DALE TURNER TUR NER’S ’S GUI GUIDE DE TO
ACOUSTIC ROCK RO CK GUIT GUITAR PART 2
C O N T E N T S 1. NEW-AGE PIONEER A look at the “acoustic thrash” techniques of the late Michael Hedges
6. IS LESS REALLY MORSE? Cracking Steve Morse’s elusive acoustic code
2. DOUBLING DOWN WITH AL DI MEOLA
7. UNPLUGGED GONE WYLDE
Exploring the legendary virtuoso guitarist’s “lickety-split” Latin strumming rhythms
Zakk Wylde’s “unplugged” riffs and hybridpicked, acoustic shred
3. UNPLUGGED THUNDER
8. TOPEKA’S TWO-HANDED TERROR
Tommy Emmanuel’s acoustic techniques
4. SHOW ME HOWE A look at the many facets of Steve Howe’s acoustic guitar artistry
5. ELEGANT GYPSY The influential chords and rhythm patterns of Django Reinhardt
Andy McKee’s “over-the-top” techniques
9. COUNTRY GENTLEMAN The genius of the incomparable Chet Atkins
10. WIZARD OF OZZ Randy Rhoads’ acoustic techniques and riffs
CHAPTER
NEW�AGE PIONEER
1
A look at the “acoustic thrash” techniques of the late Michael Hedges
years since the passing of Michael Hedges, who died in a car accident on December 2, 1997. Hedges was an acoustic fingerstylist renowned for his multitude of techniques and tunings (typically applied to a 1971 Martin D-28) as well as his breathtaking musicality and captivating performance style. He burst onto the scene in 1981 with his early Windham Hill recordings, Breakfast in the Field , and fan favorite, Aerial Boundaries. These and other albums he made helped establish Hedges as one of the leading lights of the era’s new age/world music genre. Today, of course, bizarre tunings, chord tapping, slapped harmonics, percussive “smacks” of the guitar’s body and the use of exotic instruments (“harp” guitars, and other odd-shaped axes with additional bass strings) are not nearly as shocking as they were when Hedges first used them. But what set Hedges apart from these modern acoustic stylists is that his techniques merely colored—or added personality and spice to—what were already beautifully crafted, fascinating compositions. One need only listen to the Hedges classic “Ragamuffin” (from Aerial Boundaries ) to hear—and feel—the depth of the master’s musical palette and expression. Let’s tip our hat to Hedges’ self-described “acoustic thrash” with a piece inspired by his compositions “Because It’s There,” “Ritual Dance” and “Ragamuffin.” FIGURE 1 introduces the first of Hedges’ patented techniques: sounding a pair of open strings with a flick of the fret-hand fingers (see the video at GuitarWorld.com), then hammering on/pulling off in a continuous 16th-note rhythm. Use the middle and index fingers to hammer onto the G and high E strings, respectively. FIGURE 2, meanwhile, shows a bass line featuring “tapped” notes (tap and hold the low E string’s seventh fret with the fret-hand index finger) and “tapped harmonics” (slap the tip of the fret-hand index finger across the 12th fret to excite the harmonic). In our performance piece at this lesson’s end, these two figures will be played simultaneously. Open strings and hammer-ons/pull-offs play a prominent role in Hedges’ work. In FIGURE 3, they’re used to fashion a melodic phrase: on the “and” of beat two, sound the IT’S BEEN 14
All examples played fingerstyle: p = thumb, i = index finger, m = middle finger, a = ring finger F I G . 11 FIGURE
FFIGURE IG. 2 2
N.C.(Em)
N.C.(Em/A) (Em/B) (Em)
0 3 0 3 0 3 0 3 0 3 0 3 0 3 0 3
*
**
0
0
*
***T.H.
0 4 0 4 0 4 0 4 0 4 0 4 0 4 0 4
*Flick strings w/fret-hand index and middle fingers to sound notes (1st time only).
7
0
*Position plucking hand over neck and pull on string. **Tap w/fret-hand index finger and pull-off. ***Tapped harmonic (1st time only)
FIG. 3 FIGURE 3
FFIGURE IG. 4 4
. . N.C.(Cmaj7)
. .
N.C.(Em11)
let ring
*
0 3 0 3 5 0 0 4 0
4 0 4 5 0 5 7 0 7 9
0 0 5 7
*Flick strings w/fret-hand index and middle fingers to sound notes.
FIG. 5 FIGURE 5
p
i
0 0 5 7 p
i
0 0 5 7
p 3
m
F IG. 6 6 FIGURE
G let ring
0
1
0
2
D
let ring
*T.H.
*
0 0 12 0 12 0 0 12
0
0
a i
3
let ring N.H.
0 19 0 19 0 19
5 5 5
0
3
*Slap fret-hand index finger across strings to produce harmonics.
G
**T.H.
3 p
0 (0) 12
0
3
3
p
3
p
0
0
0
3
strum
*Rake across strings w/fret-hand fingers. **Slap fret-hand index finger.
FIG. 7 FIGURE 7
Em/A let ring
Em/B
(play 4 times)
Em
Cmaj7
*T.H.
T
T
0 3 0 3 0 3 0 3 0 3 0 3 0 3 0 3
0 3 0 3 5 0
0 4 0 4 0 4 0 4 0 4 0 4 0 4 0 4
0 4 0
0
7
0
12
4 0 4 5 0 5 7 0 7 9
8
*Tapped harmonic (1st and 3rd times only)
Em/A
N.C.(Em11)
G
D
G N.H.
T.H.
0 3 0 3 5 0 0 4 0 0
4 0
0 0 5 7 p
i
0 0 5 7
p
0
0 1 0 0 12 0 12 0 2 0 0 12
0 5 7
T.H.
0
0
3 i
p
3
G string with a “hammer-on from nowhere.” In FIGURE 4, they’re employed for a dazzling technical fill stated between main musical themes. (This example is the first in this lesson to use standard fingerstyle technique: plucking with the thumb and index and middle fingers.) In FIGURE 5, “slapped harmonics” make an open G shape sparkle: with the pick-hand index finger parallel to the 12th fret, “spank” the side of the finger
m
p
0
0 19 0 19 0 19
5 5 5 0 3 3
a i
3
3
p
3
p strum
across the D, G and B strings to produce harmonics. FIGURE 6 also features slapped harmonics (across the 19th fret), though they’re preceded with a quick “rake” across the open strings (drag the fret-hand index finger across strings 4-2 in the indicated rhythm) for percussive effect; an alternate “up/down” thumb stroke is also used on bass notes. FIGURE 7 puts all the above techniques together into a short, Hedges-inspired piece.
DOUBLING DOWN WITH AL DI MEOLA
CHAPTER
2
Exploring the legendary virtuoso guitarist’s “lickety-split” Latin strumming rhythms
has been an allstar in the world music, fusion and “chops guitar” arena since the Seventies, courtesy of his work with Return to Forever (featuring Chick Corea and Stanley Clarke), the album Friday Night in San Francisco (a live guitar trio recording with John McLaughlin and Paco de Lucia), and numerous solo efforts. Though most known for his alternate-picking prowess (influencing players like Yngwie Malmsteen, Vinnie Moore, John Petrucci, Joe Bonamassa and Richie Sambora, among many others), it’s Di Meola’s riveting rhythm work—uptempo, highly syncopated “Latin”-flavored grooves that are strummed and/or arpeggiated on an Ovation steel-string—that is the focus of this chapter. Virtually all the instructional examples in this lesson feature uncommon picking practices—“double” downstrokes, rest strokes and economy picking—so carefully follow the picking indications written above the tab staff throughout. Let’s kick things off with FIGURE 1, a passage modeled after Di Meola’s playing in “Lustrine” ( World Sinfonia ), featuring Amaj7 and Gmaj7 shapes strummed in a quick eighth-note rhythm. In this example, double downpicking occurs with each of the notes played on the fourth fret of the low E string. A quick “bounce” of the pick hand should do the trick here (see video online). Many of Di Meola’s strummed passages are derived from a rhythmic figure called a montuno, a minor-key vamp typically played by pianists in Latin rock and jazz. FIGURE 2 illustrates a basic (though speedy) version of this groove, its Am–Am(maj7)–Am7–Am6 progression creating descending chromatic movement (key to the montuno’s sound) along the fourth string. In measure 2, note that two quick downstrokes are required to play Fs (D string, fourth fret). FIGURE 3 takes this same chord sequence, complicates matters with a thumb-fretted A (sixth string, fifth fret) and calls for a rest stroke—letting the pick come to “rest” against the third string immediately after strumming the low strings with a downstroke. The same shapes are used in FIGURE 4, though inflected with a different rhythm, and require double downpicking to play the first two attacks. FIGURE 5 is our final “double down” example (see last beat of each bar), a rapid strumming pattern with a “backbeat” AL DI MEOLA
F I G . 11 FIGURE
= downstroke
Amaj7 let ring
FIG. 2 2 FIGURE Am
= upstroke
Gmaj7
Am(maj7) Am7
Am6
sim. 5 6 6 4
5
FIGURE F I G . 33 Am
5 6 6
5 6 6
3 4 4
5 5
4
3
Am(maj7) Am7
3 4 4
3 4 4
7
3 3
5 5
5 5
6
5 5
5
5 5
4 4
4
FIGURE F I G . 44 Am
Am6
Am(maj7)
Am7
Am6
let ring etc.
5 5 5 5
7 X 5
5 5 5 5
6 X 5
5 X 5
5 5 5 5
5 5
4 4 X 5 5
5 5 5 5
7 X 5
5 5 5 7
7 X 5
5 5 5 7
5 5 5 7
5 5 5 7
5 5 5 6
5
Th
5 5 5 6
5 5 5 6
5 5 5 5
5
5 5 5 5
5 5 5 5
5
5 5 5 4
5 5 5 4
5 5 5 4
5
Th
FIGURE F I G . 55 7 8 9 9 7
Em 7 8 9 9 7
7 8 9 9 7
7 8 9 9 7
X X X X X
5 7 7 7 5
X X X X X
7 8 9 9 7
7 8 9 9 7
7 8 9 9 7
X X X X X
7 8 9 9 7
7 8 9 9 7
7 8 9 9 7
X X X X X
7 8 9 9 7
X X X X X
5 7 7 7 5
7 8 9 9 7
7 8 9 9 7
X X X X X
5 7 7 7 5
5 7 7 7 5
D
sim. 5 7 7 7 5
5 7 7 7 5
5 7 7 7 5
5 7 7 7 5
X X X X X
5 7 7 7 5
5 7 7 7 5
F I G . 66 FIGURE Em(add2) *
5 7 7 7 5
5 7 7 7 5
F I G . 77 FIGURE Bm/E
let ring
5 7 7 7 5
X X X X X
7 8 9 9 7
7 8 9 9 7
Cmaj9
let ring *
0
0
0 4
0
0
2
0 0
4
2 2
0 7
4
0
7
0
7 7
0
*w/slight P.M. on strings 4-6
7
0
7
8 8 8
*w/slight P.M. on strings 4-6
F I G . 88 FIGURE E7 9
F I G . 99 FIGURE B(add 2)
let ring
let ring
*
*
8 6
7
6
9 7
6
6 7
6
8 7
6
7 7
6
0
*w/slight P.M. (throughout)
(muted strings on “two” and “four”), reminiscent of Di Meola’s accompaniment in the Friday Night in San Francisco jams with John McLaughlin and de Lucia. Intricate arpeggiated riffs are also a hallmark of Di Meola’s acoustic rhythm style. The E minor– flavored FIGURES 6 and 7 , which are inspired by the title track to Cielo e Terra and “Perpetual Emotion” ( World Sinfonia ), respectively, both require
9
10
8
7
7 8
7
7 8
10
8
7 10
8
10
9
10
8
8 9
10
9
7
*w/slight P.M. on strings 4-6
“upstroke” economy picking (playing numerous neighboring strings in succession with a single pick stroke, in a controlled rhythm) and feature tricky syncopations. Meanwhile, the dark/moody atmosphere generated in FIGURES 8 and 9 (a nod to the Passion, Grace & Fire title track and “Orient Blue,” from World Sinfonia, respectively) owe much to “altered” versions of E7 and B chords, and will push your economy-picking chops to the limit.
IS LESS REALLY MORSE?
CHAPTER
6
Cracking Steve Morse’s elusive acoustic code
Seventies, Steve Morse has pushed the envelope in the ever-broadening category of instrumental rock, openly embracing the styles of rock, blues, bluegrass, country, jazz and classical in his work with the Dixie Dregs (later the Dregs) and the Steve Morse Band. He’s also got a foothold in the heavy metal arena, having channeled his chops since 1994 into pioneering metalheads Deep Purple. If you can get a grip on what the man can do solely with an acoustic guitar, you just might begin to grasp the breadth of this picker’s stylistic palette. That’s where this lesson comes in. Morse is a master at using arpeggios in unpredictable fashion, not only in solos but also in acoustic pick-style “parts.” FIGURE 1 , inspired by Morse’s bass solo accompaniment in “Rally Cry” ( Structural Damage ), is one example. Fret A6 using your (low to high) index, middle, ring and pinkie on the top four strings, removing a finger as required to access open strings, and pick harder at each accent (“>” above each upstroke) to bring out the internal melody line. Note: each chord’s root falls on the last 16th note of the beat, yielding intentional rhythmic instability and “push,” a combination that is one of many Morse trademarks. FIGURE 2 is reminiscent of a tricky string-skipping riff that sets up Morse’s “Rally Cry” guitar solo. To deal with the rapid fingering shifts, regard every few notes as a chord fragment, changing fingerings only at each new chord symbol. Approach fingerings in FIGURE 3—a passage akin to parts of “Endless Waves” ( High Tension Wires )—in the same fashion. While this example isn’t as complex as the previous, its odd note groupings (often picked in groups of five) and unpredictable accent points (typically on the second 16th note, at a chord change) will certainly force you off balance. FIGURE 4 completes this lesson’s picking portions—a sample of Morse’s blazing bluegrass, in the spirit of “Tri County Barn Dance” ( Major Im pacts 2 ). Be sure to check out this song’s solos to hear Morse give flatpicking legends Tony Rice and Doc Watson a run for their money. A look at Morse’s “classical” techniques closes this lesson, beginning with FIGURE 5 , a passage modeled after “Flat Baroque” ( Coast to Coast ). Keep the sixth string pumping every two beats while sounding note SINCE THE LATE
Figures 1-4 played pickstyle: = downstroke = upstroke Figures 5-7 played fingerstyle: p = thumb i = index finger m = middle finger a = ring finger FIG. 1
FIG. 2 A6
A/D
Asus2
F#m11
A6
let ring
2
0
0 2
0
2 2 0
Esus24 Asus2 Bm
Dsus2
let ring
0
0 3 2
2
2
0
5 2
0 2
2
2
4
0
0
2
4 2
2
4
0
0
2
2
F I G . 33 FIGURE Cmaj9
Em7
F
G
Cmaj9
Em7
F
G
let ring 0
0
3
3
4
3 0
5
2
2
0 3
2
3
0
5
0 3
3 0
G5
0 3
1
F I G . 44 FIGURE Dsus4
2
5
3 0
3 0
4
2
1
Csus2
3
F
etc. 3 3 2
3 3 2
3 3 0
3 3 0
3 3 0
3 3 0
1 1 2
0
0 0 0
F I G . 55 FIGURE E5
2
2
2
1 1 2
0
2
3
3
3
A/E
E7
D/E
E5
A/E
D5
let ring 7 3
5
5
9 5
5
7
9
7 3
5 7 5 4 0
0
2
0
0 3
7 3
5
5
9 5
5
7
9
5 3
2
2
4 2 0 4
0
0
m i p
i
F I G . 66 FIGURE E Esus24 E
0
m i p
m i
B5 E
0
3
m i p
B5 E/G B5/F
m i
m i p
E5
let ring 2 4
0 1 2
4 2
4 2
4 2
0
a m i p
m i
m a p
0
m i p
i
F I G . 77 FIGURE E5
G5
0
m i p
m
i
m i p
G/B
D5
0
2 0
i
G/B G5
2 0
i p
E5
let ring
0 1 2
0
0
a m i
i p
m i
i p
2 4
2 2
m p
i p
0 2 0
p
pairs on the top two strings—pluck with thumb ( p ), index ( i ), middle ( m ) and ring ( a ) fingers as shown below the tab—and use a light “snapping” touch when executing the “Celtic”-flavored hammer-ons/ pull-offs. FIGURES 6 and 7 showcase two counter point approaches (an “umbrella” term to describe the various types of interplay between two or more
2
0 0 2 3
0 2 3
i p i p i p p p p
0 0 3 2 0 3 2
i p i p i p p p p
0 2
0
i p
melodic voices or lines) heard similarly in “Point Counterpoint” ( Southern Steel ) and “Highland Wedding” ( High Tension Wires ), respectively. The first features a descending E major triad arpeggio played in quarter notes over low-register diads and bass notes. In the latter, an eighth-note, step-wise bass line percolates beneath a quarter-note melody.
CHAPTER
UNPLUGGED GONE WYLDE
7
Zakk Wylde’s “unplugged” riffs and hybrid-picked, acoustic shred
Label Society’s leader (and Ozzy’s guitarist for more years than anyone else), Zakk Wylde has become infamous for his brewtal riffage and lethal lead style. Remarkably, though, he also has a soul-stirring softer side. Numerous acoustic-heavy offerings populate his catalog, including BLS records like Hangover Music Vol. VI and solo albums like Book of Shadows. Many of them are highlighted by Wylde’s perhaps surprising vocal abilities, which include crooning not unlike Chris Cornell and the late Layne Staley (a strong contrast to his singing approach in BLS’ “bone-crushingly heavy” output). What’s more, in almost Van Halen– like tradition (think “Spanish Fly” on Van Halen II ), many BLS discs feature a fiercely shredded unaccompanied acoustic guitar solo. Add to this the fact that, just last year, BLS reworked an entire album ( Order of the Black ) into the all-acoustic The Song Remains Not the Same, and you may agree that it’s high time we honor the burly, bearded one’s fine acoustic guitar work. “Darkest Days” is one of the standout tracks on The Song Remains Not the Same and features Wylde engaging in pick-style arpeggiation, not unlike FIGURE 1. Whereas some acoustic players might opt to go the fingerstyle route in such a setting, Wylde fills the soundscape quite nicely with picking— note the successive up/down strokes (a.k.a. economy picking ) written above the TAB staff—and hammered-on chord ornaments. (He uses a similar approach in “Spoke in the Wheel,” on Sonic Brew.) Of course, Wylde is a master at coaxing heavy riffs out of virtually any ax, and he doesn’t always keep it “pretty” when he’s digging into the strings of his Alvarez Yairi, Gibson Dove or Epiphone Masterbuilt acoustics. In “No Other” ( Hangover Music Vol. VI ), which informs FIGURE 2, heavy pick attacks, open-string drones and the frequent emphasis of the flatted fifth, or “Devil’s interval” (Bf in the key of E minor), combine to create a dark, moody vibe that’s more akin to Wylde’s trademark persona. We’ll wrap up this lesson with a look at two of the unaccompanied acoustic guitar solo pieces in the Wylde discography. FIGURE 3, inspired by portions of “Takillya AS THE B LACK
FIGURE FIG. 1 1 C
G6
Am
G6
let ring 0 1
1
3
0 3
1
0 0
0
1
0
2
3
0
0
0
3
3
2
2
0 0
0
0
2
3
3
F IG. 2 2 FIGURE N.C.(Em)
(Em6)
Em7
B 6
A7sus4
Em7
let ring 0 0 0 0 10 8 0 0 0 7 9
0 0 0 11
0 0 0 0 11
FIGURE F IG. 3 3 N.C.(Am)
0 2
0 3 0 2
0
0 3 0 2
0 0
1
0
0 2 0
2
(G/B)
(Fadd 4)
(Em)
(play 3 times)
0
0
0
0
0
0
4
0
2
0
0
0
0
5
0
0
3
0
0
0
0
0
0
0
0
3
0
2 5
3 3 3 p i m p i m p i m
0
0
2 5
3 3 3 p i m p i m p i m
3 etc.
F IG. 4 4 FIGURE Em
3
3
3
3
0 !
1
3
3
G
let ring * m
m
m
m
m
0 0 5
0 0 0 0 0 1 2
3 0
(Em)
0 3 0 2
0
0
let ring 5
0 3 0 2
7
5 7
0
0
5
7
4
m 0
7
etc.
0
0
7
0
7
9 10
9
0
10
0
7
9
7
0
9
0 9
10
*w/light P.M. (next 4 bars)
C
N.C.(Em)
E5add 4
m 0 0 2 3
2 0 3
0 2 4
2 0 4
m
m
m
m
0 4
3
7 0 0
(Estyabon)” ( Hangover Music Vol. VI ), is a speedy finger-picked passage, featuring a descending line (sounded with the thumb, p) stated between plucks of higher open strings (using the index and middle fingers, i and m, respectively). Blistering guitar pieces such as this, as well as “Speedball” ( 1919 Eternal ) and “T.A.Z.” ( Sonic Brew ), are a tip of the hat to Wylde’s influences, such as Al Di Meola, Paco de Lucia, John McLaughlin and Carlos Montoya.
5 0 0
7 0 0
5 0 0
7 0
0 !
0 0 0 3 2 2
FIGURE 4 pays homage to “T.A.Z.,” copping some
of the terrifying pick-and-fingers (or “hybrid picking”) techniques Wylde wields in the piece. Grip your pick between your thumb and index fingers (use downstrokes only), and pluck with your middle (m) finger. Focus on the first string pair used in the lick (beats one and two of bar 1) and perfect it. The rest of this passage is actually the same pattern played on different strings and/or areas on the neck.
COUNTRY GENTLEMAN
CHAPTER
9
The genius of the incomparable Chet Atkins
countless recordings as a studio musician, producer and solo artist. Many of his recordings—particularly those of the artists he produced in Nashville, like Elvis Presley, Roy Orbison and the Everly Brothers—laid the foundation for early rock and roll. Though Atkins played many styles, he is most often associated with country music and acoustic guitars. By using a combination of thumbpick and fingers, Chet created his signature “fingerpicking” sound. In this chapter, I’m going to look at two patented Chet Atkins techniques. FIGURE 1 shows an approach Atkins often used when playing scales. With the fret hand near fourth position, ascend/descend A Mixolydian (A B Cs D E Fs G), grabbing each successive scale tone on a neighboring string and mixing in all available open notes. It should sound similar to playing a scale on a harp, or on a piano with the sustain pedal held down. Keep your fret-hand fingers depressed as long as possible so that notes overlap, and follow the indicated picking/ fingerstyle indications to get the full effect. This “harp trick” is common in the lines of country players like Albert Lee and Brent Mason, and can be done with any scale, provided the open strings are “in key.” The last note of each chord in FIGURE 2 is a harp harmonic, another technique pioneered by Atkins (and later taken to new heights by Lenny Breau, Ted Greene and Tommy Emmanuel). On beat four of each bar, you will see “H.H.” Touch a fretted string with the plucking-hand’s index finger precisely 12 frets higher than the note appearing parenthetically in tab, then pluck that string behind your index finger’s point of contact, using the thumb (or thumbpick) to produce a chiming “octave overtone” harmonic. The preceding notes of each chord are played using traditional fingerstyle technique (without harmonics). Atkins often wove the aforementioned techniques (and more) into stunning solo guitar arrangements rooted in Travis picking (named after Travis). This somewhat country-like fingerstyle approach involves thumbpicking alternating bass notes (usually the root and fifth) on different strings while sounding melodic parts (typically built around a fretted chord shape) with the plucking hand’s remaining fingers. CHET ATKINS MADE
Figures 2 and 3 played fingerstyle: p = thumb, i = index finger, m = middle finger, a = ring finger. FIGURE FIG. 11
= downstroke
N.C.(A7)
= upstroke
let ring N.H.
w/pick:
0
7
i
or fingers:
0
4
p
i
4
7
m
p
0
0
i
6
7
m p
i
3
p
i
0
3
m
i
6
p
0
0
7
m
p
4
m
7
i
p
0
4
m
0
7
i
0 5 5 5 5
p
i
F I G . 22 FIGURE
C
G
Am7
Fsus2
let ring *H.H.
H.H.
15
3
1
0
2
3
H.H.
15
3
1
0
p
m
3
1
2
0
3
H.H.
15
3
15
3 1
sim.
p
*Fret note in parentheses, touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic.
3
FIG.3 3 FIGURE
=
(w/light palm muting on bottom three strings)
A7
D7/F
1
5
3
2
0
2
0
0
0
a p
p
1
2
2
0
0
2
a p
a
a
p
0
p
i
p
m p
i
p
i
m p
1
0
0
2
2
p
0
5
5
i
p
5
5
5
5
5
a p
2
m
1 2
0
a p
p
0
0 2
m p
i
m p
0
a p
3
0
a
1
2
i
p
0
0
a
p m
2
0
2
m p
p
5
m p
i
m p
i
0 2
0
0
a
0
2
0
i
2
i
p
E7
2
0
2
2
i
p
p
2
3
2
2
2
3 5
p
0 0
a
A7 7
0
3
0
2
0 2
2
2
D7/F 4
A7
3
m p
i
D7
2 0
p
A
0
p
1 2
p
p
i
a
p
A7
D/A
A
A
5 2
5 3
5 1
5 2
0 2
2
0
p
3
m p
i
p
A9
let ring 10 5 5
p
3 4
0 5
3
5 4
2
i p
i
5
i
m p
i
a p
m
2 0
0
p
p
In FIGURE 3, a 12-bar blues in A, you’ll see this technique in action with a variety of A7, D7 and E7 shapes. Familiarize yourself with each chord voicing first, study the structure of each bass note pattern
5
a m
0
4
0
1
0
2 0
0
0
12 12 12 11
12 12 12 11
etc.
and practice repeatedly (while chord shapes are held down) until the bass line feels automatic. Then slowly add the melody notes, focusing on one bar at a time until you have it perfected.
WIZARD OF OZZ
CHAPTER
10
Randy Rhoads’ acoustic techniques and riffs
was booted from Black Sabbath and went solo in 1979, his quest for a heavymetal soulmate ended with his discovery of Randy Rhoads. The pair would go on to pen such classic metal cuts as “Crazy Train,” “I Don’t Know,” “Mr. Crowley” and “Flying High Again,” among others. Unfortunately, Rhoads was around long enough to record only two full-length albums with Ozzy: Bliz zard of Ozz and Diary of a Madman (the live album, Tribute, was released posthumously in 1987). On March 19, 1982, while “joyriding” in a small plane piloted by Ozzy’s tour bus driver, Rhoads was killed when the pilot flew too close to the band’s parked tour bus, clipped its wing and careened into a nearby house. A fan of classical music, Rhoads was one of the first American guitarists to successfully incorporate classical music elements into heavy metal. (“Euro-metal” guitarists, including Ritchie Blackmore, Yngwie Malmsteen, Uli Jon Roth and Michael Schenker, had also experimented with melding the two genres.) Reportedly, Rhoads was contemplating retiring from rock after the tour to study classical guitar at UCLA. In this lesson, we’ll take a look at examples in the style of Rhoads’ classically influenced solo piece “Dee” as well as “Diary of a Madman” and “Goodbye to Romance,” two other Ozzy favorites that prominently feature acoustic guitar. Randy pulled out all the stops for Diary of a Madman’s title track, an epic six-minuteplus piece packed with acoustic and electric guitar textures. Its intro, similar to FIGURE 1 , is structured around an elaborate arpeggio passage reminiscent of a modern classical guitar etude by Léo Brouwer (entitled “Etudes Simples: VI,” published in 1972), which Rhoads likely learned in his classical guitar studies. Use economy picking to tackle these arpeggios throughout, employing a single pick stroke to sound successive notes found on adjacent strings, as indicated. Rhoads also had a talent for composing striking ballads, as evidenced by the track “Goodbye to Romance” ( Blizzard of Ozz ), the first song Ozzy cowrote with the guitarist. Penned as Osbourne’s personal farewell to Black Sabbath, the song blends clean-tone electrics with steel-string acoustic sounds, resulting in an almost “harpsichord”-like tonal quality. FIGURE 2 depicts a composite WHEN OZZY OSBOURNE
FIG. 1 6
Aadd 4
Dm 9 /A
Aadd2
let ring
0
7
0
4
6
sim. 4
6
7
0
Dmadd2/F
0
2
4
3
0
3
3
4
3
2
0
0
2
4
2
4
2
Eadd2 0
3
3
2
0
1
4
2
0
4
2
1
0
1
4
0
0
1
0
Figures 2 and 3 are played fingerstyle: p = thumb, i = index finger, m = middle finger, a = ring finger FIG. 2 N.C.
D
A/C
Bm7
let ring 0 0
2 2
3 4
5 6
7 7 5
m i
m i
m i p
7
p
7 7
8 10 9 11
5 6 4
m i
m i p
5 6
7
7
7 5
A7sus4 A7 7 7
7 7
9 10 7
7
m i
m i
m i p
p
m i
m i
2 0
2
0
7
p
3 0
m i p
m i
p
2
p
FIG. 3 Bm
A/C
G
D/F
D
let ring 7 9
m p
7
p
7
i
G
10
12
7
p
7
m
11
p
E7/G
9
10
9 9
10 9
7
7
8
7
3
10
sim.
m p
E7
A7
p
3
4
3
i
m
0
m p
i
p
A7sus4 D N.H.
3
0
2
0
3
0
0 3
m p
p
a
4
0
a p
m p
2
0
3
m p
in-the-style-of arrangement. “Dee” ( Blizzard of Ozz ), which inspires FIGURE 3 , is a lilting waltz (3/4 meter felt “in one”) that Randy dedicated to his mother, Delores. (Perhaps as a further tribute to his mom, the majority of “Dee” falls in the key of D.) With this track, Rhoads used one of his favorite acoustic multitracking
i
3
2 3
0
0
a
5
m
rit. m p
i
2
0
7 7 7
m i p
0
p
approaches: overdubbing a steel-string acoustic on top of his primary nylon-string part for added sparkle (he also did this in “Diary of a Madman”). Note the pick-hand fingerings included below the notation. For further insight into Randy’s classical guitar technique, check out the “Dee” studio outtakes at the end of the Tribute album.
