GFTPM 1984 - 10 [PDF]

Zitiervorschau

1^48429

,T.M.

OCTOBER 1984*

• WORTH OFGUITAR -SHEET MUSIC

IN U S A

IN CANADA

Scanned for Joey's Guitar Tabs

OZZY^' ^OSBOURNi«

CRAZY TRAIN* RUN RUNAWAY MEDITERRANEAN SUNDANCE PINK HOUSES CAT SCRATCH FEVER iWith Bass Lin^^ Plus:

.

BRIAN MAY

'1896 48429

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STRNE/GUITAR GFVEAWI\

^JA/l| A SHANE GUITAR *

JirnmyPagBrTingents Wit'iin A F'sr-isvrark s67002 Rusn*67049 S9.95 Who: T r e H:i$;rs»s S i s g i p - T y »S7036 S12.95

S11.95

With Rock Read, you can shop in one of the world's largest Rock bookstores—without even leaving your living room. To start, you can order any of the books on this page. And there are hundreds more where they came from. Pictorials, biographies, interviews— from New Wave to Golden Oldies. So the next time you're looking for some good rock reading, don't grab a cab. Just pick up a pen.

The Legendary Ted Nugent #67038 SS.95 Ozzy Osborne H M Photo Book *67093 S12.95 A C / D C : Hell Ain't No Bad Place To Be #67040

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To order: fvfote down titles and stock numbers p f d e s books, and send witn check or money:Grder;(U.S. funds o n l y — d o not send cash) to Rock Read, Dept GT04MR, Box 190. Port Chester, NY 10573. Or serjd f o r our FREE Rock Read Newspaper. Note: Please enclose S1.00 pos book ordered. N.Y residents enclose saies tax. Alio6 weeks for delivery.

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On Rock Guitar It's one thing to be good at rock guitar. . . Now you can be Dangerous! And you know what that means. Playing in any key and in any style. Taking blazing leads up and down the fretboard or nailing down funky rhythms. Harmonics, power chords, bends, hammers, power slides, pull offs, and much much more . . . all as effortless as breathing in and out. It used to take years and years of practice or hundreds of dollars worth of private lessons to be able to play like that. But now there is B E D A N G E R O U S O N R O C K G U I T A R , the most complete and comprehensive guitar instruction course available. B E D A N G E R O U S O N R O C K G U I T A R is a lot more than just a method book, it's a unique four part package consisting of a super-large 1 1 " x 14" book, 6 one-hour cassette tapes, a 20" x 30" wall poster, and an entire book of adhesive fretboard dots. Professional guitarist Richard Daniels, author of T h e Heavy Guitar Bible, Hendrix Note F o r Note, and Blues Guitar—Inside A n d Out, leads you step-by-step through dozens of rock concepts ranging from structure, scales, and octaves, to augmented, suspended, and rolled chords. You'll explore the theory and technique behind such popular maneuvers as sliding, hammering.

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s t r i i ^ rakes, hit backs, power slides, and pinky pull offs. You'll learn a technique for taking any solo off any record—no matter how complex the riff. New tuning techniques. The art of imitation. Textures, dynamics, and much much m o r e — a l l in one complete set. Each set contains: B O O K - A 150 page super enlarged 11" X 14" visual encyclopedia of rock guitar technique. The story of rock guitar, over 200 fretboard diagrams, 132 six line tabulature transcriptions, 75 chord figures, plus charts, photos, hand drawn illustrations, and thousands of professional tips. 6 TAPES-Six hours of tightly packed instruction sounding out all the examples, techniques, and effects referred to in the book. A full spectrum of transcribed examples, from speed plajing to steaming harmonic licks, mix P O S T E R - A 30" x 40" wall poster containing 12 full size fretboard layouts illustrating chords, progressions, fingerings, harmonics, chord inversions, scales, and every note on the board up to the 24th fret. F R E T B O A R D D O T S A n entire book of Helpful Fretboard Dots containing hundreds of non-marring adhesive marking dots allowing you to work out chords, scales, and progressions right on your own fretboard. It's the most complete rock guitar instruction course ever. So don't settle for being good. Be dangerous! Send for B E DANGEROUS ON R O C K G U I T A R today!

^

'»

_ _ _ _ _ ^ ^

^ _ » ^ J

CONTENTS 11

PORTRAIT GALLERY

BILLY

M

Ebet Roberts Laura Levine Dave Plastik Laura Levine

SQUIER

R.E.M. RANDY

I

JOHN

JACKSON/ZEBRA

COUGAR

L E T T E R FROM T H E E D I T O R S LETTERS TO T H E EDITORS GUITAR SECRETS: OPEN EARS:

O N T H E RADIO:

BERLIN

IN T H E LISTENING ROOM: SONGWRITING:

LAUR.^

GUITAR GIVEAWAY: B A S S IN T H E 80s: NEW

ONE

R I C O C A S E K / T H E CARS

ON THE CIRCUIT:

ON

Buck Dharma Strue Morse Dan Seer Petei Gordon John StLx Bruce Pollock

SIGNATURE RIFFS

EFFECTS, PART

T E D NUGENT XYRO

W I N A SHANE GUITAR You

Better You

T-Bone Walk

Bet

PRODUCTS

Roger Sadousky Bob Rose PLUGGIN' IN: A M P L I F I E R AND E F F E C T S REVIEWS PERFORMANCE N O T E S Michael Gelfer, Mark Gordon if Wolf Marshall Barn Lipman GUITAR QUESTIONS: T H E VINYL SCORE: RECORD REVIEWS Buzz Morison ON THE CASE:

G U I T A R AND B A S S

REVIEWS

SPECIAL P U L L O U T POSTER A L DIMEOLA:

ON

PROFILE

Seal Preston Jack Colby

IOMMI, RHOADS, G I L L I S , L E E

John Stix

Spencer Benedict & Frank Morano

E X P L A N A T I O N OF T A B L A T U R E

Pink Howiesl]oim C O U G A R Cat Scratch Fever/TED N U G E N T Mediterranean Sundance/Ah D I M E O L A Crazy TrainlOzzY O S B O U R N E Run

MAY

INTERVIEW

OZZY OSBOURNE:

SLADE;

BRIAN

Runaway/ShADE

John Cougar Ted Nugent Al DiMeola Bob Daisley, Ozzy Osbourne & Randy Rhoads Noddy Holder Jim Lea

Crazy Train COVER PHOTO:

Ozzy Osbourne by Mark Weiss

GUITAR For The Practicing Musician (ISSN 0738-937X) is published monthly for $27.95 per year by Guitar, 110 Midland Ave., Port Chester, N.Y. 10573-8490. Application to mail at second-class postage rates is pending at Port Chester, N.Y. and additional mailing office. Postmaster send address changes to GUITAR, Subscription 13ept., P.O. B o ) ^ fci 1490, Port Chester, N.Y. 10573-1490. Submissions of manuscripts, illustrations and/or photographs must iDe accompanied by a self-addressed, stamped envelope. The publisher assumes no responsibility for unsolicited material. Copyright© 1984 by Cherry Lane Music Co., Inc. All rights reserved under International and Pan American Copyright Conventions. Reproduction in whole or in part without written permission of the publisher is strictly prohibited. Printed in U.S.A.

Laura Levine

Tablature Explanation See pg. 78

PINK HOUSES

As recorded by John Cougar Mellencamp (From the album UH-HUH/Riva RVL 7504) C/G

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3214

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134211

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342 1

XX

Words and Music by John Cougar Mellencamp D

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Rhythm Pattern I

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home of 10

GUITAR, O C T O B E R 1984

the

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1984

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the

OCTOBER 1984, GUITAR

free?_ 13

14

G U I T A R , O C T O B E R 1984

ASSOCIATE EDITOR: Marie A. Cruz

Li

FORGIVE OUR APPEARANCE. WE'RE RENOVATING

I

'Wk M t t ft '^'^^ '•^ ^^'^Icome to K H B J F our pages none other ^ W ^ K ' than Donald Roeser, WK otherwise known as Buck Dharma, one o f the founding fathers of Blue Oyster Cult, who will be sharing with G U I T A R ' s loyal cult of readers some o f his Guitar Secrets. Elliott Randall, who had been handling the column for the past few months, is on but a brief hiatus. He'll be back in G U I T A R shortlv, with a feature interview o f A d r i a n Belew. On the Radio will now be the province o f nationally-syndicated interviewer, Dan Neer. Peter Gordon, the previous purveyor o f the page, will be moving next door, to a colu m n called O n the Circuit. ( G U I T A R would like to congratulate Ronald Ryder, 35, of Trov, Michigan, who was the winner of the Ramsa Mixer). The Editors

f\

ASSOCIATE M U S I C EDITOR: Mark Gordon

FOR THE PRACTICING MUSICIAN EDITORS-IN-CHIEF: Bruce Pollock John Stix

M U S I C ARRANGERS: Mike Gelfer Mark Gordon Wolf Marshall CONTRIBUTING EDITORS: Steve Gett Peter Gordon Barry Lipman Buzz Morison Steve Morse Elliott Randall Bob Rose Roger Sadowsky Tom "T-Bone" Wolk

MUSIC EDITOR: Dan Fox EXECUTIVE EDITORS:

m

i

Ed Cimino Franc Gucrettc A R T DIRECTOR: Frank Morano PUBLISHER: Laui-en Keiser PRESIDENT: Pat Raven

^ ^ ^ ^ 'PRODUCTION MANAGER: Helen Dry ^^^^ A D V E R T I S I N G SALES D I R E C T O R : Barbara Seerman

V I C E PRESIDENT, SALES & M A R K E T I N G : Lorain Levy CIRCULATION DIRECTOR: Marc Randolph D E A L E R SALES M A N A G E R : Larry Kornblum

Designed Right and... LEFT

HANDED

MUSICAL INSTRUMENTS 7010 Brooltflfld P l o j o

Suite 2 0 5 S p r i n s f i e l d , V i r g i n i o {7031 6 4 4 - J 0 8 9

22150

11 C E B R A A V E . S T A T E N I S L A N D . NV 10301 |212| 981-3300

OCTOBER 1984, GUITAR

15

could you bring d o w n possibly the greatest album o f the 80s? Why don't you put some real musicians in your magazine, like Alan Holdsworth, A l DiMeola or Steve Hackett? People are tired o f Angus Y o u n g or Neal Schon and I think you must also realize this. James P. Boeltcher Libertyville, IL

Dear G U I T A R , Wake up you guys—where's T r e v o r Rabin? I saw the g r o u p Yes five times on their recent tour and anybody who is familiar with the guitar at all will realize that Rabin is a phenomenal guitarist and deserves some recognition. Your 90125 review was simply uncalled for. How

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Dear G U I T A R , T h o u g h your magazine is the best for musicians it also appeals to

E®§if

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•

Wayne Newton

m

1®^

@®y[]Qg Tony Orlando

lOQg)

The Motels

FO'gSO®

The Outlaws

Mm IhmAM

"-oretta Lynn

Formerly with Buck Owens Formerly with The Ozark Mountain Daredevils SSKT^ SOODOfiliO now with the new Michael Brewer Band

mW§^m^\^

CD

sm mmm

Jeannie C. Riley

the fanatics like me. I've searched high and low for an old poster-size photo o f Randy Rhoads; you had it when no one else d i d . T h e only thing you can top it with would be a poster of Steve C ark, so please try to outdo yourself, okay? Tami Lee Shamblin Dear G U I T A R , I hope you will p r i n t this letter I have written to Kevin D u B r o w o f Quiet Riot: Mr. DuBrow, My sister and I had the most fortunate experience o f picking up our favorite magazine and seeing a nice picture of our guitar hero, the late Randy Rhoads, on the cover, with a promise o f a great article/tribute on the inside. Even though we noted that it was told by you, we read the tribute anyway, hoping against hope that you would not bring your petty jealousies into something like this; a tribute to your friend. Obviously, that would not be the case, and we were very disappointed, and also outraged. Oh, you're very clever in your wording, but we can read the accusations. Reminiscence is one thing; slander is something completely different. You think you may be h u r t i n g Ozzy with your bullshit, but he's not the only one. You're also damaging the memory o f Randy in many people's minds and hearts. D i d you take that into consideration before you opened your mouth? We hope your tribute will open a lot o f eyes to what kind o f a petty person you really are, i f it's not general knowledge already. This tribute should have been done by Rudy Sarzo. Susan £57" Kim Ring Eatontown, NJ Send to:

[SaO® [?0Q©[}2(§'[]li' Mmm

tern

Imi

GUITAR, OCTOBER

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5 A A

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5

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the n e c k above t h e t w e l f t h f r e t ! Y o u can m o v e e f f e c t i v e l y w i t h y o u r r i g h t h a n d fingers as w e l l as w i t h t h e l e f t . A g o o d exercise f o r d i f f e r e n t " a r t i c u l a t i o n s " w o u l d be. 1 . A l l notes, legato, 2. A l l notes staccato, 3. M i x 'em u p . See s t a f f 1 ( I n t r o ) T h i s n e x t exercise w i l l h e l p strengthen y o u r p i n k y arid t h i r d finger, as w e l l as m a k i n g y o u a w a r e o f o t h e r notes to use. See S t a f f I A . H e r e ' s a n o t h e r exercise, b u t i n reverse. T h e r e ' s a q u i c k p o s i t i o n c h a n g e i n m e a s u r e 4, b u t y o u can slide to i t . E n t w i s d e ' s a v e r y precise p l a y e r . I f y o u w a t c h his l e f t h a n d , y o u ' l l n o t i c e a n a l m o s t exclusive use o f classic u p r i g h t bass p o s i t i o n s . See Staff I B. T o t hi c k en the standard W h o t r i o s o u n d , J o h n s o m e t i m e s uses a r o o t - f i f t h c o m b i n a t i o n p l a y e d as a c h o r d ; as i n B a r 4, S t a f f 2, o k a g a i n i n B a r 6. T h i s p a r t later s u p p o r t s the l e n g t h y g u i t a r solo section. See S t a f f 2. O n S t a f f 3 t h e b r i d g e changes f r o m 4/4 to h a l f t i m e feel (still w r i t t e n i n 4/4). E a c h bar is c o u n t e d ( a n d felt) twice as l o n g . See h o w he c o m bines w h o l e notes i n w i d e o p e n bars (Bars I a n d 2) t h e n i m p l i e s r h y t h m as the new section b u i l d s . T h a t ' s called " d e v e l o p m e n t . " B a r s 6, 7 a n d 7 A l o o k c o m p l e x , b u t it's just t h i n k i n g f u n k y i n g r o u p s o f s i x t e e n t h notes, i n s t e a d o f e i g h t h notes. B a r 7 A is a classic E n t w i s t l e r i f f leading d o w n f r o m the h i g h G w i t h t r i p l e t s o n beats 3 a n d 4. N o w a f t e r these s e e m i n g l y c o m Dlex r h y t h m s , J o h n ' s i n f a m o u s a d ibs o n My Generation f r o m n e a r l y 20 years ago seem easy. C h e c k it o u t . See S t a f f 4. T h e r i g h t h a n d fingerings are an i m p o r t a n t p a r t o f the J o h n E n twistle bass s o u n d as w e l l as his Rickenbacker bass, R o t o sound strings, M a r s h a l l s a n d n o v e l f r e t b o a r d t a p p i n g r i g h t h a n d attack. E n t w i s t l e vs'as a p i o n e e r o f t h e B r i t i s h r o c k bass s o u n d a n d his s o u n d is still very m u c h alive t o d a y . K e e p r o c k i n ' a n d I ' l l see y o u o n M T V . •

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71

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EFFECTS

T h e t.c. electronic Stereo Chorus/Flanger combines three stereo effects into one A . C . powered unit: Stereo Chorus, Flanger with Regeneration and Pitch Modulator. A preamplifier with an adjustable i n put stage, along with t.c. electronic's special quieting circuitry, allows for quiet performance. Suggested retail price is $329.50. Music Technology, Inc. 105 Fifth Avenue Garden City Park, NY 11040

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Pro Co unleashes a new look for T h e Rat distortion unit. Its physical size has been reduced by 33% to accommodate multipedal set ups and now features a "no tools required" battery compartment. Other features include: full control o f distortion, filter and volume allowing for a wide variety o f overdrive, fuzz and distortion effects for playing various musical styles, and a bypass mode that removes the effect from the signal path when not in use. Pro Co Sound, Inc. 135 East Kalamazoo Avenue Kalamazoo, MI 49007

STRINGS

GHS Strings introduces a new series o f electric b a ? 5 strings known as "Pressurewound—The 4th kind of Electric Bass String" for fredess and fretted basses. I n the Pressurewound manufacturing process, r o u n d cover wire is squeezed under great pressure into a smoother profile as it is wrapped around the core. The cover wire used for these strings is a special higjhlv magnetic nickel alloy. Available in long, medium and short scale, the sugsested retail price of the strings is S30.00 a set. GHS Stiings P.O. Box 136 Battle Creek. MI 49016

LIGHTING

ETA Lighting has come out with the 1600 Series o f lighting controllers and dimmers, which meet i n dustry standards without meedng the high costs. T h e 1624 model (shown here) offers a full gamut o f features including: two scene control, independent master control, solo channel switch, L E D channel output monitors, and a built-in programmable channel chase with speed adjustment. ETA Lighting 1710 Enterprise Parkiuay Twinsburg, OH 44087

72

G U I T A R , O C T O B E R 1984

T h e Bill Edwards "Finger-Tite" Locking N u t represents the newest in effective locking systems for guitars. Easily mountable, the Locking Nut exerts no torque on the strings and will not untune them when it's locked down. I t retails for $75.00. Kramer Music Products, Inc. 1111 Green Grove Rd. Neptune, NJ 07753

GUITAR

St. Louis Music unveils the A l varez Yairi DY56 "Express" series of hand-made fusion guitars. They feature all-wood construction and their solid spruce tops are parabolically braced and tuned. T h e backs o f the Express guitars are arched for better sound resonation, and

improved frequency response and volume. Shown here are the DY56 Blue Burst. Red Burst, Pearl Burst and Natural Sunburst. Prices range from S5S5.00 to S599.00. St. Louis Music Supply Company 1400 Fers:uson Avenue St. Louu.MO 63133 GUITAR

The M a r t i n Guitar Company introduces the M a r t i n V.T.C. for the player who needs easily accessible volume and tone controls, without additional holes in his instrument. The \ ' . T . C . plugs into any acoustic guitar that is equipped with an acoustic pickup and a '/(" outputjack or is adaptable to other sound reinforcement equipment. Its features include a passive volume and tone svstem that eliminates the need for a batterv.

Suggested retail price is $36.50. The Maiiin Guitar Company 510 S\camore Street Xazareth. PA 18064

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St. Blues Guitars mtroduces the speed. T h e Eliminator bass is new Eliminator series o f guitars and equipped with a P-J pickup assembasses. T h e Eliminator Guitar fea- bly, as well as a smooth action neck. tures the "Bluesbucker" pickup asSt. Blues Guitars sembly plus the Kahler locking trem1492 Union Avenue olo system. T h e neck is made o f Memphis, TN 38104 rosewood and especially built for OCTOBER 1984. GUITAR

73

I

causing the strings to fret out in the upper register. W i t h the rod tightened, the neck straightens out very well and it becomes obvious that the fretwork is very good. However, with the neck straight, the action at the by Roger Sadowsky nut and bridge is too low. A l t h o u g h Roger Sadowsky is a professional luthier and the action at the bridge could easily repairman in N. Y.C. Current clientele inbe adjusted, the nut on this bass cludes Joan Jelt, Hall & Oates, Paul Simon would have needed replacement. and George Benson. On the whole, the PNB-1 is a fine, mid-priced, versatile sounding PNB-1 BASS instrument. I t combines a familiar List Price S?49 w/o case look and feel with an original range he Kramer PNB-1 Bass of sounds. I t earns 3'A cases. is an instrument that lies half-way between being , EPIPHONE EMPEROR a Fender clone and an f j f t Price $999.00 w/0 ca original instrument. A l Most serious guitarists yearn to though basically "Fender" in looks and feel, it has enough have a good arch top jazz guitar at unique features to enable it to stand some point in their ives. However, a good arch top at a reasonable price on its own. T h e PNB-1 is a Precision style is hard to find. This is not to imply bass featuring an alder body vvith a that the price o f a good arch top is vintage sunburst finish. T h e body is unreasonable, but a simple stateset up with a P style pickup and a ment o f fact that good arch tops reflect the upper echelon o f craftsDair o f Jazz Bass pickups mounted ike a double coil humbucker, near manship and are expensive i n relathe bridge. T h e controls are mounted tion to other types o f guitars. from the rear and the face o f the Well, for those o f you who want body has no pickguard. T h e controls a nice arch top at a good price, consist o f two volumes, one tone and Epiphone has the guitar for you. a pickup selector switch. A n addi- T h e Epiphone Emperor is a full tional switch controls the pair o f J- bodied arch top with two set-in h u m bass pickups and offers double coil, buckers, two volumes, two tones, single coil and double coil out o f and a selector switch. T h e bridge is phase. T h e bass is set up so that a tunamatic atop a nicely fitted ebony when the P and J pickups are on base. T h e three-piece maple neck is together, they are out o f phase. While topped o f f with a bound ebony finthis produces a funky tone, there is gerboard with pearl and abalone no phase switch to enable the player inlays. T h e Emperor has a tobacco to have these pickups in phase with brown sunburst finish and gold each other. Overall, the PNB-1 pro- hardware. T h e sides and back are duces a very wide variety o f sounds, laminated unfigured maple and the ranging from thin and funky to very spruce top is probably laminated fat and punchy. also. The PNB-1 features an all maple Precision style bolt on neck with Jumbo frets. A n interesting feature on the PNB-1 is a fretboard extension which gives the player an extra fret (21). T h e only disadvantage to this feature is that the extension blocks the truss rod nut, making it impossible to adjust the rod without removing the neck. A bullet style rod adjustment on the headstock would have made things easier. T h e neck is shaped nicely and was comfortable to play. T h e set-up on this bass is not u p to p a r . T h e neck is overbowed.

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GUITAR, OCTOBER 1984

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T h e sample reviewed was set up perfectly. T h e thickness and shape of the neck captures the feel o f the great Gibson arch tops o f the sixties. The fingerboard was trued perfecdy and the fretwork was excellent. T h e acdon was nice and low and the Emperor played well all over the neck. It would not be fair to compare the Epiphone Emperor to a fine, hand made arch top. However, for a producdon guitar with a reasonable price, the Emperor rates a full 5 cases.

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DRUMATIX

rum machines, electronic drums, drum computer. L i n n drums, etc. V o u \ heard these terms bandied about. On the backs o f albums you often see the name o f the type o f d r u m machine listed along with the name o f the plavers. You may even wonder wh'. ••.e need a machine to play drums instead o f a real live person. Even George Orwell didn't predict that Big Brother would be pla\ing \ \ i t h a band in 1984. \\herher a d r u m machine can replace a d r u m m e r is a discussion we won't have here. VV^iat we will do is talk about the Drumatix, which is a d r u m machine that can be used at home. This is a small, light (about the size and weight o f a lady's pocketbooki d r u m computer made by the Rc'land company. The Drumaux is set up with three tiers o f controls. T h e top tier ha< six \()lume controls: one each for bass d r u m , snare d r u m , low and high torn (same control), cymbal, open and closed hi-hat (same control) and accent (this boosts the volume for whichever beat you choose). These individual controls allow you to mix the amount o f each d r u m into the final total d r u m pattern that you come up with.

T h e second tier o f controls has a tempo dial (plenty o f range between very slow to ridiculously fast), a mode control (this tells the computer whether you are writing a arogram or listening to what you lave written, a volume dial and a track/instrument control. This last dial has two functions: 1) it tells the machine which instrument (bass d r u m , snare, etc.) you are writing a pattern for or;2) it can play back a group o f patterns (usually a whole song) that you have stored. The third tier o f controls includes sixteen buttons that have a red light that dances across them sho\('ing which beat is happening at the moment. These buttons can be used to subdivide the bar o f music (eighth notes, quarter notes:. The Drogrammer can then decide v.hich seat the chosen d r u m will hit on. I f this sounds too hard, you can also choose to write your d r u m pattern by ear. This is done by touching the control called Tap/step/reset. We also have a run/stop button (self-explanatory), and a pattern clear button (this deletes unwanted patterns). T h e Drumatix is an excellent tool for a composer. With it you can program a whole song, with as many parts as you like; play it back, or keep it for future reference. You can also edit parts o f a pattern without changing the parts you wish to keep. Another use for the Drumatix is in the home studio. I f you have one o f the four-track cassette decks that are so popular today, you can lay down a d r u m part for a whole song, and then overdub the other instruments. I f you cannot overdub on your machine you can play along with the Drumatix and record that way. This can be done at any volume

you choose as well as with headphones. As mentioned before, this d r u m m.achine can be programmed entirely bv car. You don't need to be a drummer, or be able to read music to use it. However, i f you are interested in learning about writing rhvthms and d r u m parts, this device can be quite educational. I f you have written a pattern by ear, the red L E D sho^s ^ vou what you have written. This mfo can be used to write the pattern on paper i f you want to. After doing this a few times, you can trv rn compose d r u m parts without hearing them first. This is a useful skill for composers and arran:?er5.

One small disappointment with the Drumatix is the actual sound o f the crums and cvmbals. I f you think vou :an get studio quality sounds from this device, you will be disappoir-ed. T o get this you would have to pav far more than the ,f395.00 list price for the D r u m a t i x . T h e other problem is the amount o f memorv. I : turns out that you can onlv store about two entire songs (dependms on the number o f patterns m the songi or three to four simple tunes, I rate the Drumatix five out o f five. It IS the onlv machine in its price class that is so versadle. It's a composing tool, an arranging tool, as well as an educational tool. I t can be as useful as vou want it to be.

EXR SP III The EXR Psvchoacoustic SP I I I foot pedal is a device that has three functions. They are: 1) to project the sound o f a n instrument without "cranking" the %'olume or changing the equalization; 2) it is a volume pedal; 3) it can serve as a direct box with variable input (up to 40 db).

T h e projector pedal is a large, heavy piece o f equipment that looks like (and can be) a volume pedal. I t has an input volume control, a dial and a foot pedal to adjust the amount of projection, a button to switch between volume pedal function and projection function, and a button to bypass the pedal completely. Beside the normal guitar jacks, there is a jack that allows you to connect d i recdy into a m i x i n g console at line level (this makes it a direct box). T h e "EXR Projector" (its most common name) includes red and green LEDs that show the user the level o f input he is supplying. 1 found the EXR Projector to be a good example o f T h e Emperor's New Clothes. Musicians who tried it could not describe what it did. T h e manufacturer says that the pedal will project the sound o f an instrument without changing the tone quality. I found that the device doesn't project anything and it does change the sound. I t made my guitar sound thinner. This might be used to get rid o f the muddiness that occurs when many pedals are hooked up, although an equalizer can do this also. I was not impressed with the volume pedal aspect o f the projector. As far as the direct-box function is concerned, you can do as well or better with a small inexpensive d i rect box that won't give you a hernia when you lift it. T h e input jack on this pedal is on the left side, making it awkward to plug other effects into (they may have to be upside down). Since I found the EXR Projector to be bulky, heavy and expensive, with only one rather questionable use, I have to give it one star. You can find a much better use for your $299, which is the list price. Device obtained from Manny's in N.Y.

GUITARS AND E F F E C T S ARE RATED WITHIN THEIR OWN PRICE RANGE. EXCELLENT VERY GOOD GOOD FAIR POOR OCTOBER 1984, GUITAR

75

Pink

kled with tasty guitar fills, culminating in a most memorable solo spot. The guitar parts are, for the most part, triple-tracked (three distinct tracks) which makes for a thick, lush sound in the rhythm sections, and a soaring, spacial lead tone with an innate quality of delay. Due to the guitar layers, it is necessary to point out some of the outstanding guitarwork in the mix. It is advised that aspiring guitarists press their ears to the speaker or home-in with headphones so as not to miss the delicate variations from chorus to chorus.

Houses

A

s with many John CougarMellencamp songs, Pink Houses has a free feel to it. This is evident in the acoustic and electric guitar parts, as well as the vocal. Other than the electric guitar solo, the licks are mainly to accent the continuous acoustic guitar represented by the written chords and rhythm. This rhythm is not followed strictly throughout the entire piece, but rather given more freedom as the pace progresses, often to provide further accent. Notice the chorda! makeup of the electric guitar solo and licks. This helps give the song its free feeling. The chords on top of the solo represent the acoustic rhythm guitar part. MICHAEL GELFER

R Run

Runaway

un Runaway is a very dense song. At many points in the piece the bass and synthesizer are doubling the guitars in octaves or playing counter melodies. It starts with an acoustic and synthesized drum beat which establishes the feel. Listen closely when the synthesized drum drops out and then re-enters; this is a good study in texture. Each successive entry in the Intro gets louder until the main rhythm lick enters. A fair amount of flange and digital delay is needed to get the guitar sound on the record. The only complexity in the leads is the use of slides. The key to making them smooth is to use the correct finger. It's usually the finger that allows you to enter and exit the slide easily, so you should be able to play the next note without changing your hand position again. Some suggested fingerings are marked. Be careful when the song enters time. In this case it is best to think of the rhythm as four groups of three eighth notes per measure. Since the tempo of the song doesn't change, you'll find the indication that a dotted quarter now equals what was a quarter. MARK GORDON 76

GUITAR, OCTOBER 1984

Cat Scratch

T

Fever

ed Nugent's Cat Scratch Fever became a rock and roll classic in an era dominated chiefly by disco and saccharine pop. The tune is built on a powerful rhythmic figure (in the opening bars) which serves as the organizing factor for all that follows. Ted's solo is full of antics and mannerisms typical of the Motor City Madman. Points of interest are: 1) use of the A pentatonic blues scale primarily (A C D Eb E G) and a solid no-nonsense, bluesbased guitar tone and approach. 2) Notice the variety of vibrato (finger vibrato) applications: double stops, single notes, tortured and wailing bends and quasi slideguitar double bends (at the end of the solo). 3) The D to E bend in bars 6 and 7 is vibrated and sustained by massive overdrive and particularly well-executed hand vibrato. This means holding the bent tone and shaking it briskly to regenerate the string's natural vibrating energy (ala Hendrix's Foxy Lady Intro). 4) The slide guitar-like double bends in the climax of the solo (measures 12 and 13) are accomplished by bending one note while maintaining a second tone stationary on the adjacent string. This results in a moving chord-like

phrase (standard practice in the blues-rock vocabulary). The droning effect is created by holding the notes down and allowing the intervals to sustain while bending and releasing the string. The final cadenza is undoubtedly conducted by visual cue as it is a controlled rubato (all the musicians react to a gradual deceleration of tempo). Again, the melodic material is derived from the A pentatonic-blues scale for Ted's final statement (a flurry of quick riffs and bends) culminating in the last ad-lib figure (in which double stops are again vibrated) and the closing upper octave bend and slide. WOLF MARSHALL

C

Crazy Train

razy Train is the tune that introduced Randy Rhoads and his dazzling pyrotechnics to an incredulous audience of fret fanatics. Randy's fascinating array of guitar tricks, plus his very compositional approach to guitar soloing, made him an immediate smash with the new generation rockmen. In Crazy Train, he blends it all together to project a powerful and driving rhythm groove sprin-

Let's explore some of the highlights: 1) Randy is ushered into the song (just before the familiar motive at A) with a map of feedback and some scratchy pick slides. This feedback effect is, most likely, produced by silently banging harmonics (guitar switch off) with the left hand aoove the third fret and then switching the guitar on for a wailing surge of volume to feedback. (Randy v,as always manipulating the c r - o f olckup selector in this manner to create some unusual t r e ' i o ' o sounds.) The pickslides a-e tezw on the treble strings over the -ea- pickup and dragged down a glissando on the bass st-irgs ^o^ the scratchy sound, A r ' - r ' c l a n t factor in obtaining sor-e D' these outrageous effects is -aving the distortion "crankec ' o ' maximum response. 2 D J - - g the main riff of the verse sections, Randy alternates ending c--ases as indicated in the parent-esis and in section [Bf] where a low E bend is added. 3i The open harmonics (inJc]) are lowered in pitch by bending the neck lightly to loosen the strings—one of his favorite tricks on thre Les Paul. Take care to avoid undue stress on the neck in duplicating this lick. The pitches should only drop about a whole step. This can be accomplished with subtle use of a vibrato bar instead. 4) The artificial harmonics in the background line are made by varying the pick angle and pick position to sound overtones, thereby achieving two pitches— the fundamental note plus its harmonic overtone. Again, massive overdrive (Randy used a Distortion Plus) is required to fully realize the effect. 5) Here is one of Randy's most identifiable harmonic lines. The fill is a combination of the common pentatonic scale seasoned with notes from the aeolian mode and blues scale. The phrasing is extremely smooth and connected. 6) The "screeching harmonics" here are reminiscent of train

whistles—perhaps and allusion to the song title. They are sounded by lightly "muting" with the left hand above the F»5 chord shape and banging hard with the pick to make the overtones jump out. These are not directly related to the underlying chord structure. Distortion is suggested to bring the harmonics to full volume. 7) Two guitar parts slightly delayed (out-of-sync) give this phrase a somewhat dissonant character. The idea is based on an ascending chromatic treatment of a basic diminished triad shape. This shape is moved smoothly up the fretboard, maintaining pressure on the G string constantly to produce a portamento sound. 8) The tapped and bent trills are performed by bending the string normally while rhythmically tapping with the right hand on the same string. The pitch will change as the string is released and bent back to give the impression of a legato trill. The bend should be held for its notated duration. 9) Tapped bends are a variation on the previous point. Hold the right hand finger down on the string while bending and releasing pitch to sound the bend and release tones a minor third (3 frets) higher. 10) This series of trills is kept as rhythmically exact as possible while shifting positions from fret to fret. The note fretted by the index finger is slid from 14th to 16th to 17th frets and back in a manner like a moving capo. 11) This classic blues lick is given new life by rapidly sliding it up chromatically. Maintain finger pressure continuously (like example # 7 ) . It is again doubled with a slight delay for a feeling of more space and complexity. WOLF MARSHALL

Mediterranean

Sundance

Al DiMeola Mk I Dimeola is an original. In his guitar style, he has asi / l ^ i k s i m i l a t e d influences from virtually all aspects of music; jazz, rock, classical, flamenco, and various ethnic cultures. In the setting

of Mediterranean Sundance, we

have an opportunity to study Al's Spanish side on the acoustic guitar in duet form with renowned flamenco artist, Paco de Lucia. Therein lies a wealth of musical ideas, as both men meld their talents to weave an exquisite tapestry of guitar interaction. B Theme: the opening section makes use of subtle underlying decorations of the main melody. This is accomplished by

strumming grace notes behind the principal theme: m • m • m ». »

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(*1,page30). Maintain the fingered chord form and deliberately stroke the embellishments with a deft flicking action. The repeat of the opening section is played as a muted variation. Play the same notes, but gently dampen the melodic embellishments to produce a muted effect ( r 1 ? 1 ). Rasgueado (*2, page 30): a widely used effect in Flamenco music is employed on the E minor chord. Essentially, it is a scrape across the strings with the nails of the right hand, but very complex rhythms can be achieved by its use in conjunction with up and down strokes of the first finger or the entire hand. Al uses the pick for rasgueado. Ill Note the use of muted single notes and double-stops. This is closely identified with Al's style in particular. The notes (written in staccato phrasing , or • ) should be dampened with'the right hand just enough to lightly mute the tone, but be careful to retain the pitch. Due to the rubato nature of Flamenco music, highly improvisatory and emotional music in general, certain rhythmic phrases defy normal notational practices. A slight accelerando (speedingup) or decelerando (slowing-down) can be m c e readi'V perceived as a standard rhylhm within a metric grouping bracketed as shown on page 31 (*3). The _, indicates a decelerando and the ^ indicates an accelerando.

end in unpredictable places and often produce internal syncopations by accent or pitch priority (the position of scale fragments within a long linear passage). B The effect here is an alternation of legato picking and muted notes. Practice muting the sequences carefully to avoid rhythmic interruptions and inconsistent tone from note to note during phrases. This muted (staccato) and unmuted (legato) alternation continues and develops in sections El and m (pages 35,36). Note an extremely fast cadenza-like phrase in a group of 14 (against 12). Strive for a relaxed and connected feeling within the arch (indicates an even phrase, not pull-offs or hammer-ons); concentrate on evenness of picking to create the smoothness and, of course, use strict alternate picking (*7, page 36). [I Note: position-shifting within this section is important to keep the lines within their proper ranges. This section serves as an excellent scale study for such purposes; the ability to maintain rhytfimical energy while making position changes Is crucial to developing complete technique on the guitar.

PACO DE LUCIA'S SOLO

Paco de Lucia's solo is a perfect contrast to Al's improvisations. His style is rooted in traditional Flamenco music and is highly coloristic and flamboyant. He incorporates many variations on the basic aeolian tonality: some diatonic and others featuring dissonance and tension from harmonic minor and melodic minor scales, El The guitars harmonize by and some varied textures and efcombining the melody at J with fects (chords and triads are interAl's inversion of the melody on the spersed with rich single note passecond statement (an additional sages). The picking approach is four measures). (*4, page 31). fjngerstyle. AL DIMEOLA'S SOLO A Points of interest: smooth E Points of interest: the alternating picking throughout, opening phrase makes use of very mostly using i and m (index and measured tremolo picking ex- middle finger) alternation on techpanded to a rubato phrasing. (Re- nical phrases and all fingers of the fer to *3). Accents are given to right hand for chord structures. notes which are emphasized The goipe effect is produced by throughout the piece (*5, page 32). striking the face of the guitar for a The phrase at ' 6 on page 32 percussive accompaniment. Usufeatures a simple melodic group ally it is done by hitting with the with strong internal syncopations, ring finger at a point beyond the a clever way to add musical di- first string (*8, page 38). mension to an extremely economE Note the descending legato ical pitch grouping. phrase (*9, page 39). It sets up E A triplet melodic phrase is another internal syncopation quite given accents on even numbers different from Al's. It is based on staggering the pulse by a moving (2 and 4 beats within phrase) j"7^ to create yet an- sequence down the same string. The Bb diminished triad is plucked other stylistic syncopation to en- through and held as a chord form, hance a simple line. This proce- again given an off-beat phrasing dure is characteristic of Al's style: (*10, page 39). the extremely fast and fluid use of El The rasgueado is used to basic linear scales (mostly dia- emphasize the C major chord tonic) in intricate patterns and se- change. This is further accenquences. The phrases begin and

tuated by a brilliant legato motive (hammer-ons and pull-offs) which pushes toward B. Hold the index finger to the 3rd fret position (almost like a full barre). This will ensure smoothness and avoid unnecessary hand wandering. H} Chromatic tones are inserted to emphasize principal melody tones and add flow. E A rubato (*11, page 41) is created to give characteristic delaying of the reiterated I note (very Flamenco). Listen to the record for details of rhythmic delivery. The phrase is echoed in D major. An E harmonic minor scale variation is applied to the C major B7 cadence (phrygian mode). Again, this provides a very recognizable Flamenco harmonic device. E Chords are tastefully added to this chorus. Note: A7 replaces the pure E minor tonality and a sense of resolution is attained: Be aware of the need to keep the moving bass line independent over the B chord (*12, page 42). \a\e time-span (time between chord changes) is altered at *13, page 43). The pulse is arrived at by harmonic rhythm. Undoubtedly, this is agreed upon and determined by the interaction and intuition of the performers. The symbol // indicates where the chords actually change (as the bar lengths don't change). A definite Vllla-Lobos* influence (harmonically as regards chord movement) can be heard in Pace's closing statements, as the basic C major tonality is extended to C7(13) and C7(b5) and the B major tonality is altered to B7 and B7( + 5). This type of modern chord coloring is typical of 20th century South American, Mexican and Spanish composition. All in all, this is a masterpiece of guitar improvisation. The serious aficionado of acoustic guitar will gain much by studying both Al DIMeola's and Paco de Lucia's work here, as these solos provide a comprehensive overview of plectrum and fingerstyle approaches. WOLF MARSHALL •Heitor Villa Lobos, 20th Century Brazilian Composer.

OCTOBER 1984, GUITAR

77

TABLATURE EXPLANATION Definitions T a b l a t u r e A six line staff tfiat graphically represents the guitar fingertxjard. B y placing a number on the appropriate line, the string and fret of any note c a n be indicated. For example:

5th tiring. 3rd Inl

latilring, Zndtiing,

iSthtnt,

Bit open C clwd

IStAfm

P o s i t i o n Position markings are given in R o m a n numerals above e a c h excerpt. R e m e m b e r that the position simply m e a n s the fret that your 1 st finger plays on. For example, II pos. m e a n s that your 1 st finger plays all the notes on the Znd fret, the 2nd finger plays the notes on the 3rd fret, the 3rd finger on the 4th fret, etc. O n e fret for e a c h finger. Before attempting these solos, make s u r e that you know the blues s c a l e , the s c a l e which is the basis of almost all rock solos. Here it is in diagram form:

Definitions for Special Guitar Notation 1/2

B E N D : Strike the note and bend up V2 step (1 fret).

.1

UNISON B E N D : The lower note is strucl< slightly before the higher. It is then bent to the pitch of the second note. They are on adjacent strings.

B E N D : Stril(t fot it

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