wet se hd ee FAL Le 1 Plug tt Rock’s M Oa ere Le} t Dimebag Darrell, 4 . aan Eric Johnson and “\ «, iH ee Ce: a | i A i Tate a one x La i Pea (eres B Aaa Di BUN CUT LL Di SE a a a TEE a 33>| ih THE BEATLES DONA LT ty 4 aN Haby Wolf Marshall de Work” inane reason why. [captures foal, ar book: reatinionent of nix “Mlark Hole Sun, clean, ana distort Superuakne featuring savied di THE INTRO sien, E i [Fig. 1). Tew wold be ds are unrelated in key emsidered a3 having a teroote mp Use the appropriate down: and Fig ‘nu rise for anv ‘THE VERSE nant ae STP. i “Teippin'2"¢ (Fir. 3.1 ieee ks meter chan the various key cont ate the pre-ehorus THE PRE-CHORUS AND CHORUS. Heres heavily i ovity. Note the te dune marking change fron 220 piano (op cnnleeately ‘reng oF loud ata fave anothers THE SOLO un Thayil put aside his tradewuark Guid aoa! Corie lke it to. Ew may around the sen Kind of antral caer mn EGABD polarity [Fig 5 uitarone 84 « YoureBLOW UP THE OUTSIDE WORLD ‘As Recorded by Soundgarden (From the album DOWN ON THE UPSIDE/A&M Records) Tablature Explanation page 49 Words and Music by Ctvis Corel Intro Slow Rock J =70 & © E @ # c sate i(acom) MENT ‘wo ges are for one Verse & © E © E c 1. Nothing ad Ry. Fig. 1 Rhy. Fig. 2 E a Dsue2 cues os AL no matter how bard 1 Noth ing is clos = ing my— Guttarone + Volume tv 5Blow Up The Outside World B G @ An? NNoth-ing. can eat_me for your pain letsing Yerse Gu 1 wy. Fi 2 E © 5 © E a o seems to break me, no matter how far tr 2 (ele) Waist Rdelay what mp Vn Dsus2 caus os Ft noG can break meat all, — Noth- ing _ 56 GuttarOne - Voune IvBlow Up The Outside World © ant # A [Nothing for giving though not in- vin (ie) ev ys thing 1 —— es Td give you ev "1y-thing 1 — Pd give in if it could at least be ous a bone. os nin GuttarOne -Voume IV 57Blow Up The Outside World cn ev ty thing 1 ———— to blow it to hell and gone. in and blow up Verse Gite winny Fig 2 bs ToCoda @ e mp widely 15 GuttsrOne «Volume iVBlow Up The Outside World er Diwa caus) Gs ont fet the world bring you down Noth ing can dome he-fore 1 do. my-self, save it for your DS. al Coda Ann rt the ones— you GGultarOne + Volume IV 89Blow Up The Outside World Guitar Solo 9 Coda Gtr why. ig. 118 tes E € & Lele DD. fan ta A tT fev ing ae Gite (ssi. Fl zB AS CAS a F delay oft Bridge Gtr cet Ds/A. AS AS DSA Want to make it n= der Want- ing, though 1 nev ‘by. FT {60 Guitarone « vole ivBlow Up The Outside World AS DSAS OE AS ps AS Ing though 1 know its wrong. Vos, db. vt for nent 6 ea. E © AS DS AS OE c Wish. ing, though AS DS ASO c Yow up ee blow up the out + side, GuitarOne + Volume 6Blow Up The Outside World emai? E Cmajt the out > (62 Guttarone + Volume tvBlow Up The Outside World “blow up the out - side, blow up. the out - side, blow up the = > out = side, blow up blow up the out - side, pte FY ite *Microphoni bk, aot ‘cnnsed bys vibration. GuitarOne Volume IV 63erformance LIC ki that they were a pop bard bigest, heaviest, most the era, arpunhly de any bones about the fa thes wer just the ann pop hand The hand that virtually invented the area rock genre as a 3, Kiss had a motel eg and ways tempered with reial “songwriting, elower all, the paranle and 1 good hook. “E Filled 10 Ms hooky riffs aod expertly arrange, it clonic ies hal thet arranging, and mo cok x rll avtitide with thei ne a THE INTRO The intra features a rhythm figure tanusual rack of dyads (two-ne A im the basa. Sta AS power chord and then male via the standar i into an A6 dys ry) move [Fig. 1]. The reeule of moving the tap to ont untalsi ssaply the ts of the AD up a mbole step—aaking am AG into an Aunaj9_ voicing —ubi bas [F variant of ity in Keeping the open A This figure, or a the FIREHOUSE THE RIFFS Firehouse” ie ‘indy based mong A kes riff, maybe the hey riff. is spite te the five rhythm parts in the song: Rlythm igure found! in fou w Fig. 1, Rhythm Fig. 2. Rhythm Fig. 3, an Rhythm Fig. 5. hiv is mile of two triad shapes, Dand at the 7h position, alternut omely cl with Stonen ards [Fig. 3]. Barre the gs fas guitarist Keith Baud Seedy ad St stcings ter for the D triad, an Ahir Fingers at the Bhan Sele feets respec rm the G triad. ot the ts the ake fn ‘ech the seeund am sunt common pattoras ia swrk rhythe guitar playing and i found in fading “Start Me Ups” “All Right Now.” and “Ronin?” with the Devil.” The tad fy ture is thematic amd runs thre the frrangement. During the eonrse of the tne each rhythm figure is slightly varied. Rhythm Fig. 1, the chorus riff, features fonby a melody. Rhy! Fig. 2. + aparae with ha 5 oes am space, Hhytha Pig. 3 the 2a verse if ‘lamedss of sth. Roto the AS wnwer chars in adition a variation of te funy ig 1 Rhythen Fine from RI ‘breaks imo’ AS-AG Aaj? progr ection ils i y Wolf Marshall 10 iced Senin ther third erasure ‘THE INTERLUDE The interhde etrcen cherie nd verors a Iie sale qo fr Ae Pree His luew inlet. Ticks ne penta bax shape atthe th fr "You een hear a cane of Hendrin's “Axis salon fiat paw, It ic anewerwd hy a phere made jsk-conntry sa bs Cand Db sarred 6th intervals, tHe fies tn, anal the descending chords Bs, As sed Gn 2e(FIL THE SOLO Space Ave haem stra sewn of chil pickin” ta ai dyiumios and Fhythi intensity to the sao, ‘This techn country ail funk players from Jam 1 to deff Banter wth he pik and very deliberate fret aid ing to keep the notes short Theve are itdcated in he mu ks) rctioe wiih just one fretted note, dvenstroies al upatroken, rive te hee it and very shir easily aren shes ent vifeet lors his chivkew pickin’ with 2 sradually released string be (fea fnwchal e nl) an pinch arn ica. The "The pinch harmonies ( sip ng bend ia picked a iis eelenne complished by picking the string and smal ‘ely touching it with he ele af the tum to style in general, ane all com threertin, Ace's lines are have. tha of A wtaar jealatebie (AC-D-E-G) aj penatenie AE-CE-E-F8) peal WA 1) Rewer bend al the Us coo torn oe: Wolf Marshal Cur Meo Bos 2) Tra, ner: Wol/ Marshall Guar Method, Alvan Conn ad Teor 3 Scale coming: Hol? Marshall Gator Mehad, dvanord Gane Firehoase intro, in the b Ruy. Fig. 5), and in the yas Fig.t 64 QuiterOne = Voix VvFIREHOUSE As Recorded by Kiss (From the album DOUBLE PLATINUM/PolyGram Records) ‘Tablature Explanation page 43 Words and Music by Paul Stanley ph, “he oR phe rabies Fie: aifis i EE fl © i i ar AR as Scie Sats ove 2448) o mf 6 fh fall uhh ee i 5 sat hh Conyegr ©1974 Vo Peters Arar, re. nd Cal Ameren mafia Cal Avera te. harueioed by hing USA. he Ii fags Onto nn 5 Cert Paraminstens Pag Me FerAustion Zoe Pornstn ote Mase Se Py GuitarOne «Volume 65Firehouse NC G>DGpboD as Gu 122 Royrig yeah T She'll = dore—— you, and she'll bow— you with her he, 80 you'll feed” her vith your End Rhy Fig thy Fig 2 (Gtr. 1 2: why. Fig 2, ot time Gee 1 2:00RN} Fig hy 2ad time as and think of, °F you get sick till you tose shot “re = move— = your mesh ek = tion, (66 GultarOne - Volume IVFirehouse yr = (Gtr 2: wil 2nd ie ic Verse ———— ? fa 27 aS (Contin sotatoe) = 2.$he can move you and im prove | Get the fre be ue te Bat letsing 4 nga ting = — you with hor love and her, be v= tom, ‘And shel nd Ry. Fg. fetringee —leingest et ring ot Guttarone + Volume Iv 67Firehouse Gus ei why Fed as Ne. G¢pDG»poGbD as Sit you— and shell chill _ you, but you're head = ed for com mo eS Chorus Gie 12: w/b. Fg 124m Ne. tion. 3.And you'll need howe, "ease she To Coda 0 and the flames keep ea ting high = or a , tp) 3 like bad weath = cr. foomanananaaanaad pod) T™ HS) er leave hen y know you es {68 GuttrOne + VounevGuitar Solo ‘Gits. 1 & 2 wily Fig. 12 ines ae salen Ms HI ‘By ier I RCN eR, ongiaafar eyes ke toe ae tpoe Hae Hae bee eee ‘ a 1 th Tana AG a S o @ ‘Auack pach hacmonics with owratokes and ton-piesh harmonics with ypsrokes. G bp G D GD a I5me™ loco 15ma taco Ha boco 15a toc os waage (Ge wR Fig. Gite > WR A Gir 3oeet Gus. 142 wr? Bs Bs Bs NC She like bad weather, but it seems so good You'd nev-er leave Net, but you know you should — m2. 2 ‘GultarOne “Volume V 69Firehouse Breakdown DS. al Coda AS AG Ams? AG OAS AG AS bp G6DG6ODGD_ Xe Git the fire - En Ry. lg Ge) Rag Fie S Sees S22 PS shaw Pa 1 if 0 Coda ee ee d >} pine Tet & 2nd times Get ied me ol Outr Fade Out AS AG Am AD AS. AB AS Dp GDGDGD Ne 70 GuitarOne = VoluneVby Wolf Marsha I FEEL FINE Fig. The Beatle” tnd 60 Number Une hit was the first pop resi to imentionally exploit amp pening the rh co in the Top Ter for da mt piece in rock history by virtue of vba fart lane. Its also able chunk of guitar tore, @ great iP haved tune which captures the keendary Fae! at the height oftheir powers in one af their creative ad unified. periols—resleaping ock aid pop forever. Though this was ive Beatles track, it as J mul played the signature iff, canned the ead nthe trash, THE INTRO The intro is w pertiot example of Beatles synergy and effects use in the cane of «00g {i beginn with Pauls Hofer base gta than (a distinetive Beatles bre) and John’s com pressed an ti Beatles ti Doosted open A-string note (on a Capri, another distinctive ), “Together, th frome which Lennon evelop int usta feel ereaven cenbacker is ferdback event ‘buzz heard aroand the world, ‘Though the sound was originally cited by John a arp amnerated, it 16 commonly reproduce by touching the plucked and vibrating open 5: string with Fingernail or thumbnail ‘THE RIFF John apparently had the son's thematic main il for rome time bel ror. I fart, he tried to p 1964 eatles for Sle alla, but the hear of it. Eventwally, Len “1 Fee Fie” was soe conhers woulda’ wrote a new tune around th ff. When it was trevor, langly to satisfy John, the Beatles Ihoew they had an incontestable hit single. It Proves, once again, that you ean’ eps a god fF down, oF that thr Beales served ay cll before ite time ‘The asi Figure i a two-bar pattern shape, the movable barre form with a 6th string root. La’ lok att cape iff wit in Dayan example (Fig. 1 Notice that the rf note ft wea in around the D major barred shape [Fi and 2} art of its charm comes from its sustaining tnd smother part from the we of non ded 4), E (9), ichanies: hold the ‘or wibtract tomes: G (aos 11 € th). Hes Barre chord down, and te the rcledy notes with your pinky (added The C, which we cam ace a "sub rted” note (abtracted from the plas by iting the rein tie alcwad il Ta ather words it in pre-Darced tundee the shape whenever this haree eho fr 0 ahrowdly took advantage of sag the D mote and ssitar-oriented atrite in ere Fieure. Each pattern unit i moved that spec sound the fe ord in pa slight variations, tn the stannve of a clante tes riff, An Ufc enaphasize this blues-inth cst iden iT Feel Fine,” Jobo takes it through the familiar 1G), VC chord changes of the lee in the course of the strict bar formula, Rathe n of blues, straight song, George doubles the riff during the verve foe Wey enutful eho vi, giving it ee sou nba hy the di Linctive twungy Gretsch sitar Vin THE BRIDGE rin Beatle Keel Fine" | harmonie interest d contrast tothe EIV-V tonality of Tb ‘id le eigh ry the plays see ‘ondery chords the the intr, verses, and choruses, Here, [a find Arm (iy andi chords) ar fom naturally eecur a the key af (and are there fore called diatonic. Ni rin awitching from G, the Firat Thee sr-thape hard of the progression, tw Ban. tne second chord [Fis. 3], The exact fingering shope can he transfareed. simply from the lowes! feur strings to the next four strings and moved down fet, with # minimum tactic, it facilitates smother and more confi dent chord changing. THE SOLO in Rhythm Fig. 1. he plays a bt sorg-cm scious Fea theme whic To ada further eomarat i this section, the shiytlim switche ry Ged. Harris fines sliding Seds motif that melodica jine G mie (C-B4-C-D-B) al major © (GABD-E) seales [Fig 4]. el, the sun concept was wtlizel we Young, more than 15 ears later, hie “Yin Shook Me AI Night Long inthis iu). G whe fn the sitar pat and end J i eopeat in a fleeting ewo-ba both guitars again play the main riff on D. Iheard earlier in the verses and For more ou 1 Baree chords se Wolf Mershall Citar Method: Bake 3 2) Minor end major pentaonte, se Wolf Marshall Gultar Voth: Basics 3 \owuma WY « Guitarone 71I FEEL FINE As Recorded by The Beatles (From the album 1962-1966/Apple Records) ‘Tablature Explanation page 49 Words and Music by John Lennon and Paul MoCartnoy Intro Past J = 182 Half-Time Feel Git. 1 (clean) NCA) Wom *FaDE produced by tucking itzaldng ie i eer Jet sing heouphout “Chord symabok refea imped ional. Copy gnor0stNecton Senge Cope Rerannd Apts Cotas Arena y EM Bacco ue be vlc fm Sony Song Fo uit Zolns Under ean MCA Mae rvs Pere Grate by Mase Sa Py ‘Aire Reoanes heater Cope Sern Used 3 Parison 72 Gultarone + Vote iV\ Feel Fine — = be, you know.— she’s you know.— she tels— me al— the time, , == z= poze SSS fate 5 =e = =| by pod hop = py _— an ty aye shes she said she said — Vm in love with her Ry Fig 2 GultarOne- Volume IY 731 Feel Fine by buys her things. — you know, — he buys her dia = mond rings,— — you know. — the said se. Chorus Gtr: w/Rhy. Fig 2 apeauere D 2 Shes in love with me—— and feel fie, Mn. 74 GuitarOne + Volume IV1 Feel Fine Guitar Soto (J2-J'3) Gur wy Fig. Gtr 2(clean) c Breakdown (2-42) Gtr Macet out D c D.S.al Coda a (no repeat) @ Coda Gu. 1 Rhy Fig 2 G D fine. She's in love with me (Gu ewe. Begin Pade Fade Out Mon GuttarOne- Volume WV 78,by wo If Marshall TRIPPIN’ ON A HOLE IN A PAPER HEART re the brainebild ton base and ves sed! STP have the mont stiking tive cock, Part oft east hear unusual paper of intl esis musicians and bunds lke Lael Zeppelin, The Stones, ‘The Heatles, King Crim Black Flag, the nase of juze musicians tke Nat King Cate Moute, and str titers meee al Ova tha incur Trippin’ on Hole i Paper Hear” The angstaleiven, aissonance-taden houveast yeyehedeic composition ie a telling wie olin pt which example of the ust ‘THE CHORDS: ppin’ on. dei filled with evocative, largely neesolved dissonance, Wha ore that al verse progaeesin, Rhythan Fig, 2, Fetatda, HUA, VAJE11, Play thera and Bt nd effeet of euch chant. Fach che rant which gjves i Ie lithe of Velinging together Angether ins. prog what? I-works. Each sesso chord which ser sey. yer they are and, normally would be resale ioe, the Inns for al aw int the net are never resolved selves are more typical of har han al the jan nati their applica fejpunk seting of quite oatural. Dea pla sverdriven distorted su what aly be delivered with a 's penuinely alternative reference cece by STP in 199) i the cl 1 Heurd throughout th Rhhythen Fig. 2 and 3, tina pert Ahwie cols of za and suck wluen THE SOLO Deca Delis‘ elo falls somone Zoy's “During Days” (a tune cov his ayy Jimny Page influence. alleenatise wk-rovk ala the Redd Hot Ch ext of lean styles, Thouh Ie i his own sy known act Lee Paul player, Delo a Biting, single coi tome ta Page's Tele-oto-Supro scan. H 76 Guitarone + Vor ‘VY with interesting ia with a daub sty sunasial be (Fig. 2} an sting) up lf sts. The fig batinate” or “stubbon ace to build encegy‘aned wp etn ave wrpetin of FT ). Dean “stub a the Lat and. ad and 8), oF as a ut the the the ih fr. This ts than an actual atterapt to om: re lhely a weal Tile extra spice to the melody of the sa's elma. For more on: 1) Arpran ser: Wolf Marshal Goa here eame ff ke-an upted Chock erry Med Abad Come lik The re made sFain- (7-3) nems ee at denote roch/btees les gabon the Fé minor wid Penistone ecte: FLACB-CEE, with an occu Based Fg. eT rade era tris sadatt1 zo x ee goo x fF ] ® | » ° | 8 oe | eee I rae Lhd re 2 1 = mA ty US a7 "28 iW 1st ee @ | isn . é ee ee eee ° rae 333 238 ond ¥2 step