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hat is there to say about
Edward.
Van Halen thar hasnt
arready
been saidi Only-Jimi
"-
Hencirix
and Eric Clapion
stand ln_lronr
of him as rock.s most
1nfl uenLlai guitarists.
_,
This incredible
guitarist
bursr onto
tn.1s:e_ne
in I97g wirh his band.s
::ll-nf
eg delut atbum,
atong with an
lsenat
of truly brearhtakingiechniques
iljlf!',is
n;".i.ed.harmon ils, rapid'
lefa]o
r'n:s, coundess
whammy
bar
effects
and, of course,
,t. *"_i""#^,
tapping
that! become
ro-T:J'n9td
lhe man. and it! one of those ,..nniol
"ltuy:l,hi;.1il#l':.Hf
fil!':':Ti:TJn'lm*lli#:;t
the mosr nestecred
side orhis pi";;;;:
il::ir':il:*.ess.
rb
ser
ir rieht. ir\
so we've
tried to balanle
up the flashier
,;*h, irna.'t,lo,.?rf
inating
you"r left and
stuff'nith
his lantastic
ritfing.
Iti
;;|il,.
hi,lr',1
'.o,r,ton
you'll find thar
virtuallv
impossible
to cram armosr
a r0-
;.,*';
ll:i,1ftJJ,irr,T:'f,tarlv
rast
yearcareeri
uorthofplar.ing
into nine
"'#,i,ojl
it.s crucial
rusl.u
rhese
::T:
lX'Jil:,ill',Ti"T.tj"*g'::l*
ia",,,ighi
d"*'.
ensuring
thar you r
,..rion
oit;, *;;;.T,;:
uy.a cross_
picking
hand! first (i)
or il;;;i;)
.
y*ir,,ii"*ij,iiJJffi",,
51ru;imffi*T:*ll;
1..-.Xl"qy.
to.digest.
especially
if you,re
;.;r;;;';";
;;
untamiliar
with rhe lnor. g1,-oritj.
;;;;;;irj'.
open strings.
Even
ffi;:'ffi,ilT,iiJi1;ff;i':::,
il';;'':il'I['f;Tl*:;-:':#,:::
"'
o', p.opri.,'i,
;'i; fi .;",h:r'Hilf,'.?
;#:l;.?".""1 -. l,.n.u.,"
h,.t,
; ;;;;''
ru
rserncertainguitarsry4es.
This should also apply to everythine
else ol Eddje s. because
e, en the mo.r
rnnocuous
ofhis rhythm
parls can ha\(
ruT"
Tl]gr
rechnique
to contend
uirh.
.
van Halen u ill florever
be associaretl
wrrn,
nrs_srrrpey
red and u.hire
hor_
1"..11:d [::-"l.fitted
with
a singte
:]::::
.:
I T
pickup.
rn recenr
)
ear..
rrou'erer,
hes taroured.\4usic.\4an
and
then Peavey
signarure
guitars.
AJI of
rnese have rhe double_iocking
r ibrato
system (rather
rhan a lloating
rype userl
!),
Steve.Vai
erc), which
allows hirn ro
orvebomb
but not mor e the bar up.
_
,o ruT up Eddie.s
approach,
r.re hand
over 10 the nran himself:
..1
don.t need ,r
tone control
on my guitar _
the uolu,ne
conrrot
rs my tonei,'STfUt
Al-l-SW0RTH
J=rrs
]:AL GUITAR
I CLASSIC ROCK SPECIAL 2OO7
-----r
LEARN TO PLAY LIKE I VAN HALEN
G/D C5/D N.C. G/D cs/D
t
PM------- |
t catch note during slide
N.C. G/D c5/D N.C. G/D D
&o-
-3-
Eddie maintains a more uplifting sound by using D major embellishments, Notice the ctever use of 5th and 7th fret harmonics creates a Dsus4 sound. The touch harmonic is
probabty one of the most difficult techniques to master in the finaI bar. Practise getting the 'virtua[' 5th and 7th fret harmonics without bending the string at first. Touch the
harmonic node (in this case at the 14th or 12th fret) very quickly, without leaving the picking hand's finger in place. A little vibrato wi[[ help the note sing.
\-{
Mswing
\J
Am7
-l
\J
PH-
v
PH
"N
--v
PH
:'die's
'swing' rhythm styte greatty influenced the [ikes of Steve Vai with tracks such as lrof Fo r Teacher. Here, country style open-string pu[[-offs are used in a
:ckier context with the 'va va voom' provided by the swing rhythm. Try and dig in to the fourth string to bring out the pinched harmonics.
A305
CLASSIC ROCK SPECIAL 2OO7 I TOTAL GUITAR I 77
A*N
HALEN
T LEARN
TO PLAY
LIKE
:
-6-
l
-{_
\i_
10 --12__-..--
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t.r_-l
3-
10---1
hold bend -
l-%*
---*
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--
fff 'j
ffnll:fi,JJ;:-,lli,J#*
:'r6;;.i""*"" ...,
65
p5
S
t---.-r-,
i-------
S
S
:
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:
p5
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----.-.-..-.-.-.-.--.--
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ff
J
I
l
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I
I
I
I
I
t
I
I
I
:
r .-*-**
Both
hands
ofyour
hanr
and detache
!:1--e--4
a--+--__
-%-+
%-*
i>-
wide
;-.
arad.
I l-eu *
17-20
;;i nn:l
t*::stin_gom
tapping idea that,s riterauy based
*:;,:,1;l*i:"d[ii'"',-hT::;:1*ril.,,.:#dtlrf:::,"::iiff{''""J",1?,::',',',1'Ji,1;i:ifl:1,:.;;liH,lr;l::*"ltir
;;l;i'J
;i; J ff fi : fi l:il..f,
ilt{1: :ii,ll lff ,i:ll
j::.
}l;:n,,
'-;ersspriyedroro.ii"..."iiffi
;H:il
jil,##I9;".ff
.,J,"ff [XJ;i,,.:r;il"T;:J
curiously freehand,
irrith th"
A5
8,o-
- -
wide
wide
wide _-E 5u,-
BU*
I
fF--zzotzZr F
75fi
,
ffi
t
mt
2 1 m i 2 letc
i overhand tapping w/fretting hanJ
cLASsrcRocKSpEcIAL2007
| ToTALGUrT
R I 79
R,^N
HALEN u* LEARN TO PLAY LIKE
.=100
A5
Scoop
JT
NH
S:oon
E+
wtbar
| |
$
.::r:,:::
-au:::3
$l
*-r
-',j'
i::
--,''#:i|:.
Scoop Scoop ScooD Scoop
q
lj
f Dive w/bar + wtde arm waggle it Dip bar violently and repeatedty white trilting + grad. move up ihe neck
FVH's solos weren't a[[ melodic. There were often wonderfuI noises in his ptaying, inspired by the ti kes of Hendrix battering his axe. The
,pitchwheet'
technique disptayed in
'drunken' pitch bending sound,
.l =r oo
Dm
Eddie's use ofvolume swells takes a lot of coordination to get right. T_o begin_, it's best to staccato pick each note-to make sure you're getting the timing right between delay
h a nd, losi ng the sound of the initiat ha mmer-on and only hearirig the swett of t-he note as you lrinl ui tne volume,'
-0rAL
GUITAR I CLASSIC RoCK SPECIAL 2007