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early eighties, the guitar world was turned upside down. Never before had a rock guitarist come to prominence possessing such Dver-fhe-top playing ability. Eclipsing Eddie Van Halen as the modern rock guitar vir~ tUDSO, Yngwie boasted a unique style that was based on both monster chops and a thor¥: Qugh knowledge of harmony, scales, modes, and the classical tradition. Yngwie picked up the guitar on September 18, 197G-the day Jimi Hendrix died. ~ He soon became obsessed with the instrument, practicing up to nine hours a day and : eventually quitting high school to work at a music store repairing guitars. Yngwie became ; a mainstay on the local music scene in his native Sweden, even attracting the attention of ~ Swedish CBS. :< In 1983 Mike Varney, founder of Shrapnel Records, heard Yngwie's playing on a ~~ demo. He immediately made arrangements for Yngwie to come to the States, where he recorded with the metal band Steeler on their self-titled album. Yngwie left the band after four months and joined Alcatrazz, with whom he recorded two albums-No Parole from Rock 'n' Roll and Live Sentence. After leaving Alcatrazz, Yngwie formed Yngwie J. Malmsteen's Rising Force and released Rising Force, a Grammy-nominated debut of original compositions, on which he played guitar and bass. This primarily instrumental album would change the face of rock guitar playing, marking the beginning of the neo-classical guitar movement. Soon after the release of Rising Force, rock guitarists around the world immersed themselves in the various elements of Yngwie's style-harmonic minor scales, Phrygian modes, arpeggios, sweep·picking, Paganini licks, etc. In 1985, the year that Rising Force was the "it" album among rock guitarists, Yngwie released Marching Out, a more song-oriented album, hoping to reach a broader audience. This album featured mostly vocal songs that were more accessible yet still showcased his ferocious guitar playing. Trilogy, released a year later, was similar in approach. By this time, the market was flooded with Yngwie clones and shredders pledging their allegiance to Bach, but Yngwie still reigned supreme. Tragedy struck in 1987, however, as Yngwie was involved in a serious car accident, smashing his Jaguar into a tree. He was in a coma for a week. After regaining consciousness, he found out his right hand had suffered severe nerve damage. While he was undergoing therapy to rehabilitate his injured hand, his mother died of cancer. Yngwie still managed to persevere, releasing Odyssey in 1988. This album, which featured former Rainbow frontman Joe Lynn Turner, would bring Yngwie a taste of commercial success. A live album, Live in LeningradlTrial by Fire, resulted from the Odyssey .. tour. For Yngwie's next album, Eclipse, he dropped "Rising Force" from the group name ; and formed a new band simply known as Yngwie Malmsteen. Vocalist Joe Lynn Turner ~ was replaced with Goran Edman, and Rising Force members Anders (drums) and Jens ;, Johansson (keyboards) were replaced with Swedish musicians Michael Von Knorring ~ (drums) and Mats Olausson (keyboards). Yngwie signed with Elektra Records for the following album, Fire & Ice. By this ~ time, however, grunge was starting to become popular, and guitar solos went the way of ; the dinosaur. Guitar heroes were no longer in vogue and were relegated to cult status. ~ Yngwie found success overseas in Europe and Asia, but had an extremely d'lfficult time in ~ the United States. This would not stop Yngwie, however, as he forged ahead recording on ovarious labels-even going so far as to record with an orchestra. To this day he continues to keep the neoclassical flame alive.
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"Black Star"-Rising Force "Far Beyond the Sun"-Rising Force "Icarus Dream Suite Opus 4"-Rising Force "I'll See the Light Tonight"-Marching Out "Marching Out"-Marching Out ''Trilogy Suite Op. 5"- Trilogy "You Don't Remember I'll Never Forget"- Trilogy "Deja Vu"-Odyssey "Dreaming (Tell Me)"-Odyssey "Heaven Tonight"-Odyssey "Rising Force"-Odyssey "Making Love"-Eclipse
THE RECORDING Doug Boduch: guitars Warren Wiegratz: keyboards Tom McGirr: bass Scott Schroedl: drums
.. Recorded at Sleepless Nights Studios, Madison, WI
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To match the tuning on the CD, tune your guitar down one half step from standard tuning, so that the strings' pitches (low to high) are: E~-A;J-m-Gb-Bb-H.
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, ABOUT THE AUTHOR
Joe Charupakorn is a guitarist, composer, author, and editor. He has authored and edited over a dozen books, including the four-volume internationally acclaimed Guitar 1,,1 Reference Guides series (published by Cherry Lane). He currently resides in New York & City's East Village. Visit him on the web at www.joecharupakom.com.
Figure 1-lotro Yngwie Malmsteen's solo debut album, Rising Force. marked the beginning of the electric guitar neoclassical movement. The opening cut, "Black Star; was Yngwie's answer to "Eruption" (Eddie Van Halen's virtuosic signature piece) and put him on the map as a guitar legend. "Black Star," written when Yngwie was seventeen, actually appeared on the demo tape heard by Shrapnel Records head Mike Varney. To this day, it is the composi· lion most often associated with Yngwie. Yngwie's brand of virtuosity, a very studied approach to the guitar, differed great· Iy from the reckless abandon of hIs predecessors. Yngwie's neoclassical style of playing and composing required a discipline not common with the training of a typical rock guitarist. "Black Star" opens with a Bach-inspired acoustic prelude (Gtr. 1) played fingerstyle. The tonality of E minor is defined via Yngwie's use of baroque-influenced harmonies, particularly the secondary dominants (EIGI and FIIA~) in measures 5 and 7 and the cadence on the V chord (B) in measure 9. Harmonics round out the section and foreshadow the change of texture. The band then enters with Yngwie making several statements based primarily on an E minor arpeggio (Gtr. 2), with each successive statement climbing higher than the previous one. In measures 22-25, Yngwie articluates all of the notes with hammer-ons (no picking). A delay is set for one repeat at 400 milliseconds, creating an effect similar to Eddie Van Halen's "Cathedral."
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Figure 3-5010 -Black Star" contains one of the all-time great guitar solos, a fact universally acknowledged by the guitar media. Revolutionary for its time, the solo introduced the world to what neoclassical guitar was all about and caught the attention (favorable or not) of just about every rock guitarist on the scene. Before Yngwie arrived, guitarists such as Ritchie Blackmore and Randy Rhoads had successfully fused elements of classical music into their playing, but Yngwie made a career out of this influence by composing complex instrumentals and playing long virtuoso violin-like lines. The solo begins over an E minor progression of Em to CIE. Yngwie emphasizes chord extensions (9ths, 11ths, and 13ths) by bending up to the 9th (Ft) of the E minor chord and holding it over so that it becomes the 111 of the C chord. Yngwie continues with more E minor madness, recalling the pedal·point line from the main theme (three times as fast) in measures 3-4 and wailing with the intensity of a madman. At the chord change to A minor, Yngwie plays the lick that set the guitar world on fire-a two·octave A minor arpeggio articulated with sweep picking (a technique that uses consecutive down or up picking strokes on consecutive strings). This blur-style lick would ignite the sweep·picking craze of the shredding era.
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FAR BEYOND THE SUN
Words and Music by Yngwie Malmsteen Figure 4-lntro
The opening triplets of "Far Beyond the Sun" make a compelling introduction reminiscent of some of the bombastic fury heard in Beethoven's symphonic works. The two guitar parts here are layered-sometimes harmonized in 3rds. sometimes doubled in unison, and even moving in contrary motion (a contrapuntal technique whereby two lines move in opposite directions). Starting in measure 3, Yngwie begins a progression that weaves through the cycle of fourths (a cycle in which each successive chord is a 4th higher than the previous one) and resolves back to the home key of F~ minor in measure 9. This resolution is made even stronger by the rhythmic shift in the melody from quarter-note triplets to constant eighth-note triplets. For the next section, Yngwie runs down the F; harmonic minor scale (Ft-Gt-AB-C~D-EI) in uttra-precise sixteenth notes-a tricky feat at this brisk tempo. This is followed by a series of diminished 7th arpeggios. Notice that these arpeggios are symmetrical, repeating every minor 3rd (or three frets), so any arpeggio pattern you play can be moved up or down three frets and you will still be in key. The triplets return in the next theme, a two-measure phrase made up of an arpeggialed Ft minor chord with each chord lone embellished by a lower neighbor. Each repetition of this phrase is performed an octave higher and over a different chord, culminating in a virtuosic flurry of notes as the V chord (C;) is reached.
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Yngwie's love of baroque music is evident throughout his music. The opening to "Icarus' Dream Suite Opus 4" offers a revealing look at just how much, as he borrows the theme from baroque composer Tomaso Albinoni's Adagio in G minor. The melody is transposed here to E minor, a more guitaristic key, and is played rubalo (not in strict time) with Yngwie adding beautiful fills to connect the melody notes. Almost all of the notes in the melody are derived from either the E harmonic minor scale (E-F=--G-A-B-C-D:) or the E natural minor scale (E-FI-G-A-B-C-D). The one exception is the F: in measure 14, which comes from the E Phrygian mode (E-F-G-A-B-C-D). Chord inversions are employed in measures 5-8 and 14-16 to create stepwise motion in the bass. This careful voice leading of the bass notes results in a melodic accom· paniment that is more akin to baroque and classical music than rock.
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Figure 8--Intro Marching Out, Yngwie's second solo album, was released in 1985-the year Yngwie was annointed "Guitar God." This album further solidified Yngwie's place in the guitar history books and turned him into a household name among guitarists. While it focused more on songwriting than Rising Force, there is no shortage of trademark Yngwie solos on this album. "I'll See the Ught Tonighr starts off with a classic metal gesture of dyads alternating against an open string (Glr. 1). The dyads imply a ~VI (F) to i(Am) progression and are played over an A pedal, with the accents creating a rhythm of consecutive dotted quarter notes. These rhythimc shifts obscure the sense of the downbeat and create a tension that is resolved in the last two beats of the riff with the steady sixteenth-note descending scale runs clearly outlining the beat. A G;~ chord, broken up in tritones, concludes the riff.
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MARCHING OUT
Words and Music by Yngwie Malmsteen Figure 10-lotro, First Section, and Solo
MMarching Out,M the liUe track from Yngwie's second solo release, encapsulates various facets of Yngwie's extraordinary compositional and playing skills into a short, yet revealing vigne«e. This composition relies less on thematic development (there are no recurring themes) than to a more organic approach, having one idea morph into another. The Intro begins with a pedal-point line that alternates between the tonic note (B) and the notes of the B harmonic minor scale (B-CI-D-E-F'-G-A~). The guitar is primarily unaccompanied with ensemble octave and harmony parts inte~ected occasionally to create an "orchestrar effect. With a shift to a half-time feel, Yngwie changes the texture to the next section by introducing an acoustic guitar. He arpeggiates a Bm(sus2) arpeggio and uses this as the backdrop for the next entrance of the electric guitar, which returns with a semi-clean tone and a generous amount of delay to create a dreamy sound. Here, Yngwie plays some soulful B minor melodies using bends, vibrato, and the whammy bar. After eight measures, the distortion kicks in and the solo begins. A two-chord vamp consisting of Bm to C#mlB is used for the entirety of the solo. This chord sequence is derived from the B Dorian mode (B-C~D-E-FI--G;-A), a refreshing break from the harmonic minor and Phrygian sounds so prevalent in Yngwie's music. Yngwie solos accordingly, sticking mostly to the B Dorian mode with occasional passing tones. For this solo Yngwie takes a legato approach (similar to Steve Vai or Joe Satriani), making extended use of hammer-ons and pull-ofts.
Featured Guttar: Gtr. 1 mess. 1-54
Fig.IO TIme 00.. a
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In 5IqI:
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TRILOGY SUITE OP. 5
Words and Music by Yngwie Malmsteen Figure 11-1ntro and First Theme
Yngwie opens this scorching tour de force with some of the boldest, most in-yourface guitar playing you're ever likely to hear. Burning through a series of C minor scales, he employs a hybrid of the C natural minor (e-D-E~F-G-A~Bb) and C harmonic minor (G-D-El-F-G-AI-B) scales for the opening a cappella scale run. The second run is
based on the C melodic minor scale (G-D-E_F-G-A-B), and the final scale run comes from the harmonic minor scale. A two--measure pickup leads into the first theme, which is centered on the dominant chord (G). Here, Yngwie uses the G Phrygian dominant scale (G-A~D-a.-F), also known as the fifth mode of the C harmonic minor scale, as a scale resource. Notes from this scale are alternated against an open G-string pedal to create an unusual, yet natural-sounding, five-measure phrase.
Featured GuItar:
Fig. II
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Figure 12-Second Theme The second theme is in the key of A minor and set at a slightly faster tempo. Here, a chord progression consisting of triad shapes on the top three strings (Gtr. 2) is arpeggiated. Since this section is based almost entirely on chord shapes, you should visualize the individual shapes and commit them to memory. The best approach to this section is to first practice connecting the chord shapes two measures at a time. When you can connect smoothly through aU of the shapes in a two-measure chunk without missing a beat, then introduce the right-hand picking pattern. Continue to work on the passage, adding two measures every time you master the previous two. Measures 4 and 10-12 feature some A harmonic minor (A-B--C-D-E-F-G~) scale runs. Notice how, although the notes of measures 4 and 10 are nearly identical (except for the rhythmic change of beat one's eighth notes to a 4:3 grouping), the fingerings differ. Measure 4 is played in tenth position, while measure 10 is played in fourteenth position 10 facilitate the climb up to the twentieth fret in measure 12.
Featured Guitar:
Glr.2
Fig. 12
meas.1-13
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Sec::ond Theme 10 :39 1 Slightly faster J. ca 128
meas.I-13
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Featured Guitar:
Glr.2 Fig. 13 GuitarSolo2 12:021
Slow Demo:
Gtr.2
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Figure 14-1nterlude This acoustic interlude provides contrast and adds drama to the composition. The section is based on the arpeggiation of primarily open-position chords (Gtr. 3) with a few inverted voicings thrown In. Notice how the open high E string is present in almost aU of the chords, acting as a harmonic anchor. The progression is set in the key of A minor with some colorful chords thrown in, such as the B,addll1 in measures 13 and 21. The ElG; chord in measure 22 creates the expectation of a resolution to A minor, but Yngwie chooses instead to progress to Em/G. This is followed by a diminished chord that leads to a cadence in the key of E minor. After the acoustic guitar fades out on the E minor chord, a lightning-fast ensemble lick is played, marking the return of the electric guitar.
Featured Guitars: GIr.3 meas. 1·26 Glrs. 1&2 meas.27
Fig. 14 Interlude
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YOU DON'T REMEMBER I'LL NEVER FORGET Words and Music by Yngwie Malmsteen Figure 15-lntro and Verse UYou Don't Remember I'll Never Forget" marked Yngwie's first attempt at achieving commercial success. This song was written in the pop-metal style that was all the rage at the time. In fact, if you took away all of the guitar histrionics in this song, you might actually think you're listening to pop-metal maisters Bon Jovi or Poison. The intra opens with two guitars, doubled in octaves, playing a pickup figure that leads into a call-and-response between the guitars and keyboard. The stop-time power chord figure of the guitar is answered by the keyboards playing a progression of Am to F/A and G/A to Am, which is derived from the A natural minor scale (A-B-C-D-E-F-G). The keyboards continue with this figure as the guitars become more rhythmically active, employing eighth-note rhythms starting in measure 5. This leads into the verse, which uses the same guitar and keyboard accompaniment as the intra. Yngwie shows great restraint here, holding back on the flash and keeping the guitar parts simple, so as not to get in the way of the vocals.
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Words and Music by Yngwie Malmstaen and Joe Lynn Turner Figure 16-I"tro, Verse, and Pre-Chorus Yngwie's fourth solo release, Odyssey, featured Joe Lynn Turner as the lead vocalist. This is a rather noteworthy fact, as Turner had been the lead singer for Rainbow, a band that featured Ritchie Blackmore-one of Yngwie's seminal influences-on guitar. This should have made for a dream pair-up, but Yngwie found Turner's style to be not powerful and raw enough. Consequently, this would be Turner's only studio album with Yngwie. The intra to "Deja Vu" begins with machine-gun sixteenth notes based on the FI harmonic minor scale (Ft--G=-A-B-Ct-D-Et). Atter four repetitions of this riff, an F1m(add9)(FI--G;-A-eI) arpeggio is played leading into the verse. The verse starts out with an interesting chord progression that is derived from combining the various minor scales. The B chord is the IV chord from either the Fs Dorian mode (Ft-G~A-B-C__Ol-E) or the F; melodic minor scale (Fs-Gt-,A.-BCf-OJ-Et), and the 0 chord is the NI chord from the F~ harmonic minor scale (FJ-G!-A-8-C~o-EI).This chord combination creates a subtle half·step motion from Dt (the 3rd of the B chord) to 0 (the root of the 0 chord). The pre-ehorus kicks the rythmic intensity back up a notch with the re-appearance of sixteenth notes. Here, the dominant note (CI) is pedaled against moving dyads from the C; Phrygian dominant scale (C#-O-EI-FI-GI-A-B). The 05 dyad over CI is particularly dissonant.
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Figure 17-Solo Yngwie holds nothing back on this solo, burning from the get-go with a ferocious chain of arpeggios from measures 3-10. These arpeggios utilize a good amount of string crossing in the right hand and some hairy position shifts in the left hand. Before attempt· ing these lines, isolate and visualize the chord shapes used. For example, in measures 5--6, Yngwie uses a diminished 7 arpeggio shape that moves in minor 3rds. In measures 9--10 a chromatic bass line is used to create motion in a chord progression that resolves to Ft. Notice how Yngwie creates a melody over this progression using only chord tones-a compositional and improvisational technique used by classical composers and jazz musicians. Yngwie sounds like a true madman in measures 19--20, as he first slides back and forth to C' from octave to octave and proceeds to bend the twenty-first fret C~ higher and higher, threatening to break the string. He follows this with some fluid legato lines using the C' Phrygian dominant scale (CI-D-E<-FI--<:i<-A-B).
Featured Guitar:
Fig. 17
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Fig. 18 Interlude 13:071 N.C(E5)
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DREAMING (TELL ME)
Words and Music by Vngwie Malmsteen and Joe Lynn Turner Figure 19-1ntro and Verse
"Dreaming (Tell Me)" is Yngwie's neoclassical version of a power ballad, replete with arpeggiated nylon·string guitars, wide-range vocals, and a crying, distorted guitar solo. Opening with some rubata nylon-string work (Glr. 1), Yngwie's guitar playing grows in intensity over the exotic-sounding accompaniment, squeezing in more notes and getting faster until Joe Lynn Turner enters. Rhythm Figure 2 (meas. 31) and the four measures that precede it use a combination of arpeggios and single notes to create an accompaniment that is both melodic and supportive. Yngwie gets a lot of mileage out of a simple V (A) to i (Dm) progression. For example, notice how he embellishes the A chord, adding color by first resolving a suspended 4th, then adding tension in the second measure by leaping to the dissonant ~9 (BJ,) before making a descent down the scale.
Featured Guitar.: Gtr. 1
meas. 1-43
Fig. 19
Slow Demo:
T_down In \lop. (low to IlIP) E~-A~-D~-<;~-Il~-O
Glr. 1
meas. 1-11
intro Free time GIr. I (nylon·Slr. 1lOOU1.)
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HEAVEN TONIGHT
Words and Music by Yngwie Malmsteen and Joe Lynn Turner Figure 21-lntro, Verse, and Pre-Chorus WHeaven Tonight" was another accessible pop-metal rocker from Odyssey. This song gained radio airplay and, for the first time, Yngwie reached an audience that went beyond just guitarists. Selling out shows around the world, the Odyssey tour resulted in a home video and live album entitled Live in LeningradfTriaJ by Fire. Following an a cappella vocal intro, Gtr. 1 kicks in with a crunchy rhythm guitar part that employs dyads from the E natural minor scale (E-FI-G-A-B -e-O) over a low Estring pedal. If the syncopated rhythms here throw you off. practice the part with a metronome and count the beats as you play. For the first four-measure phrase of the verse, the rhythm guitar lays out, and a keyboard is used to provide harmony. The guitar then enters with simple power chords until the CVEt harmony, where a quick F~ harmonic minor scale sets up the next four-measure phrase. The pre-chorus is built upon a progression using a stepwise bass line descending from 0 to Et On top of this, Yngwie layers twin-guitar harmonies in 3rds against the vocals to provide textural contrast and set up the chorus. A sextuplet legato scale run finishes up the section.
Featured Guitars; Glr. 1 meas. 1·29 (Glrs. 1&2 meas. 29)
Fig. 21
Slow Demos: Glr. 1 meas.2-5 meas.14-18 Gtrs. 1&2 meas. 29
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RISING FORCE
Words and Music by Yngwie Malmsteen and Joe Lynn Turner Figure 22-lntro -Rising Force" opens with a savage, syncopated open low E figure (Gtr. 1) that has two chords (C and F;) superimposed over it. The root movement from C to F. form a tritons (a diminished 5th or augmented 4th), which is the furthest distance possible between two pitches. This bold chord movement is reminiscent of the type of dissonant progressions heard in the music of composer Igor Stravinsky or in jazz. After four repetitions of this figure, Yngwie plays a rock riff based on the E blues scale (E-G-A-8~O). The intra concludes with two guitars (Gtrs. 2 and 3), harmonized in 3rds, sounding a dia~ Ionic stepwise sequence. Featured Guttars: Glr.l meas.1-4 Glrs. 2&3 meas. 5-20
Fig. 22 T
I
Gtr. 2
meas. 21·28
Slow Demos: Gtr. 1 meas. 1-4
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Featured Guitar:
Glr.1
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Slow Demo:
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MAKING LOVE
Words by Yngwie Malmsteen and Gara" Edman Music by Yngwie Malmsteen Figure 24-lntro and Verse In 1990 Yngwie released Eclipse. his sixth solo album. Joe Lynn Turner was gone, and Yngwie brought in Goran Edman (from former Europe guitarist John Narum's group) 10 replace him. Goran would be around for two albums and, typical of the Yngwie legacy, would soon be replaced. This was Yngwie's first album with a new lineup that replaced the members of Rising Force, and it would be the last album he recorded for Polygram, his original record label.
Bass, drums, and keyboards open this song with the drums laying down a half· lime march. Glr. 1 enters aher four measures, and four measures after its entrance, the drums switch 10 normal time. The chord progression is typical metal fare with the open E string alternating against a series of chords. During the verse, Yngwie changes the texture again, re-introducing the distorted electric guitar. Now in the key of G! minor, all of the chords are played over a GI pedal. This creates some jazz-type harmonies (such as Flsus4/G:: and F=/G#) that are not commonly heard in metal.
Featured Guitars: Glr.1 meas.l·16 Glr.2 meas. 15-22 Glr. 1 moas. 23-30
Fig. 24 T_ 00-.,. 1/2.ep llow lID "'&hI E"A~-G~-8~-F.~
Slow Demos: Glr.1 moas.3-6 Gtr.2 meas.15-18 Gtr. 1 meas. 23-26
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RHYTHM SLASHES are written abo~e thfl staft. Strum chords In the rllythm indicated. Use the chord diagrams found at the top of the fin;t page of the tnnSl;ription for the appropriate chord ~oiclngs. Round noteheads Indicate sIngle notes, THE MUSICAL STAFF shows pitches and rhythms and is divided by b.ar lInes Into measures. Pitches are named after the Ilrst seven letters of the alphabet. TABLATURE graphically represents the gu~ar llnoerlloard. Each horizontal line represents a string, and each number represefllS a fret. HALF·STEP BEND: Strike the note and bend up 112 step.
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SLIGHT (MICROTONE) BEND: Strike tile note and bend up 1/4 step.
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HAMMER·ON: Strike the first (lower) note w~h one finger, then Sl)Und the hillher note (on the same strinllJ with another finger by lrettlng ~ without plckJng.
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SHIFT SLIDE: Same as l803to snde, exc6pl the second note is strUCk.
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,------.. B TRILL: Very rapidly alternate between the notes Indicated by cOfltlnuously hammering Ofl and pulling oft.
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TAPPING: Hammer ("tap") the fret Indicated w~h the pick·lland Index or middle linger and puli off to the nOle Irelled by the fret hand.
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B
NATURAL HARMONIC: Strike tile note while the fret· hand lightly touches th~ string directly O'Ier the fr~tlndicate
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MUFFLED STRINGS: A pertllSSive sound is produced by laying the fret harK! across the Slring(s) without depressing. and strikinIl them
PALM MUTING: The note Is partially muted by the pick hand IIg~tly tOllChing lIle string(s) just befor~ the bridge
RAKE: Drag the pick across th6 strings Indicatl:ld will1 asingm motion.
with the pick hand,
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TREMOLO PICKING: The note Is picked as rapidly and continuously as possible,
e-----a-e-t-----8 VIBRATO BAR DIVE AND RfTURN: The pitch of !he note or chord Is droppee a specified number of steps (In rhythm) then returned to the orIgillal pitch,
VIBRATO BAR SCOOP: Depress the bar just before sUlking the not~, then Quick~ r~leaS6 the bar,
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