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EGADETH=DREAM THEATER=NEVERMORE 6 SONGS GS A SUPER-SHREDDIN’ ROUNDTABLE & LESSON BASS LINES ae P JOHN PETRUCCI “BITE OF THE MOSQUITO” THE DEFINITIVE GUIDE TO PLAYING. poche SPECIAL! || “STAR SPANGLED BANNER” BBP INI FLOYI THE re Pou THED, OF THE Moo! RARE INTERVIEWS WITH JIMI'S WOODSTOCK BAN COX, MITCHELL & LEE SNEAK PREVIEW OF THE NEW EXPANDED \& — woonstack pvp Pa Ah Mo eeeleraneeoteliee) ae ACE FREHLEY On His Favorite Guitar Track : ) MICK MARS Answers Your Questions How to Play this Month’s Songs Pink Floyd “Us and Them” Like many songs in the Pink Floyd catalog, this classic track from Dark Side of the Moon serves as a perfect example of, the dramatic power of simplicity and dynamics (volume con- ‘rasts), coupled with a well ‘written song and an impeccably crafted arrangement. Through- ‘out the verse and solo sections of “Us and Them” (rehearsal let- ters A and B), guitarist David Gilmour exhibits a sense of tasteful restraint as he gently and steadily arpeggiates a sim- ple, yet highly original, chord progression. As the song's ballad tempo clocks in at a relaxed 70 beats per minute, the choice of picking strokes is not critically important with this part, though you'll probably find the combi- nation down-down-up-down- up-up-down-up applied to each ‘measure of eighth notes the eas- fest and most flowing for the right hand. When playing the “busier” rhythmic variations on the basic accompaniment pat- tern, such as those shown in Fills 1-Bon the bottom of page 126, ‘use whatever pick strokes feel the most natural to you. When in doubt, use consecutive down- strokes to avoid “tripping over the strings.” Gilmour's chord grips for the verse and solo sections are fairly ‘easy to finger, though he does apply some melodic pinkie “extensions” on the high E string inbars 17 and the aforemen- tioned Fills 1~3 thet require abit ofa stretch. Be careful when reaching for these high notes, and be sure to fret them cleanly ‘When strumming the full chords in the chorus Getter C), ‘employ 16ch-note pendulum strumming, using adown-up combination for each pair of 16th notes and consecutive down- strokes forall other rhythms. Jimmy Brown Iron Malden “Aces High” When tackling this song's fast-paced verse section, (rehearsal leter C), it wll help you to memorize the chord changes ahead of time, as recreating guitarists Adrian Smith and Dave Murray's rapid power-chord movement up and down the neck will require your undivided attention. By memorizing the part upfront, you'll be able to focus 100 per- ‘ent of your efforts on the gui tar neck without having to look at the transcription and, thus, away from your guitar. ‘The string bends inthe song's guitar solos (sections Gand H) are best performed using two fingers, with the middle finger in each case deployed one fretbehind the ring finger to help supportit. ‘Youll find that ths reinforced fin- ering makes it easier to contol the intonation (pitch) ofthe bend and prevents the string from acci- dentally sipping out from under thering finger. The extra “horse- power" also effectively increases ‘your string bending stamina, ‘Which could become an important factor during the “bend-athon” at the beginning ofthe first guitar solo (bars 73-77). “To recreate the high-pitched “squealing” sound of the pinch harmonics (PH.) in bars 101 and 102, you'll need to “choke up” on the pick, gripping it near the pointed tip, and allow the edge of the thumb to graze the string as itis downpicked. Keep {in mind also that a pinch har- monic can occur only over a node, which is one of several points along the length of a string where a harmonic “resides.” When attempting these pinch harmonics, exper ‘ment by picking up and down the section of the string over the pickups to seek out the invisible nodes points. As is the case with any type of harmonic, using a high-gain (distorted) tone and your guitar's bridge pickup will, bring out the harmonics. —veffPerrin Hawthorne Helghts “Ohio ts for Lovers” ‘To smoothly perform the arpeggiated chords in this song's intro (bars 1-8), keep your fret hand’s ring finger and pinkie planted on the G and D strings at the fourth fret throughout the entire progres: sion and use the picking strokes indicated below the first two measures. Doing so will minimize the amount of movement in both hands, mak- ing the part easier and more enjoyable to play. Guitarists Casey Clavert, Matt Ridenour and JT Woodruff create tight, aggressive-sound- ing rhythm guitar parts by using fret-hand muting to immediate- Iy silence the strings during chord stops and breaks. This is accomplished by simply loosen- ing the fret-hand's grip on the } strings just enough to stop them from vibrating. Avoid lifting | your fingers completely off the Fretboard, however, as doing so ‘may inadvertently sound open. strings. This technique is applied during the eighth-note rest in bar 42 and during the ‘quarter note rests found ‘throughout the song's chorus (ection E). For extra “muting insurance” when playing these parts, mute the bass strings with the palm of your picking hand. ‘When playing the lead melody in bars 75-82, barre your index finger across the B and G strings at the 11¢h fret. Playing the figure this way—as opposed to fretting each note individually with a different in sgertip—will help economize fret-hand movement and make the riff easier to perform, espe- cially ifyou're singing and/or jumping about onstage. eff Perrin urrar worto 119 koa _| Download the Tone! ° ; BITE OF THE MOSQUITO” John Petrucci ‘As heard on An Evening With John Petrucci & Jordan Rudess (SOUND MIND MUSIC) Words and Music by John Petrucel and Jordan Rudess « Transcribed by Jeff Perrin (000) Fast J = 172 Fm Db74s c7#4 OP Fm Eb 07 Bbm6S Fv G7 EbmiGb Db/Ab (ee. wii.) 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