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CON T EN TS
VOL. 37 |
NO. 13 |
HOLIDAY 2015
FEATURES
44
DEAFHEAVEN
50 KEITH RICHARDS
The legendary Rolling Stones guitarist
revisits his musical roots with a new
solo album, Crosseyed Heart, and
documentary film Under the Influence.
60 IRON MAIDEN
In this interview with the triple-ax attack
of Dave Murray, Adrian Smith and Janick
Gers, the men of Maiden discuss the
making of the new Book of Souls double
album and the resilience of singer Bruce
Dickinson after a recent cancer scare.
70 THE BEATLES
12
COVER PHOTOGRAPH
MARK SELIGER
D E A F H E AV E N : J E R E M Y D A N G E R
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CON T EN TS
VOL. 37 |
NO. 13 |
HOLIDAY 2015
Matt Heafy
DEPARTM ENT S
16 WOODSHED
18 SOUNDING BOARD
21 TUNE-UPS
89 SOUNDCHECK
100 COLUMNS
38
Trivium
by the Beatles
by Scorpions
by Trivium
by REO Speedwagon
PAGE
PAGE
PAGE
112
14
118
126
PAGE
134
S C OT T U C H I D A
TRANSCRIBED
JUGGERNAUT ALPHA/OMEGA
jacksonguitars.com
Photo: Alex Wohleber
2015 JCMI. Jackson and the distinctive headstock designs commonly found on Jackson guitars are
registered trademarks of Jackson/Charvel Manufacturing, Inc. (JCMI). All rights reserved.
WOODSHED
VOL. 37 |
NO. 13 |
HOLIDAY 2015
EDITORIAL
POETRY IN MOTION
IF YOURE READING this, youre holding something in your hands that is very near and dear to our
hearts: print. Despite the modern day push to turn every
reading experience into a loud, screaming digital one,
there are plenty of us who will always love the printed
page: letting our imaginations fill in the blank spaces as ink smudges our fingers.
However, if theres a downside to print, its that it doesnt move; its static. Stationary.
Maybe thats why I get so excited about our recent efforts with regard to video,
and I wanted to make sure our beloved print readers are up to speed on what were
doing on GuitarWorld.com, our YouTube channel and our Facebook page. Yes, we
love print, but we love moving pictures too.
Currently, the Guitar World YouTube channel has more than 350,000 subscribersthats substantial, and its no accident. So whats all the fuss about? If you head
over there, youll see for yourself. Artists are coming through our office doors almost daily, and many are being invited into our studio to film exclusive content for
our YouTube channel. Recent visits include Alexi Laiho, who showed us his five favorite riffs from the new Children of Bodom record, I Worship Chaos; Joe Satriani
and Tommy Emmanuel, who performed all the techniques covered in their current
Guitar World magazine columns; and Queensrches Michael Wilton, who talked
about and demonstrated some of his most classic riffs and licks. Weve also enjoyed
having so many guitarists come through and do playthrough videos in which they
play guitar to a backing track of one of their songs: recent participants include
Atreyu, Crowbar, Shinedown, For Today and Braden Barrie from SayWeCanFly.
Add to that all the in-depth gear reviews and demos from our editors, and you have
a YouTube channel worth subscribing to.
If youre looking for something more down-n-dirty, head over to our Facebook
page and see what the other 1.5 million followers have been enjoying lately. Every
few days we treat our fans to an impromptu desk jam featuring one of our talented editors. On any given day you may see gear editor Paul Riario in his cluttered
office laying down the solo to an Eighties metal classic, or online editor Damian
Fanelli showing off his immense skills as a blues guitarist and hopeless Beatles addict, all filmed with nothing more than my own iPhone 6.
At the end of the day it makes me appreciate all of the incredible talent lurking
behind these walls. Well always be magazine aficionados, and I hope you enjoy
the issue you hold in your print-loving handsbut theres plenty more to this operation, and we hope you get as much out of it as we put into it.
MUSIC
SENIOR MUSIC EDITOR Jimmy Brown
MUSIC TRANSCRIPTIONIST Jeff Perrin
MUSIC ENGRAVER Patricia Corcoran
ART
DESIGN DIRECTOR Stephen Goggi
ASSOCIATE ART DIRECTOR Ben Avny
ASSISTANT ART DIRECTOR Natalie Skopelja
ONLINE
MANAGING EDITOR Damian Fanelli
EDITORS Brad Angle, Jeff Kitts
PRODUCTION
PRODUCTION MANAGER Nicole Schilling
BUSINESS
VICE PRESIDENT, GENERAL MANAGER Bill Amstutz
bamstutz@nbmedia.com
GROUP PUBLISHER Bob Ziltz
bziltz@nbmedia.com
ADVERTISING DIRECTOR - WEST Jason Perl
646-723-5419, jason@guitar world.com
ADVERTISING DIRECTOR - EAST Scott Sciacca
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GROUP MARKETING DIRECTOR Christopher Campana
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SR. MARKETING MANAGER Stacy Thomas
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CONSUMER MARKETING
CONSUMER MARKETING MANAGER Kara Tzinivis
FULFILLMENT COORDINATOR Ulises Cabrera
Jeff Kitts
Executive Content Director
GUITAR WORLD (ISSN 1045-6295) is published 13 times a year, monthly plus Holiday issue following December issue, by NewBay Media,
LLC, 28 East 28th Street, 12th Floor, New York, NY 10016. Phone: 212.378.0400. Fax: 917.281.4704. Web Site: www.nbmedia.com. Periodicals
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I L L U S T R AT I O N BY J O E L K I M M E L
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SOUNDI NG BOARD
Got something you want to say? EMAIL US AT: Soundingboard@GuitarWorld.com
tentious mope who doesnt even
bother to experience something
before passing judgment on it. Its
painfully obvious that you have yet
to actually spin a Ghost album, yet
you apparently know whats best
for our guitar loving youth. It must
be terribly boring to live in your
world where everything is exactly
as it appears rendering experience
completely unnecessary.
Kevin Miller
To Be Frank
Reign Man
Thank you for putting Slayer on
the cover of the November issue.
Ive been a Slayer fan from the
first time I heard Reign in Blood,
and to me they are the best thrash
metal band of all time. Frankly
I dont think they get the credit
they deserve. Repentless is an
amazing recorda great comeback after the tragic death and
loss of Jeff Hanneman. To me, its
the album of the year.
Travis Zboril
For Christs
Sake
I Love Lamp
White Magic
Head Case
Ink Spot
First Mate
SEND LETTERS TO: The Sounding Board, Guitar World, 28 East 28th Street, 12th Floor, New York, NY 10016, or email us at Soundingboard@guitarworld.com.
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18
&
AND GET THE LATEST GUITAR NEWS, INSIDER UPDATES, STAFF REPORTS AND MORE!
READER
ART
OF THE MONTH
If you created a
drawing, painting
or sketch of your
favorite guitarist
and would like
to see it in an
upcoming issue of
Guitar World, email
soundingboard@
guitarworld.com
with a scan of
the image!
DEFENDERS
DAVE MATTHE WS B Y D I A N A PA S I KO V
of the Faith
Brent Fettkether
AGE 18
HOMETOWN Dunkerton, IA
GUITARS Jackson JS32T King V, ESP/
AGE 15
HOMETOWN Montreal, Quebec, Canada
GUITARS Black Fender American Stan-
AGE 150
HOMETOWN Tupelo, MS
GUITARS Homemade Super Strats,
LTD EX-50
Are you a Defender of the Faith? Send a photo, along with your answers to the questions above,
to defendersofthefaith@guitarworld.com. And pray!
guitarworld.com
19
PORTRAITS
IN TONE
Not just another version of the Fly Rig 5 simply
bearing his name, the Richie Kotzen RK5 Signature
Fly Rig was a close, year-long collaborative effort.
Meticulous about every facet of his playing, singing,
songwriting and tone, Richies attention to the details
of this pedal was nothing less.
What distinguishes the RK5 from the Fly Rig 5 is Richies
Signature OMG overdrive. Tuned specically to Richies
ear, the OMG section brings in the organic Class A-style
distortion, but with a tighter, snappier response. It is designed
to articulate every nuance of Richies dizzying playing style
for all modes and moods, from clean to aggressive and from
rhythmic chords to innite sustain when its solo time.
The RK5 offers the same other essential features as the Fly Rig 5:
the all-analog SansAmp, reverb, delay with tap tempo, and a
powerful boost. For y gigs across the globe, jamming at the local
hang, and running off to last minute sessions, just pop your RK5 into
your guitar case and head for the door.
TUNE-UPS
24
GRAVEYARD
22
FOR TODAY
DOYLE
26
RICHIE
KOTZEN
DEVIL
YOU KNOW
28 32
TRIVIUM
34
SAYWECANFLY
40
WHITESNAKE
42
tktktktkt
Pedal
Pusher
KIRK HAMMETT PUTS HIS
BEST FOOT FORWARD WITH
AN EXCITING NEW LINE OF
EFFECT PEDALS.
By Richard Bienstock
T I M T R O N C KO E
guitarworld.com
21
NEWS + NOTES
PLAYLIST
JOAKIM NILSSON
OF GRAVEYARD
1
Tensions
Charles Mingus
Really cool psychotic wind instrument
in this tune, which makes me doubt my
own musical skillsand thats a good
thing if you want to keep your feet on
the ground!
22
KIRK HAMMETT
products, including an octave fuzz and a
wah. And you know how I am about wah
pedals, Hammett says. Im addicted to
them. So were going to take the wah pedal,
throw it on the ground, break it open and
see where we can go with all the individual
components to make something new.
Kirks strength is his tone knowledge,
Karon says. He comes to us with an idea,
we create the rough draft, and he comes
in and perfects it. He has a great ear for
these things.
As for whether or not Hammett will be
using his new pedals with Metallica, the
guitarist says, Ive been messing around
with the Ghoul Screamer a lot at home and
in rehearsal, and Ill definitely have it in my
back pocket when I go in to start recording
leads in a few weeks.
When asked if that means a new Metallica album is imminent, Hammett laughs.
All I can say is that if Im recording leads,
then that means all the backing tracks to
whatever batch of songs were working on
are done. So its a pretty good indication
that were pretty deep into things.
3
On Battleship Hill
PJ Harvey
I almost never get blown away by music
anymore, but PJ never lets me down. She
and her music are as beautiful as ever
and also truly amazing live, and that is
extremely rare in my book.
4
Raging River of Fear
Captain Beyond
Extremely talented musicians, and one
of the most underrated bands in history.
Great vocals from Rod Evans, who was
an original member of Deep Purple. He
influenced me a lot when I was younger.
5
With You There to Help Me
Jethro Tull
Ian Anderson is a genius at making
melodies. And it doesnt hurt that he
plays the flute standing on one legits
how it should be played!
GRAVEYARD'S NEW RECORD
INNOCENCE & DECADENCE IS OUT NOW.
P E D A L : M A R T I N KO V L ; G R AV E YA R D : JJ KO C Z A N
It's like a
Tube Screamer
on steroids!
Roscoe
Midlake
Nice song to just lie down, close your
eyes and listen to. Bonus that it sounds
like the theme to M*A*S*H in the beginning.
NEWS + NOTES
INQUIRER
DOYLE
24
MANDI MARTINI
NEWS + NOTES
Hate Eternal
Ryan Leitru
For Today
26
JASON MAGAEU
By Peter Hodgson
SHAPE
YOUR
SOUND
STRAIGHT
REVERSE J
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Your audience wont believe their ears.
Bose.com/F1
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28
RICHIE KOTZEN
Hes released 20 solo albums, played guitar for Poison and Mr. Big, and is now on a hot
streak with Billy Sheehan and Mike Portnoy in the Winery Dogs, but what Guitar World
readers really want to know is
Interview by Joe Bosso
How quickly we got along and really understood each others personality. With musicians whove
achieved a certain level of success,
sometimes their style or persona
is set in stone. I have my thing
that I do, as does Billy and as does
Mike. Sometimes that can make it
complicated to create something
new. Youre trying to break out of
each others established thing.
I knew Billy, but Mike was a wild
cardI didnt know him. Somehow we hit it off instantly; it was
like we knew each other for years.
I love Mike. We mess around and
have a great time.
guitarworld.com
29
30
MY GIRLFRIEND
THINKS
YOURE
HOT, SO
I HAVE A
REQUEST:
CAN YOU
STOP
BEING
SO HANDSOME?
THANK
YOU.
MANNY ALBRIGHT
Im working on getting
less handsome, and Im
doing a hell of a job of
it. I weigh more now
than I ever haveIm
not overweight, but Im
getting there. I drink a
lot and I smoke a lot,
although I just quit
smoking and havent
had a cigarette in eight
days. So Im doing
everything I can to fuck
myself up. I do have an
18-year-old daughter I
have to look after, so I
dont want to kill myself.
But as far as fucking up
my appearance, its on.
TRANS BLACK
TRANS RED
BLACK
Id
Tap
THat
YOU WONT BE ABLE TO KEEP YOUR
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NEWS + NOTES
32
H R I S TO S H I N D O V
AXOLOGY
NEWS + NOTES
34
I L L U S T R AT I O N B Y J E R E M Y E N E C I O
ON THEIR NEW ALBUM, SILENCE IN THE SNOW, TRIVIUM CHANNEL MAIDEN, PRIEST, DIO AND
OZZY TO ADD SOME RETRO GOODNESS TO THEIR FIERY BRAND OF AMERICAN METAL.
By Dan Epstein
NDEED, IT IS. At the time of that Arnhem show, Trivium were known chiefly
for 2005s Ascendancy, their acclaimed
second album, which contained a ferocious
mixture of thrash, metalcore and melodic
death metal. But the brash young Florida
quartet was also just a few months away
from throwing their nascent fanbase a
major curveball with The Crusade, an ambitious follow-up that completely ditched the
metalcore aspects of Ascendancy in favor of
a progressive-thrash approach that owed
a heavy debt to early Metallica. Critical
(and fan) opinion was decidedly split on
The Crusade, but that record essentially
guitarworld.com
35
NEWS + NOTES
Matt Heafy
36
S C OT T U C H I D A
NEWS + NOTES
We wanted to make
a record that sounds
fresh and exciting in
2015, and doesnt sound
like it should have
come out in 2005.
COREY BEAULIEU
38
Corey Beaulieu
S C OT T U C H I D A
NEWS + NOTES
SayWeCanFly
40
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Audix Corporation.
SETLIST
REB BEACH
OF WHITESNAKE
VENUE: NYCB Theatre at Westbury DATE: July 27, 2015 LOCATION: Westbury, NY
Interview by JOE LALAINA
BAD BOYS
BURN
When David said hed be devoting an entire Whitesnake album to redoing Deep Purple songs,
I got super-excited. I put the most into the 'Mistreated' guitar soloI knew it had to be as melodic as possible, and I had to emote. When I first started recording it, I was wailing. Then David
pulled me over and said, in his characteristic British accent, Rebel, dont play too much too
soonthis is a long solo. My guitar solo shows a bluesy side of my playing that I hadnt shown
in any of my previous bands.
42
L I V E : S T E FA N M . P R A G E R / R E D F E R N S/ G E T T Y I M A G E S
HERE I GO AGAIN
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GUITAR
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44
45
PG
GUITAR WORLD
BY J ON WIEDERHORN
P H O T O S
B Y
J E R E M E Y
D A N G E R
D E A F H E A V E N
46
The resulting success allowed Deafheaven to focus on music full time, but following up such a well-received album was no
easy task. The band members had to distance
themselves from the showers of hype and
focus on evolving as musicians. At the same
time, McCoy and Clarke wanted to write
their most relentlessly metal songs to date.
SURFING TO
SHOCKWAVE
TOUR/2016
MARCO
MINNEMANN,
BRYAN BELLER AND
MIKE KENEALLY
WITH
ALBUM
OUT NOW!
2/25 SEATTLE, WA
2/26 SALEM, OR
2/27 RENO, NV
2/28 OAKLAND, CA
3/1 SAN DIEGO, CA
3/2 TUCSON, AZ
3/3 RIVERSIDE, CA
3/4 LAS VEGAS, NV
3/5 SCOTTSDALE, AZ
3/7 DENVER, CO
3/8 EL PASO, TX
3/9 DALLAS, TX
3/10 HOUSTON, TX
3/11 SAN ANTONIO, TX
3/12 NEW ORLEANS, LA
3/14 BIRMINGHAM, AL
3/15 PENSACOLA, FL
3/16 FORT LAUDERDALE, FL
3/17 CLEARWATER, FL
3/18 ORLANDO, FL
3/19 JACKSONVILLE, FL
3/21 DURHAM, NC
3/22 CHARLOTTE, NC
3/23 ATLANTA, GA
3/24 RICHMOND, VA
3/25 VIRGINIA BEACH, VA
3/26 BOSTON, MA
3/29 NEW HAVEN, CT
3/30 PORT CHESTER, NY
3/31 PROVIDENCE, RI
4/1 BROOKVILLE, NY
4/2 WASHINGTON, DC
D E A F H E A V E N
48
AXOLOGY
50
53
PG
GW
KEITH
RICHARDS
evokes his
musical roots
with a new
solo album,
Crosseyed
Heart, and
documentary
film Under
the Influence.
by ALAN
Di PERNA
52
watching instructional videos. Hes shooting straight from the heart, allowing who
and what he isthe quintessential English
baby boom rock and rollerto filter the traditions he so reverently evokes.
And so it goes throughout the disc,
whether hes performing one of his own
compositions or offering his rendition of
Leadbellys folk waltz classic Goodnight
Irene, or reggae crooner Gregory Isaacs
Love Overdue. The palette of classic guitar textures is rich. And time has mellowed
Richards voice down to a wizened, whiskey-barrel croakhalf spoken, half incantatorywhich gives Crosseyed Heart an intimate, almost confessional feel. You lean in
close to hear what the master has to impart.
The albums release coincides with the
release of the Netflix making of documentary film, Keith Richards: Under the Influence.
JANE ROSE
Oh man, this thing was recorded over a couple of years. Steve Jordan and I would do a
session for two or three days and then we
wouldnt see each other for a month. The
record was put together in bits and pieces.
Whenever we were in town and we felt like
it, wed go into the studio. And the pleasure
of it wasno deadline. Well just do it until
were sure weve got something to deliver.
And then it was, Okay, youve finished it;
now you cant put it out! [laughs] So that
took a couple of years.
A lot of the tracks started with just you
and Steve Jordan in the studiojust guitar and drums?
But theres so much more behind that wrinkle-creased, elegantly wasted facade. And
the surest way to find that out is to sit down
and have a chat with him, which Guitar
World recently had the honor of doing.
It has been 23 years since your last solo
album, Main Offender, in 1992. Why
has it been so long since youve done
another one?
guitarworld.com
53
I am basically a closet
54
LIVE LOUD
2015 Fender Musical Instruments Corporation. Gretsch and Bigsby are trademarks of Fred W. Gretsch Enterprises, Ltd. and used herein under license. All rights reserved.
56
Jake Cinninger
of Umphreys McGee
The EX-SS packs a lot of punch in its 15-inch body, the smallest of
Jake Cinninger
and Ryan
Stasik
of Umphreys
McGee
on across
stage w
all the DAngelico
archtops.
Warm,
resonant, and
versatile
its EX-Bass.
pickups, the SS is a lightweight hollowbody perfectly suited for
SS and
rock, blues, jazz, and all the nameless places in between.
WWW.DANGELICOGUITARS.COM
58
GU I TA R WOR L D
58
Really, for me, I meanno. Is there anything more you could wish for if you were
Keith Richards? Ive done it all. Once youve
reached that point you just think, Yes, I
would like to do it better. And as long as
the songs keep comingI mean thats all Im
good for and thats why Im here.
Does the guitar still possess some
mystery for you? Are you still
discovering stuff?
A Sound Decision
Richard
Bienstock
ILLUSTRATION BY
PHILLIP BANKEN
S U R V I
V O R S
Its been 35 years since the release of their debut album and
IRON MAIDEN show no signs of slowing down. In this interview
with the triple-ax-attack of DAVE MURRAY, ADRIAN SMITH
and JANICK GERS, the men of Maiden discuss the making of
the new Book of Souls double album and the resilience of singer
Bruce Dickinson after a recent cancer scare.
60
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61
But as has been well documented, once the recording was completed things within the Iron Maiden camp took a frightful turn,
when doctors discovered a cancerous tumor on Dickinsons tongue.
The news, Murray says, was devastating. Dickinson underwent
chemotherapy and radiation to treat the growth, and the release of
The Book of Souls, as well as plans for an upcoming world tour, were
put on indefinite hold.
Today, the band members are happy to report that their singer is on
the mend. Bruce, hes up and about again, Smith says. Hes buzzing
around, traveling all over and back to doing what he does. Hes very
positive and very physically strong, and so he was in a good position to
kick [the cancers] ass. He wasnt going to let it knock him down. And I
When did the band first get together to
begin work on The Book of Souls?
KEVIN ESTRADA
personally never doubted he would. Hes just not that sort of guy.
With The Book of Souls in the can and Dickinson back out front,
Iron Maiden is getting set to hit the road once again, on yet another
extensive globetrotting live jaunt. To that end, it was recently
announced that the band would be traveling to shows in style
aboard a massive Boeing 747-400 Jumbo Jet piloted by Dickinson himself, as they hit a proposed six continents and more than 30
countries on next years Book of Souls tour.
Were saving up all that battery power and getting it ready for
next year, says Gers. And I look forward to getting out there in
front of the fans and playing these new songs.
Oh, yeah, its gonna be great, Smith adds. I mean, what a job!
guitarworld.com
63
you might go in and try to pull it back a little bit and get it slightly better. Because we
never play to a click song. But there were no
restrictions, really. Sometimes youre going
at it a bit blind, but that kind of gives you
an edge. If youre overlearning the songs,
sometimes you play the notes but you dont
quite get the vibe.
MURRAY And then some of the shorter
songsyou know, the five-minute ones
[laughs]wed learn the chords and things,
and wed have pieces of paper and wed
write down sequences, changes, melodies.
So wed have that in front of us. But basi-
heavy going if everyone brings in 10-minute songs, you know? Its just too much.
And I knew we would probably
be doing some long songs, so I
thought Id just try to keep things
moving with some shorter ones.
Otherwise youd have had a
triple album.
SMITH Yeah! [laughs] But I
TK TKTKTKTKT Caption
Here and Here and Here
Steve Harris
64
G O N Z A L E S P H OTO/ C H R I S T I A N H J O R T H V I A G E T T Y I M A G E S
REISSUE TUBE-AMPS
SuproUSA.com
facebook.com/SuproUSA
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Bruce Dickinson
When you guys were in the studio recording The Book of Souls, nobody had any
idea of Bruces condition.
SMITH We didnt. Bruce didnt know either,
The Red and the Black, I might be playing the melody while Adrian is hitting the
chords and Dave is just kind of chuggin.
So you have three different things happening. And its greatyears ago, when I was
with [the band] Gillan or playing with Bruce
on [his 1990 solo album] Tattooed Millionaire, I mean, some of that stuff had about
eight guitars on it. And it was just me in the
band. Youre playing high, you have the bottom notes, youre trying to create this sonic
thing. So when you play it live you have to
decide what youre gonna do. With three
guitarists, you can cover all of it.
MURRAY Sometimes if were in the studio and maybe everyone else has gone off
66
G O N Z A L E S P H OTO/ C H R I S T I A N H J O R T H V I A G E T T Y I M A G E S
a melody and expand on it and make variationsits quite an unusual way of working.
But that particular song turned out really
well. I thought it might be repetitive, but
if you really listen to it, yeah, it has a flow.
It makes sense, you know? But Steve definitely thinks outside the box a little bit.
GERS Whats going on in that one, its
almost classical. And you know, I think people have become very snobby about classical
and heavy metal, like it has to be just this
or that. But if you listen to it, its very deep
music. Theres melodies and countermelodies flying off everywhere. And we do a
lot of that. People say were a heavy metal
bandand we are a heavy metal bandbut
we also have lots of other facets in there.
Theres rock, blues, jazz feels, metal. With
Empire of the Clouds, theres almost a
Broadway feel to it. Theres so many weird
things happening there. But it stills sounds
as heavy as Maidens ever sounded. So were
never scared to take things in new directions. You have to do that if youre a band
that wants to grow and get better. You have
to push the boundaries a little bit, rather
than just sit on your backside.
THE PROFILER
With profiling, Kemper changed the
world for all guitar players, making it
a better place indeed.
Because all the best guitar amps in the
world with their tones meticulously
designed, thourougly miced and recorded in the best studios are available
with the Profiler. Ready to be taken to
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The Profiler comes loaded with the
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NEW:
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LEGENDARY
MUSIC STRINGS
SINCE 1958
VINNIE MOORE
ROTOSOUND PLAYER
bless im!
MURRAY Thats incredible, really. Maybe he
Dave Murray
GUITARS Gibson 1960 Les Paul Classic Reissue, Les Paul Axcess Standard
with Floyd Rose and Memphis ES-Les Paul; Fender Sixties-era Telecaster and
Seventies-era Stratocaster
AMPS Victory
EFFECTS TC Electronic Flashback Delay and Corona Chorus; Dunlop Cry Baby
Wah and Rotovibe; Wampler Clarksdale Overdrive; ThunderTomate Phil Hilborne
Fat Treble Booster
Adrian Smith
WORLD FAMOUS MUSIC STRINGS
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GUITARS Jackson Adrian Smith signature (ebony and maple models) and Flying
V; Gibson Les Paul Gold Top
AMPS Marshall JVM410H; Blackstar 104EL34, 1046L6 and HT-5
EFFECTS Boss Digital Delay, Super Chorus, Compressor Sustainer, Harmonist and
Flanger; Ibanez TS808 Tube Screamer; DigiTech Crossroads; Dunlop Cry Baby
Wah; Duesenberg Channel 2 Overdrive
TWITTER.COM/ROTOSOUND_UK
68
GU I TA R WOR L D
68
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vegas
S er ie s
Classic Black
Classic WHITE
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guitarworld.com
71
P R E V I O U S S P R E A D : M C C A R T N E Y: C H R I S
WA LT E R V I A G E T T Y I M A G E S ; L E N N O N &
HARRISON: K & K ULF KRUGER
OHG/REDFERNS VIA GETTY IMAGES
T THE HEIGHT OF
BEATLEMANIA, PAUL
MCCARTNEY, JOHN LENNON,
AND GEORGE HARRISON
COULD HAVE PLAYED ANY
GUITARS THEY WANTED.
Cost certainly would have
been no issue. But the guitar
each of them chose was a
modest budget thinline: the
Epiphone Casino. From 1965 to
1969, the Beatles would put the
Casinos woofy midrange tone
to memorable use on countless
songs, including Another Girl, The Night Before,
Drive My Car, Taxman, Revolution, Get Back,
and The End. McCartney, in particular, was an
Epiphone fan, and also purchased an Epiphone
Texan acoustic guitar, which he used for writing
and recording acoustic gems like Yesterday and
Michelle. While Gretsches, Rickenbackers, and
Gibsons were also well represented among the
Beatles guitars, only Epiphone can claim to have
had one model that was favored by each of the
groups guitarists. To quote an obscure Beatles
tune, that means a lot.
72
T H I S S P R E A D : L E F T: N I G E L O S B O U R N E /
R E D F E R N S V I A G E T T Y I M A G E S ; R I G H T:
R O B E R T W H I TA K E R / G E T T Y I M A G E S
ral-finish 1964 Texan and sunburst 1962 Casino. Both were righthanded models that the southpaw guitarist had modified for lefthanded use. The two guitars made their first appearances on the
1965 album Help!, on which McCartney began to assume more
guitar duties on the groups recordings. The Casino was heard on
his solos for Another Girl, The Night Before, and Ticket to
Ride, while the Texan was employed for Ive Just Seen a Face
and Yesterday, his standout solo moment on the album. He also
played the Texan onstage for performances of Yesterday, strapping it on over his Hofner violin bass when playing the song with
the Beatles, or performing with it solo, as he did for the groups
1965 appearance on the Ed Sullivan Show.
Unlike the Texan, the Casino was an entirely new model for
guitarworld.com
73
LONE
STARS
V
74
G U I TA R : N I G E L O S B O U R N E / R E D F E R N S V I A G E T T Y I M A G E S ;
G U I TA R S O N TA B L E : R O B E R T W H I TA K E R / G E T T Y I M A G E S
76
L E N N O N & G U I TA R S : B O B W H I TA K E R / H U LTO N A R C H I V E / G E T T Y I M A G E S
FREE SHIPPING on this book! Mention ad code PPM. Least expensive method applies.
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80
GUITAR GODS
ZAKK WYLDE BOBBLEHEAD
What better way to have Zakk Wylde standing on your desk and not crushing it under his
hulking physique than with a limited edition
bobblehead? This seven-inch figure is made of
a lightweight polyresin and features the Black
Label Society frontman in all his bearded,
denim-vested and bulls-eye-guitar-playing glory.
$24.95; guitargodscollectibles.com
DOPPLER LABS
DUBS ACOUSTIC FILTERS
These stylish, high-design earplugs utilize advanced acoustical physics to reinvent hearing protection. The DUBS Acoustic Filters lower sound
by approximately 12 dB, while still preserving
audio fidelity. Not only are the Acoustic Filters excellent for attending live concerts, theyre pretty
killer for band practice and jam sessions too.
$25; getdubs.com
guitarworld.com
81
PARKMAN SUNGLASSES
Sunglasses made from guitars? Yes, they
exist, thanks to brothers Christopher and
Andrew Parkman and their unique brand
of shades. Their recent partnership with
Patterson Guitars gives the brothers access to leftover mahogany and rosewood
from the guitar-building process, which
they use to create these distinct frames in
their Mountainside, New Jersey, workshop.
$195; parkmansunglasses.com
WAY HUGE
SAUCY BOX OVERDRIVE
The Way Huge Saucy Box Overdrive combines discrete clean and overdrive signal
paths to deliver organic, amp-like overdrive
in a pedal. The Saucy Box Overdrive automatically balances the optimum ratio of the
two signals with a single gain control. This
unique design provides for everything from
a unity-gain buffer to a clean boost and buttery overdrive.
$129.99; jimdunlop.com
82
MARSHALL
STOCKWELL SPEAKER
IBANEZ
IRON LABEL RGIX27FESM
SPALTED MAPLE
The Iron Label RGIX27FESM Spalted MapleIbanezs new hardtail solidbody sevenstringadds an element of dramatic flair to
the companys Made for Metal series. The
spalted maple is distinctively handsome,
and the guitar also features a basswood
body, Ibanez three-piece maple/bubinga
Nitro Wizard neck with a bound rosewood fretboard and jumbo frets, Gibraltar
Standard II bridge, EMG 707 pickups, and a
performance-enhancing killswitch.
$229; marshallheadphones.com
$1,239.99; ibanez.co.jp
Premium Plug-Ins Promotion | Buy an Apollo Twin & Get UAD Plug-Ins FREE!
Hurry, offer ends December 31st, 2015
FRETLIGHT 5 GUITAR
Beginners and first-time guitar players
would be hard pressed to find a better
learning system than a Fretlight guitar
particularly the new Fretlight 5, which
features lights in the nut and first five frets
that show basic songs, riffs, chords and
scales when used in conjunction with the
included PC/Mac software.
$199 (electric)/$229.99 (acoustic)
fretlight.com
10
12
11
84
LAMOUR: ROCK
CAPITAL OF BROOKLYN
Due for release in December, this longawaited hardcover book looks back at
the concerts and history of LAmour, one
of the most famous heavy metal venues
of all time. Compiled by former LAmour
DJ Alex Kayne and noted photographer
Frank White, the book features more than
1,000 photos, ticket stubs and memorabilia from the clubs heyday, as well as
interviews with musicians who performed
on the famous stage and recollections
from venue staff and club regulars.
$TBD; rarebirdbooks.com
FENDER
ACOUSTIC SFX
The Fender Acoustic SFX Professional
acoustic amplifier offers state-of-the-art
technology for a lush sonic experience. The
amp features a lightweight design, portability and room-filling Stereo Field Expansion
technology, as well as onboard hall reverb,
echo, delay, chorus and Vibratone effects.
If youre also looking to add an accompaniment to your performance, the integrated
handle doubles as a convenient cradle for
mobile playback devices, via the Aux In jack.
The SFX is the ultimate solution for the
acoustic player looking for a grab-and-go
rig for small venues.
$899; fender.com
ULTIMATE EARS
UE 900s
13
15
86
H O LI DAY 2015
the gear
in review
91
JERIC H O G U I T A R S
Ave n g er 7 Pro 2 6
Sev en -St ri n g
92
DI G I T E C H
T r io B a n d C rea t o r
Peda l
94
E P I P H ON E
M a st erbil t
AJ- 4 5ME A c o u st i c /
El ec t ric
96
K I E SE L
V8 V a der Ei g h t St rin g
98
SE YMOU R
DU N C A N
J a so n B ec k er
H u mbu c k er
GUITAR
WORLD
PLATINUM
AWARD
EX
CELLENCE
BOSS WAZA CRAFT BD-2W, DM-2W, AND SD-1W PEDALS By Chris Gill
guitarworld.com
89
SOUNDCHECK
CHEAT
SHEET
STREET PRICES $149
(BD-2W and SD-1W, each),
$179 (DM-2W)
MANUFACTURER Roland
Corporation, rolandus.com
The mini S/C toggle switch
selects a standard mode
that sounds like the regular version of the pedals or
a custom mode that greatly
expands sonic versatility
and performance.
90
feature circuitry that consists entirely of discrete components (in other words, no op amps).
As a result the tone of both is much more organic,
dynamic, and responsive. This is particularly
noticeable in standard mode, where the pedals
have the same basic tonal personality of their classic counterparts but have an entirely different feel
that responds to every nuance of your playing. Both
pedals provide outstanding clean boost functions
with the level control cranked up and the gain/
drive control turned all the way down, with the
SD-1W providing a greater range of midrange textures via its tone control. The BD-2Ws tone control has a less dramatic effect on the overall tone,
maintaining more of your guitars inherent character. With the gain/drive control turned up, both
deliver luscious, harmonically rich distortion with
silky smooth sustain, particularly in the stellar custom mode, which pushes the front end even harder
without ever sounding fuzzy or gritty.
As for the DM-2W, if youre an analog delay
fan, buy it now. This pedal delivers the warm, fat
delay effects and hypnotic true echo sounds that
dreams are made of in delay times ranging from
20-300ms in standard mode and up to 800ms in
custom mode. The custom mode adds a touch
more clarity thats perfect for the Cathedral
and the Edge-style echo trick with warmth that
sounds like a second guitar instead of an effect.
Crank up the intensity and play with the repeat
rate control to summon trippy dub echoes or generate a variety of spaceship and buzzsaw noises.
Seventh Heaven
body electric guitars is very crowded, and most companies seem content to take a me too approach to extended
range instruments. Jericho Guitars wisely
took a different approach by specializing in
long-scale and extended range guitars that
are more in tune with the wants and desires
of modern guitarists, both figuratively and
literally. Jerichos new Avenger 7 Pro 26,
which features a 26-inch scale, offers an in
between option that bridges the gap between a 25.5-inch standard scale guitar
and a 27-inch scale baritone to provide
playing comfort similar to the former
and the ideal string tension and more
accurate intonation of the latter.
FEATURES The overall size of the Jericho
CHEAT
SHEET
DIRECT PRICE
$849.99
MANUFACTURER
Jericho Guitars,
jerichoguitars.com
guitarworld.com
91
SOUNDCHECK
GUITAR
WORLD
PLATINUM
AWARD
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CELLENCE
92
parts. Jacks include a standard 1/4-inch guitar input, a control in jack for an optional
DigiTech FS3X foot controller (very useful
for live performance applications), and three
outputs (amp, mixer, and headphone) that
perform differently depending upon which
jacks are used. Using only the amp output
engages an EQ circuit that optimizes the bass
and drum tones for playback through a guitar amplifier; using mixer out only applies
speaker emulation to the guitar signal; and
using both the mixer and amp outputs feeds
the guitar signal only to a guitar amp via the
amp out while the bass and drum signals are
routed to the mixer out. The headphone output mutes the amp and mixer outputs and
features its own independent level control.
When using just a guitar amp, the bass
and drums sound best when using a clean
setting. If you dont want a clean guitar
tone as well, the pedal provides a Guitar FX
switch that provides distortion and other
effects that change to correspond with
the musical genre selected. Trio can learn
three different song parts (such as verse,
chorus, bridge) that can be selected via buttons at the top of control panel or with the
optional footswitch. Theres also an Alt
button for selecting an alternate tempo
usually half or double speed.
PERFORMANCE Although the Trio is not
TC Electronic
SENTRY NOISE GATE
CHEAT
SHEET
youve performed them a few times. Mastering the learn function is the key to success,
and this basically requires that you play a
chord progression with clearly fingered
chords, keep the rhythm steady, and properly time the downbeat when disengaging
the learn mode. Chances are this alone will
make your playing ten times better before
youve even jammed to your first groove.
Hearing the bass and drum parts
that Trio comes up with is totally cool.
Granted, were not talking a Geddy Lee
and Neil Peart level of sophistication here,
but more often than not the parts fit and
have some substance and style. While the
bass and drum sounds arent reasonable
substitutes for real bass and drums in the
studio or when performing showcase gigs,
they certainly sound good enough to jam
along with or for casual solo performances.
The accompaniment even includes perfectly timed fills and transitions. Equally
cool is how the bass lines and drum patterns adapt to the selected genre and how
each style setting varies. In addition to
being helpful for practice, the Trio could
even help you get out of a creative rut
when writing songs.
Korg
GA CUSTOM TUNER
The Korg GA Custom is a new type of
compact, hand-held tuner that packs highend functionality into a convenient and
highly portable package. The GA Custom
features a large 3D visual meter, the first
of its kind for a compact tuner, with three
versatile display modes that delivers
unprecedented visibility and ultra-high
0.1 cent tuning precision. The GA Custom
has input/output jacks to be used when
tuning an electric guitar or bass, and a
built-in high-sensitivity mic that allows
tuning for acoustic guitars, wind and string
instruments, and keyboards.
STREET PRICE $29.99
korg.com
guitarworld.com
93
SOUNDCHECK
Horse Sense
GUITAR
WORLD
GOLD
AWARD
P
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FORMANC
CHEAT
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94
Built-in Shadow
electronics consisting of
an under-saddle NanoFlex
pickup and sound hole
mounted controls
provides warm, natural
amplified tone.
VOC
ALIS
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SON AND
GWR
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steve Warren
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SOUNDCHECK
GUITAR
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AWARD
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98
CHEAT
SHEET
STREET PRICE: $94.95
MANUFACTURER:
Seymour Duncan,
seymourduncan.com
THE BOTTOM LINE
The Seymour Duncan Perpetual Burn is a totally
shred-worthy humbucker,
but its also sonically versatile for all kinds of music
with its robust output that
produces crystal-clear note
definition and warm chunk.
D O W H AT Y O U
WHAT YOU DO
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FRANCHISING.SCHOOLOFROCK.COM
by Tommy Emmanuel
ON THE RANGE
100
FIG. 2 2
FIGURE
Am
1
2
2
0
FIG.
3 3
FIGURE
Am
2
0
1 3
(3)
Dm/ F
3
1
3
0
1
Am
5
1 0
2 0
0
2
0
(9)
0
5
7
E( 9)
0
0
1
3
2
2
3
2
G
7
10
3
0
3
0
7
8
8
8
2 2
3
0
3
0
7
8
10
1
2
G
0
D/ F#
1
3
3
0
2
FIG. 5 5
FIGURE
3
0
1 1
Am
FIG.
4 4
FIGURE
A
3
Am
1.
2.
G
3
3
0
1
2
D/ F#
3 5
D/ F#
1
2
10
8
8
8
8
8
1
0
(2)
0
0
E7/ G#
4
3
4
E( 9)
8
12
9
10
9
Am
3
A D A M G A S S O N / G U I TA R I S T
MAGAZINE VIA GETTY IMAGES
COLUMNS
EMMANUEL
DEXTERITY
Seymour Duncan stands for those who want to create unforgettable music
that lends itself to a place and time. Helping you find that sonic voice, that
perfect pickup that makes a smile widen across your face when you hit the
first chord - thats our mission. Built in America, tried and tested on thousands
of albums; Seymour Duncan is here for you.
seymourduncan.com | 805-964-9610
COLUMNS
HOLCOMB-MANIA
by Mark Holcomb
of Periphery
RIFF
PROGRESSION
102
FIG. 1 1
FIGURE
Gm9sus4
5
6
5
8
5
5
Csus4
10
10
10
10
F/A
B (maj7)
C/F
C/E
10
10
8
7
(10)
10
12
8
8
5
5
3
3
5
5
3
2
FIG.
2 2
FIGURE
FIGURE
2 tuning)
(same
Gm9(sus4)
FIGURE
2 tuning)
G5
(same
1
G5
(same
tuning)
FIGURE
2 Gm9(sus4) 6
1
5
Gm9(sus4)
G5
FIGURE
2 tuning)
6
7 8
(same
1
0
0
0
5
5
Gm9(sus4)
7 8
G5
5(same5 tuning)
6
1 5
5
Gm9(sus4)
0
G5
5
5 7 8
6
1 5
0
5
5 7 8 5 6
5 (maj7)
5
B
7
8
5
5
4
5
B (maj7)
5
5
4
(10)10
10 10 10 B (maj7)
10
10 10 10
4 (10)
(10)
10
(8) 10
8
8 10
8 10
8
(10)
10
(7) 10
7
7 10
7 10
7 B (maj7)
8
8
(8) 10
8
8 10
8 10
8
4 (10)
10
(7) 10
7
7 10
7 10
7 B (maj7)
8
8
(10)
10
4 (8) 8
8
8 8
(10)
10
(7) 10
7
7 10
7 10
7
8
8
(10)
10
10
10
10
(10)
10
(8) 10
8
8 10
8 10
8
F5
(10)
10
(7) 10
7
7 10
7 10
7
8 C/E8
7 (8) 8
8
8 8
F5
(7) 7
7
7 7
8 C/E8
7
F5
3
7 15
15
3
F5
15
3
3
7 15
F5
15
3
7 15
3
15
15
33
15
3
15
3
1015 0 3
15
3 8
10 810 0
10
810
8
10
0 10
810
8
10
0 10
8
10 810 0
10
810
8
10
14
14
10
3
3
3
3
3
3
33
3
3
033
0 10
0 10
0 10
0 10
10
14 17 14
0
8 10
8
0 10
8 10
8
10
0
8 10
8
0 10
8 10
8
0 10
8 10
8
10
8 8
8 8
8 8
8 8
8 8
(3) 3 C/E
(3) 3
(3) 3 C/E
2 2
(3) 3
2 2
(3) 3 C/E
(3) 3
(3)
2 2
(3) 33
(3) 3
3
(3)Csus4
2 2
(3) 3
3
2 2
8 (3)Csus4
10 (10)
8 Csus4
10
10 (10)
10 (10)
10
10
10 (10)
8 Csus4
10
10 (10)
Csus4
10
10 (10)
8
10
10
10 (10)
(10)
10
10
8
10
10 (10)
(10)
10
10F5(10)
10
10 (10)
10
10F5(10)
17 10
18 10 (10)
1410 12 14 17 14 15 17 18
12
15 17 18
1410
14 17 14
15 17 18
14 12
10
14 17 14
12
15 17 18
10
14 17 14
12
15
F5
15
15
F5
15
15
F5
15
15
15
15
15
15
15
15
(10)
10
(10)
12
10
8
12
8
(10)
8
10
8
12
(10)
8
10
8
(10)
12
10
8
12
8
8
8
2
2
2
2
2
3
3
3
3
3
3
33
3
3
3
3
0
0
0
0
0
3
2
3
2
3
2
F/A 32
F/A 32
10
F/A
10
10
8
10
F/A
7
8
10
F/A
7
10
8
10
7
10
10
8
10
7
8
7
3
3
3
3
3
3
33
3
3
3
3
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(3)
(10)
(10)
(10)
(12)
(10)
(8)
(12)
(8)
(10)
(8)
(10)
(8)
(12)
(10)
(8)
(10)
(8)
(10)
(12)
(10)
(8)
(12)
(8)
(8)
(8)
Csus4
Csus4
Csus4
10
10
10
Csus4
10
Csus4
10
0
8
0 10
8
10
0
8
0 10
8
0 10
8
10
10
12
10
12
10
12
10
12
10
12
3 3 3
2 2 2
3 3 3
2 2 2
3 3 3
2 2 2
3 3 3
2 2 2
3 3 3
2 2 2
(10)10 10
(10)10 10
(10)
(8)10
8 10
8
(10)
(7)10
7 10
7
(8)10
8 10
8
(10)
(7)10
7 10
7
(10)
(8)10
8 10
8
(10)
(7)
7
7
(10)10 10
(10)
(8)10
8 10
8
C/E
(10)
10
(7)
7 10
7
(8) 8 8
C/E
(7) 7 7
3 C/E
3
3 C/E
2 2 2
3
3 C/E
2 2 2
3
33 2 2 2
3
3 2 2 2
3
3 2 2 2
10
10
10
10
10
10
10
12 1212
12 1212
12 1212
12 1212
12 1212
5
5
3 53
2 52
3 53
2 52
3 35
2 52
3 53B
2 52
3 3B
2 2
10 10 B
10 10
10
8 10
8
10
7 10
7B
8 10
8
10
7 10
7B
10
8 10
8
10
7
7
10 10
10
8 10
8
10
7 10
7
8 8
7 7
3
2
3
2
3
2
3
2
3
2
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
12
10
12
10
12
10
12
10
G5 12
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
(10)
14 17
14 17
14 17
0
0
0
F/A
F/A
10
F/A
10
10
8
10
F/A
7
8
10
F/A
7
10
8
10
7
10
10
8
10
0
7
8
0
717
14
15 17
14
15 17
14
15 17
14 17 14
15 17
14Gm9(sus4)
17 14
15
18
18
18
18
18
Gm9(sus4) 0
G5
6
0
5
5
Gm9(sus4)
G5
6
5
7 8
53
5
5
0
Gm9(sus4)
52
G5
5
5 7 8
6
5
53
5
0
G5
5
5 Gm9(sus4)
52
7 8
6
35
5
0
5
5 7 8 5 6
52
53
5
5
(maj7)
52
5
5 7 8
3
5
(maj7)
2
5 (10)
5 (10)
(maj7)
10 (10) 10
(10)
12 (10)
(12) 12 121212
10
8 (10)
(8) 10
(maj7)
12
8 8 8 8 (10)
8 (12)
(8) 12 121212
(10)
8 (10)
(8) 10
10
(maj7)
8 8 8 8 (10)
8 (10)
(8) 12 121212
12
(12)
8 (10)
(8) 10
10
8
(8) 12 121212
8 8 8 8 (10)
(10)
12 (12)
10
8 (10)
(8)
N.C.10
(D5)121212
12
8 8 8 8 12
8 (12)
(8)
8 (8)
N.C. (D5)
8 8 8 8 8 (8)
5 5 N.C. (D5)
5 5
3 3 3 3 53 53 N.C. (D5)
2 2 2 2 52 52
0
3 3 3 3 53 53 N.C. (D5)
2 2 2 2 25 25
0
3 3 3 3 53 53
2 2 2 2 52 52
0
3 3 3 3 53 53
2 2 2 2 52 52
0
3 3 3 3 3 3
2 2 2 2 2 2
0
F5 here substitutes for the C/F in the progression, though either could be used. I
anticipate the change to C/E by switching
to this chord on beat four of bar 7, instead
of hitting it squarely on beat one of bar 8.
From
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Hundreds of guitar tab titles available! See website for complete listing.
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code GRV15.
COLUMNS
STRING THEORY
By Jimmy Brown
CLASSIC PIANO
FIG.
1 1 "Moonlight Sonata," 1st movement, accompaniment (l.h. piano part), bars 1-35
FIGURE
C m
my head for a cool classic rock-style arrangement of Ludwig van Beethovens famous
piano piece, Moonlight Sonata, specifically
the slow first movement (Adagio), which
features a hauntingly beautiful chord
progression unfolding as hypnotic triplet
arpeggios supporting a sparse, poignant
melody. My idea, which Ive finally written down, recorded and am excited to now
share with you, was to arrange the pianos
left- and right-hand parts for two electric
guitarsrhythm and leadwith bass and
drums accompaniment, in a dramatic, British hard/prog-rock style inspired by Pink
Floyds Shine On You Crazy Diamond, Led
Zeppelins Since Ive Been Loving You and
Brian Mays playing on the Queen songs We
Are the Champions and In the Lap of the
GodsRevisited (Sheer Heart Attack).
Here I present approximately the first
half of the left-hand piano partthe accompanimentwhich I perform with a slightly
dirty bridge-pickup tone and a generous
amount of concert-hall reverb, which helps
emulate the ringing piano sound Beethoven
achieved by using that instruments sustain
pedal (see FIGURE 1). This part of the arrangement has you playing an unbroken
stream of slow, steady eighth-note-triplet
arpeggios, la Chicagos Color My World,
and requires some practice to master, as you
will need to anticipate some of the challenging fingerings. Its mostly flatpicked single
notes, but you will need to use hybrid picking (pick-and-fingers technique) in order to
simultaneously pluck two notes on non-adjacent strings on most of the chord changes.
First, familiarize yourself with the chord
shapes, making sure your fretting fingers
are properly positioned, then work on the
picking, striving for an even triplet rhythm
throughout. The goal is to try and allow the
arpeggios and bass notes to ring together
as much as possible, although that becomes
impossible in the last half of bars 34 and 35,
where you need to let go of the bass note
as your fret hand shifts up the neck to play
the extended diminished arpeggios. This
is where the thick reverb helps to emulate
104
1
4
C m/ B
C m
1
4
6
0
Bm
17
B
4
2
0
2
6
4
5
0
/G
2
2
3
G / B#
1
3
0
7
4
2
Em/ B Em
4
F m/ C#
Cdim7
03
0 3
4
3
4
4
4
2
/G
4
Em
C sus4 C
4
5
6
6
4
7 9
C m/ G#
11
11
11
12 9
1
4
79
12
4
2
4
2
7 9
11
11
12
14
11
F m
B
4
G dim7
4
6
4
E/ B
1
2
0
3
0
2
4
3
14 11 17 14
25
7
7
6
8
4
4
25
15
17
18
0
1
/G
4
2
4
4 7
6
4
7 4
7 4
G 7 9
4
4
Em
G 7 9
0
6
6
5
F m
C 7/ E#
2 5
C 7/ E#
B7
Em/ B Em
C dim/ B / A#
F dim7 Gdim7 G 7 9
C m/ G#
12
C dim7/ G#
9
9
4
B
4
2
G7/ D
0
0
G 7 C m G sus4 G 7
D/ F#
F m
1
C m
C m
7 9
2
0
Bm
3
D dim7F m/ C# G 7/ B#
6
33
11
C m/ G#
29
11
Bm/ F#
4
F m
25
Em6
3
G/ B
21
1
2
Em
4
13
4
2
7 4 10 7
10
11
3
4
4
5
F m/
G# right),
G 7 which
9
D the
dim/Brian
G# F m/ G#
hard left
and
is
May/Queen influence
I
mentioned
earlier.
1 2 1
7
4
4 7
4
4
4 7
4 7
of
6Next
4 month Ill
3 show you the
6 remainder
4
4
the arpeggio part, then well move on to the
melody, which features lots of wailing string
F m6
G
C m
bends and vibratos, played with 0a high-gain
0
0
2
2
1
1
2
2
2
2
2 tone,
2 la
1 Pink
1 Floyds
1 David
1
1Gilmour.
1
lead
1
1
1
1
2
2
G 7/
B#
C m
F mor the complete
E/ B
B7
othersas
individual
chapters
discvisit
43
4
4
4
4
2
2
2
2 the official
0
0
4 World
4
1 guitarworldlessons.com
1
1
1
1
1or download
2
2
1
1 Guitar
4
4
7
7
3 Lessons app in iTunes.
4
2
2
7
E
6
0
TM
SOFTCOVER VERSION
AVAILABLE AT
PUBLISHED BY
108RSG_Promo_2015_GuitarAficionado_F.indd 1
10/13/15 10:54 AM
Instrument cables
Patch cables
Jumper cables
www.george ls.com
Marc Eric
Nashville Guitarist/Singer
Songwriter/Producer
www.marceric.com
COLUMNS
SHREDDING
WITH THE ALIEN
by Joe Satriani
FIG. 1 1
FIGURE
(E)
9
9 11
106
FIG. 2
FIGURE 2
9
9 11
9
11
12
9
9
9
9 11
12
9
9 11
11
11
11
12
FIG. 3 3
FIGURE
C5
8
8
10
10
8
10
10
8
8
8
9
8
7
8
9
10
8
9
8
7
10
3
FIG.
4 4
FIGURE
1
A
5
6
7
5
5 7 5 7 7
4 6 4 6
7
6
5
4
24
42 4
34
24
24
2
2
420
3
9 9 9 9
911 911 911 9
8
8
810
9
911
320
3
C
8
7
8
7
0
0
1
2
2
0
0
0
0
0
1
2
79
3
10
711
9
9
12
10 12
10 12
10
12 10
14
12
5
w/bar
6
A
9
E
7 9
7
9
7 11
10
9 7
9 7 5
0 12
12 1412
14
12
1113
11
11 9 9 9
14 11 9 11 9
FIG. 5 5
FIGURE
E
2
2
0
9 7
0
9
7 9
10
0 8 12
A
1010
101210
12
3
E
5
7
7
7
7
79
9 (9)
9 (9)
11 (11)
12
7 7
79 7
14 14
141416
16
12
1214
9 9
9
911
11
Reverberation Machine
Mini-Ultimate Overdrive
Analog Octave Up
COLUMNS
ACOUSTIC
NATION
by Dale Turner
MODERN
MINSTREL
108
FIG. 1 1
FIGURE
Am
Em
Capo. fret 2
0
4
0
FIG. 2 2
FIGURE
0
3
Am
3
0
Em
2
0
Dsus4
Csus2
3
2
0
0
0
0
2
3
G5
Em7
3
G/ B
3
3
2
FIG. 3 3
FIGURE
0 2
0
G/ D
0
0
2
0
3
0
3
0
Gm/ D
3
0
0
3
0
D
3
0
0
3 2
0
2
0
FIG. 4 4
FIGURE
a)
G
Gaug
3
0
0
0
2
3
b)
F
3
0
0
1
2
3
0
1
0
2
3
1
1
2
3
3
1
c)
C
4
4
5
6
6
4
0
1
0
2
3
0
1
0
2
3
Am
0
0
1
2
2
0
0
1
2
2
0
FIG. 5 5
FIGURE
Am
Capo. fret 5
4 5
A 5F m7 5
5 4
E5
0
4
0
2
Am
4 5
A5
E
0
5 4
E5
0
LESSONS
HAVING
ACOUSTIC ISSUES?
DONT FRET.
Theres a capo for that.
The Kyser Quick-Change.
MADE IN USA
COLUMNS
by Andy Aledort
PERFECT PAIRS
110
IN DEEP
FIG. 1 1
FIGURE
(E)
12
12
9
9
12
11
9
9
11
11
9
9
11
11
9
9
11
12
9
9
11
12
FIG. 2 2
FIGURE
(E)
912 9 9
912 912 912 9
11 11 9
11 911 9
111111 911 9 1111
11 11
9
9
9 11 9
11 9 11 9
9
9
12
9 1212 9 9
9 12 9 12 9 1212 9 912 9
9 11 9 11 9 11
11 9
9 11
9 11
911 9 11
911
11
9 11
12 9 12
FIG. 3 3
FIGURE
(E)
912
91212 9
11 9 11 9
9
11 9 11 9
11 9 11
9
9
11 9
11 9
9 11 9
9
9
11 9 11 9
11
11 9
11 9 7
97
9 7 9
11
9 11
9 7 7 (7) 9
FIG. 4 4
FIGURE
(E)
12 9
11 9 11 9 11
11 9 11
9
9 9 11
9
11
9 11
9 9 (9)
12
9 (9)
9
9
9 11
9 12
11
11
99
99
11
11
9
9
12
9 11
9
9
9
9
9
9
9
9 12 14 12 (12)
9 12 14 12 (12)
(7)
FIG. 6 6
FIGURE
(E)
9
9
7
7
9
9
7
6
9
9
6
6
9
9
6
7
9
9
7
7
7
7
9
9
6
7
9
9
6
6
9
9
7
6
9
9
7
7
9
9
FIG. 7 7
FIGURE
(E)
7
7
9
9
7
7
7
7
9
9
7
6
9
9
7
6
9
9
7
6
9
9
6
6
hammer-ons and pull-offs as much as possible in order to yield a smooth, even sound.
Another effective approach is to move
between two-note pairs and single notes, as
this tactic will afford more melodic freedom.
FIGURE 3 illustrates this type of approach,
as bars 1 and 2 consist mostly of harmonized pairs, while bar 3 is played as single
notes only. It can be a little tricky to move
smoothly in and out of the pair thats fretted
with two different fingers, so work through
9
9
6
6
9
9
6 9 6
6
6 9 6 9 6 9 6 9 6
6
9
9 7 9 7 9 7 9 7
9
9 7
LESSONS
new
musicians
$9.95
advanced
players
$17.95
STUTTERING
FOUNDATION
A Nonprofit Organization
1-800-992-9392
www.stutteringhelp.org
TRANSCRIPTIONS
132
21
2
3
2
0
A7sus4
E7
2314
Intro (0:00)
Moderately q = 126
D
A7
0
3
321
2
3
3
2
3
2
0
0
0
2
3
0
0
0
0
0
2
3
0
3
2
3
2
0
3
2
0
2
0
3
0
3
3
2
Bass Fig. 2
**
7
0
2
0
2
2
0
2
0
3
2
0
3
3
2
0
0
0
3
0
2
2
3
0
3
2
3
sun
2
0
112
Its
all
2
3
0
3
2
0
0
0
0
and
1
2
2
0
0
0
(D/F#)
2
(Em7)
(D)
0
(A7)
0
I
say
3
1
2
2
0
3
1
2
2
0
4 G4
2
2
2
0
2
0
0
3
1
2
2
0
1
2
2
N.C.(G6)
2
0
***Dbld. 2nd time by another gtr. w/fast Leslie rotating spkr. effect.
0
2
0
let ring
2
0
right
0
3
34
E7
0
0
3
0
2
0
2
0
0
0
0
1.
13
2
0
2
0
Herecomes the
0
0
A7
0
0
0
X
3
0
0
A7sus4 A7
3
0
G
***
2
3
2
3
do do do do
let ring
2
3
2
Bass
3
2
Gtr.
9
*
A7
G
2
3
2
0
A7
32
G/B
2
0
Little
darling
2
3
0
3
2
3
3
2
Bass Fig. 1
7
its
17
3
2
been
2
3
it
21
3
2
0
3
0
3
long
G
cold
3
2
0
0
0
3
0
0
3
feels
2
3
0
3
3
2
0
0
0
25
(D)
0
2
The
I
3
2
smiles
feel
2
3
It
It
3
2
2
3
0
3
0
3
2
3
2
3
2
0
2
0
3
2
0
0
0
3
0
2
3
0
0
2
2
0
2
0
0
0
clear
clear
A7
2
0
2
0
0
0
0
2
0
Little
darling
2
3
0
3
2
3
3
2
N.C.(G6)
3
0
0
0
0
3
0
2
0
2
0
A7
2
0
0
0
0
0
0
2
0
2
3
0
2
0
2
0
2
0
3
0
3
0
sun
2
0
3
*Doubled by another acous. gtr. w/fast Leslie rotating spkr. effect.
0
0
0
2
0
0
3
2
3
Little
Little
darling
darling
2
3
0
3
2
3
1
2
2
0
2
2
0
1
2
2
0
1
2
2
0
Here comes
2
3
2
2
0
3
2
0
3
the
0
3
2
3
D
1
2
2
0
and I say
E7
3
2
3
0
0
2
0
0
0
2
0
G4
A7sus4 A7
0
A7sus4
the
(Em7)
0
2
3
2
0
(D/F#)
Here comes
2
0
2
0
0
0
2
0
2
0
2
0
been
been
A7sus4 A7
0
0
0
2
0
2
0
3
0
0
0
0
2
0
2
0
3
0
0
2
2
3
0
0
to
the
faces
slowly melting
0
0
0
0
0
3
0
A7sus4
2
3
0
3
3
2
2
0
2
2.
2
0
2
0
its
its
0
3
here
A7
0
0
0
3
since
since
A7
2
3
2
2
0
do do do do
3
2
returning
that ice is
G
37
3
0
A7sus4 A7
2
0
2
0
0
2
been
0
0
0
0
33
(A7)
0
Gtr.
29
since its
2
0
0
3
0
0
2
years
G
0
2
like
winter
A7
2
3
lonely
2
0
its
all
2
3
0
3
0
sun
3
2
right
0
3
guitarworld.com
113
TRANSCRIPTIONS
N.C.(G6)
Gtr.
41
Bass
5
(D/F#)
0
(Em7)
(D)
0
4
G
(bar 68)
(A7)
2
3
2
2
0
A7
0
3
2
3
0
0
2
0
N.C.(A)
0
2
0
2
0
Bridge (1:31)
(F)
(C)
46
let ring
1
Bass Fig. 3
10
Gtr.
52
10
Sun
(F)
sun
(G/B)
Here it
(G)
let ring
let ring
A7
0
2
3
2
let ring
let ring
1
(G)
let ring
sun
(C)
let ring
3
(G/B)
let ring
comes
D
2
0
2
0
2
0
2
0
2
3
2
0
2
3
2
0
0
0
0
A7
2
3
2
N.C.(A)
N.C.(A)
2
0
2
0
2
0
2
0
Sun
(F)
sun
(C)
Gtr.
58
sun
(G/B)
1
2
10
Bass
10
2
0
2
2
0
2
2
0
2
0
2
0
2
0
0
0
2
0
3
0
2
0
0
3
2
3
2
0
2
N.C.(A)
3
0
2
2
0
2
3
0
2
0
2
0
0
2
0
0
2
0
2
0
0
0
3
0
0
2
0
2
A7
3
0
2
0
A7
2
3
2
A7sus4
114
1., 2., 3.
comes
D
4.
64
Here it
(G)
3
2
0
2
0
2
0
2
Go back to
3
2
0
2
0
3
2
0
2
0
3
2
0
2
0
3
2
0
2
0
3
2
0
2
0
3
2
0
2
0
H
68
(2:39)
D
2
0
74
the
2
3
2
2
3
0
3
3
2
3
2
2
2
0
3
1
2
2
0
3
1
2
2
0
(D)
0
2
0
(A7)
2
2
3
0
3
2
3
Its
all
2
3
0
3
Here comes
the
sun
2
0
0
2
0
0
0
0
0
0
(D/F#)
0
(Em7)
0
4
G
N.C.(G6)
2
3
(D/F#)
0
(Em7)
0
(C)
4
G
(G)
let ring
(G/B)
let ring
0
3
right
let ring
N.C.(G6)
Slightly slower
(F)
0
3
right
Its all
2
3
0
0
do
0
3
0
2
3
2
0
0
3
1
2
2
0
do
(A7)
(D)
0
do
1
2
2
0
do
E7
77
0
3
sun
71
Here comes
guitarworld.com
115
strymon.net/bigsky
the short cut between your heart and ears. If youre still
searching, trust your heart; trust our pickups.
lundgrenpickups.com
TRANSCRIPTIONS
All guitars are tuned down one half step (low to high, Eb Ab Db Gb Bb Eb).
Bass tuning (low to high): Eb Ab Db Gb.
All music sounds in the key of Ab minor, one half step lower than written.
A5
A5add7
7fr
134
G5
144
8
!
*Gtr. 1 (w/dist.)
Rhy. Fig. 1
10
9
7
10
9
7
8
!
10
9
7
10
9
7
10
9
7
10
9
7
Gtr. 2
Bass Fig. 1
5
10
9
7
8
9
7
8
9
7
8
9
7
8
9
7
A5add7
5
!
5
!
15
15
15
15
20
A5add7
( 20 )
8
9
7
8
9
7
8
9
7
8
9
7
8
9
7
w/fdbk.
5
!
* punch-in
A5
5
X
X
X
8
9
7
A5
pitch: G
1342
A5add7
P.H.
*1/2
8
8
8
8
7
!
!
!
!
5
!
1342
118
8
9
7
P.H.
14
8
9
7
A5
Gtr. 1 plays Rhy. Fig. 1 three times (see bar 1)
10
134
8
8
8
!
!
*doubled throughout
Bass
A5add7
1444
F
7fr
134
8fr
1444
B5
8fr
134
F
7fr
144
C5
5fr
144
E
7fr
144
C5
Intro (0:00)
Moderately Fast q = 148
A5
E5
8fr
134111
G5
5fr
13421
F5
5fr
134
D5
7fr
144
Am
3fr
132
Em
10fr
F5
7fr
12 14 16
14 15
16
14 15 17 14 15 17
14
17
14
20 ( 20)
1/2
20
19
20
19
20
19
17
20
17
19
17
19
18
B
17
1. Wake up
not too
late
Its
six oclock
F5
19
!
10
9
7
10
9
7
10
9
7
everyday
19
!
Rhy. Fig. 2
like
6
5
5
6
5
5
1
!
1
!
6
5
5
*doubled throughout
Bass Fig. 2
5
!
A5
Gtr. 1 plays Rhy. Fig. 1 (see bar 1)
Gtr. 2
21
5
!
8
!
A5add7
10
!
10
the rain
power
F5
Take
7
7
7
!
!
25
1/2
pills
train
A5
Gtr. 2
29
w/bar
w/fdbk.
(10 )
10
!
10
!
10
!
Gtr. 1
Rhy. Fig. 3
10
9
7
Bass
10
9
7
10
9
7
10
9
7
Bass Fig. 3
5
And youd
A5add7
10
9
7
10
9
7
10
9
7
8
9
7
8
9
7
8
9
7
8
9
7
8
9
7
8
9
7
like
G
10 10 10
8
9
7
8
9
7
8
9
7
8
9
7
8
9
7
8
7
5
guitarworld.com
119
TRANSCRIPTIONS
Gtr. 1
33
8
7
5
Bass
8
7
5
X
X
X
8
7
5
10
9
7
10
9
7
A different
10
9
7
X 10
X 9
X 7
guy
G5
and a better
8
7
5
8
7
5
8
7
5
X
X
X
8
7
5
For your
lover
A5
10
9
7
10 10 10
9 9 9
7 7 7
love
F5
X 10
X 9
X 7
10
10
8
Bass Fig. 4
3
for your
37
10 10 10
10 10 10
8 8 8
life
E5
X 10
X 10
X 8
9
9
7
9
9
7
9
9
7
X
X
X
9
9
7
And you
10
9
7
10 10 10
9 9 9
7 7 7
10
9
7
10
9
7
like
G5
10 10 10 10 10 10
9 9 9 9 9 9
7 7 7 7 7 7
8
7
5
Gtr. 1
41
8
7
5
8
7
5
the rock n
X
X
X
8
7
5
roller
A5
10
9
7
A different
10
9
7
10
9
7
X
X
X
10
9
7
life
G5
8
7
5
10
10
8
10
10
8
10
10
8
X
X
X
10
10
8
8
7
5
Bass plays Bass Fig. 4 (first four bars only) (see bar 33)
Gtr. 1
45
than whiskey
8
7
5
X
X
X
8
7
5
cola
A5
10
9
7
style
E5
9
9
7
9
9
7
9
9
7
9
9
7
9
9
7
9
9
7
9
9
7
9
9
7
9
9
7
Bass
8
train
A5
A5add7
Gtr. 1 plays Rhy. Fig. 1 twice (see bar 1)
Gtr. 2
48
8
!
10
9
7
9
9
7
(bar 72)
But dont be
10
9
7
X
X
X
10
9
7
low
F5
10
10
8
A5
P.H.
1
8
8
8
0
!
!
!
0
12 14 16
Fill 1 (1:47)
Gtr. 2
(G5)
!
15
120
10
9
7
(A5)
15
15
14 15 17
14 15 17 15 14
17 15 14
16 14
53
16
18
18
18
17
Gtr. 1
56
A5add7
17
16
17
14
10
9
7
16
10
9
7
14
14
16
6
5
3
16
11
!
11
F5
0
10
9
7
16
A5
6
5
3
6
5
3
6
5
3
10
9
7
60
A5
10
9
7
10
9
7
10
9
7
10
9
7
Ooh
10
9
7
10
9
7
yeah
10
9
7
0
10
9
7
10
9
7
8
9
7
8
9
7
8
9
7
8
9
7
8
9
7
8
9
7
F5
10
9
7
A5add7
not
6
5
3
8
9
7
8
9
7
8
9
7
8
9
7
6
5
3
8
9
7
too late
6
5
3
8
9
7
6
5
3
10
9
7
A5
Gtr. 1 plays Rhy. Fig. 3 (see bar 29)
Gtr. 2
68
19 20 19 17 19 17
20
17 19 20 19 17 19 17
20
17
19
20
17
19
20
19
17
19
19
Gtr. 2
72
17
17 19
18
17
G5 F5
E5
your own style
10 10 10
10 10 10
8 8 8
X 10
X 10
X 8
9
9
7
9
9
7
9
9
7
9
9
7
Bass
8
19
18 17
18
17
17
20 17
20
12
12
10
10
15
17
Em
like
15
G5 F5
15
10
10
8
Gtr. 1
17
17 20
And youd
F
Keep
19 20
Go back to
(2:07)
F5
17
20
A5add7
70
19 20 19 17 19 17
8
9
9
7
0
8
9
9
7
8
9
9
7
8
9
9
7
8
9
9
7
0
15 14 !
12
1/2
15
15 12 12
14
12 10
12 10
10 8
10
guitarworld.com
121
TRANSCRIPTIONS
Em
76
22
8
9
9
7
0
8
9
9
7
80
8
9
9
7
10
10
10
8
8
9
9
7
0
14 15 14
10
10
10
8
22
22
22
22
22
!
17 17 15
12
12
10
10
10
8
8
9
9
7
0
10
16 16 15 16 17
10
10
10
8
17
19
10
9
7
15 16 15
17 17
10
10
10
8
8
9
9
7
8
9
9
7
8
9
9
7
0
0
17
18
17
19
X
X
X
10
9
7
10
9
7
10
9
7
12
12
10
catch
9
9
7
7
7
5
your
17 18 17
17
19
12
12
10
17
!
18 18 17 18 19
12
12
10
14
17
19
16 17 16
17 14
and
12
12
10
16 15 14
15
16 15
8
9
9
7
0
16 17 18
12
12
10
w/bar
10
9
7
E5 D5
pitch: G
w/bar
let ring
17
19
122
8
9
9
7
Em
G5
10
10
10
8
82
F5
F
14 15 16
G5
P.H.
G5
17
19
A5
w/bar
18
17
17
19
10
9
7
18
17
16
8
7
5
8
7
5
8
7
5
10
9
7
84
20
G5
17
19 18
17
19 18 16
10
9
7
10
9
7
15 14
16 14
X
X
X
10
9
7
14
16 14
16 14
17
10
9
7
10
9
7
17 16
14
17 16 16 17 16 14
10
9
7
14
17
16
14
17
15
14
15
17
14
16
14
17
16
17
19
16 14
17 16
8
7
5
8
7
5
10
9
7
14
A5
1/2
16
17
17
8
7
5
G5
86
A5
16
14
14
17
10
9
7
10
9
7
X
X
X
10
9
7
10
9
7
10
9
7
10
9
7
8
7
5
8
7
5
8
7
5
10
9
7
C5
88
19
16
19
18
19
10
9
7
17
19
10
9
7
16
19
15
15
17
17
X
X
X
10
9
7
14
17
15
10
9
7
10
9
7
14
16
17
15
14
16
10
9
7
D5
14
12
5
5
3
5
5
3
5
5
3
7
7
5
guitarworld.com
123
TRANSCRIPTIONS
90
11
C5
10 12 15
12 10
12 11
14 12 14
10 12 13 10
11 12
D5
10
22
5
5
3
5
5
3
5
5
3
7
7
5
12
7
7
5
7
7
5
X
X
X
7
7
5
7
7
5
7
7
5
7
7
5
92
22
22
7
7
5
1/2
*
17
20
*punch-in
7
7
5
19
20
19
20 19
20 17 19 19
X
X
X
7
7
5
19
17
16
19
17
124
19
7
7
5
7
7
5
7
7
5
15
0
20
14 17
15
2
3
3
1
2
3
3
1
4
5
5
3
4
5
5
3
16
15 18
4
5
5
3
16
15 18
4
5
5
3
4
5
5
3
22
22
!
22
!
18
14 17
4
5
5
3
19
2
3
3
1
E5
17
19
18
4
5
5
3
16
F5
95
10
10
8
10
10
8
10
10
8
9
9
7
9
9
7
0
!
0
!
9
9
7
9
9
7
8
7
5
3rd Chorus
(2:45)
G5
Gtr. 1
98
8
7
5
to be another
the rock and
roller
A5
8
7
5
X
X
X
8
7
5
A different
A different
10
9
7
10
9
7
10
8
7
X
X
X
10
9
7
8
7
5
102
10 10 10
10 10 10
8 8 8
X 10
X 10
X 8
4.
9
9
7
9
9
7
9
9
7
Gtr. 1
106
10
10
8
10
10
8
10
10
8
style
E5
10
10
8
9
9
9
7
X
X
X
9
9
7
5
5
5
7
7
5
X
X
X
5
5
5
7
7
5
9
9
7
5
5
5
7
7
5
10
10
8
8
7
5
5
5
5
7
7
5
5
5
5
7
7
5
(Am)
19
20 17
Fill 3 (3:06)
Gtr. 2 (Am)
1
0 0
15
18
17
20
20
17
20
17
20
10
9
7
love
low
F5
10
10
8
And you
like
And youd like
G
5
5
5
7
7
5
5
5
5
7
7
5
X
X
X
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
17
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
5
5
5
7
7
5
8
7
5
20
15
18
15
18
15
18
15
18
15
18
15
18
15
18
Fill 4 (3:18)
Gtr. 2
19
10 10 10
9 9 9
7 7 7
train
Am
Fill 2 (2:54)
Gtr. 2
10
9
7
9
9
7
Bass
8
8
7
5
For your
But dont be
lover
cola
A5
5
5
5
7
7
5
9
9
7
8
7
5
1.- 3.
and a better
than whiskey
guy
life
G5
(Am)
20
19
1
1
20
19
20
19
20
19
19
20 20 20 20 20 20 20 20
guitarworld.com
125
TRANSCRIPTIONS
Seven-string guitars, tuned down one half step (low to high, Bb Eb Ab Db Gb Bb Eb).
Five-string bass, tuned (low to high): Bb Eb Ab Db Eb.
All music sounds one half step lower than written.
B5
G5
F#5
E5
A5
B5
5fr
14
C#5
G5
E5
8fr
14
15
11
12
10
14
G#5
7fr
G5
14
14
F#5
D5
14
Intro (0:00)
Moderately q = 112
(w/half-time feel)
B5
14
5fr
14
14
7fr
14
14
E5
15
12
10
14
15
11
12
10
4fr
F#5
0 0 0 0
14
14
11
12
10
15
14
12
11
10
(Guitarist Corey Beaulieu performs the bottom two voices as strummed octaves live.)
15
0
2
0
14
Bass
0
!
B5
5
12
14
15
11
12
10
0
2
0
0
!
126
5
3
0
2
0
0
4
2
3
!
0
!
2
!
2
!
0
15
12
10
0
5
3
3
!
4
2
G5
(B5)
14 18 19
14
14
11 15
11
16
12
9
13
14
9
E5
14
15
11
12
10
F#5
(A#5)
00 00
10
0
2
0
0
!
0
4
2
2
!
8
6
0
1
!
9
7
B5
Gtrs. 1 and 2
Rhy. Fig. 1
P.M.
10
Bass
2
0
2 2
0 0
N.C.
B5
P.M.
2
0
2 2 2
0 0 0
5
2 2
0 0 3
4
2
2
0
2 2
0 0
2
0
2 2 2
0 0
3 2
3 2
0 0
0 0 0
0 0 3
0 0
0 0
G5
A5
P.M.
5 3 2
2
0
2 2 2
0 0 0
5
2 2 3
0 0
7
5
5 3 2
0 0 0
0 0
Bass Fig. 1
13
2.
N.C.(D5) (C#5) B5
white
mind
Our
B5
Gtr. 3 plays Fill 1 on 2nd Verse (see below)
9
7
P.M.
0 0 0 0 0 0 0 0 0 3 2
G5
0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 3 2
0 0 0 0 0 0 0 0
A5
P.M.
5
3
0 0
0 0
7
5
Silence
Vibrant
C#5
17
snows in
chill
in her wintery
Lets paint the ground red with the blood of
colors
spray from new dead
staining the
earth such a
beautiful
N.C.(E5) (D#5) C#5
N.C.(E5) (D#5)C#5
Gtr. 3 plays Fill 2 (see below)
P.M.
P.M.
P.M.
7 6
4 4 4 4 4 4 4 4 4
2 2 2 2 2 2 2 2 2 5 4
4 4 4 4 4 4 4 5 4
4
2 2 2 2 2 2
7
7 5 4
2 2 2 2 2 2 2 2 2 5 4
2 2 2 2 2 2
Fill 1 (1:19)
Gtr. 3
(B5)
11
!
4 5 4
7 5 4
our kill
red
A5
P.M.
B5
P.M.
4 4 4 4 4 4
2 2 2 2 2 2
7 6
4 4 4
2 2 2 5 4
7
9
4 4 4 4 4 4
5
7
2 2 2 2 2 2 2 2
5 5
2 2 2 2 2 2
2 2 2 5 4
2 2 2 2 2 2 2 2
5 5 5 7
10
10
guitarworld.com
127
TRANSCRIPTIONS
the battle
G5 E5
21
7 5 5
0 0 0 0 0
10 9
Bass Fig. 2
7 5 7
0 0 0 0 0
goes
N.C.(B5)
P.M.
7 5 7
7 5 7
10
8
7
5
7 5 5
7 5 7
we
Silence in the
C5
A5
(D5)(C#5) (B5)
10 9
0 0 0 0 0
0 0 0 0 0
7 5 7
5
3
7
5
7 5 7
fight
(F#5)
must
P.M.
til
Gtrs. 1 and 2
Rhy. Fig. 3
25 P.M.
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
Gtr. 5
Rhy. Fig. 3a
14
16
17
11
13
14
11
12
0
17
14
12
16
17
13
14
11
12
0 0
16
13
11
Gtrs. 3 and 4
Substitute Bass Fill 1 on 3rd Chorus (see below)
Bass
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
they
(G#5)
28
P.M.
4 4 4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
die
(C#5)
all
7 7 5 5 4 4
5 7 5 7
17
16
14
16
17
14
13
11
13
14
12
11
11
12
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
128
C#5
0
4
2
12
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
their
5 5 5 5 5 5 5 5 5 5 7 7 5 5 4 4
0
17
14
12
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
2
!
16
17
13
14
11
12
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
Gtrs. 1 and 2
14
in
0 0
16
(A5)
2 2 2 2 2 2 2 2 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
cold
(F#5)
blood
(bar 45)
(bar 68)
silence
(G#5)
P.M.
31
13
11
33
16
13
14
11
12
Gtr. 3
Gtr. 4
12
10
14
14
w/dist.)
9
9
7
10
12
Gtr. 3
B5
Gtrs. 1 and 2 play Rhy. Fill 2 (see below)
14
11
Gtr. 4 (elec.
10
Go back to
N.C.(D5) (C#5)
A5
20
19
17
15
17
15
14
10
24
22
20
19
20
19
17
14
dip w/bar
-1/2
10
P.M.
dip w/bar
-1/2
12
1/2
Gtr. 3
35
10
B5
Bass plays Bass Fig. 1 one and one half times (see bar 10)
B5
P.M.
7
!
the
P.M.
16
in
10
14
10
Gtrs. 1 and 2
(B5)
2
0
(A5)
2
0
2
0
2
0
2
0
2
0
15
7
5
7
5
0 0 0
(A5)
14
guitarworld.com
129
TRANSCRIPTIONS
Gtrs. 1 and 2
37
7 5 5
0 0 0 0 0
10 9
Bass
7 5 7
The battle
G5
E5
(D5)(C#5) (B5)
0 0 0 0 0
goes
N.C.(B5)
P.M.
7 5 7
7 5 7
10
8
7
5
on
D5
and
F#5
5
3
9
7
(D5)(C#5) (B5)
7 5 5
7 5 7
0 0 0 0 0
0 0 0 0 0
10 9
P.M.
7 5 7
7 5 7
Go back to
on
N.C.(B5)
Gtr. 2 plays Rhy. Fig. 2 (see bar 21)
Gtr. 1
41
Make your
G5
E5
10 9 10
9 7
0 0 0 0 0
Gtrs. 1 and 2
10
0 8
7
5
10 9 10
Silence in the
E5
A5
P.M.
10 9 10
stand
N.C.(B5)
9 7
0 0 0 0 0
P.M.
10 9 10
5
3
7
5
(2:07)
Silence
G#5
Gtrs. 1 and 2
P.M.
45
6 6
4 4 4 4 4
Gtr. 4
13
11
Bass
the
in
N.C.
6
4
13
11
8
5
6 6 6
4 4 4
5 4 2 5 4 2
10 9 7 10 9 7
7 6 4 7 6 4
5 4 2 5 4 2
(C5)
Gtrs. 1 and 2
48
3 3 3 3
1 1 1 1
130
9
7
4 4 4 4
2 2 2 2
(D5)(C#5)(D5)
4 4 4 4
2 2 2 2
4 4
4 4 4 4
2 2
2 2 2 2
4 4 4
2 2 2
3 3 3 3
1 1 1 1
1 1 1 1
3 3
1 1
1 1
3 3 3 3
1 1 1 1
1 1 1 1
5
3
4
2
6
4
2 2 2 2
2 2 2 2
1 1 1 0 1 0
3 3 3
1 1 1 0
1 0
4 4 4 4
2 2
2 2 2 2
2 2 2
(D5)(C#5) (D5)
2 2 2 2
2 2 2 2
(B5)(C5)(B5) (C#5)
1 1 1 1
Bass
Interlude (2:10)
snow
N.C.(C#5)
4 4 4 4
2 2 2 2
2 2 2 2
4 4
2 2
2 2
4 4 4 4
2 2 2 2
2 2 2 2
4 4 4 5
2 2 2
2 2 2 3
3
5
Bridge (2:26)
Im left in the cold
as winter unfolds
(C#m)
(Cm)
(B)
(A#m)
11
9
!
8
!
7
!
Gtr. 1
Rhy. Fig. 4
52
11
10
Gtr. 2
Rhy. Fig. 4a
14
13
12
Bass
is
my
own
(Cm)
(C#m)
end Rhy. Fig. 4
56
6
10
11
11
(G#)
13
(A)
8
!
11
11 11 11 11 11
11
11 11
9 9
9 9
0 0
0
11
9
5 555555555555555
10
13
11
4 4444444
14
14
12
3 3333333
12
4 444444444444444
4 4 4 4 4 4 4 16 16 16 16 16
Gtr. 3
(w/wah) 1/2
60
12
Gtr. 4 1/2
(w/wah)
16
12
16
12
12
11
14
12
16
(Cm)
(B)
11
( 11 )
11
( 14 )
14
13
16
11
14
12
16
14
17
( 12)
12
12
12
( 16)
16
16
Bass
2
2 2
2 2 2 2 2 2 2 2
1 1
12
16
14
17
16
19
14
17
1 1 1 1 1 1 1 1
0 0
0 0 0 0 0
0 0 0
guitarworld.com
131
TRANSCRIPTIONS
(A#m)
63
( 14)
16 14 11
( 17)
(A)
19 17 14
6 6
(C#m)
Gtr. 4
66
14
19
!
12
14
14
16
6 6 6 6 6 6 6 6
12
14
12
12 9
12
Gtr. 1
11
11
11
11
11
11
11
14
14
14
14
14
14
14
14
12
12
12
12
12
12
12
12
12 9 12 9
14
11
11
4 4 4 4 4 4 4 4
11 9 11 9
9 11
12
9 11 9
Go back to
11
14
14
14
14
14
12
12
12
12
12
18
18
18
18
18
18
16
16
16
16
16
the
11 9 11 9
in
12
11
Silence
Gtr. 3
11
(Cm)
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
(Gtr. 3)
X
11
12
(G#)
11
11
17
Gtr. 2
Bass
16
17
6
4
2
(3:13)
Silence
in
the
*Gtrs. 3 and 4
P.M.
P.M.
68
8
8
10 9 7 9 10
10 9 7
5
5
9 8
7 6 4 6 7
7 6 4
3
3
7 6
5 4 2 4 5
5 4 2
5 4
3
Gtrs. 1 and 2
16
16
16
16
16
16
16 16
L Outro (3:15)
(w/half-time feel)
snow
N.C.(C#5)
(A5)
Gtrs. 1 and 2 play Rhy. Fig. 3 simile (see bar 25)
Gtrs. 3-5 play Rhy. Fig. 3a (see bar 25)
14
16 12
14
16 12
14
16 12
14
16 12
14 16
12 9
10
12 9
10
12 9
10
12 9
10
12 9
10
Bass
3
Bass Fig. 5
5 4 2 4 5
3
132
5 4 2
3
5 4
3
71
Silence
(G#5)
(F#5)
9
11
in
9
11
11
the
11
11
snow
(C#5)
Gtr. 6
73
16 12
(A5)
14
16 12
14
16 12 17 16 14 17
17
14
12 9
17 16
16 12
(F#5)
10
14
12 9
16 12
10
14
12 9 12 11 9
12 12 14 12 10
9 5
16 12 16 14 12
16 16 17 16 14
12 9
9 5
10
12 9
10
9 5 9 7 5 7 4 5 4
12 9 12 11 9 11
12
12 10
Silence
(G#5)
Gtr. 6
76
11
Gtr. 7
14
11
in
12
11
14
11
12
11
14
11
Gtrs. 3 and 4
12
16
the
11
14
12
12
16
10
14
snow
C#5
9
12
11
14
14
!
16
P.M.
14
18
15
Gtrs. 1 and 2
13
11
17
11
13
13
11
!
0
4
2
Bass
4
2
!
guitarworld.com
133
TRANSCRIPTIONS
As heard on YOU CAN TUNE A PIANO, BUT YOU CANT TUNA FISH
Words and music by KEVIN CRONIN Transcribed by JEFF PERRIN
D5
C5
B5
F5
5fr
14
8fr
14
14
8fr
14
8fr
11
1333
[D/A]
111
[G/A]
3121
[G]
3211
[Bm]
[E7no3]
13421
[A/E]
[E]
111
21
132
All music for Gtr. 2 sounds in the key of C, a minor third higher than written. [Bracketed chord changes are for Gtr. 2.]
Intro (0:00)
Moderately q = 94
[A]
[D/A]
*C
Bass
2
3
2 2
2 2
2 2
3 3
4
3
!
3
3
3
2
5 4
0
3 3
3
2
2
4 4
0
2
3
G3
0
2
2
4 2
0
3 3
0 0
0
*doubled throughout
0
G X
(0:11)
F/C
0
15
15
1/2
15
15
15 15
15 1515 15
0
[A]
Rhy. Fig. 1
Gtr. 2
2
2
0
2 2
0
2 2 2
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
let ring
1
1/2
15
!
15
15 15 0
0 0
15
15 ( 15)
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
8 8
0
0
[D/A]
Bass
134
3
!
3
!
0
2
2
2
0
F/C
3 5
[D/A]
[G/A]
10
8 8 8 8 8 8
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
B/C
20
F/C
20 17 20 17
[G/A]
3
3
4
5
0
3
3
4
5
0
3
3
4
5
0
3
3
4
5
20 17
19 17
17
2
3
2
4
0
Bass
15
15
15
2
3
2
4
0
1/2
15
15
15
15
15
15
13
13
[A]
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
Woman I am
felt the tables
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
10
10
are on
to make the break that we
The brink
me through my darkest
Got
[G/A]
[D/A]
willing
turnin
[D/A]
[A]
Rhy. Fig. 2
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
2
3
2
4
0
C
Bass Fig. 2
G8
10
8
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
F/C
10
8 8
3
3
4
5
0
8 8
10
8 8
8 8 8
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
3
3
4
5
0
3
3
4
5
0
3
3
4
5
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
2
3
2
4
0
10
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
10
8 8 8
8 8 8
Waiting
until
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
F/C
10
8 8 8 8
2
3
2
4
0
[D/A]
10
8
2
3
2
4
0
C
8
3
3
4
5
0
F/C
[A]
Gtr. 1 plays Fill 1 second time (see below)
2
3
2
4
0
3
3
4
5
0
B/C
10
8 8 8 8 8
of
hour
12
15
15
10
Gtr. 2
1/2
15
0 15
0
[D/A]
10
8
0
19 0
5 5 6 6 7 7
8 8
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
2
3
2
4
0
10
8 8 8 8 8 8
2
3
2
4
0
8 8
Fill 1 (1:21)
Gtr. 1
(C)
(F/C)
8
!
(B/C)
1
3
!
3
!
(F/C)
(C)
w/fdbk.
3
!
8
!
pitch: Bb
guitarworld.com
135
TRANSCRIPTIONS
Gtr. 1
15
here
for
poured on
you
B/C
you
me
to
take and
drink
like a sweet sunshower
F/C
C
of
1
Gtr. 2
[D/A]
[G/A]
2
3
2
4
0
3
3
4
5
0
3
3
4
5
0
3
3
4
5
0
3
3
4
5
0
3
3
4
5
0
3
3
4
5
0
2
3
4
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
2
3
4
2
0
2
3
4
2
0
10
2
3
4
2
0
2
3
4
2
0
2
3
4
2
0
2
3
4
2
0
2
3
4
2
0
17
0
2
2
2
0
0
2
2
2
0
10
3
1
3
1
[G]
Rhy. Fig. 3
3
0
0
0
0
0
0
0 7
5
7
5
5
3
0 0
0 0
[Bm]
3
0
0
0
3
0
0
0
3
0
0
0
3
0
0
0
3 3 3
0
0
0
0
2
3
4
4
2
old
5
3
0 0
[A]
2
3
4
4
2
2
3
4
4
2
2
3
4
4
2
2 0
3 0
4 0
4
2
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
10 10
8 8
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
10
6
10 10 10 10
8 8 12
0
2
2
2
0
0
2
2
2
0
3
2
4
0
20
11
11
0 X
[A]
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
0
0
3
2
4
0
2
2
2
0
0
2
2
2
0
3
2
4
0
2
2
2
0
136
8 8
8 7
0
2
2
2
0
0
2
2
2
0
10
D5
3
1
0
0 9
0 0
0 0 7
5
[Bm]
3
0
0
0
3
0
0
0
3
0
0
0
3
0
0
0
3 3 3
6 6
3
0
0
0
0
0
0
0
3 0
Yeah
Ah
3
4
2
[A]
3 3
4 4
2 2
3 3
4 4
2 2
2
3
4
4
2
2
3
4
4
2
2
3
4
4
2
2
3
4
4
2
2 0
3 0
4 0
4
2
10 10 10 10
10 10
(woo)
0 0 0 0
0 0 0 0
0 0 0 0
3 3 3 3
[E7no3]
[A]
[E]
Substitute Rhy. Fill 1a second time (see next page)
3 3 3 3 2
4 4 4 4 2
2 2 2 2 2
3
4
2
3 3
4 4
2 2
3 3
4 4
2 2
3 2 2 2 0
4 2 2 2 1
2 2 2 2 2
[G]
2
2
2
0
0
2
2
2
0
3
1
0 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
2
4
0
3
2
4
0
0
2
2
2
0
0 0
0 0 3
[D/A] [A]
[E7no3]
end Rhy. Fig. 3
2
2
2
0
0
2
2
2
0
[D/A] [A]
3
2
4
0
0
0
N.C.(G7)
11 11 11 11 11
0
2
2
2
0
oh
with the changes
B5
10 10 10 8
2.
N.C.(C)
[D/A] [A]
8
6 6
to roll
7 0 0 5
Bass Fig. 3
6
0
2
2
2
0
1.
story
0
2
2
2
0
10
8 8
[A]
Bass
8
3 3 3 3 3
3 3 3
3 3
3 3 3
3 3 5 5 6 6 7 7
Gtr. 1
23
8
11
11
11
F/C
[D/A]
1
8
11
8
11
8
11
8
11
11
11
!
B/C
[G/A]
25
15
F/C
[D/A]
8
11
0
0
10 10
13
12
15
C
[A]
15 15
18
0
0
12 12
15
27
8
11
11
13 13
18
13
20
(grad. bend
0
0
0
0
only)
11 11
11
F/C
[D/A]
1
0
0
15 15 15 15 15 15 15 15
16 17 17 17 17 17 17 17
0
0
B/C
[G/A]
1
0
0
8
11
8
11
8 8 8
11 10 10 8
0
5
5
5
5
0
0
Woo
C
[A]
30
8
7
5
7 5 7 5
5 5
B/C
[G/A]
33
0
7
0
0 0
0 0 0 0
0 0
8 8 5 5
8 8 5 5 8
5
7 7 7 5 7 5 5
5
7
5 7
7
7
F/C
[D/A]
8 10
10 8
10
8 12 8
10
8 10 8
35
3
1
F/C
[D/A]
0
0
7
5
7
5
5
3
0 0
0 0
5
3
story
10
8
0 11
0
11
C
[A]
8
1.
oh
to roll with the changes
B5
[G]
8 8
11
0 0
7 0 0 5 0 0 3
3
1
0
0
7 5 0
8 8 8 8
11
11
8 8
11
0
0
0
0
0
0
N.C.(C)
[A]
1
3
1
0 0
0 0 5
0 0 5
7 5 5
0 0
0 0 7
5
11
!
11
11 8 8
11 11
0 0
0 0
Gtr. 1
(G7)
3 3
3 3 3 3 3 3
8
0 0 0 11
0 0 0
Gtr. 2
[E7no3]
[A]
[E][A]
3 3 3 3 3 3 2 2 2 0 2
4 4 4 4 4 4 2 2 2 1 2
2 2 2 2 2 2 2 2 2 2 2
0
(G7)
3 3 3 3 3 3 3 5 5 6 6 7 8
guitarworld.com
137
TRANSCRIPTIONS
2.
baby
with the changes
roll
Oh
you roll
you got
to
N.C.(G7)
Gtr. 1
39
3 3 3 3 3 3 3 3 3 3 3 3
[E7no3]
3
4
2
[A/E]
Gtr. 2
3 3
4 4
2 2
3 3
4 4
2 2
3 3
4 4
2 2
3
4
2
3
4
2
3 3 3
3 3
3 3 3 3 3 3 3
[A/E]
3 3 3 3 3 3
[E7no3]
3 3 3 3 2
4 4 4 4 2
2 2 2 2 2
5 5 5
5 7
2 2
6
3
[A/E] [E]
3 3 3 3
4 4 4 4
2 2 2 2
3 3 3 2
4 4 4 2
2 2 2 2
0
1
2
5 5 5 5 2 5
3
Chorus (2:39)
oh
Oh
yeah
(Keep on rollin)
(Keep on rollin)
(Ooh
oh
you got
Oh
baby
to learn to
(Keep on rollin)
(Keep on rollin)
(Ooh
(F/C)
(B/C)
N.C.(C)
[D/A]
[G/A]
[A]
Gtr. 2 plays Rhy. Fig. 2 (see bar 9)
Roll
ooh
roll
ooh
(F/C)
[D/A]
3 5 5
5 6 6
6 7 7 7 7
Keep
3
!
3
!
3
!
Oh
yeah
oh
Now roll
with the changes
(Ooh
(Keep on rollin)
(Keep on rollin)
ooh)
ooh
to keep on rollin Got to keep on Oh
you got to learn to
Got to learn to
Got
to learn to roll
(Ooh
(Keep on rollin)
(Keep on rollin)
ooh)
ooh
(B/C)
(C)
(F/C)
(C)
(F/C)
[G/A]
[A]
[D/A]
[A]
[D/A]
Bass
46
3
!
3 5
3
!
3 5
3 5
3 3
3 5
3 3
Oh
baby
yeah
3 3 3 3 3 4
Gtr. 1
50
3
!
0
2
2
2
on rollin
Gtr. 1
42 (first time only)
!3
Bass
3
!
[A/E]
2 5
[E7no3]
4 4
Gtr. 1
[A/E]
3 3 3 3 2
4 4 4 4 2
2 2 2 2 2
Bass
3
2
2
2
3
5
[E7no3]
(F/C)
[D/A]
(B/C)
[G/A]
(C)
[A]
(4th time)
15
15
15 15
138
(play 4 times)
15
11
X
!
Gtr. 3
(pick scrape)
Gtr. 1
15
10 10
10
8
! 11 8 11 8
Gtr. 3
54
11
11
(B/C)
[G/A}
(F/C)
[D/A]
1
8 10
8 11
8 10
8 8
8 8
8 10
10 8
12 8
10 8
12 8
8 10 10 10 8 10 10
8 8
(C)
[A]
57
(F/C)
[D/A]
Gtr. 1
P.H.
1
10 8 10 8
P.H.
10 8
8
8 10 8
8 10 8
P.M.
P.M.
P.M.
8
8
8
8
11
!
(C)
[A]
P.M.
15
8
8
8
8
1/2
1/2
15 15
15
15 15
0
0
88
8
8
P.M.
P.M.
P.M.
7
7
88
15
15
20
15 15 0 0
0 0
10
10
12
10
10
8
8
8
8
8
8
8
8
8
8
P.M.
8
8
scrape)
(pick
P.M.
(C)
[A]
8 10
8
8
8
8
8
8
8 10 8
0
9 6
7
7
88
8
8
7
7
let ring
(F/C)
[D/A]
(F/C)
[D/A]
68
P.M.
(F/C)
[D/A]
1
1/2
15
15 15 15
8
8
11
!
(B/C)
[G/A}
(F/C)
[D/A]
slight P.H.
1
1
pitch: E
(F/C)
[D/A]
88
pitch: F#
(B/C)
Gtr. 1 [G/A]
P.M.
60
Gtr. 1
66
Gtr. 3
Gtr. 3
62
15
15
5
7
7 5 7 5 7 0 7
88
8
8
8
8
8
8
8
8
88
(B/C)
[G/A}
0
0
0
0
(C)
[A]
8
guitarworld.com
139
TRANSCRIPTIONS
Outro (4:41)
Keep on rollin
Keep on rollin
(F/C)
N.C.(C)
[D/A]
[A]
Gtr. 2 plays Rhy. Fig. 2 (see bar 9)
70
3
!
Ooh
(B/C)
[G/A]
3
!
ooh
ooh
(F/C)
[D/A]
(C)
[A]
3
!
3
!
Keep on rollin
(C)
[A]
Keep on rollin
(F/C)
[D/A]
ooh
(F/C)
[D/A]
Ooh
(B/C)
[G/A]
ooh
(C)
[A]
1
74
8
8
0
5
3
12
8
Keep on rollin
F5
[D/A]
Gtr. 2 plays first six bars of Rhy. Fig. 2 (see bar 9)
C5
78
Keep on rollin
5
3
12
8
10
8
/108 0
0
0
0
0
15 15 15 15 15
15 15 15 15 15
ooh
F5
[D/A]
ooh
N.C.(C)
[A]
1
15 15 15
15 15 15
15
15
0
0
ooh
B5
[G/A]
8
8
10
8
/108 0
0
0
0
0
12
12
12
12
11
0
11
X
X
82
C5
[A]
Keep on rollin
0
5
3
5
3
(5:17)
Ooh
B5
Gtr. 1
84
0
3
1
[G]
Gtr. 2
ooh
F
Keep on
F5
[D/A]
5
3
7
5
5
3
0
0
10
8
12 2
13
12
[D/A]
[A]
Bass
140
2
3
2
4
0
8
!
8
!
N.C.(C)
12 11 11 10 10
12
11 11 10 10
0 0 0
3
0
0
0
Freely
10
10
10
8
5
3
rollin
(trem. strum)
0
2
2
2
0
0
2
2
2
0
0
2
2
2
0
(trem. pick)
9 7 5
8
!
7 5
7 5
5 7 5
7 5 7
(pick scrape)
X
!
0
0
2
2
2
0
0
2
2
2
0
8
!
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the
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MUSIC THEORY
COURSE FOR GUITAR
guitarworld.com
145
SUPER
GUITARIO LAND
Nolan Symmonds Guitar Boy
the popularity of video games and decline in electric guitar sales over recent years sent alarm signals to the musical instrument industry. But an enterprising inventor named Nolan
Symmonds (a.k.a. fibbef) has come up with a possible solution with
his Guitar Boy, which combines a Game Boystyle video game unit
and an actual electric guitar (and not some glorified pushbutton
controller like Guitar Hero or Rock Band) in one.
I initially planned to build an arcade guitar with an actual joystick, momentary pushbuttons, and games found in an Eighties-style
arcade, says Symmonds. My first guitar was a Gibson Maestro,
and I realized I could fit a small video screen between the neck and
pickup. The project shifted to a Game Boy when I decided to host a
build-off competition on the BitFix Gaming web site with a Game Boy
theme. It was the perfect opportunity to make my guitar a reality.
A Peavey Rockmaster guitar that Symmonds bought from a
pawnshop for $40 became the source of most of the guitars parts,
including the neck, pickups and hardware. Using the same proportions as a Game Boy unit, he increased the size to 15 x 9.5 and
made the body from pine lumber. Pushbutton pots salvaged from
a Power Gig guitar controller serve double duty as traditional guitar volume and tone controls and Game Boy A/B operation buttons. The heart of the system is a Raspberry Pi (a credit cardsize
computer) loaded with various games and installed in the body
between the end of the neck and the bridge humbucker. An output
switch allows users to send either the guitar output or video game
sounds to an external amplifier.
The shape was really easy to make because the Game Boy is a
brick! says Symmonds. The hardest part was the planning phase.
I had to figure out where all the buttons, switches and wires would
go before diving in and have faith that my electronics abilities were
up to the task. I spent maybe $150 on everything and worked about
80 hours over a three-month period to build it. My brother-in-law
got pretty excited about the Guitar Boy and started pitching similar ideas to me. Hes not a musician, but if my work encourages
him to start playing, thats a win in my book. By Chris Gill
For more information, visit bitfixgaming.boards.net and
youtube.com/fibbefcreations
Have you created a custom work of guitar art suitable for It Might Get Weird? Email us at soundingboard@guitarworld.com!
146