NEW PLAY BETTER NOW! THE VERY BEST OF TG
UWLGTOTUIRHIMTKEAAOTRUET ANNUAL 2023
INSIDE
EXPERT ADVICE
ESSENTIAL PEDAL GUIDE
EXCLUSIVE INTERVIEWS
TIPS, TRICKS & MORE
YOUR ESSENTIAL
GUITAR GUIDE
Digital
Edition
SIXTH METALLICA JOHN FRUSCIANTE THE BEATLES JACK WHITE & MORE!
EDITION
WELCOME
ANNUAL 2023
W elcome to the Total Guitar Annual 2023, packed
with the very best features, interviews, advice
and more from the past year.
Get started with our Ultimate Guitar Workout
feature, essential reading for guitar enthusiasts
of all levels and styles, bringing you the very best ways to improve
your playing and get more from your gear, covering everything from
fretting and picking to reading rhythms and creating practice plans.
There’s also a whole host of other brilliant features on offer –
discover the Beatles’ greatest guitar songs, explore our
essential guide to pedals and effects, learn how to create a rock
anthem with Def Leppard, and uncover the story of the mythical
Metallica deepfake and learn how to recreate it. We’ve also got
exclusive interviews with the legendary Slash, John Frusciante, Jack
White, Samantha Fish, Kirk Hammett and more!
Whatever your skill level, we’re also here to help – our tips, tricks
and tutorials will give you the confidence to master your guitar and
play like the legends. You’ll find a wealth of easy-to-follow tab
throughout this annual, complete with free audio, video and backing
tracks. To get started, head over to bit.ly/tga2023audio to download
or stream your audio or video. Enjoy!
Future PLC Quay House, The Ambury, Bath, BA1 1UA
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Part of the
bookazine series
Contents
HOW TO
AUDIO
23 RiffOfTheMonth FILES
Black Keys - Wild Child
FIND ALL YOUR
27 RiffOfTheMonth BACKING TRACKS, VIDS
Nova Twins - Antagonist AND AUDIO AT BIT.LY/
43 RiffOfTheMonth TGA2023AUDIO
Slipknot - The Chapeltown Rag
55 RiffOfTheMonth
Mastodon - Pushing The Tides
83 RiffOfTheMonth
We Came As Romans - Daggers
113 RiffOfTheMonth
Foals - Wake Me Up
136 LessonsinFunk
139 RiffOfTheMonth
06 JackWhite-TakingMeBack
153 RiffOfTheMonth
Biffy Clyro - A Hunger In Your Haunt
43
SLIPKNOT -
THE CHAPELTOWN RAG
104Photography: Graham Lowe /Redferns/Getty / James Sharock / Olly Curtis 10
DAVID GILMOUR 2022 GUITAR
WORKOUT
TOTAL GUITAR ANNUAL
CONTENTS
24 46
SAMANTHA FISH DEF LEPPARD
FEATURES 07
10 2022GuitarWorkout
24 SamanthaFish
28 10ThingsEveryNoviceGuitarist
Needs to Know
32 Slash
46 DefLeppard
52 StringSkipping
56 TheBeatles’GreatestGuitarSongs
66 TheUltimateGuidetoPedals
84 LarkinPoe
88 Metallica
104 DavidGilmour
108 Artofthe8-String
114 TheScienceofStringBends
118 MollyTuttle
122 JohnFrusciante
140 EricGales
144 JackWhite
154 SimonNeil
56 88
THE BEATLES’ GREATEST METALLICA
GUITAR SONGS
TOTAL GUITAR ANNUAL
TAB GUIDE
Get more from TG by understanding our easy-to-follow musical terms and signs
What is tab?
Tab is short for tablature, a guitar, from the sixth (thick) down on the tab. Unfretted
notational system used to give string at the bottom to the first strings are shown with a ‘0’. The
detailed information as to where (thin) string at the top. On these key and time signatures are
notes should be played on the lines, numbers represent which shown in the notation. TG also
fretboard. Tab appears frets you place your fingers. For includes a timestamp to tell you
underneath conventional music example, an A note on the 2nd where in the original track you’ll
notation as six horizontal lines fret, third string, will be shown find each example and tempo
that represent the strings of the as a number ‘2’ on the third line expressed in beats per minute.
FRET BOXES: CHORDS, SCALES AND CAPO NOTATION
HAND LABELLING NUT AND FRETBOARD CHORD EXAMPLE
3 21 i m oooooo ooo
4 a
1
c 23
Tp
8
Here are the abbreviations used for each finger. Fretting hand: 1, 2, 3, 4, (T) This fretbox diagram represents the guitar’s fretboard exactly, as seen in the G
Picking hand: p (thumb), i (index), m (middle), a (annular), c (little finger) photo. This design is used for ease of visualising a fretboard scale or chord quickly. This diagram represents a G chord. The ‘o’s are open strings, and a circled number
is a fretting hand finger. A black ‘o’ or circled number is the root note (here, G).
CAPO EXAMPLE CAPO NOTATION
SCALE EXAMPLE
CAPO 2ND ooo x oo
FRET > 1 4 111 1
CAPO 2ND 22 22
FRET > 2 33
44444
1 3
23
A (G) D (C) A major scale
The blue line in the diagram represents a capo – for this A chord, place it at the Here the chord looks like a C in the tab, but the capo on the 2nd fret raises the The fret box diagram illustrates the fret hand fingering for the A major scale using
2nd fret. Capos change the fret number ordering. Here, the original 5th fret pitch to make it a D. The 2nd fret capo’d notes are shown with a ‘0’ in the tab black dots for root notes and red dots for other scale tones. The photo shows part
now becomes the 3rd fret, 7th fret now 5th fret, etc. as if they were open strings. of the scale being played on the fourth string with the first, third and fourth fingers.
GUITAR TECHNIQUES: PICKING PALM MUTING PICK RAKE APPREGGIATED CHORD
DOWN AND UP-PICKING TREMOLO PICKING
The symbols under the tab tell you the Each of the four notes are to be Palm-mute by resting the edge of your Drag the pick across the strings shown Play the notes of the chord by
first note is to be down-picked and the alternate-picked (down and up-picked) picking hand palm on the strings near with a single sweep. This is often used strumming across the relevant strings
second note is to be up-picked. very rapidly and continuously. the bridge saddles. to augment a rake’s last note. in the direction of the arrow head.
TOTAL GUITAR ANNUAL
TAB GUIDE
FRETTING HAND NOTE TRILLS SLIDES (GLISSANDO) FRET-HAND TAPPING FRET-HAND MUTING
HAMMER-ON &
PULL-OFF
Pick the first note then hammer down on After picking the first note, rapidly Pick the first note and then slide to the Sound the notes marked with a square by X markings represent notes and strings
the string for the second note. Pick the alternate between the two notes shown in
third note and pull-off for the fourth note. brackets using hammer-ons and pull-offs. next. For the last two notes pick the first, hammering-on/tapping with your fret hand that are muted by your fret hand when
slide to the next and then re-pick it (RP). fingers, instead of picking. struck by your picking hand.
BENDING AND VIBRATO
BEND AND RELEASE RE-PICKED BEND PRE-BEND QUARTER-TONE BEND VIBRATO
Fret the first note (here, the 5th fret) and Bend up to the pitch shown in the Silently bend the string up from the 5th Pick the note then bend up a quarter- Your fretting hand vibrates the string by
fret (PB5) to the pitch of the 7th fret note, tone (a very small amount). This is small bend-ups and releases. Exaggerate
bend up to the pitch of the bracketed brackets, then re-pick the note while pick it and release to the 5th fret note. sometimes referred to as a ‘blues curl’. this effect to create a ‘wide’ vibrato.
note, before releasing again. holding the bent note at the pitch shown. TOUCHED HARMONICS
HARMONICS
NATURAL HARMONICS ARTIFICIAL PINCHED HARMONICS TAPPED HARMONICS
HARMONICS
9
Pick the note while lightly touching the Fret the note as shown, then lightly place After fretting the note in the triangle, Place your finger on the note as shown, A previously sounded note is touched
string directly over the fret indicated. your index finger directly over ‘x’ fret dig into the string with the side of your but sound it with a quick pick hand tap at above the fret marked TCH (eg, TCH 9)
A chiming harmonic results. (AH‘x’) and pick (with a pick, p or a). thumb as you sound it with the pick. the fret shown (TH17) for a harmonic. for it to sound a harmonic.
VIBRATO BAR / WHAMMY BAR
WHAMMY BAR BENDS SCOOP AND DOOP SUSTAINED NOTE GARGLE WHAMMY BAR VIBRATO
AND DIVEBOMB
The note is picked as shown, then the Scoop: depress the bar just before A Note is sustained then the vibrato Sound the note and ‘flick’ the vibrato bar Gently rock the whammy bar to
vibrato bar is raised and lowered to the striking the note and release. Doop: bar is depressed to slack. The square with your picking hand so it ‘quivers’. This repeatedly bend the pitch up and down.
pitches shown in brackets. lower the bar slightly after picking note. bracket indicates a further articulation. results in a ‘gargling’ sound! This sounds similar to fret hand vibrato.
OTHERS VIOLINING FINGER NUMBERING PIMA DIRECTIONS PICK HAND TAPPING
PICK SCRAPE
The edge of the pick is dragged either Turn the volume control down, sound The numbers in the traditional notation Any kind of fingerpicking requirements Tap (hammer-on) with a finger of your
down or up along the lower strings to the note(s) and then turn the volume up refer to the fingers required to play are shown at the bottom of the picking hand onto the fret marked with
produce a scraped sound. for a smooth fade in. each note. tab notation. a circle. Usually with ‘i’ or ‘m’.
TOTAL GUITAR ANNUAL
2022 Guitar Workout
G2u0i2ta2r
Workout
10
W elcome to TotalGuitar’s 2022 Guitar
Workout, where we’ve made it our
mission to help you become a better
guitarist. We kick off with a huge 11-
page technique workout, covering
everything from funk rhythms and
fretboard knowledge to picking
accuracy and playing the changes.
Hopefully there’s something for everyone.
And if it’s inspiration you seek, then let the words of our star
interviewees be your guide. On page 154, Biffy Clyro’s Simon Neil
talks tone and tells all about making his Strats sound heavy,
writing in odd time signatures, and prepping for live shows. Plus,
on page 140, Eric Gales offers up some musical wisdom
and practical tips.
Turn on, tune up, plug in and let’s rock the hell out of 2022!
TOTAL GUITAR ANNUAL
11
TOTAL GUITAR ANNUAL
2022 Guitar Workout
FRETTING &
PICKING
ACCURACY AUDIO
bit.ly/tga2023audio
The core of any technique workout
is making your fingers move more 1 Spider exercises
efficiently. Our exercises will help
This classic four-finger workout spider exercise is probably already
W hen most people think of a guitar workout, they in your practice routine – the idea is to play notes at consecutive
inevitably think of ‘getting faster’, but this can frets using all four fretting fingers. You’ll be honing your alternate
be a fool’s errand. Winding up the speed on your picking technique too. The most common approach is: first finger,
metronome might not do you any good in the long then second, third, and fourth, but try these variations too.
run if you aren’t playing accurately – you’ll just end
1. 4-3-2-1 1-2-3-4
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accuracy, which will in0tu8r/n12a/l2lo0w2y1ou to play faster. Work through the 3. 3-2-4-1 1-4-2-3Guitar Workout for 2022
examples slowly and only increase the speed when you can play an James Uings
12 exerNciosetetse:n times without error. 4. 2-1-4-3 3-4-1-2Contributor: James Uings
Engraved by DigitalMusicArt.Com
2 LEGATO WORKOUT BIT.LY/TGA2023AUDIO
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.TABGR354.guita1r1workout.fig02.musx Guitar Workout for 202.2
19:2≥5 08/1≤2/2021 ≥ ≥ ≥ James Uings
Contributor: James Uings
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3 FINGER ROLLS BIT.LY/TGA2023AUDIO
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5678
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A
B
≥ ≤ ≥ ≤ cont. sim.
Playing the same fret on adjacent strings is a tricky move – especially if you don’t want the notes to bleed into each other. Play the first note here with the pad of your
finger then ‘roll’ onto the tip to play the second note. Do the opposite for the second half of the exercise.
TOTAL GUITAR ANNUAL
TGR354.guitarworkout.fig03.musx Guitar Workout for 2022
08/12/2021 James Uings
Notes: Contributor: James Uings
Engraved by DigitalMusicArt.Com
4 MAJOR SCALE IN 3RDS œœœœœœœœ œœœœœœœœ BIT.LY/TGA2023AUDIO
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≥ ≤ ≥ ≤TBGR354.guitarworkout.fig04.musx 7 5745
09/12/c2o0nt2. s1im.
Guitar Workout for 2022
James Uings
Contributor: James Uings
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5 MAJOR SCALE IN 3RDS ON ONE STRING BIT.LY/TGA2023AUDIO
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& # 44 œ œ œ œ œ œ œ œ
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T ≥ ≥ ≥ ≥Guitar Workout for 2022
James Uings
A
TBGR354.g≥uitarworkout.fi≥g05.musx ≥ ≥
19:30 08/12/2021
Scales don’t just have to be played across multiple strings; this exercise shows you how to use legato to play the major scale on a singleCstorinngtr.iAbsuatlowra:yJs,aamimefosr Uings 13
a sNmootoetsh,:even sound and remember to try it with other intervals. Engraved by DigitalMusicArt.Com
6 LICK WITH 3RDS AND A SINGLE-STRING RUN BIT.LY/TGA2023AUDIO
q =115 C5 Eb5 F5 G5 C5
√ œœœœœœœœ œœ œ œ œj ~~~~~~~~~~~
˙
& bbb 44 ‰ œ œ œ œ œ œ œ œ œ œ
8 10 11 8 10 8 8 8 11 11 10 10 13 13 11 BU ~~~~~~~~~~~
T 11 9 11
11 15 15 18 18 (20)
TABGR354.guitarworkout.fig06.musx James Uings
We’ve switched to the natural minor scale here to show you how to use the interval exercises in the previous example on a different scaCleoanndtrtiobcuretoarte: aJacomolelisckU. ings
NoNtiocetehsow: the single-string phrase helps the lick build to an exciting climax. Engraved by DigitalMusicArt.Com
7 STRING SKIPPING ARPEGGIOS BIT.LY/TGA2023AUDIO
q =130
Cœ œ œ œ œ œ œ œ #Dœ œ œ œ œ #œ œ œ œ œ Am
& 44
œ œœœ œ œ Œ
3
12 8 8 14 10 14 10 10
T 10
A 12 9 9 12 14 11 11 14
10 14 10 14
B 10 12 12
Arpeggios fall naturally onto adjacent strings and often played this way – sometimes with sweep picking. Arranging arpeggios into this string skipping sequence gives you
more phrasing options and greater control over dynamics.
TOTAL GUITAR ANNUAL
2022 Guitar Workout
FRETBOARD KNOWLEDGE
Map out the notes on the guitar and you’ll be
flying round the fretboard before you know it!
M oving freely around the fretboard good against a song’s chords will help you take While we have demonstrated some concepts
is a goal many guitarists share. your playing to a new level. We’ll start here with here, it is not enough to just play through them.
Knowing which note you’re some essential info to help you improve your The idea is for you to create your own licks and
playing at any time, where you fretboard knowledge before moving on to some solos to build these skills so they integrate
can move to next or which notes will sound practical applications of this new knowledge. seamlessly into your playing.
8 Learn the notes on the fretboard
Lots of people learn notes by moving up a single string. This doesn’t really work as you only
learn the notes as a sequence rather than identifying them in isolation. Instead, select
a note (we’ve gone for F) and find it in every location in the neck. Make sure to explore above
the 15th fret too and repeat the exercise with different notes. For instance, try finding all the
G notes.
F F
F F F 9 Identify octave shapes
14 F F
Once you’ve covered individual notes, it’s time to
F
move to octaves. This will help you move licks and
F phrases into different registers. Lots of people like
the triangle method shown here. This is good for
helping find root notes, but not so great for
transposing licks, so we’ve shown an alternative – it
doesn’t have a fancy name, but is worth memorising.
10 Moving octave lick: scale Pattern C C 8C
8
The lick below shows how easy shifting a sequence into different octaves is. It is the perfect
device for building a solo from low notes to a high melody. This scale box gives you a visual
representation of how we pieced our lick together.
E F# G C
B C# D C
E F# G
TGR354.guitarworkout.fig07.musx B C# D Guitar Workout for 2022
08/12/2021 F# G
E C# D James UCings
Notes: B
Contributor: James Uings
10 MOVING OCTAVE LICK OctavesE: tnrigarnagvleed by DiOgcittaalvMeus:saicltAerrtn.Catoivme
method method
BIT.LY/TGA2023AUDIO
q.= 91 E5 œ œ œ œ œ B˙5~.~~~~~~~~~~~~~~~~
B5 D5 œ
& ## 182 œ œ œ œ œ œ œ œ œ œ œ œ 12 15 14 ~~~~~~~~~~~~~~~~~
T 12 14 15 12
A 9 12 11
9 11 12
B 7 10 9
7 9 10
Playing the same fret on adjacent strings is a tricky move – especially if you don’t want the notes to bleed into each other. Play the first note here with the pad of your
finger then ‘roll’ onto the tip to play the second note. Do the opposite for the second half of the exercise.
TOTAL GUITAR ANNUAL
JAM TRACKS
Test out your lead guitar skills over our rock and indie backing tracks
11. Kill This! AUDIO
bit.ly/tga2023audio
Verse
||: G / / / | D / / / |
| G / / / | A5 B5 D5 / :|| x4
Bridge
||: C5 / / / | G/B / D5 / :|| x3
| C5 / / / | G/B / D5 B/D# ||
Chorus 15
||: Em / / / | C / / / |
| G / / / | D / / B/D# :|| x3
| Em / / / | C / / / | G / / / | D / / / ||
The verse and bridge are both based in G, but approach each
section differently to add variety. For example, you could try
playing rhythmically in the verse, before exploring some melodic
licks or short hooks as you reach the next section. As ever, make
sure to experiment and just enjoy playing.
12. Lizzy’s Twin Sister
Intro/Interlude
||: A / / / | / / G5 /:|| x4
Verse
||: A5 A6 A5 A6 | D5 D6 D5 D6 |
| A5 A6 A5 A6 | D5 D6 D5 D6 :||
x4
Chorus
||: Am / / / | A m7/G / / / |
| F#m7b5 / / / | Fmaj7 / / / :|| x4
Once you've listened to the track, try mapping out how to play
over it from start to finish. The intro and verse rely on the A
minor pentatonic scale. Switch to the A Dorian mode in the
chorus, but be ready for a brief move to the A natural minor
scale as you reach the Fmaj7 chord.
TOTAL GUITAR ANNUAL
2022 Guitar Workout
PLAYING
THROUGH
CHANGES
Follow these shortcuts and find
the right notes for your solos
every time you play
M ost people know especially if you’ve ever
the scale’s root witnessed a jazz virtuoso ripping
note is a good it seamlessly over fast, complex
place to finish a chords. Like every skill it can be
phrase, but wouldn’t it be great built over time from simple
if you could play something that concepts that anyone can Guitar Workout for 2022
James Uings
effoTrtGleRss3ly5f4i.tgsuaigtaairnwsot wrkhoautte.vfiegr08.munudsexrstand and use. We’re
Contributor: James Uings
chord is playing? This i0s8c/a1ll2e/d2021 going to take you step-by-step Engraved by DigitalMusicArt.Com
playing through the [chord] through the basics so you can
16 cbheaanNngoientset.ismG:eidttaintigngsttaarstke,d can think on your feet and create
intelligent, considered solos.
13 PLAY THE ROOT NOTE AS THE CHORD CHANGES BIT.LY/TGA2023AUDIO
q =70 Dm F˙ G˙ Am
Am w ˙Ó
& 44 w
T 68
A7 7
TBGR354.guitarworkout.fig09.musx 7
19:34 James Uings
This first step is really quite simple. Simply change note as the chords change. This gives you an idea of when to change (you’re followingCthoencthroibrdust,orerm: Jemambeer!s) aUndinwghsich
noNteottoeuss:e (the chord’s root note). Don’t worry if this seems simple. This is a framework that you can build upon.
Engraved by DigitalMusicArt.Com
14 CONNECT THE DOTS BIT.LY/TGA2023AUDIO
q =70
Am~~~~~~~~~ D˙m~~~~~~~~~ œ œ F˙~~~~~~~~~ G œ œ Am~~~~~~~~~~~~~~~~~~
& 44 ˙ œ œ œ œ œ œ œ w
œ œ
~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~~~~~~~~~~
T 5 68 65
A7 757 75
B 454 7
7
7
Next, you’re going to make your playing more musical by playing phrases that connect the root notes. It’s important that you try this for yourself once you’ve played
through our example. We’re in the key of A minor, so we’re using the A natural minor scale.
TOTAL GUITAR ANNUAL
15 Use chord tones chord you’re playing over will also work as part
of a solo. Learn the chords of the music you’re
These chord boxes show every note for each playing and you’re instantly armed with loads of
chord on the first four strings – even when they usable notes for your solos.
can’t be played at the same time. So what? Well,
it might sound obvious but any note that’s in a
CEA A 5 CA 4 B
55 F F G
A AD A
E C C DB
TGR354.guitarworkout.fig10.musx Am Dm Guitar Workout for 20G22
19:38 08/12/2021 James Uings
11 F Contributor: JamGes Uings
Notes:
Engraved by DigitalMusicArt.Com
16 SEAMLESS SOLOING
BIT.LY/TGA2023AUDIO
q =70
& 44 œjA˙m~.~~~~~~~~~~~~~~ œ œ ≈ œ Dm œ~.~~~~~œ~~~~~~~~œ F G Am 17
œ œœj œ œ œ œ œ œ œ. œj w
BU ~~~~~~~~~~~~~~~ 5 ~~~~~~~~~~~~~~ 56 5 574 57
8 75
T 8 (10) 6 56
A
B
This example uses the other chord tones to stop the phrase sounding mechanical by avoiding big jumps. The first note of each bar is one of the chord tones shown in the
diagram above. As before, play this example then try writing your own lick.
17 Chords & Scales
Some chords and scales are almost identical. You can use this to your advantage…
The C major scale shape shown here adds a few match up. It’s the same with the A minor
notes to the C chord. In fact, they’re so similar pentatonic scale and this Am7 chord. They
that you’ll nearly always be able to use the share so many notes that you can nearly
scale over the chord and know that they’ll always make them work together.
X OO OOO XO OO O OO
1
1 1
2 22 2 22
3 33 3
C C major scale Am7 A minor pentatonic
TOTAL GUITAR ANNUAL
2022 Guitar Workout
LEARN
TO READ
RHYTHMS
Crack the code of music notation
and your rhythm playing will
improve. We show you how…
G uitarists are generally only once. What we definitely can
not so good at reading be better at is understanding and
TGR35om4u.gursufiaictua.lIrttw,’stohnrokouotguehnt..tfiigre1l3y.musryxeoaudtiongrerahdycthhmorsd.cThhairstws liilkl eentahbele James Uings
Contributor: James Uings
As you’ll remember from the one below and communicate better Engraved by DigitalMusicArt.Com
fretboard knowledge section with other musicians – especially
eveNryotneost:e can be played in drummers. This section introduces
lots of locations, so it’s not as you to basic rhythm notation
straightforward as it is on, say, and gives you a chance to
a piano – where every note appears test your knowledge.
18
18 RHYTHM TREE BIT.LY/TGA2023AUDIO
w
1234
˙˙
1234
œœœœ
1234
œœœœœœœœ
1&2&3&4&
œœœœœœœœœœœœœœœœ
1 e&a 2 e&a 3 e&a 4 e&a
This is the rhythm tree. It shows the most commonly used notes found in music
notation and how each of the rhythms relate to one another. We’ve also included
how each of the rhythms is counted in a bar of 4/4 time music.
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TGR354.guitarworkout.fig14.musx James Uings
Notes: Contributor: James Uings
Engraved by DigitalMusicArt.Com
19 COUNTING RHYTHMS BIT.LY/TGA2023AUDIO
q =100 2&3 4& 1 2 3e&a4
& 44 1 œœœ œœ ˙ œœœœœ
œ
000 00 0 00000
T
A
B
0
This example combines several rhythms but stays on one note, so you can focus your attention on following the rhythm as it’s written. We recommend having a go at
following the notation without any audio first, to see if you’ve understood the rhythm tree. Counting aloud as you play will help you stay in time.
21 rhythm method AUDIO
bit.ly/tga2023audio
Apply music reading
skills to your playing
Reading music isn’t the easiest aspect of guitar playing. In fact, for some people, the
symbols used in music might as well be some alien code. Still, the beams/stems of the
notes do at least give you a good idea of how many times you need to strike a note or
chord. And that gives you a clue as to which picking/strumming approach to use.
œœœœœœœœ 19
20 Rhythm tests 1&2&3&4&
Check your rhythm knowledge 1. EIGHTH NOTES
Play these with constant downstrokes for a driving, urgent sound, or use alternating down- and
We’ve prepared three third test is two bars upstrokes for a looser strummy sound.
afiurTsdtGioisRrho3yn5teh4bm.garuteliotsantrgsw.aTonhrdekoutrl.ohfinyggt1h. W5m.omsrakuroseuxbtewinhgich œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œGuitar Workout for 2022
uses half and1q2ua:0rt1er06/12/u2s0e2d1, and try playing
1 e&a 2 e&a 3 e&a 4 e&a
anlostoeosn. Teh1beasreloc1nogndanisd them back on your
guitar. Find the answers 2. 16TH NOTES
With four notes for every beat, you’ll nearly always have to pick/strum 16th notes with alternating
adds eighth notes. The at: bit.ly/tga2023audio. down-and upstrokes. They’re just too quick to downpick.
22 CHORD CHART WITH RHYTHMS BIT.LY/TGA2023AUDIO
Em D C Û Û Û Û Û ..D Play 4 times
& 44 .. Û Û Û Û Û ÛÛÛ Û ÛÛ|
G C D | Em
&Û Û Û Û Û Û ÛÛÛÛ | |
This chord chart is an excellent way to try out your newly-acquired knowledge. Play through it a few times and count the rhythms, then try it with our backing track.
It’s ok to have several attempts – sight reading will come later.
TOTAL GUITAR ANNUAL
2022 Guitar Workout
FUNK
WORKOUT
Get your rhythm skills up to
speed as we take a look at the
cool, funky sounds of 16th notes
N o guitar workout in Deep Purple’s Smoke On The
would be complete Water. The guitar part uses
without at least some quarter notes but the hi-hat is
attention paid to your playing 16ths. You can probably
strumming technique, and we’re tell from this classic rocker then
looking at a staple rhythm in that 16th notes are usually fairly
Lfuent kuTsaGnobdRldi3gi0sec4yo.o,cutohwveeit1rh6fteahan-tnuorete_.02.fig0qre1uci.rcmekau,tasenxtdhief ryhoyut’hremgwoiinthg to TGR304.coverfeature_02.fig02.musx 16th Note Strumming
your
explanation... 161th6:n4o7te1s3a/r0e2s/o2018 strumming arm you need Cover Feature
callePdabgeceau1se th1at’s how many a steady, well-timed strumming Page Contributor: Jon Bishop
otifm’eeNm–oa1t6ree!sLi:nisatebnatrootfhmeuinsitcroinri4f/f4 technique. Our examples will
help you develop your skills. Engraved by DigitalMusicArt.Com
23 ON-BEAT CHORDS BIT.LY/TGA2023AUDIO 24 OFFBEAT CHORDS BIT.LY/TGA2023AUDIO
20 q =80
& # 44 ..E>mœœœœœ7 ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ >œœœœœ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ >œœœœœ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ >œœœœœ ¿¿¿¿¿ Pla¿¿¿¿¿y 4¿¿¿¿¿time..s Em7 œœœœœ> ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ >œœœœœ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ œœœœœ> ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ Plaœœœœœ>y 4 times
& # 44 .. ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ..
T .7 ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ . T . ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ .
A 8 8 8 8 . A . 8 8 8 8 .
B 7 7 7 B 7 7 7 7
.7 9 9 9 9 9 9 9
9 7 7 7 7 7 7 7
7
≥ ≤ ≥ ≤ cont. sim. ≥ ≤ ≥ ≤ cont. sim.
TGR304.coverfeature_02.fig03.musx TGR304.coverfeature_02.fig04.musx 16th Note Strumming
This line will help you establish a basic down-up strumming pattern. Here the same pattern is ‘moved’ so the offbeats are accentedC. YoovuemraFy eature
finPd tahgiseone trickier to play even though it is essenCtiaollnyttrhiebsuatmore:thing.
EmPpahagseise the on-beat chords (the first of each group of four strums) Have a good listen to our version so yEouncgarnahveeardhobwyitDsioguintadslM. usicArt.Com
then release pressure so that the strings are muted in between.
25 SIMPLE FUNK RHYTHM BIT.LY/TGA2023AUDIO 26 CREATING SPACE BIT.LY/TGA2023AUDIO
..Em>œœœœœ7 ¿¿¿¿¿ ¿¿¿¿¿ >œœœœœ ¿¿¿¿¿ ¿¿¿¿¿ >œœœœœ ¿¿¿¿¿ ¿¿¿¿¿ œœœœœ> ¿¿¿¿¿ ¿¿¿¿¿ >œœœœœ ¿¿¿¿¿ Plaœœœœ>œy 4 times Em7 >œœœœœ œœœœœ> œœœœœ> œœœœœ> ‰ >œœœœœ Pla>yœœœœœR4 times
& # 44 ¿¿¿¿¿ .. & # 44 .. ¿¿¿¿¿ ¿¿¿¿¿ ≈ ‰ ‰ ≈ ..
T .7 ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ ¿¿¿¿¿ 7 ¿¿¿¿¿ 7 ¿¿¿¿¿ . ¿¿7 77 7 7 7
A 8 8 8 8 8 8 . . ¿¿ ¿¿ .T 8 8 8 8 8 8
B 7 7 7 7 7 . ¿ ¿A 7 7 7 7 7 7
.7 9 9 9 9 9
9 7 7 7 7 7 9 99 9 9 9
7 ¿ ¿ .B 7 7 7 7 7 7
≥ ≤ ≥ ≤ cont. sim. ≥≤≥ ≥≤ ≥ ≤ ≥
Here we mix up the rhythms and a much funkier-sounding part is the result. Finally, we look at how leaving space can break up the monotony of constant
Remember, the down-up strumming pattern stays the same – it’s just the muted strokes. Keep moving your picking hand up and down to ensure good
fretting hand pushing down on the strings that creates the rhythm. timing – just don’t make contact with the strings in the gaps.
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WORK OUT YOUR EARS
IdTeGnR3t5i4f.gyuitianrwtorekoruvt.fiag1l1s.mbusyx ear to become a better improviser anGuditarsWoonrkogutwforr2i0t2e2 r
12:01 06/12/2021 James Uings
T1he ea1rs are one of what’s going on in your favourite songs. Identifying music’s raw As yCoounbtericboumtoerm: Joaremfeams Uiliianrgs
Notes:aasgsueittsa.rTishte’sybailglogwesytou to tracks, the ideas in your head, and
what your bandmates are playing mbeatwteereianlstwofoinntoetrevsa)lasn(tdhcehdoirsdtasniEncengrauwvneitidhquebeaycshoDuiinngtditeayrvloMaul’ulalsnsidctaAcrhrttot.oCrdno’osmtice
easily identify exactly when they improvise and write isolation is a good place to start. them each time you hear music.
27 INTERVALS AND A TABLE OF SONGS BIT.LY/TGA2023AUDIO
Minor 2nd Major 2nd Minor 3rd Major 3rd Pefect 4th Augmented 4th Pefect 5th Minor 6th Major 6th Minor 7th Major 7th œOctave
œ
& œ bœ œ nœ œ bœ œ nœ œœ œ #œ œœ œ bœ œ nœ bœ nœ
œ œ
T 4 35 36 37 38 39 3 10 3 11 3 12 3 13 3 14 3 15
A
B3
Here you can see how to play each interval (shown in the tab in the key of C) and we’ve given you a list of familiar tunes to help you recognise them. Listen to the sound
qualities of each interval as you play them and if this all looks a bit scary, just work on the major and perfect intervals first.
TGR354.guitarworkout.fig12.musx Guitar Workout for 2022
12:0M1in0o6r 2/1n2d/–2Ja0w2s1Theme Diminished 5th – The Simpsons Minor 7th – Somewhere James Uings
Theme (root, 3rd, b5th)
1 1 Major 2nd – Happy Birthday Perfect 5th – Star Wars Theme (Westside Story) Contributor: James Uings 21
Notes: Minor 3rd – Smoke On The Water Minor 6th – The Entertainer Major 7th – Take On Me
Major 6th – My Way
Major 3rd – Oh, When The Saints... Octave – SweetECnhgildraOv’ Meidneby DigitalMusicArt.Com
Perfect 4th – Here Comes The Bride
28 CHORDS A TABLE OF SOUND QUALITIES BIT.LY/TGA2023AUDIO
C Cm C aug C dim Cn nmwwwwaj7 b bCwmwww7 n b wCwww7
& www b www n # www b b www
T7 7 8 8 8
88 9 11 11
A9 8 9 8 9 8 9
10 10 10 10 10 10 10
B
We’ve also put together a handy table for chords. Be sure to play through the shapes shown here in the tab and see if you agree with our descriptions of their sounds.
If not, create your own – what matters is that you can identify them and use them to create the sound you want!
Major – Happy Diminished – Dark Dominant 7th – Strong,
Minor – Sad Major 7th – Reflective but uneasy
Augmented – Mysterious Minor 7th – Dark, melancholy
29 Ear tests AUDIO
bit.ly/tga2023audio
Track your ear training progress
with TG’s interval tests
We’ve prepared three See if you can tell which
audio tests. The first test interval is being played in
uses just major intervals. each case. Each pair of
The second uses minor notes is played twice.
intervals. The third test Find the answers at:
uses all the intervals. bit.ly/tga2023audio.
TOTAL GUITAR ANNUAL
2022 Guitar Workout
PRACTICE
PLANS
You’ve tried our exercises, now it’s
down to you to get practising!
T he key to improving at depends on your goals as a player
all these different guitar and your existing strengths and
playing skills is regular weaknesses. We’ve prepared
practice. Each area will three example scenarios based on
improve with a small amount of different players’ goals. Feel free
regular practice. How much to follow the one that suits you or
emphasis you put in each section – better yet – create your own plan.
Player 1 Player 2 Player 3
The all-round The technician The theory buff
22 improver
For players who are generally more For players who are looking to understand
For the guitarist who plays a bit of interested in soloing and improving the music they play just as much as
their dexterity, timing and technique... improve their technical skills
everything, including various styles
of music and the odd solo or two... 5 minutes: Notes on the fingerboard 5 minutes: Notes on the fingerboard
5 minutes: Notes on the fingerboard – Find all the F notes, then all the G notes, – Find all the sharp and flat notes on the
– Find all the F notes, then all the G notes, and so on. fretboard, e.g., G#, Bb , and so on.
and so on. 5 minutes: Warm-up 5 minutes: Warm-up
5 minutes: Warm-up - Play two of the easiest tab examples in the – Follow the major scale in 3rds and the
– Play two of the easiest tab examples in feature slowly. string skipping exercises.
the feature slowly. 5 minutes: Switch between four 10 minutes: Ear training with intervals
10 minutes: Dexterity and agility octave shapes and chords
– Choose two exercises, and aim to play – Choose four octave shapes and make quick, – Try one of our tests. Identify the first interval
them cleanly. accurate changes between them. in the melody of any song you like.
5 minutes: Write an octave lick 15 minutes: Dexterity and accuracy 10 minutes: Playing through changes
– Try a different root note every time you – Try 10 minutes on legato and spider exercises; – Create your own progressions and licks,
attempt this. 5 minutes on anything else. making sure to target root notes and
5 minutes: Playing through changes 5 minutes: Playing through changes chord tones.
– Follow the lesson daily until the ‘landing notes’ – Land on a root note or chord tone on 10 minutes: Rhythm reading
become second nature. every change. – Revisit this lesson daily to digest the
5 minutes: Ear training with intervals 5 minutes: Ear training with intervals information, then move onto the funk workout.
and chords and chords 10 minutes: Funk
– Try one of our tests. – Try one of our tests. – Try accenting different notes in each
5 minutes: Rhythm reading 5 minutes: Rhythm reading four-note grouping. It’s a tough rhythm
– Play any chord, making sure to follow the – Play through the rhythm tree using only the workout!
rhythm tree for your timing cues. quarter-, eighth- and 16th notes. 10 minutes: Jam track
10 minutes: Funk 10 minutes: Funk – Jam over one of our tracks first with chords,
– Get into a groove and loop one exercise per – Choose an exercise and play the rhythm with then arpeggios, repeating riffs and finally
day. a) chords, then b) single notes. scalic licks.
10 minutes: Jam tracks 10 minutes: Jam tracks
– Alternate daily either playing lead or chords – Apply the ‘Playing through changes’ concepts,
over our jam tracks. using root notes and chord tones.
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HOW TO WHAT YOU WILL LEARN
Funk-style strumming
G natural minor scale
Powerchord shapes
Get the tone CHANNEL OVERDRIVE
55 6
7
2
GAIN BASS MID TREBLE REVERB
Bridge humbucker Dan Auerbach has a large
collection of vintage gear, and he’s
riff of the month known to gig with different amps
and guitars compared to what he
THE BLACK KEYS records with in the studio. He’s also
known for using a multi-amp setup.
Wild Child All this makes recreating his sound
almost impossible – so, really,
you’re aiming for a broadly
authentic tone. Humbuckers or
single-coil pickups could work.
We’d opt for a warm Fender style
valve amp set with a little drive just
on the verge of breakup. For the
heavier riff, a fuzz pedal like an
Electro-Harmonix Big Muff will give
you some vintage-style distortion.
W ild Child is the first single from motion, so keep your pick moving down and CHEAT SHEET… 23
The Black Keys’ 11th studio up with 16th-note timing.
album Dropout Boogie, which Appears at: 0:00-0:19
The next part features distorted powerchords Tempo: 108bpm
comes a year after the release of on the lower strings: G5, Bb5, C5 and A5 have Key/scale: G minor
their root notes on the sixth string, and Main techniques: Rhythmic strumming,
the Mississippi blues-inspired there’s a D5 built on the fifth string. The odd powerchords, string bending
chord out (coming in after the Bb5) is a D minor
covers album Delta Kream. diad played at the 10th fret, sixth string and 8th
fret, fifth string. Watch our slowed-down video
Black Keys frontman Dan Auerbach begins to see how all these elements fit together.
the song with a Nile Rodgers-esque funky riff
using Gm, Bb and C triads around the 3rd to 5th
frets. The funkiness comes from the strumming
XX XX X XX X XXX XXX XXXX XXX XXX X XX
1 1 8 11 1 1
6 8 5 5
111 111 34 3 34 34 34
3 333 34
Gm Bb C G5 Bb5 Dm C5 A5 D5
Photo Getty The opening funky chords (Gm, Bb and C) are found The powerchord section uses the notes on the
within the G minor pentatonic box shape, with the lowest strings in ‘root-5th-octave’ shapes.
string bend lick played on the second and third strings. There is one instance of a D minor diad, too.
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“I WAS THINKING
ABOUT ARTISTS
I LOOK UP TO - AND
PRINCE IS DEFINITELY
ONE WHO WAS JUST
UNAPOLOGETICALLY
HIMSELF”
24
Her roots are in blues, but Samantha Fish is pushing the
boundaries on a new album – with influences ranging from
Prince to Fleetwood Mac, and a simpler approach to her
songwriting and her gear. As she explains: “It doesn’t
always work to have a 10-minute solo in the studio!”
S amantha Fish’s seventh album, Faster, does just as its title I’m into pop and I’m into industrial - so
suggests and takes things up a notch or two. The hooks are it’s just kind of finding these different
catchier than ever, the guitar work has yet more fire and, as the modern tones to incorporate with the
slightly provocative album artwork suggests, the record leaves blues and rock ’n’ roll.”
the listener in little doubt that the Kansas City-born singer- For this album, she headed to the
West Coast for the first time, and cut
songwriter is here to deliver straight-up swagger, with zero the record at The Village - the world
apologies. One of the overwhelming characteristics of Faster is famous Los Angeles recording complex,
that it in no way sounds or feels as if it were written in a time housed in a 1920s Masonic Temple. Over
of global crisis, anxiety and restrictions. Says Samantha, “This is such a fun, the years, Samatha has made much of
the way a recording location influences
exciting record and I really thought that it might go the other way when the outcome and character of the end
I first started the writing process.”
product, explaining, “It shapes your
As an artist who normally tours hard and writes on the road, the housebound mood when you’re in there.” Of The
writing process offered a little escapism. “I think we all kind of hit this wall last Village, she notes, “That place has just
year,” she says, “and I just started writing from this place of where I wanted to be,
rather than where I was actually at. I feel like the best thing that came out of that got so much history and you’re like,
was this empowering, upbeat, confident ‘take charge and control’ kind of a record.” ‘Okay, this is the mood I’m in while
I’m here making this album’, and
As the follow-up to 2019’s Kill Or Be Kind, the new album marks Samatha’s first it definitely colours it. It’s the
collaboration with producer Martin Kierszenbaum, who has previously worked with backdrop for everything.”
Lady Gaga, Madonna and Sting. It’s perhaps unsurprising then, that Faster has a pop Sporting a Fleetwood Mac T-shirt for
sheen that sits atop the raw, bluesy undercurrents of the material. “I kind of want to this interview, she admits, “Knowing
push the boundaries of what people consider blues to be,” Samantha explains. “But
also, I really like to involve different sounds. I listen to an eclectic bunch of music -
TOTAL GUITAR ANNUAL
SAMANTHA FISH
that a Fleetwood Mac record was done 25
there at The Village, I listened to that
a bunch” - that record being 1979’s
Tusk. As for other sonic inspiration, she
cites always having The Rolling Stones
“on rotation”, and says that gearing up
to go into the studio she “brushed up
on the famous and legendary records”
including those of Lady Gaga, Prince,
Elton John, David Bowie, Tom Petty
and the Heartbreakers, and North
Mississippi Blues players - particularly
the Fat Possum roster. Altogether these
artists might make for an incohesive
mixtape, but elements of each can be
heard on Faster, and their influences
are expertly balanced with
a contemporary feel.
For example, on the track Hypnotic,
she explains how she considered “What
would Prince do?” The result is a bouncy
and spacious R&B track, reminiscent of
Prince’s mid-80s hits Raspberry Beret
and Kiss. She laughs, “Can I cuss?”,
before adding, “I wanted it to feel stylish
and to feel like I don’t give a f*ck. It’s
supposed to have this swagger to it. So
when I was thinking about the artists
and the people who I look up to
- Prince is definitely one who was just
unapologetically himself - and I feel like
that song channels that spirit.”
Elsewhere, tracks such as Twisted
Ambition boast a frenetic energy and
an ethos of female independence with
ripping solos, bright lead tones and
empowered vocals. With strong hooks
and melodies at the core of the record’s
sound, she cites Loud as having
a melodic motif that she’s “super
excited about stretching-out live”,
and explains: “It doesn’t always work
to have a 10-minute solo in the studio
- I’m sure some people would argue
with me on that - but I have some ideas
for how to stretch it out, so I’m really
excited about playing that one later.”
TOTAL GUITAR ANNUAL
SAMANTHA FISH
on the road and explains that if you
want something to sound “Led Zeppelin
huge” on a recording, a small amp is the
way to go. On previous records, she’s
opted for vintage Supros, and explains,
“You can get a lot out of a tiny amp
- it just has so much character and
headroom and it just sounds so good.
So I wanted, when I went out there,
to have a smaller amp - the Fender
Deluxe really worked.”
When touring, Samatha opts for the
Texas-based boutique amp brand,
Category 5, explaining: “I’m not
kind to them by any means, they’re
workhorses. They just work for me.
It’s all tube, point to point wiring
- very simple. And they wail!”
Still, she keeps it adjustable,
expanding or reducing her wattage
night by night and venue by venue:
“I’ve actually got a 4 x 12” out on the
road and I run different heads through
it, depending on the venue. If we play
a really big outdoor amphitheatre, I’ll
throw the 90-watt Camille on there
and if we’re playing a club, 50 watts is
great.” As a pro tip for those just getting
into gigging, she adds: “You have to
26 be flexible. If you’re in a different
Expanding on her approach to there and twist knobs and play with Above room with a different PA every night
soloing, she notes: “Anything that has pedals all day long but sometimes “I used my SG straight - different amounts of people to soak
a unique melodic motif that you can there’s something to be said for being into a Fender Deluxe up the sound - it changes things.”
repeat and make a part all of its own like: You’ve found a sound, this is and just cranked it”
Although much of Faster was written
- not just licks to get through a solo, a sound that’s powerful, let’s make in standard tuning, Samantha is
but something that’s memorable it happen and focus on what you’re renowned - particularly because of her
- I’m always proud of that.” putting into it rather than, you fiery slide work - for playing in altered
As for the tools of her trade, know, all the effects.” tunings and frequently opts for open
Samantha is known for having an This being said, outside of the studio, G, drop D, open C and open D. A fan-
eclectic mix of guitars, but on this Samantha’s pedalboard continues to favourite, her Stogie Box Blues cigar
record, she pared it back to just three: expand rather than shrink with some box guitar will always be found in open
her favourite white Gibson SG that she of its regular fixtures including a road G but, as it’s missing the top and
ordered online and has kept stock ever worn AnalogMan King of Tone, a JHS bottom strings, is tuned to GDGB.
since, a Fender Jazzmaster and a Gibson Mini Foot Fuzz, a Boss Super Shifter It is by experimenting with altered
ES-335 for some of the rhythm parts. which she says is “kind of fun for dive tunings, she explains, that she finds
Of this uncharacteristically restrained bombs or shifting pitches really fast”, fresh inspiration. “There’s times when
selection, she says: “Usually I’m in as well as a delay. I feel completely uninspired to write
there, flipping through an arsenal of She adds: “I’ve actually been messing and I’ll throw a guitar into a completely
pedals and amplifiers, but we honestly around since we stripped-back to a trio different tuning that I’ve never worked
used my SG straight into a Fender last year, during the pandemic. We’ve with before, and it’ll help [me] write
Deluxe and just cranked it. And once since expanded the band, but for that a song. It’ll help you come up with a riff
we got that sound, Martin was like, time period, I added a synth pedal to that you wouldn’t have otherwise come
‘Dude this is the sound of the record!’” my board so I could mimic some of the up with. I feel like it’s a great tool
Clearly having high levels of respect keyboard parts softly underneath.” for learning even more about
for Kierszenbaum’s guidance, she When it comes to amps, she has very the instrument.”
continues: “I personally could go in different preferences in the studio to
”I’M FINDING THESE DIFFERENT MODERN TONES TO
INCORPORATE WITH THE BLUES AND ROCK ’N’ ROLL”
TOTAL GUITAR ANNUAL
HOW TO WHAT YOU WILL LEARN
Drop D tuning
Octave effect
Half-whole
diminished scale
Get the tone CHANNEL OVERDRIVE
7 56
8
0
GAIN BASS
MID TREBLE REVERB
Bridge Single Coil Amy recorded most of the
forthcoming album with her
riff of the month P90-equipped Fender Mustang
into a Fender Hot Rod amp. She’s
notoriously tight-lipped about her
pedalboard, but our bat-like ears
detect an octave pedal set to an
octave down and with the mix at
roughly 30 per cent. A high gain
fuzz style distortion should get
you a ballpark tone. Remember,
P90s are single coil pickups with
typically sparkling top end. They
tend to have a bit more bass than
many single coils though, so bear
that in mind when setting your
amp’s EQ.
NOVA TWINS
Antagonist
N ova Twins’ mix of grime-y urban single and this month’s riff, Antagonist. strings muted. Note that the section is in an 27
punk and bass-heavy groove has Played in drop D tuning, the hefty guitar riff is ‘A A A B’ arrangement; so the first phrase is
garnered guitarist Amy Love and delivered in unison with the bass, with help played three times, before finishing with
a variation.
bassist Georgia South praise from from an octave pedal (one octave down,
CHEAT SHEET…
the likes of Tom Morello, who naturally) to stand up to the weight of the Appears at: 0:48-1:04
Tempo: 120bpm
personally invited them to open for Prophets song’s gargantuan bottom end. With the Key/scale: D half-whole diminished
octave effect thickening the guitar tone, Main techniques: Downpicking, string muting
Of Rage. The pair also recently helped Fender there’s no need for powerchords – this is a
one-string riff played at the 1st, 3rd, 4th and
launch their new Player Plus range of guitars. 6th frets. Just remember to keep the idle
And, with new album Supernova due in June,
our expectations are high, fuelled by lead
D Eb F Gb Ab E
B
G
D
A
D
Photo Getty This riff centres around the D root note and uses a symmetrical pattern you reach the root note again at the 12th fret and create the ‘half-whole’
of intervals: semitone, tone, semitone, tone (or D, Eb , F, Gb , Ab if you’re diminished scale. Remember, you’ll need to downtune your sixth string
talking about the notes). You can theoretically continue this pattern until from E to D (aka drop D tuning) to play the track.
TOTAL GUITAR ANNUAL
Guitars and backing Jenna Scaramanga
10 THINGS EVERY
NOVICE GUITARIST
NEEDS TO KNOW…
Chords and scales, rhythm and lead.
These core skills set you up for success in any style
N obody ever finishes learning the guitar. You could be 02 TUNE UP BY EAR
a master classical guitarist and a novice at blues; or
you might be a virtuoso with a pick but uncertain with E veryone needs an electronic tuner, but you should still learn to
fingerstyle. Still, some essential skills let you play in tune by ear to train your sense of pitch. While tuning, you might
a huge variety of situations. Get these down and
get confused whether a note is flat or sharp. If that happens,
loosen the string so it’s definitely flat, and tune back up. This will ‘reset’
you’ve completed your guitar apprenticeship. your ear so it’s easier to hear the right pitch. Some machine heads also
Here we break down those essential skills to get you quickly on the road work more efficiently when tuning up rather than down, so the guitar
to guitar mastery. We’re taking a look at the chords and scales you need to stays in tune better.
know, and we’ve provided some exercises for you to try out. Treat each
exercise as something to build up to – and if an example is too tough to 03 ESSENTIAL CHORDS AND SCALES
play at first, break it down into shorter ‘phrases’ and gradually piece it
together as you improve. And why not try recording yourself playing our he ten chord shapes shown here are the most important ones
you need to know. Many more advanced chords are related to
T28 riffs and licks too? It’s a great way to track your progress. these shapes in some way. And if you only ever learn two scales,
learn these. The minor pentatonic scale is probably the most commonly
used shape in lead guitar, and the major scale is the basis for most
music theory.
X OO XO O OOO O OO
11
2 123 1 23
SETTING 1 3 23
SCOOPED MIDS
This is a stereotypical modern metal setting, fun for bedroom moshing.
CAGE
XXO XO O O OOO XXO
23 1
12 1
3 2
23 3
SETTING 2 D Am Em Dm
BOOSTED MIDS X XXX XXXX 1 1 1111 1 11 1
After the scooped tone, this probably sounds harsh and honky when you play on 1 5 4
your own. Add bass and drums and it works perfectly for rock and blues. 1 5
3 333 22 22
01 LEARN YOUR AMP C5 3 4 44
33
U nsure how to set your amp? Start with treble, middle, and bass A5 A minor pentatonic
at 12 o’clock. Try turning bass to zero and then to maximum, scale 44444
and listen to the differences. Put it back to 12 o’clock and
repeat with the middle and treble knobs. Try it with various gain A major scale
settings and listen to how the amp behaves. If possible, crank the
master volume. The same settings sound different and the guitar
feels different at high volume. Settings shown in TG are only ever
suggestions: even if we all had the same gear, every room sounds
different. Try playing in your bedroom, bathroom, and garage and
see how much the tone changes.
TOTAL GUITAR ANNUAL
04 FINGER POSITIONING NOVICE
CORRECT FRETTING 29
Aim to fret with your fingertips close to the frets, but not on TOTAL GUITAR ANNUAL
top of the metal.
INCORRECT FRETTING
Fretting inaccurately will cause fret buzz or even sound
the wrong note!
THUMB POSITION
This position allows maximum stretch for one-finger-per-fret
scale shapes.
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14:27 20/01/2022
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For lead guitar, down-up style ‘alternate’ picking is the most efficient way to play: follow every downstroke of the pick with an upstroke so you’re plucking the string every
time the pick passes it. Once you’ve mastered two pickstrokes per fretted note, as tabbed, you can also try three, four, or one.
TOTAL GUITAR ANNUAL
TGR355.gettingstarted.fig03.musx 10 Things Every Beginner Should Know
of NOVICEContributor: Jonny Scaramanga
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10 Things Every Beginner Should Know
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7
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Playing only on beats 2 and 4 like this is a classic soul guitar trick. To get the timing, listen for the snare drum and sync up with it. Use the rests to prepare the next chord
shape. Soul greats like Steve Cropper often only strum three strings from within these shapes.
TOTAL GUITAR ANNUAL
Interview Jenna Scaramanga Photos Austin Mitchell
“I WANT TO STICK
TO WHAT EXCITES
ME RATHER THAN
CONFORM TO
32 WHAT’S POPULAR
AT THE MOMENT.
I’D RATHER KEEP
IT ROCK ’N’ ROLL.”
Slash made his new album with Myles Kennedy and
The Conspirators in just five days. He’s also working
on the long-awaited new Guns N’ Roses record.
But the guitar hero admits:
“I’d be lying if I said I don’t feel the
pressure in this age of technical
expression and fluidity...”
TOTAL GUITAR ANNUAL
33
TOTAL GUITAR ANNUAL
H e was just 21 when Guns N’ Roses’ debut album
Appetite For Destruction was released - the record
that made him famous as a guitar hero. And all
these years later, as Slash speaks to TG via a Zoom
call from his home in LA, it’s evident that his love
of rock ’n’ roll is as strong as it’s ever been.
When he talks about 4, the new album from
Slash featuring Myles Kennedy and The
Conspirators, he’s thrilled about how it turned
out, with an energy created from having the
whole group playing together in the studio. “Recording live is something I’ve
always wanted to do,” he says. And when he talks about how things are working
out in Guns N’ Roses – seven years since he and bassist Duff McKagan reconciled
with singer Axl Rose and rejoined the band – he says he couldn’t be happier.
4 is also the first release on Gibson the two as best he can – and right now,
Records, a fitting honour for a player he admits, “it’s pretty busy”.
who has been synonymous with the GN’R are currently in the middle of a
Les Paul since Appetite For Destruction world tour, which has included massive
defined Guns N’ Roses as the greatest outdoor shows in London and
rock band of the late 80s. throughout Europe. The band also
In that era, when hard rock music released a new EP in February
was getting increasingly slick and safe, 2022 featuring Hard Skool, one of
GN’R sounded genuinely dangerous. two tracks originally recorded during
Slash’s lead playing had a grind that Slash and Duff’s absence for the 2008
34 over-polished shredders couldn’t touch, album Chinese Democracy but
but his melodic hooks in Sweet Child O’ re-recorded with the current line-up.
Mine and Paradise City were irresistible. They have also begun working on a new
35 years and 30 million sales later, it’s album – the first since Chinese
quite probably the greatest rock Democracy, and the first with Slash and
debut of all time. Duff since the covers album, The
After exiting from Guns N’ Roses in Spaghetti Incident?, in 1993.
1995, Slash found success second With so much riding on a new Guns
time around in the 2000s with the N’ Roses album, this is one subject
supergroup Velvet Revolver, co-starring on which Slash remains tight-lipped,
Duff McKagan, ex-GN’R drummer Matt stating simply and diplomatically: “We
Sorum and former Stone Temple Pilots put two songs out already and there’s
frontman Scott Weiland. And again, it more stuff coming.” But for the rest of
was thanks in no small part to more our conversation he is open, energised
unforgettable Slash melodies on and passionate as he discusses his dual
hit songs such as Slither and Fall To roles with GN’R and The Conspirators,
Pieces that Velvet Revolver became his gear and inspirations, and this new
a multi-platinum act. album on which his guitar tone is
In the wake of that band’s break-up, possibly the cleanest and most direct
Slash’s self-titled 2010 solo album saw he has ever recorded, revealing all the
him collaborating with an array of detail in his ferocious chops.
superstar vocalists including Ozzy
Osbourne, Motörhead’s Lemmy and the You’ve now played for longer and
Black Eyed Peas’ Fergie. But it was his made more albums with this band
chemistry with Alter Bridge singer than any other line-up. How do you
Myles Kennedy that really turned heads, feel about that?
and soon they coalesced into Slash That’s funny! I’ve never thought about
featuring Myles Kennedy and The that. New milestones, right? I hooked
Conspirators. This is now the most up with these guys in 2010 and we’ve
stable group line-up of the guitarist’s just had a great time of it. Even when
career, and his commitment to this I got back with Guns N’ Roses, which
project is such that he never considered was a pretty monumental thing, I didn’t
giving it up when the Guns N’ Roses want to let that go. I just managed to
reunion happened. He just has to juggle thread the needle and keep it going.
TOTAL GUITAR ANNUAL
Apparently you recorded the album is how we normally do it. When Covid 35
in five days? happened it stalled our routine. Normally
Yeah, it was quick. When we started we come off the road, do some work on
looking for a producer I had a very short the songs, then get into pre-production
list of potential rock ’n’ roll guys. Dave and go back in the studio and do the
Cobb was one of those. He’d done Rival record. Covid delayed all that, so I did
Sons, which is a band I really like, and demos of all the material that we had
a bunch of really cool down-to-earth plus a lot of new material. I did the
country stuff. We discussed how we computer drum machine kind of deal,
liked rock ’n’ roll performed live and the playing them with my fingers, sent it
energy with that. It was like it was out to Myles and he put down some
a meeting of minds. We went out to vocals. Todd (Kerns) finally flew in and
put bass on the demos, so that’s
Nashville, set the gear up and just how the stuff came together.
started playing. We did two songs
a day over the course of five days Was any of it written in the studio?
and that was basically the whole When I do demos, all my arrangements
record sans overdubs and are never completely finished. You’ll
background vocals. We used have an intro and a verse and a chorus.
wedges as monitors and it was You might have even a middle. Whatever,
just like playing in a club. Myles was it’s always open to change. When we go
into pre-production we’ll jam everything
in a booth right next to us, but I could out to the point where I think this is
actually see him and he just sang along. reasonably finished. Once we get in
There would be two or three takes and the studio and you’re playing the
that was it. I think Myles thought, ‘I can arrangement in earnest some things will
always go back and redo this or that’, change. There was a couple different
but then he was the first one to test things that happened. Fall Back To Earth
positive for Covid. The vocals were really developed. April Fool was only
three parts that really weren’t fine-
great so there was no need to go tuned and Dave Cobb helped us do that.
back and redo them. One of the
reasons I wanted a different Your guitar tone on this record sounds
producer was because Elvis [Michael a bit cleaner. Was that deliberate?
‘Elvis’ Baskette], who produced the last There’s a big difference in sound when
two Conspirators records, also did both you play with the band compared to
of Myles’ solo records and all the Alter when you mic up an amp in a booth
Bridge records. I didn’t want another and go into the control room and dial
record coming out in such close the sound in that way. It was just a
succession that had the same sound. much more direct, raw approach. The
It turned out that you couldn’t get sound was cleaner just because of the
a more different approach to vocals. way that I set up, standing right in
front of it.
How was this album written?
A lot of it was written on the road in
2019, at sound checks and stuff, which
“I DON’T HAVE A PROBLEM
WITH PLAYING FAST AS
LONG AS THERE’S AN
EMOTIONAL CONTENT TO IT”
TOTAL GUITAR ANNUAL
You don’t need as much gain because with Guns N’ Roses and then I sort of
the sustain comes from the volume went off it when I was working with
and closeness to the amp. Velvet Revolver. I went through a couple
Yeah, it’s just a different trajectory, the different Marshalls, and then I really
way that the sound is coming out and came back around to Jubilees on
the way that you’re perceiving it. Plus the last tour.
on a couple songs I used a Flying V
which I love because it’s got great On April Fool, the two guitars play
output but it is demonstrably cleaner variations on the same riff, panned
than my Derrig guitar [the Appetite For left and right, similar to how you used
Destruction Les Paul]. C’est La Vie and to play with rhythm guitarist Izzy
Actions Speak Louder Than Words Stradlin in Guns N’ Roses’ early days.
were both played with the Flying V. How do you develop those parts?
It’s a Hendrix ’69 reissue Flying V. I’ll come up with an idea and start
It’s f*cking great, and it works jamming it with the guys. Unless I have
great for the talk box. a specific part, they just make up
whatever. Frank [Sidoris, Conspirators
You and the talk box have a great rhythm guitarist] just goes along with it
history going back to Appetite in his own fashion. We don’t spend a lot
For Destruction. of time analyzing the guitar parts as
It was fun to break it out. It was sort long as it works. Sometimes it inspires
of an afterthought. I wrote it like on different ideas for syncopation, but for
regular guitar and in pre-production it the most part we just start playing
dawned on me that that riff would and people make up whatever
be great with a talk box. The they want until it starts
first talk box I ever got to jump.
was when I was about
36 16. A friend of mine’s Is that a sitar on
mom who [was] in a Spirit Love?
band had one in her That was the
garage, and she first time
gave it to me. The I’ve had the
first thing that electric sitar.
I ever heard the I can’t
voice box on that really remember what
stuck out to me was the brand is but
Peter Frampton (on Show I might have had it
Me The Way), and then it was since the 90s. I’ve definitely
Aerosmith, a live version of Walk This had it since Velvet Revolver. I just
Way off the Live Bootleg record. I came never used it because the sitar has
up in an era where talk box was around. become such a cliché in rock and roll
A lot of people over saturate it now, that it’s very iffy whether it’s gonna
and it’s just more of a tonal effect as work. I recorded it on my Les Paul, but
opposed to really enunciating with it. then I went back and overdubbed it
I definitely like a cleaner, buzzier with the sitar, through the Marshall
old-school sound. exactly the way my guitar was set up.
It sounds like the speakers are about
The reverb sounds great. How did to blow up! It was a cool sound and
you get that? it doesn’t sound like the Beatles
That was just the room! We discussed or anything.
Glyn Johns and some of the records he
engineered that were really live records, Is the riff on Fill My World a nod to
like Led Zeppelin II. That was basically Sweet Child O’ Mine?
it, going in and just setting up live in I know what you mean now that you’ve
the room. said it, but it didn’t come from that. It’s
that kind of single note riff that’s got
What was the amp? a rotation thing to it, but it wasn’t
Just a [Marshall 2555] Jubilee 100 watt intended to sound like anything in
into straight cab with [Celestion] particular. I was not sure if I was going
Vintage 30s. I go through phases. to show it to the band because it was
I used the Jubilee for a long time this ballady type thing, but I sent it to
TOTAL GUITAR ANNUAL
“GIBSON IZZY RULES!
WANTING TO DO A
Slash on his magical
RECORD partnership with GN’R’s Izzy
COMPANY ALMOST Stradlin and with his current
SOUNDS TOO GOOD GN’R foil Richard Fortus
TO BE TRUE. I
COULDN’T THINK On Appetite For Destruction was it planned that
OF ANY NEGATIVE you and Izzy played variations on the same riffs?
SIDE TO IT.” No, it never was. I think playing with Izzy is what started
the trend to have one guy playing his main part and the
other one playing something off of that. That loose thing 37
was just the way that I play with other guitar players. The
other guy does his thing and I do my thing and hopefully
the twain meet on the same ground somehow. Izzy was
such a unique guitar player unto himself. Everything he
did was so simplified that if he had a riff I would take
it into another place. My approach to it, inspired by
whatever he was doing, would make it a bit more complex
or more driving. If I had a riff he would just find an
off-the-cuff way of playing it without having to play
all the notes. It just worked. There was never much
discussion or sitting around working stuff out,
and I just never have done since then.
Do you play differently with The Conspirators’
Frank Sidaris compared with current GN’R
guitarist Richard Fortus?
I mean, I play the way I play with Richard as well. He just
does his thing, so it’s the same dynamic. Some things are
a little bit different when it comes to Chinese Democracy
stuff. I learned parts from listening to whoever was
playing, Bumblefoot or Buckethead. If there’s a particular
part, I want to play it to sound like that. Richard would
come up and go, ‘Actually, this is how he did it.’
Other than that I mean we just do our thing.
TOTAL GUITAR ANNUAL
from how the original guys played. It’s
definitely my own interpretation.
You’ve said in the past you weren’t the
biggest fan of shred guitar. You can
play extremely fast but you don’t
sound like a shredder. Do you have
ROCK SOLID any thoughts on why?
Slash and I don’t have an issue with playing fast.
Myles Kennedy, When I’m talking about Eddie Van Halen
co-conspirators or Alvin Lee, there’s a lot of great fast
since 2010 guitar players but they have an
emotional quality. It feels like they’re
Myles and he came up with this really effects-wise because it’s such minimal doing it for a reason, there’s a feel to it,
great melody so it became a song. effects anyway. Jessica, my ’87 main and it’s part of the energy of the tune.
The riff is a mix of open strings and Les Paul, I use primarily with Guns just It’s not playing fast for the sake of
fretted notes and there’s little because that’s such a Guns N’ Roses playing fast, and it’s not playing
bends in there, too. thing. I experiment with a lot of technical for the sake of playing
different stuff with the Conspirators. technical. Like, ‘how many tricks and
The album is the first release from how many techniques can I put into
Gibson Records. How did you hook How is it different playing your old this?’ sort of loses the plot for me.
up with them? songs with Guns N’ Roses again When I play fast, it really is an energy
I have no idea how long Gibson was versus playing the same songs thing. I would actually like to tone it
thinking about starting a record with Conspirators? back sometimes, especially when I’m
company prior to us coming together There’s a certain chemistry that Duff, doing solos live, but I get so taken away.
for this record. I’m my own record Axl and I have that goes back to the Things get sped up because you’re just
company and I find distributors in very beginning. That’s the magic really aggressive and you’re emoting,
38 different territories to put the record ingredient that nobody could like an emotional thing that just calls for
out. I was talking to my manager about necessarily put a finger on what it is. that. That’s where it comes from. I don’t
who we’re going to use this time around That happens instantly when I’m have a problem with playing fast as long
and he mentioned Gibson wanting to do working with Guns. I have great as there’s an emotional content to it.
a record company. I had to think about chemistry with the Conspirators but
it for a second because that almost when we do a Guns N’ Roses song it Your lead playing has always sounded
sounds too good to be true. I couldn’t doesn’t have that particular spark to it. so distinctive. Why is that?
think of any negative side to it. I know I realised that as soon as we started I take that as a compliment. I’d be lying
the people at Gibson so I know how rehearsing. There really is a magic that if I said I don’t feel the pressure of all
much they put into it and how much happens with that combination of these kids standing in front of you or
integrity the company has. I just people that is different than doing the listening to your record and expecting
couldn’t go wrong doing it through same material with Myles, Todd and you to f*cking keep up with the Joneses
Gibson. We partner on it an equal share, Brent [Fitz, drums], even though those in this age of a lot of real technical
so we both have to work hard to make guys do play the sh*t out of the Guns N’ expression and fluidity. I’ve seen some
it happen. I’m actually very excited to Roses stuff. As soon as I rejoined Guns amazing f*cking techniques. They
see who else they sign. I didn’t have that need to play Guns remind me of BMX tricks, and the time
stuff in the Conspirators. We only play it must take to execute them. It always
Now you’re playing with Guns N’ Roses one Guns song in the set now. I don’t has been like that, especially in the 80s
again as well as the Conspirators, do know what song we’re gonna play this man. It was shred city in LA. I mean,
you use separate gear for each band? time around. The Conspirators holds f*cking Yngwie came to town and it
There’s definitely guitars that I use with up on its own, which is great. was like, okay... I just don’t feel like
Guns N’ Roses that I don’t use with the I want to go that direction. I wanna still
Conspirators because they’re signature Have you put your own stamp on the feel like what turns me on when I listen
guitars for certain Guns songs, but Chinese Democracy parts? to other people playing. I want to stick
there’s not a conscious effort to Yeah, if there’s a signature part like to what excites me rather than trying
separate the two. I use what I need to the hook or something, I want to be to conform to what might be popular
do the gig, so I take a lot of the same recognisable, but the way I go about at the moment. I’d rather keep it
stuff out with both bands, especially playing it is probably entirely different rock ’n’ roll.
“ON A COUPLE OF SONGS I PLAYED A HENDRIX
‘69 REISSUE FLYING V. IT’S F**KING GREAT!”
TOTAL GUITAR ANNUAL
GUITAR 39
SHOPPING
WITH
SLASH!
Thinking of buying
a Les Paul? Take
Slash’s advice
on finding the
right one...
I’ve learned to be really flexible with
a guitar: neck, weight, to some extent
hardware – I’m a little fussy over
pickups but basically a good,
functional Gibson, whatever model,
is something I can probably be
comfortable with. The biggest issue
for me is how each one of them
sounds. I really admire people that
can pick up any guitar no matter
what it sounds like and feel
comfortable with it. I can have 10 of
the same model, same year – I’ll pick
out a string of guitars and they all
sound different. I can pick one up and
go “no, that doesn’t work”. I can do
that for five guitars and then find
one and go “oh, this one!”
A good example of that was when
Gibson did the Joe Perry ’59 reissue,
the Slash/Joe Perry guitar that he
owned and that I gave back to him.
They did a replica of that. I went
down to the showroom to get one.
They had 30 or 40 custom shop
guitars at the showroom in
Hollywood. I played probably a dozen
of them to find the one that sounds
right. It’s a specific sound. If it’s too
bright it will bother me, or if it’s
too muddy on the bottom.
It’s a myth that weight is the most
important thing. You can find a light
one that sounds great, or you can find
a light one that sounds terrible. Same
with the heavy guitars. A really heavy
Les Paul, you pick it up and think,
‘A really dense guitar, this is going to
sound huge?’, and it can sound really
thin. It’s really hard to predict what
a guitar is really gonna sound like.
TOTAL GUITAR ANNUAL
PLAY LIKE
Take a look at Slash’s key playing techniques to get inside his style
Guitars and backing Charlie Griffiths
I f you’re interested in learning about Slash’s Frank Sidoris takes rhythm duties alongside the
playing, it’s worth taking a minute to think hatted one in the Conspirators, but that raw swagger
remains: a looseness and behind-the-beat attitude
about his early Guns N’ Roses style and – and this is what you should aim for. Sure,
metronomic timing is a good thing in principle, but
which elements still feature in his solo really, it’s all about feel when you play like Slash.
Here are ten exercises on the techniques he’s
TGR355.slash.ficgo0n1te.mmupmsorxaatreireisa,ltthoedraeyw. Caosma rpaawrendestos their 80s Chris Bird
to GN’R’s
15:52s2ou1n/0d1, a/2n0d2a2punky, blues-tinged swagger courtesy
40 Page 1 of 1 of Slash and rhythm guitarist Izzy Stradlin. Today, employed throughout his career. Let’s rock! Contributor: Chris Bird
Notes: Engraved by DigitalMusicArt.Com
1 EPIC MELODIC SOLOING BIT.LY/TGA2023AUDIO
q = 60 D A5 G5 D C G/B A5 G5
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12 14 14 12 14 12 14 15 (17) 14 (16) 12 (14)
14
BU BU BU
20/01/2022 Chris Bird
WPe’aregteakingoifnspiration from Knocking On Heaven’s Door and November Rain here in our short solo. The shape that opens both bars 1 and 3 iCs oonnetorfibSulatsohr’s: fCavhoruirsiteBird
melodic tricks, allowing him to switch between major pentatonic and pure major scale phrasing.
Notes: Engraved by DigitalMusicArt.Com
2 DORIAN DIADS BIT.LY/TGA2023AUDIO
q =140 œœ œœ œœ œœ œœj ~~~~~~~Play 4 times
œœ.. ..
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This lick uses doublestops in the Dorian mode – a technique you can hear in Slash’s 2022 track Call Off The Dogs. You can play the entire lick with just your first and third
fingers by barring across each pair of strings. For added attitude use downstrokes to strum each note throughout.
TOTAL GUITAR ANNUAL
TGR355.slash.fig03.musx Chris Bird
Page of PLAYContributor: CLhIrKisEBSirLdASH
Notes:
Engraved by DigitalMusicArt.Com
3 BLUES-ROCK RIFFING BIT.LY/TGA2023AUDIO
q =110 A5 N.C. B5 D5 A5 G5 A5 E5 N.C.
N.C. Play 4 times
& # 44 .. œ œ #œ œœ nœ œ œ œ œ #œ œœ nœ œ œ#œ œbœ œ œ œ œ œ bœ œ œ œ nœ œ nœœ ..
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Here we’re looking at how Slash uses 70s-style blues-rock riffs in tracks like Mr. Brownstone and recent single Kennedy/Conspirators single The River Is RisiCngh. rUisseBtigirhdt,
paPlma-gmeutedoaflternate picking for the opening notes, then let the A5 chord sustain, before muting the riff again. In bar 2, use pull-offs to smoCotohlnytprliabyutthoerb:luCehsyrinsotBesir.d
Notes: Engraved by DigitalMusicArt.Com
4 FOUR-NOTE SEQUENCE BIT.LY/TGA2023AUDIO
q =110
A5 √ D5 A5 D5 A5
œ œ œ œ œ œ œbœ œ œ œnœ œ œ œ œ
& # 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œj œ œj w~~~~~~~~
..Play 4 times
BU BU ~~~~~~~~
T. 12 12 15 15 12 17 17 15 19 19 17 22 22 19 19 (24) .
22 (24)
12 12 15 15 12 15 12 15 17 20 22
A . 12 12 12 12 14 14 12 14 12 15 .
14 14 12 14 12 14
TBGR355.slash1.fi4 g1205.musx14
Slash frequently uses this kind of run, but perhaps most notably in the solo to Sweet Child O’ Mine. Based in the E minor pentatonic scale (E G A B D), it’s essenCtiahlrlyis Bird
a Pfoaurg-neote poafttern, repeating each time one note farther up the scale. Contributor: Chris Bird 41
Notes: Engraved by DigitalMusicArt.Com
5 CONSTANT EIGHTH NOTE LICKS BIT.LY/TGA2023AUDIO
q =120 C5 G /B A /C # D5 A /E
A Play 4 times
œj nœ œ nœ nœ œ œ œ œ œ œ nœ œ œ œ œ œ œœj œ œ œ œj œ
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TBGR355.slash.fig06.musx
Slash has used constant eighth-note licks most famously in GN’R’s Sweet Child O’ Mine, on No More Heroes from 2012’s Apocalyptic Love album, and, most reCchenritsly,BonirFdill
MPy Wagoreld onolaftest release, 4. If you can play an open D chord you’ll get the idea – it’s essentially the same shape moved higher up the neck. Contributor: Chris Bird
Notes: Engraved by DigitalMusicArt.Com
6 COWBOY CHORDS BIT.LY/TGA2023AUDIO
q =100
C Fadd 9 G5 C N.C.
& 44 .. œ œ œ œ œœœ œ œœœ œœœœ œœœ œœœœ œœœ œ œ œœ œ œœœ œ œ œ œ œ œ # œ œ œ ..Play 4 times
œœ œœœ œœ œœœ
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3 3
Clean-tone cowboy chords like these do figure in Slash’s work, but mainly with Guns N’ Roses. His later work with Myles Kennedy tends to feature more sophisticated
harmony, for example in the opening to Anastasia and Shots Fired. The picking is a challenge here, so practise slowly, keeping your pick movements as small as possible.
TOTAL GUITAR ANNUAL
TGR355.slash.fig07.musx Chris Bird
21/01/2022 Contributor: Chris Bird
Engraved by DigitalMusicArt.Com
Page of
Notes:
7 PENTATONICS BIT.LY/TGA2023AUDIO
q =115
B5 D5 B5 D5 B5 D5 B5 D5
& ## 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ~~~œ œ œ œnœ#œnœ œœœœ œœœœœœœ œ #œ œœ œœ œ ~~~Play 4 times
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let ring ~~~ 3 let ring ~~~
97
. 7 10 7 7 97 7 10 7 7 64 .
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Slash is often d1es6c:r0ib1ed2a1s/a0p1r/e2d0o2m2inantly pentatonic player, and, while there’s some truth to that, he usually brings a bit more to the table. Bar 1 outlines soCmherpisurBe ird
pePnatagteonic iodef as, with bar 3 extending into the blues scale. See if you can use the shapes in bars 2 and 4 in other fret positions. Contributor: Chris Bird
Notes: Engraved by DigitalMusicArt.Com
8 HARMONIC MINOR LICK BIT.LY/TGA2023AUDIO
q =115
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& # 44 3 œ œ œ œœœœ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœj ..Play 4 times
.. œ œ œ œ 3
. 787 7 8 11 12 8 11 12 14 11 12 14 15 12 14 15 17 14 15 17 15 17 15 14 BU .
T 787 17 15 (17) .
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Another example of how Slash regularly goes beyond pentatonics in his solos, this harmonic minor run up the first string calls up the outro solo in Sweet ChildCOh’ MrisineB. ird
42 TaPkeaigteslowloyfat first, focusing primarily on making smooth position shifts. Contributor: Chris Bird
Notes: Engraved by DigitalMusicArt.Com
9 DROP D RIFFS BIT.LY/TGA2023AUDIO
q =140 bF5 G 5 D5 C5 D5 F5 Gb5 D5 Ab5 A5 Ab5 A5 C5 D5 bF5 G 5 D5 C5 D5 F5 Gb5 D5 Ab5 A5 C5
C5 D5
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10 12 0 3 4 0 6 7 6 7
Chris Bird
SlPasahg’semosot cfommon tuning is Eb standard (i.e., standard tuning down one semitone) but he’ll occasionally use drop D (or its equivalent, dropCCo#)nftorribsoumtoerlo: wC-hstrriisngBriifrfds.
ThNisootneess:hould remind you of Velvet Revolver’s Slither.
Engraved by DigitalMusicArt.Com
10 ACOUSTIC STYLE BIT.LY/TGA2023AUDIO
q =120 D sus4 D œœœœj D sus4 D C Am œœœœœj œœœœœj Em
D
œœœœ œœœœ œJœœœ œœœœ œ œ œ œ œ œ œ n œœœœœ œœœœœ œœœœœ œœœœœ œœœœœœ œ œ œ œ œ ..Play 4 times
& ## 44 .. œœœœ n œ
œ
let ring
let ring
T .2 2 3 2 2 32 2 0 00 0 00 0 .
1 11 1 10 0
3 33 3 33 3 0 02 2 20
2 22 2 22
.A 2 2 2 2 2 22 3 30 0 02 0 0.
0 00 0 2
B 00
00
This acoustic part combines strumming with arpeggiated chords as you might hear on Patience and Fall To Pieces. The strumming in bars 1 and 3 is a ‘down-down-up-up-
up’ pattern, but it’s all about the bigger picture here, and how Slash will mix strumming and arpeggios.
TOTAL GUITAR ANNUAL
HOW TO WHAT YOU WILL LEARN:
Drop B tuning
C Ionian b 2 mode
Tremolo picking
Get the sound CHANNELDISTORTION
4 6
8 7
0
GAIN BASS MID TREBLE REVERB
Bridge humbucker Use a bridge humbucker and
a saturated distorted tone
riff of the month with plenty of mids and try using
a boost pedal to keep the low
palm-mutes tight and aggressive.
The track is played in drop B tuning
(B F# B E G# C# from low to high).
This is the equivalent of dropping
every string down by three
semitones, then dropping the bass
string down another tone. If you’re
using a guitar that’s usually in
standard tuning, use a set of
strings at least two gauges
heavier to keep the tuning stable
– so, if you usually use .009s, try
a set of .011s or even .012s.
SLIPKNOT
The Chapeltown Rag
S lipknot’s latest single is an First is the melody played up at the 5th to open sixth string before finishing with 43
uptempo, high energy track a C5dim powerchord. Check out the slowed
which is dense with Mick 8th fret region of the fretboard. Use your first, down play-through in our video.
second and third fingers to fret the notes, and
Thompson and Jim Root’s alternate pick each note four notes per beat. CHEAT SHEET…
It’s important to keep this 16th-note feel Appears at: 0:44-1:04
intricate, pummelling guitar riffs. consistent throughout. Tempo: 190bpm
Key/scale: C Ionian (b2)
The band’s style is rooted in the technical The riff repeats twice, each with a different Main techniques: Alternate picking,
ending. Ending one uses C5 and Db5 palm-muting, string skipping
proficiency of death metal, coupled with powerchords on the 1st and 2nd frets, whereas
a unique melodic and harmonic sense that the second ending uses single notes on the
makes it so uniquely Slipknot. This riff is
split into three sections.
E C#
A BC G#
EF E
B
F# G Ab C Db F#
B C Db Eb B
Photo Steve Thrasher As we’re in drop B tuning, the notes are three frets higher on the the notes are from the C major scale (aka the Ionian mode: C D E F G A B),
fretboard, so the fifth-string C is now at the 6th fret instead of the 3rd. except for a Db instead of the usual D. This is the Ionian b 2 mode – an
The single-note part of the riff takes place above the 5th fret. Most of unusual sound, perfect for Slipknot riffing.
TOTAL GUITAR ANNUAL
APPETITE FOR
INSTRUCTION
TG takes a look at the cat in the hat’s greatest riffs with GN’R and more
Video Jamie Hunt
S lash will always be known best for his We’re looking at three GN’R riffs here, spanning from
work with Guns N’ Roses, however, he’s the LA rockers’ beginnings with 1987’s Welcome To The
Jungle and 1991’s Civil War right up to latest release Hard
one of a rare breed of guitarist who has Skool. All three tracks see Slash tuning down to Eb
found success outside of the act that first standard, but we’ve presented our lessons in E to save
made him famous. Whether with GN’R or you having to retune.
his various other bands, Slash is the riffmeister general.
44
1 GUNS N’ ROSES 2 GUNS N’ ROSES 3 GUNS N’ ROSES
WELCOME TO THE JUNGLE CIVIL WAR HARD SKOOL
Appears at: 0:00-0:28 Appears at: 2:00-2:27 Appears at: 0:06-0:16
Tempo: 98 bpm Tempo: 70 bpm Tempo: 167 bpm
Key/scale: B minor pentatonic Key/scale: E minor Key/scale: E minor
Here’s where it all began! For many, these T his riff from 1991’s Use Your Illusion II is T here are two guitar parts here, with
were the first notes we ever heard based in the E minor pentatonic scale Slash playing a diad lick over a lower,
Slash play: the opening notes of the (E G A B D), before wrapping up with a riffier line. This low riff begins with C5, B5
first track on GN’R’s debut album, and a riff brief moment in E natural minor (E F# G A B C D) and E5 powerchords before a single-note line
that’d soon be many guitarists’ favourite delay thanks to the inclusion of an F# note. It’s all follows G, F#, G, B and A notes – all from the E
line. And regarding that delay, you’ll want yours played in the open position, with the exception natural minor scale (E F# G A B C D). Slash’s lick
set to a dotted eighth note – the telltale sign of those slides up the strings so it’s really all also uses this scale but at times feels a bit
being the first repeated note which falls on about milking the whole tone bends on the third more like a minor pentatonic riff thanks to
the fourth 16th note of the bar. You’ll be playing string and the smaller, bluesier bends on the some bigger intervals. It’s played on the second
a descending run through the B minor first and second strings. Aim for a drawn out, and third strings between the 7th and 12th
pentatonic scale (the scale notes are: B D E F# vocal-like drawl with your bends and, like Slash, frets – and that means you’ll be changing fret
A B) plus a repeating open second string. The use a wah pedal to enhance the effect – it’ll position a few times: the first part is phrased
first three-note phrase goes B, open second make a ton of difference. On that note, Slash around 7th- and 8th-fret F# and G diads, before
string, B; the next goes A, open second string, is rocking the wah mainly with a quarter-note a move up to 8th- and 10th-fret G and A single
A; then F#, second string, F#; then E, second pulse, but listen out for variations, e.g., between notes with a 9th-fret E on the third string.
string, E, before the final four notes go D, 2:04 and 2:06 where there’s a more gradual Another shift up to the 11th and 12th frets to
second string, B, second string. swell, and at 2:16 where he follows play B, B b and G wraps up the first cycle of the
triplet timing. riff. On the repeat you’ll move back to 7th and
9th frets instead of going up to the 12th.
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BACKSLASH 45
/ FORWARD
SLASH
Three more of our favourite
Slash moments
SLASH’S SNAKEPIT –
BEEN THERE LATELY
Appears at: 0:08-0:20
The lead single for sophomore
Snakepit album Ain’t Life Grand kicks
off with this hard rocking four-bar riff.
Fretting position is key. Play the first
two bars in 3rd position, but by bar 3
be ready to shift between the 7th
and 1st frets.
VELVET REVOLVER –
SLITHER
Appears at: 0:27-0:41
Probably Slash’s best known non-GN’R
song, Slither features a rare venture
into drop D tuning. This makes for easy
one-finger powerchord shapes, but
practise slowly – it’s easy to lose your
way during those position shifts.
SLASH FEAT. MYLES
KENNEDY & THE
CONSPIRATORS –
FILL MY WORLD
Appears at: 0:00-0:32
After the opening bend from 4th to
5th fret on the second string, Slash
targets the open first and second
strings. Follow up with: 4th fret second
string, 6th fret third string, 5th fret
second string, 7th fret first string,
5th fret second string.
TOTAL GUITAR ANNUAL
46
TOTAL GUITAR ANNUAL
Words Jenna Scaramanga Photos Kevin Nixon
HOW TO
CREATE
A ROCK
ANTBHY EM
DEF
LEPPARD 47
Guitarists Phil Collen and
Vivian Campbell on the art
of the stadium rock banger.
Rule number one:
“Respect the melody...”
Only four British bands have had two
ten-million selling albums in America.
The first three - The Beatles, Led
Zeppelin and Pink Floyd. And the
fourth? No, not The Rolling Stones.
Not The Who. Not Queen.
It’s Def Leppard.
Formed in Sheffield in 1977, the
band rose to fame in the 80s with the
two blockbuster albums that sealed
their place in that exclusive club - 1983’s Pyromania and 1987’s
Hysteria. And the key to this success is their mastery of the
rock anthem - as illustrated in hit songs such as Pour Some
Sugar On Me, Animal, Photograph, Rocket, Rock Of Ages and
Let’s Get Rocked.
This summer they head out at last for the twice-postponed
Stadium Tour in the US with Mötley Crüe, Poison and Joan Jett.
But while Leppard could easily tour for the rest of their lives
off their back catalogue, the urge to make new music is still
TOTAL GUITAR ANNUAL
strong within them. “A lot of artists on anything.’ With this one, I was like
stop growing and creating,” says ‘Well, I’m going to experiment. I feel
guitarist Phil Collen. “We haven’t.” this should be like this,’ and go off.
I’d send it to everyone then if no one
The making of new album Diamond says, ‘That’s a bit over the top!’ then
Star Halos was a first for the band - you’re fine.
as they worked remotely from their Vivian: I do feel that my playing is
homes, recording song ideas and better than ever and certainly more
individual parts on laptops, sharing comfortable. I have a lot less anxiety
material via Dropbox, which was then about it, probably because I’m doing it
collated into finished tracks by the so much since I started Last In Line (the
band’s long-serving producer Ronan group he formed in 2012 with fellow
McHugh. But the band’s signature ex-members of Dio - the band in which
sound remains very much intact on he made his name in the early 80s). The
an album packed with new anthems passion was reignited and I’ve definitely
in the classic Leppard tradition. built upon it. When it came time to do
guitar solos I didn’t have the pressure
The first single, Kick, nods to their of other people in the room. You know,
glam rock heroes from the early 70s. ‘Lunch is coming up. When is he going
Even the album’s title is taken from the to do this?’
lyrics to the T.Rex glam classic Get It On.
And throughout the album, Phil LEAVE A GAP
Collen’s partnership with Irish FOR THE SNARE
guitarist Vivian Campbell, is as
strong as it’s ever been - something TG says: In the past, Leppard learned
that’s evident from the get-go with so much from Mutt Lange, the producer
the blazing trade-off solos in the of Pyromania and Hysteria. They even
opening track Take What You Want. called him the ‘sixth member’ of the
band. Many of Lange’s hits have riffs
These guys have been playing that pause for the snare drum – check
together for 30 years now. Phil out AC/DC’s Highway To Hell and Back In
joined the band in 1982 during the Black or The Cars’ You Might Think. The
same is true for Leppard’s new single.
48 making of Pyromania. Vivian joined Phil: With Kick, I think I had the chorus
and then it broke down to the verse.
ten years later following the death I wanted something with gaps, like Pour
of the band’s original member Some Sugar On Me. When we did that my
Steve Clark. original riff was a bit like White Lines by
Grandmaster Flash, a continuous thing.
Creating stadium rock bangers is Mutt was like, ‘Oh no, man, you got to
Def Leppard’s speciality, and here, leave a gap for the snare!’ That just
Phil and Viv present their guide to brought it to life. I wanted to do
how it’s done... that for the verse of Kick.
THE SONG IS KING PLAYING MATTERS
MORE THAN GEAR
Vivian: The real reason why Def
Leppard is so different to so many other Vivian: I moved from Los Angeles to
bands is we know – it’s not about us, it’s New Hampshire, so I don’t have many
about the songs. It’s not about how well guitars at home. Most of my guitars are
I can play guitar or how well Phil can in Def Leppard’s locker in southern
play guitar. It’s about the f*cking song. California. It’s probably just as well
You do your guitar parts as best as you because there’s enough choice in the
can but at the end of the day the song drop down menu in Guitar Rig without
is going to outlive all of us. auditioning every Les Paul again. I don’t
Phil: You’ve got to listen to what the want to get into the weeds too much.
vocal’s doing. You have to respect that It’s about the performance more than
main melody, and then you can alter the guitar, the preset or anything. To be
stuff around it. It has to be within the honest, a lot of my choice came down to
vocal structure, because you can f*ck which guitar has the freshest strings!
something up.
“I WANT LESS GEAR, NOT MORE. HOW YOU PLAY
KNOW WHEN TO LET RIP
Phil: The reason we’ve played safe in
the past is because you’re respecting the
song maybe too much. With this one,
because we recorded remotely and there
was no one else in the room it’s like,
‘F*ck it.’ You can overthink and play too
safe. You’re like, ‘I don’t want to tread
TOTAL GUITAR ANNUAL
DEF LEPPARD
LAYER YOUR CHORDS…
O XXXX X X XX X XX X X O XXX X XX X
1
9 23 23
11
3
E5 E5 E A5 A
X XX X X XXX X XX X X XX X
91 1 11 1
2 2
3 11
A5 B5 B B5 49
X XX XX X XX XX XX XX
1
31 7 23 71
34
3 3
4
Bb5 F5 D5 A5
V ivian: In a really good Def Leppard Phil: If you want to make it broader, if Harmonised chords sound clearer, just as
song Phil and I are never playing the someone’s playing a powerchord or a barre a Thin Lizzy-style twin guitar solo sounds
same parts. In the hard rock world chord, and the other one’s doing an open clearer than playing doublestops on
there’s this school of thought that you have version, that sounds great. If you’re playing one distorted guitar. You can get more
two guitar parts playing the same thing to a D you could add an A chord, you know ambitious by layering these E- and A-shapes
make it sound heavier. If I get a demo from the first and the fifth. You put the parts over each other.
Phil, I would never play the chords in the in different octaves and also you do
same register he’s put them down already. a different rhythm. Animal begins with an F5 powerchord
I just try inversions. There’s countless ways layered over a Bb5 to create a big Bbsus2.
you can play a chord up the guitar neck. TG says: In Pour Some Sugar On Me, the The riff in Photograph includes a partial D5
But the bridge section in Hysteria where chorus has the chords E, A, and B split across chord layered with an A5, which makes
the notes were recorded one at a time for multiple guitar tracks. It is possible to play all Asus4. To hear parts in different octaves
the chord – we’ve never done anything like those notes on one guitar, but with distortion and with counter rhythms as Phil describes,
that since. I think that’s too much work! they can sound muddy and out of tune. listen to the chorus of Hysteria with
headphones on.
GUITAR BEGINS AND ENDS WITH YOUR HANDS” VIVIAN CAMPBELL
TOTAL GUITAR ANNUAL
PERFECTION SUCKS!
Phil: The intro to Kick was from my
demo. You can hear this ringing that
sounds like someone hit a jar or
something. It’s the guitar just
overloading and peaking. We left it on
because it sounds cool. The solo was
a total guide, mistakes all over the place.
I’m like, ‘F*ck it, sounds great!’ I love
it just the way it is, so we left it on.
Normally we do thirty tracks of a vocal
harmony. On this one, some of the stuff
is just me doing eight tracks. I would do
a guide vocal in my echoey front room.
Grab a [Shure] SM58 and just sing, like,
‘I’ll do it properly later on but this is how
it goes.’ Ronan would go ‘That’s great!
Just use that,’ and someone else would
harmonise. You can actually hear
everyone’s voice. Joe [Elliott, vocalist]
was f*cking spectacular. He was doing
stuff in Dublin on his laptop with a little
sh*tty mic that he does his radio show
on, and that’s some of the stuff that
ended up on the album. That’s Mutt
Lange’s thing. You’d say, ‘It has to be
perfect.’ He’s like ‘F*ck no, I hate
perfect!’ He said it just has to
sound and feel right.
50
WORK WITH PEOPLE WHO
ARE BETTER THAN YOU
Phil: On this album, I used a Squier Tele [McHugh, producer] the unamped ANIMAL INSTINCT Phil: It really helps me as a songwriter to
Thinline on the solo of This Guitar. It was sound so he can reamp it, but with a lot “You can overthink
of this stuff the main demo sound and play too safe,” write with someone who’s better than
just a standard thing I bought years ago is what’s on the record. Live we use Phil says. me, or different to me. The speed that
in Dublin and it’s just great. It’s a Squier Fractals, and whenever I do solo gigs they do things is a little intimidating
Starcaster at the beginning. And for the I use a Blackstar Silverline. There’s
solo on Gimme A Kiss, I actually used subtle differences obviously, but it all sometimes but it’s just great to be
a Squier Super-Sonic with a wah. sounds like me – it sounds exactly around. I was writing with Sam
Vivian: Do I have any more signature the same! Hollander, who wrote High Hopes for
gear planned? God no. I want less gear, Vivian: Because your tone is in your Panic! At The Disco. He’s just awesome.
not more. How you play guitar begins It was really inspiring working with him
and ends with your hands. The rest is hands it doesn’t really matter. Phil can because he’s so quick firing. You know
pick up my Les Paul, and it sounds like he’s just writing away and just bouncing
just sh*t to get in the way and sh*t Phil through my gear. I’ve played solos
before with his Jackson, like the solo whole ideas. We had the whole thing
that’s gonna go wrong. in the song Paper Sun [from 1999’s
Euphoria]. You can hear because I forgot done in an afternoon. You want to be
Phil: Everything is recorded with Guitar to turn the sustainer off and you can
Rig. I’ve been using the same main hear there’s one point where it goes around someone who’s gonna do that.
preset since 2011. I made some presets into feedback. So tone is 100 per When I did the G3 tour with Satriani and
for Guitar Rig 6 but I didn’t want to cent in your hands. Petrucci. We were doing Highway Star
update my computer because I was and from the first rehearsal I was like
‘F*ck, I’m gonna have to practise a lot
scared it wouldn’t work anymore. more because I’m just gonna get left
Sometimes I’d send Ronan
behind by these guys.’ They’re just it’s
so far over the top. John goes, ‘Well, if
I do this harmony, Phil, you can do this.’
It was further than I’d ever stretched on
anything I’d ever done. I love someone
giving you a helping hand and pushing
you at the same time.
“ONE OF MY SOLOS WAS A TOTAL GUIDE, MISTAKES ALL
TOTAL GUITAR ANNUAL
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