NIRVANA PANTERA THE BITTERSWEET SUCCESS OF STONE SOUR Will It Undo Slipknot? peas on See ese sy eae TH) Was «| WE TEST-DRIVE 6 PEDALSNIRVANA “Lake of Fire” Se | tap [ei | BR |G [iy [ eee ee eal [fw = x | ot at ‘wars on (rae ary ri Snr ne te — The Tones Between the Lines DigiTech° GNX3 Guitar Workstation-Powered Presets id FLEETWOOD MAC “Landslide” oem ie | ot | WO) ed Ome fee |) wo) 0 w/o PP Pr Pes Wai-haap | oF | = Cnorsion|O#_| Way vo OF | ted | = Peet | ee cede tae Gert) OF ee aot are a : i OE Dey) Ov |Mme| OWO teed | OF wn a= pepe t= b= Tokay tpt [whe | OT ® |= | i tabs By Billy Clements oases | tel [ihe | 01 ractice doesnit make perfect. Perfect | CHEVELLE “Send the Pain Below” PANTERA “I’m Broken” practice makes perfect. [learned sai thisalongtime ago froma former | S#ZNG*| jmp laine | Gt | tee [ity | Man | | Sean | too [cae] G5 | Gt [iy | Wan anita teacher. His advice was simple:to | “Ges tm fest] 6 [a [@ [1 | _ toniuaa faa 9 [a |e | w reallynailasoloorahotrhythmguitarpart, | te) fw _[imad | 6 | 00 | - fede og] 80) | a | — (aon PP Pea aan (W/O ron ea as PtP ‘you gotta have the right one. And in my questto improve myselfasa guitarist, Ive found nothingtobemore true;to playlike the pros, you need tone like the pros. Here's your guide to getting the great tonesofthismonthissongs. Justdialinthese settings on your GNX3 Guitar Workstation and you're on your way. if youhave MIDI ‘on your computer ts even easier. Just go ‘to wwdigitech.com/gultarone to dovin load the presets directly into the GNXS. ‘Once you've got the tones, jump over tothebuiltinmulti-trackrecorderandiay down therhythmtracks. Tum on thesong repeatand youcan practice thatsolo until you've got it nailed. You can also use the recorder as your portable tutorto practice this month’ lessons. just download the ‘Hear It On Line” lesson MP3's and take | them with you O-eenmctee Thope the tones, playing hints, lessons and music provided here inspire you to take your playing to the next evel. See you on stage. Tone Guru Billy Clements isa 20-year veteran ofthe stage and studio and isa prolific creator ‘oftones heard in countless recordings and per- {formances around the worl. ELTON JOHN “Tiny Dancer” Ser tw_[eine| CS [ [iy | cna foot] [8 w to | |W oer tt ee OF Wh hap ADVERTORIAL wl Wr hae Compress | On “Dowiled| Of | — Dayo | — eve | oo | wat § paige |e [we sf fo, vj" t-1= Digiech—NOTATION GUIDE HAMMER-ON TRILL LEGATO SLIDE SHIFT SLIDE Pick the lower note, ‘Altrnate between the Pick the frst note and ‘Same aslogeo side, then tel the higher ‘otesby rapid Famer aide the fret hand finger excapt the second note rote without plesng. Ing on and pling of forthe second note. isp emamnmannne BENDS END ANDRELEASE © PRE-BEND UNISON BEND Bend sing tothe ‘Bond as indicated, then, Bond the note as Pick both noes, then bend Hammer onthe note indiated pth. without picking, release indicated, then pick. the ower note to match witha pickhand Gia=t fot ot) to the onginal pitch the higher notes ich. finger. TAP AND PULL TAP AND BEND. PINCH HARMONIC Harmer on the higher Harner onthe note with a Produce the harmonic ‘ote witha ickchand ekhand ingen bec the by edaing the ego of Finger, then puff tothe Song bein he rete rte the thm tothe pick prortted lower nt wr jourtethandas recat " stack ‘TAP HARMONIC viprato WIDE VIBRATO FRET-HAND MUTE, PALM MUTE. Frat the lowor note Vibrate the ating by Exaggerate the vibrato Wn the frethand ighty While picking, ight With a pid-hand finger, rapidly bonding and touch he ering wihowt rest he pechana's lightly tap tho retin releasing the note. freting Pick normaly pro. palm against the parenthecse, icing & percussie sound. Strng(s) near the bridge sme eS PICK SLIDE RAKE REVERSE RAKE REVERSE ROLL Rubihe picks edge upor ‘na downstroks, quicly In anupetroke. qucy Slowly eum the coed down the sing) po. tag tho pick across the dag the pick acroes tho from highest note a fing a scratchy sound, Indicated irage lowest TREMOLO PICKING THUMB FRETTING Fettenaeane Wop tone scund aloes “megmennent ts $xeice cutecaiariy: oe etnies Geeta) Smee Seanad Pe ‘omng acompanment arnt sop cut MARCH 2003> G1 The Magazine You Can Play 123Nirvana “Lake of Fire” By Cars Oye | 80s, they burst into the main he set list for Nirvana's | stream fora nanosecond in 1994 T Unplugged in New Yorkper- | with the hit single “Backwater” mance containsasmat- | (Too High to Di), thanks largely tering of the band's tunes—ones | to Unplugged’ ripple effect, that convert especially welltothe Ashedoes withall the album’ acoustic format—as wellasafew | covers, Kurt Cobain transmogri- smart covers. OFthe covers, per- | fies “Lake of Fire” ever so slight haps the most stirring are in the | ly, creating something torally ttoika of Meat Puppets’ tunes: | Nirvana while upholding the ‘Plateau,’ “Oh Me” and“Lake of | originalrecording, And though it Fire” Andsince the Meat Puppets | hurts one’s throat to hear his hhad been opening for Nirvana | strained vocals—he nearly spits during 1993's In Utero tour, | outhisuvula—theshrill squawks Puppets Curt (guitar) and Cris | add a pleasantly jarring dynam (bass, backing vocals) Kirkwood | ic tothe song’ loping gait. Now, sat in for the Unplugged taping, | beforel getcarried away andgive which was filmed atthe tailend some silly posthumous signifi of the tour. Though their band | cance to the macabre subject hhad enjoyed a strong under- matter of the lyrics let’ dip into ‘ground following since the mid- | “Lake of Fire: aa) Bbsus2 x —— To 1126 GUITAR ONE « gutaronemag.com « MARCH 2008 What’s Between the Lines KURT-PLUNK Both Kurt and Curt cannonball into this song with thumping chord strumming. Though the G5chord symbolabovethe staff reflects the implied harmony, Gur 1 (Kirkwood) lays into a chord in keeping with the G minor tonality of both the intro and chorus (He bars the minor 3rd [BS] on the G string with his index finger. If you just plan on chording ‘through the section, follow along with Gtr. 2's simpler three-string power chords, which will suffice, In the intros third measure, Kirkwood plays a double-stop lick during the C5-BS5 change, To achieve the wavering effect ofthis alternating bend-release lick, fret both strings at the fifth fret with your ring finger and bend them down toward the floor. After you've reached the target pitches of a half-step abave the two starting notes, release the bend. Repeat this move, and then play the two notes atthe third fret with your index finger ‘Atthe end of the intro, Kitk wood again employs double stops on the G and B strings for the song's recurring lick. These three sets of diatonic 4ths lend haunting, almost Easter vibe. ‘As you pick the first pair (10th and 11th frets) witha mandolin. like lightness, quickly waggle your frethand to create the quiv ering vibrato effect. ‘chord, Gt. 1 plays the Bsus? in Fig. 1A. Atthe same timo, Gtr. 2 plays a Bb chord (Fig, 1B) at the sixth fret. If you're playing by ‘yourself, go with the former; if you have a partner, the conflu- ence ofthe two chords will flesh ‘out the harmony. As you strum through these chords, strive for a loose, jangly attack—just behind the beat. (On the last Dm of the verse, Gtr. plays ‘a Dm barre chord [Fig.2] atthe fifth fet. Rake the pick slowly through the chord, and then check out the B-string legato ‘moveinthe 2/4 measure that fol- lows. While allowing the Dm to ring, remove your middle finger so that your index finger barre fretsthefith-fretEnote. Pick the E, and then quickly hammer on to and pull off of the sixth-fret Fahalf step away. curs so.o Okay, so it's nothing shreddy, but just be happy you're getting a solo in a Nirvana song. Travers ing the G blues scale in Fig. 3, captain Kirkwood goes where many men have gone before, specifically in 3rd position. Stl, the solo’ssuccinct phrasing and swagger make it memorable. Note how he incorporates the 4/55 (C#/D4) blue note both on the Bstring’ssecond fretand the A string's fourth fret. Once you've got the solo down, try [improvising one of your own in another position. 3) TONE ZONE ‘GUITARS: Dreadnoughtacoustics PlEKUPIPOSTON: Magneticmount ake ptacio Incontrasttothe ploddingintro and chorus, the verses are | edin the sound hole imbued with soothing melodi- | GAIN: 3-4 cism. After a simple open Dm | EQ: Bass/Mid/Treble: 5/5/5 Dm G Blues Scale 5 Toe etLe Sd c ae ARE SteeLice HN eS eras LAKE OF FIRE ‘As Recorded by Nirvana (From te Getten Recording UNPLUGGED IN NEW YORK) ng tn Uris os estes, $198 ee Whiten by Curt Kirkwood ‘Sent pram Gras Nae Bap yo Tne down 12 ne: (ow thigh) -A-Di-Gh Eb Intro Moderately Slow J= 73 Gs ee. cs Bis re 1 (co) Gi. 2 (ous) MARCH 2009» G4 The Magazine You Can Play 125Lake of Fire S chorus ee 2 Ri. os fs Bis os cs ‘Where do bad folks go whenthey dle? to bew-en where the an = They dont g0 eels see ‘em a= grin tll the Fourth of. 4126 GUITAR ONE « gutaronemag.com « MARCH 2008 nd by Fig 1 Bs JaLake of Fire LL new a = dy came from Du ~ tuth— bit by a Mog, with a ab - id tooth She 2.Po0-ple ty Pe ple moan.— Wook for 2 dey place” all “their home — Bosax2 Cousd Dm went to her_ gave jot a it~ tle wo soon, flew a - way howlin’on the yellow moon “Ty to find some-place to rest their bones, while the “an-gels andthe dev-ils try tomake them their own, lerrng~ MARCH 2009) G1 The Magazine You Can Play 127Lake of Fire 2nd time, DS. al Coda Ry Fig? Bea Rhy. Fig-2 Outro-Guitar Solo (Gt 2: w/ Ry. Fig. 2 (tes) 3 i is is os s i a pee G2: 9 Rhy. ig 2 pf as FS os Fas Poll at chord 128 GUITAR ONE « guitaronemag.com < MARCH 2008What’s Between the Lines ‘youchangestringgaugesby more | POSITIVE FEEDBACK ‘than two steps (009 to O11, for | Using the classic “less is more" ‘example twillalectyourguitars | approach, Loefer lets aD chord neck Ifyourecomfortablemaking | ringforeach ofthetwofour-mea- truss rodadjustmentsyourself,be | sure sections of the first verse, prepared. If that bit of ‘coercing a touch of maintenanceisnewto feedback in the last you, takeyourguitarto measure of the first ‘local guitarshop and section, One key to hhave thelr tech do the generating feedback job for you of this sort is har- ‘monically rich gain, ‘OcravEs PLus Which Loeflerattains *Send the Pain Below” via his Mesa/Boogie Kicks off with a fasct- heads. A problem nating rhythm figure. ‘withthistype, though, Combining octaves is that much of the with open strings and signal has dissipated power chords, Loeffler achieves a | by the fourth measure. To reme- simple yet harmonically interest- | dy this trykickingin an overdrive ing progression; the shapes are | pedal set fora signal boost. And shown in ig. 1. The firstissimply | of course, unless you're singing Chevelle an A octave shape, but when | as well, you can always use the played withthe openlovD string, | rock-star method of combining 2 ; ; the imped armory Ds. | alte vibrato wih tring yout ‘Send the Pain Below’ ofteroomeshapa Flamesur | gultar toward your speaker S combine wit he open Dts | eatietto geome pict based —___—__— —— faptyeDDmajrchon ig 200m | feedbacketarning your gutar y Miche Mater dam Vi spe: B-4-8-£-68-2, | tans other octave shapes and | towardand away es neceiary 0 ee avid the rubber band feof | Sewstaterccombinedwit open | contol By Pete (guita) Sam (drums), and | stack strings, the young axeman | strings to formulate novel har- |= - Joe (bass)—formedabandand | laces up his guitar with elevator | monic concoctions. Try these in | TONE ZONE called themselves Chevelle, | cable-like DR .013-.056 strings. | your own songs and then try | GUITAR: Solidbody named in honor of Chevrolet's | You!lwantto do the same, as.009 | coming upwithsome ofyour own | PIEKUPIPOSITON: brawny muscle car. Their first | of 010 gauge strings willbe near- | configurations. The moral is: | Humbucker/Bridge record, 1999's Point#, introduced | lytunplayableatthoselowpitches. | Forget the rules and make music | GAME: 8-9 the trio to the metal masses | Beaware,however,thatwhenever | with your ears. Q: Bass/Mid/ Treble: 7/5/7 through the success of their sin ea ate = = le, “Mia,” as well as high-profile tour slots with Filter, Powerman 5000, Sevendust, and Static-X. Despite these opportunities and ‘minor successes, Chevelle never quite got out of second gear and eventually sputtered to a halt Inneed of tune-up the Loef- Gs fler brothers signed a new deal ro with Epic Records and brought in |-—————— = eee een producer Garth Richardson (Rage Against the Machine, Mudvayne) B/D Csus2/D ‘who shifted songwriting and ar sek 5 Oe hE rangementsto the foreground. The result is the band’s stunning so- phomore effort, Wonder What's ‘Next. The album’ first single, "The Red," found immediate chart suc Sbijara jin pacar es tae ey Noe Cheval hopes thersecondsinge,"Send then Bm Gs Asus4 Dsus2 el wiliend deta othe top gery y ein splmeomli oxen! oti a x ‘SEND THE TUNING BELOW For this tune, Pete Loe ir sends thepain to gutturallows by tuning his Paul Reed Smith to drop D, —————_—_— ——— ——————— MARCH 2000 G1 The Magazine You Can Play 129— GNX3 Guitar Workstation Powered < Download presets a p.com, SEND THE PAIN BELOW As Recorded by Chevelle 1 (From the Epic Recording WONDER WHAT'S NEXT) =? Digiech Transcribed by Adam Perlmutter Words by Pete Letter, Music by Chevelle Drop D using dawn 1 te Cow high BPS EGR Intro Moderate Rock J= 92 My Pet - “ rete ae = pee ea —- oe - SSH = = a Ss==5 > os ut = ke fay = ing | é aoe = = a a = =a TZ a y - pa | 190, GUITAR ONE « gutaronemag.com « MARCH 2008Send the Pain Below So ph CF oom as A (te. sw Ry. Fg? send the pain be low, whee 1 need Lee a 2You wed tw of while taugh things ing. MARCH 2000 G1 The Magasine You Can Play 194wera the Pain Below (es wR sil " the ‘thought of me fall = ey a bout the Tek ci T ow Pre-Chorus Gu. 16/ Rhy Fig. 1.2 ties) Ds, eer SaaS 2 tame But tong — be fore hav = ing— hun, ra send the pala be ee ra send the pin be low, much tke suf fo - cat ing — Chorus Gee 1: w/ Ry. Fe | ines) Ds Bs D Yee. Fig-t nd Woe. Fig. 1 se Much tke suf fo = cat = ing. Isttne, w/e. ig 1 ines) 2a tine. Vos ig 1 (3 mes) Gs ps BsSend the Pain Below Bridge DS ES bs os ps Bs ps os Hs End Rhy Fig.3 Ot: Rhy. Fg 3 mile) DS ES Ds os bs ES bs as Fs chest. Need tit. on i: w/a (1: Rhy, Pi (sie (4 ies) ES Ds ES Ds Gs bs snore. Drop down ES ps os HS Ds Es bs Gs Ds Clos = ing in Bs ps os Fis ps ES bs os ps T cant feel my chest. rt MARCH 2003» G1 The Magasine You Can Play 133Send the Pain Below So 8 AS DSES «SSS ms Ds cs WY I op down, a 2 Outro-Chorus = ike hav = ing—— sed tte pain be a Sa a So send te pin be low much tke suf fo - cat = ing == = os 2 a 124 GUITAR ONE « euitaronemag.com < MARCH 2008Miles Davis By Adam Perimattor 1 October 26, 1956, the Miles Davis Quintet par- ticipated in an expan sive recording session, the purpose of which was to chron. lcle the ensemble’ live reper. | toire in a studio environment, Resultant was the bulk of four seminal albums—Cookin’ Relaxin, Workin’ andSteamin’ that capture the psychic int play of Davis, saxophonist John Coltrane, pianist Red Garland, drummer Philly Joe Jones, and bassist Paul Chambers. “My FunnyValentine,” from Cookin: subtracts Coltrane and show. cases Davis’ lyrical ballad approach, Let's transfer it to sitar ‘THE FORM ‘My Funny Valentine” is based on a 36-measure ABA song form, in which the first three sections are each eight mea sures long; the last A-section Is | 12 measures. Following a four- bar introduction from Garland | (rehearsal letter A), Davis plays ‘the head (B). Then Garland solos for a chorus (C), after which Davis improvises on the B-sec tion (D), capping the tune with a free time cadenza, What’s Between the Lines “My Funny Valentine” drawn primarily from the C E-G-Ab-B»), one position of Which is demonstrated in Fig, 1 Before improvising, acquaint yourself with the C minor scale in other loca- tions. Then try solo- Ing along with the A section, bearing in mind the original melody. The B sectionisin C minor's relative major key, Es. So in learning to improvise ‘on those eight bars, you can {draw from the Es major scale [Fig. 2}, which is, of course, a reordering of the C minor scale. After toying with the ES major scale in assorted positions, try soloing along with the B section, as before, referencing the pri mary theme. ‘Once you've tackled “My Funny Valentines" baste key areas, id be a good idea to examine the harmonic skeleton in greater detail, thus generating more colorful melodic possibilities. | Te ae Picrune Don't be intimidated by the plethora of chord changes nthe A-section of “My Funny Valentine.” Davis’ soloing is natural minor scale (C-D-E>- | progression (Dm7k5-G7-Cm tart with the mino: that occurs throughout. Over Dm745, the D Locrian mode (D-B-F-GALB-C) will work well, as it houses the notes of the chord. Ina il-V-i progression the V chordis often altered by #9 and i9 degrees; stippled with a #5 or $5. So on the G7 chord, you can use the hybrid G dimin- ished/whole tone scale (G-A-B)-BHG-D+-B-P. ‘The first portion is diminished (G-Db) and the second half (BY/G-F is whole tone. During the C minor chord, simply stick with C natural minor. Figs. 3A-B illustrate applications of these three scales. Now invent some of your awn minor it-V-i moves, then incorporate them into a"My Funny Valentine” solo. 3) TONE ZONE GUITAR: Hollowbody PICKUP/POSITION Humbucker! Neck Q: Bass/Mid/Treble: 5/5/6 MARCH 2005% G1 The Magazine You Can Piay 135,GNX3 Guitz MY FUNNY VALENTINE As Recorded by Miles Davis (From the Prestige Recording COOKIN’ WITH THE MILES DAVIS QUINTET) odo Ht Redacted Patan PEMCDI, US $1055 CON ir Workstation Powered net Sree: pall By Lorenz Hart and Richard Rodgers Chore Poey Wrists Het Sve Sty Ronse eu Sete Tansoribed by Adam Perlmutter Head Ballad J = 96 om ” or Gu ane) 4 1 (lean) of ‘Trumpet ranged for sitar. m Abmai7 Ga? Gh Fm? Fonts — deo am 00 rane Cnet ca, ns REP Rc Rona Pen et Doane ars aMy Funny Valentine Ammis D? Gat or Fo? By EhmaiT Fn? om Fn? Bhai Fm Gut Fm? BAT Bimaj7 Das Gr cm BT Bm? Aba? Dmns GT ca fa cm " Aba? Dats GT oa? [MARCH 2003 G1 The Magazine You Can Play 137My Funny Valentine Bho BA AT Asma? hai? Fn? nt AT a Gmt Fo? BH Ebi? mai? Dats @? Dmris a cn 438 GUITAR ONE « guitaronemag.com « MARCH 2008 Dis Gm? bmi? Fn? Bre on o Dans Fim? Bim? pic Fo? a Br Bir Piano Solo cm? Gat [D) Trumpet Soo mt Fn? ay Abi? pic cm BracMy Funny Valentine Aen? Dr a Free Time cmt 7 Bh? BT ‘Aaj? Gata (hea?) [MARCH 20099 G4 The Magatine You Can Play 139What’s Between the Lines with specific vocallinesand drum hits. For instance, from the verses downbeat, each of Dimebag’s back-to-back bends locks in per- fectly with Phil Anselmo’ raspy vocal utterances (for example, “won-der” “in oun” “loved ones, and so forth). Mean- while, the first attack of Dimebag’ open E string is consistently synchronized withhis colder brother's snare drum, If that bit of info doesnt help you ‘out, try saying 7/168 counting pattern Cone-two-three- four-five-six-sev") verballyaccentingthe . Ktalicized attacks. To | squeeze in an accurate number | of l6th notes per bar, make sure each digit is stated as a single | syllable as the counting pattern repeats. (Hence, to avoid the tendency to squeeze in an extra beat, ‘sev-en’ isspoken as “sev.") In other areas of this tune, —| meters like 3/8, 5/8, and6/6 also Pantera “Pm Broken” ‘metals most influential albums ‘openly praised by everyone from Fear Factory to Kor to the Def tones, “Pantera—they're gods, enthuses Deftones guitarist | Stephen Carpenter. “I dont even put them in a category anymore. ‘They're just ‘Pantera’; they've already secured their own spot. They've been blowing the world After the opening barrage of E | ¢ tiffage, inch into & Dimebag & Co. 1 tepeatingone barge non 7h meer Donets sero payehote time signature throw You! Though the passage evolves found a syncopated delivery of seven 1th notes permease ts you'll most likely be riffing ight. | ternac texo ues | Duringhissolo, Dimebagengages {In a vulgar display of lead work, unloadinghispatented pinchhar- monies, unpredictable bends, ‘and lickety-split legato licks. To cop Dimebag’s most lethal lines |_sge on par with Dime! > in this lead, consider running up. They've already achieved and proved what they need to prove— and they're still making great Pantera records!" Released in March 1994, Far Beyond Driven ‘eycomponentsaresynchronized your fingers through Fig, 1—a Wild intervallic pull-off lick fea- turing four notes per string. A tamed-down version of theblaz~ ing phrase Dimebag uses in rmeasures3-5, thislick falls with- Im the E natural minor scale (E-FE-G-A-B-C-D), with the addition of its Matted 5th (84), and requires equal dexter- ity from each of the fourftet-hand fingers. In other instances, Dimebag uses pedal: tone passages—tines involving the reitera- tion ofone note alter ‘nating with changing. pitches—to interject a certain melodic quality. Figs. 2A-B illustrate repeatable versions of the“ped- ling” lines Dimebag tends to use. Meanwhile, to put his solo to bed, Dime offers up a pre- cisely picked plethora of pitch- in 15th position, constructed from the four-finger, quas chromatic lick depicted in Fig. 3. Obviously meriting metronome use, be sure to spend some time in the wood: shed on this alternate-picking gem, ifyou dream of doing dam. TONE ZONE GUITARS 142: EFFECTS: Wah-wah pedal also marks the transformation ‘of the Texas-based band’s six- | stringer, “Diamond” Darrell | | A aes ‘Abbot to Dimebag” Darrell Ab- po Pt bot. Let revisit one of Pantera | + most erushingcuts, “Tm Broken. = ‘we Tong Before bindgeohing tts way through "Tm Broken," Pantera picker“Dimebag” Darrell tuned | All ix strings of his Dean axe | down one whole step (low to high: D-G-C-F-A-D). This placed his riffs in a more merci Tess-sounding range, while at 140 GUITAR ONE « guiteronemag.com « MARCH 2003GNX3 K ale MoE Sse uy ie | ’M BROKEN As Recorded by Pantera (From the Alani Recording FAR BEYOND DRIVEN) sector on Puen’ Fe Baad Die hit ara FOE UB 2298 By Vincent Paul Abbott, Darel Lance Abbot Fabesene roves suten Cha: 25 ean -erery Sansone Rex Robert Brown and Philip Hansen Anselmo SP eerie tet om rest oe an Intro ‘Moderate Slow Rock ¢ = 76 win) BS lay 3 tne 1 Be aac mee af Wi mabe loved ones the cof = fing while mourn the da. nd Rit Po [MARCH 2003» G1 The Magazine You Can Play 141Pm Broken i. w/ RE ab = sence iv = fing, laugh = ing, eyes ae wake, much for them — young — End Rie BL Gir. >w/ RAI 2) et eis one’. jn = clu - son, the life = syle won. Pre-Chorus ‘w/mise background ves = ? oe) ‘Thats how Such val ~ ves you taught- your son HS Gs FS FS ES 142, GUITAR ONE « gutaronemag.com « MARCH 2009,I'm Broken : ees 5 © teil ae = ———" Interlude FS ai BFL lay times End Rhy. Fig. Ry. Fle? Pre-Chorus se ea MARCH 2003 G1 The Magazine You Can Play 143Piao ?’'m Broken End RUFC Rhy. FALL ad Ry FLT Reread Guitar Solo ‘Ge, Let x 24414) NS: AWW AWWA, AW, ha WW . se te ft AAA | MMA Bya~ ‘ FEE AWA AWA AMAA, 446, GUTTAR ONE « guitaronemag.com « MARCH 2003,I'm Broken nanny bea JM (te: w/ Rey Fa Es “hod ot oh Chores 7 i. ew RTA on tact vest Es = SSS SS ee = e —— ad = —— en ses fate my emo = ken Pre-Chorus ut: w/ RAL tie /Ruc ae That's how ‘Look at me now. Chorus (sw Ry. Fa ‘fr 1: w/RUTA st meas) bitrate (G1 w/ RITA dase meas) ets RF c Ry. Fl e Tim broken Vim bro - ken. Vim bro = ken — sae ‘Repeat and Fade Asi. gt (et w/ Ry Pi? Fs FS NC ee Vim broke — unt Bro Additional Lyrics One day we all wil ie, a cliched fact of lie Force-ed io make ws eed. Inbred © sponge our bleed. [Every warning, leaking rubber, «poison apple for mingled blood “Too young fr one's delusion, the Messe cot \enceal mother embrace the Tos, WARCH 2003 G1 The Magazine You Can Play 148Fleetwood Mac “Landslide” ‘By Douglas Baldwin band ever reinvented Nissi cons (or successfull than Feewood Mac nthe ate 005 they wore he vry dfiction of English Blues Then, after the ape coercing at she'sar tre-punch guitar Uneup (both PotrGreen anderen Spence Soeoebn eres mane Cinogens and mental ness) they re-emerged asthe kings End queens ofr 7s sof rock wrth Christine McVie (key- Boards), Seve Mk (ca tind Lindsey Buckingham (Guten). “Lnndside’ ie Stevie Nicks contusion others titted album, brillant and Phebe cieoneteong at would foreshadow the sting cms of Rumours ‘THE CHORDS ANO THE CAPO Landslide” is bullt upon a basic ‘chord progression (-V-vi-V) that is played in the guitars key of C forthe verses, then almost ident cally in G (-V-x4 and up a 4th to 1V-L-ij with aV thrown inforgood cadential measure) during the chorus. Theguitariscapoed atthe Std fret, movingthe actual pitchof thekeystoEs and, respectively. What's Between the Lines ‘THE THUMB AND THE FINGERS. Rife with excellent fingerpicking. technique, “Landslide” is built ‘upon an alternating bassline that {splayed withthethumb, Thebass line for the passage in Cis shown in Fg. 1; the patter in Gis shown inFig.2 Practicethese ‘both at a slow tempo, ‘and graduallyincrease ‘the beat untilyou can play the patterns in your sleep at the speed of the song 7 Then you'll be ready to tackle the addition of the index, midalle, aandrring fingers Once you're up to speed with the ‘thumbed bass foun dation, prepare forthe fingers 10 play whenever the thumb does not Assign the index finger ofthe picking hand to the G (or 3rd) string, the middle fingerto the B (or 2nd) string, and the ring fin- ger to the high E (or 1st) string. Try adding one note ata time to the bass pattern, making ure that the rhythm of the bass line remains even. Avoid the tempta- ‘don of playing at full speed unl ‘These chords are all played in ‘open position, with the V chord always played in Ist inversion {Gren thebass),creatingapleas- | most of the pattern isin place. antly static harmonic back- | Rememberthat thisarrangement ground beneath Stevie Nicks’ | isacomposite of multiple guitars melody, | arranged for a single six-string ody ged for a single a aise ees eae a eam ee eon pene alas pee sy net aT re | ique for such a gentle tune. 3) TONE ZONE BUITARS 182: Acoustic ldbody electric {148 GUTFAR ONE « guteronemag.com « MARCH 2009GNX3 Guitar Workstation Powered i LANDSLIDE ‘As Recorded by Fleetwood Mac (rom the Reprise Recording FLEETWOOD MAC) ieearmantanies se ee Saree (i, 1 82: Capo Tntro Moderately J = 80 & som, oC) cmt Bho (am (GB) tt . * = + ‘omit arangemat “Symon prethees eresen chard anes spective 0 capoed puta. ‘Symbols shove fect acta souing chords Capd fre "0 ab Verse Istime, Gir. 12: w/ RATA Ce) 2d ind Ger 2 0 RT ACSI ies) Eb By cat BD © GB) (amt) (B) took it dom Lt teok my dove what Tove? Can the child — the sky, BD cm? ByD (GB) am?) (GB) fain and To twmed a ~ round And 1 1 intel = Sr fy hen tees, ee at B Bip om ap 6 & & o> > a a = = = = 6 = es a e — = — a Re cin a he es re be i te = eae : = me cat wan ¢ sons of 1+ nom nemo sp ta wg ean aa 8 MARCH 2003 G1 The Magasine You Can Play 147Ser ocay eB Bh (am oO. @) com BHD B yD GB) Chorus cm? FA Bb FA (am?) om o om) Tye teen = fraid — earns ER om B ByD &m) © (GB) (tr. 1 2: w/ RAF Cat 3 meas) cm? Fax Bb Fm cam) omy o@ omy makes— you bold 4148 GUITAR ONE « gutaronemag.com « MARCH 2008Landslide (tr. 1 82:0) FLD eB BD cn? BD © co) Gm) GB) chil = dren get ld er and im gst-tin” old = Guitar Solo (Gin 1 2: w/ RATA tines) B BID. cm? BkD Bb BRD © (iB) an) GB) © GB) tz 3 (ee) Lt te XN es on? kD BD cn? BD (am) (op) © GB) (m7) (GB) (ir 1 2:0) Fat yD Cn? FA GB) (an) om MARCH 2008» G1 The Magasine You Can Play 149Te aoa Landslide Chorus Ges 2: w/ RAT (Ws times) Bb Pa, cm @ wom em) : = +s — = 5 = ae = See : SS B= in 3 cet, (te 1& 2: RFA (6% times) Gm Bb ByD em © (GB) chil = dren— get old ed rm—__ tik seein oe cmt BHD B yD (am?) (GB) © GR) on, Pm. et-ty of ee BoD B BD GB) oO (cB) = au ae ake my love, take down, co yD 5 By (any (Go) © (GB) e——_ & ¥ = Se SS = = . climbed 8 moun - tain and tured = round m7 yD ca? Be (sn) (Go) a) cB) ae — ‘And if you see my fee - tion in the stow 180 GUITAR ONE « guitaronemag.com < WARCH 2008,Landslide B BHD cmt BD © GB) (an (GB) ‘ov-ered_ hills well he land = slide wil bring it down, And if you ste— a al irs. 2-0/ FS (ir 1 2 REA ines) B Bhp Cm? BD B BYD © (GB) an, GB) © (GB) mmy— re-flee - ton in he snow well the land - slide will bing i ely. | Gen. 12 W/L BD B BHD An (B) © GB) the tind ide wil bring it rua ae eres a Gm a2 [MARCH 2003» G1 The Magazine You Can PlayPRS RE Seitek aes | oaecmnan ane ane Se act een thord (such as G/A). EME slowing the tempo Vinca jon come AMMEMM 3c or ramet aes SM Soest ctu the lowest string in- | nmnannah add some energetic "We piano inrRooucTION ‘re srnunonnsparrenns This igre requires alte won With the chords safely tucked | butits definitely the“toe shoes? beneathyourfinges lersmove | that il make tis arrangement a the Uipacicng eyo oe fdemceA tector a Tiny Dancer” A plano-driven | intro plano line is shown in always subject to intcr- | Fg 2 It's built upon the C Gaseai Othe putas Wa one | RoC chore iv sful patter is shown in | Dmn/Fchordinsertedon thee" Elton John Fig. 1. This rhythm mimics the | count of the second beat. Try to atten of te plano ccompe- | anticipate te F/C chord by « Paes = iment Payperdculeratenton | 16th note. and pay attention ‘Tiny Dancer to the accanted up-oramaand| to te picking direction, whlch ifthe pattern seems a bit too | favors both the direction of er syncopated to grasp, ty break | the strings and the primary y Douglas Bain Dancer isto keep the isener | ing each beat nto ts lth-note | melodie notes > i rrasal art who | involved for the ene six pus ———ee ould be all things tal | mites oftmic Her ae some people It was Elton John It | tips on how tod = didi last toner, but for most ofthe ‘70s, Elton was capable of | THE CHORDS s Le | writing brilliant pop singles, | “Tiny Dancer” is built largely Fr. F | pone ieee cceane | fa 7212 ek Pig a Ee Oe tes | anew Canin awae ata | tions, and classic ballads, often placingall on one album witha | chords) and those of C minor consistent thematic concept. | (Cm, Gm, Ab, and Bb, all played “Tiny Dancer" succeeds on | as barre chords). E7 and D also many of these levels, and it | make appearances. Interest is makes a great song for any gui- | achieved by using alternate bass tarist to learn. notes with many ofthese chords. Donttbeputoffbythe appar- | Remember, when asimple chord ‘entlack of an acoustic guitar in | name is given, youare expected themix;thechordsarenotover- | toplayitin root position, mean: ly demanding, and the intro | ingthattheroot note, orthe note plano figure sits well on guitar. | thatnamesthe chord, isthe low- ‘The real challenge in “Tiny | est note, or bass note, in the Am, almost all played as open 1182 GUITAR ONE « guteronemag.com « MARCH 2008re De SRetE ur Me einen eis TINY DANCER As Recorded by Elton John (From the Rocket/Island Recording MADMAN ACROSS THE WATER) {2 n Gut Senge PGMIDE. US $1895 CON $2956) A snot prc wy By Elton John and Bernie Taupin on ors rt por hs ton haga mean cr Tana ce: Baro t= Cn You Fah Love ape Cancer Once Rk Dor Lt eS o own Arranged by Adam Perlmutter BEES Se Rae ; Se en gait ar tien 4 eT Tae eet Ce Bh Gm mC Ga 22 ea Se ier Tet aseiny 1342 Intro Moderately Slow J= 72 1.3.8 jean be by, L Aker ri le > sus eee seam - sess forthe band and “ing eke out for God c Fe c Fc Pet = ty eyed Bi Tum > ing back She just laughs The "bow ie=vard isnot tha ; e rl a, you must have seen her, he maker's Stand MARCH 20000 @1 The Magasine You Can Play 183ecg Tiny Dancer c 6 F ce Da? ty the words” she know, the =e she ‘ums a ar c FIC c FIC c Fe Bridge But, oh, how it feels wo real— y= ing herewith no ove neuron - ty you, snd you can Whee I ay on om F ce slow ee Hold me clos - er = Tl - ny Dane Dm c F cE Bal oe count the head = lights onthe high. . oa £ ce Do © os Ss . . | wy Lay me down— in sheets of lin Sasi ; fo es cee F or Ga oa, Rar ——— 10 day. DS. al Coda lay Stines © 184. GUTTAR ONE « gultaronemag.com « MARCH 2008,