris Kies

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Small uses primarily one guitar during the entire Dethklok set: a com-pletely stock 1982 Gibson E/2 CMT Explorer with a tobacco sunburst finish. “I really enjoy playing Explorers because I feel there’s a great, punchy sound you can only get from them,” says Small. “This one in particular has a really great, fat baseball-bat neck. The longer and more I play guitar, the fatter and bigger I like the neck to be, with big, thick strings.” He uses various brands of strings but generally plays .013–.056 gauge strings with a wound G because he’s tuned all the way down to C. He does this because he prefers tight tension—sometimes strings can become floppy with such low tunings.

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