IUIY AR
GUITAR NOTATION LEGEND
o A Guitar Music can be nolated three different ways: on a musical staff, in tablature, and in rhythm slashes.
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RHYTHM SLASHES are written abCIYe the staff. Strum chords in the rhythm indicated. Use the chord diagrams found at the lOP of the first page of the transcription for the appropriate chord volcings. Round noteheads indicate single noles.
THE MUSICAL STAFF shOws pitches and rhythms and Is divided by bar lines into measures. Pitches are named after the first seven letters of the alphabet. TABLATURE graphically represents the guitar fingerboard. Each horizontal line represents a string, and each number
represents a lret.
Strings
1~~~~ 4th string, 2nd 1ret
HAlF·STEP BEND: Strike the note and beM up 1/2 step.
WHOLE-STEP BEND: Strike the note and bend up one step.
1st & 2nd stnngs open, played together
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PRE·BEND: Bend the note as iOOicated. then
strike iI.
r--:---'12
HAMMER-ON: Strike the first (tower) note with one finger, then sound the higher note (on the same string) with another linQer by Iretting it wilhout picking.
TRILL: Very rapidly alternate between the notes indicated by conlinuou$ty hammering on and pulling off.
.0----
• PICK SCRAPE: The edoe of the pick Is rubbed down (or up) the string, producing a scratchy sound.
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WIDE VIBRATO: The pitch is varied to agreater by vibrating with the fretting t\and.
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PUll·OFF: Place both fingers on the notes 10 be sounded. Strike the lirst note and without picking, pull the finger off to sound the second (lower) note.
LEGATO SLIDE: Strike the first note and then slide the same fret·hand finger up or down to the second note. The second note is not struck.
SHIft SLIDE: Same as legato Slide. except the second note is struck.
TAPPING: Hammer ("lap") the Iret Indicated with the pick-hand Index or middle linger and pull off 10 the note Iretted by the Iret hand.
NATURAL HARMONIC: Strike the note while the Iret·hand lightly touches the string directly over the fret indicated.
PINCH HARMONIC: The note is 1retted normally and a harmonic is produced by adding the edge 01 the thumb or lhe tip of the index fioger of the pick hand to the normal pick attack.
-------
•
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MUFfLED STRINGS: A percussive sound is produced by IayWlg "" lret hand across "" string(s) without depressing, and striking them '"til the picJ< hand.
PALM MUTING: The note is partially muted by the pick hand tightly touching the string(s) just belore the bridoe.
VIBRATO BAR DIVE AND RETURN: The pitch 01 the note or chord is dropped a specilied number 01 steps (in rhythm) then returned to the original pitch.
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...
.
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RAKE: Drag the pick CJCrOSS the strings indicated with a single motion.
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VIBRATO BAR SCOOP: Depress Ihe bar just before striking the note, then quickly release the bar.
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2
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VIBRATO: The Siring is vibrated by rapidly bending and releasing the note with Ihe fretting hand.
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TREMOLO PICKING: The note is picked as rapidly and continuously as possible.
SLIGHT (MICRDTDNE) BEND: Str;ke the note and bend up 1/4 step.
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open 0 chord
GRACE HOTE BEND: Strike the note and bend up as indicated. The first note does not take up any time.
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BEND AND RElEASE: Strike the notB and bend up as Indicated, then release back to the original note. Only the tirst note is struck.
3fr
.
VIBRATO BAR DIP: Strike the note and then immediately drop aspecified number of steps. then release back to the original pilch. ·In .L/2 ·In
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CONTENTS Page
Title
Audio Tracks
6
Introduction The Recording Satriani's Writing Process Tuning (Standard Tuning) Tuning (Open F Tuning) Legato Licks
1 2 3-4
9 10 13 16 20
NOT OF THIS EARTH Not of This Earth Rubina Memories Hordes of Locusts
5-6 7-8 9-10 11-13
25 26 33 37 47
SURFING WITH THE ALIEN Crushing Day Always with Me, Always with You Satch Boogie Circles
14-16 17-19 20-24 25-27
53 54
DREAMING #11 The Crush of Love
28-30
58 59 66
FLYING IN A BLUE DREAM Flying in a Blue Dream Big Bad Moon
31-33 34-37
71 72
THE EXTREMIST Summer Song
38-42
4 5 6
3
Locusts:' For the backing tracks, drums were programmed onto an Alesis HR-16 drum machine, while a Yamaha BBN411 bass guitar was used to cover all of the basslines. All guitar, bass, and drums tracks were then mixed down to an Otari DTR-8S DAT recorder. I would like to extend my thanks to Erik Hanson at Roland Corporation US, Greg Romano at J. D'Addario & Company, Inc. for the strings and picks, Derek Snyder and Craig Booker at West L.A. Music, Adam Castillo for lending me his funky Sitar-Guitar, and everybody at Hal Leonard Publishing Corporation.
SATRIANI'S WRITING PROCESS In an interview conducted by Jas Obrecht for Guitar Player magazine's February 1988 issue, Joe Satriani attempted to put into words the type of music he plays and the contents of his then-forthcoming album, Surfing with the Alien. From the mouth of Satch himself, the music on this new album is described as: Satriani: "Full-tilt boogie to ambient bliss, tongue-in-cheek psycho-Western to dire metallic adagio, cerebral cool to visceral hot, two-handed fantasies to footstomping wanged and wah-wahed surf and roll, and possibly the only heavy metal instrumental about an insect!" (Guitar Player) At the crux of Joe's creativity lies a handful of interesting little methods he often uses to get inspired. Many of the approaches he takes, since they are far from typical, help generate some of the atypical sounds and mesmerizing musical vibes he is famous for. Song Ideas seem to come most often when Joe's mind is allowed to openly run wild. Some of these periods occur during moments of mental clarity arrived at while taking a lengthy run, through meditation, or while staring at the television. In the case of Joe's moodier pieces, many sparks of creative magic have flickered after seeing a strange movie or reading a bizarre book. Sometimes Joe will simply select a mood or a particular feeling and write to it, encapsulating a particular experience in an arrangement of musical sounds. Even Joe's caffeine intake has an effect on his muse; Satch oftentimes opts to drink countless cups of coffee (multiple cups of Joe!), or none at all, as a means of spurring on his creative juices. In addition to his constant practicing, performing, and recording, Joe makes it a point to keep his composing chops up to snuff by writing, on the average, three to four hours each and every day. This helps keep the creative floodgates open. When he's putting down the basic idea of a song on a reference tape, Joe usually programs a rudimentary drum part on a drum machine-using a repeating pattern that is just basic enough to get the groove going-and works only with generic sounds on all the instruments (guitar, bass, drums, keyboards, etc.). This prevents him from creating a piece of music where the song's primary focus is merely the sound of a particular instrument. At the same time, this prevents him from dabbling with "trendy" tones which he may not like the next day. By keeping all of the elements very basic at the beginning, the song will be forced to stand on its own. He also saves all of his early reference recordings because they usually contain the initial excitement and intensity of his musical creations.
LEGATO LICKS Below is a legato sequence similar to some of the lines Satriani whips out whenever the spirit moves him, as well as a few tips on how to master these types of passages. Legato is a term used to describe a musical passage whfch is meant to be performed smoothly, without any break between notes. This is typically indicated in the notation and
6
TAB staves with a slur-a curved line which appears over or under a series of notes of difterent pitches. This type of technique is extremely demanding on the frethand, as its fingers are required to articulate each note by a series of hammer-ons, pull-ofts, or legato frethand slides with minimal picking activity. To cleanly execute Satriani's lickety-split legato licks, refined frethand skills are mandatory! In the interest of avoiding string slop, you will need to make sure that each note you articulate with your frethand is approached in the most efficient manner possible. For starters, here are a few guidelines that may help you keep excess motion to a minimum: o o
o
o
o
o
o
Keep your frethand's wrist and forearm straight and relaxed. Try keeping the palm of your frethand parallel to and almost touching the guitar neck's binding. Fret each note firmly behind the indicated fret, pressing straight down using your fingertips. Each of your frethand fingers should line up parallel to each fret. When a finger is not fretting a note, keep it hovering as close to the fretboard as possible. When ascending (hammer-ons), keep fingers depressed after a note is fretted, removing them at the last possible moment to avoid excess motion. When descending (pull-ofts), try to finger all the notes that occur along that string in advance.
The next step in developing strong legato chops is to incorporate the above suggestions into the performance of all the primary legato techniques-hammer-ons, pullofts, and legato frethand slides. What foliows is an in-depth description of each of the aforementioned techniques and an efficient approach towards executing them. Hammer-ens
When tackling a legato lick which employs hammer-ons (an ascending legato technique), once you've fretted the first note of the passage with an appropriate finger, sound the string with your pick, then physically slam down (like a "hammer") another suitable finger onto the same string at the indicated fret, sounding the new note with the pressure from your "hammering" finger. Note that you'll have to press down hard enough so the note will sound as loud as the previous picked note. When playing a lick that involves a combination of picked, hammered, and pUlled-oft notes, it is important each of them are played with a consistent volume. This ensures the line will come across to listeners as an uninterrupted, steady stream of notes. Pull-efts
When confronting a legato passage which makes use of pull-ofts (a descending legato technique), you must first fret each note that occurs on the indicated string in advance with the appropriate frethand fingers. Next, articulate the first note using your pick, pull the string downward slightly using the finger that's fretting that note (not so far that it goes out of tune), and quickly remove (or "pull oW) this finger from the string with a quick, flicking motion. This pUlling and releasing action should force the second note to sound. When executing this type of technique, it is important that the finger performing the pUll-oft doesn't flap across any of the higher adjacent strings, producing undesirable string noise. Legato frethand slides
In a legato frethand slide, the first note is picked, and the second note is sounded by quickly sliding into it, while maintaining pressure with the sliding finger as it moves
7
along the fretboard. A slide between notes is indicated in the notation and TAB staves as a slightly diagonal line. A line sloping downward indicates a descending slide, while one that slopes upwards indicates an ascending slide. As in all legato techniques, a slur is also written over note groupings which are articulated using legato frethand slides. With all that said, try tackling the following legato lick. It employs each of the three techniques discussed above and involves all six strings of the guitar.
A V
Featured Guitar: Gtr. 1 (center of mix)
•
Slow Demo: Gtr. 1 (center of mix)
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Fig. I - Legato Lick N.C.(Em) Glr. I (di"t.)
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NOT OF THIS EARTH After leaving the Squares in 1984, Joe Satriani took it upon himself to finance his own instrumental solo album. Between January and April of 1985, under the enthusiastic ears of producer John Cuniberti, Joe recorded all the guitar, bass, percussion, keyboard, and drum machine parts (former Squares member, Jeff Campitelli, played drums on a few of the tunes) for an album he would eventually call Not of This Earth (note: when Joe was in high school, he and his pals watched the infamous science-fiction film Not of This Earth on a regular basis-they'd even act out the parts with bits of dialogue they'd memorized!). By June t 985 (after 107 hours in the studio) Not of This Earth was mixed and Joe was contemplating whether or not he should put himself through the frustrating process of soliciting his album to record companies. It was around this time that vocalisVguitarist Greg Kihn approached Satch with an invitation to record on the new Greg Kihn Band album, Love & Rock & Roll, and go on tour. Given the huge debt Satriani had racked up by charging all the expenses for Not of This Earth on his own credit card, Satch anxiously accepted. Shortly before Satriani went out on the road with the Greg Kihn Band, he passed around some copies of Not of This Earth to a few of his buddies, one of which was friend and former pupil Steve VaL By 1985 Steve Vai had already played with Frank Zappa for years (since he was 19), recorded and released a pair of solo albums (FleX-Able and FlexAble Leftovers), and was Yngwie Malmsteen's replacement in the band Alcatrazz. He had also earned a high level of respect from several record company executives. Vai forwarded a copy of Not of This Earth to Cliff Cuiteri at Relativity Records and Cuiteri flipped over it. Relativity Records released Not of This Earth in November 1986 and signed Sateh in December. Joe soon found himself on tour playing his own music in Scandinavia with bassist Jonas Hellborg and drummer Danny Gottleib.
9
NOT OF THIS EARTH
Music by Joe Satriani
This song is a great example of creatively implementing a compositional approach called the pitch axis theory-a procedure for manipulating harmonic information that Joe picked up from his high school music teacher, Bill Wescott. A "pitch axis" is a central tone or pitch that functions as a pedal point in which parallel modes are then sounded over. (Say what!?) Try to imagine a bass player thumping on the low E string, creating the illusion that he or she is playing in some kind of E key (E major or E minor). The chords performed by another instrument (like a guitar) over this droning E note (pedal point) will imply different kinds of. E major or minor keys (I.e., different modes), depending on what types of chords the guitarist plays. In "Not of This Earth," Joe uses his melodic lines to imply different modalities over a four-measure chord sequence played by Gtr. 1 (Rhy. Fig. 1). This accompaniment figure, which consists of the chords Emaj7/6, Em7b6, and E7sus4, cleverly dodges many of the mode-defining tones like the ;4 and, in cases like E7sus4, the major 3rd. This creates an ambiguous harmonic situation. Joe (Gtr. 3) blows through these chord changes using three different modes: E Lydian (E-FI-GI-Al-B-CI-Di) over Emaj7/6, E Aeolian (E-Fi-G-A-B-C-D) over Em7b6, and E Mixolydian (E-FI-Gl-A-B-CI-D) over E7sus4. He is using the note E as the pitch axis in this case, relating three different modalities to one central pitch or "axis." Throughout "Not of This Earth:' Joe exploits this type of "modal freedom" in the way he constructs his primary theme and in the solo sections. Other songs that utilize Satch's pitch axis concept include "Satch Boogie" (tapped interlude) and "Always with Me, Always with You." Figure 1 - Primary Theme Here's the psychotic legato theme Joe juggles over the various modalities discussed earlier-E Lydian, E Aeolian, and E Mixolydian. This lightning-fast legato-fest is a perfect example of Joe's command over an abundance of shredding techniques. Keep in mind all the technical elements that were studied in the previous Legato Licks section and start gettin' your fingers flappin'! Rhy. Fig. 1 (Gtr. 1) outlines the majority of this song's harmonic content and is repeated throughout this section over an E pedal. At the very end of this excerpt (measure 16), Joe blazes through a descending cascade of notes derived from an Fim7 arpeggio (FI-A-GI-E). This lick resurfaces almost note-for-note (only in different keys) in a couple of other tunes we'll study at a later point in this book-"Memories" (measures 17-18), and "CrUShing Day" (measures 31 and 35), among others.
Featured Guitars: Gtr. 1 (hard R.) Gtr. 2 Gtr. 3
Fig. I
11:091 Moderate Rock
+
J = 112
Gin. I & 2: wi Rhy. Figs. I & 2. 4 limes (see p. II) Glf.3
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Copyright Q 1986 Strange Beautiful Music (ASCAP)
10
Slow Demo: Gtr. 3 (center) '-----------' 6
3
International Copyright Secured All Rights Reserved Used by Permission
(center) (hard L.)
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--------
RUBINA
Music by Joe Satriani
"Rubina" is Joe's wife-undoubtedly the inspiration for this beautiful piece of music. This song is one of the few Satch tunes which revolves around a strictly major tonality-G major (G-A-B-G-D-E-F#), in this case. On a later album, SUrfing with the Alien (1987), Joe also achieves a powerful melodic statement by staying within the parameters of a garden-variety major scale in "Always with Me, Always with You."
Figure 1 - Guitar Solo The solo for "Rubina," aside from being an all-time favorite solo ever for hordes of guitar nuts across the globe, is also a personal favorite of Satch's former pupil, Steve VaL When Satriani first sat down to blow over this song's basic tracks, he couldn't seem to shake the two-note theme--G (fifth fret, fourth string) to A (seventh fret, fourth string)that appears in measures 1-2. Needless to say, all Joe needed was a great starting point (which these notes clearly were) and he was oft to the races, improvising the remainder of this 24-measure masterpiece! Throughout this solo Joe demonstrates an aspect of his improvisational brilliance that separates him from the proverbial "pack"-his intuitive knack for creating unpredictable syncopations (deliberate disruptions of the normal pulse). The subtle rhythmic quirks that Satch naturally gravitates towards-breaking up the industry-standard sixteenth-note subdivision into breathing musical phrases (measures 3-8, 11-12, 16-17, etc.)-helps render one of the most tasteful solos ever to ooze from the fingertips of any instrumentalist. Don't let the above paragraph fool you; amidst all of his masterfully-crafted melodies, Joe crams in some serious legato licks. He just puts them in the perfect places! In measures 9-10, Joe flaps his fingers across the fretboard, pUlling-off notes from B minor pentatonic (B-D-E-Fi-A) at the seventh position. Opting for B minor penlatonic over the implied chord progression (G-Em) at this point creates an interesting arrangement of notes. This brings out unexpected scale tones (most nolably, FI) that a traditional pentatonic approach would usually bypass [nole: a more-traditional pentatonic approach would probably call for G major pentatonic (G-A-B-D-E) or E minor pentatonic (same notes, constructed from E: E-G-A-B-D)]. Joe persists with his pentatonic patterns in measure 16 with an angular organization of pitches rooted in E minor pentatonic. Here Joe breaks the scale up into 4th and 5th intervai shapes and slithers down, via frethand slides, to lower string sets. This same approach towards manipulating pitches within the parameters of a pentatonic scale is also explored in the song "Circles" (Fig, 2, measures 27-28), from SUrfing with the Alien. In measure 18, Joe pulls out all the technical stops with a descending spiral of notes covering nearly two octaves on strings 1---4. Notice how the position shifts between each group of pull-ofts (roughly every three notes) gives him an extra shot at squeezing more notes out of a string. It also allows him to cover more territory along the fretboard as opposed to across it. Fig. I
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Copyright@ 1986 Strange Beautiful Music (ASCAP)
Intemational Copyright Secured All Rights Reserved Used by Permission
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15
MEMORIES Music by Joe Satriani One goal Joe Satriani always had, in terms of aesthetic achievement, was to create solos within his own songs that had as much melodic intensity and dramatic impact as Jimi Hendrix's solos in tunes like "Machine Gun" and "Voodoo Chile." At the completion of "Memories," Satch left the studio with a real feeling of accomplishment, pleased with the fact that he made a significant melodic statement of his own. However, he still feels that the spirited playing of Hendrix epitomizes the highest plane of guitar artistry and hopes that someday he himself will get even closer to reaching that same level of inventiveness. Figure 1 - Guitar Solo After a series of cleverly-timed descending slides reminiscent of the song's melody in measures 1-2, Joe punctuates the first four measures of this solo with a statement in A minor pentatonic (measures 3-4: A-C-D-E-G). This same four-measure motif is repeated similarly over the course of the next four measures (measures 5-8), giving way to an unexpected avalanche of slurred sextuplets (sixteenth-note triplets-six notes per beat) in the measures that follow. Between measures 9-12, Joe peppers the soundscape with a plethora of pull-ofts and hammer-ons, accessing every note (in multiple octaves) from A natural minor (A-B-C-D-E-F-G) in the process. Once Joe reaches the eighth position in measure 13, he unleashes another timeless legato pattern which alternates between a slurred flurry of notes on the first string (C, D, and E) and a single pitch (B) on the second string. The legato sextuplets give way to an ascending sixteenth-note sequence (measure 16) which is performed moments before a key change to D minor. In measure 17, Joe shifts gears in response to the D minor key change, opting to sift through notes from D natural minor (D-E-F-G-A-B~C) between measures 17 and 32. After whipping through a descending Dm7 (D-F-A-C) arpeggio shape [note: a similar phrase pops up in "Not of This Earth" (measure 16) and "Crushing Day" (measures 31 and 35)], Joe lays down the law with a classic blues phrase derived primarily from D minor pentatonic (D-F-G-A-e) in measures 19-20, with the addition of a '5 passing tone or "blue" fifth (A,) squeezed in between the notes A (tenth fret, second string) and G (twelfth fret, third string). Joe perseveres with his pentatonics in measures 21-22, spicing things up with a series of compound bends (a pitchbend that covers an interval distance greater than one whole step). After a palm-muted ascending triplet run (measure 23), Satch breaks into an intervallic triplet passage which alternates between a D (seventh fret, third string) and various pitches along the higher strings which descend the D natural minor scale (measure 25). A similar pedal-point approach is also taken in measure 26, only the D pedal occurs on a higher string in this case. After a brief return to Satch's bluesier side (measures 27-28), two measures of quarter-note rakes ensue in measures 29-30. Raking can be accomplished by slicing your pick (using a downstroke) through a couple of strings that are lower and adjacent to your target note. Muting these lower strings so that no discernible pitch is produced when the pick passes through them adds extra grit to the notes you are raking into, creating a dramatic variation to the standard pick attack sound [note: a similar approach surfaces in the "Circles" solo (measures 17-18)]. After a descending series of hammer-ons, pUIl-ofts, and legato slides along the first string, Joe ends this memorable musical event with a blistering Am7 arpeggio lick (measure 32) which bears a striking resemblance to the descending Dm7 arpeggio run we encountered earlier in measure 17.
Copyright © 1986 Strange Beautiful Music (ASCAP)
16
International Copyright Secured
All Rights Reserved
Used by Permission
Dsus2
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19
HORDES OF LOCUSTS Music by Joe Satriani "Hordes of Locusts," a one-of-a-kind heavy metal instrumental about bugs, is a spooky brew of power chords, pick scratches, middle-eastern melodies, sitars, and palmswept artificial harmonics. There's even a bizarre chord sequence inspired by the unpredictable harmonic quirkiness of Chopin and John McLaughlin thrown in for good measure! The song's primary riff is presented here in two formats: (1) transcribed and performed in the same manner it was originally recorded (with multitracked guitar parts), and (2) arranged for performance on one guitar (the way Joe played it live on the Dreaming #11 EP).
Figure 1 - Primary RifflTheme There are a myriad of guitaristic elements that set this riff apart from every other guitar passage on the planet. Aside from the fact that swarms of notes from "Hordes of Locusts" flutter around Fi Phrygian Dominant (measures 5-8 and 13-16: FI, G, AI, B, CI, 0, E) and B Phrygian Dominant (measures 9-10: B, C, 01, E, FI, G, A) [note: Satch also employs B Phrygian Dominant in the tail end of the "Circles" solo (measures 33--44)], a handful of orthodox guitar techniques are used to create some cleverly unorthodox musical settings. This song's trademark pick scrapes first enter the picture in measure 3 (Gtr. 2) and resurface throughout the piece. There's no real mystery behind how to execute a pick scrape. All you need to do is dig the side edge of your pick into the windings of the lower sixth string and drag it along the string's length, producing a scratchy or "scraping" sound. Synchronizing your pickhand with the appropriate scratching rhythm will be the trickiest part. If you haven't noticed, Gtr. 2 is pretty much the designated noise-maker instrument throughout this tune. In measure 7 (see Fill 1), Gtr. 2 engages in a series of natural harmonics which are performed alternately at the fourth and fifth frets of strings 6-3. Natural harmonics occur on any stringed instrument (guitar, violin, harp, etc.) when one of its strings is lightly touched at a particular point. In notation, harmonics are represented with diamond-shaped noteheads, while the abbreviation "Harm." is aiso used between the notation and TAB staves in an effort to clarify the type of technique involved (e.g., "feedback" is also written with diamond-shaped noteheads). The harmonics performed throughout this section can be articulated most efficiently by alternating between the first and second fingers of your fretting hand to play the harmonics found at the fourth and fifth frets, respectively. After a couple measures of sitar (arranged here for standard electric guitar w/clean tone: measures 9-10), Joe infests the airspace with a horde of palm-swept harmonics (measures 11-12). To successfully emulate Satch's screeching palm-swept harmonics, lightly touch your guitar's strings near the bridge with the palm of your pickhand and rapidly pull-off the three indicated notes (F, E, and D) along the fourth string. This should generate some squealing harmonic overtones (if it doesn't, your pickhand is pressing into the strings too hard). While your frethand continues to articulate the indicated notes, slide your pickhand's palm along the strings towards the neck pickup. This will produce a handful of random artificial harmonics.
20
Copyright © 1986 Strange Beautiful Music (ASCAP) International Copyright Secured All Rights Reserved Used bv Permission
Featured Guitars: Gtr. 1 (center of mix) Gtr. 2 (slightly off·center) Gtrs 3&4 (hard L. & R.)
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Fig. 2 Intro
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23
Figure 3 - Chord Sequence According to Joe, the bizarre harmonic structure of this song's middle section was inspired by the compositional quirkiness of Frederic Chopin and John McLaughlin. For the most part, this passage involves major triads (three-note chords) positioned along stringset 2-4 sounding over completely unrelated bass notes. These types of sonorities are often referred to as polychords and are usually analyzed in a manner which indicates the type of triad first, while the specific bass note played beneath it is preceded by a slash. This type of chord structure first appears in measure 1 on beat 4 with the chord FIE. In this case, an F major triad (F-A-C) sounds over an E bass note.
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SURFING WITH THE ALIEN Released in October 1987, Surfing with the Alien was the pivotal album for Joe Satriani's solo career. It was the first rock guitar instrumental album to make it into the Top 40 since Jeff Beck's There and Back album (1980) and quickly went gold (500,000 copies sold), 1hen platinum (1,000,000 copies sold). Other critical accolades include winning "Best Guitar Album" in numerous guitar publications-you couldn't pick up a guitar magazine without seeing Satch's mug on the cover or finding a feature article inside-and a Grammy nomination. In terms of commercial success, in the heart of the '80s shred era, Satriani simply left all the other trailblazing six-string slingers in the dust. In the tradition of Not of This Earth, Surfing with the Alien (which was almost entitled Lords of Karma-the name of 1he album's eighth track) featured Satriani performing the majority of the instrumen1s (guitar, bass, keyboards, percussion, and drum programming), with Jeff Campitelli playing drums and Bongo Bob Smith doing some of 1he additional drum programming. Joe also entrusted John Cuniberti wi1h the album's production responsibilities. Though Relativity Records had originally budgeted $13,000 to cover Surfing with the Alien's expenses, the final figure ended up being more like $29,00o-way over the proposed bUdget. To put the finishing touches on the record without racking up additional overhead, Joe made an arrangement with the recording studio's manager, Sandy Pearlman, to work as a guitar repairman in exchange for studio time. When the time came to put together the artwork for Surfing with the Alien, Joe opted to follow the jokingly casual suggestion of Relativity Records' product manager, Jim Kozlowski, by placing the Silver Surfer comic book character on the album's cover. Kozlowski, after being informed that the album's title was Surfing with the Alien, revealed that he used to be referred to as the "Silver Surfer" when he was a disc jockey in Boston. After the album was released, Satriani recruited the monstrous musical talent of Stuart Hamm and Jonathan Mover (bass and drums, respectively) for the Surfing with the Alien tour. Satch used this same lineup of musicians for almost every recording and road excursion that followed.
25
CRUSHING DAY
Music by Joe Satriani
The guitar solo in "Crushing Day" is the lengthiest guitar showcase Joe Satriani ever put on a studio recording, clocking in just shy of the two minute mark! Over the course of this spectacular solo, Satch crams in everything from three-note-per-string pentatonics, sweep-picked passages, and whammy bar wackiness, to a variety of double stops, alternate-picked sequences, and an aerobic arpeggio workout! Figure 1 - Guitar Solo This solo begins with a burning open-position G minor pentatonic (G-B,-e-D-F) lick comprised of hammer-ons and pull-offs performed mostly along the third and fourth strings (measures 1-8). Notice the repetitions of the note G (fifth fret, fourth string/open, third string) which is played on adjacent strings throughout. Satch then transposes the exact same lick-virtually verbatim-up one octave to the twelfth position, stretching out his frethand fingers in a classic display of three-note-per-string pentatonic shredding (measures 9-16). After a few measures of rockin' rhythm guitar (measures 17-20), Joe sets the scene for the next phase of his solo with eight measures of a repeated eighth-note motif phrased with intermittent pick harmonics, microtonal (1/4-step) bends, and other inflections (measures 21-28). At measure 29, the chop-fest resumes as Satch engages in a rare display of his sweep picking prowess. Sweep picking is a pickhand technique that makes it a breeze to blast through arpeggiated passages which involve primarily one note on each string by using just one pick stroke. In measures 29-36, Satriani employs this technique to a flurry of notes that outline G minor (G-B'-D), F major (F-A-C), and Dm7 (D-F-A-C) chords. Glancing at the tablature, it immediately becomes evident that these notes are grouped side-by-side on adjacent strings in a mostly one-note-per-string arrangement. Since many of these note groupings could actually be fretted simultaneously (like fingering a chord), it is important to notice that these notes need to be fingered separately in order to achieve the proper effect. In other words, don't let each note ring into the next so as to avoid creating a chordal sound, This can be accomplished by simply pressing each note to the fretboard one at a time the instant your pick "sweeps" through the string. The "sweeping" aspect of the pickhand is the central component of this technique, After picking the first note with a downstroke, allow the pick to fall into the next higher adjacent string so it rests up against it. Next, push the pick right on through this higher string and continue this motion until the pick has passed through each of the strings indicated, using one smooth "sweeping" motion. For the descending version of an arpeggio shape, use this same type of motion, beginning with an upstroke on the higher string, and pushing through each lower adjacent string. Satch follows up each of his swept arpeggio shapes in this section with a furious descending lick which also surfaced in a pair of his earlier tunes-"Not of This Earth" (measure 16) and "Memories" (measures 17-18). Three-note-per-string pentatonics reign supreme throughout measures 37--44, spruced up with an occasional D' (twenty-first fret, first s1ring/eigh1eenth fret, third string)-a '5 chromatic passing tone that Satch squeezes in between the C and D notes inherent to G minor pentatonic. He also tosses in an occasional E, eluding to the G Dorian mode (G-A-B'-G-D-E-F). Notice how this three-note-per-string layout on the fingerboard produces some unison pi1ches on adjacent strings similar to this solo's outset-in 1his case, the pair of Gs (fifteenth fret, first string/twentieth fret, second string) found in measure 40. This pentatonic ou1burst is punctuated with some Chuck Berry-inspired, perfect-fourth double stops and broken sixths in measures 45-50, followed by some semi-traditional, bluesy phrases found within the G minor pen1atonic "blues box" at the fifteenth position (measures 49-52), If you're a fan of blazing, alternate-picked sequences, this next lick is for you-a barrage of sixteenth notes arranged in ascending groups of four, built off of each ,succes-
26
sive scale tone from G natural minor (G-A-B,-e-D-E~-F) beginning on each beat (measures 53--56). If you start this lick with a downstroke (using consistent alternate picking throughout), practice it for hours at a slow enough metronome setting so you don't make any mistakes, then gradually increase the tempo until you reach Satch's speed of 168 bpm, you'll be ready to rock out with the best of them! Seriously, though, if you want to be a hard-core shredder, these types of sequences should already be a regular part of your practice regimen. Having several variations of alternate picking sequences similar to this under your belt will provide you with the physical capability and technical foundation to be able to rip through passages like this almost immediately. By practicing sequentiai exercises along with a metronome you will be able to constantly monitor your progress and also be aware of your current speed threshold, Some people even keep a record of this information In their daily practice log. As if your fingers haven't suffered enough already, Satriani commits the final coup de grace with a staggering sprint through several inversions of arpeggios that are diatonic (found within the key) to G natural minor-E~ (E~-G-B~), F (F-A-C), and B~ (B~-D-F)-in measures 61-{)4. These arpeggios are arranged so that Satch can alternate rapidly between the two highest notes using pUIl-offs-a feat made possible by positioning these two higher notes along the first string (as opposed to the one-note-per-string arpeggios encountered in the earlier sweep picking passage).
05 Fig, I
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Featured Guitars: Gtr. 1 (panned hard L.) Gtr. 2 (panned hard R.)
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International Copyright Secured All Rights Reserved Used by Permission
27
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ALWAYS WITH ME, ALWAYS WITH YOU Music by Joe Satriani
The basic contents of "Always with Me, Always with You" came to Satriani's creative mind while he was sitting by himself with a guitar in his hands. While his mind was free of distraction, the tune simply found its way down to his fingers. From that point, Satch worked tediously on the piece, editing down every nuance of his playing in an effort to keep it appropriately subdued. He was going for the kind of vibe a saxophone player in a small jazz club exudes while on the bandstand-standing alone playing the melody of a tune, improvising a bit, then bringing the tune back in the end. He felt that each of his melodic outbursts had to be free of any guitaristic self indulgences-an approach much more subtle than some of the in-your-face, over-the-top chops displayed on other cuts from Surfing with the Alien. Figure 1 - Introduction and Primary Theme To achieve a combination of maximum gain and sustaining power while also maintaining the ability to allow notes to die out naturally with virtually no feedback, Satriani used a Pultec tube equalizer in combination with a GML equalizer and a Rockman. These items helped Satch generate the stinging, horn-like guitar tone he used to perform the staggering melodies and solos in "Always with Me, Always with You," Like "Rubina" from Not of This Earth, "Always with Me, Always with You" is another powerful example of Satch's sensibiiities within the confines of a basic major scale-in this case, S major (S-GI-DI-E-F;-GI-Al). Joe sticks to notes from this scale exclusively for the tune's entire melody (measures 13--28). Bm(add9)
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While composing the harmonic structure for this song's guitar solo, Satriani employed a concept he previously used to extremes on the title track of his album, Not of This Earth. Remember the pitch axis theory? Since this solo section fluctuates between B major (measures 1-16), and then shifts to B natural minor (B-CI- D-E-FI-G-A), it pivots between major and minor tonalities using the note B as a pitch axis. Satriani's touch on his Ibanez axe is simply beyond reproach. He's not being overly heavy with his pick, which keeps his phrasing smooth and even. In fact, the sound of his pick amidst slurred passages is almost imperceptible (measures 21-24). One effective way to incorporate the phrasing style of another instrumentalisl into your own playing when studying a note-for-note transcription is to play along with the artist's recording, keeping your volume level well below his/hers. This will enable you to clearly hear every nuance of the player, making it easier to replicate his/her phrasing. Focus on emulating all the basic elements of musical expression: everything from the player's vibrato intensity, bend intonation, and pick attack, to their tone, dynamics, and rhythmic feel. Studying the phraseology of a passionate player will only make your personal melodic statements all the more powerful-broadening your own range of musicality.
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SATeH BOOGIE Music by Joe Satriani Satch wrote most of this tune while he was temporarily debilitated, wearing a neck brace from a recent car accident. In "Satch Boogie," Satriani again grappled for the sound of a saxophone-this time reaching for the power of an entire saxophone section blowing unaccompanied in a fiercely swingin' big band. Think of it almost as "a blast of blistering bebop meets the Texas boogie of Billy Gibbons, meets legendary jazz drummer, Gene Krupa-all falling down a flight of stairs!"
Figure 1 - Primary Riff Once Surfing with the Alien was released, every guitar player on the planet wanted to get the ferocious figure for "Satch Boogie" under their fingers. Based primarily in A minor pentatonic (A-C-D-E-G) and rooted mostly in the open position, this burnin' boogie takes single-note riffing and double-stop delivery into uncharted territory. After you get comfortable with the basic fretting positions, dial in the crunchiest, punchiest, distorted tone you can get. This will give you gobs of sustaining power, making it a little easier to cop Satch's fierce finger vibrato as you wrench your guitar's strings back and forth across the neck. To make this riff flow in the saxophone-like manner Satch intended, take heed of every passing pull-off between fretted notes and open strings. This will not only make the figure easier to play, it will also help keep things smooth and make it much easier to bring out the natural accents that occur each time Satriani digs his pick into his strings. Smokin' Joe puts the cap on this riff with some serious whammy-bar wankage!
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Joe (Gtr. 1) blows over a mixture of Mixolydian modal centers (dominant-seven1h sounds) throughout this 68-measure showcase for his devastating guitar heroics. Though single no1es and power chords are the only types of analyzable materials (performed by an overdubbed rhy1hm part-Gtr. 2), over the course of this solo the modal key centers of A7 (measures 1-16,33-48, and 65-68), D7 (measures 17-24 and 49-56), and F#7 (measures 25-32 and 57~4) are all clearly implied. When improvising over the implied A7 and FI7 chords, Joe takes more of a bluesman's approach, whipping out some finger-flappin' bending licks in A minor pentatonic (A-C-D-E-G) and FI minor pentatonic (Fl-A-B-CI-E), respectively. Some of his dOUble-stop (two-note) ideas and bending licks during these sections even resemble passages performed by one of rock 'n' roll's pioneers, Chuck Berry (see measures 13-14 and 35-37). Satch also spends a lot of time grooving in the traditional minor pentatonic "blues box" found at the fifth position over A7 (see measures 1-8, 11-15,33-38) and at the second position over Fl7 (check out measures 29-31 and 59-63), When the spirit moves him, Joe also tosses in the note FI amidst flurries of no1es from A minor pentatonic, borrowing frOm the A Dorian mode (A-B-C-D-E-FI-G)-most notably in measures 5, 34-36, and 41-42 (buried in the pick-tapped lick along the third string). 38
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Figure 3 - Tapped Interlude As we encountered in "Not of This Earth" and, to some extent, "Always with Me, Always with You," Satch once again demonstrates his command over modal manipulation via the pitch axis theory-this time in the form of a 37-measure fingertappin' fiesta. Using the open A string as his pitch axis, Joe navigates his fingers through sounds rooted in A Lydian [A, B, Cl, Dl, E, FI, GI (measures 1-2, 9-10)], A Dorian [A, B, C, D, E, Fl, G (measures 3-4,11-12)), A natural minor [A, B, C, D, E, F, G (measures 5-6, 13-t4, 17-20,2324,27-28,31-32,35-36)], A Ionian [A, B, cl, D, E, Fl, GI (measures 15-16, 25-26, 29-30, 33-34), A harmonic minor [A, B, C, D, E, F, GI (measures 21-22)), and A Mixolydian [A, B, el, D, E, FI, G (measures 37-38)], using a variety of fingering patterns involving two frethand fingers and one fingertapped note-all soaked with a heavy flanger effect. When Joe recorded a sample tape of "Satch Boogie" for Relativity Records he had three different mixes of the tune-each of which varied due to the contrasting treatment of this tapped interlude section. The first mix had the entire track (all instruments) during the tapping section flanged out to the max, the second just had the guitars flanged, and the third excluded the tapped part altogether, Since the release of Surfing with the Alien, whenever Satch listens back to "Satch Boogie," he can't envision the tune without the tapping segment. He's glad he left it in. After all, it was the way the song was conceived in the first place-a reminder that you should always follow your initial instincts!
43
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CIRCLES Music by Joe Satriani Like "Always with Me, Always with You," "Circles" is another song that popped into Joe's head while he was hanging out with his guitar, letting his cerebellum simply run in "circles," This piece runs the emotional gamut-dark and brooding in its intro, to fiercely flamboyant and intense in its guitar solo, For the Surfing with the Alien album, Joe dusted off his wah-wah pedal for the first time since the seventies, The spectacular solo in "Circles" makes life without wah-wah seem inconceivable. Figure 1 - Primary Riff After a few seconds of spooky synthesizer effects and drum machine thumps, Joe's squeaky-clean strat (run through an echo device) gets this tune rolling with a handful of haunting double stops (two-note chord partials) amidst reiterations of a palm·muted E string (open sixth string), The double stops in measures 3 and 4 fluctuate between perfect fifth and major and minor sixth interval shapes extrapolated from the E natural minor scale (E-FI-G-A-S-C-O). Joe punctuates this repeated two-measure figure with an E power chord, comprised of unison Es (ninth fret, third string/open first string) and Bs (ninth fret, fourth string/open second string). Joe enhances this riff's harmonic scheme with the insertion of two chordsC5add9 and Am-in measures 5 and 7, imparting a reflective quality to the soundscape prior to the return of the opening figure in measures 8-9, At measure 10, Joe foreshad· ows the intense musical moments to come with a sinister figure highlighted by a heavily· vibratoed tritone sonority-an augmented fourth/diminished fifth interval which was dubbed musica diablo (the "devil in music") in pre-twentieth-century Western music (European and American music),
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Figure 2 - Guitar Solo The band launches into a double-time feel (approx. 168 bpm) at the outset of this guitar solo, providing Satch with a smoldering backdrop to splatter his scorching licks over. At this point, Joe whips out his wah-wah pedal for the first time, using it mostly as a tone filter (activated but not manipulated) to access screeching, high-frequency tones. Following some frantic phrases in E minor pentatonic (E-G-A-B-D) located at the twelfth position (measures t-4), Joe provides mere mortal guitar slingers with yet another timeless inspiration to pursue sizzling technical perfection. If you're a pessimist, well this seamless barrage of psychotic shred just might give you the one reason you've been looking for to wimp out, throw in the towel, and use the instrument as a coffee table! Combining rapid-fire pull-offs with notes tapped onto the fretboard using the edge of his pick, Joe takes no prisoners in this four-measure melting pot of legato licks----<:ramming in a staggering combination of irregular note groupings at warp speed (measures 5-8). Incidentally, you may find it encouraging to know that learning this lick will actually put you ahead of the game when it comes to tackling the third solo in "Big Bad Moon" (see Fig. 2, measures 10-14 of said song). After a couple of measures of raunchy bends, the tapped flurries continue (measures 13-15). This time Joe uses a more traditional tapping approach, using a finger from his pickhand to articulate notes on the fretboard, as opposed to hammering on notes with the edge of his pick. The tune modulates to the key of A minor for the next eight measures, prompting Satch to engage in two measures' worth of quarter-note rakes (measures 17-18) [note: a similar approach is taken in the earlier "Memories" solo (measures 29-30)]. Joe strictly adheres to the notes found within the A natural minor scale (A-B-C-D-E-F-G) during this eight-measure section_ The only exception occurs in measure 22 with the inclusion of the note E, (eighth fret, third string)-a lowered or "blue" fifth (~5)-amidst a blues-inspired A minor pentatonic (A-C-D-E-G) lick. This section climaxes with a squealing tapped harmonic which Satch manipulates with his tremolo bar (measure 23). To reproduce this "lapped harmonic," while sustaining the note C (fifth fret, third string), lightly touch the vibrating string exactly five frets higher (tenth fret). This will produce an ear-piercing harmonic overtone that is two octaves higher than the fretted note (note: touching the string twelve frets higher produces an overtone one octave higher). At measure 25, Satch's circle of musicians returns to the key of E minor, provoking an intervallic avalanche of descending triplets out of our gifted guitar hero's fleet fingers (measures 27-28). These triplets are comprised mostly of fourth and fifth intervals within E minor pentatonic (E-G-A-B-D) [note: a similar lick is employed in the "Rubina" solo (measures 16-17)]. The solo concludes in dramatic fashion (measures 33-44) with a staggering melody over an implied B7 chord (B-DI-FI-A) using notes from a scale which is often referred to as Phrygian Dominant-in this case, B Phrygian Dominant (B-C-m-E-FI-G-A). 48
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The last four measures of this "Circles" solo depict yet another masterful demonstration of Satriani's patented whammy bar work-complete with his lizard down the throat technique (measures 47-48). To achieve this effect, slide a frethand finger up the third string while depressing the tremolo bar at almost the same rate as the note is ascending. This will keep the pitch somewhat the same, while creating a gurgling sound as your frethand fingers slide across each passing fret. Featured Guitars: Glr. 1 (hard R) Gtr.2 (hard L)
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* "liz,lrtJ down the throat" technique. Slide up to the twelfth frel while dipping 4 whole steps with the whammy bar, then slide back to the fourth fret while rele
52
DREAMING #11 Three of the four tracks on Dreaming #11 were recorded live at the California Theater in San Diego, CA on June 11, 1988 and feature the band from the Surfing with the Alien tour (Satch, Stu Hamm, and Jonathan Mover). Joe borrowed the album's titlepronounced "Dreaming Number Eleven;' not "Dreaming Sharp Eleven"-from a song that appeared on his out-of-print EP, Joe Satriani (1984). The three incredible live cuts demonstrate how Satriani adapts the blazing, multitracked guitar madness from his studio albums to a live situation. This is particularly evident in "Hordes of Locusts" (note: one of the arrangements back in Chapter 1 depicts Joe's live approach towards playing this song). The other live tunes on Dreaming #11 include "Memories" (from Nol of This Earth) and "Ice Nine" (from Surfing with lhe Alien). The lone studio track on the album, "The Crush of Love;' was originally recorded at Alpha and Omega Recording in San Francisco, CA for Guitar Player magazine's February 1988 Soundpage and featured the same lineup from the Surfing with the Alien recording sessions: Joe (guitar, bass, and keyboards), Jeff Campitelli (drums), Bongo Bob Smith (percussion), and John Cuniberti (producer). An in-depth study of "The Crush of Love"-a melodic masterpiece in the tasteful tradition of "Rubina" and "Always with Me, Always with You"-is presented in the pages that follow. The Dreaming #11 EP was released during November 1988 and, propelled by the heavy radio airplay "The Crush of Love" received, quickly went gold and earned Satch his third Grammy nomination.
THE CRUSH OF LOVE by
Music
Joe Satriani
After Sa1riani had been away from home for an extended period of time recording his Surfing with the Alien album, he returned only to be reminded that his wife, Rubina, had a hectic work schedule as well. "The Crush of Love" came about on an evening when Joe was experiencing very intense emotions, wishing he was able to spend more time with his wife. So what did he do? He picked up his guitar and immortalized this crushing feeling into a song. "The Crush of Love" is another melodic masterpiece in the tasteful tradition of "Rubina" and "Always with Me, Always with You." Throughout this song Joe kept the reigns pulled in, keeping the dizzying displays of 1echnique and flash to a minimum. He simply sought to phrase each passing measure in the same manner an accomplished vocalist would sing the most memorable melody. In short, this song is a beautiful example of the types of deeply-moving musical statements Joe can make without relying upon his patented bag of tricks. Figure 1 - Instrumental Chorus
in the tradition of many of Joe's moodier pieces, this song was written in the Aeolian mode-specifically A Aeolian, or A natural minor (A-B-C-D-E-F-G). Many of this song's phrases actually adhere to a five-note SUb-grouping of pitches found within this minor scale-the A minor pentatonic scale (A-C-D-E-G). Throughout "The Crush of Love;' Joe (Gtr. 1) uses many subtle vibrato techniques-including finger vibrato and vibrato, courtesy of his tremolo bar (e.g., "w/bar"). If you've ever studied the way a vocalist's pitch fluctuates when he/she is engaging in vocal vibrato, you've probably noticed that the pitch oscillates down from the primary target note that is being sung. In a guitarist's finger vibrato, the pitch wavers upward from the fretted pitch. Throughout this song, using the tremolo bar for vibrato (lowering the pitch by quickly pressing the bar down slightly, releasing it, then repeating this motion) is one of many ways Joe Satriani phrases his melodies in the style of a veteran vocalist. The first instance tremolo bar vibrato occurs in this song is in measure 7 of the following page.
53
Fig. I
•• F5
134
Moderate Rock J = 108 Am (drum fill)
1
or
Am
G
F
• • lili
J 34
B
231
13421
1342J
ClI. 3: wI Fill 1
Fmaj7
G6
..
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•
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i: J
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Featured Guitars: Glr. 1 (hard L.) Glr. 2 (hard R.) Glr.3 (hard L.)
..
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54
Copyright© 19B7 Strange Beautiful Music (ASCAP) International Copyright Secured All Rights Reserved Used by Permission
"* ..
End Rhy. Fig. 1
06
Am
_ •
Fmaj7
E~
~/€ ~ ~
I*-
!~~~;~~ ~t~ ~
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•
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1/4
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t
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Figure 2 - Instrumental Verse
In many of Joe's flashier pieces, it's no secret he uses his tremolo bar to generate some seriously shocking sounds, In this song's instrumental verse section, Satch whips out his whammy bar to achieve more subtle inflections which seem to suit the song perfectlyspecifically a few tastefully placed vibrato bar dips (measure 2, beats "1" and "3"), A "tremolo bar dip" can be accomplished by quickly depressing ("dipping") and releasing the bar, forcing the note to waver in pitch moments before it is allowed to sustain. This technique is indicated above the notation and TAB staves with a directional pointer ("V" indicates to press down, while the opposite would instruct you to pull up), and a specification of the interval distance of the dip ("-6" means lower the pitch by 6 whole steps). Featured Guitars: Glr. 1 (hard L.) GIL 2 (hard R)
Fig, 2 1o" 1
Fmaj7/A
06
6
·1/4
~A~~~~=~~:~~~'~'~~~~"'~~~'~'~'~~ oJ
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I
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•
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let ring
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>
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>
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Figure 3 - Instrumental Bridge At the dramatic high point of ''The Crush of Love," Joe wails like no other, cramming in everything from ear-piercing pitchbends, wicked finger and tremolo bar vibrato, and blazing blues phrases, to pick harmonics, vibrato bar dips, and harmonic minor runs. In the closing measures of this section, Gtr. 3 enters (measure 13) with a staggering lick: after a screaming whole-step bend from G (fifteenth fret, first string) up to A, he slithers through pitches from A harmonic minor (A-B-C-D-E-F-G#) on beat 4 and continues down the fretboard outlining an Am7 arpeggio (A-C-E-G). This phrase is concluded with a palm-muted handful of notes from A natural minor in measure 14 [note: this line is similar to some of the licks encountered in "Not of This Earth" (measure 16), "Memories" (measures 17-18). and "Crushing Day" (measures 31 and 35)]. Way to go Joe! 56
Am
/0(.'0
.....,
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Featured Guitars: GIr, 1 (hard L.) Glr. 2 (hard R.) Gtr. 3 (center)
Fig. 3
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57
FLYING IN A BLUE DREAM In 1989, Joe teamed up with producer John Cuniberti once again and created an 18-song gem of an album in the tradition of Jimi Hendrix's Electric Ladyland and Cream's Disraeli Gears-all masterpieces of musical diversity. Satriani's Flying in a Blue Dream (released October 1989) was Joe's most eclectic album to date, featuring everything from harmonica and banjo, to slide guitar and vocals-all of which were performed by Satch himself! Consistent with his previous releases, Satriani also covered all the guitar, keyboard, most of the bass, and some of the percussion parts as well. To round out the rhythm tracks, he brought in virtuosic veterans like Jeff Campitelli (acoustic/electric drums & percussion), Bongo Bob Smith (electric drums & percussion), Stuart Hamm (bass), as well as renowned rocker Simon Phillips (drums)-each of which were featured throughout different parts of the album. Producer John Cuniberti even whipped out a sitar on one of the tunes! Aggressive and atmospheric, bombastic but bluesy, spacious and spiritual, Flying in a Blue Dream sold over 900,000 copies in the United States alone and earned the Satchman his fourth Grammy nomination.
58
FLYING IN A BLUE DREAM by
Music
Joe Satriani
Like the song's title suggests, "Flying in a Biue Dream" was inspired by Joe's memory of a recurring dream which involved him flying from his bed in his sleeping garb and advancing to a purer plane of reality where everything the eye could behold was crystallized in a brilliant blue color. Joe likened these images to what it must be like to meet God. In the song, Joe used specific instruments to represent the various visions his mind conjured up. The lights illuminating his dream were portrayed by the acoustic guitars, while Joe himself was personified by the central guitar melody, soaring through the dreamscape without a care in the world. For the curious, the bizarre voice heard at the song's outset was committed to tape by producer John Cuniberti while Joe was experiencing some strange radio and television interference-in the tradition of Spinal Tap-while attempting to lay down the song's basic rhythm track. It's a little kid's voice saying something along the lines of, "... And afterward, sometimes they like each other and sometimes they don't. .." John and Joe figured it was too hip to leave off the record. The sublime timing of the kid's initial entrance was purely coincidental. Figure 1 - Main Theme The acoustic guitar figure (Gtr. 2: wi Rhy. Fig. 1) performed first at the beginning of this song and throughout the statement of the primary guitar theme (Gtr. 1) was performed on a Yamaha steel-string acoustic (recorded direct), tuned to an open F chord (low to high: C-F-C-F-A-C). Essentially, this tuning is the same as open-G tuning, only tuned down one whole step. The acoustic guitar's repeated chord structure outlines the C Lydian modality (C-D-E-F#-G-A-B) throughout this section, with the exception of measures 9-12 [Rhy. Fig. 2: A~sus2(111)l, measures 16-17 [Rhy. Fig. 3: Gsus2(111)]. and measures 19-20 [Rhy. Fig. 4: Fsus2(111)]. Joe chose to model his phrasing of this song's primary guitar melody in the style of legendary songster Frank Sinatra. For the most part, this melody is pretty sparsecomprised mostly of eighth notes. Joe does manage to cram in a speedy G minor pentatonic (G-B!>--C-D-F) run in measure 12, using nothing but the pressure of his frethand fingers to articulate the notes throughout (no picking!). To pull this off, YOU'll need to basically hammer on out of nowhere by slamming down the appropriate finger (your fourth finger, for example, to fret the F on the eighteenth fret of the second string) onto each lower adjacent string to sound the notes [note: Joe takes a similar approach in the "Rubina" solo (measure 9-10)].
Featured Guitars: Glr. 1 (hard L.) Glr.2 (hard R.) Glr. 3 (cenler)
Fig. 1 10:451
+
Grr. 2: Optn P Tuning:
(j):C @:A
(9:C @:F ®.F @.c Moderately J = 126 Gtr. 2: wI Rhy. Fig. J. 4 times
C5# 11(9) G~. I 1""·) .-11 OJ
(St.'e
p. 60)
C5# 11(9)
C
C
1\.
f w/disl.
Copyright e> 1989 Strange Beautiful Music (ASCAP)
International Copyright Secured
All Rights Reserved
Used bv Permission
59
0#11(9)
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Figure 2 - Guitar Solo The solo starts off with what is most likely the lengthiest legato lick on any of Satch's recordings. Over the course of eight measures, Satriani rips up his fretboard with a seamless barrage of slurred note groupings derived primarily from the C Lydian mode (C-D-E-Fi-G-A-B). He caps it off with a sliding pick tap, hammering on an FI (four· teenth fret, first string) with the edge of his pick and sliding it back and forth between the G (fifteenth fret, first string) found 1/2-step higher (measure 8). From this point we can get a good idea of how Joe sculpts this improvisatory effort to reflect each chord change, playing A' Lydian (Ab--B'-C-D-E'-F-G) over A'sus2111 in measures 9-12), and returning to C Lydian for a bit in measures 13-24. Notice how Joe briefly superimposes notes from an Em triad (E-G-B) over Csus2i11 between measures 16-19, preceding each of the three notes from the triad with a lower neighboring tone 1/2 step below. He also squeezes in a precisely picked Gmaj7 (G-B-D-Fl) arpeggio in measures 21-22. After two measures of Fsus2111, where Joe employs-you guessed it-F Lydian (F-G-A-B-C-D-E), Joe returns to C Lydian and unleashes a final flurry of manic, legato-style shred.
Featured Guitars: GIr. 1 (hard L) Gtr.2 (hard A.)
Fig. 2 Guitar Solo
Slow Demo: Glr. 1 (center)
11:381
Gu. 2: wi Rhy. Fig. 1.4 limes
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1
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65
BIG BAD MOON Words and Music by Joe Satriani While driving towards his home, Joe's eyes were captivated by a magnificent moon dangling in the evening sky over San Francisco. The song "Big Bad Moon" sprang into Satch's noggin while he was behind the wheel. This tune serves as a perfect showcase for the broad range of Joe Satriani's musical talents-an open forum for Joe to demonstrate his vocal, harmonica, and slide guitar chops. Figure 1 - First Guitar Solo This tune can be likened to some of the chicken-fried Texas boogie of bands like II Top, among a few others. The rhythm patterns performed throughout this song's earlier intra and verse sections (Rhy. Figs. 1 and 2) also function as the primary accompaniment behind the first and third guitar solos. Joe starts this first solo off with a ream of triplet-based E minor pentatonic (E-G-A-B-D) bending licks which alternate between a whole-step bend from D (fifteenth fret, second string) up to E, and the articulation of a fretted E (twelfth fret, first string), which sounds in the same octave as the previously bent pitch, only it's located on the first string. This pitch-matching type of bend is a great way to work on perfecting your bending intonation since you must bend the second string the precise interval (one whole step) so it "matches" the pitch of the stationary note (E). After the four-measure E-minor-pentatonic bending bonanza, Satriani shifts gears and squeezes out a pair of measures in E major pentatonic (E-F#-GI-B-CI). Alternating between these two different flavors of pentatonics (major and minor) is a very effective way to generate melodic variety while improvising over a blues-based chord progression. A short list of guitar heroes who frequently employ this approach would have to include Eric Clapton and Stevie Ray Vaughan. Following a frantic flurry of hammer-on and pull-off licks located at the twelfth position (measures 12-15), Joe engages in a manic display of his bend and tap-on technique (measures 15-17). After quickly bending an A (seventeenth fret, first string) up one whole step to B in measure 15 (on the "and" of beat 4), Joe quickly positions his pickhand over the fretboard and uses the edge of his pick to tap (indicated with a "+" over the notation staff and a "T" over the TAB staff) onto the twentieth fret of the first string. Since the tap here is used in conjunction with a note that is already bent up one whole step, the resulting pitch will be one whole step higher than the note that normally occurs at the fret you're tapping on. In traditional tuning, the note on the twentieth fret of the first string is C. Since the bend executed by the frethand has already raised the pitch of the first string by one whole step, a tap on the twentieth fret will produce the note D. Joe taps and pulls-off between these two notes in rapid succession, represented in this transcription as a trill (alternating between two notes as fast as possible in a legato manner, indicated by"lr-"). Figure 2 - Third Guitar Solo
Copyright C 1989-Strange Beautiful Music (ASCAP)
66
International Copyright $ecured
All Rights Reserved
Used by Permission
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Up to this point in the song, all of Joe's regular guitar parts have been blasted through a MESA/Boogie amp setup. For this third solo Joe opted for a completely diHerent sonority, running his Ibanez axe through a Boss DS-1 distortion pedal and into a Roland JC-120. After some preliminary pick scrapes, Joe squeaks out some greasy, open-position blues licks (measures 1-8), followed by a measure of brief bending like we encountered in the previous solo (measure 9). If you're a fan of the "Circles" solo (see measures 5-8 of said song), then this next blistering break is for you. Satch simply lets his fingers do all the talking, whipping out a torrent of taps (w/edge of pick) and pull-oHs to eHectively punctuate this staggering solo. However, how can any "shred" solo be complete without the obligatory, palm-muted, diminished arpeggio? Between measures 17-18, Joe puts the capper in this one permanently with the performance of an ascending G diminished (G-Bi>--Ci-E) sequence, transposing the initial two-beat, triplet-based lick up the fingerboard in minor third intervals (the distance of three frets).
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THE EXTREMIST Joe went to "extreme" measures in the making of his fifth album, The Extremist. For the first time since he began making solo records, Satriani nearly abandoned his Floyd Rose-equipped axes and opted for his Ibanez JS-6. He was also surrounded by new faces this time around enlisting Andy Johns as producer, Greg Bissonette on bass, Matt Bissonette on drums, and Phil Ashley at the keyboards. Bassist Doug Wimbish and drummer Simon Phillips also contributed to the recording. The album took over two years to write and record, but the tedious process clearly paid off. Upon its release in July 1992, The Extremist immediately went Gold, debuting at #24 on the Billboard chart, and earned Satch yet another Grammy nomination. The album's signature tune, "Summer Song;' was even featured on a Sony Walkman commercial!
71
SUMMER SONG Music by Joe Satriani Satriani came up with the title of "Summer Song" before he'd actually written a single note for it. He took the concept of "summer song" and set out to create a tune that depicted the excitement of summer vacation where school is out, flowers are blooming, and people are having a blast. "Summer Song" was featured on a Sony Walkman commercial and showcases Joe's superior shredding throughout. Figure 1 - Introduction While Gtr. 1 churns out its chords and palm-muted open string iterations (Rhy. Fig. 1), Gtr. 2 engages in a melodic application of natural harmonics similar to what we encountered in "Hordes of Locusts;' though yielding an entirely different result. Joe uses an echo effect (set at approximately 550ms) to generate some slapback echo repeats after he runs through each handful of harmonics.
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Figure 2 - Instrumental Verse Joe uses this song's introductory riff (Rhy. Fig. 1) as most of the accompaniment behind the wah-soaked melody played by Gtr. 2. Other chords like B5 and G5 enter the picture in measures 13-14, creating a more eiaborate harmonic structure which Satch accentuates with his stinging melody. This section's sixteen-measure melody is rooted in A Mixoiydian (A-B-CI-D-E-FI-G) and is performed Iwice---Qne-octave higher with varied inflections the second time through (measures 17-32). The rapidly oscillating vibrato heard throughout is accomplished by quickly depressing and releasing the tailpiece of a Floyd Rose tremolo system with the pickhand each time 'Ow/bar" is indicated.
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Figure 4 - Guitar Solo Joe makes a dramatic key change for this guitar solo section, opting for a G minor tonality between measures 1-16. For the most part, G Dorian (G-A-Bb-C-D-E-F) is Satriani's scale of choice over this key center, though some of the solo's earliest moments lean towards G minor pentatonic (G-B!>--C-D-F). Between measures 9-16, Joe whips out a barrage of blistering picked and pulledoff notes which echoes a passage we perused back in the "Crushing Day" solo (see measures 37-44 of said song), cramming in chromatic passing tones between G Dorian pitches along the third string (measures 9-12) and within the parameters of G minor pentatonic (measures 13-15). Another key change takes place for the last sixteen measures of this solo section-this time to F! minor. After four measures of tweaking his tremolo bar, Joe piasters the atmosphere with a pair of pentatonic passages-FI minor pentatonic (FI-A-B-Ci-E) between measures 21-22 and A minor pentatonic (A--e-D-E-G) between measures 23-24. Gtr. 2 then breaks into a boogie pattern, implying the modality of D Mixolydian (D-E-F~G-A-B-C) with its alternation between D5, D6, and D7 chords (measures 25-28). While this happens, Gtr. 1 launches into a descending eighth-note lick similar to a soaring passage from the "Satch Boogie" solo (see measures 17-20 of said song). The accompaniment pattern of Gtr. 1 moves up one whole step to imply the modality of E Mixolydian (E-FI-Gi-A-B-CI-D). These E5, E6, and E7 chords, coax Satriani into climbing up the second string in a chromatic fashion (measures 29-30), moving up the fretboard in successive half steps-
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ISBN 0-7935-8218-0
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