Pee UT LU LD I aod , i FOR THE PRACTICING MUSICIAN Ck eh aa CS - 1 Fl nyc ’ EEE Cc f pee Barthes : SST ad ay SCORPIONS Today TO Se Sa Sy EY Cae UCU ee it aa SSCL UE)Perforszaance motes TODAY Smashing Pumpkins’ second single off of Siamese Dream bogins very R.E.M.- like, with a cheery, melodic ditty super- imposed over a jangly I-1V-V chord pro- gression. A tied, distored gultar plays a ‘counter figure to the “ditty,” using the same rhythm but different notes. Part of the wall-of-sound effect is created by the ringing open strings of Gtr. Ill, which allows the open first and second strings toringoutadlib, ‘The accompaniment drops way back for the frst verse, leaving only one guitar to provide sight distorted chordal backing ‘There's a power surge at bar 9 of the verse when mega-crunch Guitars I & IM enter. This is where the real angst of the song is revealed. The soft section returns again for the last time. Subsequent entrances of the “Today is.” phrase get full-blown backup from the crunch guitars. Like many Nirvana songs, “Today” uses the modular approach to song assembly, ‘where only two oF three sections of difer. ent musical material are moved around and sequenced in various schemes. Where the craft comes inthis approach, though, is in how some melodies may find them- selves subjected to a different treatment when they recur Look, for example, atthe re-entrance ofthe lyric "Today is.” after the eigh-bar section beginning with “Pink ribbon scars..", Instead of going back to the soft treatment—which would yield a teeter-totter effect of alternating tex- tures—the guitars continue withthe hard edged texture belonging tothe F section There is no solo section in this song, In fact, the only melodic occurtence of gui- tars without vocals isin the intro; other- wise all melodic guitar parts are heard as fills As such, these fills serve to enhance the melody by either supporting it with son tones of limiting its own rhythmic activity tothe spaces between the phrases. In this way the lines are composed— whether every note is pre-conceived or rnot—becauise they are subordinate to the pre-existing melody. AMAZING GRACE ‘The only existing recording of Steve Vai’ rendition of this classic folk hymn is in the movie Dudes, for which Steve did the music. So buy the soundtrack (on MCA Records), rent the video, or catch it on the tube, for I's worth the effort just to hear this song. Steve recorded it in his hotel room, on his traveling studio, while on tour with David Lee Roth, Steve plays the melody twice through, with only slight rhythmic variations on the second pass. There's almost a coun- 44 CUTAR JANUAR 134 tuy/gospel fe! to it, due in large part to the preponderance of suspended tones, and hammered triadic inversions. For example, look at bars 3-4, where Steve leads off with a Csus2 and follows with a C-F-C chordal figure on beat 2. This is @ typical country/gospel trick, found exten- sively in the piano fills of country great Floyd Cramer. Steve repeats the rhythm inbar 4, this time withthe chord progres: sion G-C-Gsuss-6. Bar 6 contains @ combination of right- and left-hand taps. The triplet in beat 2is played entirely with right-hand fingers. In the tablature for this song, notes in boxes are played with the ring finger; notes in circles with the middle finger, and notes in ‘éiamonds with the index finger. The right hand stays down, sustaining the three tones, and the left hand hammers the Gon beat 4 This isa subtle, Stanley Jordan-type figure that produces an expressive and subtle effect. Bars 11-13 have the most dificult pas- sage in the arrangement, with respect to two-handed technique, but i's an expan- sion of the idea heard in bar 6. The left hhand fingers a chord, then the right hand plays a tapped-harmonic arpeggto of those notes. The left hand then moves, leading off with a tap before a new right-hand: tapped arpegsio is introduced at bar 13. Pay particular attention to the sustain Steve achieves in his right- and left-hand parts, particulary in the two-handed tap- ping bars discussed above. That's how he effects such a smooth, legato sound while still employing plenty of metodic motion, Also check out the descending harp-lke lickin the last two bars ofthe song, I's just a two-octave descending G scale stating ‘on G but he places melody notes on open strings wherever possible for that ringing, celestial effect. How sweet the sound BLUE POWDER ‘The ballad will never be the same after this treatment from Steve. This slow and dreamy chord progression provides the backdrop for some stunning Vai pyrotech- nes and modern guitar techniques. This transcription was supervised by Steve himself, and we deferred to his notation system. It'sall prety self-evident and intu- itive, so even ifyou're not familiar with his ‘method, understanding the new symbols shouldn't present a problem, ‘One of the most unique aspects of Steve's style is his use of the trem bar. He hhas applied it to more diverse effect than pethaps any other guitarist. Look at bars 5- 6 tosee three different approaches. On bar 5, beat 1, he uses it to execute a quick melodic gesture. Then on the harmonics jom chapPrelL inbeats 2.3, heuses it fora soulful reverse bend effet in bar 6 he combines bar fut- tering with a lefchand slide, then bar- bends the note up a perfect 4th, then bar- vibratos it Al this within two measures Steve has his bar technique perfectly inte- sated withthe rest of his playing tech- Dhique, whieh gives him access to a mult- tude of musical possibilt Technique-wise, Steve mixes it up throughout the song. He caroms from ‘expressive, sustained notes to cascading tuple runs ina freely organized, improvl- sational-sounding approach, Space considerations prohibit a blow- by-blow of this piece sols look at some ofthe highlights: Bar 16 (1:06): Stove launches into another of his trademarks, a cascading be aware of the rhythm and be able to play Contd on page 168TODAY ‘As Recorded by Smashing Pumpkins (From te alum SIAMESE DREAM rg Records) Words and Music by Billy Corgan Ee Negeri er ae ae ee ws See ae ee ee # ist On Oo G8 Bis @= D> @= E> w/Riff A (7 times) Stowty J = 88 ie rc wea So Sere Riff A (Gtr. I + al o = clean tone lering- ot as ss ts 2 wim (om 141 TD FID LP ITT3 3 TAIT TIT 1 He ya J Riff Al (Gtr IV) mages tat IS em Tleeree nates aah awa soem!Emusd B End wei a oa eee Pm on (Gte To-day the grat - cat day Pe ev - er known. Can't lve for to - mor Bop hah oa rare row. Tomorrow's much.t00 long. TH bum— my eves out, (end Rhy. Fig 1) a . «rs Girt, a te oes Po a ee ee ee 66 2 2 Sn ety ie eee es ees Peer a a aga fend Rhy. Fig. =) wiRhy. Fig. 2 (2 times) Ronin as ms ant than ife— could ev = er gant. me___———Bored bythe chore {Stes LA Mout) fri PIS, pis E545 BS pisksps 88 ee nD on mee ae Be of say = ing face, w/Rhy. Fig. 1 (Gtr. 1) Eas? @ To day— is the great «est dayl've ev - er known. Can't wait for to-mor -rom, I might mot have_tht long. Gv 2 ill | (Gte.1¥) 46 GTR ANAT 198Bs B sets Gt. IV out) ib lower ry.noteon “Gu Ture dnoron on frat eae a Om ys 1 cum RII To 2 TR I FATT — Mak ob = ton va — that nev = er for + pet 1 BS, J SH brbh ata hom oS were bruised and. restrained — a W/RIFEB (7 times) 15 ES Bs DoT SS ST Ob SS == My beh ty stings = Bs BS AS Ja TBS Dan SB to-day is, to- days the great - est yp Bs Bs Whi Tans huss thn imam som FFAIT TA SBS a4 Pe ee eS RT B ("GiE-1V) Fil Gt 1V) atta a Fa Fan Fat ll awa ere CUTER RY ok 47sw) Rhy. Fig. 2 (Gtr, 1 TC3Y times) FS as wea Fs AS cts a eas A wip - : a ots Ste ae Qf Tae Sy =e s ae a ea eee a speech as ea ad Rhy. Fig. 3 BS CHS, AS. BS w/Rhy. Fig. 3 (3 times) ality TT reins i To-day isthe eat # ba) w cs AS BS ES BS cs. aS BS or Gr. out, ES cs as Bs J it (GeV out) “yostne daar stone ‘eave ow 48 GUAR AMAR 10BASS LINE FOR TODAY ‘As Recorded by Smashing Pumpkins Tune down 129: (From te album SIAMESE OREAM/Vigin Records) 8 Ses Words and Music by Bly Corgan Slowly J = 88 NCE Gt EB To-day isthe great FS As ots Fs As Cent 01982 Crd MucOreaks Songs BMD At as ih US al Caan ant by Ch Sa EM Totty Pemasoncl Fone re or Fe for mIK” MEA Mh es, 7 Fura Pac No Lan W iby mene Se a, Laan ‘Aaa Pesos GUTAR JANA 1998 49)cas RS as cts DES ES DIS ES DIS ES DIS ES pe ge Baus? B A Born? 8 A B Bs Bs BS as ts DIS ES DIS ES DES ES DES ES a oy “t 50 GUTAR JAW 564Fs As cts, Fis as 3 Cs as ots FS As Bs as cs As Bs es Our UA Bt» Explanation page 43 AMAZING GRACE ‘As Recorded by Steve Vai (From the soundack forthe move DUDESMCA Roars) Arranged by Steve Vai Las (open ingen et ore she ba Ina sangoert 019016 uae a orate Cooper Seu A gts see Sm, sane seh 8S.raser( deca) Bs oe Oa aat ry Lax Dring bea 1. or peice majo ae Hs 54 CUTAR ANLARY 154 erie eer ee es Gt ‘ene wena pntonTablature Explanation pages BLUE POWDER As Recorded by Steve Vai (From be abu PASSION AND WARFARE lab Record) Music by Stove Vai Slowly J = «0 B NC. fi Lead et Igy 3 (Seige) wcho pean af SPM let ampegeiaed figures ing Delay tine d = JIT0 Bal Csus2 BT Aq ip en end wir whe ter ba xi i ie aes 5 resend Coop aes Ai ig ove GUITHR, URRY 14 BBcm poke Or mi tas Rees PH gt et op PM 4 BT) pyr BT? By? A nn 5 pick FA GP FAG FP Mtg nsersencncners tee Bits . BBs r wh) ss 64074 BIO pfosTi2 stom? Pall sing of Febeard owas back of pita nek for bend Melee was anne ee a Told bend w/oar atzy evenrlewse a3 og 2 ns WP 66 GUTAR JANUARY 1054Csus2 GB. E ; A Somes f—_+_ 4 sme tou acd All NG CF rari) os » ds See eee See ve s Ma ty atrathabats TD ap Diese z GUTAR AMAR 08SDbich Meat fve. i taco ‘B) wae @yosti @ our Hen Meee oe, aie es, Sng ee ad weow we ae wen Pp ae = SSS SS = PH HPHeN PHP HP He —_ oS eS 88 GUAR ANfa eS Sr er) pe pp PP Teteing xe, oad 9 a7 EF 15m ; ey pa. wftar even lene sty ys BS pM ———— 4 ata? ow uTAR, JANA 084 BDbn @, rsh ee bo (ir. HoH (ea a == fear acing even) py as ap lcs (facing reverse) wae wk ye ae ye 60 GUTAR JAWes EAods) PAVE GAPE RAE aot s) ss s@ s_ 3 eee ee SS wh war sto mo _sfsmis sos FAQ S)FAEGHIFE FAVE, A/D BE of veg WEP UED He et fng -— e cvenglis HPP HPP HP P we, a Wee HPP HPP OHP PS 16, Sym eves... GUAR, uae ne 6css ® a taco 8 DY *Pre—bend tar. (Distance of bend measured on Is sting) 62 GUTAR AWA 808wher ad a z 4 No Ae ® = SS Toco —I— aihee Fetring —lybeck ~ (bk) whe Divit Bt, “Distance of bend measured on 3d ting Double Time ¢ = 120 AS NC ad) a wow ine @ s S Pe, i o» ® tas fils aT Oy ‘ven rele oT) B42 GUTAR, aR 3863,we © > 9 ee @ S wious fs Half-Time J 64 GUTAR WARYve oid ben B x AAR ARAN. @,e cede ee 6 = on CaTD holden “ey — 89 c Ba oo seer iw ie xo —— eee | : SRE TA span Urs Por, = peop pe sne avo a ‘afar (lense) hy 8 pare 2 “on me Pak rate ick pickup wit (easy? swt ich By? wher eae) BS pees ick picky > pickup shar rleasey selector switch st Bt GUTAR, BNUARY ESS 65;SID DDI D IDNA ea a Os aa et P B smo @! : ae ee, Wo St OPM pen = ad wien vi weir = sitar rad widen vib S pz Hew POH Hanmer ales w/oa pik (Anicula wieabviwah o's = treble postion o= bass postion) Free Time Cadenza 1 (fa?) ae 1 NCs oe ® NOTE: Approximate et posone shown Im TAB for pick sles Beyond fretboardi Bar va ba Fater touphowt ar ter thrughout pt> aT4 B28? BoB Bp ast te a - ON. even elem ri ‘whe m2 ofa pia? at an sit = a coe 7 ; s Py — Pana ca sm xo sented p witingStingat in 7 st ecco: Bann § cumAR, Une sat 67eines A loco nee uP p> wee upp HPP PHP MP@WWEENS He nner p Hee ® : wee 3 2 we Je 7 wep HPP HPP He POWPP HPP PP PH POH pps HP oH Hpp We loco? X P a H ne Ppeey NREHH 8 HE? wae p Se Pap f MEPS Nay Hae ee PME Ee pp MEER gee a HepHUMPPPHNPHPP HPP HHP PHP PHP PHP P OWP HPPP HP POW, © “ett 8 68 GTA ANF 1081BASS LINE FOR BLUE POWDER ‘As Recorded by Steve Vai (From the album PASSION AND WARFARE Relaivty Records) ‘Music by Stove Vai Siowty J =60 xe A faved Bat cuz ¥ z cr Gat At cad gr a “~~, fap ee sae — # = = Ses 2 cow - r OF Fant) Ee = eoeee 9 alee os a a epnge 010087 Mi WSCA GUAR Jae 158 6B vert aap Secs a PsHatt Time J= 60 Sola : cs AS NEw) C2) a7 TO GUAR JANUARY 864NCIS, Boe wry tt 38 12 o> Ncwas) Eo ee rn Se ny Halftime # = 60 cr ot (Hod for approx. 45 see.) + ¢ i = GUITAR JAY 1874JINGO ‘As Recorded by Santana {rem be eum SANTANAYCalumbia Records) Words and Music by Michel Olatuni Gut sy wiRhy. Fig. 3 bight Latin J 130 Bn hy Fig Ge bas ar fort) Percussion) g Fy Fu cenit 0181 En Baoad Mune, e Fer ua 64 Senge hata my SPAEN Cn Out PO Bn Caner en NSW 209A er Sacre: Poa rent Mt Sage Seararara AB Ta aK: Rasa iy araoen aE ages Centon ACEH CEA Tsowaita Goo Sauer Fats sre Usa Momsen 72 GUTER, NAY 138Guitar solo 1 Bm ol Fl (Percussion) 22 7 Fu Fe pu Fat Fol Fal Fal Fall Ful e Ful Ps DS and fade where indicated aH a 74 GUAR NHTablature Explanation page 43 SISTER HAVANA As Recorded by Urge Overkill {From the abum SATURATIONGetion Recor) Words and Music by Urge Overkill Ds, AS Bas com cts Ege ges ga fc gee Ee ea Moderate Rock = 140 tage ders = ay see wisound effects Rhy. Fig Com (end Rhy. Fie approx 12 see) two ae ee for one Ds bbs FIC cs Ds ms FSIC cs Come on ‘round. to my— way of think — in. Rhy. Fig. 2 (end Rhy. Fig.2) Rhy. Fig. 3 (end Rhy. Fig. 3) PM. cd Met PM PMood PML Mend Mend PML Pent sb tion with you— When. fm watch-it wt ey you and Fi + del Cos = tro inthe san, kiss «int,chorus ‘e/Ry. Fig (3 times) DS pss FSC = S-s ee = lle oe Sister Ha -van = a 0 wer = = = So == == = = = SS Evs‘ty-bod- y's wait = infor the ma to come down from the tow =f. w/Rhy. Fig. 3 (last bar only) - bs Biss 5 IRD. Fig. 3 - Ss Ds BSS: Fsic cs TS Ey- "ty day seme tke 4 va-ch + lon with you lay In! ight Rere—— now. Wm wate st t oss a w/b. Fig TT JJII STI TI3 Ds Bes. FSIC cs wu. v rut. is 2 you and Fi = del Cas —_ tro in_the sand as FT Gini) yyy Girl you got to Rhy. FUL (Gte.1) Site em Bar yy “Dept tr Rhy DGD 114 GUITAR suny 04Chora Sa/Rhy. Fig. 13 es) Deas ESIC cs Ds os Psic cs O- wre (end Rift A) Ds Bs SIC cs Ds os sie cs (ena it) —— f — ie — Wo fe 80 = ; =e — ae J yes Ds ah Sovte H a= te ca comets comets aes i on om a 2 2M. - 2 72 (end Rhy. Fig. 4) Rhy. Pig. 44 (end Rhy. Fie. 4) GUTAR JY 1581985Guitar solo why: Fig, 13 times) Pd = + Zt = “Manger off 7 ae a No, 1 don't care what they sy. (teres — no time to tose —_____ 116 GUTAR Rr 84(end Rhy. Fig. 8) SIF win res : {Rhy le ee Asie S cs Fs cs ‘ o be eee ey ee We could have a (Ter’s no time to tose ww/Rhy. Fig. $ (Ist 2 bars only)(2 ties) bs as (Ther’s no time to lose), a so ete take the time and get it on to = day! (There's no time $9 these) es 30 Chorus w/Rhy. Fig. 1 (6 times) Ds Fic cs “as sic cs == winutre WRITB @ times) Dems FIC cs Ds BSS FIC cs nn Sis—ter_Ha-van - Sister Ha-van-a Serle Ru C (Gtr. 1 w/fanger GUAR NAY at 447outeo wiRhiy. Fig 1 (sill end) Ds ows SIC 6s DS Bos FIC cs Sis ter Ha-van- "Sister Ha-van = a Fase oft Bis FSIC Ds Bis sic cs Ds Bs FSIC © Ds” Bs ESIC 418 GuTAR casacsw/Rhy. Fig. 4A (il end) 6 oy Pegi Bye s pe Begin fade Ds Bos sic cs bs ais FSC aa Fade out Ds is sic os Ds ms FSC UMAR JURY 18149BASS LINE FOR SISTER HAVANA (et Sa TURTON te Be) Sty be Words and Music by Urge Overkill o Moderate Rock 4 = 140 w/sound effects Ds Bis. Fs cs ps___ps Intro tapprox. 12 see) Guitar in) - ce s Ds Bis Fs cs bs, Bis = cs. Ds bis rs cs bs Bis Fs (Vocal) Come on "round 19 my way of think ~ in cs Ds Bis Fs cs bs Bis Ps cs Ds Bis BS cs. bs Bis FS cs DS BSS cs Ds As Gist yougot to L Sooner D1 Kra,8 420 GUTAR Januar 194nd Verse Ds Bos Fs cs bs Bis BS % She'scom-in’ onlike a bi = cycle ar = ia bs AS bs bss Fs ‘ia bi Chorus bs Bs FS cs bs Bs Fs s Sis- tery - an a COuTAR ane te— 4124{ bs cs_c#s Ds reais! bs cs ces Ds Basie FS sic Guilarsolo Ds, Bis Fs cs Ds Bs FS cs 422 GUAR JNA 19come on, you got to Dg Bs OS cs Ds, Bis Fs cs bs Bs Fs cs bs Bis Fs cs bs bss Fs cs bs Bs Fs cs oe peat lad tad fade Does rs cs s bs FS ces Repeat (ad ib)ana fa x Gua wu ea 128Tablature Explanation page 43 UNDER THE SAME SUN (rom ean FE THE HEAT Mey eco) Words and Music by Klaus Meine, ‘Mark Hudson and Scott Fairbairn Em? AS Fim Bm D Bm me DT meet) 6G. Ara @ i Ra ae ae Eqatioh G._ Fim) DS Agore2) iors “a Eg i 1 {et ring throughout semi -cle int cro bs Bm cas? bs fend RitE A) Ia ine ony Arges Vor rst Poxgamronaes avon De sats So Pater by MER Me Ping Aaa we By New Ya NY 1S 424 CUTIR Jawan? 184 ‘anata Secrest ile Neca Ussty BoronIst, 2nd Verses iy FS Gn time ony) saw the mom » ing. it was by a gun Heard a seream, Sw the eyeing, fa “ing one by ones Wewatch the lamb. ‘And time Grr. substitute Rhy. Fil 1 w/RIFFA (Ist time only) a coo Ds Bm Cous2 — aw him no one tied, = lay down 4) Rhy. FANT (Gu GUA BURY et -425nd time Git, subsite praying for her back et him live, don't let him ie” Harm chitdren of the wept Row'they bled Tow they ica} fatal Em? 2nd Gte. substitute Rhy. Fl 3 (un. BYE as Fem Bm, many, ee ee ee er Jd SUFFI DOG eee ever ask your-solf,_ Is there a heay- en in the styl way Tinie & when cao Ray. Fi cae se ‘rommieg vation ai ti HL TV are soma, Sing vor Mamony 204 tne ony 2nd time Gtr. substitute Rhy. 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IV&V) Bs © ee ftilee 4 ar el pent f = safe E no one seems 10 care, yeah But Tay af = ter day, aay at ter dy, ay af - ter day, and round and round. and bring our world. some low. at = ter dayeat + ter day) Bm?) ry = gat te = = — —— = = : =< GUAR NAY a8w/Rhy. Fal 6 om. wt tect heme gu Pass) RD ea Be Alpe ot AIL bebe: FEA DH mee fe oral h . WN) SFB)» FS BR) 7 is GR): FAD RW a —— Rhy. Fal? Ge.) Par 190 GuTAR sawn 1988Pre-choras WIRY Fig. | & Fil? Em? as Fim there's a heav-en w/Rny. Fig. 1A (Gus. 1V & ¥) a nese oe me a ee oe ‘wiRihy. Figs 2, 2A & kad Vor. Fie. 1 Ds. Rhy. Fig 2B Fim eile le) Sen Jy easly eer It, ee a live un der the sime_ ay We at a) Fou Took up at the same GuvI ww "Wee oan Rig Fg 39 eager sae UTR JAMA I98e 194Fm, (ood Rhy. Fig. 2B) w/Rny. Figs 3,30 faa STA ae a me wy, Fl w/Rhy Figs 2,24, 2B Rees EA Etked. Vox Fig Call? ces) lek side steady gl.) walk un -der the same moon. yeah. We al, at Ry, Fillga (Gite. V9 Rhy. Full 8 (Gers I & IV) 492 GUTAR JANUARY 198‘W/RitTB (Ist 2 bars only) Ma uv J J 4 hea sith rit e : piven isons atm. (Gtr. Vi owt) (Gt. V out) “Gut I plays complete chord ota vee note of Bar On GUTAR URRY ae 4988BASS LINE FOR, UNDER THE SAME SUN ‘As Recorded by Scorpions St tt: (From the album FACE THE HEAT Mercury Records) Words and Music by Klaus Mein, ‘Mark Hudson and Scott Fairbairn on bs Rock Balad Bm Cnued bs Ist, 2nd Verses Bm Cou? st Bm sud bs err (Poca) 1.1. saw the morning. 2.1 saw the ‘evening ; Pay eu ote 2 tine Prechorat Em? As Fm Do you ev-er ask yoursell raat Bat eo Na 134 GUAR sR 54Chorus Sb Fim D live un der the same o Pid Bridge Bm os Bs © times think Pm going mad re s ee UR JNUIRY 1 4985Guitar solo Dm DS alCoda Coda 2 bs Pim Pay 4 times Bo bbe A 196 GUTAR JNU