2020 WORKOUT
02 ARPEGGIOS FOR RHYTHM GUITAR…
Aim for shimmering cleans and tighter picking with TG’s arpeggio exercises
rx#suredeo|#nqrz#zkdw#dushjjlrv#duh# Lq#sudfwlfh/#dushjjlrv#fdq#eh#Ľhufho|#glĿfxow#wr# Take a listen to Radiohead’s Street Spirit (Fade
– it’s when you play chords one note at sod|#gxh#wr#udslg0Ľuh#vwulqj0mxpslqj#Ğ#|rxġoo# Out) or Tool’s Invincible and you’ll hear how
a time instead of strumming. Simple riwhq#sod|#mxvw#rqh#qrwh#rq#d#vwulqj#ehiruh# uhohqwohvv#lw#fdq#eh1#Iroorz#rxu#wde#h{huflvhv#
Y right? Well, yes, at least in theory. having to move to another… over and again. and hone your skills.
LEVEL 1 SWEEPING STATEMENT TRACK 13
chord break
q.=80 Use arpeggios to write riffs
9
Cadd C Play 4 times around the chords you
. . . . already know
let ring throughout
T . 3 1 .
. 2 0 0 2 2 0 0 2 .
B 3 3
≥≥≥ ≤ ≤ ≤ ≥≥≥ ≤ ≤ ≤
For a flowing arpeggio, hold each shape and play three downstrokes then
three upstrokes in a smooth sweeping motion. It takes time to learn to
pick like this but your control will improve.
LEVEL 2 EVERY PICK YOU TAKE TRACK 14
q=110
Aadd 9 Play 4 times
#
. . . . 51
PM throughout
T . 2 .
. 2 4 2 4 4 2 .
B 0
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥
1
An all-downstrokes approach here makes it easier to settle into the rhythm
– but take care to place your pick hand near the bridge for this Andy
Summers style dry-sounding palm-mute effect.
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! One note at a time! Mid-Riffer Arpeggio Artiste
A medium tempo might reveal
If this speed isn’t testing you,
Practise the chord changes first,
BLACKWATER then take a look at picking the errors in your picking technique. switch to down-up style alternate
picking for an extra challenge.
Slow down again if so.
relevant strings.
PICK
This Mikael Akerfeldt-style riff is a step up compared to our shorter examples. We’ve notated a picking approach that takes the
shortest route from string to string. A pure ‘down-up’ style may feel easier and it may even make your timing more regimented.
However, the notated picking approach (known as economy picking) is a more efficient way to tackle passages like this.
q=120
5 #
7 #
Am add 9 Adim/E b Dsus 4 G /C Bm /G E
Play 4 times
. . . .
#
#
let ring throughout
T . 0 0 0 0 .
. 7 5 5 7 7 5 7 0 0 0 0 1 .
B 0 6 5 4 4 0 0 2
≥≥≥ ≥ ≤ ≤ ≤ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≥ ≤ ≥ ≥ ≤
FEBRUARY 2020 TOTAL GUITAR
COVER FEATURE
03 ARPEGGIOS FOR SOLOS…
Take your technique to the next level with our lead guitar workout
ait, more arpeggios? Well, yes! iru#d#phorglf#yleh#zlwk#d#wljkw#gholyhu|/#zkhuhe|# dv#fuhdwlylw|#dqg#eod}lqj#vrorv#duh#frqfhuqhg/#
Dushjjlrv#duhqġw#mxvw#iru#fkrug0edvhg# wkh#vwulqjv#grqġw#ulqj#rxw1#Dqg/#ehfdxvh#|rxġuh# exw#lw#grhv#dovr#uhsuhvhqw#d#elw#ri#d#fkdoohqjh1#
rhythm parts – you can solo with prylqj#eh|rqg#edvlf#fkrugv/#|rxġoo#eh#fryhulqj# Our licks will take you through essential shapes
W wkhp#wrr1#Jhqhudoo|/#|rxġoo#eh#dlplqj# pruh#ri#wkh#iuhwerdug1#Wklv#lv#jrrg#qhzv#dv#idu# which you can apply to your own solos.
LEVEL 1 BEN’S SON TRACK 16
q=100 ~~~~~~~~~~~~~~~~~
Cmaj 7 Play 4 times
. . . .
~~~~~~~~~~~~~~~~~~
T . 8 7 8 .
9
. 10 .
B
≥ ≥ ≥ ≤ ≥
These notes come from a Cmaj7 chord. So what? Well, solo with the notes of
the chord you’re playing over and you’re guaranteed to be in key. It’s an idea
you can apply to any chord progression you play over.
LEVEL 2 SKIP THE PICK TRACK 17
q.=120 Play 4 times
. .
52 . .
T . 8 12 8 8 .
9 12 12 9 9 12
. 10 10 .
B
pick me...
When playing arpeggios,
your picking technique is
just as important as your This string-skipped arpeggio shape is much-used by shred legend Paul
fretting shapes Gilbert. Slowly practise the hammer-ons with your first and fourth fingers
and focus on the three-notes-per-beat timing.
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! Slow And Steady Level Up! Melody Master
At this tempo it’s pretty easy to
It’s starting to get serious now!
Our lick tests both picking and
KNIGHTS OF pick up on the shapes we’ve used. Try your best not to let any notes fretting, so expect slow, gradual
ring out together.
progress to reach these speeds.
ARPEGGIA
This Matt Bellamy-style part uses arpeggios to outline the chord sequence. Practise by playing the shapes first as chords,
then as arpeggios. Major and minor sounds are essential for all music, so try to memorise the Am and C arpeggios.
Diminished shapes aren’t so commonplace. Either use alternate picking or follow the directions below the tab.
q=120
#
Am Bdim C Fdim G dim Play 4 times
œ œ œ œ
b b
. . . .
T . 12 13 12 13 12 13 13 15 13 15 13 15 12 13 15 12 13 15 15 13 .
. 14 14 16 16 12 12 14 15 13 16 13 16 .
B
≤ ≤≥ ≤ ≤≥≤ ≥ ≤ ≤≥ ≤ ≤≥≤ ≥ ≤≤ ≥ ≥ ≤≤≤ ≤ ≥≤≥≤≥≤≥ ≥
TOTAL GUITAR FEBRUARY 2020
2020 WORKOUT
04 STRUMMED RHYTHMS…
Strum down. Strum up. Can there really be any more to this basic technique?
ell, yes, as it turns out! While mastered with strumming. The idea is to prvw#ri#|rx#rxw#wkhuh#zloo#eh#idploldu#zlwk#
dowhuqdwlqj#ehwzhhq#grzq0#dqg# synchronise your downstrokes with the vwuxpplqj/#exw#hyhq#wkh#prvw#h{shulhqfhg#
xsvwurnhv#lv#reylrxvo|#wkh#fruh#ri#wkh# strongest rhythmic pulse of the music – your players have to practise. Take a look at the
W whfkqltxh/#wkhuh#lv#vwloo#d#fudiw#wr#eh# xsvwurnhv#vkrxog#idoo#lq#ehwzhhq1#Ri#frxuvh/# edvlfv#dqg#exlog#xs#wr#rxu#fkdoohqjh#ulļ1#
LEVEL 1 STRUM-DER WALL TRACK 19
q=80
7
Em 7 A sus 4
Play 4 times
T . 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 .
. 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 0 2 .
B 2 2 2 2 2 2 0 0 0 0 0 0
0 0 0 0 0 0
≥ ≤ ≥ ≥ ≥ ≤ ≥ ≤ ≥ ≥ ≥ ≤
Famously used in 90s Britpop banger Wonderwall, this rhythm showcases
16th-note strumming. That means there are theoretically up to four
strums in every beat (though only three are played in our riff).
LEVEL 2 UP, UP AND AWAY TRACK 20
q=120
D E/D
Play 4 times
#
. . . . 53
2 2 4 4 4
T . 3 3 5 5 5 .
2 2 4 4 4
. 0 0 0 0 0 .
B
≥ ≤ ≤ ≤ ≤ joe strummer
Strumming movements
This rhythm starts on the downbeat, then focuses on offbeats. should come mainly
For a consistent strumming technique, simply match your downstrokes from your wrist
with downbeats and upstrokes with offbeats.
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! Ups and Downs Strummer Of 69 Rhythm King
The chord changes are easy, so
Increase your tempo and things
Focus on each one-beat grouping
TOM so that you understand the should start to sound more you can really push the tempo high
musical than a slow run-through.
underlying rhythms.
for a serious strumming challenge.
STRUM
With some basics covered, take a look at this challenging Pete Townshend-inspired part which combines the strumming patterns
of the previous examples with a couple of other rhythms. Had a go at our Oasis riff? Bar 1 mixes up those rhythms, opening on a
‘down-down-up’ instead of a ‘down-up-down’.
q=120
Dsus 4 D Dsus 2 D Dsus 4 D C G C D
Play 4 times
. . . .
3 3 3 3 3 2 2 2 2 2 2 0 0 0 0 0 0 0 2 2 3 3 3 3 3 2 2 2 2 2 2 0 0 3 0 2
T . 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1 1 0 1 3 .
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 0 0 0 2
. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 2 2 0 2 0 .
B 3 3 2 3
≥ ≥ ≤ ≤ ≥ ≥ ≤ ≥≥≥ ≤ ≥≥ ≤ ≤ ≥≥ ≤ ≥ ≥ ≥ ≥ ≤ ≤ ≥ ≥ ≤ ≥≥≥ ≤ ≥≥ ≥ ≥ ≥
1 3
FEBRUARY 2020 TOTAL GUITAR
COVER FEATURE
05 LEGATO LEAD…
You know the basics, now take your technique to new heights
dpphu0rqv#dqg#sxoo0rļv/#vrph#ri#wkh# zlwk#d#iuhwwlqj#Ľqjhu#without picking the string wkhvh#lghdv#d#vwhs#ixuwkhu#e|#xvlqj#d#whfkqltxh#
Ľuvw#whfkqltxhv#ehjlqqhu#ohdg#jxlwdulvwv# Ğ#lwġv#grqh#e|#hlwkhu#Ġkdpphulqjġ#grzq#kdug#rq# known as legato – when you use a mixture of
ohduq/#duh#dprqj#ri#wkh#hdvlhvw1#Iru#wkh# wkh#vwulqj#ru#Ġsxoolqj#rļġ#wr#hvvhqwldoo|#uh0slfn# kdpphu0rqv#dqg#sxoo0rļv#rqh#diwhu#wkh#rwkhu1#
Huninitiated, the idea is to sound a note it. Simple! Here we’re looking at ways to take Try out these exercises and hone your skills.
LEVEL 1 SPINAL HAMMER TRACK 22
One by one q=125
Align your fingers B 5 Play 4 times
one-per-fret to nail # . 2 3 3 1 3 3 .
those legato leads . 1 1 .
3 3 3 3
T . 0 2 3 0 3 5 0 5 7 0 3 5 .
. .
B
≥ ≥ ≥ ≥
Kick off your legato workout with this triplet lick. If you struggle, just focus
on each three-note grouping one at a time – on their own, these groupings
are great beginner level legato licks.
LEVEL 2 GETCHA PULL-OFF TRACK 23
q=120
Am
Play 4 times
4 3 3
. 1 4 1 4 3 1 4 3 1 .
54 . .
T . 8 7 5 7 5 5 .
. 8 8 7 8 7 5 .
B
≥ ≤ ≥ ≥ ≥ ≤
This Dimebag Darrell-style lick features pull-offs using the first, third
and fourth fingers. Flick out and down from the string with your
fretting fingers to effectively re-pick the string.
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! Novice Noodler Level Up! Hammer Time! Melody Master, Legato Legend
Hammer-ons and pull-offs are
It’s a weaving, windy lick, so, at this
When playing at such fearsome
DIMINISHING gentle tempo, make it your aim to actually easier played at some speeds just make sure not to let
speed. Find a moderate sweet spot.
memorise the notes.
your accuracy slip.
RETURNS
This smooth Allan Holdsworth-inspired line uses both hammer-ons and pull-offs to create a seamless flow of notes.
It looks pretty scary, but there’s a shortcut! Learn the first eight notes, then shift up a semitone and repeat the
same pattern again. This repeats all the way up to the third string, before the final first-string lick.
q=110 3 b . ~~~~~~~
4
Adim 3 b 1 Play 4 times
4
. . 1 2 4 2 1 1 . .
2 4 2 1 1 3 4
4 3 4 1
4 1 2 2 1 1
1 3
~~~~~~~~
T . 8 10 11 .
. 6 7 9 7 6 7 9 10 7 8 10 8 7 8 10 11 .
B 5 6 8 6 5 6 8 9
5 7 8
TOTAL GUITAR FEBRUARY 2020
2020 WORKOUT
06 ALTERNATE PICKING…
Master this and watch your playing become faster and more effortless
ust like strumming, alternate picking has playing one string at a time. Okay, this might much like strumming – synchronise your
down- and upstrokes at its core. Unlike qrw#vrxqg#ryhuo|#h{flwlqj#exw#ehdu#zlwk1#Krz# downstrokes with the musical pulse and place
strumming, this is more of a lead guitar |rx#slfn#pdvvlyho|#dļhfwv#|rxu#sod|lqj>#jhw#lw# |rxu#xsvwurnhv#lq#ehwzhhq1#Iroorz#rxu#h{huflvhv#
J whfkqltxh/#vr#zhġuh#wdonlqj#pdlqo|#derxw# right and your solos will soar! In truth, it’s wr#vhh#lpsuryhphqwv#lq#erwk#vshhg#dqg#wlplqj1#
LEVEL 1 PICKERSLAVE TRACK 25
q=120
Play 4 times
# Em
. . . .
3 3 3 3
T . .
14 14 16 17
. 14 16 17 17 16 14 16 17 .
B
≥≤ ≥≤ ≥ ≤ cont. sim.
Here we have two different six-note patterns on the middle two strings,
each played with a sequence of alternating down- and upstrokes.
Notice how the second grouping begins on an upstroke.
LEVEL 2 PICK LABEL TRACK 26
q=120
#
F m
4 n 4 Play 4 times
1 3 3 1 3 1 3 3 1 3
. . 1 1 1 1 . .
T . .
. 17 14 16 14 16 14 16 14 17 14 16 14 16 14 16 14 .
B
≥≤≥≤ cont. sim.
CLOSE TO ME
This Zakk Wylde-style lick has a two-note-per-string picking pattern. Aid your alt picking
It’s quicker than the previous lick but each grouping begins on by keeping your picking
a downstroke, which can make it feel more natural. hand close to the bridge
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! Raw Recruit Keen Picks-man Prince Of Picking
Just remember: ‘down-up,
If you’re alternate picking cleanly
The middle tempos are
FLATTS down-up’. Don’t veer from important. You should start at this tempo, well, let’s just say
these picking directions.
we’re envious!
to ‘feel’ the music now.
PICKING
This bluegrass-style lick will have you moving about from string to string – quite the challenge when you’re using strict alternate
picking. Practise slowly and learn four or eight notes at a time, keeping your pick moving ‘down-up’ throughout. Try flicking your pick
away from the strings on the upstrokes to lessen the chance of hitting the wrong string on the downstroke.
q=120
C G C
Play 4 times
. . . .
b n
T . 1 3 1 4 0 1 1 . 1
. 0 2 0 2 0 2 0 0 2 0 1 2 2 3 0 3 1 2 . 0
2
B 3 3 1 0 1 2 3
3
≥≤ ≥≤ cont. sim.
FEBRUARY 2020 TOTAL GUITAR
COVER FEATURE
07 FUNK-STYLE STRING MUTING…
Get your groove on with TG’s rhythmic riffing workout
i#|rxġyh#mxvw#ehhq#iroorzlqj#rxu#dowhuqdwh# note kind, typically have alternate picking at orrnlqj#pruh#vshflĽfdoo|#dw#vwulqj0pxwlqj#Ğ#
slfnlqj#zrunrxw/#zhoo/#er|/#kdyh#zh#jrw# wkhlu#khduw#Ğ#vr#wkh#wde#h{dpsohv#khuh#duh# using muted strings to give a funky, percussive
a surprise for you: more picking! Joking a great opportunity to further develop your elwh#wr#|rxu#pxvlf1#Frpelqh#wkh#wzr#whfkqltxhv#
I dvlgh/#ixqn#ulļv/#hvshfldoo|#wkh#vlqjoh0 delolwlhv1#Zkdwġv#glļhuhqwB#Zhoo/#khuh#zhġuh# dqg#|rxġoo#jhw#wkh#ixqn#lq#ehiruh#|rx#nqrz#lw1#
LEVEL 1 PICKING IN THE NAME TRACK 28
spotlight q=90
Lift your fretting finger to Dm Play 4 times
create funky muted . .
notes. Easy! . .
T . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ .
. 7 7 7 7 7 .
B
≥≤ ≥≤ cont. sim.
Listen carefully to hear this funky, muted line played over our heavy Rage
Against The Machine-style riff. Use alternate picking and press/relax your
fretting finger to generate the notes and mutes.
LEVEL 2 TOE TO TOE TRACK 29
q.=110
Dm Play 4 times
. . . .
56 œ
T . .
. ¿ ¿ ¿ ¿ 3 .
B 5 3 5 5 3
5 5
≥ ≤≥≤ ≥≤≥ ≤≥≤ ≥≤
Keep your picking hand moving down and up, accenting every three notes
here in our Steve Lukather-inspired riff. Listen closely! Several of the
upstrokes should be emphasised.
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! Up all night to get plucky! Cissy Struttin’ Disco Demon
While the tempo is slow, focus your
Emphasise the muted notes.
Move over Nile Rodgers!
CHIC TO energy on memorising the lick in full. The medium tempo should feel There’s a new disco diva in town.
more natural than playing slowly.
CHIC
Timing is key here in this Nile Rodgers-style riff, so tap your foot or count to four to keep, time and use strict alternate picking
throughout to lock in with the music. You can really make a meal of the muted notes here, so pick firmly and let the strings
‘pop’ back against the fretboard. Use a compressor pedal if you have one – it’ll help those funky mutes stand out.
q=100
Dm 7 Dm 6 Dm 7 Dm 6 Dm 7 Dm 6 Dm 7 Dm 6
Play 4 times
. . . .
T . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 6 ¿ ¿ ¿ ¿ ¿ ¿ 6 ¿ ¿ 6 ¿ ¿ 6 .
. 7 5 7 5 7 5 7 7 7 5 7 5 7 5 7 5 7 5 7 7 7 5 7 5 7 5 7 7 7 5 7 7 5 7 7 5 7 7 5 .
B
1
≥≤ ≥≤ ≥≤ ≥≤ cont. sim.
TOTAL GUITAR FEBRUARY 2020
2020 WORKOUT
08 FINGERSTYLE…
Using a pick isn’t the only way to hone your chops
hether you’re a regular steel string It’s a great way to reinvent tired chord fkdoohqjlqj#|rxuvhoi#e|#sod|lqj#idvwhu#ru#e|#
strummer or an occasional acoustic progressions with depth and detail. Here you uhzrunlqj#wkh#Ľqjhuvw|oh#sdwwhuq#iru#vrph#qhz#
maestro, every guitarist should have fdq#wdnh#d#orrn#dw#vrph#edvlfv#ru#ohyho#xs#zlwk# chords. If you struggle, take it slowly and work
W dw#ohdvw#d#ihz#Ľqjhuvw|oh#fkrsv#grzq1# our more challenging part. If it’s easy, try on one short phrase at a time.
LEVEL 1 LEN AND CO TRACK 31
q.=70
C Am
Play 4 times
. . . . . .
. .
let ring throughout
T . 1 1 .
. 2 0 2 2 .
B 3 0
p i m a p i m a
Start with this easy line and pick: thumb (p), index (i), middle (m) then ring
finger (a). Already a seasoned fingerstylist? Use the riff as a speed test
by gradually increasing the tempo you play at.
LEVEL 2 RULE OF THUMB TRACK 32
q=70
5
Csus 2 G /D
Play 4 times
. . . .
‰
let ring throughout
T . 3 3 3 3 .
. 0 0 0 0 0 0 0 0 0 0 .
B 3 3
m i p i m i p i feelin’ plucky, punk?
Get to know which finger
Step up your workout with this more challenging line which requires you to should pluck which string
move your thumb from string to string. Break it down into bite-sized for more efficient playing
phrases if you struggle.
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! Fingers And Thumbs Easy As PIMA Finger-pickin’ Good!
At these tempos, you’re
There’s a lot to learn, so keep it
Start to apply the fingerpicking
PLUCKING slow and practise the chord patterns and gradually increase a fingerpicker extraordinaire!
your tempo.
changes first.
OUT LOUD
This Ed Sheeran-style riff uses a combination of single-note fingerstyle playing and two-note shapes. You can experiment
with which fingers feel comfortable for you, but remember to check the notation for the downward stems, as these are
played with the thumb.
q= 90
5
5
Gsus 2 D /A D Dsus 2 Bm 11 Gsus 2 D /A D Play 4 times
#
. . . . . .
. .
. .
T . 3 3 2 3 0 3 0 3 3 2 3 2 3 .
3
3
. 0 2 0 2 0 0 2 0 2 0 2 0 2 0 0 2 2 0 2 .
B 0 2 0
3 3 3 3
p i a p p i a p p i a a m p p a p i a p p i a p p i a m i p i a
m m m m m m m m
i
FEBRUARY 2020 TOTAL GUITAR
COVER FEATURE
09 STRING BENDING…
Channel your inner guitar hero with this easy soloing tip
rom BB to Bonamassa, Slash to Slayer, |rx wkdw$ D kxpeoh whfkqltxh lw pd| eh/ exw krz |rx ehqg1 Edvlfdoo|/ lwġv d pdwwhu ri
suhww| pxfk hyhu| urfn/ phwdo dqg eoxhv it’s also a tricky one. Even something as simple ghyhorslqj d ihho iru krz idu wr ehqg/ doo
guitarist who ever played a solo uses as replacing your strings with a lighter- or the while keeping your ear attuned to tell
F vwulqj ehqgv Ğ |rx grqġw qhhg xv wr whoo khdylhu0jdxjh vhw fdq eh hqrxjk wr dļhfw you when you hit the sweet spot.
LEVEL 1 BEND IT LIKE BERRY TRACK 34
3 j
q= 90 qq qq
=
A 5 Play 4 times
. . œ j œ j œ j œ j . .
T . BU 5 BU 5 BU 5 BU .
()
()
()
()
. 7 9 7 9 7 9 7 9 .
B
This blues-tinged rock ’n’ roll lick is a great way to hone your bends – simply
bend the third string up by two frets. It should be the same pitch as the
fretted note on the second string.
LEVEL 2 NOISEGARDEN TRACK 35
q= 80 5
E
Play 4 times
. .
58 . .
b
T . BU BD .
. 7 () () 5 BU BD 9 .
7
8
B 7 5 7
6
5 () () 3 0
5
pitch-shifter
Three fingers are better
than one when it This sludgy rock riff uses semitone bends in a ‘pull-down’ motion.
comes to string bends! Fret the fourth string and turn your wrist to lever the string towards
the floor. It’s much the same when you reach the sixth string.
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! Round The Bend Steady String Slinger Pitch Perfect!
Keep the tempo slow and practise
Once you’ve mastered the lick,
Start to piece the lick together and
SYNYSTER each short phrase on its own. build speed as you gain confidence. try playing just a little bit faster
to challenge yourself.
BENDS
Build up your bending skills with a mix of techniques here in our Avenged Sevenfold-inspired lick. In the opening bar, aim to time
your bends strictly with an eighth-note pulse. Bar 2 is more vocal and expressive, while bars 3 and 4 feature similar phrasing to
our second tab – just remember not to bend downwards every time!
j
œ
j j œ . ~~~ j .
œ œ
RP
BU BD BU ~~~~ BU BU BD
(
(
(
14 15) 15 17) 17 19) 17) 15 BU BD
(
(
15 17) ( 17 ) 15) 12 17 15 .
(
(
(
14 16 ) 14 ) 12
14 12 BU BD .
(
(
12 14 ) 12 ) 10
12 10 12
TOTAL GUITAR FEBRUARY 2020
2020 WORKOUT
10 WHAMMY BAR…
Let’s end our workout with a look at the techniques of Steve Vai, EVH and more
f your guitar’s equipped with a whammy wkuhh#rwkhu#whfkqltxhv/#wrr1#Iluvw/#wkh#vfrrs=# there’s the more challenging note-change
edu/#|rx#vxuh#dv#khoo#vkrxog#ohduq#wr#xvh#lw# txlfno|#gls#wkh#edu#grzq#dqg#uhohdvh#lw#edfn#wr# whfkqltxh#zkhuh#|rx#xvh#|rxu#edu#wr#wdujhw#
Ğ#dqg#fulnh|#fdq#lw#eh#wulfn|$#D#olwwoh#yleudwr# slwfk#dv#|rx#sod|#d#qrwh1#Grrsv#duh#vlplodu/#exw# vshflĽf#qrwhv1#Rqfh#djdlq/#euhdn#rxu#ulļv#grzq#
I khuh#dqg#wkhuh#lv#vlpsoh/#exw#wkhuh#duh# |rx#gls#wkh#edu#after#|rx#sod|#wkh#qrwh1#Ilqdoo|/# skudvh#e|#skudvh#dqg#|rxġoo#vhh#lpsuryhphqwv1#
LEVEL 1 SCOOPERMAN TRACK 37
q=70
Play 4 times Time at the bar!
E 5 Scoop Scoop Scoop Scoop Scoop Scoop Scoop
Whammy bar techniques
. . . . are hard, but can be a lot
of fun when mastered
Scoop Scoop Scoop Scoop Scoop Scoop Scoop
T . .
. 7 5 7 5 7 5 7 5 .
B
≥
Use hammer-ons and pull-offs to alternate between the 5th and 7th frets
and dip your whammy bar before each note in order to scoop in from below.
You don’t need to bend to a specific pitch here, just whatever sounds good.
LEVEL 2 HAN VALEN TRACK 38
q=100
E 5
w/bar Play 4 times
Doop Scoop Doop Scoop ~~~~~~~~~~~~~~~
# 59
. . . . .
w/bar
Doop Scoop Doop Scoop ~~~~~~~~~~~~~~~
T . 15 12 15 12 .
. 14 12 .
B
This one’s not hard, as such… It’s just tough to remember exactly where to
scoop or doop. Practise super slowly one note (or whammy bar move) at
a time until you get a feel for it.
60-90 BPM 90-120 BPM 120-150 BPM
CHALLENGE! Trem Trembler Van scalin’ up Whammy Bar Whizz
Work on the basics and don’t
You should be getting an ear for it. Push the tempo higher and try to
VAI-BRATO worry too much about small Now nail those note changes. stay accurate with every dip of
the bar.
errors.
We’re stepping up the difficulty level here – aside from the doop in bar 2, every whammy bar bend is targeting a specific note.
That means you need to check the tab for the relevant notes and listen closely as you adjust the bar. If your whammy bar
only lowers the pitch (i.e., it doesn’t bend upwards), try targeting the 16th, 14th and 12th frets in bars 1 and 2.
q.=80
# # #
Badd 11 Bmaj 7 11 Badd 11
√
w/bar
w/bar w/bar w/bar w/bar w/bar w/bar
~~
~~
# . ~~ . w/bar
. . .
.
. Doop
NH
~~~~
w/bar w/bar w/bar
~~~~
~~~~
w/bar w/bar w/bar Doop w/bar w/bar
T . 18 ( 19) 18) 16 ( 18) 16) 14 16) 14) [ 14] 0 5 () () 7 ( 6
5
4
(
(
(
(
.
B
FEBRUARY 2020 TOTAL GUITAR
CLASSIC
TRACK
60
QUEENS
OF THE
STONE AGE
NO ONE KNOWS
TG takes a look at Josh Homme’s
down-tuned stomping riffs, powered by
Dave Grohl’s pumping drums
TOTAL GUITAR FEBRUARY 2020
CLASSIC
TRACK
he lead single from QOTSA’s
breakthrough third album Songs GET THE SOUND
For The Deaf, No One Knows is
probably the band’s best known
song – it’s also their only track to Everything you need to know before playing ‘No One Knows’
T have topped the US Alternative
heQOTSAbraintrustkeeps
chart. Put it this way... Even if you know its own counselongearand
nothing about QOTSA, you’ll probably Get the tone CHANNEL OVERDRIVE Ttone. Butthismuchwe
still recognise No One Knows. know: Hommeisavintagegear
The most important info for us guitarists 6 5 6 aficionado, favouringguitarsby
Ovation, MatonandMotorAve.He
is that song is in C standard tuning (C F Bb 8 2
loves Ampeg’sVTseriescombos.
Eb G C). That means all six strings are Having playedaMatonMS500in
down-tuned by four semitones. If you’re the No One Knowsvideo,we’dbet
GAIN BASS MID TREBLE REVERB
de-tuning your guitar all the way from one would havebeeninthestudio,
too. There’s plentyoflow-end,
standard it’s worthwhile using heavier some overdrivecrunchanda
gauge strings so your action and Joshisgenerallya saucing of fuzz.Pedalssuchas
neckpickupguy,but
string tension remain optimal. the Stone DeafPDF-1addthedirt,
histoneisnever
If there’s one technique to master, it’s warm.Optfora the likes of theFulltoneFat-Boost
hold it together.Probably.
Homme’s choppy, staccato performance. humbucker,maxout
Lwġv qrw glĿfxow Ğ mxvw oliw rļ wkh vwulqjv yourguitar’stoneand
keepyouramp’s
wr nhhs wkh qrwhv vkruw1 Lwġv vxfk d pdmru
treblehigh.
part of the song though that your fret
kdqg zloo eh erxqflqj rq dqg rļ wkh
strings to nail the feel.
CHORDS SCALES
emember, the guitars are down-tuned by four semitones, so the he song is mainlyin 61
chord names don’t relate to the positions you’d normally expect C minor, soyoucansolo
R wr#Ľqg#wkhp#lq#rq#d#jxlwdu#lq#vwdqgdug#wxqlqj1#Vwloo/#fkrug#qdphv# T pretty muchfromstart
dvlgh/#prvw#ri#wkhvh#duh#hdv|#wr#sod|1#Mxvw#uhphpehu#wr#wxqh#grzq#Ľuvw$ to end using theCminor
pentatonic scale.Thesolouses
notes from the CDorianmode,
X X X X X X X
too. Learn theseshapesand
1 1 1 1 1
7 7 6 see how Homme’ssoloisput
2
2 together. As withthechords,
3
3 3 3 3 3 3 these scales looklikethey’re
in E, but down-tuningmeans
4 4
they’re actually inC.
4
C F Bb Eb G C C F Bb Eb G C C F Bb Eb G C C F Bb Eb G C
Cm Csus4 G7 B
X X X X O O X X X X O X X X X X X 1 1 1 1 1 1
12
1 1 1
7 7 8
2 3 3 3
3 3 3 4 4 4
C F Bb Eb G C
C minor
C F Bb Eb G C C F Bb Eb G C C F Bb Eb G C C F Bb Eb G C pentatonic scale
G5 F5 Cm Ab5
X X X X X X X X X X X X 1 1
11
1 1 1
6 5 12 1 1 2 2 1 1 Guitars: Jon Bishop Drums: Pete Riley Photo: Photo by Kevin Winter/Getty Images
3 3 3 3 3 4 4 3 3
4 4 4
C F Bb Eb G C
C Dorian mode
C F Bb Eb G C C F Bb Eb G C C F Bb Eb G C
B5 F5 C5
FEBRUARY 2020 TOTAL GUITAR
CLASSIC
TRACK
NO ONE KNOWS
QUEEN OF THE STONE AGE Words and Music by Mark Lanegan, Josh Homme and Nick Oliveri. Copyright
© 2002 Board Stiff Music, Heavenly Songs, Ripplestick Music and Natural
Light Music. All Rights on Behalf of Board Stiff Music Administered Worldwide
by Kobalt Music Group Ltd. All Rights on Behalf of Heavenly Songs and
NO ONE KNOWS Church Street, Suite 1200, Nashville, TN 37219. All Rights on Behalf of Natural
Ripplestick Music Administered by Sony/ATV Music Publishing LLC, 424
Light Music Administered by Universal Music Publishing Ltd. All Rights
Reserved. Used by Permission of Hal Leonard Europe Ltd.
QUEENS OF THE STONE AGE NO ONE KNOWS Intro / main riff
3 j
=
q=173 qq qq
Cm Csus 4
. . . .
. . .
. . .
. .
C 12 12 12 12
T G 8 8 8 8 10 10 8 10 10 8 10 10 8
E b 9 9 9
B b 9 9 9 9 9 9 9 9 9 9
B F 7 7 7 7 ¿ 7 7 7 7 ¿ 7 7
C 0 0
1
. .
. . . .
.
. . . . .
NH
. .
BU BD
7
T 10 10 8 10 10 8 10 10 ( 12) 10 ) 10 10 8 ¿ 7
(
9 9 9 7
9 9 9 9 9 9 9 9 9
B 7 7 ¿ 0 7 7 7 7 ¿ 0 7 7 7
6
62
The opening Cm chord is a bit of a stretch, so make sure to warm up first. Leave out the 12th fret if you can’t reach it. Notice that the third string is muted out – the way to
do this is to curve your barring finger so you’re not pressing down with your middle knuckle. Keep the sixth string quiet by stubbing the tip of your barring finger against it.
QUEENS OF THE STONE AGE NO ONE KNOWS Verse 1
Cm
. . . .
. . . . . . .
. . . . . . .
0:13
PM PM PM PM PM PM PM
C
T G . 8 8 8 8 8 8 8 8 8 8 8 .
E b
B b . 9 9 9 9 9 9 9 9 9 9 9 .
B F 7 7 7 7 7 7 7 7 7 7 7
C 0 0 0 0 0 0 0
1
G 7 B
. . . . . . . . . . . .
T 10 10 10 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 7 7 7 7 7 7 8 8 8 8 8 8 8 8 8 8
B 9 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7 7
5
Csus 4
. . . . . 1/4
. . . .
. .
0 1/4
T 10 10 8 10 10 8 10 10 8 10 5
9 9 9
9 9 9 9 9 9 9
B 7 7 7 7 ¿ 7 7 7
0 0
9
The verse consists of short, rhythmically-played chords and again relies on good fretting-hand-muting to keep things tidy. The final stab in bar 12 features unison
notes played together. The note on the 5th fret is bent slightly sharp to provide a clashing dissonance.
TOTAL GUITAR FEBRUARY 2020
QUEENS OF THE STONE AGE / NO ONE KNOWS
QUEENS OF THE STONE AGE NO ONE KNOWS Verse 2
Cm
. . . .
. . . . . . .
. . . . . . .
0:36
PM PM PM PM PM PM PM
C
T G . 8 8 8 8 8 8 8 8 8 8 8 .
E b
B b . 9 9 9 9 9 9 9 9 9 9 9 .
B F 7 7 7 7 7 7 7 7 7 7 7
C 0 0 0 0 0 0 0
1
G 5 G 7 G 5 G 7 G 5 G 7 G 5 G 7 B
. . . . . . . . . . . . .
T 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 8 8 8 8 8 8 8 8 8 8
B 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7
5
Csus 4
. 3 3 . .
. . . . 63
. .
T 10 10 8 10 10 8 10 8 10 10 8
9 9 9
9 9 9 9 9 9 9 9
B 7 7 7 7 5 7 5 7 7 7 7 ¿
0 5 7 7 0
9
G 5 G 7 G 5 G 7 G 5 G 7 B
. . . . . . . . . . . .
T 10 10 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 7 7 8 8 8 8 8 8 8 8 8 8
B 9 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7 7
13
Csus 4 j ~~~~
. œ . .
. . . .
. ~~~~~ .
12
T 10 10 8 10 10 8 BU 10 10 8 10 10 8
(
9 14 16 ) 9 9
9 9 9 9 14 9 9 9 9
B 7 7 7 7 7 7 7 7 ¿
0 0
17
Verse 2 is mainly a repeat of the first verse, but with a few noteworthy changes. First up, notice the fast triplet riff at the end of bar 10. It’s a little fiddly to play, but the
main challenge is getting into position quickly enough. Struggling? Ditch the preceding 8th-fret note to give yourself a moment to get into position.
FEBRUARY 2020 TOTAL GUITAR
CLASSIC
TRACK
QUEENS OF THE STONE AGE NO ONE KNOWS Bridge 1 & 2
Cm G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5
. . . .
1:10
2:34
C
T G . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ .
E b 9 11 12 11 14 12 16 14
B b . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ .
B F 7 9 10 9 12 10 14 12 9 0 9 0 9 0 9 0 9 0 9 0 9 0 9 0
C 7 0 7 0 7 0 7 0 7 0 7 0 7 0 7 0
1
Cm G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5
T ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
12 11 9 8 9 11 12 11
B 10 ¿ 9 ¿ 7 ¿ 6 ¿ 7 ¿ 9 ¿ 10 ¿ 9 ¿ 9 0 9 0 9 0 9 0 9 0 9 0 9 0 9 0
7 0 7 0 7 0 7 0 7 0 7 0 7 0 7 0
5
Cm G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5 G 5 F 5
T ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
9 11 12 11 14 12 16 14
64 B 7 ¿ 9 ¿ 10 ¿ 9 ¿ 12 ¿ 10 ¿ 14 ¿ 12 ¿ 9 7 0 9 7 0 9 0 0 9 0 9 7 0 0 9 0 0 9 7 0 9 7 0 0
0
0
7
0
7
0
7
9
If you have an overdrive or booster pedal, kick it in here. Get the octave melodies in bars 1 and 2 down by practising only the root notes at first – this’ll give you a marker
to follow as you move around the fretboard. For the powerchords, emphasise the fretted G5 chords; the open string F5 should fall naturally in between.
QUEENS OF THE STONE AGE NO ONE KNOWS Main riff reprise
4
Csus
. . . . . 1/4
. . . .
1:32 . .
1/4
C 0
T G 10 10 8 10 10 8 10 10 8 10 5
E b 9 9 9
B b 9 9 9 9 9 9 9
B F 7 7 7 7 ¿ 7 7 7
C 0 0
This reprise of the main riff takes us neatly into verse 3. Again, the unison notes are bent out of tune with a quarter-tone bend.
QUEENS OF THE STONE AGE NO ONE KNOWS Verse 3
Cm
. . . .
. . . . . . .
1:38 . . . . . . .
PM PM PM PM PM PM PM
C
T G . 8 8 8 8 8 8 8 8 8 8 8 .
E b
B b . 9 9 9 9 9 9 9 9 9 9 9 .
B F 7 7 7 7 7 7 7 7 7 7 7
C 0 0 0 0 0 0 0
1
TOTAL GUITAR FEBRUARY 2020
FULL TRACK + BACKING (TRACKS 40-41)
This song comes with a full demo track and a backing
track (minus guitar) on your CD. Simply insert the disc in QUEENS OF THE STONE AGE / NO ONE KNOWS
your player, press play and jam along guitaraoke style!
QUEENS OF THE STONE AGE NO ONE KNOWS Verse 3 (cont’d)
5 7 5 7 5 7 5 7
G G G G G G G G B
. . . . . . . . . . . . .
T 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 8 8 8 8 8 8 8 8 8 8
B 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7
5
Csus 4
. 3 3 . . . .
. . œ œ . .
.
. œ NH
7
T 10 10 8 10 10 8 10 10 8 10 7
9 9 7
9 9 9 9 9 9 9
B 7 7 7 7 5 7 5 7 7 7
0 5 7 7 0
9
Structurally, verse 3 is a repeat of verse 1 but with some rhythm variations and some of the flourishes and embellishments seen elsewhere. Overall though, there’s
nothing that you haven’t seen earlier in the song already, so practise slowly and gradually take onboard where the changes occur.
QUEENS OF THE STONE AGE NO ONE KNOWS Verse 4
Cm
65
. . . .
. . . . . . .
2:00 . . . . . . .
PM PM PM PM PM PM PM
C
T G . 8 8 8 8 8 8 8 8 8 8 8 .
E b
B b . 9 9 9 9 9 9 9 9 9 9 9 .
B F 7 7 7 7 7 7 7 7 7 7 7
C 0 0 0 0 0 0 0
1
G 5 G 7 G 5 G 7 G 5 G 7 G 5 G 7 B
. . . . . . . . . . . . .
T 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 8 8 8 8 8 8 8 8 8 8
B 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7
5
Csus 4 C 5
. . . .
. . . . . .
. .
T 10 10 8 10 10 8 10 10 8 10 10 8
9 9 9 9
9 9 9 9 9 9 9 9 9 9
B 7 7 7 7 ¿ 7 7 7 7 7 7
0 0
9
FEBRUARY 2020 TOTAL GUITAR
CLASSIC
TRACK
QUEENS OF THE STONE AGE NO ONE KNOWS Verse 4 (cont’d)
G 5 G 7 G 5 G 7 G 5 G 7 G 5 G 7 B
. . . . . . . . . . .
T 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 8 8 8 8 8 8 8 8 8 8 8 8
B 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7
13
4
Csus j ~~~~
. œ . .
. . . .
. ~~~~~ .
T 10 10 8 10 10 8 BU 12 10 10 8 10 10 8
(
9 14 16 ) 9 9
9 9 9 9 14 9 9 9 9
B 7 7 7 7 7 7 7 7 ¿
0 0
17
Verse 4 is the longest verse so far and there is a new fill to learn in bar 18. It’s a basic pentatonic line – a string bend from the 14th fret to the 16th, plus a couple of other
notes. On its own it’s pretty easy, but the big shift from the 8th fret makes it much harder. Simply omit the 8th fret note and move early while you’re learning.
66
QUEENS OF THE STONE AGE NO ONE KNOWS Bridge 3
C 5 G 5 A b5 B 5 G 5 F 5 G 5
3 3
. . . .
b n
œ œ œ
2:57
C
T G . .
E b
B b . ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 8 .
B F 14 ¿ 14 ¿ 14 ¿ 14 ¿ 14 ¿ 14 ¿ 14 ¿ 14 ¿ 14 ¿ 14 ¿ 14 ¿ 14 ¿ 9 10 6 9 7 9
C 12 12 12 12 12 12 12 12 12 12 12 12 7 8 7 5 7
1
5 b5 5 5 5 5 5 b5 5 5 5 5 5 b5 5 5 5 5 5
G A B G F G G A B G F G G A B G F G C
3 3 3 3 3 3 3
b n b n b n
T
8 8 8
B 9 10 6 9 7 9 9 10 6 9 7 9 9 10 6 9 7 9 14
7 8 7 5 7 7 8 7 5 7 7 8 7 5 7 12
5
This high-octane riffing section leads up to the guitar solo. Bars 1 to 3 are fairly straightforward, but the triplet rhythms that follow may take time to master. For these
triplets there should be three pick strokes in the space of four compared to bars 1 to 3. In reality, it’s a bit of a ‘feel thing’, so listen closely and practise slowly.
TOTAL GUITAR FEBRUARY 2020
QUEENS OF THE STONE AGE / NO ONE KNOWS
QUEENS OF THE STONE AGE NO ONE KNOWS Solo
C 5 ~~~~~~~~~~~
~~~~~~~~~~
3:19 3 3 3 3
C 0 0 0 0 0 0 0 0 0 0
T G 5 7 7 8 8 10 10 12 12 12 17 17 15 15 19 19 15 15 ( 17) 15
E b
B b BU
B F
C
1
~~~~ ~~~~~~~~ D 5
~~~~~~~~~~~~ ~~~~~~~~~
3 3 3
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~
0
T 0 12 12 10 8 10 10 8 7 8 8 7 5 7
B
4
E b5 D 5 C 5 D 5
~~~ ~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~~
~~~~~ BU ~~~~~~~~~~ BU ~~~~~~~~~ BU ~~~~~~~~~~
T 7 8 7 5 7 12 8 12 ( 15 ) 8 12 ( 15 ) 8 12 ( 15 )
9 9 9
B 67
7
E b5 D 5 C 5
3 3 3 3 3 3 3 3
14 10 14 10 14 10 14 10 12
T 12 15 12 15 12 15 12 15
14 12 14 12 14 12 14 12
B
11
The phrasing is a bit loose at the start of the solo so feel free to experiment with rhythm and note choice. Bars 4 to 10 have a strong, tuneful melody which is probably best
followed more tightly. The final lick is tough, with the first string notes being the main culprits. Again, experimenting with note choice might make things easier.
QUEENS OF THE STONE AGE NO ONE KNOWS Outro verse
Cm
†
. . . . . . .
œ œ œ œ œ œ œ
3:46 . . . . . . .
¿ PM PM PM PM PM PM PM
C ¿
T G ¿ 8 8 8 8 8 8 8 8 8 8 8
E b
B b 9 9 9 9 9 9 9 9 9 9 9
B F 7 7 7 7 7 7 7 7 7 7 7
C 16 0 0 0 0 0 0 0
1 † strum behind the nut
FEBRUARY 2020 TOTAL GUITAR
CLASSIC
TRACK
QUEENS OF THE STONE AGE NO ONE KNOWS Outro verse (cont’d)
G 5 G 7 G 5 G 7 G 5 G 7 G 5 G 7 B
. . . . . . . . . . . . .
T 10 10 10 10 10 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
7 7 7 7 8 8 8 8 8 8 8 8 8 8
B 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7
6
Csus 4 C 5
. . . .
. . . .
œ NH œ
. .
7
T 10 10 8 10 10 8 7 10 10 8 10 10 8
9 9 7 9 9
9 9 9 9 9 9 9 9 9 9
B 7 7 7 7 7 7 7 7 7 7
0 0
10
68
G 5 B
. . . . . . . . . . . . . .
T 8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8
8 8 8 8 8 8 8 8
B 9 9 9 9 9 9 9 9 9 9 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7 7
14
Once again, this final verse contains fills and rhythm parts you’ve already seen so it’s just a case of learning the order.
QUEENS OF THE STONE AGE NO ONE KNOWS Ending
Cm . . . .
.
4:09
C 12 12 12 12 12
T G 8 8 8 8 8
E b
B b 9 9 9 9 9
B F 7 7 7 7 7
C
Thetrackendsinthesamewayitbegins,withstabsontheCmchord.It’seasytoaimtonailthetimingandplaythechordsascleanlyasyoucan.
TOTAL GUITAR FEBRUARY 2020
Creating guitarists
for more than 50 years
NEW ISSUE
ON SALE
NOW
Available to order online at www.myfavouritemagazines.co.uk
ROCK
SCHOOL
STEVE VAI
DIE TO LIVE
Get to grips with Rockschool’s Grade
Eight-level playing with a look at guitar
genius Steve Vai’s stunning instrumental
ppearing on Steve Vai’s Alien the track, which, combined with the
Love Secrets EP, Die To Live overdriven tone, can sound muddy –
features a blend of advanced accurate tuning and pitch bending is
Aharmonic and rhythmic imperative then if you’re aiming for
concepts, quirky melodic lines, a tidy, Vai-like performance.
immaculate delivery and stunning In bar 3 you’ll encounter tapped-
use of harmonics, legato, tapping and harmonics. These are played by
whammy bar techniques. Plenty to be erxqflqj#d#slfnlqj0kdqg#Ľqjhu#rq#
getting on with at Rockschool’s the strings 12 frets higher than the
Grade Eight level, then! fretted notes. Also, be sure to watch out
Wkh#vrqj#vwduwv#zlwk#d#ulļ#edvhg# for the changes from 7/4 to 4/4, though
around A and Asus2 chords. There are it’s only a matter of counting either
several major 3rd intervals throughout seven or four beats per bar.
70
Whether you’re taking your first steps on guitar or
movingintofurther/highereducation,aRockschool
Gradewillimproveyourplayingabilitywhilstyou
learniconictracksfromtheworldofpopularmusic.
Formoreinfovisit:www.rslawards.com DIE TO LIVE
Words & Music by
facebook.com/rslawards
© Copyright 1995 Sy Vy Music.
Carlin Music Corporation.
instagram.com/rslawards
All Rights Reserved.
@RSLAwards @mikegoodmanguitar International Copyright Secured.
STEVE VAI DIE TO LIVE TRACKS 42-43
q =128 2
A Asus A
. . . .
†
PM TH 14
0 0
T 2 0 2 0
2 2 2 4 2 2 2 4 4
2 2 2 2
12 0 0
1 † Tapped harmonic:
Fret notes as indicated in tablature and tap strings
above fret indicated between the staves
A Asus 2 A
PM TH 14 PM
0
T 2 0 2 2 2 3 2 Words: Mike Goodman Photography: Dimitri Hakke/Getty
2 2 2 4 2 2 4 2 2
2 2 2 2
B 0 0
4
TOTAL GUITAR FEBRUARY 2020
FULL TRACK + BACKING (TRACKS 42-43)
This song comes with a full demo track and a backing
track (minus guitar) on your CD. Simply insert the disc in STEVE VAI / DIE TO LIVE
your player, press play and jam along, guitaraoke style!
STEVE VAI DIE TO LIVE (cont’d) TRACKS 42-43
%
A Asus 2 A
TH 14
PM
0
T 2 0 2 2 3 2 3 7 5
2 2 2 4 2 2
2 2 2 2
B 0 0
6
A Asus 2 A
PM TH 14 3
0
T 2 0 2 2 2 3 2 3 2
2 2 2 4 2 2 4 2 2
2 2 2 2
0 0
8
2 2
A/D Asus /D A/D
PM TH 14 PH
0
T 2 0 2
2 2 2 2 4 2 2 2 2 4 2 2 9 9
0 0 0
10
71
A
TH 14 3
T 2 2 3 2 2 2 2 5 2 5 2
2 4 4 4 6 2 2 4 2 2
2 2 2
0 0
12
Cadd 9 C/F A
. . .
TH 14 NH
3 0 5
T 3 1 2 2 5 5 5
0 0 2 2 5
5 3 2 0 2 2 3
B 3 3 0
14
To Coda fi
Fmaj 9 G F A
j j j j
œ œ # # #
n n
0
T 1 12 10 10 BU BD BU
0 12 10 10 9 7 9 2
5
3 12 10 10 2 4 (( )) ( ( 4 )) ( ( 5 )) 2 0
B 7 5 7 0 4
1 1
16
FEBRUARY 2020 TOTAL GUITAR
ROCK
SCHOOL
STEVE VAI DIE TO LIVE (cont’d) TRACKS 42-43
# 11
G F m
. . . . j j j j
œ œ
. n .
0
T 3 2 0 2 0
2 4 6 2 2 4 2 2 2
3 2
18
Fadd 9 E
.
n . .
let ring
T 1 9 7 9
2 0 9 7 9
3 5 0 3 5 9 7 9
1 0
22
B/E A/E E D/E
. . œ
.
.
BU BD
0 0
T 9 0 ))) (( ))( ) 7 9 12 [ [ 12 ]] 10 9 7 5 5
9
9
9 1 0 )) (( )) 7 9 11 [ [ 11]] 9 9 7
9 ( ( 1 10)) (( )) 7 9 13 [ [ 13]] 11 9 7
9
B
0
72 25
A Asus 2 A
j j j j
œ œ
0 0
T 14 17 12 0 12 10 17 0
2 2 4 2 4 2 4
2 2 2
0 0
28
j j
œ œ œ
j j j
œ œ œ
BU BD
0 0
T 14 17 19 17 0 14 15 )) [ [ 15]] ( ( ( 1 0
( ( (
14)) 12
6 9 11 9 14 BU BD
11 14 16 14
( (
0 4 7 9 7 0 4 5 )) ( ( 4 )) 2 0
30
n
A/D
.
. .
0 12 [ [ [ 12 ]] 10 14 14 14 15 14 10 14 12
T 14 17 12 0 12 [ [ 12]] 10 14 14 14 15 14 10 14 12
2 6 6 9 4 2
0 0
0
32
TOTAL GUITAR FEBRUARY 2020
STEVE VAI / DIE TO LIVE
STEVE VAI DIE TO LIVE (cont’d) TRACKS 42-43
A
#
j j
œ #
0 BU BD
T 14 12 0 14 14 14 14 10 10
( (
14 11 14 9 2 4 ( ( ( ( ( 5 ))) 4 ))( ) 2 14 14 12 14 12 12
5 )) 4 ))
( (
4
2
B 0 BU BD 0
( (
( (
4 5 )) 4 )) 2 0
34
Cadd 9 C/F A
#
n . . .
TH 14 NH
0 5
T 1 2 2 5 5 5
0 2 2 5
12 5 3 2 0 2 2 2 3
B 10 10 0
8 8
36
Fmaj 9 A Asus 4
‰
n
0
T 1 12 10 10 2 3
0 12 10 10 9 7 9 2 2
3 12 10 10 2 2
B 7 5 7 0 0
1 1
38
73
# 11
F m G 5
D.%. al Coda fi
let ring
0 0
T 3 3 0
2 2
4 5
4 5
2 3
40
# 11
fi Coda A Asus 4 F m G 5
let ring
0 0
T 2 3 3 3 0
9 2 2 2 2
2 2 4 5
7 0 0 4 5
2 3
43
Asus 2
5
A
let ring
7 7
T 10 10 10 10
2 9 9
2
B 0
47
There are many tricky elements to this song, so home in on any challenging areas first. Those fiddly tapped harmonics are shown with the fretted notes in diamonds –
simply tap at the fret marked TH. If 7/4 time is new to you, set a metronome to have an emphasised beat every seven beats - that’s the first beat of the bar. Just remember
to switch it off when you reach 4/4 time in bars 18 and 39.
FEBRUARY 2020 TOTAL GUITAR
JAM
TRACK
JAM TRACK PLAY GUITAR WITH A BAND!
80S ROCK
Explore the melodic styles of guitarists like
Phil Collen, Richie Sambora and Neal Schon
with TG’s soft rock play-along
he 1980s saw rock music iru#vrorv1#Ghod|#lv#hvvhqwldo#iru#volfn#
producers taking production leads, but the real secret weapon is the
values to new levels, with bands humble compressor, which will tame
Tlike Def Leppard and Bon Jovi peaks in your signal and deliver
releasing albums whose sound would dxwkhqwlf#vprrwk#ohdgv1#
ghĽqh#dq#hud1#Iru#jxlwdulvwv#zlvklqj#wr# This month’s Jam Track is inspired
recreate some classic tones, that e|#vriw#urfn#dqg#edoodgv#iurp#wkh#;3v1#
phdqv#Ľulqj#xs#d#ihz#hļhfwv#shgdov1# There are no direct shortcuts to play in
Top of any pedalboard essentials list the style, but, when it comes to
zrxog#eh#prgxodwlrq#+fkruxv/#ľdqjhu# soloing, try to stick to tuneful, melodic
74 hwf,#dqg#ghod|1#Xvxdoo|#dvvrfldwhg#zlwk# olfnv1#Wkh#pdmru#dqg#qdwxudo#plqru#
ulqjlqj#fohdqv/#prgxodwlrq#hļhfwv# scales are better options than
were also commonplace on drive tones shqwdwrqlfv#iru#wklv1
SCALES CHORDS
kh#wudfn#vwd|v#lq#I&#plqru#wkurxjkrxw1# udfwlvh#wkhvh#vkdshv#wr#mdp#dorqj#zlwk#rxu#wudfn1#Wkh|ġuh#pdlqo|#eduuh#fkrugv/#
This is good news because it means dowkrxjk#wkh#H#fkrug#lq#wkh#yhuvh#dqg#wkh#H8#dqg#G2I&#lq#wkh#plggoh#duh#rshq#
T |rx#rqo|#qhhg#wr#xvh#wkh#rqh#vfdoh1# P srvlwlrq#vkdshv1#Zhġyh#vkrzq#wkh#ixoo#vkdshv#iru#wkh#eduuh#fkrugv/#exw#|rxġoo#jhw#
The bad news is that sticking to one shape d#wljkwhu/#pruh#irfxvhg#vrxqg#li#|rx#irfxv#|rxu#slfnlqj#rq#wkh#orzhu#vwulqjv1
can get a little boring, so it’s worth learning
a few patterns so you can cover more of the
X X
iuhwerdug1#Zhġyh#jlyhq#|rx#wkuhh#vkdshv#wr#
zrun#zlwk1#Wu|#dovr#sudfwlvlqj#wkhp#45#iuhwv# 1 1 1 1 1 1 1
5 5
kljkhu#xs#wr#h{sdqg#|rxu#rswlrqv1#
1 1 1 1 2
2 3 4 3 4 2 3 4
1 1
4
3 4
1 1 1 2 1 1 1 1
2 3
3 3 3 4 3 4 3 3 F#m D A E
4 4 4 4 4
O O O X XX O X X X X 0 X
F# natural F# natural
minor scale minor scale
1
1 1 1 1 1
9
2 3 1 2 3 1 2
2 2 Guitars and backing: Duncan Jordan Photography Gary Wolstenholme /Getty
3
3 3 3
4 4 4 4 3 4
F# natural
minor scale E F#5 E5 D/F#
TOTAL GUITAR FEBRUARY 2020
BACKING TRACK (TRACK 44)
This song comes with a backing track on your CD.
Simply insert the disc in your player, press play and JAMTRACK/80SROCK
jam along, guitaraoke style!
JAM TRACK
our h
CHEAT SHEET
Tempo: 105 bpm
Hy
Time signature: 4/4
Key/scale: F# minor ria
INTRO / VERSE
|| : F# m / / / | / / / / |D / / / |A / E / :| | x6
PRE-CHORUS
|| : F# m / E / | D / / / | F# m / E / | D / / / :| |
75
CHORUS
| F# m / / / | D / / / | E / / / | / / D / |
| F# m / / / | D / / / | E / / / | / / D / |
| F# m / / / | / / / / ||
MIDDLE
| F#5 / / / | E5 / / / | F#5 / / / | E5 / / / |
| D/F# / / / | E5 / / / | F#5 / / / | / / / / ||
The chords are remarkably similar for the entire track – and this can pose a bit of a riddle if you’re trying to play creatively throughout. Try varying the texture of your
playing to match the music, opening out with flashier licks as the music builds, then taking it back down again during softer moments.
RUARY 2020 TOTAL GUITA AR
TURN
AROUND
THE TURNAROUND LICKS OF THE BLUES GIANTS
DUANE ALLMAN
Learn the style of this legendary player with five tab
examplesandabackingtracktopractiseover!
hough remembered by many as the a full time session musician at FAME studios
guitarist who played slide on the in Muscle Shoals, playing for Aretha Franklin,
extended outro of Derek And The Otis Rush, Boz Scaggs and many others.
T Dominos’ rock epic, Layla, there’s Though Duane is probably most associated
actually a huge amount of other Duane Allman with a Goldtop Gibson Les Paul, he was known
material to check out. In this month’s lesson, to use various other models, including the
we’re concentrating on his standard-tuned Fender Strat – so there’s no need to feel you
non-slide soloing, which played an equal pxvw#kdyh#d#vshflĽf#jxlwdu#wr#sod|#lq#klv#vw|oh1#D#
part in establishing Duane’s credentials – sweet sounding, treble-rich guitar and a light,
particularly the attention-grabbing solo at creamy overdrive is all you need to tackle this
the end of Wilson Pickett’s cover version of prqwkġv#wde/#lqfoxglqj#rxu#Ľqdo#wzr#h{dpsohv#
The Beatles’ Hey Jude, which would make – which are based on the harmonised dual-lead
Duane known to Eric Clapton, pre-Layla. guitar lines Duane played with Dickey Betts on
76 Duane was well-regarded enough by top tracks such as Blue Sky – one of the last
lqgxvwu|#Ľjxuhv#ri#wkh#gd|#wr#eh#wdnhq#rq#dv# recordings he made in his tragically short life.
1 BRIGHT MAJOR PENTATONIC SOUNDS TRACK 45
q=92
E A . .
# . ~~~~~~ j œ j œ j j . .
œ
œ
~~~~~~~ ~~~~~~~~~~
T BU BU BU BD 9 10 9 9 12 9 9 12
(
(
(
9 11 13) 11 14) 11 13) ( 11) 9 11 9 11 11 9 11 9 11
9 11
B
Duanewasfirstandforemostamelodicplayer,withinfluencesrangingfromRobertJohnsontoMilesDavis.Usinganeckpickupandmediumoverdrive,thisexampletakes
anEmajorpentatonic(EF#G#BC#)directionandaddsafewstaccatorhythmicnotesattheend.Usetheseapproachesforabright,Southernrockvibe.
2 COUNTRY-ROCK BENDS TRACK 46
E E 7 A
√ . j
j j . œ ~~
œ œ
j
œ
let ring
BU BU BD BU BU BU ~~~~
(
(
12 14 16 ) 14 16 ) ( 14 ) 12 14 12 9 12 12 Guitars and backing: Richard Barrett Photograph: Michael Ochs Archives/Getty
T 12 14 12 14 12 ( 14) 12 14) 12 14) 12 9 9
(
(
11 11 9
B
Goingformoreofasoaringhighregisterstyle,thisAllman-influencedlickaddsinsomecountry-rockinspiredstringbendswherethebentnotesringagainstafrettednote
–akaan‘oblique’bend.Thisalltakesplaceinbar3.Asyoucansee,youbendthesecondstringatthe12thfretwhileholdingthefirststringatthesamefret–aclassiclick!
TOTAL GUITAR FEBRUARY 2020
FULL TRACKS (TRACKS 45-49)
These tab examples come with audio tracks
on your CD. Simply insert the disc in your player, THE TURNAROUND / DUANE ALLMAN
press play and jam along, guitaraoke style!
3 SOUTHERN FRIED LICKIN’ TRACK 47
E A
√ j . j j ~~~ ~~~~~~~
# œ j œ j œ œ œ .
j
œ
let ring let ring
BU BU BD BU BU BU BU BU ~~~~~~~~~~~~~~
14 16 ) 14 16 ) ( 14 ) 12 12 12 14 16) 12
(
(
(
T 12 ( 14) 12 14) 12 12 14) 12 14) 12 9 9 12
(
(
(
11 9
B
An alternative take on our previous lick, this idea goes more for a memorable hook rather than what feels easy under the fingers – and you may need to chop and change
position around the 9th to 12th frets to find perfect finger position at any given moment. Try using either your second and third fingers for the oblique bends here.
4 HARMONISED ARPEGGIOS TRACK 48
E E 7 A
let ring throughout
0 0 0 0
T 12 12 12 12 10 10 10 10 10 10 10 10
13 13 13 13 11 11 9 9 9 9 9 9
14 14 14 12 11 11 11 11
B
1
77
Taking our inspiration from the Allm an/Betts brand of harmony licks, this ringing arpeggio could easily be harmonised with a second guitar playing other notes from the
same chords. You probably know E, E7 and A chords – just fret a shape you know and play the notes in time with our arpeggio.
5 MORE ARPEGGIOS TRACK 49
E E 7
#
0 0
T 9 9 9 9 7 7
9 9 9 9 7 7
9 9 9 7
B
1
n
A ≈ ≈
.
7 9 10 9
T 7 10 10
6 9 9 7 6 7 6
7 9 7
B 7 5 4
3
This lick begins in the same vein as our previous arpeggio before switching to the kind of harmony line that the Allman Brothers became so famous for. Our track is in
E Mixolydian (E F# G# A B C# D). To harmonise with our lick, aim to always be a 3rd higher or lower than the notes we play. For example, where we play an A note you’d
play C#; where we play B you’d play a D, and so on.
FEBRUARY 2020 TOTAL GUITAR
ON
SALE
NOW!
Then get properly serious with the world’s
finest tuition-only magazine. Every issue’s
packed with blues, rock, jazz, classical and
folk lessons from the very best tutors, all
with audio and backing tracks.
Guitar Techniques with moving tab
Print, digital and print/digital bundle offers at
synched to quality audio for every lesson,
www.myfavouritemagazines.co.uk is also available for iPad & iPhone
ACOUSTIC
Unplugged
82
YOUR MONTH IN THE ACOUSTIC WORLD
083
ACOUSTIC NEWS
084
ANDY SHAUF
086
ACOUSTIC TAB:
SUBSTITUTE
TOTAL GUITAR FEBRUARY 2020
ACOUSTIC
MORE TRACKS 50-54
MORE FIVE 6TH
MORTON CHORDS
Essential chords to
THE LAMB OF GOD fuel your creativity
GUITARIST COVERS
NEW GROUND O O
1
ot on the heels of last 2 3 4
year’s Anesthetic (and
a UK acoustic tour
earlier this month),
HLamb of God’s Mark
Morton has announced the release
of his solo EP, Ether, this month. E6
The largely-acoustic EP features
X
guest vocals from Lzzy Hale,
Killswitch Engage’s Howard Jones,
John Carbone (Moon Tooth) and
1
Mark Morales (Sons Of Texas).
As well as three original tracks,
the EP also features covers of
3 3 3 3
La^MZedlMh:g`^el (Black Crowes)
and ;eZ\d (Pearl Jam).
“Inspired by the acoustic sets 83
B6
I had the opportunity to perform
last spring and summer in support O O O
of Anesthetic, I began writing some
qhz#vrqjv#wr#uhľhfw#wkdw#pruh#
mellow vibe.” Mark says. “I’m 1
stoked with the results and 2 3
I can’t wait for everyone to hear
what we’ve been putting together.
Check back next month for
an extended interview with
G6
Mark Morton.
X X
1
10
DEEP FAITH 4 2 3
ANOTHER NEW MODEL
JOINS THE FAITH FAMILY
A6
ollowing last month’s Englemann spruce top with X X
announcement of the solid rosewood back and sides
1 2
British company’s debut dqg#ľdphg#pdsoh#elqglqj1#Wkh# 5
Fnylon-string acoustic, the Ľqjhuerdug/#eulgjh/#khdgvwrfn#
Lyra, Faith has announced another plate and heelcap are Macassan
Ľuvw#0#wklv#wlph/#lq#wkh#vkdsh#ri# ebony. This electro model is 3 4
a baritone model. Its body shape Ľwwhg#zlwk#wkh#Ilvkpdq#LQN6#
is based on a Faith favourite, the preamp system that features
baby-jumbo Neptune. The HiGloss an onboard chromatic tuner,
Neptune Baritone (£1,099) features three-band EQ and volume G6/B
a 680mm scale length for tuning control. The under-saddle piezo
to lower registers and features an pickup is Fishman’s Sonicore.
FEBRUARY 2020 TOTAL GUITAR
ACOUSTIC
Words Grant Moon
AndyShauf
CANADIAN MULTI-INSTRUMENTALIST ANDY SHAUF ON THE CRAFT OF
SONGWRITING, VINTAGE GEAR, AND HIS NEW ALBUM, THE NEON SKYLINE
’m always looking for something Eruq#lq#4<;9/#Vkdxi#juhz#xs#lq#d#vpdoo#wrzq# dqdo|vh#zk|#fhuwdlq#vrqjv#zrunhg#dqg#zk|#
glļhuhqw/Ĥ#vd|v#vlqjhu/# lq#Vdvndwfkhzdq/#zkhuh#klv#sduhqwv#udq#d#Udglr# wkh|#zhuh#glļhuhqw#iurp#wkh#vrqj#L#mxvw#zurwh1#
vrqjzulwhu/#jxlwdulvw/#sldqlvw/# Vkdfn#vwruh1#Zkdw#wkh|#frxogqġw#vhoo#wkh|# Lġg#zrqghu#zk|#wkh#fkrug#fkdqjhv#lq#^Wkh#
guxpphu#dqg#fodulqhwlvw#Dqg|# eurxjkw#krph/#vr#zkhq#kh#zdv#Ľyh#Vkdxi#jrw# Ehdwohvġ`#Michelle#duh#vr#vdwlvi|lqj/#wkhq#wu|#wr#
“I Vkdxi1#ģP|#kdqgv#zdqw#wr#jr#F# klv#Ľuvw#guxp#nlw/#wkhq#odwhu#vwduwhg#vwuxpplqj# zrun#lw#rxw#rq#jxlwdu1#Lġp#pdlqo|#d#vrqjzulwhu/#
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uhfrughg#vwudljkw#wr#txduwhu0lqfk#wdsh# edqg1#Lw#zdv#frro#wkrxjk/#wkh#kdugfruh#
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pdfklqh/#lq#wkh#ģvxshu0wlq|#jdudjh# derxw#khoslqj#hdfk#rwkhu#rxw#edfn#wkhq/#
vwxglrĤ#kh#uhqwv#lq#klv#krphwrzq#ri# dqg#wkh|ġg#olvwhq#dqg#vxssruw#|rx1Ĥ
Wrurqwr1#Fhoheudwlqj#wkh#hyhu|gd|/# Wkhuhġoo#eh#pruh#ri#wkdw#iurp#Iheuxdu|#
TONE IT DOWN!
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fkdudfwhu0edvhg#yljqhwwhv/#zlwk#vzhhw# vxssruw#ri#klv#odwhvw#zrun1#Kh#zdv#lq#
Take a cue from Andy and alter your
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vxssruwlqj#Vkdxiġv#lqglh0eulwwoh#yrlfh1# tuning for some interesting effects... Ir{zduuhq/#dqg#zloo#eh#edfn#djdlq#lq#
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“My guitar is always in C# standard tuning,” says Shauf.
wlph#kh#uhdfkhg#iru#klv#dfrxvwlf1 Ġqġ#doo,1#Lq#frqfhuw#kh#idyrxuv#klv#
“My grandfather’s old Minerva would stay in tune for
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a while then start slipping lower, and settle in C#.
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I’m a slave to the capo now. I put it on the third fret
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to play in regular [E] standard, but you really feel the
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hdv|#iru#p|#eudlq#wr#idoo#lqwr#phodqfkrolf/# lower like this can be a quick way to get richer, more Jlevrq/#exw#L#uhdoo|#olnh#p|#M0831#Vpdoo#
vorz/#prrg|#wklqjv1#Zlwk#d#jxlwdu#p|# resonant tone from your guitar, and standard chords sduorxu#jxlwduv#duh#qlfh#dqg#sxqfk|#lq#wkh#
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gives you C#, an A shape gives F#, and a G shape
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offers an interesting E. Photos: Colin Medley
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TOTAL GUITAR FEBRUARY 2020
INTERVIEW
85
“I WANTED TO GET
BACK TO THE GUITAR
TO WRITE MORE
LIGHT-HEARTEDLY”
FEBRUARY 2020 TOTAL GUITAR
LEARN
TO PLAY
OPEN-MIC SONGBOOK
THE WHO
SUBSTITUTE
Test your timing with Pete
Townshend’s energetic strumming
chops in this bona-fide British classic
ith their triumphant hard Townshend’s approach to rhythm
rock debut MyGeneration, guitar has always been, shall we say,
already on general release, forceful! And, though windmilling with
W The Who would follow up your strumming arm is all good fun,
with this single in the Spring of 1966. we’d say it’s more important to get
The band already had form for non- Shwhġv#vxshu0wljkw#wlplqj#grzq#Ľuvw1#
album hits. Just a year earlier ICan’t Lqlwldoo|#wkhq/#vwuxp#Ľupo|#exw#nhhs#
Explain had dropped – and both tracks |rxu#pryhphqwv#vpdoo#dqg#hĿflhqw#
remain fan favourites to this day. Ğ#h{fhvvlyh#prwlrq#fdq#dļhfw#|rxu#
Here you’ll be looking at guitarist timing as each strum moves farther
86 Pete Townshend’s tight strumming away from the strings. Keep it tight and
technique and the chords he used to those partial chords will sound better
fuhdwh wkh vrqjġv rshqlqj ulļ1 too, as the idle strings stay silent.
CHORDS
X X O X X O X X O X X O
m, D (the second one!), G, A and
D/F# are basic open chords. Easy 1 1 1
5 5
Evwxļ#wkhq$#Wkhvh#vkrxog#srvh#qr#
2 1 2
problems! The other shapes are
perhaps less commonly used on 3 4 1 1 3
acoustic guitar, more often heard in 2
electric rhythm guitar parts instead.
And, though Townshend reached for
a 12-string to record this track, it’s by D A/D G/D D
no means essential. Unless you’re
dead set on 100 per cent authenticity,
O O O O O O X O O X O X
any steel-string acoustic will do.
1 2 3 2 3 4 1 2
2 3 4 3
G Em A D/F#
SUBSTITUTE Guitars and backing: Charlie Griffiths Photo: Getty
Words and Music by Peter Townshend
© 1966 & 1976 Fabulous Music Ltd.
International Copyright Secured.
All Rights Reserved. Used by Permission.
TOTAL GUITAR FEBRUARY 2020
BACKING TRACK (TRACK 55)
This song comes with a backing track (minus guitar) on
your CD. Simply insert the disc in your player, press play THE WHO / SUBSTITUTE
and jam along, guitaraoke style!
SONG SHEET
t t t
Intro Verse & Pre-chorus 2 Bass solo
D / A/D / G/D / D / x2 D G D
D / / / G / / / D / / / / / / / x2
D / / / / / / / x2 I was born with a plastic spoon in my mouth
G
Verse & Pre-chorus 1 The north side of my town faced east Repeat pre-chorus 1
D G D D
You think we look pretty good together And the east was facing south
Breakdown
G D Em D Em D
D / A/D / G/D / D / x4
You think my shoes are made of leather And now you dare to look me in the eye
Em D Em D Em D Em D
But I’m a substitute for another guy Those crocodile tears are what you cry
Repeat verse &
Em D Em D Em D Em D
I look pretty tall but my heels are high It’s a genuine problem, you won’t try pre-chorus 2
Em D Em D Em D
To work it out at all
The simple things you see are all complicated
Repeat chorus 2
Em D Em D A D/F# A
I look pretty young You just pass it by, pass it by
Em D A D/F# A
Repeat chorus 1
But I’m just backdated yeah
Chorus 2
Chorus 1 D A/D G/D D
Sub – stit – ute me for him 7 87
D A/D G/D D
A/D G/D D
Sub – stit – ute your lies for fact
Sub – stit – ute my coke for gin
A/D G/D D
A/D G/D D
I see right through your plastic mac
Sub – stit – ute you for my mum
A/D G/D D
A/D G/D D
I look all white, but my dad was black
At least I’ll get my washing done
A/D G/D D
My fine-looking suit is really made out of sack
THE WHO SUBSTITUTE Intro TRACK 55
q=140
D A/D G/D D A/D G/D D
. .
# . . . .
. .
5 2 5 3 3 2 2 5 2 5 3 3 2 2
T 7 3 5 3 3 3 3 7 3 5 3 3 3 3
7 2 6 4 4 2 2 7 2 6 4 4 2 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0
B
1
. . . . . . . .
2 2 2 2 2 2 2 2
T 3 3 3 3 3 3 3 3
2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0
B
5
The first four bars are Townshend’s famous intro riff, whichalsodoublesasthechoruslateron.Forthelastfourbars,noticethatthechordslandonbeats2and4
– a rhythm which continues into the verse. More importantisthattrademarktightdelivery.StrumhardandaimformetronomictimingtoapePete’sgroove.
FEBRUARY 2020 TOTAL GUITAR
THE GAS
STATION
REAL WORLD REVIEWS OF THE
BEST NEW GEAR
Welcome to the GAS (Gear Acquisition Syndrome*)
Station! Every issue, TG scours the market for the
hottest new gear and brings you transparent reviews
that you can trust. From the smallest of accessories
that make your life easier, to big investments such as 98
brand new guitars, amps and effects pedals – if it’s
88 worth your attention, you’ll find it here!
HOWWETEST BESTBUYAWARD 089 START ME UP!
TGBestBuyAwardsare Five new items for your rig
reservedforstand-out
CURATION NO SNAKE OIL productsthatearnafive-star
Our product selection is \rx#zrqġw#Ľqg#xv#jhwwlqj# rating.Thisisthebest,most 090 BLUGUITAR AMP1 IRIDIUM
driven by our love of gear. hung up on hokey mythology excitingnewgearthatyou
needtocheckout A 100-watt amp... At your feet!
We select the most exciting or nonsense marketing
products on the market every speak: we aim to bring you
month to bring you opinions bullshit-free opinions on the 094 EPIPHONE JASON HOOK
you can trust. gear you’re interested in.
M-4 EXPLORER
FACE-VALUE REVIEWS WE CAN’T BE BOUGHT An updated signature model from the Five Finger
We’re not gear snobs here at TG review scores are a true
Death Punch guitarist
Total Guitar. We judge it on uhľhfwlrq#ri#rxu#h{shuwvġ#
whether it looks good, sounds opinion on the product
good and plays well – not by they’ve been testing. You’ll BESTFOR… 096 FENDER MUSTANG LT25
the name on the headstock. qhyhu#Ľqg#d#udwlqj#lq#rxu## Differentguitaristshave
differentneeds.Thisbadge Fender’s accessible, easy way to get to grips with
mag that has been bought
highlightsaparticularstrength recording, effects and modelling
and paid for.
thataproducthasinaTGTest
orGroupTest,soyoucan
*WHAT IS GAS? REAL WORLD REVIEWS choosewhat’sbestforyou
Gear Acquisition Syndrome 098 TG TEST: WASHBURN
We test every product under
is the guitar-player’s BELLA TONO SERIES
never-ending urge to acquire the conditions that they were
new gear, irrespective of designed for. For example, Affordable acoustics that mean serious business
whether they actually need it. if an amp is designed to be
Don’t pretend you don’t played loud, rest assured BEST
have it – we all do! FOR… 104 OVERDRIVE ROUND-UP
that we’ll have tested it at
rehearsal/gig volumes! Four off-the-shelf overdrives to try today
106 SINVERTEK DRIVE N-5
SUPERB, A BEST BUY EXCELLENT ABOVE AVERAGE KIT SOME ISSUES POOR
Heavy gain for your clean amp
TOTAL GUITAR FEBRUARY 2020
GAS STATION
4
01
03
89
02
05
START ME UP!
FivenewproductstofuelyourGASthismonth…
BOSS WAZA-AIR JOYO TC-1 TONE CHAIN MESA/BOOGIE MORLEYVOLUMEPLUS JHS COLOUR BOX V2
This wireless headphone This easy-to-use CABCLONE IR AND IR+ TosinAbasihas Though you may not know
system aims to restore multi-effects boasts Impulse responses are collaboratedwith it, some of the most iconic
1 the natural dimension, 2 footswitches for rapidly becoming a staple 4NeuralDSPforhis 5guitar tones of all time
resonance, and ‘moving air’ distortion, overdrive, delay 3 effect in modern guitar signatureplugin,whichboasts were created by plugging
feel of a real amp. The system and tap tempo (which also amp rigs, but Mesa/Boogie has threeonboardampmodels– a guitar direct into a mixing
offersthree different sound functions as a tuner), with each gone one better by teaming IRs Clean,Rhythm(offeringawide desk, such as The Beatles’
environments, while its tones available as a separate effect. with a reactive load and power rangeofdynamicgain),and Revolution. Josh Scott’s original
and controls come courtesy Each effect has its own attenuator, forming what could Lead(featuringabooster Colour Box sought to replicate
of Boss’ stage-class Katana adjustable parameters – mix, well be the best direct amp forsuper-highgainand the sound of the legendary
amps. Five amp types deliver feedback and time for delay; boxes on the market. There harmonically-richmetal NEVE 1073 preamp with its two
tones from clean to high-gain, gain, level, tone and a lo/hi are 16 IRs onboard, with two tones).Effects-wise,you circuits running in series, and
plus a full-range voice for bass switch for distortion; and banks of eight presets, getAbasi’ssuperlative this follow-up adds a new set
or electro-acoustic. There are drive, level and tone for including a host of classic PathosoverdriveandLogos of controls along with its
also more than 50 effect types, overdrive. Other features Mesa cabs, and you can add compressor,plusanine-band three-band EQ, which can
including mod, delay and reverb include a cabinet simulation your own, too. There’s also EQ,post-ampdigitaldelay shift each of the frequency
options, and the system comes function, FX loop send and a reactive speaker load for andreverbeffects,andover bands, allowing you to shape
loaded with six onboard return and stereo and running your tube amp direct 70impulseresponses the bass, mid or treble
memories to store setups. balanced outputs. without a speaker cab. capturedbyAdamGetgood. frequencies in more detail.
(£378, www.boss.info) ($129, joyoaudio.com) (from £599, mesaboogie.com) ($129,morleyproducts.com) (£399, jhspedals.com)
FEBRUARY 2020 TOTAL GUITAR
THE GAS
STATION
90
TOTAL GUITAR FEBRUARY 2020
REVIEW
CLEAN CHANNEL
1 The clean channel
offers a good balance
between West Coast
boutique warmth and
Fender cut for various
pickup types and is
2 3 an ideal platform for
widening the Iridium’s
1 scope even wider
alongside the amp’s
own boost and your
overdrive pedals.
NOISE GATE
2 On the Amp1’s
left side are tone
and volume
Custom Controls for
fine-tuning individual
channels to your
specific guitar/s,
a parallel and serial
FX loop switch and
the three-mode Noise
Gate; Off, Soft offering
minimal gating
between playing
BLUGUITAR AMP1IRIDIUMEDITION £749 and Metal – a very good
hard gate that proves
especially effective for
the Modern channel.
How good can a 100-watt four-channelampatyourfeetbe? NANOTUBE
3 The sub-miniature
vacuumtubeusedfor
hat a time to be alive channel head at your feet – as survive the bashes of life on your thepoweramphereis
– amps and cabs rssrvhg#wr#d#pxowl0hļhfwv xqlw ‘board. The attractive blue and solderedintoplace 91
at our feet! Well, with amp and cab models like the sxusoh OHG oljkwlqj rq wkh orjr andmoreresilient
thantraditional
in modelled form, Kemper Stage, Line 6 Helix series and pedals also nods back to
tubes.Itoffers
W at least. But that and Fractal’s forthcoming FM3. Blug’s H&K roots. On the subject averylonglifespan,
counts for more now than ever, as Lwġv#irfxvvhg#rq surylglqj irxu of lighting, the Nanotube 100 valve somaintenancewill
the likes of Line 6, Helix, Kemper preamp voices; three of them also glows behind its window on notberequiredhere.
and Fractal have raised the game overdrive channels. There’s also the Amp1’s face. But what part
lq#uhfhqw#|hduv1#EoxJxlwduġv#Ľuvw# a clean channel designed with grhv#lw#dfwxdoo|#sod|B
Amp1 impressed us on its release humbuckers in mind. There is Wkh#Dps4#Lulglxp#suhdps# ATAGLANCE
lq#5347/#exw#lw#zdv#d#glļhuhqw# cab modelling here too, though. lv#vrolg0vwdwh#dqdorjxh1#Wkh#
proposition than the modelling Wkh Dps4 Lulglxp Hglwlrq xvhv Qdqrwxeh#gulyhv#wkh#4330zdww# TYPE:100Wvalve
pedalboardampwith
fodvv#G#rxwsxw#vwdjh2srzhu#dps1# solidstatepoweramp
UNAPOLOGETICALLY VOICED So it’s a combination of solid state andvalvepoweramp
and valve with a pinch of digital in
CONTROLS:Clean
the brew too; the onboard reverb
FOR GAIN-LOVING PLAYERS is the only digital part of the signal Volume,OverdriveGain,
OverdriveMaster,
here. Plugging our SG Special into Bass,Middle,Treble,
furzg lq wkdw lw rļhuhg d wxeh0 loudspeaker models with impulse our cab, it’s a trip through gain city Reverb,Master,Boost,
ModernVolumeand
driven power section with an responses for recording direct, but dv#|rx#jr#xs1#Lwġv#orxg/#wrr#0#qrw#
Tone,ClassicVolume
doo0dqdorjxh#vljqdo#sdwk1#Lwġv#wkh# wkh|#fdq#eh#wxuqhg#rļ#li#sod|huv# ‘loud for a small unit’; we mean andTone,CleanTone;
brainchild of German pro guitarist prefer to use their own. The Amp1 serious headroom. But with the Clean/Overdrive,
and former Hughes & Kettner rļhuv#dq#lpphgldwho|#fohdu#vhwxs# PowerSoak feature it also sounds Boost,Reverb,Parallel/
Serial,Noisegate.
engineer, Thomas Blug. This is the to have in front of you – and that’s great at 0.15 watts of power.
latest edition of his Amp1, and it’s kind of refreshing in this era of The channel names do a very SOCKETS:1/4”input,
16ohms&8ohms
not to be confused with Strymon’s gr0lw0doo#zxqghu0xqlwv#zlwk#vpdoo# good job of explaining their
outputs,effect
uhfhqwo|#uhohdvhg#Lulglxp#dps# screens and complex interfaces. characters, but it’s not exclusively Loops:series/parallel,
modeller. The chemical element The Amp1 is designed to take on for metal palettes (though there switchable+4/-10dB,
iridium is from the platinum the amp role only and to work are two other Amp1 models FXSend&Return
(2x1/4”Jack),Rec/
group, and BluGuitar’s is alongside your pedalboard and available to suite less gainy tastes).
HeadphoneOut
unapologetically voiced for pxowl0hļhfwv1#Vr#krz#zhoo#grhv# The Vintage channel here works (1/4”TRS-Jack);
Photography: Olly Curtis Ľqg#rxw1#Lwġv#lpsruwdqw#wr#vwuhvv# casing, this has stealth looks and a neck humbucker Tele we brought DIMENSIONS:(WxDx
lw#vklqh#lq#lwv#Ľhog#ri#h{shuwlvhB
zhoo#zlwk#wkh#eulgjh#vlqjoh0frlo2
kljk0jdlq0orylqj#phwdo#sod|huv1
With a matte black aluminium
But not exclusively so, as we’ll
H):245x192x68mm
dorqj#iru#wkh#ulgh>#wklqn#krw0urg#
WEIGHT:1.2kg(2.6lbs)
blues for Hendrix or even more
wklv#lv#d#shgdo#dps#Ğ#d#pxowl0
vwxug|#ihho#wkdw#vkrxog#frqĽghqwo|#
FEBRUARY 2020 TOTAL GUITAR
THE GAS
STATION
TheOl’
Switcheroo
Pedalboardamp by name…
t’s understandable you’ll The sturdy, stealth-looking
aluminium casing should
kdyh jr0wr vrxqgv#rq#wkh#
survive life on your
IAmp1 that you want to call pedalboard
up quickly with the
92 footswitches, and BluGuitar
caters for that with Preset
Prgh1 Lq wkh ghidxow Vwdqgdug ALSO TRY...
Mode, the left pedal switches
between the clean and a drive VICTORY V4 KRAKEN
channel, the middle switch PREAMP
activates boost and the right PEDAL
switch kicks in the reverb. Two channels
and valve
Preset mode allows you to
powered,
assign Clean, Vintage, Classic,
but this is
Modern, Boost or Reverb to any a preamp only so you’ll need another
of the three switches. You can amp’s power section or dedicated
use a standard amp footswitch power amp like Orange’s Pedal Baby.
or BluGuitar’s own Remote1 to
add in even more options too. HUGHES & KETTNER
BLACK
SPIRIT 200
raucous garage rock tones. Classic and the onboard noise gate keeps overpowering. The onboard boost The new unit from
Thomas Blug’s old
lv juhdw iru prylqj iurp#HYK#kdug# it all tamed. This really feels like acknowledges some of us just love
employers is the
urfn wr wkh rog0vfkrro#jdlq#ri# d#ixoo0eruh#khdg#ehfdxvh#lwġv# to have a Tube Screamer to up the Amp1’s closest
Pdlghq dqg Sulhvw1 Wkh#Lulglxp# designed to be one, just scaled into ante for rhythm and singing lead comparison, and with four analogue
brings a smoother boutique d#ľrru#xqlw1#Zh#fdqġw#khos#wklqnlqj# olqhv1#Wkh#Dps4#Lulglxp#Hglwlrq# channels, digital modulation and
warmth but it’s never woolly; of our experiences with Victory’s absolutely delivers on its premise delay, it’s a serious rival on value.
it really shines for our neck preamp pedals; it’s hard to dial in and it’s hard to fault for anyone SEYMOUR DUNCAN
kxpexfnhuv/ rļhulqj#fodulw|# a tone that isn’t impressive. orrnlqj#iru#d#kljk0jdlq/#sruwdeoh# POWERSTAGE 170
where some amps and modellers BluGuitar’s professional amp without compromise.
feel muddier. Many will jump musician mind has really put RobLaing GUITAR AMP
straight to the Modern channel; thought into making the Amp1 Another way to power
FEATURES from the ‘board, but
and we can’t blame them. Think comprehensive, because in
SOUNDQUALITY you’ll need pedals
Metallica’s ‘Crunch Berries’ Boogie addition to the superb channel Y to supply the gain.
territory; ...AndJustice For All0ohyhov# tones, there’s two crucial features R VALUEFORMONEY It offers a whopping
A
of chug moving to more sharp wkdw#pdnh#doo#wkh#glļhuhqfh1# BUILDQUALITY 170 watts of power to
surj0phwdo wrqhv1 Wkh#uhvsrqvh# The onboard footswitchable UMM USABILITY cover gig situations and
and note articulation is immense, room reverb is musical and never S OVERALL RATING includes a three-band EQ.
TOTAL GUITAR FEBRUARY 2020
THE GAS
STATION
94
TOTAL GUITAR FEBRUARY 2020
REVIEW
MACHINE
EPIPHONE LIMITED £599 1 HEADS
The same Grover
Locking mini- 1
EDITION JASON HOOKM-4 Rotomatics used on ATAGLANCE
the more expensive
Gibson Hook signature
EXPLORER OUTFIT for maximum BODY: Mahogany
consistency and
NECK: Mahogany
reliability.
FINGERBOARD:
BODY
Five Finger Death Punch’s guitar wizard 2 A custom deeper Granadilla
NECK JOINT: Glued-In,
upper cutaway and Set Neck
unveils his debut Epiphone signature angled scarf for SCALE LENGTH: 24.75”
NECK PICKUP:
enhanced playability,
providing easier Seymour Duncan SH-1
access to all 22 Super Vintage ’59
aving earned his stripes it’s an instrument that doesn’t Jumbo-sized frets. Humbucker
in Alice Cooper and feel unreasonably bulky or heavy. BRIDGE PICKUP:
PICKUPS Seymour Duncan SH-4
Vince Neil’s bands The deeper upper body cutaway
3 A fair amount of ‘JB’ Humbucker
before joining Five and angled scarf could actually tonal ground covered CONTROLS: 1x Neck
H Finger Death Punch make this one of the most courtesy of the Volume, 1x Bridge
in 2009 – one of the fastest-rising playable Explorer-type guitars tried-and-tested Volume, 1x Master
heavy acts of the 2000s – Jason hyhu#pdgh/#lghdo#iru#ulļhuv#dqg# Seymour Duncan Tone
Vintage ’59 and JB MACHINE HEADS:
Hook is undoubtedly one of shredders alike. Thanks to the
humbucker set. Grover Locking
metal’s modern masters. Grover Locking mini-Rotomatics mini-Rotomatics
More recently, the Canadian machine heads and Locktone BRIDGE: LockTone
was tapped by Epiphone to design bridge and tailpiece, this is also Tune-o-matic
TAILPIECE: LockTone
d#pruh#dļrugdeoh#yhuvlrq#ri#klv# a machine that feels remarkably
Stopbar
2013 Gibson M-4 Sherman. dependable – a trusty workhorse 95
Much like the band he plays players can really dig into
in, the custom racer-style red without having to worry
dqg#zklwh#Ľqlvk#zrqġw#eh#wr# about tuning slippage.
everyone’s tastes, though the As is often the case with the
ryhudoo#txdolw|#dqg#dļrugdelolw|#gr# best artist signatures, you don’t
more than enough to compensate. necessarily have to be a fan of the
ONE OF THE MOST PLAYABLE
EXPLORER-TYPES EVER MADE
In fact, it’s the kind of instrument player or indeed any associated
that would make an ideal project bands to get the most out of said
guitar to strip down and/or repaint instrument. The sheer quality of 3
purely because of how much you the design and construction makes
get in return for spending so little. Hook’s Epiphone debut a worthy
The pickups are exactly the same consideration for anyone on the
as its limited-run Gibson lookout for an inexpensive
equivalent, the classic pairing of a Explorer that can comfortably
Seymour Duncan SH-1 in the neck handle it all, taking you from
dqg#VK07#lq#wkh#eulgjh#rļhulqj# screaming metal intensities to
plenty of bark through higher more subtle variations of jazz, rock
gain channels settings without and blues. It’s hard to see where
vdfulĽflqj#dq|#ri#wkh#kduprqlf# anyone could go wrong here.
richness when voiced clean. AmitSharma
Equally impressive is how loud
FEATURES
the guitar resonates in your hands
SOUNDQUALITY
– just like you’d hope from any Y R VALUEFORMONEY
Photography: Olly Curtis can hear all the extra mahogany, A UMM S BUILDQUALITY 2
Explorer, it really does feel like you
PLAYABILITY
whether unplugged or overdriven
OVERALL RATING
to ooze endless sustain. That said,
FEBRUARY 2020 TOTAL GUITAR
THE GAS
STATION
96
TOTAL GUITAR FEBRUARY 2020
REVIEW
2 1 3
AMP MODELS
1 The Mustang LT
covers all the tonal
ground you’re likely to
need, from classic
Fender cleans to
higher-gain models
EFFECTS
2 With 25 effects
built-in, the Mustang
has you covered for
dynamics,
modulation, filters,
pitch-shifting, delay,
reverb and more!
USB
3 This lightweight
combo can also
double as an audio
interface for
recording your guitar
FENDER MUSTANG LT25 £139 to your computer
Modelling, effects and recording madeeasy
rom apps to computer the wrong button, you’ll breakup of a Champ being AT A GLANCE
software, mini forgive us for actually feeling sxvkhg#lqwr#ryhugulyh1#Exw#
headphone amps to quite refreshed as we connect the LT isn’t just about clean or
TYPE:Digitalmodelling
rackmount modellers, our guitar with a jack cable pushed sounds. There are some amp
F there’s no shortage of and start trying out sounds. meaty higher-gain emulations AMPMODELS:20 97
products available for us to plug That’s not to say the Mustang rq#rļhu#wrr/#dqg#wkh|ġuh#htxdoo|#
EFFECTS:25
into in order to practise playing isn’t well-stocked – there are 30 as impressive at times as the
CONTROLS:Gain,
the guitar. If anything, the on-board presets designed to more ‘Fender-y’ tones. volume,treble,bass,
amount of choice can be jhw#|rx#sod|lqj#dqg#vkrz#rļ# Hļhfwv#ydu|#iurp#xwlolwduldq# master
somewhat overwhelming, the variety of sounds within. compression and gates, through SOCKETS:Input,
with interfaces replacing your Scrolling through each one is to some more exotic sounds such headphones,aux-in,
amp, your amp doubling as an made easy by using the large as an octaver, an auto-wah and footswitch,USB
interface, all with pretty much encoder to the right of the some surprisingly high-quality OUTPUT:25watts
everything you actually need screen. If you want to tweak the delays and reverbs. CONTACT:Fender
under the hood. preset by swapping amp models Call us luddites, but we think EMEA,www.fender.
com
the Mustang LT is pitching itself
UN-FUSSY SIMPLICITY AND shuihfwo|1#E|#Ihqghuġv#rzq#
description, it’s aimed at
INTERESTING SOUNDS beginners and students,
and while the feature set here
isn’t crazy compared to some
Fender is no newcomer to ru hļhfwv/ lwġv dv lqwxlwlyh odwh0534<#rļhulqjv/#zkdw#lw#grhv/#
the modelling amp game, its as pressing the encoder and it does very well. We enjoyed
Mustang amps have always scrolling through each category. the un-fussy simplicity and
impressed us with the number When you’re done customising, interesting sounds, and most
of features, sound quality and you can save your sound or just importantly, it made us want
ease of use. So what’s the LT25 jump presets to discard your to keep playing! This part of
all about, then? Well, it’s a changes. Operationally, it’s a joy the market features some strong
modelling combo featuring in that we barely need to put our competition, but the ‘Stang has
an eight-inch speaker, 20 pick down - making our playing proved itself once more.
dps#prghov/#58#hļhfwv/#XVE# session uninterrupted. Stuart Williams
connectivity, and an auxiliary Wkdwġv#juhdw/#wkhq1#Exw#lwġv#
FEATURES
input. In an era where moot if the tonal weight isn’t
SOUNDQUALITY
seemingly everything there to back it up. When we Y R VALUEFORMONEY
Photography: Neil Godwin bluetooth, requires some sort of obviously transported to the A UMM S BUILDQUALITY
think of Fender amps, we’re
connects to everything else over
USABILITY
smartphone integration and will
super bright, clean spank of
OVERALL RATING
a Twin, or the smooth, mild
vzlwfk#|rxu#oljkwv#rļ#li#|rx#suhvv#
FEBRUARY 2020 TOTAL GUITAR
THE GAS
STATION
98
Words: Jonathan Horsley / Photography: Neil Godwin
WASHBURN BELLA
TONO SERIES
It’s good tone by name, but is it good tone by nature for
Washburn’s new series of Studio-sized acoustics?
TOTAL GUITAR FEBRUARY 2020
THE TG TEST
99
or a split-second we thought kdyh#dq#dexqgdqfh#ri#ylvxdo#ľdlu/#d#ihho#wdloruhg#
Washburn was getting into the iru#wrgd|ġv#sod|hu/#rswlrqv#iru#rqerdug#slfnxsv#
fdqqhg#Ľvk#pdunhw#zlwk#wkh#Ehood# dqg#suhdpsv/#dqg#doo#dw#d#frpshwlwlyh#sulfh1#
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tone”, and this series is big news VF89V/#frpsohphqwlqj#wkhlu#pruh#dļrugdeoh#
because it sees the Chicago-based nlq/#wkh#hohfwur0dfrxvwlf#Ylwh#V<#dqg#sxuho|#
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vnlsmdfn#wxqd#vwhdn#lq#eulqhġ/#exw#lwġv#qrqhwkhohvv# frqwhvwhg#pdunhw1#Dqg#lq#wkh#qrw0vr0glvwdqw#
d#wdvw|#pryh/#zlwk#wkh#qhz#Vwxglr#erg|#ghvljq# sdvw/#vxfk#d#vhulhv#zrxog#kdyh#ehhq#lpsrvvleoh#
rļhulqj#d#pruh#frpsdfw#sod|lqj#h{shulhqfh# dw#wklv#sulfh1#Qrw#vr#wrgd|/#exw#zlwk#wkdw#frphv#
zlwkrxw#frpsurplvlqj#rq#wrqh1#Qrw#rqo|#wkdw/# ulvlqj#h{shfwdwlrqv/#dqg#wkhuhġv#rqo|#rqh#zd|#wr#
exw#wkhvh#frpsdfw/#Fklqhvh0pdgh#lqvwuxphqwv# Ľqg#rxw#li#wkh#Ehood#Wrqr#vhulhv#zloo#phhw#rxuv111
FEBRUARY 2020 TOTAL GUITAR
THE GAS
STATION
ELEGANTE £439 NOVO £169
S24S S9
Spruce almighty! A serious entry-level guitar
What is the build like? What can I expect from the cheapest in the series?
Very nice. The Elegante features a solid spruce top with beautifully Ydoxh/#dqg#sohqw|#ri#lw1#Vxuh/#wkh#Qryr#kdv#d#odplqdwh#frqvwuxfwlrq/#
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feel continues with the ebony fretboard and the details in the sulfh#wkh#Ľqlvk#lv#lppdfxodwh1#Khuh/#Zdvkexuq#kdv#soxpshg#
Ľqlvk1#Wkhuhġv#dedorqh#doo#ryhu#wkh#vkrs/#zlwk#wkh#prxqwdlq# iru#rnrxph#iru#wkh#qhfn/#zklfk#rļhuv#d#pruh#oljkwzhljkw#
dqg#Ġelugv#lq#ľljkwġ#iuhwerdug#lqod|/#dqg#wkh#rvwhqwdwlrxv# Ğ#dqg#fkhdshu#Ğ#dowhuqdwlyh#wr#pdkrjdq|1
urvhwwh#dqg#sxuľlqj1#Wkhuhġv#hyhq#dedorqh#wr#frpsohphqw#
wkh#sdgdxn#dqg#herq|#elqglqj1 That finish looks a bit different...
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This looks a little smaller than the others in the series? wudglwlrqdolvwġv#fkrlfh#lw#qrqhwkhohvv#frpsohphqwv#Zdvkexuqġv#
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100
wkdq#wkh#Qryr#zkhq#phdvxuhg#dfurvv#wkh#orzhu#erg|# wkdw#prrg|#vlqjhu0vrqjzulwhu#yleh#lw#pljkw#eh#pruh#|rxu#
erxw1#Wkh#glļhuhqfh#lv#vxewoh#exw#vxuho|#frqwulexwhv#wr#wkh# speed than cherry red.
Hohjdqwh#ehlqj#vxfk#dq#dffhvvleoh/#zhofrplqj#lqvwuxphqw1
What makes this so good for beginners?
How does the pau ferro perform? Lwġv#vr#sod|deoh1#Vkdulqj#wkh#vdph#volp#F#qhfn#surĽoh#dv#
Wkh#FLWHV#uhvwulfwlrqv#rq#urvhzrrg#kdyh#ehhq#oliwhg#lq# wkh#rwkhuv#lq#wkh#vhulhv#dqg#lwv#vkdoorz#erg|/#wkh#Qryr#lv#ohvv#
uhfhqw#prqwkv#exw#lw#uhpdlqv#wr#eh#vhhq#li#wkh#lqgxvwu|ġv#jr0wr# lqwlplgdwlqj#d#sursrvlwlrq#iru#ehjlqqhuv#wkdq#d#guhdgqrxjkw#
uhsodfhphqw#zloo#eh#skdvhg#rxw/#hvshfldoo|#iru#lqvwuxphqwv#dw#wklv# ru#mxper1#Qrw#wkdw#orqj#djr/#ehjlqqhu#dfrxvwlfv#frxog#eh#d#fkruh#
sulfh1#Dqg#zk|#vkrxog#lwB#Lw#orrnv#vwxqqlqj/#dqg#rq#d#vpdoohu0 wr#sod|/#exw#lqvwuxphqwv#vxfk#dv#wklv#zloo#nhhs#|rx#sod|lqj#
erglhg#dfrxvwlf#vxfk#dv#wklv#lw#khosv#nhhs#wkh#orz0hqg#wljkw1 orqjhu1#Dqg/#ri#frxuvh/#wkh#sulfh#lvqġw#edg#hlwkhu1
AT A GLANCE AT A GLANCE
KEY FEATURES: Solid spruce top with KEY FEATURES: Select spruce top with
select pau ferro back and sides, select figured walnut back and sides,
quarter-sawn scalloped bracing, quarter-sawn scalloped bracing,
mahogany C profile neck, 25.5” scale, okoume C profile neck, 25.5” scale, 20
20 frets, ebony fretboard with abalone frets, ebony fretboard w/lotus inlay,
‘birds in flight’ inlay, ebony bridge, ebony bridge, diecast black tuners
diecast gold tuners FINISH: Gloss Charcoal Burst
FINISH: Gloss Natural [as reviewed] [as reviewed]
CONTACT: 01462 480 000 / CONTACT: 01462 480 000 /
Washburn.com Washburn.com
TOTAL GUITAR FEBRUARY 2020
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Total Guitar Magazine
From beginner to expert, first chord to rock god, Total Guitar is the must-have magazine for all guitar
lovers! Each issue is packed with lesson guides, expertly written tabs of some of your favourite songs, tips
for improving your playing technique and advice from some of the world’s best players. No matter what level
you’re at, Total Guitar magazine will help you improve your technique and master the guitar.
Each issue has the hottest reviews of all the newest guitars, effects pedals, pickups, amps and audio
accessories - everything you’ll need on your journey to becoming a guitar legend. You’ll also find exclusive
interviews and in-depth articles about some of the world’s most iconic guitarists.
In This Issue
FEATURES
- Rig Tour: Jimmy Eat World
- Tal Wilkenfeld
- Sylosis
- Sonny Landreth
- 2020 Guitar Workout
LEARN TO PLAY
- Classic Track: Queens of the Stone Age – No One Knows.
- Rockschool: Steve Vai – Die to Live
- Jam Track: 80s Rock
- The Turnaround: Duane Allman
HOW TO
Riff Of The Month: Alter Bridge
– Wouldn’t You Rather
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