daleturner2_tabs.pdf
TRANSCRIPT
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DALE TURNERrsquoS GUIDE TO
ACOUSTIC
ROCK GUITARPART 2
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1 NEW-AGE PIONEERA look at the ldquoacoustic thrashrdquo techniques of
the late Michael Hedges
2 DOUBLING DOWNWITH AL DI MEOLAExploring the legendary virtuoso guitaristrsquos
ldquolickety-splitrdquo Latin strumming rhythms
3 UNPLUGGED THUNDERTommy Emmanuelrsquos acoustic techniques
4 SHOW ME HOWEA look at the many facets of Steve Howersquos
acoustic guitar artistry
5 ELEGANT GYPSYThe influential chords and rhythm patterns
of Django Reinhardt
6 IS LESS REALLY
MORSE Cracking Steve Morsersquos elusive acoustic code
7 UNPLUGGED GONEWYLDE
Zakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-
picked acoustic shred
8 TOPEKArsquoS
TWO-HANDED TERRORAndy McKeersquos ldquoover-the-toprdquo techniques
9 COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
10 WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
C O N T E N T S
1 NEW-AGE PIONEERA look at the ldquoacoustic thrashrdquo techniques of
the late Michael Hedges
2 DOUBLING DOWNWITH AL DI MEOLAExploring the legendary virtuoso guitaristrsquos
ldquolickety-splitrdquo Latin strumming rhythms
3 UNPLUGGED THUNDERTommy Emmanuelrsquos acoustic techniques
4 SHOW ME HOWEA look at the many facets of Steve Howersquos
acoustic guitar artistry
5 ELEGANT GYPSYThe influential chords and rhythm patterns
of Django Reinhardt
6 IS LESS REALLY
MORSE Cracking Steve Morsersquos elusive acoustic code
7 UNPLUGGED GONEWYLDE
Zakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-
picked acoustic shred
8 TOPEKArsquoS
TWO-HANDED TERRORAndy McKeersquos ldquoover-the-toprdquo techniques
9 COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
10 WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
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NEW983085AGE PIONEER A look at the ldquoacoustic thrashrdquo techniques of the late Michael Hedges
CHAPTER
1
ITrsquoS BEEN 14 years since thepassing of Michael Hedges whodied in a car accident on December
2 1997 Hedges was an acoustic fingerstylistrenowned for his multitude of techniquesand tunings (typically applied to a 1971Martin D-28) as well as his breathtakingmusicality and captivating performancestyle He burst onto the scene in 1981 with hisearly Windham Hill recordings Breakfast in
the Field and fan favorite Aerial BoundariesThese and other albums he made helpedestablish Hedges as one of the leading lights
of the erarsquos new ageworld music genreToday of course bizarre tunings chord
tapping slapped harmonics percussiveldquosmacksrdquo of the guitarrsquos body and the useof exotic instruments (ldquoharprdquo guitars andother odd-shaped axes with additional bassstrings) are not nearly as shocking as theywere when Hedges first used them Butwhat set Hedges apart from these modernacoustic stylists is that his techniquesmerely coloredmdashor added personality andspice tomdashwhat were already beautifullycrafted fascinating compositions Oneneed only listen to the Hedges classicldquoRagamuffinrdquo (from Aerial Boundaries ) to
hearmdashand feelmdashthe depth of the masterrsquosmusical palette and expression Letrsquos tipour hat to Hedgesrsquo self-described ldquoacousticthrashrdquo with a piece inspired by hiscompositions ldquoBecause Itrsquos Thererdquo ldquoRitualDancerdquo and ldquoRagamuffinrdquo
FIGURE 1 introduces the first of Hedgesrsquopatented techniques sounding a pair of openstrings with a flick of the fret-hand fingers(see the video at GuitarWorldcom) thenhammering onpulling off in a continuous16th-note rhythm Use the middle and indexfingers to hammer onto the G and high Estrings respectively FIGURE 2 meanwhileshows a bass line featuring ldquotappedrdquo notes
(tap and hold the low E stringrsquos seventh fretwith the fret-hand index finger) and ldquotappedharmonicsrdquo (slap the tip of the fret-handindex finger across the 12th fret to excite theharmonic) In our performance piece at thislessonrsquos end these two figures will be playedsimultaneously
Open strings and hammer-onspull-offsplay a prominent role in Hedgesrsquo work InFIGURE 3 theyrsquore used to fashion a melodicphrase on the ldquoandrdquo of beat two sound the
G string with a ldquohammer-on from nowhererdquo InFIGURE 4 theyrsquore employed for a dazzling techni-cal fill stated between main musical themes (Thisexample is the first in this lesson to use standardfingerstyle technique plucking with the thumb andindex and middle fingers)
In FIGURE 5 ldquoslapped harmonicsrdquo make an openG shape sparkle with the pick-hand index fingerparallel to the 12th fret ldquospankrdquo the side of the finger
across the D G and B strings to produce harmon-ics FIGURE 6 also features slapped harmonics(across the 19th fret) though theyrsquore precededwith a quick ldquorakerdquo across the open strings (dragthe fret-hand index finger across strings 4-2 in theindicated rhythm) for percussive effect an alternateldquoupdownrdquo thumb stroke is also used on bass notes FIGURE 7 puts all the above techniques togetherinto a short Hedges-inspired piece
FIGURE 1
Flick strings wfret-hand index and middle fingersto sound notes (1st time only)
NC(Em)
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
FIGURE 2
NC(EmA)
Position plucking hand over neck and pull on string
0
0
4
3
0
0
4
3
0
Tap wfret-hand index finger and pull-off
(EmB)
Tapped harmonic (1st time only)
(Em)
07
0
TH
(0)0 12
FIGURE 3
NC(Cmaj7)
Flick strings wfret-hand index and middle fingers to sound notes
00
43
00 3
5 04 0 4 5 0 5
FIGURE 4
p
NC(Em11)
let ring
7 0 7 9
i p
0 5 7
00
i p m
5 7
00 5 7
0
3
let ring
p
FIGURE 5
let ring
G
ai
Slap fret-hand indexfinger across strings
to produce harmonics
000
TH
3
0
0
2
1
0
0
121212
FIGURE 6
Rake across strings wfret-hand fingers
let ring
Slap fret-hand index finger
TH
000
D
00
0
p
G
p strum
NH
191919
0 3 3
555
00
0
3 3 3 3
FIGURE 7
EmAlet ring
0
0
0
4
3
0
0
4
3
EmBT
Em
0
0
7
4
3
0
0
4
3
(play 4 times)TH
Tapped harmonic (1st and 3rd times only)
0
0
0
4
3
0
0
4
3
Cmaj7T
0
0
12
4
3
0
0
4
3
8
0
0
4
3
0
0 3 5 0
4 0 4 5 0 5 7 0 7 9
EmA
0
0
0
4
3
0
0 3
p
NC(Em11)
5 0
4 0
i p
0 5 7
00
i p m p
G
5 7
00 5 7
0
ai
000
TH
3
0
0
2
1
0
0
000
TH
D
121212
00
0
p p strum
NH
G
191919
0 3 3
555
3 3 3 3
F I G 1
All examples played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
F I G 2
F I G 3 F I G 4
F I G 5 F I G 6
F I G 7
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let ring
FIGURE 1
Amaj7
4
= downstroke
5
665
5
5
665
sim
Gmaj7
665
4
= upstroke
3
443
3 3
443
FIGURE 2
Am
443
4
7
Am(maj7)
55
6
Am7
55
5
Am6
55
4
4
55
FIGURE 3
let ring Am
Th
5X
7
Am(maj7)
5 555
Am7
5X
65 5
55
5X
5
Am6
5
55 5
55
5X
4
5
45
FIGURE 4
Th
Am
555
5X
7
5X
7
5
7555
7555
Am(maj7)
7555
7555
etc
Am7
5
6555
6555
6555
Am6
5
5555
5555
5555
5
4555
4555
4555
FIGURE 5 Em
79987
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
57775
57775
D sim
57775
57775
XXXXX
57775
57775
57775
XXXXX
57775
57775
57775
XXXXX
57775
57775
57775
XXXXX
79987
79987
FIGURE 6
wslight PM on strings 4-6
let ring Em(add2)
0
0
4
0
2
0
4
0
2
FIGURE 7
wslight PM on strings 4-6
BmElet ring
2
00
4
0
0
7
7
Cmaj9
07
8
8
8
0
7
70
7
FIGURE 8
wslight PM (throughout)
E7 9let ring
0
67
6
8
76
9
76
6
7
FIGURE 9
wslight PM on strings 4-6
B(add 2)let ring
6
8
76
79
108
77
8
7
78
108
7
10
7
8
109
108
9
8
109
DOUBLING DOWNWITH AL DI MEOLA Exploring the legendary virtuoso guitaristrsquos ldquolickety-splitrdquo Latinstrumming rhythms
CHAPTER
2
AL DI MEOLA has been an all-star in the world music fusionand ldquochops guitarrdquo arena since the
Seventies courtesy of his work with Returnto Forever (featuring Chick Corea and Stan-ley Clarke) the album Friday Night in San
Francisco (a live guitar trio recording withJohn McLaughlin and Paco de Lucia) andnumerous solo efforts Though most knownfor his alternate-picking prowess (influenc-ing players like Yngwie Malmsteen VinnieMoore John Petrucci Joe Bonamassa andRichie Sambora among many others) itrsquos Di
Meolarsquos riveting rhythm workmdashuptempohighly syncopated ldquoLatinrdquo-flavored groovesthat are strummed andor arpeggiated onan Ovation steel-stringmdashthat is the focus ofthis chapter Virtually all the instructionalexamples in this lesson feature uncommonpicking practicesmdashldquodoublerdquo downstrokesrest strokes and economy pickingmdashso care-fully follow the picking indications writtenabove the tab staff throughout
Letrsquos kick things off with FIGURE 1 apassage modeled after Di Meolarsquos playing inldquoLustrinerdquo ( World Sinfonia ) featuring Amaj7and Gmaj7 shapes strummed in a quickeighth-note rhythm In this example double
downpicking occurs with each of the notesplayed on the fourth fret of the low E stringA quick ldquobouncerdquo of the pick hand should dothe trick here (see video online)
Many of Di Meolarsquos strummed passagesare derived from a rhythmic figure called amontuno a minor-key vamp typically playedby pianists in Latin rock and jazz FIGURE
2 illustrates a basic (though speedy) versionof this groove its AmndashAm(maj7)ndashAm7ndashAm6progression creating descending chromaticmovement (key to the montunorsquos sound)along the fourth string In measure 2 notethat two quick downstrokes are requiredto play Fs (D string fourth fret) FIGURE 3
takes this same chord sequence complicatesmatters with a thumb-fretted A (sixth stringfifth fret) and calls for a rest strokemdashlettingthe pick come to ldquorestrdquo against the thirdstring immediately after strumming the lowstrings with a downstroke The same shapesare used in FIGURE 4 though inflectedwith a different rhythm and require doubledownpicking to play the first two attacks
FIGURE 5 is our final ldquodouble downrdquoexample (see last beat of each bar) a rapidstrumming pattern with a ldquobackbeatrdquo
(muted strings on ldquotwordquo and ldquofourrdquo) reminiscentof Di Meolarsquos accompaniment in the Friday Night
in San Francisco jams with John McLaughlin andde Lucia
Intricate arpeggiated riffs are also a hallmarkof Di Meolarsquos acoustic rhythm style The E minorndashflavored FIGURES 6 and 7 which are inspired bythe title track to Cielo e Terra and ldquoPerpetual Emo-tionrdquo ( World Sinfonia ) respectively both require
ldquoupstrokerdquo economy picking (playing numerousneighboring strings in succession with a single pickstroke in a controlled rhythm) and feature trickysyncopations Meanwhile the darkmoody atmo-sphere generated in FIGURES 8 and 9 (a nod to the Passion Grace amp Fire title track and ldquoOrient Bluerdquofrom World Sinfonia respectively) owe much toldquoalteredrdquo versions of E7 and B chords and will pushyour economy-picking chops to the limit
F I G 1
F I G 3
F I G 5
F I G 6 F I G 7
F I G 4
F I G 2
F I G 8 F I G 9
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A6let ring
0
AD
02
2
0
Asus2
2
0
2
0
Fm11
2
0
2
2
A6
let ring
Dsus2
2
0
2
0
Esus
02
0
2
24 Asus2
4
5
2
0
Bm
2
0
2
4
3
24
2
FIGURE 3
let ring
Cmaj9
3
54
3
Em7
0
0
2
3
F
0
1
23
G Cmaj9
3
0
2
5
3
54
3
Em7 F
0
0
3 00
G
1
23
3
00
3
2
FIGURE 4
Dsus4
0
233
233
0
2
etc
G5
3
033
033
0 2
Csus2
3
033
033
0 2
F
3211
211
0 2
mi
p
FIGURE 5
E5let ring
0
37
5
i mi
p
AE
5
m i mi
p
E7
0
59 5 7 9
mi
0
37 5 7 5
mi
p
DE
04 0
m p
a mi
p
E5
0
2
2 0
4
30
0
37
5
i mi
p
AE
5
m i mi
p
0
59 5 7 9
i
0
35
2
i p
0
D5
4 2 002
3
ami
p
FIGURE 6
Elet ring
mi
Esus
ami
24 E
i p
B5
mi
E
0
21
0
42
210
24
i p
B5
m p
EG
i p
B5F
p 0
E5
24
24
4
2
22
02
FIGURE 7
i p
E5
let ring
p i p
G5
0
2
2
p i p
GB
3
00
p i p
D5
2
0
3
p i p
GB
02
3
p i p
G5
2
0
0
p i p 0
E5
3
0
2 0
2
Figures 1-4 played pickstyle = downstroke = upstroke Figures 5-7 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
IS LESS REALLY MORSECracking Steve Morsersquos elusive acoustic code
CHAPTER
6
SINCE THE LATE SeventiesSteve Morse has pushed the enve-lope in the ever-broadening cate-
gory of instrumental rock openly embracingthe styles of rock blues bluegrass country jazz and classical in his work with the DixieDregs (later the Dregs) and the Steve MorseBand Hersquos also got a foothold in the heavymetal arena having channeled his chopssince 1994 into pioneering metalheads DeepPurple If you can get a grip on what the mancan do solely with an acoustic guitar you just might begin to grasp the breadth of this
pickerrsquos stylistic palette Thatrsquos where thislesson comes in
Morse is a master at using arpeggios inunpredictable fashion not only in solos butalso in acoustic pick-style ldquopartsrdquo FIGURE
1 inspired by Morsersquos bass solo accompani-ment in ldquoRally Cryrdquo ( Structural Damage ) isone example Fret A6 using your (low to high)index middle ring and pinkie on the topfour strings removing a finger as required toaccess open strings and pick harder at eachaccent (ldquogtrdquo above each upstroke) to bring outthe internal melody line Note each chordrsquosroot falls on the last 16th note of the beatyielding intentional rhythmic instability and
ldquopushrdquo a combination that is one of manyMorse trademarks
FIGURE 2 is reminiscent of a trickystring-skipping riff that sets up Morsersquos ldquoRal-ly Cryrdquo guitar solo To deal with the rapidfingering shifts regard every few notes as achord fragment changing fingerings only ateach new chord symbol Approach finger-ings in FIGURE 3mdasha passage akin to parts ofldquoEndless Wavesrdquo ( High Tension Wires )mdashinthe same fashion While this example isnrsquotas complex as the previous its odd notegroupings (often picked in groups of five)and unpredictable accent points (typicallyon the second 16th note at a chord change)
will certainly force you off balance FIGURE
4 completes this lessonrsquos picking portionsmdashasample of Morsersquos blazing bluegrass in thespirit of ldquoTri County Barn Dancerdquo ( Major Im-
pacts 2 ) Be sure to check out this songrsquos solosto hear Morse give flatpicking legends TonyRice and Doc Watson a run for their money
A look at Morsersquos ldquoclassicalrdquo techniquescloses this lesson beginning with FIGURE
5 a passage modeled after ldquoFlat Baroquerdquo( Coast to Coast ) Keep the sixth string pump-ing every two beats while sounding note
pairs on the top two stringsmdashpluck with thumb ( p )index ( i ) middle ( m ) and ring ( a ) fingers as shownbelow the tabmdashand use a light ldquosnappingrdquo touchwhen executing the ldquoCelticrdquo-flavored hammer-ons pull-offs FIGURES 6 and 7 showcase two counter-
point approaches (an ldquoumbrellardquo term to describethe various types of interplay between two or more
melodic voices or lines) heard similarly in ldquoPointCounterpointrdquo ( Southern Steel ) and ldquoHighland Wed-dingrdquo ( High Tension Wires ) respectively The firstfeatures a descending E major triad arpeggio playedin quarter notes over low-register diads and bassnotes In the latter an eighth-note step-wise bassline percolates beneath a quarter-note melody
F I G 6
F I G 1 F I G 2
F I G 3
F I G 4
F I G 5
F I G 7
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UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
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7262019 DaleTurner2_Tabspdf
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i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
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1 NEW-AGE PIONEERA look at the ldquoacoustic thrashrdquo techniques of
the late Michael Hedges
2 DOUBLING DOWNWITH AL DI MEOLAExploring the legendary virtuoso guitaristrsquos
ldquolickety-splitrdquo Latin strumming rhythms
3 UNPLUGGED THUNDERTommy Emmanuelrsquos acoustic techniques
4 SHOW ME HOWEA look at the many facets of Steve Howersquos
acoustic guitar artistry
5 ELEGANT GYPSYThe influential chords and rhythm patterns
of Django Reinhardt
6 IS LESS REALLY
MORSE Cracking Steve Morsersquos elusive acoustic code
7 UNPLUGGED GONEWYLDE
Zakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-
picked acoustic shred
8 TOPEKArsquoS
TWO-HANDED TERRORAndy McKeersquos ldquoover-the-toprdquo techniques
9 COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
10 WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
C O N T E N T S
1 NEW-AGE PIONEERA look at the ldquoacoustic thrashrdquo techniques of
the late Michael Hedges
2 DOUBLING DOWNWITH AL DI MEOLAExploring the legendary virtuoso guitaristrsquos
ldquolickety-splitrdquo Latin strumming rhythms
3 UNPLUGGED THUNDERTommy Emmanuelrsquos acoustic techniques
4 SHOW ME HOWEA look at the many facets of Steve Howersquos
acoustic guitar artistry
5 ELEGANT GYPSYThe influential chords and rhythm patterns
of Django Reinhardt
6 IS LESS REALLY
MORSE Cracking Steve Morsersquos elusive acoustic code
7 UNPLUGGED GONEWYLDE
Zakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-
picked acoustic shred
8 TOPEKArsquoS
TWO-HANDED TERRORAndy McKeersquos ldquoover-the-toprdquo techniques
9 COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
10 WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 312
NEW983085AGE PIONEER A look at the ldquoacoustic thrashrdquo techniques of the late Michael Hedges
CHAPTER
1
ITrsquoS BEEN 14 years since thepassing of Michael Hedges whodied in a car accident on December
2 1997 Hedges was an acoustic fingerstylistrenowned for his multitude of techniquesand tunings (typically applied to a 1971Martin D-28) as well as his breathtakingmusicality and captivating performancestyle He burst onto the scene in 1981 with hisearly Windham Hill recordings Breakfast in
the Field and fan favorite Aerial BoundariesThese and other albums he made helpedestablish Hedges as one of the leading lights
of the erarsquos new ageworld music genreToday of course bizarre tunings chord
tapping slapped harmonics percussiveldquosmacksrdquo of the guitarrsquos body and the useof exotic instruments (ldquoharprdquo guitars andother odd-shaped axes with additional bassstrings) are not nearly as shocking as theywere when Hedges first used them Butwhat set Hedges apart from these modernacoustic stylists is that his techniquesmerely coloredmdashor added personality andspice tomdashwhat were already beautifullycrafted fascinating compositions Oneneed only listen to the Hedges classicldquoRagamuffinrdquo (from Aerial Boundaries ) to
hearmdashand feelmdashthe depth of the masterrsquosmusical palette and expression Letrsquos tipour hat to Hedgesrsquo self-described ldquoacousticthrashrdquo with a piece inspired by hiscompositions ldquoBecause Itrsquos Thererdquo ldquoRitualDancerdquo and ldquoRagamuffinrdquo
FIGURE 1 introduces the first of Hedgesrsquopatented techniques sounding a pair of openstrings with a flick of the fret-hand fingers(see the video at GuitarWorldcom) thenhammering onpulling off in a continuous16th-note rhythm Use the middle and indexfingers to hammer onto the G and high Estrings respectively FIGURE 2 meanwhileshows a bass line featuring ldquotappedrdquo notes
(tap and hold the low E stringrsquos seventh fretwith the fret-hand index finger) and ldquotappedharmonicsrdquo (slap the tip of the fret-handindex finger across the 12th fret to excite theharmonic) In our performance piece at thislessonrsquos end these two figures will be playedsimultaneously
Open strings and hammer-onspull-offsplay a prominent role in Hedgesrsquo work InFIGURE 3 theyrsquore used to fashion a melodicphrase on the ldquoandrdquo of beat two sound the
G string with a ldquohammer-on from nowhererdquo InFIGURE 4 theyrsquore employed for a dazzling techni-cal fill stated between main musical themes (Thisexample is the first in this lesson to use standardfingerstyle technique plucking with the thumb andindex and middle fingers)
In FIGURE 5 ldquoslapped harmonicsrdquo make an openG shape sparkle with the pick-hand index fingerparallel to the 12th fret ldquospankrdquo the side of the finger
across the D G and B strings to produce harmon-ics FIGURE 6 also features slapped harmonics(across the 19th fret) though theyrsquore precededwith a quick ldquorakerdquo across the open strings (dragthe fret-hand index finger across strings 4-2 in theindicated rhythm) for percussive effect an alternateldquoupdownrdquo thumb stroke is also used on bass notes FIGURE 7 puts all the above techniques togetherinto a short Hedges-inspired piece
FIGURE 1
Flick strings wfret-hand index and middle fingersto sound notes (1st time only)
NC(Em)
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
FIGURE 2
NC(EmA)
Position plucking hand over neck and pull on string
0
0
4
3
0
0
4
3
0
Tap wfret-hand index finger and pull-off
(EmB)
Tapped harmonic (1st time only)
(Em)
07
0
TH
(0)0 12
FIGURE 3
NC(Cmaj7)
Flick strings wfret-hand index and middle fingers to sound notes
00
43
00 3
5 04 0 4 5 0 5
FIGURE 4
p
NC(Em11)
let ring
7 0 7 9
i p
0 5 7
00
i p m
5 7
00 5 7
0
3
let ring
p
FIGURE 5
let ring
G
ai
Slap fret-hand indexfinger across strings
to produce harmonics
000
TH
3
0
0
2
1
0
0
121212
FIGURE 6
Rake across strings wfret-hand fingers
let ring
Slap fret-hand index finger
TH
000
D
00
0
p
G
p strum
NH
191919
0 3 3
555
00
0
3 3 3 3
FIGURE 7
EmAlet ring
0
0
0
4
3
0
0
4
3
EmBT
Em
0
0
7
4
3
0
0
4
3
(play 4 times)TH
Tapped harmonic (1st and 3rd times only)
0
0
0
4
3
0
0
4
3
Cmaj7T
0
0
12
4
3
0
0
4
3
8
0
0
4
3
0
0 3 5 0
4 0 4 5 0 5 7 0 7 9
EmA
0
0
0
4
3
0
0 3
p
NC(Em11)
5 0
4 0
i p
0 5 7
00
i p m p
G
5 7
00 5 7
0
ai
000
TH
3
0
0
2
1
0
0
000
TH
D
121212
00
0
p p strum
NH
G
191919
0 3 3
555
3 3 3 3
F I G 1
All examples played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
F I G 2
F I G 3 F I G 4
F I G 5 F I G 6
F I G 7
7262019 DaleTurner2_Tabspdf
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let ring
FIGURE 1
Amaj7
4
= downstroke
5
665
5
5
665
sim
Gmaj7
665
4
= upstroke
3
443
3 3
443
FIGURE 2
Am
443
4
7
Am(maj7)
55
6
Am7
55
5
Am6
55
4
4
55
FIGURE 3
let ring Am
Th
5X
7
Am(maj7)
5 555
Am7
5X
65 5
55
5X
5
Am6
5
55 5
55
5X
4
5
45
FIGURE 4
Th
Am
555
5X
7
5X
7
5
7555
7555
Am(maj7)
7555
7555
etc
Am7
5
6555
6555
6555
Am6
5
5555
5555
5555
5
4555
4555
4555
FIGURE 5 Em
79987
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
57775
57775
D sim
57775
57775
XXXXX
57775
57775
57775
XXXXX
57775
57775
57775
XXXXX
57775
57775
57775
XXXXX
79987
79987
FIGURE 6
wslight PM on strings 4-6
let ring Em(add2)
0
0
4
0
2
0
4
0
2
FIGURE 7
wslight PM on strings 4-6
BmElet ring
2
00
4
0
0
7
7
Cmaj9
07
8
8
8
0
7
70
7
FIGURE 8
wslight PM (throughout)
E7 9let ring
0
67
6
8
76
9
76
6
7
FIGURE 9
wslight PM on strings 4-6
B(add 2)let ring
6
8
76
79
108
77
8
7
78
108
7
10
7
8
109
108
9
8
109
DOUBLING DOWNWITH AL DI MEOLA Exploring the legendary virtuoso guitaristrsquos ldquolickety-splitrdquo Latinstrumming rhythms
CHAPTER
2
AL DI MEOLA has been an all-star in the world music fusionand ldquochops guitarrdquo arena since the
Seventies courtesy of his work with Returnto Forever (featuring Chick Corea and Stan-ley Clarke) the album Friday Night in San
Francisco (a live guitar trio recording withJohn McLaughlin and Paco de Lucia) andnumerous solo efforts Though most knownfor his alternate-picking prowess (influenc-ing players like Yngwie Malmsteen VinnieMoore John Petrucci Joe Bonamassa andRichie Sambora among many others) itrsquos Di
Meolarsquos riveting rhythm workmdashuptempohighly syncopated ldquoLatinrdquo-flavored groovesthat are strummed andor arpeggiated onan Ovation steel-stringmdashthat is the focus ofthis chapter Virtually all the instructionalexamples in this lesson feature uncommonpicking practicesmdashldquodoublerdquo downstrokesrest strokes and economy pickingmdashso care-fully follow the picking indications writtenabove the tab staff throughout
Letrsquos kick things off with FIGURE 1 apassage modeled after Di Meolarsquos playing inldquoLustrinerdquo ( World Sinfonia ) featuring Amaj7and Gmaj7 shapes strummed in a quickeighth-note rhythm In this example double
downpicking occurs with each of the notesplayed on the fourth fret of the low E stringA quick ldquobouncerdquo of the pick hand should dothe trick here (see video online)
Many of Di Meolarsquos strummed passagesare derived from a rhythmic figure called amontuno a minor-key vamp typically playedby pianists in Latin rock and jazz FIGURE
2 illustrates a basic (though speedy) versionof this groove its AmndashAm(maj7)ndashAm7ndashAm6progression creating descending chromaticmovement (key to the montunorsquos sound)along the fourth string In measure 2 notethat two quick downstrokes are requiredto play Fs (D string fourth fret) FIGURE 3
takes this same chord sequence complicatesmatters with a thumb-fretted A (sixth stringfifth fret) and calls for a rest strokemdashlettingthe pick come to ldquorestrdquo against the thirdstring immediately after strumming the lowstrings with a downstroke The same shapesare used in FIGURE 4 though inflectedwith a different rhythm and require doubledownpicking to play the first two attacks
FIGURE 5 is our final ldquodouble downrdquoexample (see last beat of each bar) a rapidstrumming pattern with a ldquobackbeatrdquo
(muted strings on ldquotwordquo and ldquofourrdquo) reminiscentof Di Meolarsquos accompaniment in the Friday Night
in San Francisco jams with John McLaughlin andde Lucia
Intricate arpeggiated riffs are also a hallmarkof Di Meolarsquos acoustic rhythm style The E minorndashflavored FIGURES 6 and 7 which are inspired bythe title track to Cielo e Terra and ldquoPerpetual Emo-tionrdquo ( World Sinfonia ) respectively both require
ldquoupstrokerdquo economy picking (playing numerousneighboring strings in succession with a single pickstroke in a controlled rhythm) and feature trickysyncopations Meanwhile the darkmoody atmo-sphere generated in FIGURES 8 and 9 (a nod to the Passion Grace amp Fire title track and ldquoOrient Bluerdquofrom World Sinfonia respectively) owe much toldquoalteredrdquo versions of E7 and B chords and will pushyour economy-picking chops to the limit
F I G 1
F I G 3
F I G 5
F I G 6 F I G 7
F I G 4
F I G 2
F I G 8 F I G 9
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 512
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 612
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 712
7262019 DaleTurner2_Tabspdf
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A6let ring
0
AD
02
2
0
Asus2
2
0
2
0
Fm11
2
0
2
2
A6
let ring
Dsus2
2
0
2
0
Esus
02
0
2
24 Asus2
4
5
2
0
Bm
2
0
2
4
3
24
2
FIGURE 3
let ring
Cmaj9
3
54
3
Em7
0
0
2
3
F
0
1
23
G Cmaj9
3
0
2
5
3
54
3
Em7 F
0
0
3 00
G
1
23
3
00
3
2
FIGURE 4
Dsus4
0
233
233
0
2
etc
G5
3
033
033
0 2
Csus2
3
033
033
0 2
F
3211
211
0 2
mi
p
FIGURE 5
E5let ring
0
37
5
i mi
p
AE
5
m i mi
p
E7
0
59 5 7 9
mi
0
37 5 7 5
mi
p
DE
04 0
m p
a mi
p
E5
0
2
2 0
4
30
0
37
5
i mi
p
AE
5
m i mi
p
0
59 5 7 9
i
0
35
2
i p
0
D5
4 2 002
3
ami
p
FIGURE 6
Elet ring
mi
Esus
ami
24 E
i p
B5
mi
E
0
21
0
42
210
24
i p
B5
m p
EG
i p
B5F
p 0
E5
24
24
4
2
22
02
FIGURE 7
i p
E5
let ring
p i p
G5
0
2
2
p i p
GB
3
00
p i p
D5
2
0
3
p i p
GB
02
3
p i p
G5
2
0
0
p i p 0
E5
3
0
2 0
2
Figures 1-4 played pickstyle = downstroke = upstroke Figures 5-7 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
IS LESS REALLY MORSECracking Steve Morsersquos elusive acoustic code
CHAPTER
6
SINCE THE LATE SeventiesSteve Morse has pushed the enve-lope in the ever-broadening cate-
gory of instrumental rock openly embracingthe styles of rock blues bluegrass country jazz and classical in his work with the DixieDregs (later the Dregs) and the Steve MorseBand Hersquos also got a foothold in the heavymetal arena having channeled his chopssince 1994 into pioneering metalheads DeepPurple If you can get a grip on what the mancan do solely with an acoustic guitar you just might begin to grasp the breadth of this
pickerrsquos stylistic palette Thatrsquos where thislesson comes in
Morse is a master at using arpeggios inunpredictable fashion not only in solos butalso in acoustic pick-style ldquopartsrdquo FIGURE
1 inspired by Morsersquos bass solo accompani-ment in ldquoRally Cryrdquo ( Structural Damage ) isone example Fret A6 using your (low to high)index middle ring and pinkie on the topfour strings removing a finger as required toaccess open strings and pick harder at eachaccent (ldquogtrdquo above each upstroke) to bring outthe internal melody line Note each chordrsquosroot falls on the last 16th note of the beatyielding intentional rhythmic instability and
ldquopushrdquo a combination that is one of manyMorse trademarks
FIGURE 2 is reminiscent of a trickystring-skipping riff that sets up Morsersquos ldquoRal-ly Cryrdquo guitar solo To deal with the rapidfingering shifts regard every few notes as achord fragment changing fingerings only ateach new chord symbol Approach finger-ings in FIGURE 3mdasha passage akin to parts ofldquoEndless Wavesrdquo ( High Tension Wires )mdashinthe same fashion While this example isnrsquotas complex as the previous its odd notegroupings (often picked in groups of five)and unpredictable accent points (typicallyon the second 16th note at a chord change)
will certainly force you off balance FIGURE
4 completes this lessonrsquos picking portionsmdashasample of Morsersquos blazing bluegrass in thespirit of ldquoTri County Barn Dancerdquo ( Major Im-
pacts 2 ) Be sure to check out this songrsquos solosto hear Morse give flatpicking legends TonyRice and Doc Watson a run for their money
A look at Morsersquos ldquoclassicalrdquo techniquescloses this lesson beginning with FIGURE
5 a passage modeled after ldquoFlat Baroquerdquo( Coast to Coast ) Keep the sixth string pump-ing every two beats while sounding note
pairs on the top two stringsmdashpluck with thumb ( p )index ( i ) middle ( m ) and ring ( a ) fingers as shownbelow the tabmdashand use a light ldquosnappingrdquo touchwhen executing the ldquoCelticrdquo-flavored hammer-ons pull-offs FIGURES 6 and 7 showcase two counter-
point approaches (an ldquoumbrellardquo term to describethe various types of interplay between two or more
melodic voices or lines) heard similarly in ldquoPointCounterpointrdquo ( Southern Steel ) and ldquoHighland Wed-dingrdquo ( High Tension Wires ) respectively The firstfeatures a descending E major triad arpeggio playedin quarter notes over low-register diads and bassnotes In the latter an eighth-note step-wise bassline percolates beneath a quarter-note melody
F I G 6
F I G 1 F I G 2
F I G 3
F I G 4
F I G 5
F I G 7
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 912
UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
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NEW983085AGE PIONEER A look at the ldquoacoustic thrashrdquo techniques of the late Michael Hedges
CHAPTER
1
ITrsquoS BEEN 14 years since thepassing of Michael Hedges whodied in a car accident on December
2 1997 Hedges was an acoustic fingerstylistrenowned for his multitude of techniquesand tunings (typically applied to a 1971Martin D-28) as well as his breathtakingmusicality and captivating performancestyle He burst onto the scene in 1981 with hisearly Windham Hill recordings Breakfast in
the Field and fan favorite Aerial BoundariesThese and other albums he made helpedestablish Hedges as one of the leading lights
of the erarsquos new ageworld music genreToday of course bizarre tunings chord
tapping slapped harmonics percussiveldquosmacksrdquo of the guitarrsquos body and the useof exotic instruments (ldquoharprdquo guitars andother odd-shaped axes with additional bassstrings) are not nearly as shocking as theywere when Hedges first used them Butwhat set Hedges apart from these modernacoustic stylists is that his techniquesmerely coloredmdashor added personality andspice tomdashwhat were already beautifullycrafted fascinating compositions Oneneed only listen to the Hedges classicldquoRagamuffinrdquo (from Aerial Boundaries ) to
hearmdashand feelmdashthe depth of the masterrsquosmusical palette and expression Letrsquos tipour hat to Hedgesrsquo self-described ldquoacousticthrashrdquo with a piece inspired by hiscompositions ldquoBecause Itrsquos Thererdquo ldquoRitualDancerdquo and ldquoRagamuffinrdquo
FIGURE 1 introduces the first of Hedgesrsquopatented techniques sounding a pair of openstrings with a flick of the fret-hand fingers(see the video at GuitarWorldcom) thenhammering onpulling off in a continuous16th-note rhythm Use the middle and indexfingers to hammer onto the G and high Estrings respectively FIGURE 2 meanwhileshows a bass line featuring ldquotappedrdquo notes
(tap and hold the low E stringrsquos seventh fretwith the fret-hand index finger) and ldquotappedharmonicsrdquo (slap the tip of the fret-handindex finger across the 12th fret to excite theharmonic) In our performance piece at thislessonrsquos end these two figures will be playedsimultaneously
Open strings and hammer-onspull-offsplay a prominent role in Hedgesrsquo work InFIGURE 3 theyrsquore used to fashion a melodicphrase on the ldquoandrdquo of beat two sound the
G string with a ldquohammer-on from nowhererdquo InFIGURE 4 theyrsquore employed for a dazzling techni-cal fill stated between main musical themes (Thisexample is the first in this lesson to use standardfingerstyle technique plucking with the thumb andindex and middle fingers)
In FIGURE 5 ldquoslapped harmonicsrdquo make an openG shape sparkle with the pick-hand index fingerparallel to the 12th fret ldquospankrdquo the side of the finger
across the D G and B strings to produce harmon-ics FIGURE 6 also features slapped harmonics(across the 19th fret) though theyrsquore precededwith a quick ldquorakerdquo across the open strings (dragthe fret-hand index finger across strings 4-2 in theindicated rhythm) for percussive effect an alternateldquoupdownrdquo thumb stroke is also used on bass notes FIGURE 7 puts all the above techniques togetherinto a short Hedges-inspired piece
FIGURE 1
Flick strings wfret-hand index and middle fingersto sound notes (1st time only)
NC(Em)
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
0
0
4
3
FIGURE 2
NC(EmA)
Position plucking hand over neck and pull on string
0
0
4
3
0
0
4
3
0
Tap wfret-hand index finger and pull-off
(EmB)
Tapped harmonic (1st time only)
(Em)
07
0
TH
(0)0 12
FIGURE 3
NC(Cmaj7)
Flick strings wfret-hand index and middle fingers to sound notes
00
43
00 3
5 04 0 4 5 0 5
FIGURE 4
p
NC(Em11)
let ring
7 0 7 9
i p
0 5 7
00
i p m
5 7
00 5 7
0
3
let ring
p
FIGURE 5
let ring
G
ai
Slap fret-hand indexfinger across strings
to produce harmonics
000
TH
3
0
0
2
1
0
0
121212
FIGURE 6
Rake across strings wfret-hand fingers
let ring
Slap fret-hand index finger
TH
000
D
00
0
p
G
p strum
NH
191919
0 3 3
555
00
0
3 3 3 3
FIGURE 7
EmAlet ring
0
0
0
4
3
0
0
4
3
EmBT
Em
0
0
7
4
3
0
0
4
3
(play 4 times)TH
Tapped harmonic (1st and 3rd times only)
0
0
0
4
3
0
0
4
3
Cmaj7T
0
0
12
4
3
0
0
4
3
8
0
0
4
3
0
0 3 5 0
4 0 4 5 0 5 7 0 7 9
EmA
0
0
0
4
3
0
0 3
p
NC(Em11)
5 0
4 0
i p
0 5 7
00
i p m p
G
5 7
00 5 7
0
ai
000
TH
3
0
0
2
1
0
0
000
TH
D
121212
00
0
p p strum
NH
G
191919
0 3 3
555
3 3 3 3
F I G 1
All examples played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
F I G 2
F I G 3 F I G 4
F I G 5 F I G 6
F I G 7
7262019 DaleTurner2_Tabspdf
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let ring
FIGURE 1
Amaj7
4
= downstroke
5
665
5
5
665
sim
Gmaj7
665
4
= upstroke
3
443
3 3
443
FIGURE 2
Am
443
4
7
Am(maj7)
55
6
Am7
55
5
Am6
55
4
4
55
FIGURE 3
let ring Am
Th
5X
7
Am(maj7)
5 555
Am7
5X
65 5
55
5X
5
Am6
5
55 5
55
5X
4
5
45
FIGURE 4
Th
Am
555
5X
7
5X
7
5
7555
7555
Am(maj7)
7555
7555
etc
Am7
5
6555
6555
6555
Am6
5
5555
5555
5555
5
4555
4555
4555
FIGURE 5 Em
79987
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
57775
57775
D sim
57775
57775
XXXXX
57775
57775
57775
XXXXX
57775
57775
57775
XXXXX
57775
57775
57775
XXXXX
79987
79987
FIGURE 6
wslight PM on strings 4-6
let ring Em(add2)
0
0
4
0
2
0
4
0
2
FIGURE 7
wslight PM on strings 4-6
BmElet ring
2
00
4
0
0
7
7
Cmaj9
07
8
8
8
0
7
70
7
FIGURE 8
wslight PM (throughout)
E7 9let ring
0
67
6
8
76
9
76
6
7
FIGURE 9
wslight PM on strings 4-6
B(add 2)let ring
6
8
76
79
108
77
8
7
78
108
7
10
7
8
109
108
9
8
109
DOUBLING DOWNWITH AL DI MEOLA Exploring the legendary virtuoso guitaristrsquos ldquolickety-splitrdquo Latinstrumming rhythms
CHAPTER
2
AL DI MEOLA has been an all-star in the world music fusionand ldquochops guitarrdquo arena since the
Seventies courtesy of his work with Returnto Forever (featuring Chick Corea and Stan-ley Clarke) the album Friday Night in San
Francisco (a live guitar trio recording withJohn McLaughlin and Paco de Lucia) andnumerous solo efforts Though most knownfor his alternate-picking prowess (influenc-ing players like Yngwie Malmsteen VinnieMoore John Petrucci Joe Bonamassa andRichie Sambora among many others) itrsquos Di
Meolarsquos riveting rhythm workmdashuptempohighly syncopated ldquoLatinrdquo-flavored groovesthat are strummed andor arpeggiated onan Ovation steel-stringmdashthat is the focus ofthis chapter Virtually all the instructionalexamples in this lesson feature uncommonpicking practicesmdashldquodoublerdquo downstrokesrest strokes and economy pickingmdashso care-fully follow the picking indications writtenabove the tab staff throughout
Letrsquos kick things off with FIGURE 1 apassage modeled after Di Meolarsquos playing inldquoLustrinerdquo ( World Sinfonia ) featuring Amaj7and Gmaj7 shapes strummed in a quickeighth-note rhythm In this example double
downpicking occurs with each of the notesplayed on the fourth fret of the low E stringA quick ldquobouncerdquo of the pick hand should dothe trick here (see video online)
Many of Di Meolarsquos strummed passagesare derived from a rhythmic figure called amontuno a minor-key vamp typically playedby pianists in Latin rock and jazz FIGURE
2 illustrates a basic (though speedy) versionof this groove its AmndashAm(maj7)ndashAm7ndashAm6progression creating descending chromaticmovement (key to the montunorsquos sound)along the fourth string In measure 2 notethat two quick downstrokes are requiredto play Fs (D string fourth fret) FIGURE 3
takes this same chord sequence complicatesmatters with a thumb-fretted A (sixth stringfifth fret) and calls for a rest strokemdashlettingthe pick come to ldquorestrdquo against the thirdstring immediately after strumming the lowstrings with a downstroke The same shapesare used in FIGURE 4 though inflectedwith a different rhythm and require doubledownpicking to play the first two attacks
FIGURE 5 is our final ldquodouble downrdquoexample (see last beat of each bar) a rapidstrumming pattern with a ldquobackbeatrdquo
(muted strings on ldquotwordquo and ldquofourrdquo) reminiscentof Di Meolarsquos accompaniment in the Friday Night
in San Francisco jams with John McLaughlin andde Lucia
Intricate arpeggiated riffs are also a hallmarkof Di Meolarsquos acoustic rhythm style The E minorndashflavored FIGURES 6 and 7 which are inspired bythe title track to Cielo e Terra and ldquoPerpetual Emo-tionrdquo ( World Sinfonia ) respectively both require
ldquoupstrokerdquo economy picking (playing numerousneighboring strings in succession with a single pickstroke in a controlled rhythm) and feature trickysyncopations Meanwhile the darkmoody atmo-sphere generated in FIGURES 8 and 9 (a nod to the Passion Grace amp Fire title track and ldquoOrient Bluerdquofrom World Sinfonia respectively) owe much toldquoalteredrdquo versions of E7 and B chords and will pushyour economy-picking chops to the limit
F I G 1
F I G 3
F I G 5
F I G 6 F I G 7
F I G 4
F I G 2
F I G 8 F I G 9
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 512
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 612
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 712
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 812
A6let ring
0
AD
02
2
0
Asus2
2
0
2
0
Fm11
2
0
2
2
A6
let ring
Dsus2
2
0
2
0
Esus
02
0
2
24 Asus2
4
5
2
0
Bm
2
0
2
4
3
24
2
FIGURE 3
let ring
Cmaj9
3
54
3
Em7
0
0
2
3
F
0
1
23
G Cmaj9
3
0
2
5
3
54
3
Em7 F
0
0
3 00
G
1
23
3
00
3
2
FIGURE 4
Dsus4
0
233
233
0
2
etc
G5
3
033
033
0 2
Csus2
3
033
033
0 2
F
3211
211
0 2
mi
p
FIGURE 5
E5let ring
0
37
5
i mi
p
AE
5
m i mi
p
E7
0
59 5 7 9
mi
0
37 5 7 5
mi
p
DE
04 0
m p
a mi
p
E5
0
2
2 0
4
30
0
37
5
i mi
p
AE
5
m i mi
p
0
59 5 7 9
i
0
35
2
i p
0
D5
4 2 002
3
ami
p
FIGURE 6
Elet ring
mi
Esus
ami
24 E
i p
B5
mi
E
0
21
0
42
210
24
i p
B5
m p
EG
i p
B5F
p 0
E5
24
24
4
2
22
02
FIGURE 7
i p
E5
let ring
p i p
G5
0
2
2
p i p
GB
3
00
p i p
D5
2
0
3
p i p
GB
02
3
p i p
G5
2
0
0
p i p 0
E5
3
0
2 0
2
Figures 1-4 played pickstyle = downstroke = upstroke Figures 5-7 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
IS LESS REALLY MORSECracking Steve Morsersquos elusive acoustic code
CHAPTER
6
SINCE THE LATE SeventiesSteve Morse has pushed the enve-lope in the ever-broadening cate-
gory of instrumental rock openly embracingthe styles of rock blues bluegrass country jazz and classical in his work with the DixieDregs (later the Dregs) and the Steve MorseBand Hersquos also got a foothold in the heavymetal arena having channeled his chopssince 1994 into pioneering metalheads DeepPurple If you can get a grip on what the mancan do solely with an acoustic guitar you just might begin to grasp the breadth of this
pickerrsquos stylistic palette Thatrsquos where thislesson comes in
Morse is a master at using arpeggios inunpredictable fashion not only in solos butalso in acoustic pick-style ldquopartsrdquo FIGURE
1 inspired by Morsersquos bass solo accompani-ment in ldquoRally Cryrdquo ( Structural Damage ) isone example Fret A6 using your (low to high)index middle ring and pinkie on the topfour strings removing a finger as required toaccess open strings and pick harder at eachaccent (ldquogtrdquo above each upstroke) to bring outthe internal melody line Note each chordrsquosroot falls on the last 16th note of the beatyielding intentional rhythmic instability and
ldquopushrdquo a combination that is one of manyMorse trademarks
FIGURE 2 is reminiscent of a trickystring-skipping riff that sets up Morsersquos ldquoRal-ly Cryrdquo guitar solo To deal with the rapidfingering shifts regard every few notes as achord fragment changing fingerings only ateach new chord symbol Approach finger-ings in FIGURE 3mdasha passage akin to parts ofldquoEndless Wavesrdquo ( High Tension Wires )mdashinthe same fashion While this example isnrsquotas complex as the previous its odd notegroupings (often picked in groups of five)and unpredictable accent points (typicallyon the second 16th note at a chord change)
will certainly force you off balance FIGURE
4 completes this lessonrsquos picking portionsmdashasample of Morsersquos blazing bluegrass in thespirit of ldquoTri County Barn Dancerdquo ( Major Im-
pacts 2 ) Be sure to check out this songrsquos solosto hear Morse give flatpicking legends TonyRice and Doc Watson a run for their money
A look at Morsersquos ldquoclassicalrdquo techniquescloses this lesson beginning with FIGURE
5 a passage modeled after ldquoFlat Baroquerdquo( Coast to Coast ) Keep the sixth string pump-ing every two beats while sounding note
pairs on the top two stringsmdashpluck with thumb ( p )index ( i ) middle ( m ) and ring ( a ) fingers as shownbelow the tabmdashand use a light ldquosnappingrdquo touchwhen executing the ldquoCelticrdquo-flavored hammer-ons pull-offs FIGURES 6 and 7 showcase two counter-
point approaches (an ldquoumbrellardquo term to describethe various types of interplay between two or more
melodic voices or lines) heard similarly in ldquoPointCounterpointrdquo ( Southern Steel ) and ldquoHighland Wed-dingrdquo ( High Tension Wires ) respectively The firstfeatures a descending E major triad arpeggio playedin quarter notes over low-register diads and bassnotes In the latter an eighth-note step-wise bassline percolates beneath a quarter-note melody
F I G 6
F I G 1 F I G 2
F I G 3
F I G 4
F I G 5
F I G 7
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 912
UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
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let ring
FIGURE 1
Amaj7
4
= downstroke
5
665
5
5
665
sim
Gmaj7
665
4
= upstroke
3
443
3 3
443
FIGURE 2
Am
443
4
7
Am(maj7)
55
6
Am7
55
5
Am6
55
4
4
55
FIGURE 3
let ring Am
Th
5X
7
Am(maj7)
5 555
Am7
5X
65 5
55
5X
5
Am6
5
55 5
55
5X
4
5
45
FIGURE 4
Th
Am
555
5X
7
5X
7
5
7555
7555
Am(maj7)
7555
7555
etc
Am7
5
6555
6555
6555
Am6
5
5555
5555
5555
5
4555
4555
4555
FIGURE 5 Em
79987
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
79987
79987
79987
XXXXX
57775
57775
D sim
57775
57775
XXXXX
57775
57775
57775
XXXXX
57775
57775
57775
XXXXX
57775
57775
57775
XXXXX
79987
79987
FIGURE 6
wslight PM on strings 4-6
let ring Em(add2)
0
0
4
0
2
0
4
0
2
FIGURE 7
wslight PM on strings 4-6
BmElet ring
2
00
4
0
0
7
7
Cmaj9
07
8
8
8
0
7
70
7
FIGURE 8
wslight PM (throughout)
E7 9let ring
0
67
6
8
76
9
76
6
7
FIGURE 9
wslight PM on strings 4-6
B(add 2)let ring
6
8
76
79
108
77
8
7
78
108
7
10
7
8
109
108
9
8
109
DOUBLING DOWNWITH AL DI MEOLA Exploring the legendary virtuoso guitaristrsquos ldquolickety-splitrdquo Latinstrumming rhythms
CHAPTER
2
AL DI MEOLA has been an all-star in the world music fusionand ldquochops guitarrdquo arena since the
Seventies courtesy of his work with Returnto Forever (featuring Chick Corea and Stan-ley Clarke) the album Friday Night in San
Francisco (a live guitar trio recording withJohn McLaughlin and Paco de Lucia) andnumerous solo efforts Though most knownfor his alternate-picking prowess (influenc-ing players like Yngwie Malmsteen VinnieMoore John Petrucci Joe Bonamassa andRichie Sambora among many others) itrsquos Di
Meolarsquos riveting rhythm workmdashuptempohighly syncopated ldquoLatinrdquo-flavored groovesthat are strummed andor arpeggiated onan Ovation steel-stringmdashthat is the focus ofthis chapter Virtually all the instructionalexamples in this lesson feature uncommonpicking practicesmdashldquodoublerdquo downstrokesrest strokes and economy pickingmdashso care-fully follow the picking indications writtenabove the tab staff throughout
Letrsquos kick things off with FIGURE 1 apassage modeled after Di Meolarsquos playing inldquoLustrinerdquo ( World Sinfonia ) featuring Amaj7and Gmaj7 shapes strummed in a quickeighth-note rhythm In this example double
downpicking occurs with each of the notesplayed on the fourth fret of the low E stringA quick ldquobouncerdquo of the pick hand should dothe trick here (see video online)
Many of Di Meolarsquos strummed passagesare derived from a rhythmic figure called amontuno a minor-key vamp typically playedby pianists in Latin rock and jazz FIGURE
2 illustrates a basic (though speedy) versionof this groove its AmndashAm(maj7)ndashAm7ndashAm6progression creating descending chromaticmovement (key to the montunorsquos sound)along the fourth string In measure 2 notethat two quick downstrokes are requiredto play Fs (D string fourth fret) FIGURE 3
takes this same chord sequence complicatesmatters with a thumb-fretted A (sixth stringfifth fret) and calls for a rest strokemdashlettingthe pick come to ldquorestrdquo against the thirdstring immediately after strumming the lowstrings with a downstroke The same shapesare used in FIGURE 4 though inflectedwith a different rhythm and require doubledownpicking to play the first two attacks
FIGURE 5 is our final ldquodouble downrdquoexample (see last beat of each bar) a rapidstrumming pattern with a ldquobackbeatrdquo
(muted strings on ldquotwordquo and ldquofourrdquo) reminiscentof Di Meolarsquos accompaniment in the Friday Night
in San Francisco jams with John McLaughlin andde Lucia
Intricate arpeggiated riffs are also a hallmarkof Di Meolarsquos acoustic rhythm style The E minorndashflavored FIGURES 6 and 7 which are inspired bythe title track to Cielo e Terra and ldquoPerpetual Emo-tionrdquo ( World Sinfonia ) respectively both require
ldquoupstrokerdquo economy picking (playing numerousneighboring strings in succession with a single pickstroke in a controlled rhythm) and feature trickysyncopations Meanwhile the darkmoody atmo-sphere generated in FIGURES 8 and 9 (a nod to the Passion Grace amp Fire title track and ldquoOrient Bluerdquofrom World Sinfonia respectively) owe much toldquoalteredrdquo versions of E7 and B chords and will pushyour economy-picking chops to the limit
F I G 1
F I G 3
F I G 5
F I G 6 F I G 7
F I G 4
F I G 2
F I G 8 F I G 9
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 512
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 612
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 712
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 812
A6let ring
0
AD
02
2
0
Asus2
2
0
2
0
Fm11
2
0
2
2
A6
let ring
Dsus2
2
0
2
0
Esus
02
0
2
24 Asus2
4
5
2
0
Bm
2
0
2
4
3
24
2
FIGURE 3
let ring
Cmaj9
3
54
3
Em7
0
0
2
3
F
0
1
23
G Cmaj9
3
0
2
5
3
54
3
Em7 F
0
0
3 00
G
1
23
3
00
3
2
FIGURE 4
Dsus4
0
233
233
0
2
etc
G5
3
033
033
0 2
Csus2
3
033
033
0 2
F
3211
211
0 2
mi
p
FIGURE 5
E5let ring
0
37
5
i mi
p
AE
5
m i mi
p
E7
0
59 5 7 9
mi
0
37 5 7 5
mi
p
DE
04 0
m p
a mi
p
E5
0
2
2 0
4
30
0
37
5
i mi
p
AE
5
m i mi
p
0
59 5 7 9
i
0
35
2
i p
0
D5
4 2 002
3
ami
p
FIGURE 6
Elet ring
mi
Esus
ami
24 E
i p
B5
mi
E
0
21
0
42
210
24
i p
B5
m p
EG
i p
B5F
p 0
E5
24
24
4
2
22
02
FIGURE 7
i p
E5
let ring
p i p
G5
0
2
2
p i p
GB
3
00
p i p
D5
2
0
3
p i p
GB
02
3
p i p
G5
2
0
0
p i p 0
E5
3
0
2 0
2
Figures 1-4 played pickstyle = downstroke = upstroke Figures 5-7 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
IS LESS REALLY MORSECracking Steve Morsersquos elusive acoustic code
CHAPTER
6
SINCE THE LATE SeventiesSteve Morse has pushed the enve-lope in the ever-broadening cate-
gory of instrumental rock openly embracingthe styles of rock blues bluegrass country jazz and classical in his work with the DixieDregs (later the Dregs) and the Steve MorseBand Hersquos also got a foothold in the heavymetal arena having channeled his chopssince 1994 into pioneering metalheads DeepPurple If you can get a grip on what the mancan do solely with an acoustic guitar you just might begin to grasp the breadth of this
pickerrsquos stylistic palette Thatrsquos where thislesson comes in
Morse is a master at using arpeggios inunpredictable fashion not only in solos butalso in acoustic pick-style ldquopartsrdquo FIGURE
1 inspired by Morsersquos bass solo accompani-ment in ldquoRally Cryrdquo ( Structural Damage ) isone example Fret A6 using your (low to high)index middle ring and pinkie on the topfour strings removing a finger as required toaccess open strings and pick harder at eachaccent (ldquogtrdquo above each upstroke) to bring outthe internal melody line Note each chordrsquosroot falls on the last 16th note of the beatyielding intentional rhythmic instability and
ldquopushrdquo a combination that is one of manyMorse trademarks
FIGURE 2 is reminiscent of a trickystring-skipping riff that sets up Morsersquos ldquoRal-ly Cryrdquo guitar solo To deal with the rapidfingering shifts regard every few notes as achord fragment changing fingerings only ateach new chord symbol Approach finger-ings in FIGURE 3mdasha passage akin to parts ofldquoEndless Wavesrdquo ( High Tension Wires )mdashinthe same fashion While this example isnrsquotas complex as the previous its odd notegroupings (often picked in groups of five)and unpredictable accent points (typicallyon the second 16th note at a chord change)
will certainly force you off balance FIGURE
4 completes this lessonrsquos picking portionsmdashasample of Morsersquos blazing bluegrass in thespirit of ldquoTri County Barn Dancerdquo ( Major Im-
pacts 2 ) Be sure to check out this songrsquos solosto hear Morse give flatpicking legends TonyRice and Doc Watson a run for their money
A look at Morsersquos ldquoclassicalrdquo techniquescloses this lesson beginning with FIGURE
5 a passage modeled after ldquoFlat Baroquerdquo( Coast to Coast ) Keep the sixth string pump-ing every two beats while sounding note
pairs on the top two stringsmdashpluck with thumb ( p )index ( i ) middle ( m ) and ring ( a ) fingers as shownbelow the tabmdashand use a light ldquosnappingrdquo touchwhen executing the ldquoCelticrdquo-flavored hammer-ons pull-offs FIGURES 6 and 7 showcase two counter-
point approaches (an ldquoumbrellardquo term to describethe various types of interplay between two or more
melodic voices or lines) heard similarly in ldquoPointCounterpointrdquo ( Southern Steel ) and ldquoHighland Wed-dingrdquo ( High Tension Wires ) respectively The firstfeatures a descending E major triad arpeggio playedin quarter notes over low-register diads and bassnotes In the latter an eighth-note step-wise bassline percolates beneath a quarter-note melody
F I G 6
F I G 1 F I G 2
F I G 3
F I G 4
F I G 5
F I G 7
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 912
UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 512
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 612
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 712
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 812
A6let ring
0
AD
02
2
0
Asus2
2
0
2
0
Fm11
2
0
2
2
A6
let ring
Dsus2
2
0
2
0
Esus
02
0
2
24 Asus2
4
5
2
0
Bm
2
0
2
4
3
24
2
FIGURE 3
let ring
Cmaj9
3
54
3
Em7
0
0
2
3
F
0
1
23
G Cmaj9
3
0
2
5
3
54
3
Em7 F
0
0
3 00
G
1
23
3
00
3
2
FIGURE 4
Dsus4
0
233
233
0
2
etc
G5
3
033
033
0 2
Csus2
3
033
033
0 2
F
3211
211
0 2
mi
p
FIGURE 5
E5let ring
0
37
5
i mi
p
AE
5
m i mi
p
E7
0
59 5 7 9
mi
0
37 5 7 5
mi
p
DE
04 0
m p
a mi
p
E5
0
2
2 0
4
30
0
37
5
i mi
p
AE
5
m i mi
p
0
59 5 7 9
i
0
35
2
i p
0
D5
4 2 002
3
ami
p
FIGURE 6
Elet ring
mi
Esus
ami
24 E
i p
B5
mi
E
0
21
0
42
210
24
i p
B5
m p
EG
i p
B5F
p 0
E5
24
24
4
2
22
02
FIGURE 7
i p
E5
let ring
p i p
G5
0
2
2
p i p
GB
3
00
p i p
D5
2
0
3
p i p
GB
02
3
p i p
G5
2
0
0
p i p 0
E5
3
0
2 0
2
Figures 1-4 played pickstyle = downstroke = upstroke Figures 5-7 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
IS LESS REALLY MORSECracking Steve Morsersquos elusive acoustic code
CHAPTER
6
SINCE THE LATE SeventiesSteve Morse has pushed the enve-lope in the ever-broadening cate-
gory of instrumental rock openly embracingthe styles of rock blues bluegrass country jazz and classical in his work with the DixieDregs (later the Dregs) and the Steve MorseBand Hersquos also got a foothold in the heavymetal arena having channeled his chopssince 1994 into pioneering metalheads DeepPurple If you can get a grip on what the mancan do solely with an acoustic guitar you just might begin to grasp the breadth of this
pickerrsquos stylistic palette Thatrsquos where thislesson comes in
Morse is a master at using arpeggios inunpredictable fashion not only in solos butalso in acoustic pick-style ldquopartsrdquo FIGURE
1 inspired by Morsersquos bass solo accompani-ment in ldquoRally Cryrdquo ( Structural Damage ) isone example Fret A6 using your (low to high)index middle ring and pinkie on the topfour strings removing a finger as required toaccess open strings and pick harder at eachaccent (ldquogtrdquo above each upstroke) to bring outthe internal melody line Note each chordrsquosroot falls on the last 16th note of the beatyielding intentional rhythmic instability and
ldquopushrdquo a combination that is one of manyMorse trademarks
FIGURE 2 is reminiscent of a trickystring-skipping riff that sets up Morsersquos ldquoRal-ly Cryrdquo guitar solo To deal with the rapidfingering shifts regard every few notes as achord fragment changing fingerings only ateach new chord symbol Approach finger-ings in FIGURE 3mdasha passage akin to parts ofldquoEndless Wavesrdquo ( High Tension Wires )mdashinthe same fashion While this example isnrsquotas complex as the previous its odd notegroupings (often picked in groups of five)and unpredictable accent points (typicallyon the second 16th note at a chord change)
will certainly force you off balance FIGURE
4 completes this lessonrsquos picking portionsmdashasample of Morsersquos blazing bluegrass in thespirit of ldquoTri County Barn Dancerdquo ( Major Im-
pacts 2 ) Be sure to check out this songrsquos solosto hear Morse give flatpicking legends TonyRice and Doc Watson a run for their money
A look at Morsersquos ldquoclassicalrdquo techniquescloses this lesson beginning with FIGURE
5 a passage modeled after ldquoFlat Baroquerdquo( Coast to Coast ) Keep the sixth string pump-ing every two beats while sounding note
pairs on the top two stringsmdashpluck with thumb ( p )index ( i ) middle ( m ) and ring ( a ) fingers as shownbelow the tabmdashand use a light ldquosnappingrdquo touchwhen executing the ldquoCelticrdquo-flavored hammer-ons pull-offs FIGURES 6 and 7 showcase two counter-
point approaches (an ldquoumbrellardquo term to describethe various types of interplay between two or more
melodic voices or lines) heard similarly in ldquoPointCounterpointrdquo ( Southern Steel ) and ldquoHighland Wed-dingrdquo ( High Tension Wires ) respectively The firstfeatures a descending E major triad arpeggio playedin quarter notes over low-register diads and bassnotes In the latter an eighth-note step-wise bassline percolates beneath a quarter-note melody
F I G 6
F I G 1 F I G 2
F I G 3
F I G 4
F I G 5
F I G 7
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 912
UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 612
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 712
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 812
A6let ring
0
AD
02
2
0
Asus2
2
0
2
0
Fm11
2
0
2
2
A6
let ring
Dsus2
2
0
2
0
Esus
02
0
2
24 Asus2
4
5
2
0
Bm
2
0
2
4
3
24
2
FIGURE 3
let ring
Cmaj9
3
54
3
Em7
0
0
2
3
F
0
1
23
G Cmaj9
3
0
2
5
3
54
3
Em7 F
0
0
3 00
G
1
23
3
00
3
2
FIGURE 4
Dsus4
0
233
233
0
2
etc
G5
3
033
033
0 2
Csus2
3
033
033
0 2
F
3211
211
0 2
mi
p
FIGURE 5
E5let ring
0
37
5
i mi
p
AE
5
m i mi
p
E7
0
59 5 7 9
mi
0
37 5 7 5
mi
p
DE
04 0
m p
a mi
p
E5
0
2
2 0
4
30
0
37
5
i mi
p
AE
5
m i mi
p
0
59 5 7 9
i
0
35
2
i p
0
D5
4 2 002
3
ami
p
FIGURE 6
Elet ring
mi
Esus
ami
24 E
i p
B5
mi
E
0
21
0
42
210
24
i p
B5
m p
EG
i p
B5F
p 0
E5
24
24
4
2
22
02
FIGURE 7
i p
E5
let ring
p i p
G5
0
2
2
p i p
GB
3
00
p i p
D5
2
0
3
p i p
GB
02
3
p i p
G5
2
0
0
p i p 0
E5
3
0
2 0
2
Figures 1-4 played pickstyle = downstroke = upstroke Figures 5-7 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
IS LESS REALLY MORSECracking Steve Morsersquos elusive acoustic code
CHAPTER
6
SINCE THE LATE SeventiesSteve Morse has pushed the enve-lope in the ever-broadening cate-
gory of instrumental rock openly embracingthe styles of rock blues bluegrass country jazz and classical in his work with the DixieDregs (later the Dregs) and the Steve MorseBand Hersquos also got a foothold in the heavymetal arena having channeled his chopssince 1994 into pioneering metalheads DeepPurple If you can get a grip on what the mancan do solely with an acoustic guitar you just might begin to grasp the breadth of this
pickerrsquos stylistic palette Thatrsquos where thislesson comes in
Morse is a master at using arpeggios inunpredictable fashion not only in solos butalso in acoustic pick-style ldquopartsrdquo FIGURE
1 inspired by Morsersquos bass solo accompani-ment in ldquoRally Cryrdquo ( Structural Damage ) isone example Fret A6 using your (low to high)index middle ring and pinkie on the topfour strings removing a finger as required toaccess open strings and pick harder at eachaccent (ldquogtrdquo above each upstroke) to bring outthe internal melody line Note each chordrsquosroot falls on the last 16th note of the beatyielding intentional rhythmic instability and
ldquopushrdquo a combination that is one of manyMorse trademarks
FIGURE 2 is reminiscent of a trickystring-skipping riff that sets up Morsersquos ldquoRal-ly Cryrdquo guitar solo To deal with the rapidfingering shifts regard every few notes as achord fragment changing fingerings only ateach new chord symbol Approach finger-ings in FIGURE 3mdasha passage akin to parts ofldquoEndless Wavesrdquo ( High Tension Wires )mdashinthe same fashion While this example isnrsquotas complex as the previous its odd notegroupings (often picked in groups of five)and unpredictable accent points (typicallyon the second 16th note at a chord change)
will certainly force you off balance FIGURE
4 completes this lessonrsquos picking portionsmdashasample of Morsersquos blazing bluegrass in thespirit of ldquoTri County Barn Dancerdquo ( Major Im-
pacts 2 ) Be sure to check out this songrsquos solosto hear Morse give flatpicking legends TonyRice and Doc Watson a run for their money
A look at Morsersquos ldquoclassicalrdquo techniquescloses this lesson beginning with FIGURE
5 a passage modeled after ldquoFlat Baroquerdquo( Coast to Coast ) Keep the sixth string pump-ing every two beats while sounding note
pairs on the top two stringsmdashpluck with thumb ( p )index ( i ) middle ( m ) and ring ( a ) fingers as shownbelow the tabmdashand use a light ldquosnappingrdquo touchwhen executing the ldquoCelticrdquo-flavored hammer-ons pull-offs FIGURES 6 and 7 showcase two counter-
point approaches (an ldquoumbrellardquo term to describethe various types of interplay between two or more
melodic voices or lines) heard similarly in ldquoPointCounterpointrdquo ( Southern Steel ) and ldquoHighland Wed-dingrdquo ( High Tension Wires ) respectively The firstfeatures a descending E major triad arpeggio playedin quarter notes over low-register diads and bassnotes In the latter an eighth-note step-wise bassline percolates beneath a quarter-note melody
F I G 6
F I G 1 F I G 2
F I G 3
F I G 4
F I G 5
F I G 7
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 912
UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 712
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 812
A6let ring
0
AD
02
2
0
Asus2
2
0
2
0
Fm11
2
0
2
2
A6
let ring
Dsus2
2
0
2
0
Esus
02
0
2
24 Asus2
4
5
2
0
Bm
2
0
2
4
3
24
2
FIGURE 3
let ring
Cmaj9
3
54
3
Em7
0
0
2
3
F
0
1
23
G Cmaj9
3
0
2
5
3
54
3
Em7 F
0
0
3 00
G
1
23
3
00
3
2
FIGURE 4
Dsus4
0
233
233
0
2
etc
G5
3
033
033
0 2
Csus2
3
033
033
0 2
F
3211
211
0 2
mi
p
FIGURE 5
E5let ring
0
37
5
i mi
p
AE
5
m i mi
p
E7
0
59 5 7 9
mi
0
37 5 7 5
mi
p
DE
04 0
m p
a mi
p
E5
0
2
2 0
4
30
0
37
5
i mi
p
AE
5
m i mi
p
0
59 5 7 9
i
0
35
2
i p
0
D5
4 2 002
3
ami
p
FIGURE 6
Elet ring
mi
Esus
ami
24 E
i p
B5
mi
E
0
21
0
42
210
24
i p
B5
m p
EG
i p
B5F
p 0
E5
24
24
4
2
22
02
FIGURE 7
i p
E5
let ring
p i p
G5
0
2
2
p i p
GB
3
00
p i p
D5
2
0
3
p i p
GB
02
3
p i p
G5
2
0
0
p i p 0
E5
3
0
2 0
2
Figures 1-4 played pickstyle = downstroke = upstroke Figures 5-7 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
IS LESS REALLY MORSECracking Steve Morsersquos elusive acoustic code
CHAPTER
6
SINCE THE LATE SeventiesSteve Morse has pushed the enve-lope in the ever-broadening cate-
gory of instrumental rock openly embracingthe styles of rock blues bluegrass country jazz and classical in his work with the DixieDregs (later the Dregs) and the Steve MorseBand Hersquos also got a foothold in the heavymetal arena having channeled his chopssince 1994 into pioneering metalheads DeepPurple If you can get a grip on what the mancan do solely with an acoustic guitar you just might begin to grasp the breadth of this
pickerrsquos stylistic palette Thatrsquos where thislesson comes in
Morse is a master at using arpeggios inunpredictable fashion not only in solos butalso in acoustic pick-style ldquopartsrdquo FIGURE
1 inspired by Morsersquos bass solo accompani-ment in ldquoRally Cryrdquo ( Structural Damage ) isone example Fret A6 using your (low to high)index middle ring and pinkie on the topfour strings removing a finger as required toaccess open strings and pick harder at eachaccent (ldquogtrdquo above each upstroke) to bring outthe internal melody line Note each chordrsquosroot falls on the last 16th note of the beatyielding intentional rhythmic instability and
ldquopushrdquo a combination that is one of manyMorse trademarks
FIGURE 2 is reminiscent of a trickystring-skipping riff that sets up Morsersquos ldquoRal-ly Cryrdquo guitar solo To deal with the rapidfingering shifts regard every few notes as achord fragment changing fingerings only ateach new chord symbol Approach finger-ings in FIGURE 3mdasha passage akin to parts ofldquoEndless Wavesrdquo ( High Tension Wires )mdashinthe same fashion While this example isnrsquotas complex as the previous its odd notegroupings (often picked in groups of five)and unpredictable accent points (typicallyon the second 16th note at a chord change)
will certainly force you off balance FIGURE
4 completes this lessonrsquos picking portionsmdashasample of Morsersquos blazing bluegrass in thespirit of ldquoTri County Barn Dancerdquo ( Major Im-
pacts 2 ) Be sure to check out this songrsquos solosto hear Morse give flatpicking legends TonyRice and Doc Watson a run for their money
A look at Morsersquos ldquoclassicalrdquo techniquescloses this lesson beginning with FIGURE
5 a passage modeled after ldquoFlat Baroquerdquo( Coast to Coast ) Keep the sixth string pump-ing every two beats while sounding note
pairs on the top two stringsmdashpluck with thumb ( p )index ( i ) middle ( m ) and ring ( a ) fingers as shownbelow the tabmdashand use a light ldquosnappingrdquo touchwhen executing the ldquoCelticrdquo-flavored hammer-ons pull-offs FIGURES 6 and 7 showcase two counter-
point approaches (an ldquoumbrellardquo term to describethe various types of interplay between two or more
melodic voices or lines) heard similarly in ldquoPointCounterpointrdquo ( Southern Steel ) and ldquoHighland Wed-dingrdquo ( High Tension Wires ) respectively The firstfeatures a descending E major triad arpeggio playedin quarter notes over low-register diads and bassnotes In the latter an eighth-note step-wise bassline percolates beneath a quarter-note melody
F I G 6
F I G 1 F I G 2
F I G 3
F I G 4
F I G 5
F I G 7
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 912
UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 812
A6let ring
0
AD
02
2
0
Asus2
2
0
2
0
Fm11
2
0
2
2
A6
let ring
Dsus2
2
0
2
0
Esus
02
0
2
24 Asus2
4
5
2
0
Bm
2
0
2
4
3
24
2
FIGURE 3
let ring
Cmaj9
3
54
3
Em7
0
0
2
3
F
0
1
23
G Cmaj9
3
0
2
5
3
54
3
Em7 F
0
0
3 00
G
1
23
3
00
3
2
FIGURE 4
Dsus4
0
233
233
0
2
etc
G5
3
033
033
0 2
Csus2
3
033
033
0 2
F
3211
211
0 2
mi
p
FIGURE 5
E5let ring
0
37
5
i mi
p
AE
5
m i mi
p
E7
0
59 5 7 9
mi
0
37 5 7 5
mi
p
DE
04 0
m p
a mi
p
E5
0
2
2 0
4
30
0
37
5
i mi
p
AE
5
m i mi
p
0
59 5 7 9
i
0
35
2
i p
0
D5
4 2 002
3
ami
p
FIGURE 6
Elet ring
mi
Esus
ami
24 E
i p
B5
mi
E
0
21
0
42
210
24
i p
B5
m p
EG
i p
B5F
p 0
E5
24
24
4
2
22
02
FIGURE 7
i p
E5
let ring
p i p
G5
0
2
2
p i p
GB
3
00
p i p
D5
2
0
3
p i p
GB
02
3
p i p
G5
2
0
0
p i p 0
E5
3
0
2 0
2
Figures 1-4 played pickstyle = downstroke = upstroke Figures 5-7 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
IS LESS REALLY MORSECracking Steve Morsersquos elusive acoustic code
CHAPTER
6
SINCE THE LATE SeventiesSteve Morse has pushed the enve-lope in the ever-broadening cate-
gory of instrumental rock openly embracingthe styles of rock blues bluegrass country jazz and classical in his work with the DixieDregs (later the Dregs) and the Steve MorseBand Hersquos also got a foothold in the heavymetal arena having channeled his chopssince 1994 into pioneering metalheads DeepPurple If you can get a grip on what the mancan do solely with an acoustic guitar you just might begin to grasp the breadth of this
pickerrsquos stylistic palette Thatrsquos where thislesson comes in
Morse is a master at using arpeggios inunpredictable fashion not only in solos butalso in acoustic pick-style ldquopartsrdquo FIGURE
1 inspired by Morsersquos bass solo accompani-ment in ldquoRally Cryrdquo ( Structural Damage ) isone example Fret A6 using your (low to high)index middle ring and pinkie on the topfour strings removing a finger as required toaccess open strings and pick harder at eachaccent (ldquogtrdquo above each upstroke) to bring outthe internal melody line Note each chordrsquosroot falls on the last 16th note of the beatyielding intentional rhythmic instability and
ldquopushrdquo a combination that is one of manyMorse trademarks
FIGURE 2 is reminiscent of a trickystring-skipping riff that sets up Morsersquos ldquoRal-ly Cryrdquo guitar solo To deal with the rapidfingering shifts regard every few notes as achord fragment changing fingerings only ateach new chord symbol Approach finger-ings in FIGURE 3mdasha passage akin to parts ofldquoEndless Wavesrdquo ( High Tension Wires )mdashinthe same fashion While this example isnrsquotas complex as the previous its odd notegroupings (often picked in groups of five)and unpredictable accent points (typicallyon the second 16th note at a chord change)
will certainly force you off balance FIGURE
4 completes this lessonrsquos picking portionsmdashasample of Morsersquos blazing bluegrass in thespirit of ldquoTri County Barn Dancerdquo ( Major Im-
pacts 2 ) Be sure to check out this songrsquos solosto hear Morse give flatpicking legends TonyRice and Doc Watson a run for their money
A look at Morsersquos ldquoclassicalrdquo techniquescloses this lesson beginning with FIGURE
5 a passage modeled after ldquoFlat Baroquerdquo( Coast to Coast ) Keep the sixth string pump-ing every two beats while sounding note
pairs on the top two stringsmdashpluck with thumb ( p )index ( i ) middle ( m ) and ring ( a ) fingers as shownbelow the tabmdashand use a light ldquosnappingrdquo touchwhen executing the ldquoCelticrdquo-flavored hammer-ons pull-offs FIGURES 6 and 7 showcase two counter-
point approaches (an ldquoumbrellardquo term to describethe various types of interplay between two or more
melodic voices or lines) heard similarly in ldquoPointCounterpointrdquo ( Southern Steel ) and ldquoHighland Wed-dingrdquo ( High Tension Wires ) respectively The firstfeatures a descending E major triad arpeggio playedin quarter notes over low-register diads and bassnotes In the latter an eighth-note step-wise bassline percolates beneath a quarter-note melody
F I G 6
F I G 1 F I G 2
F I G 3
F I G 4
F I G 5
F I G 7
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 912
UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 912
UNPLUGGED GONE WYLDEZakk Wyldersquos ldquounpluggedrdquo riffs and hybrid-picked acoustic shred
CHAPTER
7
AS THE BLACK Label Societyrsquosleader (and Ozzyrsquos guitarist formore years than anyone else) Zakk
Wylde has become infamous for his brew-tal riffage and lethal lead style Remarkablythough he also has a soul-stirring softerside Numerous acoustic-heavy offeringspopulate his catalog including BLS recordslike Hangover Music Vol VI and solo al-bums like Book of Shadows Many of themare highlighted by Wyldersquos perhaps surpris-ing vocal abilities which include crooningnot unlike Chris Cornell and the late Layne
Staley (a strong contrast to his singing ap-proach in BLSrsquo ldquobone-crushingly heavyrdquooutput) Whatrsquos more in almost Van Halenndashlike tradition (think ldquoSpanish Flyrdquo on Van
Halen II ) many BLS discs feature a fiercelyshredded unaccompanied acoustic guitarsolo Add to this the fact that just last yearBLS reworked an entire album ( Order of the
Black ) into the all-acoustic The Song Re-
mains Not the Same and you may agree thatitrsquos high time we honor the burly beardedonersquos fine acoustic guitar work
ldquoDarkest Daysrdquo is one of the standouttracks on The Song Remains Not the Same and features Wylde engaging in pick-style
arpeggiation not unlike FIGURE 1 Whereassome acoustic players might opt to go thefingerstyle route in such a setting Wylde fillsthe soundscape quite nicely with pickingmdashnote the successive updown strokes (akaeconomy picking ) written above the TABstaffmdashand hammered-on chord ornaments(He uses a similar approach in ldquoSpoke in theWheelrdquo on Sonic Brew)
Of course Wylde is a master at coaxingheavy riffs out of virtually any ax and hedoesnrsquot always keep it ldquoprettyrdquo when hersquosdigging into the strings of his Alvarez YairiGibson Dove or Epiphone Masterbuiltacoustics In ldquoNo Otherrdquo ( Hangover Music
Vol VI ) which informs FIGURE 2 heavypick attacks open-string drones and thefrequent emphasis of the flatted fifth orldquoDevilrsquos intervalrdquo (Bf in the key of E minor)combine to create a dark moody vibe thatrsquosmore akin to Wyldersquos trademark persona
Wersquoll wrap up this lesson with a look attwo of the unaccompanied acoustic gui-tar solo pieces in the Wylde discographyFIGURE 3 inspired by portions of ldquoTakillya
(Estyabon)rdquo ( Hangover Music Vol VI ) is a speedyfinger-picked passage featuring a descending line(sounded with the thumb p) stated between plucksof higher open strings (using the index and middlefingers i and m respectively) Blistering guitarpieces such as this as well as ldquoSpeedballrdquo ( 1919
Eternal ) and ldquoTAZrdquo ( Sonic Brew ) are a tip of thehat to Wyldersquos influences such as Al Di Meola Pacode Lucia John McLaughlin and Carlos Montoya
FIGURE 4 pays homage to ldquoTAZrdquo copping someof the terrifying pick-and-fingers (or ldquohybrid pick-ingrdquo) techniques Wylde wields in the piece Gripyour pick between your thumb and index fingers(use downstrokes only) and pluck with your middle(m) finger Focus on the first string pair used inthe lick (beats one and two of bar 1) and perfect itThe rest of this passage is actually the same patternplayed on different strings andor areas on the neck
FIGURE 1
let ring
C
3
1
0
G6
20
1
02
3
3
Am
03
00
0
1
2
G6
0
10
02
3
3
03
00
FIGURE 2
let ring
NC(Em)
010
8 00
07
0
(Em6)
0900
00
11
0
00
11
0
Em7
0
2
0
B 6
2030
2030
A7sus4
1
00
0
Em7
00
3
0
0
2
0
2030
2030
0
1 200
00
p
FIGURE 3
NC(Am)let ring
i m p
50
0
i m p
40
0
i m p
(Em)
20
0
i m p
50
0
i m
(play 3 times)
p
30
0
i m etc
(GB)
20
0
5
00
3
00
(Fadd
2
00
2 4)
5
00
3
00
(Em)
1
00
0
3 3 3 3 3 3 3 3 3 3 3 3
FIGURE 4
wlight PM (next 4 bars)
Emlet ring
m m
5
70
7
m
5 07
0
m m
5
70
7
m etc
G
4 07
0
9 100
109 0
100 7 9
09
7 09
0
C
2 30
32 0
30 2 4
04
NC(Em)
2 04
0
m
0
7 0
m m
0
5 00
m
7 00
5
m
0
0
70
E5add 4
022300
F I G 1
F I G 4
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1012
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1112
i
FIGURE 1
Figures 2 and 3 played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
or fingers
wpick
let ring NC(A7)
p i m p
0
74
0
i m
= downstroke
p i
74
0
7
p i m
i
= upstroke
0
63
0
p m p m
36
0
7
i p m i
04
7
0
p i
NH
04
7
0
5555
p
FIGURE 2
let ring C
m p
3
1
2
Fret note in parentheses touch string 12 frets higher with tip of pick-hand index finger and pick string with thumb to produce harmonic
HH
3 15
G
sim
3
0
0
HH
3 15
Am7
0
1
2
HH
3 15
Fsus2
1
1
3
HH
3 15
1
p
FIGURE 3
A7
0
=
3
a p
2
5
a p
0
a
(wlight palm muting on bottom three strings)
3
2
p
2
a p
D7F
2
0
i m p
0
0
2
i m p
2
1 02
i
0
2
p
0
i p
A7
0
2
2
a p
2
3
a p
0
a
2
0
p
2
m
1
3
4
p
0
a
2
0
p
2
i p
0
0
0
p
2
p
D7F
2
i m p
02
i m p
2
1 02
i
0
2
p
0
a p
2
0
0
m p
0
3
m p
2
1
i
0
2
p
0
3
7
p
A7
0
a
5
a p
2
m i m p
0
5 5 5
i m p
2
i p
0
5 5 5 5 5
p
2
p
0
p
2
p
E7
0
i p
20
a m p
2
1
0
i
3
0
p
2
3
10
p
D7
5
i m p
45
i a p
5
35
m i p
4
i p
let ring A
03
5 2 2
pam
A7
etc
DA
0 05
25
0
A A
02
25
A9
0011121212
11121212
4
35
01
15
0
CHAPTER
9
CHET ATKINS MADE countlessrecordings as a studio musicianproducer and solo artist Many of
his recordingsmdashparticularly those of theartists he produced in Nashville like ElvisPresley Roy Orbison and the Everly Broth-ersmdashlaid the foundation for early rock androll Though Atkins played many styles heis most often associated with country musicand acoustic guitars By using a combina-tion of thumbpick and fingers Chet createdhis signature ldquofingerpickingrdquo sound In thischapter Irsquom going to look at two patented
Chet Atkins techniquesFIGURE 1 shows an approach Atkins
often used when playing scales With the frethand near fourth position ascenddescendA Mixolydian (A B Cs D E Fs G) grabbingeach successive scale tone on a neighboringstring and mixing in all available open notesIt should sound similar to playing a scale ona harp or on a piano with the sustain pedalheld down Keep your fret-hand fingersdepressed as long as possible so that notesoverlap and follow the indicated picking fingerstyle indications to get the full effectThis ldquoharp trickrdquo is common in the lines ofcountry players like Albert Lee and Brent
Mason and can be done with any scaleprovided the open strings are ldquoin keyrdquo
The last note of each chord in FIGURE 2
is a harp harmonic another techniquepioneered by Atkins (and later taken to newheights by Lenny Breau Ted Greene andTommy Emmanuel) On beat four of eachbar you will see ldquoHHrdquo Touch a frettedstring with the plucking-handrsquos index fingerprecisely 12 frets higher than the noteappearing parenthetically in tab then pluckthat string behind your index fingerrsquos pointof contact using the thumb (or thumbpick)to produce a chiming ldquooctave overtonerdquoharmonic The preceding notes of each
chord are played using traditional fingerstyletechnique (without harmonics)
Atkins often wove the aforementionedtechniques (and more) into stunning sologuitar arrangements rooted in Travis picking (named after Travis) This somewhatcountry-like fingerstyle approach involvesthumbpicking alternating bass notes (usuallythe root and fifth) on different stringswhile sounding melodic parts (typicallybuilt around a fretted chord shape) withthe plucking handrsquos remaining fingers
In FIGURE 3 a 12-bar blues in A yoursquoll see thistechnique in action with a variety of A7 D7 and E7shapes Familiarize yourself with each chord voicingfirst study the structure of each bass note pattern
and practice repeatedly (while chord shapes areheld down) until the bass line feels automatic Thenslowly add the melody notes focusing on one bar ata time until you have it perfected
COUNTRY GENTLEMANThe genius of the incomparable Chet Atkins
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3
7262019 DaleTurner2_Tabspdf
httpslidepdfcomreaderfulldaleturner2tabspdf 1212
let ring Aadd
4
07
64
sim
Dm A
04
67
69
03
43
Aadd2
03
43
02
42
02
42
Dmadd2F
1
02
3
Eadd2
03
20
0 2
4
2
41
41
0
10
0
0
mi
NC
mi
mi p
D
let ring
00
22
43
65
p mi
5
77
7
mi p
AC
77
98
1110
p mi
4
65
7
mi
mi p
Bm7
65
757
p mi
7
77
7
mi
mi p
A7sus4
77 9
710
p
mi
A7
p
0
03
202
2
m p
Bm
let ring
p i
9
7
7
p m
77
p sim
AC
10
711
12
910
9
m p
G
9
9
10
10
p i m
77 8
7
m p
DF
4
3
i
3
p
D
0
3
m p
G
3
0
p
0
a
3
a p
E7G
m p
E7
4
2 0
0
3
a
0
m p
A7
0
2
i
0
m
A7sus4
3
m p
D
rit
0
i
5 3 2
mi p
NH
3 2 0
777
p
0
Figures 2 and 3 are played fingerstyle p = thumb i = index finger m = middle finger a = ring finger
CHAPTER
10
WHEN OZZY OSBOURNE wasbooted from Black Sabbath and wentsolo in 1979 his quest for a heavy-
metal soulmate ended with his discovery ofRandy Rhoads The pair would go on to pensuch classic metal cuts as ldquoCrazy Trainrdquo ldquoIDonrsquot Knowrdquo ldquoMr Crowleyrdquo and ldquoFlyingHigh Againrdquo among others UnfortunatelyRhoads was around long enough to recordonly two full-length albums with Ozzy Bliz-
zard of Ozz and Diary of a Madman (the livealbum Tribute was released posthumously in1987) On March 19 1982 while ldquojoyridingrdquo in
a small plane piloted by Ozzyrsquos tour bus driv-er Rhoads was killed when the pilot flew tooclose to the bandrsquos parked tour bus clippedits wing and careened into a nearby house
A fan of classical music Rhoads wasone of the first American guitarists tosuccessfully incorporate classical musicelements into heavy metal (ldquoEuro-metalrdquoguitarists including Ritchie Blackmore Yngwie Malmsteen Uli Jon Roth andMichael Schenker had also experimentedwith melding the two genres) ReportedlyRhoads was contemplating retiring fromrock after the tour to study classical guitarat UCLA In this lesson wersquoll take a look at
examples in the style of Rhoadsrsquo classicallyinfluenced solo piece ldquoDeerdquo as well asldquoDiary of a Madmanrdquo and ldquoGoodbye toRomancerdquo two other Ozzy favorites thatprominently feature acoustic guitar
Randy pulled out all the stops for Diary of
a Madmanrsquos title track an epic six-minute-plus piece packed with acoustic and electricguitar textures Its intro similar to FIGURE
1 is structured around an elaborate arpeg-gio passage reminiscent of a modern clas-sical guitar etude by Leacuteo Brouwer (entitledldquoEtudes Simples VIrdquo published in 1972)which Rhoads likely learned in his classicalguitar studies Use economy picking to tackle
these arpeggios throughout employing asingle pick stroke to sound successive notesfound on adjacent strings as indicated
Rhoads also had a talent for composingstriking ballads as evidenced by the trackldquoGoodbye to Romancerdquo ( Blizzard of Ozz ) thefirst song Ozzy cowrote with the guitaristPenned as Osbournersquos personal farewell toBlack Sabbath the song blends clean-toneelectrics with steel-string acoustic soundsresulting in an almost ldquoharpsichordrdquo-liketonal quality FIGURE 2 depicts a composite
in-the-style-of arrangementldquoDeerdquo ( Blizzard of Ozz ) which inspires FIGURE
3 is a lilting waltz (34 meter felt ldquoin onerdquo) thatRandy dedicated to his mother Delores (Perhapsas a further tribute to his mom the majority ofldquoDeerdquo falls in the key of D) With this track Rhoadsused one of his favorite acoustic multitracking
approaches overdubbing a steel-string acousticon top of his primary nylon-string part for addedsparkle (he also did this in ldquoDiary of a Madmanrdquo)Note the pick-hand fingerings included below thenotation For further insight into Randyrsquos classicalguitar technique check out the ldquoDeerdquo studioouttakes at the end of the Tribute album
WIZARD OF OZZRandy Rhoadsrsquo acoustic techniques and riffs
F I G 1
F I G 2
F I G 3