Total Guitar

COVER FEATURE Ian McKaye (leader of DC hardcore It’s been f*cking heaven, the legends Fugazi), where he was whole time! trying to convince me that Ted Nugent was a fucking genius: Really? If you had to draw the pie ‘Wait? You? Ted Nugent? What?’ chart of fun versus not fun, what would it look like? Ted Nugent is a divisive figure Fun is 99.9 per cent. You have to these days... understand, this band was not meant to be a continuation of He’s got some good riffs. Let’s Nirvana. It was meant to be leave it at that. a continuation of the spirit that drove us to play music in the first So what were the ambitions of comfortable the audience will going to sleep, I just remember place. We don’t do things that we 51 the teenage Dave Grohl? feel with you. So of course I had what it’s like to be in a sleeping don’t want to do. The band is on incredible insecurities about being bag on a stranger’s couch, in Des Roswell Records, it’s our own I think with a lot of musicians, you a performer, but after a while I sort Moines, Iowa, after playing a record company, we distribute try to prove it to yourself first. of let that go. The vibe reigns over hardcore show for two hours, through another major label, and There is something about that all. You get onstage, and you’re completely exhausted, with a no when it’s time to make a record, sense of personal achievement. there to do your thing. You get money, far away from home, and we decide who, what, where, Like, I’m gonna sit down with this everybody right there in the palm there’s some comfort in that, so how to do it. Beatles record and I’m gonna of your hand, and you bring them I just go straight to sleep. figure out Blackbird. That’s gonna with you, and you’ve got yourself Is the bond between you all still be the next five days of my life. a fucking rock show! Jumping Was your attitude strong? And once you do it, there’s a sense onstage with your band and always to take Everyone knows they’re allowed of accomplishment that can seeing people bounce around... everything one to leave any time. If you don’t sometimes be the most gratifying. I love that! step at a time? want to be here, you don’t have I remember when I was playing Sure. And still to be here. We’ve had that drums with my friends’ bands So after all the success you’ve to this day, conversation a couple of times. when I was a teenager, and I could experienced in your career, first that runs as Every band has that moment, play guitar, I could play bass, with Nirvana and then with Foo a thread where they think, ‘God, should I could play the drums. It wasn’t Fighters, you haven’t forgotten through my we still be doing this?’ We had until I was about seventeen that what it felt like to be a kid entire career. I realised I could record songs all by starting out? Let’s see if I can the seven year itch, where myself. And I really didn’t want actually be the we thought, maybe anyone else to hear them. I didn’t In all honesty I think those early singer of the band. it’s time to stop... think my voice was very good, in experiences do lay some sort of Let’s see if I we can actually didn’t think my songs were any foundation, or something to keep play a f*cking festival. Let’s see That was back good, but I did love the experiment as perspective for the rest of if we can play Wembley Stadium. in 2002, when of putting this thing together and your life. When I left school at 17 Every step of the way, I just want you put the bringing it home and listening to and was touring the world, we to see if we can do it. And once you band on ice it myself: ‘Wow, I did this!’ were playing squats and sleeping achieve that, you just push it out and played in vans and sleeping in the clubs the way and go, What’s next? drums on the How did you overcome that we had just performed at, and Queens Of The sense of insecurity? living off seven dollars a day. And the band has achieved all Stone Age album To this day, when I go to sleep at that you dreamed of. Songs For The I think over time you grow more night, if I’m having a hard time Deaf. How serious was comfortable doing things. And that? How close did the with that, you also relieve yourself Foo Fighters come to splitting? of some of the insecurity. Now, As close as you can get without when I walk up onstage, I know breaking up. Basically, ‘F*ck this, I’m not gonna sing like Jeff this isn’t fun anymore, play this Buckley. I fucking wish I could. one last show and then call it But it’s just not gonna happen. quits’. That should be OK, it should For years I would torture myself be OK to do that. It’s not like with that. And then I just thought: a divorce. If you don’t feel great let it go, man! Just get up there about playing music together, and do your thing. And the more comfortable you feel, the more “THIS BAND WAS NOT MEANT TO BE A CONTINUATION OF NIRVANA. IT WAS A CONTINUATION OF THE SPIRIT THAT DROVE US TO PLAY MUSIC IN THE FIRST PLACE” MARCH 2021 TOTAL GUITAR

COVER FEATURE FLYING HIGH… The evolution of Foo Fighters guitar tone in five classic tracks I’ll Stick Around back to basics in the Friend Of A Friend Arlandria Run (Foo Fighters, 1995) studio, with producer (In Your Honor, 2005) (Wasting Light, 2011) (Concrete & Gold, 2017) Dave Grohl used a variety Adam Kaspar setting up Written in 1990 about Recorded at Grohl’s The Foos threw the of Gibson electrics, most mics, turning up amps and flat-sharing with Nirvana Studio 606 with Butch Vig kitchen sink at Concrete notably his mid-60s songs captured in as few before the atomic (Nevermind) producing, & Gold. The big change Gibson Trini Lopez, which takes as possible. But success of Nevermind, Wasting Light showcased guitar-wise was that has featured on all Foos this time the Marshalls Friend Of A Friend was just how three guitars Smear use Les Pauls. albums, but also Les Paul were replaced by Vox rerecorded for In Your could be used to redraw Shiflett had his P90- Customs, too. Indeed, AC30 combos, with the Honor’s acoustic side. the boundaries of the equipped Non-Reverse at the 1996 Phoenix occasional Pro Co Rat for Grohl has used Martin Foos’ guitar tone. Again, Firebird. And there were Festival, I’ll Stick Around drive/fuzz. Thereafter, the and Taylor acoustics in there are the Vox AC30 lots of stompboxes in was performed on a black Foos would look to the the past but his Gibson combos, with Smear also the mix. If you hear Custom LP. Either way, classic British all-valve Elvis Presley Dove is the going through a high-gain modulation, it’s likely the recipe is to throttle combo as the key number one. Here, he’d Peavey 6505 or super- an EHX Memory Man. the amplifier – a Marshall constituent of their guitar cut it straight into the clean Roland Jazz Chorus Auxiliary crunch came JCM900 preferably – don’t tone. Bass would be set Neve or API console via with an MG Music from Shiflett’s Klon scoop the mids, and use high, around 8, treble at a Neumann mic and Lexotone in front of it, Centaur and a JHS Pedals heavy strings so you can 6 or 7. On Generator, Grohl Martech mic preamp. and Grohl favouring Muffuletta, which houses hit those chords as hard used a talk box – a classic It was the first acoustic a Fender Tonemaster six different flavours as you can. rock manoeuvre song Grohl ever wrote, for his Trini. On Arlandria, of Big Muff fuzz under pioneered by Joe Walsh on but a good number of Grohl’s Trini Lopez is the hood. Generator Rocky Mountain Way, and Foo Fighters tracks complemented by (There Is Nothing Left a subtle tell that the Foos start out on acoustic Shiflett’s P90-loaded Tele To Lose, 2000) would soon augment their before going electric. with Smear on a baritone There Is Nothing Left To alt-rock sound with all built from a Hagstrom Lose saw the Foos going kinds of influences. body and Allparts neck. 52 Let’s just not do it. Let’s find other and been bailed out of jail! Our nervous energy that you conjure is Paul McCartney will do. I happen things to do. lives are f*cking connected in based on how deeply that person to think he’s the most influential a way that’s more than most. has touched your life. If I was to human being alive today, and So, what changed? meet one of my punk rock heroes when you see him or meet him in If you had to pick one Foo Fighters that has maybe only has sold four person for the first time, you’re Honestly, when the band got back song that showed everything hundred records in his life and faced with your entire life of together and started working about the band, which one nobody knows of his band, but he memories that he’s helped build. again, I realised I how much would it be? was hugely influential to me, I’d But he’s a good man, he just wants I appreciated the guys in the Times Like These comes to mind, be a nervous wreck. You know, to make you feel like you’re two band and our connection. I know because it’s a hopeful song. I remember meeting the guys human beings just saying hello. some bands that have been around There’s some optimism to it. from Supergrass, they are one of You know, I’m sitting here in for 25 or 30 years, not all of them I’ve always considered myself an my favourite bands of all time, and sweatpants and a sweater, get along as well as the Foo optimistic person. And hopeful. I felt like I was meeting an iconic drinking a cold cup of coffee, not Fighters. We genuinely like being But, also, it’s introspective. classic rock band. unlike anyone else reading this in the same room with each other. magazine right now. I don’t And that’s something that the last Over the years, you’ve met many Do you have those moments consider myself on the same level year has given me, a new of your heroes – Lemmy, David when you realise just how as the heroes I grew up listening appreciation for not just the music Bowie, Prince... When you’ve famous you are? to. I just don’t. But I can tell when and the career and the band, but talked about them in the past, it people get a little nervous around the connection I have to these seems you were in awe of these It happens when I see someone me. The one-dimensional is people. It’s f*cking real. My people when you met them? shaking and crying and turned to the three dimensional, connection to Pat (Smear), oh my Oh my god, yeah. Still. When you I immediately want to diffuse that and that’s just f*cking weird. But god, we’ve been to weddings and meet a hero, the anxiety and that nervous energy, because to me it just imagine if you turned the funerals and f*cking court cases makes no sense. I’ve noticed what corner and you saw Bigfoot standing there. What the “SOME OF MY FAVOURITE ALBUMS FROM f*ck would you do? THE 80S WERE ROCK BANDS THAT MADE Haveyouembracedtheideathat you’re a major rock star? You’ve MUSIC THAT YOU COULD DANCE TO” seemed resistant to the idea sometimes... TOTAL GUITAR MARCH 2021

FBEOTTOERFVIOGCHALTS ERS What was that? It was a punk rock show, Naked Raygun, in Chicago, when I was 13. I’d never seen a rock band onstage before, and my cousin took me to this little club. Naked Raygun jumped up onstage and they had three or four chords, and they played fast and it was raw and it was loud, and people were beating the sh*t out of each other, there was spit and puke and glass flying everywhere, and I thought, ‘This is what want to do for the rest of my life!’ And seeing how simple and human it was, that’s what made me feel like I could do it. Do you still believe in the romance 53 of rock ‘n’ roll? Most of my days are spent with my in. Plus he and I, when we write if there’s one person who can tell kids. They’re 14, 11 and six - Violet, music together, we’re trying to when those moments sink in, Absolutely! If there’s one thing Harper and Ophelia. They remind make each other laugh. It’s, like, it’s Ian. I was never concerned with, it was me, quite often, that I’m just their you’re gonna set up the joke, I’ve f*cking fashion. The other day, f*cking sweatpants-wearing dad. got the punchline. And the more In the past few years we’ve lost someone sent me a picture of my And they’re right. I understand ridiculous we can make it, we so many legendary musicians. Battle Of The Bands in ninth grade, that I’ve done a lot in the last come up with ideas while we’re Is there responsibility for you when I was 13 or 14 years old, and 30-odd years, and I’m very proud recording, on a whim or as a joke, to step up and fill that breach? I was wearing the same f*cking of that. But I do still consider and we decide to keep it. sh*t as I wear now as a 51-year-old myself a working-class musician Unnecessary, that’s the word! I don’t know if it’s a responsibility man! I was wearing flannel shirt, in a lot of ways. When I was or obligation. But I do hope that we camouflage pants, and chequered making that Songs For The Deaf In 2008, when the Foo Fighters can somehow inspire the next Vans. Clearly my sense of fashion record with Queens Of The Stone played London’s Wembley generation of musicians to do the has been frozen in time. I don’t Age, I loved it, because I was Stadium, you jammed with Jimmy same. If there’s any responsibility think that rock’n’roll is as a short-order cook. The producer Page and John Paul Jones on I feel, it’s that. Often, people fashionable as some people do. would say, ‘Hey, in this section a version of Led Zeppelin’s Rock imagine that we live a total fantasy I think rock ‘n’ roll is more than could you try this, this and this.’ And Roll. In that moment, what life that is not a bunch of people visual, it’s more than something ‘Okay, I got it.’ Josh (Homme, gong through your head? playing instruments. It’s sonic or more than audio. QOTSA leader) would say, ‘In this important for to humanise it so It’s a spirit. section, do this.’ And I f*cking I don’t think the weight of the people realise it’s available to loved doing that. situation really hit until them as well. So, when I jump out Can you elaborate on that? afterwards. It’s like jumping out of onstage and I see a ten year-old Why do you and him work so a fucking airplane. OK, here’s the kid waving at me, saying, ‘Hey, Well, of course you would consider well together? two guys from Led Zeppelin, I’m I want to play guitar!’, I know that Little Richard and Chuck Berry the onstage at Wembley... It’s funny, by handing him my guitar, it will originators. Of course, you would Josh and I have a very beautiful my monitor guy, Ian Beveridge, inspire him to keep on playing. consider them rock’n’roll. Some musical connection. There’s he’s from Scotland, he’s been my And if there are other ten year olds people might not consider something about his riffs and my monitor guy for 30 f*cking years. in the audience that see him doing Motörhead rock ’n’ roll, but I do. drums that just go together well, He knows when I get choked up it, they’ll think, ‘F*ck! I can do Some people might not consider He could start playing something because my voice does a specific that too.’ And that’s what The Prodigy rock ’n’ roll. I do. and I will play along with him. And little thing. I try to keep it from happened to me at my There’s something about the it only takes a second for it to lock cracking while I’m singing, but first concert... spirit that connects all of those things together. Listen, man, I’m raising three kids who are discovering rock ’n’ roll now. My 14-year-old is already so deep in a Bowie phase that she shaved her f*cking eyebrows. My eleven-year-old is obsessed with The Beatles. I’ve watched them discover music, and it’s based on that spirit. So I don’t consider rock ’n’ roll out of fashion, because I never, ever considered it one. MARCH 2021 TOTAL GUITAR

FBEOTTOERFVIOGCHALTS ERS SONIC HIGHWAYS Learn the Foo Fighters’ trademark layered guitar style M usically speaking, you clever stuff, and interesting for could say Foo Fighters anyone thinking about arranging are underrated. Yeah, parts for two or three guitarists we know the band is – which is what we’re looking at in a world-famous rock behemoth, this lesson. If there’s a general and no one’s going to make a case principle, it’s to complement and for great virtuosity, but we’d argue contrast. So, if one guitar plays, that the band’s trademark layered say, an arpeggio, the other guitar chords, arpeggios and hard riffing could add powerchords, or target TGR342.foofighters.fig01.musx style aTrGe gRr3ea4t2e.rfothoafingthhteerssu.mfigo0f2.musaxnotherFpoitochF/iagrhetaeorfstThuetorial File Date: 09:20 19/01/2021 timtosulpeltaairrFPptnlisael.efgrpToeDahmrea1trstteeohl’o:fsec01cwk9eatr:oty2ag0tiehnt1olhy9seep/r0l.e1Int/’2tsy021 Ctwfreoeixltnltbuitnorriaasbplrudpirt.loeaHryy:oionCpugeht,foFauFlrooellyxoioepso-FlGuosirrgtreyliheflfisetsoets.hmorssnes Page 1 of 1 Notes: Engraved by DigitalMusicArt.Com Notes: 54 1 ARPEGGIOS & POWERCHORDS (GUITAR 1) TRACK 17 2 ARPEGGIOS & POWERCHORDS (GUITAR 2) TRACK 18 q =120 A 7sus 4 Play 8 times C5 E5 A5 Cadd 9 œ œ œ .. .. œœ œœ œœ.. ˙˙ & 44 .. œ œœœ œ œ & 44 ..Play 8 times œ œ let ring throughout ABT .0 3 .3 ABT . . .2 0 0 .5 2. 3 0 .2 2 3 2 0 ⇥ ⇥≤ ≤ ≤⇥ ⇥ ⇥ ≤≤ ⇥ 0≤ ⇥ TGR342.foofighters.fig03.musx TGR342.foofighters.fig04.musx Foo Fighters Tutorial TheFseilaedDd9aatned: 70s9us:243ch1o9rd/s0w1i/l2l g0iv2e1you a typically Foos-style flavour, and the ThisFpialertDsuaptpeo:rt0s9th:2e3mo1r9e/i0nt1ri/c2a0te2g1uitar 1 with some contrFaostoinFg,isgimhtpelerrs warPmabguet c1uttoinfg1light overdrive tone is authentic too. Just let all the strings powPearcgheord1s.oIff y1ou’re taking frontman/wComonantrdibutuietos,ri:t’sCohftaernlibeeGstrtioffitathkes ringNtoogteetsh:er. on aNsiomteplse:r guitar part like this. Engraved by DigitalMusicArt.Com 3 PUNKY RIFFING (GUITAR 1) TRACK 19 4 PUNKY RIFFING (GUITAR 2) TRACK 20 q =150 G5 Bb5 A5 E5 G5 Bb5 œj œ. A 5 Play 4 times E5 Play 4 times œœ œœ & # 44 .. œœœ œœœ œœœ œœœ œœœ œœœ œœœ nbbœœœ & # 44 œ œ œ œ œ œ œœœ n b œœœ œœœ œœœ œœœ œœœ œœœ œœœ .. .. œ œ œ œ œ œ œ œ. œ œ œ œ .. b PGhuiottaor:sGarnyd bMiallcekri/nGg:etCthyarlie Griffiths Photo: Will Ireland ..AT 2 2 2 5 . . .T 9 9 9 9 9 9 2225 .8 8 8 8 7 7 7 . .AB 7 7 7 7 7 7 55 8 7 7777 ≥ ≥ ≥ ≥ ≥ ≥B 0 0 0 3 55 8 888 8 777 5 5555 33 6 ≥6 ≥6 ≥6 ≥6 5 ≥5 ≥5 Play these punky powerchords with downstrokes to maintain a consistent These octaves give focus to the powerchords you just played. There’s not much sounding attack. Try to avoid tension in your arm though, moving from your movement in the octaves, with those fast-changing chords providing the wrist and not your elbow. interesting harmonic backdrop. TOTAL GUITAR MARCH 2021

TGR342.foofighters.fig05.musx TGR342.foofighters.fig06.musx Foo Fighters Tutorial File Date: 09:25 19/01/2021 Page 1 of 1 File Date: 09:40 19/01/2021 Foo Fighters Notes: Contributor: CChaOrlVieEGRriFffiEthAsTURE Page 1 of 1 Notes: Engraved by DigitalMusicArt.Com 5 TIMINGS LIKE THESE (GUITAR 1) TRACK 21 6 TIMINGS LIKE THESE (GUITAR 2) TRACK 22 A m7 D 13 & ## q = 90 œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ ..Play 8 times & ## 44 ..4 œœœœ œœœœ œœœœ œœœœ œœœœ 4n œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœPœœœlay 8 times 3 œœ œœ œœ œœ œœ 44 .. œ 3 ‰ .. 2 2 . .T 12 11 00 00 0 5 . .5 5 5 5 5 0 T 00 00 0 5 . .A 5 5 5 5 5 0 00 00 0 5 ⇥ ≤ ≤ ⇥ ⇥ ≤ ≤ ≤ ⇥ ≤B 5 5 5 5 5 . .AB 12 10 12 11 5 555 11 12 11 12 10 0 10 12 12 10 0 000 5 555 ⇥ ≤ ⇥ ≤ cont. sim. 0 000 5 555 TGR342.foofighters.fig07.musx Foo Fighters Tutorial ThFisimleelDodaictelic:k0is9r:e3p6re1se9n/0te1d/i2n0fo2u1r groups of four equal-length notes, but, Notice that our chord change comes on the last 16th note of beFaoto2. TFhiigshisters dePpeangdieng1onohfo1w you feel it, there’s a sense that the melody can be divided intNo soixte- asn:d ten-note phrases. tricky because it’s between the halfway poCinotnoftrbiebautt2oarn: dCthheadroliwenGberaiftfiths of beat 3. Clever! Engraved by DigitalMusicArt.Com 7 POWERCHORD VARIATIONS TRACK 23 q =170 A5 B5 E 5/B A5 B5 F5/C C5 A5 B5 Play 4 times & ## 44 .. œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ n n œœœ œœœ nnnœœœ œœœ œœœ œœœ œœœ œœœ œœœ .. n .T .10 . .TABGR342.foo775figh799ters799.fig99708.m997 us997x 9 9999997 8 9 9977777 8 ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤File Date: 09:37 19/01/2021 7 7 7777775 9 9 9 9 9 9 10 1880Fo1880o F188i0gh11t800ers11800Tu118t00orial 7 999999 8 Foo Fighters 5 777777 8 cont. sim. Page 1 of 1 Contributor: Charlie Griffiths 55 ‘ProlaNoytot-5htiteshsW-r:ohoitte’ pLoimwoe-rscthyolerdrisffawndith‘5athlo-roosoet-s5ttrhu’minmveinrgsihoannsd– and move your hand down and up, alternate strumming the bloewtwereEtehnnr.egersatvriengds.bTyheDreigisiatamlMixtuusreicoAf rt.Com a typical Foos trick and two shapes that are easy to switch 8 DRONE STRING MELODIES TRACK 24 q =150 Aœœ œœ œœ œœ œœ œœ œœ œœ B œœ œœ œœ œœ œœ œœ œœ ..Play 4 times & #### 44 .. œEœ œœ œœ œœ œœ œœ œœ œœ œœ ..TABTGR342.foofigh05 ters50.fig0059.mu04sx 0 0 0 0 00000000 .0 0 0 0 0 0 0 0 4 4 2 2 20002244 .6 6 6 4 4 4 4 4 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥File Date: 09:38 19/01/2021 cont. sim. Foo Fighters Tutorial Foo Fighters Page 1 of 1 Contributor: Charlie Griffiths KTheNiespop yatoerutsris:frreetmtiinngisfcinegnetrosfaDracvhee’sdginuoitradrepratrotainlloMwytHheeroop. Wene’sretruinsgintgotrhinegofpreeenlfyirasntdsptrlainygeaascahndEiaddrwonitehnaodtoewagnasitnrsotkwe fhoicrhcoynosuEicsnatengnprcalayv.yendotebsyfrDomigtihtaelEMmuasjoicr sAcratl.eC. om 9 RECENT FUNKY DIRECTION TRACK 25 q =120 & 44 Am ‰ œj œœ .. ‰ ‰ œj #œœ.. ‰ ‰#œj œœ .. ‰‰ ‰ œœ .. ‰ ..œj Play 4 times œœœ œœœ .. œœœ œœ PM PM PM PM . ..ABT 5 3 5 53 . 10 (182) 9 (171) 8 (160) 7 ( 5 ) BU BU BU 9 BU 533 535 Inspired by the Foos’ recent track Shame Shame, here we’re looking at how Dave and co use almost funky syncopation and palm-muted single notes. Play the bends with your second and third fingers pushing up on the string, while fretting the second string with your first finger. MARCH 2021 TOTAL GUITAR

COVER FEATURE VIDEO LESSON Best Of Foo... Three of Grohl & co’s greatest riffs broken down 1 EVERLONG 2 THE PRETENDER 3 MONKEY WRENCH (INTRO) (VERSE) (INTRO RIFF) 56 Possibly the Foo Fighters’ biggest and best- The Pretender’s verse riff is built around This intro riff features a repeated, descending known song, Everlong’s intro is a game of two a looping two-bar phrase. The melody notes melody line on the second and third strings. halves. First up are the powerchords rooted are played on the first string while the 5th fret Each accompanied by the adjacent higher open alternately on the fifth and sixth strings. The of the second string is played throughout. This string – so, where the melody is on the third trickiest aspect is the two-bar rhythm applied small fact is the key to mastering Shiflett’s riff. string, you’ll also pick the open B note; where to the first, second and fourth chords of the Simply keep the crucial 5th fret note pressed the melody is on the second string, you’ll add sequence – and it means the part is seven bars down with your third finger and the notes on the open top E. Simple! long, rather than the more standard eight. the first string should fall into place – albeit Watch out for the semitone bend at the 2nd Needless to say, it’s best to learn each bar with a bit of a stretch to the 2nd fret. fret at the end of the main lick. Bending at the separately and gradually Check out our video play- lower frets can be trickier to TG TIP piece it all together. TG TIP through to see the fingering TG TIP control, due to the added string tension. So, use your Rotate your pick hand Ignoring the ringing The opposite picking you’ll need to use. There Fret each melody second finger to bend the outward as you overdubbed chords, approach to Everlong: aren’t really any note from the tip of down-pick to help the second section rotate your pick hand alternatives, but if that your finger to ensure string and make sure to add prevent collisions features short, snappy outward on the stretch really is too you don’t accidentally support with your first with the idle treble stabs. It’s an easy much to manage, you finger, too. The rhythm technique – just relax your upstrokes to avoid could get away with ditching mute the open is based on a driving eighth strings idle bass strings strings fretting fingers halfway the held 5th-fret note -note feel. through the beat. It should sound like each momentarily. Use alternate down-up picking to keep chord is ‘on’ for the first half of the beat and Use alternate down-up picking throughout, momentum and fluidity. This will also help then turned ‘off’ during the second half. with the exception of the two open E notes to maintain consistent tone, timing and pick The first, second and fourth chords include played at the mid-point of the riff. Here, you’ll attack while repeating the riff for each cycle. a simple melodic variation. Use your fourth play two upstrokes before returning to finger to fret the ‘extra’ note and target your alternate picking. upstroke on the third string. This avoids unwanted notes from the treble strings. Words & video: Jamie Hunt CHEAT SHEET… CHEAT SHEET… CHEAT SHEET… Appears at: 0:00-0:32 Appears at: 0:32-0:58 Appears at: 0:00-0:12 Tempo: 158 bpm Tempo: 173 bpm Tempo: 176 bpm Key/Scale: D major Key/Scale: A minor Key/Scale: B Mixolydian Main Techniques: Powerchords over bass Main Techniques: Strumming across two Main Techniques: Position shifts, strumming notes, fret-hand muting strings, fret-hand stretches, diads across two strings, diads TOTAL GUITAR MARCH 2021



ROCK58 Guitars&Backing SteveAllsworth PhotoAdamGasson RHYTHM LESSON TG takes a look at the rhythm guitar styles of some of the greatest rock guitarists of the last half-century T he conventional idea of what makes they have razor-sharp rhythm there’s a lot of ground for the a ‘great’ player is skills to match. well-rounded guitarist to cover. often centred around the expectation of When it comes to rock music, Here, we’re taking a look at the rhythm playing is a particularly broad styles of some of greatest guitarists of church. It’s not enough to just be the last 50 or so years. There’s plenty blazing solos and a competent strummer. You could to learn from each example – you’ll guitar pyrotechnics. Of course, be tackling single-note pentatonics, learn how individual players have experienced guitarists know there’s chords and arpeggios of all flavours, approached rhythm guitar and you’ll more to it than that. Think of your countless altered and drop tunings, also pick up some broader genre- favourite players. Whoever they are, and rhythms ranging from straight based tips along the way. We’ll kick even if they’re better known for eighths to syncopated math-rock in off with a look at a well-used blistering solos, we’d lay odds that whacky time signatures. Like we say, altered tuning... TTOOTTAALLGGUUIITTAARRMJAURLYCH20210921

TGR342.RockRhythmSpecial.fig01.musx Open G Blues Rock File Date: 09:02 21/01/2021 Page 1 of 1 ROCK RHYTHMRock Rhythm Special Notes: Contributor: Steve Allsworth Engraved by DigitalMusicArt.Com 1 OPEN-G BLUES-ROCKER TRACK 26 q =120 ‰ Cœœœœœj œœœœœ œœœœœ D mœœœœœj/C ‰ Bb5 A5 G5 G G C/G G Play 4 times n n bb œœœ œœœ œœœ & # 44 ‰ œœœœœj .. œœœœœ œœœœœ œœœœœj ‰ œœœœœj ‰ nœœœœœ .. ..TABTGRGGDDBD342.RockR00000hythmSpecial.fi00000g02.m10200usx 0 .5 5 6 ≤ ≤ ⇥File Date: 10:02 19/01/2021 0 5 55 0 0 0 0 .5 0 5 57 3200 55 3200 ⇥ ≤ ≤ ⇥ ⇥ ⇥ ≤5 55 3 2 H0azy Bl0ues Riff Rock Rhythm Special OpePnaGgtueni1ngo(Df G1DGBD) is used by everyone from the Rolling Stones to the Black Crowes. The open-strings major chord is great for sClidoenatnridbfuotrofirr:stS-ftiengveer bAalrlrsewcohortrhds. AddNingotyeosur:second and third fingers into the mix allows for some great riffs that would be otherwise impossible in standardEtunnginrga. ved by DigitalMusicArt.Com 2 HAZY BLUES RIFF TRACK 27 q =130 œj œj #œ œj œ œ œ œ œj œ œ œ œ œ œj œ œj œj #œ D7#9 œœ œœ œœ œœ .. & bb 44 .. Gœmj œ œj œ œ œ ..ABT BU BD 66 66 . 5(7) (5) 3 66 66 . 5 3 45 353 53 5 3 45 55 1 1 TGR342.RockRhythmSpecial.fig03.musx DADGAD Rock'er File Date: 09:07 21/01/2021 Rock Rhythm Special ClasPsiacgHeen1droixfm1eets modern blues-rockers, Josh Smith, Philip Sayce and Orianthi here in a syncopated blues riff. The D7#9, thoughCnootnthtreibfuulltHoern: dSritxesvheapAel,lisswa colartshsic 59 choNrdothteatss:ounds great with overdrive. Combined with simple lead phrases, it extends the sound of the G blues scale withouEt snogurnadvinegdlikbeyleaDdigguitiatalMr. usicArt.Com 3 DADGAD ROCKER TRACK 28 q = 80 D sus 2 D maj 7 B b maj 7/D Play 4 times D œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ ...... œœœœœ œœœœœ œœœœœ b œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ .. & ## 44 .. œœœœœ..... œœœœ œœœ œ œœ œ œ œ œ b œ. .. ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ⇥ ≤TABTGRGADDDA342.Roc1000091kRhythm1090001Spe1900001cia1l00900.1fig09700004.musx00000 0 0000 00 0 00 0 0 0 00 0 0000 9 9 9 99 6 6663 .0 0 0 0 0 0 0 0 00 0 0000 7 7 7 77 4 4441 33 3 33 0 0 0 00 0 0000 .0 0 0 0 0 File Date: 09:09 21/01/2021 cont. sim. 11 1 11 0 0 Pu0nky Ba0r Ch0 ords Rock Rhythm Special AlthPouaggheJim1moyf P1age helped put alternate tunings on the rock map, our DADGAD-tuned riff is more about helping you to visualise theCfroentbtroiabrudtaolirt:tlSe tdeifvfeereAnltllsy.worth BecNauostee asll:the fingerings you’re used to sound different, you can create new ideas just by using your ears and letting your finEgnergsrrauvnewdildb. y DigitalMusicArt.Com 4 PUNKY BARRE CHORDS TRACK 29 q =175 Eb E AG & #### 44 .. bnœœœœ n#œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ ..Play 3 times œœœœœœ œœœœœœ ¿¿¿¿¿¿ n nnn œœœœœœ œœœœœœ œœœœœœ œœœœœœ ¿¿¿¿¿¿ n . . ¿¿8 9 9 9 9 9 9 9 55 3 ¿3 3 . . ¿¿T 8 9 9 9 9 9 9 9 55 3 ¿3 3 ¿A 8 9 9 9 9 9 9 9 66 4 ¿¿4 4 ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ≤ ⇥¿ ≤B 6 7 7 7 7 7 7 7 77 5 ¿5 5 77 5 ¿5 5 55 3 ≤ ⇥ ≤3 3 The one-semitone ‘approach from below’ riff in bar 1 is pure punk-rock fare a la Ramones, Sex Pistols, the Clash and so on. The barre chords in bar 2 are more broadly suitable for punk and garage rock – everything from Joan Jett to The Hives. Down-pick in bar 1, then switch to looser strumming in bar 2. MARCH 2021 TOTAL GUITAR

TGR342.RockRhythmSpecial.fig05.musx Post Punk Powerchords Rock Rhythm Special ROCK RHYTHMFile Date: 09:11 21/01/2021 Page 1 of 1 Contributor: Steve Allsworth Notes: Engraved by DigitalMusicArt.Com 5 POP-PUNK POWERCHORDS TRACK 30 q =150 G5 D5 C5 D5 G5 D5 E5 C5 œœœj ‰ Dœœœ5j ‰ & # 44 .. œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œœœ ¿¿¿ œœœ œœœ ¿¿¿ œœœ œœœ ¿¿¿ œœœ .. œ œ œ PM PM PM 5 77 5 PM PM 3 ¿77 .T 7 ¿¿ 5 5 ¿ .5 5 .A 5 7 57 ¿¿¿ 9 9 ¿¿ .5 5 7 57 9 9 7 B 33 5 55 5 33 355 5 7 7 33 5 3 ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ cont. sim. In the 90s and 00s, acts like Green Day, Sum 41 and Blink-182 brought old-school punk up to date with high-gain tones, polished production and a new slacker/skater vibe. Feel-good chord sequences like the I-V-VI-IV-V (G-D-Em-C-D) in bars 3 and 4 differentiates their output from the more po-faced early punk. RABEA MASSAAD Rhythm is a drummer TG SAYS I try to treat the [picking] hand almost like a hi-hat. It’s the time-keeper. Even when it comes to playing Equating the guitar to alternate-picking stuff, I try to stay really relaxed a drumkit can help you in the wrist so it’s almost floating above the write riffs. Think of the low strings. Different techniques work for different strings as the kick, the people but I find it’s a motion almost like whisking middle strings as a snare TGR342.RockRhythmSpecial.fig06.musx some eggs in a bowl... That repetition of a whipping anhdi-thhaeAtshuisogsrhicesytmRrinobgcaslksaCshords feeling. When it comes to strumming and funky File Date: 09:12 21/01/2021 stuff, the right hand becomes more of a snare with Rock Rhythm Special 60 Page 1 of 1 dynamics. It’s like playing a drum track on guitar...” Contributor: Steve Allsworth Notes: Engraved by DigitalMusicArt.Com 6 AUSSIE ROCK CHORDS TRACK 31 q =110 D /F # & ### 44 A5 D 5/A A5 E5 G5 œœœœ ..Play 4 times .. œœœ œœ œœ œœœœ œœ œœœ œœ œœœ œœ œœ œœ œœ nnœœœœ PM PM PM PM ..TABTGR342.Rock022Rhythm02 Speci20al.fig072300.musx 0 2 2 2 .3 3 0 2 0 2 0 0 02 .0 0 2 2 2 2 3 Purple2 Ostinato Riff 0 0 0 0 File Date: 09:17 21/01/2021 Rock Rhythm Special We’rPeaugnaesh1amofed1ly in the style of the late AC/DC rhythm legend Malcolm Young here, though acts like The Darkness and Greta Van FCleeotnatrreibaulstooinr:oSurtseivghetsA. llsworth TheN esosteenst:ial riffing elements are offbeat chord changes, a mix of palm-muted and un-muted notes and the two-chord turnaEronugndraavtethde ebnyd.DInigstitaanltM’DuCs! icArt.Com 7 PURPLE OSTINATO RIFF TRACK 32 q =110 Gm7 ~~~~~~~~~~~~ N.C. & ### 44 nbœœ 1 œœ 1 n œœ .. œ œ œ ..Play 4 times .. † œ1 œ T nœœ j n 4 œ nœ 1 nœT 3 nœT T PM œT œT 3 PM ~~~~~~~~~~~~ ..ABT PM 0 PM . 0 . 3 3 3 5 5 53 3 3 5 5 33 33 3 † w/thumb-fretting Think of players like Ritchie Blackmore, Lita Ford and K.K. Downing and you’ll likely come to an ostinato riff like this. The trick is to wrap your thumb around the neck to fret the low G note without interfering with the fretting of the other chords. Aim for some juicy vibrato on the last diad, using your third and fourth fingers for maximum wiggle. TOTAL GUITAR MARCH 2021

TGR342.RockRhythmSpecial.fig08.musx Blizzard of 16ths File Date: 09:19 21/01/2021 Page 1 of 1 featureRock Rhythm Special Notes: Contributor: Steve Allsworth Engraved by DigitalMusicArt.Com 8 BLIZZARD OF 16THS TRACK 33 q =140 A m7 G /A A m7 G /A G 5/A A5 N.C. œœ œœ œœ œœœ œœœ & 44 .. œœœœ œœ œœ œœœœ œœ œœ œœ œœœ ..Play 4 times PM PM PM PM PM PM 4 00 FTABTiGleRD3a4t..2e.:R⇥0 0o9c:0k≤2R5h2⇥0y1th/0m0≤1S/2p0⇥55e2c1ial.fi⇥0g090≤.mu⇥54sx 5 5 8 0 0 .10 5 ⇥≤ 7 0000 00 5 ⇥ ≤ 9 ⇥≤⇥≤⇥ ⇥≤⇥ ⇥ .7 R⇥oGckallRohpyinthgmHaSrpmeocniayl OzzyP’saggueita1risotfs1(think Randy Rhoads, Jake E. Lee, Zakk Wylde) have recorded countless examples of this type of riff. The rapid-fire 16Cthonnottreisbtuhtaotru:nSdeterpvinethAellcshworodrsth neeNd sotteeasd:y palm-muting to keep things tidy but the two- and three-note shapes should ring out cleanly. Engraved by DigitalMusicArt.Com 9 TWO-GUITAR GALLOP TRACK 34 q =150 œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ ..Play 4 times œœ œœ œœ œœœ & b 44 .. œ œœœ 3 PM PM PM PM PM ..ABT 10 8 10 8 9 10 9 10 8 10 9 10 9 10 9 0 00 00 000 00 000 .10 11 10 11 ≥ .12 ≥≤≥ ≥≤≥ ≥≤≥ ≥ ≥ ≤ ≥ ≥ ≤ ≥TGR342.RockRhythmSpecial.fig10.musx ≥ ≥Hairy ≥Metal ≥Legato File Date: 09:58 21/01/2021 Rock Rhythm Special BanPdsalgikee I1roonfM1aiden and Heart may have pioneered this galloping rhythm and harmony in 3rds, but modern players like Nita StrausCsolonvteritbhuethoigrh: eSnteervgyeaAndllstewchonritchal 61 precNisoiotne,sto: o. We’ve shown the high harmony notes in our riff as a separate part for a second guitar in red here. Try both partEs onugt!raved by DigitalMusicArt.Com 10 HAIRY METAL LEGATO RIFFING TRACK 35 3 j q q =240 q q = q & b 44 N.C. 3 3 Play 4 times 3 3 .. œ œ œ œ œ œ œ bœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ .. œ œ 0 0 0 7 0 0 10 0 30050070 ABT . .. . ≤⇥≤ ≤⇥ ⇥ ⇥≤ ≤⇥ 750 750 750 750 30050006 ⇥⇥⇥⇥ ⇥ ⇥≤ ≤⇥≤ 80s shredders such as Eddie Van Halen, Steve Vai, Jennifer Batten and Paul Gilbert loved this super-fast swing style. The secret is to focus on your alternate picking. Keep it strict throughout, so when you execute a pull-off you’re still making a picking motion. The timing is a challenge at this speed, so slow down while you practise. TOSIN ABASI TG SAYS The metronome is king Tosin’s idea is to play straight eighth or 16th “Use the metronome for a lot of your practice and notes but to try accenting start with tempos you can pull off without much every third or fifth note. strain, and then you increase it from there. You can apply this to I honestly believe the metronome is central to producing good technique. Start doing cycles rhythm guitar or to of five, quintuplets, or triplets in four-note scale lead phrasing fragments. That will displace every fourth note and help you tap into polymetric ideas that you can later use when playing over odd-meter music or when you want your phrasing to run over the bar.” MARCH 2021 TOTAL GUITAR

TGR342.RockRhythmSpecial.fig11.musx Cowboy Arpeggios Rock Rhythm Special ROCK RHYTHMFile Date: 15:07 25/01/2021 Contributor: Steve Allsworth Page 1 of 1 Engraved by DigitalMusicArt.Com Notes: TRACK 36 11 COWBOY ARPEGGIOS q = 65 Asus2 Am Cadd 9 Gmaj7 Dsus2 D & # 44 .. œœœœ œ œ œ œ 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 .. let ring let ring ..TABTGR342.Ro3020ckR2hyt3hm2Spe2cial3.fig12 2.m3 us2020x 1 0 1 3 32 33 2 2 .3 3 00 00 0 2 2 3 .0 Powerchord Illusion 3 Rock Rhythm Special File Date: 10:05 21/01/2021 ThePseaagreet1ypoicfal1sus2 and add9 ‘campfire chords’. Think of bands like Poison and Guns N' Roses and you’ll get the idea. Hammer-onsCanodnpturillb-ouftfosre:xStetnedvteheAslolsunwdoorftthhe basNicochteorsd:s – again, typical stuff. Aim for a ‘pick in the direction of the next note’ approach and try to keep your pick hand moEvenmgernatvseads ebffyicDienigtiatnadlMcleuasnicaAs prto.sCsiobmle. 12 POWERCHORD ILLUSIONS TRACK 37 q =130 # E5 F5 F#5 A5 F#5 B5 A5 F#5 F ### 5 œœ nnœœ ##œœ œœ œœ œœ N.C. & 44 .. œœ œœ œœ œœ œœj ‰ #œœj nœœ œœ #œœ œœ ..Play 4 times . ..ABT BU BD .4 4234 24 2 4 ( 5 ) ( 4 ) 2 4234 244 24 4 ( 5 ) ( 4 ) 2 4 4 4 62 Splitting two guitars into separate parts of the powerchord is a great idea that has been favoured by Slash and Mick Mars amongst others. The idea is to use an ‘inverted powerchord’ – just ditch the bottom root note of each chord. The second guitar can then play this as a single-note riff, with a lot more freedom to expand on the basics. EDDIE TG SAYS VAN HALEN Filling The Gaps Don’t feel you need to fill every gap! However, this TGR342.RockRhythmSpecial.fig13.musx “I’m a very rhythmic player, just quote perhaps describes File Date: 10:09 19/01/2021 out of necessity. Because believe Eddie’s love of slash chords in Page 1 of 1 it or not, we used to play without songs like Running With The Notes: a bass player. It was just Alex and I. I also had a tendency to fill Devil. The slash notes give every f*cking hole possible, but a sensTehorfaasbhaPssallinme Mutes because I had to because there was no other instrument.” ContraibRctuchotoeocmrkc:phRSaohntredyyvsitnhegmAlSlspweocritahl Engraved by DigitalMusicArt.Com 13 MUTE-ALLICA TRACK 38 q =160 N.C. Ab5 N.C. C5 B5 N.C. F5 N.C. N.C. E5 N.C. N.C. C5 B5 N.C. F5 N.C. E5 E5 & # 44 œ œ œœ œ œ œ bœ nœ œ bœ nœ .. .. œœœ œœœ n œœœ œœ b b œœœ nœ nœ œ œ œ œœœ œœœ œ nnœœœ œ œ œ œœ n b PM PM œ œ œœœ œ œ œ œ œ . PM PM PM PM PM PM PM PM . .T 5 4 .A 5 4 3 54 2 567 6 32 54 3 000 0 0 5 6 7 B 0 0 1 000 0 6 32 32 32 3 2 4 000 3 2 00 0 0 1 000 0 Photo: Getty Images Metallica, Megadeth and Slayer were the biggest exponents of this style of thrash metal during the 80s and early 90s. The palm-muted open sixth-string root notes are essential, and the powerchords, including the F5 one fret above the root, are typical fare. Keep your pick hand close to the strings and aim for small, efficient movements. TOTAL GUITAR MARCH 2021

feature TUNE-UPS! Your guide to five essential altered tunings 1 DROP D: DADGBE 2 DADGAD 3 SEVEN-STRING 4 DROP C: CGCFAD 5 OPEN DADD9: AS HEARD ON: LAMB OF AS HEARD ON: LED STANDARD: BEADGBE AS HEARD ON: BIFFY AS HEARD ON: DREAM D A D F# A E GOD – MEMENTO MORI ZEPPELIN – KASHMIR THEATER – JUST LET CLYRO – NORTH OF NO AS HEARD ON: COVET Tune your sixth string A staple in acoustic ME BREATHE SOUTH Think of this as – SHIBUYA down a tone (the same folk and great for standard six-string Identical to drop D, but D-F#-A-E spells out the as two frets) to D. experimentation thanks tuning (EADGBE) with a with every string tuned JobT dGoRne3!42.RockRhythmSpteociitasl.‘finge1it4h.emrumsaxjor nor low B on the seventh two semitones lower. ShneoontuecthseeotrhfneaSnDyaanmdcdoe9pgacivthieoonnrd, File Date: 10:14 21/01/20m2in1or’ open-string string. Go down another voicing. semitone for drop B tRootchkisRtuhnyitnhgmmSupcehcial (B F# B E G# D#). Contrilbouvteodr:bSytYevveetAtellsYwoournthg. Page 1 of 1 Notes: Engraved by DigitalMusicArt.Com 14 SOUTHERN METAL SYNCOPATION TRACK 39 q =110 A5 Ab5 G5 A5 Ab5 G5 N.C. Play 4 times & b 44 .. ≈ 3 ≈ 3 3 .. œ ≈ ≈ œ œ œ #œ œ nœ œ ≈ ≈ œœœ b b œœœ œœœ n n œœœ b b œœœ œœœ b n b œ œ œ œ œ œ œ œ œ œ PM PM PM .. ≥ ≤ ≤ ≤ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≤ ≤ ≤ ≥ ≥ ≥ ≥ ≥ ≥ ..FTABTGileRGDDBAED3a4t2e.:R1o00c:k1R50h2y1th/0m10S/2p0e2c1ial0.fig15.m0 us3x 5 3 6 BU BD 00 0 7 6 5 C77orn B66 iscu55 it Riff 3 (5) (3) 7 6 5 0 0 07 6 Ro5ck R7hyth6m S5pecial Page 1 of 1 Contributor: Steve Allsworth aTnhdeNlDaitomete,eg’ssret:raatdDeimmaerbkasgeDnasrereolfl wgraosofvaem. Uesdefaolrtheirsnsaytnecpoicpkaitnegdt,hbrrouutgahl roifufts(.yDoeuv’lellhoiptianlgotthoef8up0ssttrhorkaesshhtehreem!)ea,nbduutsaet ayosulorwfreerttEheanmngdprotaoavlkloeewedpsbtfhoyerDmidoilegresittrarhilnyMgthsummsiicuctcAeodrmt..pCleoxmity 63 15 KORN BIZKITS TRACK 40 q =105 C5 & ## 44 N.C. nœ œ œ œ n œœœ ..Play 4 times œ œ nœ œ œ œ œ œ œ œ œ œ. n .. œ. œ œ nœ œ œœœ ..TABTGR3GEBBADE 42.Roc0kRhythmS0pec5iaBUl(.6fi)g106.musx5 .. BU 8888 BU BU 3 ( 3 ⇥ ≤ ⇥ ⇥ ⇥File Date: 10:19 21/01/2021 6 ) ⇥0 ⇥6 6≤ ⇥6 6≤ ⇥0 ≤ ⇥ ⇥0 5 (6) 0 ⇥5 (6) ⇥ ⇥0 1 Math Metal Rock Rhythm Special Page 1 of 1 Contributor: Steve Allsworth TfahveoNluaortsete-B9sF0:#sBseEvGe#nC-s#tCrin#g; tehxepKloosrniopnawiragsodaosmloinwaatesdAbDyGLCimFApDB. Tizrkyittu’snWinegsaBsoixr-lasntrdinagngduKitoarrns’seMt tuontkhyealnodwHeesatdn.oItfeysooufwthaenstethtauEntnisngogursna;dwv,eey’odvue’bvoeyptgDeodtigtfaoitrtauBlnEMeAulDoGswBic!EBAhorertlra.eCn.dom 16 MATHS HOMEWORK TRACK 41 q =120 & bbb 82+28+82+38 N.C. œ œ œ œ œ œ œ œ œ œ œ bœ œ #œ œ œ œ œ œ œ œ œ n œ œ n œ # œ œ ..Play 4 times .. œ œ œ #œ ABT D . 7 8 08 10 . A . 08 0807 7 11 13 . F 06 0 7 11 C G 06 06 06 06 06 06 C Math-metal is characterised by complex rhythms. Think of our Polyphia/Meshuggah-inspired riff as a variation on 4/4 time, with an extra eighth note added to beat 4. It’s tricky to get the feel, so count ‘1 & 2 & 3 & 4 & a’ to keep time. Practise by playing each ‘beamed’ group of notes on its own before jamming with our audio track. MARCH 2021 TOTAL GUITAR

TGR342.RockRhythmSpecial.fig17.musx Emo-tive Rock Chords Rock Rhythm Special ROCK RHYTHMFile Date: 10:22 21/01/2021 Contributor: Steve Allsworth Page 1 of 1 Engraved by DigitalMusicArt.Com Notes: 17 EMO-TIVE CHORDS TRACK 42 q =115Bm Gsus2 D sus4 D D5 N.C. & ## 44 .. œœœ œœ œœœ œœ œœ œœœ œœ œœœ œœ œœ œœœ œœ œœ œœœ œœ œ œœ œœ œœœ œœ œœ œœœ œœ œœœ œœ œœ œœœ œœ œ œ œ œ œ .. œœ .. ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥TABTGRGEDBAD342.Roc1992kRh99 yth1992mS99pec99 ial1.992fig1998.m575 ucsoxnt.55sim. let ring . 7 7 5 4 40 .0 0 5 5 5 5 5 5 0 00000000 0000 0 5 5 5 5 5 5 0 00000000 0 0 0 0 0G2ru4ngey Fives File Date: 10:24 21/01/2021 Rock Rhythm Special WhiPlstadgreop1-Dotufn1ing adds heaviness and some easy first-finger barre chord shapes, it can also inspire sweeter sounds. Think early-0C0osnemtriobauntdopro: sSt-tgervuengAelalsndwyoorut’hll getNwhoatet ws:e’re driving at. It also shows that hard rock doesn’t have to be in angsty minor keys. A mix of major, minor and sus cEhnorgdrsasvoeudndbsyfreDsihghitearelMinuosuricriAffr. t.Com 18 GRUNGEY FIVES TRACK 43 e =160 D 9 #11 D maj 7a dd13 D 7sus 2 D & ## 85 .. œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ n#œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ nœœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ .. œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ..TABTGRGAEDBD342.Roc007750kR700075hyth007750mSpec070705 ial750700.fig19000775 .m075070usx 4 4 4 44 44 2 22 00 .10 5 5 5 55 55 22 2 22 22 11 00 00 5 5 5 55 55 22 4 44 22 22 11 11 0 0 0 00 00 44 0 00 44 00 .0 0 0 0 00 00 00 0 00 00 00 2 22 22 0 0 0 00 00 00 0 00 00 00 00 00 00 00 0 0 Ro00 yal 00Dro00 p C ⇥ ≤ ≤ ≤ ⇥ ⇥ ≤File Date: 10:25 21/01/2021 0 0 cont. sim. Rock Rhythm Special 64 ThisPriaffgisein1spoirfe1d by Jeff Buckley, Radiohead, even Soundgarden – acts that employ a left-field songwriting approach, using odd timCe,oconmtrpibleuxtcohro:rdSstaenvdenAonll-sstwanodrathrd tuniNngost.eHser:e, everything is based around an open D drone, but the key isn’t set in stone. The chords move in and out of differeEnnt mgroadvees,dgivbinygDaisgliigthatllMy pussyicchAedrte.lCicovimbe. 19 GOLDEN RULES TRACK 44 q = 80 œ≈œ œ œœœœ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ ..Play 4 times N.C. œœ œ œœœœ œœ œ & bbb 44 .. œ œ ..TABTGR3ADCGCF 42.Rock0 Rhyth53mSpec35ial.fi0g20.m0 usx53 0 10 10 10 10 . 8888 . 0 7 7 7 7 10 10 10 10 6 6 N6ew 6Kid5s O5n Th5 e B5 lock File Date: 15:10 25/01/2021 Rock Rhythm Special We’rPeatagkein1g inosfp1iration from Biffy Clyro and Royal Blood here as we exploit the clarity of single-string riffs and octaves rather than ‘dCeonsnetrr’ipbouwtoerrc: hSotredsv.eThAelolscwtaovertsh canNbeoatessm:elodic as you like, so experiment by moving them around the fretboard. The 16th notes in bar 2 are all about consiEstnegncrya,vsoeudsbe ysteDaidgyitaaltleMrnuasteicpAicrkt.inCgo. m 20 PROG AND MATH-ROCK TRACK 45 q =1A20sus2/ #4 N.C. œ œ F# 7sus4 F# add 11 N.C. œ n œ1 3 & #### 74Capo 2nd fret .. œ . œœœ œœœ œ œœœœ œ. œœœ œœœ œ œ œ œ œ œ. œœœ œœœ # œœœœ 3œ œ œ œ œ œ œ œ œ œ ..Play 4 times 3 1œ œ 3 ABT E .0 0 0 057 0 0 .12 7 7 7 0 7 04 5 3 0 AF # 7 0 5 0 2 5 7 12 0 3 5 10 5 .0 0 5 2 0 D 5 2 .12 5 A 5 D im i Plini and Yvette Young often shun the distorted tones of traditional shred, delivering complex rhythm work that takes up where math metal leaves off. Rich fingerpicked chords with melodic lines and Satriani-esque tapping are essentials. Get to grips with the (relative!) basics in bar 1, with a capo’d chord groove followed by tapping in bar 2. TOTAL GUITAR MARCH 2021

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CLASSIC TRACK 68 TOTO HOLD THE LINE With over a thousand session credits to his name, Steve Lukather was once the busiest guitarist in rock. He also found time to have few Top 10 hits with Toto… TOTAL GUITAR MMAARRCCHH22002211

B y the time Toto had formed in CLASSIC 1977, the band members were TRACK already seasoned regulars on albums by Steely Dan, Boz Scaggs, GET THE SOUND Sonny & Cher and several other popular artists of the time. Having Everything you need to know before playing ‘Hold The Line’ played many sessions together, drummer Jeff Porcaro and keyboardist David Paich brought Get the tone CHANNEL DISTORTION Although best known for in bassist David Hungate and guitarist Steve his signature Music Man Lukather, who had played in Scaggs’ band. 77 6 guitars (now in Luke III Soon after, Paich began composing their 73 incarnation), Lukather actually eponymous debut album, which features this played a Les Paul Goldtop on month’s track, Hold The Line. According to GAIN BASS MID TREBLE REVERB Hold The Line, plugging into a Paul Paich, the writing process was fairly Rivera-modified blackface Fender straightforward: “It started out with the piano A bridge humbucker is the Deluxe Reverb for amplification. riff that is in the intro. I started playing this best option here, but Humbucking bridge pickups and riff and I just couldn’t stop playing it. I played Steve has been known to rich valve distortion are your it for days, and I started singing, ‘Hold the switch to a neck pickup ballpark tone for the choruses, line, love isn’t always on time’. It was for the solo on occasion. with less gain in the verses. a phrase that just came into my head... Dial in plenty of distortion in It was a blessing”. the solo with plenty of delay Turn the page as we take you through for a rich ambience. Lukather’s parts as well as a guitar arrangement of Paich’s blessed keyboard part! CHORDS SCALES 69 Y ou’ll spend most of your time playing just four easy powerchords: F#5, C#5, D5 T hese are two key shapes in Steve and E5. These form the song’s main chorus riff and the backing for the solo. If you Lukather’s arsenal. The first is the minor want to attempt the opening piano line there are a handful of other shapes to pentatonic scale with an added 2nd (aka learn (F#m, A/C#, D6, E and Esus4). Again, these are easy shapes but the changes are 9th) interval – which we’ve coloured green. fairly quick. Elsewhere in the tab, you’ll see Bm7, Cm7 and C#m7 chord names, but Without the 2nd, this is probably the most these aren’t played by the guitar. commonly used scale of them all, so make sure you know it. Later in the solo, Steve shreds XXX XXX XXX XXX a few rapid scale runs using the F# natural minor scale. It’s trickier to play than the pentatonic 5 15 11 1 1 scale but the three-note-per-string structure 22 2 34 facilitates the considerable speed demanded by these licks. 3 3 14 1 1 1 1 1 1 12 1 1 1 F#m A/C# D6 Esus4 XXX X XXX X XXX X XXX 91 41 51 333 3 222 4 44 33 3 444 D5 F# minor 12 pentatonic scale F# natural minor scale 3 E F#5 C#5 X XXX O OOO 71 Guitars and backing: Steve Allsworth Photo: Getty 23 3 E5 E5 MARCH 2021 TOTAL GUITAR

CLASSIC TRACK TOTOTGR342.toto.fig01.musx Hold The Line HOLDTTHoEtLoINE File Date: 10:26 11/01/2021 Page 1 of 1 ContrCiobpyuritgohtr©:1W9So78rtdeHsuavdnmedaMrAuPsuilbcllsbisyhwDinagoviCdroPt.,haIincch. All Rights Administered by Kobalt Music Group Ltd. HOLD THE LINENotes: AEll RnigghtrsaRevseervded.bUsyedDby PigermitiasslioMn ouf Hsali LceoAnarrtd.ECuroopemLtd. TOTO HOLD THE LINE Piano Intro ### q.= 97 F #œœœm œœœ œœœ œœœ œœœ œœœ Aœœœ/C# œœœ Dœœœ6 œœœ œœœ œœœ Eœœœ œœœ œœœ œœœ œœœ œœœ œœœEsus4 œœœ œœœ Eœœœ œœœ œœœ .. & 182 .. Keyboards arranged for guitar ..TABTGR342.toto.fi675g02.m756 usx567 5 5 5 5 5 5 5 5 5 444444555444 7 7 7 5 5 3 3 3 3 6 6 6 6 6 4 4 4 4 .5 5 5 5 5 5 5 5 5 5 5 5 File Date: 10:26 11/01/2021 444444444444 .Hold The Line Toto Page 1 of 1 Contributor: Steve Allsworth ILfisNytoeountdecoasnr:’etfhuallvyefoarktehyebcohaarndgpelatyoeDr6o.nThhaisnlditttolepblaligyhttheeriinstoron,tthryeothuirrgduniotatreaorfriatnsggermouepnintguswinhgicyhocuarnfitnhgreorws aonffdytohuurmtibmwinitgh. a cEhinmginrgacvleeadn tboyneDaingditliaglhMt cuhsoircuAs erft.fCecot.m TOTO HOLD THE LINE Riff & ### 182 F#5 Œ. C#5 Dœœ5j œœj œœ E5 Ó. F#5 Œ. C#5 Dœœ5j œœj œœ F#5 C#m7 Cm7 œœ .. œœ œœ.. Œ. œœ .. œœ œœ .. Œ. œœj œj œj nœ 70 0:10 ABT 11 6 7 79 11 67 79 9 4 5 57 9 45 57 57 98 TGR342.toto.fig03.musx Hold The Line AinlFTFPtthhGiiaollieesguRpgeDDah3raa1t4thtto2eeeof.s::ftteoh111ept33ootrw::.a55fiecg44rkc0,11hs3oo22.rym//d00osuu11ads//r22eoxnn00’’t22t dw11ifafnictutlot hinetahreamnyseelxvtersa,nteryoiunsgsntortintgonruosishet. hSeturbhyatfhrmeesfsrheottuinldgbfeinygoeurrufpocaugsa.inTrsytttohekeuenpustheed isdtlreinsgCtrsiontgonsktrqeieubpieu’tetotmoroq:.uSTihetHete.rovele’sdaATlolhltseowfLTTsooopirnatttheooce PNaogtees:1 of 1 EngraCveodntbriybuDtoigri:taSlMteuvesicAAllsrtw.Coortmh TONToOteHsO:LD THE LINE Verse Engraved by DigitalMusicArt.Com ### 118822 B m7 C # m7 F # m7 C#m7 Cm7 Bm7 C # m7 F # m7 C#m7 Cm7 ### & œ .Bm7 ‰ œ n œC##œm.7 ‰ œ œ œ .F#m7 ‰ œ œ œ n œœjjC###œœmjj7 œœjjCnn œm7 œ .Bm7 ‰ œ n œC##œm.7 ‰ œ œ œ .F#m7 ‰ œ œ œ n œœjjC###œœmjj7 œœjjCnn œm7 & 0:20 œ. ‰ œPM nœ #œ. ‰ œ œ œ. ‰ œ œ œ n œ œ. ‰ œ nœ #œ. ‰ œ œ œ. ‰ œ œ œ n œ AABBTT1 0:20 PM 7 789 7 9 7 9 8 7 789 7 9 79 8 7 789 9 9 9 89 9 9 89 8 C # m7 7 7 9 E 7 789 9 7 9 79 8 9 9 89 B m7 9 89 1 D maj 7 œ Eœ C # m7 ###### B m7 œœ œœ C m7 C # m7 & œ .Dmaj7 œœ & œ .Bm7 œ œ œ œ .C#m7 œœœ œ. C#œœmjj7 œœjj Cn œm7 œ .Bm7 œ œ œ œ .C#m7 œ œ œ œ. œ œ œ œ. œœœ n œ œ. œ œ œ œ. œ œ œ T ABT AB5 7 779 99 10 10 10 7 987 779 99 7 779 C#m7 9 9 10 10 10 7 987 77 9 99 E B m7 C D5 E5 5 Dmaj7 # m7 œ œ œ Eœ B m7 ###Dmaj7 œœœœ C#œœmjj7 œœjj nœ œ œ œ C#œm.7 œœœ œD 5 œœœœ œœœœ œœœœ œœœœ œœœœ Eœœœœ5 œœœœ œœœœ œœœœ n œj # œ œ && ### œœ ..TOTAL GUITAR MARCH 2021 nœ œ. œ œ œ œ. œœœ œ n œj # œ œ œ. T

#B m7 C m7 D maj 7 E C # m7 C m7 B m7 C # m7 # #FULL TRACK + BACKING (TRACKS 46-47) & # This song comes with a full demo track and a backing œœœœ œj œj nœ œ. œ œ TOœ TOœ./ HOLœD TœHEœLINE œ . œ œ œ œ . œ œ œ œ .track(minusguitar)onyourCD.Simplyinsertthediscin your player, press play and jam along, guitaraoke style! TOTABTO HOLD THE LINE Verse (cont’d) 99 10 10 10 7 987 779 99 B m7 5 7 779 œ. & ###Dmaj7 E C#m7 C # m7 D5 E5 œ. œ œ œ œ œj œj nœ œ œ œ œ. œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ nœj #œ œ ABT 10 777779999 8 7 5555557777 7 10 10 987 779 99 89 TGR342.toto.fig04.musx Hold The Line ThFisilpearDt uastees: a1c0le:a2n9er1s1o/u0n1d/s2o0e2it1her switch to a less gainy amp channel or quickly pull down the volume on your guitar to reduce the distortion level. Palm-mutingToto (inTPdGaicgaRtee3d14w2oi.tftho1PtMo.…fiign0th4e.tmabu)sisxused to control the dynamics here, so you’ll need to rest the side of your hand against your guitar’s sCtroinngtsribbeusitdoert:hSetHberoivdlegdeA.TlhlsewLoirnthe FNioleteDsa: te: 10:29 11/01/2021 Engraved by DigitalMusicArt.CTotmo TOPNTaoOgteeHsO:1LDofTH1E LINE Chorus Contributor: Steve Allsworth Engraved by DigitalMusicArt.Com & ### 182 F#5 Œ. C#5 DDœœœœ55jj œœj œœ E5 F#5 Œ. C#5 DDœœœœ55jj œœj œœ E5 Œ. Œ. ‰ œ ABT& ###0:45 182 Œ. œœj œœ Œ. œœj œœ Œ. Œ. n œj # œ Fœœ#5.. Cœœ#5 Eœœ5.. Œ. Ó. Fœœ#5.. Cœœ#5 Eœœ5.. 0:45 œœ .. œœ œœ.. Œ. Ó. œœ .. œœ œœ .. ‰ œ n œj # œ 11 67 7 9 11 67 79 9 45 5 7 9 45 57 7 89 ABT1 F#5 11 C#5 67 7 9 F#5 11 C#5 6 7 7 # 9 C# m7 8 C9m7 7 71 1 9 5 E5 7 9 4 5 7 ### Fœœ#5.. Cœœ#5 4DDœœœœ55jj 5 DDœœœœ55jj5 œœj F 5 Œ . œœj œjC#m7 œjCn œm7 & ### œœ .. œœ œœ .. œœj Œ. œœj œj œj nœ Œ. œœj œœ Œ. Ó. Fœœ#5.. Œ . Cœœ#5 œœ Fœœ#5.. T& Œ. œœj œœ E5 Œ. Ó. œœ œœ.. Œ. œœ œœ .. œœ .. AB 11 67 79 11 67 7 9 57 8 9 45 57 9 45 5 7 9 ABT5 11 67 79 11 67 79 9 45 57 9 45 57 57 98 5 ThTisGisRa3st4r2ai.gthottroe.pfiega0t o5f.tmheursifxfs played before the verse, but with two ‘connecting’ phrases at the end of bars 4 and 8. And if you want to jam along wHithotlhdeTchhoerdLsine duFriinleg tDheastoel:o,1th3is:2is4th1e4p/a0r1t t/o2f0o2llo1w, but without the connecting phrase in bar 8. Toto Page 1 of 2 Contributor: Steve Allsworth TONToOteHsO:LD THE LINE Solo Engraved by DigitalMusicArt.Com E5 √ F#5 C#5 D5 E5 œœ œœ œœj Jœ œ & ### 182 Œ. œ œ œj œw~i~de~~~œ~.~~~~Jœ~ Œ ‰ ‰ Jœ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ ~~~~~~ œœœ œ œ œœ 1:47 3 BU RP BU ~~~~~~~~~~~wide 3 ~~~~~~ ABT 14 14 17 (19) (19) 14 17 (19) 14 16 17 16 14 5 14 14 1 14 16 14 14 BU 17 17 17 14 14 16 (18) 16 14 16 14 [14] 16 16 & ### F#5 # œ~~~~œ . C#5 D5 œ œ œ~~~~~E~œ5. œœj œ œ œ œ œ Jœ œj œ F#5 œJ C#5 D5 œœ œœ œMARCH 2021 TOTAL GUITAR n œj # œ n œ œœœ œ ~~~~~~~~ œ œ œ œ.

E5 F#5 C#5 D5 E5 CLASSI#C## 12 √√ œ œ œ œ œ~~~~~œ~.~~~~œ~ œ. œ. œ. . ~~~~~~ œE5 wide F#5 C#5 D5 E5 TRAC&&K##### 1882 ŒŒ.. √√œœœœ œœ œ Jœ œ œ œ œ~~~~~œ~.~~~~Jœ~ Œ ‰ ‰ Jœ. œ. œ. œœ. œœ œœ œœ œœ œœ œ œ œ œ œ ~~~~~~ œ œ œ œ œE5 & #### 11822 Œ. œœ œœœœ œœ JJœœ œœ œœ œœ œœ~~~~~~~~~~~~~~~œœ~~~..~~~~~~~~~~~~JJœœ~~~ ŒŒ ‰‰ ‰‰ JJœœ.. œœ.. œœ.. œ.. œ œ œ œ œ œœ œ œ œ œœ œ œœ~~~~~~~~~~~~œœ œœ œœ œœ œœ œE5œjœjwideF#5C#5D5 E5 œj œj wide F # 5 C # 5 D5 E5 & 8 Œ. œœ œœ J œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~J~~~ Œ ‰ ‰ J œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ~~~~~~~~~~~~~~~~~~~~~~~~œœ œ œ œ œ œABTTTOTO1:47œœBjj URPœœBjj Uwide 33 wide 1:47 (1R9P) 33 5 (1R9P) H1:O47LD 11S44ol11o44(1c7Bo(1Un9t) ’d) RP 14 14 17B(U19w)ide 14 16 17 16 14 16 14 14 154 BU 14 3 1334 17 17 154 17 1:47 THE LINE 17B(1U9) 14 17B(U19ww)iiddee 16 17 14 17 16 14 16 16 14 [14] 16 14 16BU(18) 17 14 14 16 17 163 14 [14] 16 14 16BU(18) AABT1 14 14 14 14 16 17 16 14 16 14 14 5 16 14 16 16 14 17 14 14 14 16 17 16 14 16 14 17 14 14 [14] 17 14 14 17B(1U9) (19) 14 17B(U19) 14 16 14 16 16 14 [14] 1144 1144 17 (19) (19) 17 17 16 514 16 16 14 14 16BU(18) ABT1 F#5 14 14 C#5 14 17 (19) 17 F 16 # #E5 C 156 14 516 (18) D5 D #œ nœ #œ~~~~œ. ~~~~~~ œB1 n œj F#5 &&& ############ ###œœœ nnnœœœ ###œœœ~~~~~~~~~~~~~~~~œœœ... œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ~~~~~~~~~~~~~~~~~~~~~~~~œœœœ.... œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œJJœœJ œœœœ œœœœ œœœJJ œœœ œœ~~~~~~~~~~~~~~~œœ~~~~~~~~~~~~~~~~~~~~~~~~~œœ.. œœ œœœœœœœœ œœœœœœœ1 n œj C#5 D5 #E 5 œj œj F#5 C#5 D5 PBnn1œœ6jj œj F # 5 C # 5 D5 E5 œj F # 5 C # 5 D5 F # 5 C # 5 D5 E5 œœjj F # 5 C # 5 D5 PB16 PB16 œœjj & ~~~~ ~~~~~~ œ œ œJ œ œ œ œ . œPB16BU PB16 PB16 ~~~~ ~~~~~~ J J œ~~~~~~œ~~~~~~~~~~œ . œAT PB(1167B)U(18)PB(1167)PB(1186) BU BD grad. 14 17 ~~~~ ~~~~~~ ~~~~~~~~ABT PB(1167B)U(18)PB(167)PB(1186) BU 14 16 14 16 16 14 16 13B(1U4)B(D13) 14 16 1g6Bra(U1d9.) BD 14 1167BU BT4 (17B) U(18) (17) (18) 14 16 16 14 16 13B(1U4)B(D13) 14 [19] BD (16) 14 17BU AT4 (17) (18) (17) (18) 16 14 17 11gg66BBrraa((UU11dd99.. )) [19] BD (16) 12 [14] 14 14 14 16 16 14 16 16 14 17 16 14 [14] ~~~~~~~~~~~~~~~~~ABB4 E5 14 16 16 14 16 17 16 12 ˙˙~..~~~~~~~~~~~~~~~~œ √4 E5 13B(1U4)B(D13) 14 16 14 14 [14] 14 1144 111766BU 13 (14) (13) 16 14 #[19] (16) [14] 14 F 5 14 BD (16) 12 14 D5 14 BU [19] C125 D5 F#5 17 16 16 (19) C#5 14 14 & ##### ˙˙~..~~~~~~~~~~~~~~~~œœœ √œ œ œ œœ œœ œ œ œ œ œ œ œ. .E5 & #### ˙˙˙˙~....~~~~~~~~~~~~~~~~œœœ √√œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ. œ. œ. œ.E5 ## ##[[1187]] œj F5 œj œj C5 D5 œj F5 œj C5 D5 œj [[1187]] [[[[11118787]]]] && ### ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~œ œœ œœ œœ œœœœ œœœœ œœ œœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœ œœ ŒŒŒ... œœ.. œœœ.. œœœ...T œj œj œœBjj U ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~AAAABBBBTTT777 (18) 16 14 14 14 14 17 14 œœBjj U 14 17 111144441111œœ6666jjBBBB((((UUUU11118888)))) 14 17 111144441111œœ6666jjBBBB((((1111UUUU8888)))) 14 BU 17B(U19) 17 14 16 14 14 14 14 17 14 17 14 17 14 17 BU (19) 17 14 (18) 14 14 1416B(1U8) 17 (19) 17B(U19) 16 14 14 14 14 17 1416B(1U8) 14 17 14 17 14 17 14 (18) 16 14 14 14 14 17 1416B(1U8) 14 17 14 17 14 BU 17B(U19) 17 14 (18) 1144 1144 17 BU (19) E5 14 14 16 (18) 17 (19) 17 (19) (√)7 E5 # #F 5 C 5 D5 E5 F#5 C#5 D5 E5wide ### ((√√œ~~.~~))~~~~~~ œ~~~~~~~~ œ~~~~~~œ~~ œ œ œ œ œ œ. œ œ œ œ œ~~.~~~~~~~~~~~~~~~~œ. œ œ nœ œ œ œ œE5 # # && ##### (√œ~.~)~~~ œ~~~~ œJJ~~~œJJ~ ¿ œ œ œ œ Jœ œ. œ Jœ Jœ œ œ~.~~~~~~~~œ. œœ œ œ nœ œ œ œ œE5 œœjjFF # 5 œœjjCC # 5 œj D 5 œj œj E 5wide 5 5 œj D 5 œj œj E 5 wide && #### œœ~~~~~..~~~~~~~~~~~~~~~~~~~~ œœ~~~~~~~~~~~~~~~~~~~~ œœJJ~~~~~~~~~~~~~~~œœJJ~~~~~ ¿¿¿¿¿¿¿¿¿¿ œœ œœ œœ œœ JJJœœ œœ.. œœ œJJJœ JJJœœ œœ œœ~~~~~..~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~œœ.. œœ œœ œœ nnœœ œœ œœ œœ œœ72 AABTTT9 ¿¿¿AABBT9 † œœBjj U RP PB19 œœBjj U œœBjj U œœBjj U œœBjj U wide PB16 3 wide † BU 1B9 (U21) (R2P1)PB(1292) 19B(U22) 19B(U22) 22 1B9(U22) 3 17 17 † 18 17BU(19) 1B9 (U21) (R2P1)PB(1292) 19B(U22) 19B(U22) 22 1B9(U22) 1B9U(22w) ide PB16BD 17 17 17 † 18 17BU(19) RP PB19 [22] 14 16 PB(1167B)D(16) 14 136 14 17 1B9U(22ww) iiddee [22] 16 3 16 14 16 PB(167B)D(16) 14 16 14 17 17 17 † fret hand18slide1177BU((1199)) 1B9 (U21) (21) (22) 19B(U22) 19B(U22) 22 1B9(U22) 1B9 U(22) [22] 16 (17B)D(16) 14 16 14 17 17 17 † fret hand18slide 19 (21) (21) (22) 19 (22) 19(22) 22 19(22) 19 (22) [22] 16 14 16 (17)(16) 14 16 14 14 ¿B9 † fret hand slide 16 9 F#5 œ œ † fret hand slide C#5 D5 333 œ œ ############ œF#5 œœ œ œœ œ œ nœ œ #œ nœ œ œ œ œC#5 œ œ œ œ œ D5 3 3 œ œ3 œ & œF œ œ œ nœ œ #œ nœ œ œ œ CCœœœ##55 œ œ œ œ œ œ œ œ œ3 œ & œœF# 5 œ4:3 œœ œœ nnœœ œœ ##œœ nnœœ œœ 33œœ œœ 33œœ œœ œœ 33œœ œœ œD 5 œ œ3 œ œ œ3 œ œœ œœ3 œœ T&& # 5 œ4:3 œœœD5 œ œ3 œœ œ œ3 œœ œœ œœ œœ œœ AAAABBBBTTT111222 13 14 4:133 14 13 13 1332 132 131 13 14 4:3 16 15 13 16 15 14 11 14 3 11 12 3 14 [14] 12 14 16 12 14 16 12 14 16 13 13 14 13 15 13 16 15 16 14 12 11 14 12 11 12 11 14 [14] 12 14 16 13 14 13 12 14 16 12 14 16 14 13 14 13 16 15 13 16 15 14 12 11 14 12 11 12 11 16 15 16 15 14 12 11 14 12 11 12 11 12 14 16 14 13 14 [14] 12 14 16 12 14 16 12 14 16 14 [14] 12 14 16 12 14 16 12 E5 œ F#5 œw~i~de~~~~œ . œ œC#5 D5 J œj & ### 3 3 3 œ œ œœœœœ œ œœœœœ œ œ œ œ œ œ J J œ œ œ œ œ œ œ œ ‰ ‰ 3 w~i~de~~~~ BU BU BU T 13 14 16 14 13 13 14 16 14 17 (21) 17 14 17 [17] 17 (19) (21) 17 14 A 14 16 B 12 14 16 12 14 16 14 16 17 16 16 13 E5 F#5 C#5 D5 E5 C # m7 C m7 wide œj œ œj œ . œj œ . œ œ œ œ œ œ œ œ œ œ. Jœ œj œ œœj Jœ œ œ œ œJ œj œ ### œ~.~~~~~ ‰ √œTOTAL GUITAR MARCH 2021

& ### 3 œ œ 3 œ œ 3 œ œ œ œ œœœœœ œ œœœœœ J ‰ œ œ œ œ. œœ œ œ J J ‰ œ œ œ œ 3 w~i~de~~~~ TOTO / HOLD THE LINE BU BU BU TOTABTO13 13 14 16 14 13 17 (21) 17 14 17 [17] 17 (19) (21) 17 14 16 13 14 16 14 14 16 16 12 14 16 14 16 17 HOLD T12HE14LI1N6 E Solo (cont’d) Eœw5~.i~d~e~~~ √ F#5 C#5 D5 E5 C # m7 C m7 ‰ œj œ & ### œ œj œ . œj œ . œ œ œ œ œ œ œ œ œ œ. œJ œj œ œœj Jœ œ œ œ œJ œj œ w~i~de~~~~ (Harmony gtrs. section) BU BU BU BD BU BD BU BU 19 (21) 19 (21) (19) 17 16 (17) (16) 14 9 (10) 9 (10) TGABTR342.t1o7to.fig06.m17 u19sx 19 19(21) 17 14 7 9 7 9 BU 11 (13) 9 Hold The Line SBtoFTFTFNPPPeniGGiiaaavoallleeee1gggmt5RR’eseeeDDDa33sinsaaa:11144sitattt22iaeeeoooa..l:::fffttnidood111111ett333Eooars:::..i555cfifiagg999Jroe00h111b66na222s..smm///oe000nduu111, winss///222hxxt000ohe222bFo111#thmuisneorthpiesnttraictko.nLiactsecraolen,(yFo#uA’llBfiCn#dEa)swleitwhoafntahdredee-dn9otthesin-pteerrv-satlrGin#gnpoatess. Iatg’seas.gIrte’samt woareEyitnmogpbrorairntCCCvgaenooolitfdnnnettttotbrrroiiiuybbbpnuuuedDnetttoooitrgsarrritt:::taoaSSSnnldiMtttHHceeetsoohuvvv–elleeesjdducicsAAAoTTtAnlllahhclllsssrseeetwwwkp.CtJLLTTTooootooooiirrrehnntttttmahhheeooon toNNreoocttreeessa::te the parts note for note, so spend time working out the shapes. Practise slowly, and wherever a lick is too fast, tryEElennavgginrraagvvoeeneddobbr tyywDDo niiggotiitteaaslloMMutuu asslliicctoAAgrrettt..hCCeoor. mm TOTO HOLD THE LINE Outro & ###33###::11###00 111888222 FF # 55 Œ. CC # 55 DDDDœœœœœ5555jjj œœœœœjjj œœœœœ EE 55 Œ. Œ. ‰ œœjj # œ œ FF # 55 Œ. CC # 55 jDD 55 œœœœœjjj œœœœœ && ŒŒ .. ŒŒ .. ŒŒ .. œœjj ## œœ œœ ŒŒ .. DDœœœœœ55jj FFœœœœœ##55..... CCœœœœœ##55 EEœœœœœ55..... ‰‰ nn FFœœœœœ##55..... CCœœœœœ##55 n AT 3:10 n 3:10 119911 4646 7575 7575 9779 119911 6464 7557 5775 AABBBTT111 11 67 7 9 88 99 77 11 67 7 73 191 46 75 57 97 89 7 191 64 75 75 9 45 5 7 89 7 9 45 5 1 ######### EE 55 Œ. Ó. FF # 55 Œ. CC # 55 DDDDœœœœœ5555jjj œœœœœjjj œœœœœ EE 55 Œ. Œ. ‰ œœjj # œ œ ŒŒ .. ÓÓ .. ŒŒ .. ŒŒ .. ŒŒ .. œœjj ## œœ œœ & EEœœœœœ55..... FFœœœœœ##55..... CCœœœœœ##55 EEœœœœœ55..... ‰‰ nn && n n T A AABBBTT444 9797 119911 6464 5757 5577 7997 88 99 77 9 11 6 7 7 9 89 7 79 191 46 57 75 97 89 7 7 9 45 5 7 4 FF#55 CC#55 DD55 EE 55 FF#55 CC#55 DD55 & ##### œœ.. Œ. œ œj œj œ .. œ. Œ. Ó. œ. Œ.FF PPllaayy 44 ttiimmeess Play 4 times ## 5 CC ## 5 DD 5 EE 55 FF ## 5 œœCC## 5 œj œj œ .. 44DD5 && #### œœœ... ŒŒ.. œœœœ œœœœjj œœœœjj œœœœ .... œœœœ.... ŒŒ.. ÓÓ.. œœœœ.... ŒŒ..T5 5 5 5 5 5 œœœœjj œœœœjj œœœœ .... 444Play 4 times œœœ .....AAABBBTT777 119911 4466 7557 5577 7799 119911 6446 5577 ..5577 7 67 7 9 11 67 ..7 11 64 75 75 97 191 64 57 .57 191 45 5 7 9 45 5 9 EE 55 & ##### 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰EE && #### 444 œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœjj ‰‰ww//lloooossee ttrreemmoolloo ppiicckkiinngg5 ŒÓ 5 ŒŒ ÓÓ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœAAABBTTT1100 ww2022202//lloooossee2222020ttrreemmoolloo2222200ppiicckkiinngg2220022 2002222 2022220 0222220 2202202 2022022 0222022 0222022 2222002 2222200 2220202 2220022 2220022 2022022 2 022 220 022 220 202 2 2 2 2 220 220 2 220 220 202 220 B10 02 02 02 20 02 02 0 00000000 00000000 10 Once again, you’ll be playing the main riff, this time including a section where the bass guitar drops out (bars 8 and 9) and with a loosely tremolo picked final E5 chord to round off the song. If you’ve got this far you’ve probably already mastered the riff, so it’s just a matter of keeping track of the variations. MARCH 2021 TOTAL GUITAR

ROCK SCHOOL METALLICA HOLIER THAN THOU TG and Rockschool crank up the pace with this searing cut from Metallica’s legendary ‘Black Album’ P roduced by Bob Rock, Kirk Hammett recently gave TG a tip Metallica’s self-titled ‘Black on the subject of effective fret-hand Album’ materialised from positioning in the song’s riffs: “The notoriously tense sessions and best way to play [Holier Than Thou] is in was both emotionally and financially position at the 1st fret, and you want to costly in its creation. The band were hammer on the A# [Bb in our tab] from perfectionist in their approach and the A, on the fifth string, and then play had the record mixed three times the G on the sixth string on the 3rd before they were satisfied. position, so if your hand is in that Holier Than Thou features aggressive position, and you play those notes, powerchords with a low, menacing then that is the best way to play that riff that requires efficient picking, one. Then you don’t have to move particularly when alternating between your hand so much.” Thanks for 74 palm-muting and ‘natural’ techniques. the advice, Kirk! Words: Jono Harrison Photography: Getty TGR342.grades_RSL.fig01.musxWhether you’re taking your first steps on guitar or Metallica- Holier Than Thou moving into further/higher education, a Rockschool MetallicGau- iHtaorlCielraTshsiacns T2h0o1u8 TFGileRD3a4t2e.:g1ra6d:Gl5eeraa1srdne_ic1woRi1nlliicm/St0praLr1ocvk./efis2yfgro0oum0r2pt1lh1aey.iwmngorauldbiosliftxypowphuillsatrymouusic. PFialegeDa1teo:f 176:51 11/01/2021Formoreinfovisit:www.rslawards.com ConGtruibituatroCr:laRsoscickssc2h0o1o8l facebook.com/rslawards HOLIER THAN THOU EngravedCboynDtriigbiutatolMr:uRsoiccAkrstc.Choomol PNaogtees:1 of 7 Words & Music by James Hetfield & Lars Ulrich Engraved by DigitalMusicArt.Com instagram.com/rslawards © Copyright 1991 Creeping Death Music. Universal Music Notes: @RSLAwards Publishing Limited. All Rights Reserved. International Copyright Secured. METALLICA HOLIER THAN THOU TRACKS 48-49 && ## q =166 ŒŒ E5 .... œœœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœ œœœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœ 4444q =16ÓÓ6 ‰‰ Eœœœœœ5jj œ œ œPM œPM 2 . PM T 2220 .2 PM AABBT1 0 .0 222 2 2 1 222 02 20 20 02 2202 222 222 2 2022 20 02 02 0 20 20 02 02 02 02 02 0 000 000 0 0 0 000 000 0 0 # 1. 2. N.C. E5 && # œœœœœ 1. .... 2. N.C. E5 œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœ œœœœœ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœ œœœœœ œœ bœ œ œœ œ œ n œœœœ œPM œPM bœ œPM œ œ n ATT 2 PM .PM PM .2 ABB4 0222 .0 2 0 222 222 2 222 222 2 2022 01 01 20 02 20 02 02 20 02 02 02 02 02 02 02 20 0 1 3 0 1 3 20 0 000 000 0 0 0 000 000 0 0 3 30 4 TOTAL GUITAR MARCH 2021 N.C. E5 N.C. ~~~~~~~ E5 N.C. E5 N.C. E5 #.

&& ## œœœœœ œ œœœ œœœ œœœ œœœ œœœ œœœFULLTRPAMCK+BACKING(TRACKS48-49) œœ œœœœœœœœ2 1.œœœœœœœœ œ œœ œœ œœ œœ œœ œœ œœ œœœœœœœœ2 . 2.œœœœœœœœ MNNE..œœœCCT.. AbbbLœœœLICPPœœœAMM œœ TœœœHAnnnNEEœœœœœœ55THOU & This song comes with a full demo track and a backing œœœœ œPM œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ .. / œ œ œ œ œ œ œ œtrack(minusguitar)onyourCD.Simplyinsertthediscin 2 œPM 2 ... HœœOLIœœER 2 0 222 222 2 0 .. œ œ œ œ œ œ œT yourplayePr,Mpressplayandjamalong,guitaraokestyle! 0 2 P0M 000 000 0 2 .. œ œ œ œ œ œ œ œABT P0M 2 222 222 2 2 . 222 222 2 20 0 000 000 0 20 0 1 P3M 0 1 3 2 000 000 0 2 0 A4 2 0 BTMETALLICA HO0LIER02THA02 N T20HOU20 2 2 0 0 1 3 0 1 TRA3 CKS 2048-49 A4 0 0 B 0 000 000 222 222 2 2 01 01 2 222 222 0 000 000 0 0 3 30 4 # .. N.C. E5 N.C. ~~~~~~~ ‰ E5 &# .. &# ... œœœœœœ œN.C. b œ œ œ œ œ nnnEEœœœœœœ55 œœœœœœ œN.C. b œ œ œ œ œœ~~~~~~~~~~~~~~~~~~~~~ ‰ j bœ œ œ œ œ nnnEEœœœœœœ55 &AAABBBTTT77 .. N.C. œPM œ œ N.C. ‰ œj .. bœ œPM œ œ œ bœ œPM œ œ œj bœ œPM œ œ œ . œ œ œ œPM œ œ œ bœ œPM œ œ œ œ bœ P3M 0 1 œ bœ œ~~~~~~~ 3 0 1 0 1 P3M 0 1 3~~~~~~~ 01 2 0 1 P3M 0 1 2 3 0 1 30 3 0 01 2 01 01 01 01 2 01 30 33 3 30 2 01 01 01 01 2 30 33 3 30 7 1. ~~~~~ 2. E5 N.C. G5 # N.C. œœ~~~~~~~~~~~~~~~ N.C. œ~~~~~ .. & # 1. œN.C. b œ 3~~~~~ .. 2. œN.C. b œ nnnEEœœœœœœ55 œN.C. b œ GGœœœœœœ55 # ... & 1.œœ N.C. b œ œ œ œ .. n2. œœ N.C. b œ œ œ œ wwwwww œœœœœœ N.C. b œ œœ œ AT& œœœœ œPM œ œ .. nn œœœœ œPM œ œPM œ œ œPM œ œ œ œPM œ œ œ œPM œ œ œ bœ œ bœ œ œ bœ œ P3M 0 1 P3M 0 P3M 0 BT 0 1 01 12 01 15 3 0 1 3 0 0 0 3 AABBT1100 3 01 3 0 1 3. 01 12 01 15 01 0 01 0 3 01 0 3 33 12 15 10 0 3 # N.C. E5 N.C. G5 &# ww œœ œN.C. b œ œœ œ nnnEEœœœœœœ55 ww œœ œN.C. b œ œ œ œ GGœœœœœœ55 &# wwww œœœœ N.C. œPM œ wwww œœœœ N.C. &AAABBBTTT1144 b œ œPM œ œ b œ œPM œ œ 75 œ œ œ œPM œ œ œ bœ P3M 0 œ bœ 01 0 12 0 1 P3M 0 15 3 0 3 01 0 12 01 3 0 15 01 3 0 3 01 3 0 12 15 14 0 3 # N.C. E5 N.C. &# wwww œœœœ N.C. b œ œ œ œ nnEœœœœ5 wwww œœœœ N.C. b œ œ œ œ œ œ & œPM œ œ œPM œ œ œ œ œ œ œ bœ œ bœ T PM PM AABBT18 01 012 01 01 1 30 33 01 012 01 01 1 30 33 18 &# # E5 & nnEœœœœœœ5 œœœœœœ œœœœœœ œœœœœœ œœœœœœ œ bœ œ œ œ œ œ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œ bœ œ œ œ œ œ œPM œPM AABBTT22 1 1 1 1 0 2 PM PM 1 1 1 1 0 2 2 2 30 22 2 222 222 2 2 222 222 2 2 2 0 000 000 0 0 0 000 000 0 0 30 2 2 222 222 2 2 222 222 2 2 0 000 000 0 0 0 000 000 0 0 MARCH 2021 TOTAL GUITAR

ROCKAABBT2222 11110 2 PM 2 2 2 222 2 2 PM 2 2 2 222 2 2 SCHO2O2 L 11110 2 2 2 30 0 000 000 0 0 0 000 000 0 0 2 2 2 2 30 222 222 2 2 222 222 2 2 0 000 000 0 0 0 000 000 0 0 G5 N.C. N.C. E5 œ Gœœ5 TRACKS 48-49 #METALLICA HOLIER THAN THOU œ Gœœ5 & N.C. œ1 œœ5 & ## œœœœœ œœ bbœœ œN.C. œ wwww œœ œN.C. b œ œ œ œ nEœœ5 & œœœ œ bœ œAT PM PM œ 3 œœ œN.C. b œ œPM œ œ nEœœ5 œ0 15 œ œBT ww œœ œ0 b œ1 PM œ0 œ1 n œœ02 0 3 A25 œ ABT25 0 15 01 3 3 3 PM PM 01 012 30 01 3 B 01 01 012 3 30 25 &# # N.C. G5 & wwww œœ œN.C. b œ œœ œ Gœœ5 wwww # ww œœ œN.C. b œ œPM œ œ Gœœ5 ww &AABTT28 œœ02 œ0 b œ1 œ1 œœ5 ABT28 PM B 201 3 0 œ œ0 15 28 201 3 3 0 PM 15 0 3 3 0 3 # N.C. E5 N.C. E5 76 &# œœ œN.C. b œ œ œ œ nEœœ5 wwww œœ œN.C. bœ œ œ œ œ œ œ bœ œ œ œ œ œ nnEEœœœœœœ55 & œœ œN.C. b œ œPM œ œ nEœœ5 ww œœ œN.C. b œ œPM œ œ œ œ œ bœ œ œ œ œ œ œ0 œ1 n œœ02 # &T 0 12 n œœœ022 œœ œ b œ œAAABBBTT3311 PM 0 œœ œ0 b œ1 PM 3 œ0 œ1 œ œ1 œ bœ1 œ1 œ1 œ1 œ0 œ 01 0 12 œ 3 3 3 0 0 1 PM 0 1 PM 0 1 2 1 11110 2 3 33 30 01 1 11110 2 3 01 01 2 33 30 31 && ## N.C. ~~~~~~~~ ‰‰ œœjj bbœœ E 5 N.C. ~~~~~~~~ N.C. œœ~~~~~~~~ E 5 N.C. œœœœ œœ bbœœ œœ œœ œœ œœ nnœœœ œœœ œœ bbœœ œœ œœ œœ œœ œœ œœ œœ nnœœœ œœœ œœ bbœœ œœ œœ œœ œœ~~~~~~~~ PM PM PM PM PM PM PM AABBTT35 PM 01 01 2 01 01 01 01 2 01 01 0 1 3 0 1 3 02 013013 0 1 3 0 1 3 02 013013 3 30 33 3 30 33 35 && ## ‰‰ œœjj bbœœ E 5 N.C. ~~~~~~~~~~ ‰‰ œœjj bbœœ œœ E 5 N.C. E 5 E 5 N.C. œœ~~~~~~~~~~ PM E 5 N.C. E 5 PM œœ œœ œœ œœ nnœœœ œœœ œœ bbœœ œœ œœ œœ œœ œœ œœ nnœœœ œœœ œœ bbœœ œœ œœ œœ œœ nnœœœœ PM PM PM PM AABBTT39 PM PM 2 2 0 2 01 01 01 01 01 01 0 1 0 1 2202 0 1 3 0 1 3 02 013013 0 1 3 0 1 3 20 1 3 0 1 3 3 30 33 3 30 3 30 39 TOTAL GUITAR MARCH 2021

A39 P3M 3 0 P3M 3~~~~~ P3M 3 0 P3M 3 0 2 BT 3 3 0 01 01 2 01 01 01 01 2 01 01 2 33 3 30 3 30 A39 B 01 01 2 01 01 2 3 30 33 39 0 1 3 0 1 3ME02TALLIC0A /1HO3LIE0R T1HA3N T02HOU #METALLICA HOLIER THAN THOU TRACKS 48-49 &# &# œœœœœœœœœ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœœœœœ22 œœœœœœœœœ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœœœœœ22 œœœœœœœœœ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœœœœœ22 &AABBTTT43 œPM œœ2 œœ2 œœ2 œœ2 œœ2 œœ2 œœ2 œPM œœ2 œœ2 œœ2 œœ2 œœ2 œœ2 œœ2 œPM œœ2 œœ2 œœ2 œœ2 œœ2 œœ2 œœ2 œPM 0 œPM œPM 000 000 0 2 P0M 0 0 0 000 0 0 P0M 0 0 0 000 0 0 P0M 222 222 2 2 2 2 000 000 0 0 222 222 2 2 222 222 2 2 0 2 0 000 000 0 0 0 000 000 0 0 A43 222 222 2 2 B 0 000 000 0 0 2 2 222 222 2 2 222 222 2 2 43 0 000 000 0 0 0 000 000 0 0 # N.C. E5 G5 ‰ œœœjjj ‰ &# œœœœœœœœœ œN.C. b œ œ œ œ nnEEœœœœ55 ˙˙˙˙ .... œœœœ GGœœœœ55 ˙˙˙˙ .... &# œN.C. b œ œPM œ œ ˙˙ .. œœ œœ ˙˙ .. ‰ &AAABBBTTT4466 œ bœ œPM œ œ n œœ2 5 7 01 P3M 0 0 3 01 1 3 0 01 12 5 7 3 0 0 3 12 5 7 0 3 46 # E5 œœœ œ œ œ œ œ œ œœœ œ bœ œ œ œ œ œœœ œ œ œ œ œ œ œœœ œ bœ œ œ œ 77 & # œE5 œœœ œ œ œ œ œ œ œœœ œ bœ œ œ œ œ œœœ œ œ œ œ œ œ œœœ œ bœ œ œ œ & # œE5 œœœ œ œ œ œ œ œœœ œœœ T& œ œ œ bœ œ œ œ œ œœœ œ œ œ œ œ œ œ bœ œ œ œ 5 7 5 7 5 7 AAABBBTT4499 57 5 875 7 5 575 57 5 875 7 5 7 5 7 57 7 57 7 7 7 7 5 57 7 5 7 5 7 57 5 875 5 575 5 875 7 7 57 7 7 57 7 7 5 57 5 875 7 5 575 7 5 875 57 7 57 7 57 7 7 49 && ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bbœœ œœ FF 55 4422 œœ œœ EE 55 4444 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ nnœœ œœ œœ AABBTT 55 77 55 77 55 77 55 77 55 77 55 77 88 77 55 88 55 77 77 55 77 55 77 55 77 55 77 5533 && ## œœ œœ œœ œœ œœ bbœœ œœ FF 55 4422 œœ œœ EE 55 4444 œœ œœ œœ œœ œœ œœ œœ œœ œœ FF 55 œœ nnœœ œœ œœ œœ œœ œœ œœ œœ bbœœ œœ œœ nnœœ AABBTT 55 77 55 77 88 77 55 88 55 77 77 55 77 55 77 55 77 55 77 55 77 55 77 88 77 55 88 5577 F#5 G5 G#5 MARCH 2021 TOTAL GUITAR E5

# œœœ œ bœ œ œ nœ 42 œ œ œ œ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ nœ &œ SRCHOCOKOL& # œ œ œ œ œ bœ œ œ nœ 42 œ œ œ œ 44 œ œ œ œ œ œ œ œ œAABBTT57 5 875 F5 E5 5 575 5 875 F5 57 57 7 8 57 7 7 œ 5 7 œ 7 bœ œ œ 8 7 5 875 57 5 575 œ œ 5 œ 8 7 5 nœ 57 7 8 7 57 7 7 57 7 8 MET5A7 LLICA HOLIER THAN THOU TRACKS 48-49 T AB 57 5 875 57 5 575 7 5 875 7 8 7 57 7 57 7 8 #57 F 5 G5 G#5 œœ~~~~~~~~~~~~~~~~~~~~~~~~4422~~~~~~~~~~~~˙˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~4444~~~~~~~~~˙˙~~~ EEœœœœJJ55 # &œ œ œ #Fœ#5 œ œ œ œG5 œ œ œ #Gœ#5 œ œ . ‰ # œ œ œ #œ œ œ . ‰ &œ œ œ #œ œ œ œ œ F#5 G#5 574 96 574 œ #œ œ & # œ œ œ # œ œ œ œ œAABBTT61 G5 œ 7 7 œ9~~~~~~~~42~~~~˙~~~~~~~~~~~~~44~~~˙~ . E11225 575 œ œ ‰ œœJ12 575 12 796 79 61 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ABT 5 7 4 575 796 79 12 12 61 ˙˙.. œœ G~5~~~~~~~~~~~~~~~~~A~~5 Bb5 œE5 œ œ œ œœj œ œ œ œœj G5 œœ œ˙ œ œ œ œ œœj # œœ œj œœ & ˙˙.. G~5~~~~~~~~~~~~~~~~~A~~5 Bb5 œE5 œ œ œ œœj G5 # œ˙ œ œœ œj œœ & ~~~~~~~~~~~~~~~~~~~~ œœ G1~~œ45~~~~~~~~~~~~˙~~~~~~~~~~~~~~~~~~~~~~A~~œ~~5 œ œ14 B1b25 œ œ1œB4j (UE165) BD (14) BU BD BD &AABBTT65 # ˙˙.. œ œBU (G145) œ12 œ14 œ1œj4 (16) œ(14) œ12 œ14 œ12 65 1œ4j (16) 12 14 BU BD (14) 12 14 12 BU BD 14 (16) BU BD 14 (16) 14 (16) 14 12 (14) (14) 14 ~~~~~~~~~~~~~~~~~~~~ BU BD BU BD BU BD 78 ABT 14 (16) 14 (16) 14 14 12 (14) 12 14 (16) (14) 12 14 (14) 12 65 14 A5 Bb5 E5 A5 Bb5 # √ 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 nœj G5 œj A5 Bb5 E5 G5 œj œj A5 œj b 5 & # √ œ~.~~~~~ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœj œj œj œj œj B & ~~~~~~ JBU B1b25 12 E125 15 12 15 12 15 12 15 12 15 12 15 12 G155 12 15 BU BU BU BU 17 A 5 15 (17) 15 (17) 15 (A175) √T 15 (17) 17 12 b15B(195) # œ~.~~~~~ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œA12 1œ5Bj (U17) 1œ5Bj (U17) 1œB5j (U17) & J œ œ nABBT681œ5Bj U(17) 1œB5j (U19) 12 15 12 12 15 12 12 15 12 12 15 12 15 15 15 15 ~~~~~~68 BU 12 12 15 12 12 15 12 12 15 12 12 15 12 BU BU BU BU 17 12 15 15 15 15 15 (17) 15 (17) 15 (17) 15 (19) ABT 15 (17) 68 √E5 G5 œ J œ œ œ œœœ œ œ œœ œ œœœ œ ˙œj #Œ œ bJœ œ & ABT 15 12 12 12 15 12 12 12 12 15 12 12 15 12 10 10 12 10 11 12 12 71 E5 ‰ √œJ œ œ œ œ G5 # œ œ b œ œ œ œ œTOTAL GUITAR MARCH 2021 œ œ œ œ œ œœj œ œœj œ œœj œ

& œ œ œ œ œ15 12 12 12 15 12 œ12 œ œ œ œ œ œ œ12 10 # œ bœ œ 10 & œAABTT 15 12 12 12 15 12 12 15 12 12 15 12 1œ0j 12 Œ J J12 12 œ ˙10 12 11 12 12 15 12 12 15 12 10 11 12 10 12 12 12 12 71 15 12 12 12 15 12 E5 12 12 15 12 12 15 12 10 10 12 METALLICA / HOL11IER THAN1T0 HOU 10 10 12 12 12 10 ABT71 15 12 12 12 15 12 œE5 12 12 15 12 12 15 12 11 ABBT71 œE5 12 12 œE5 MET&7A1 L##LICœœA HOœœLIEbbRœœTHANœœ œTHOU œ œ √ œ G5 œ œ ‰‰ √√œœJJ œ œœ œ œœ œ œœ œ JJœœ œœj œœJJ œœj 12 œ œ œ œœ œœj œœj TRGA5CKS 48-49 && ## œœ œœ bbœœ œœ œœ œœ13 11 12 œ œ œœj 12 œ œ œœjG5 12 ‰ √11œœJJ55 œ œœœ œ œ3 œ œ œ œœBj U œ œœBj U œ œœBjGU 5 œ ‰ œ œ œ œ14 12 14 J12 J12 œ12 3 Jœ œ12 œJ œ12 14 12 14 œ œ œ œ12 14 12 12 &AT 13 11 12 10 11 15 1œ5Bj(U17) 1œB5j(U17) 12 1œB5j(U17) 10 11 12 134 12 15 15 (17) 15 (17) œ œ1215 (17) T 12 AB74 3 BU BU BU B 13 11 15 14 12 14 12 14 12 12 15B(U17) 12 1B5 (U17) 12 1B5 (U17) 12 T74 12 10 11 15 14 12 14 12 15 (17) 12 15 (17) 12 15 (17) 12 A 13 11 15 BT 12 10 11 12 14 12 AB74 15 74 (√) œœ œœ œœ œœ # ((√√œœjj ))œœ œœ œœj œœ œœ œœj œœ œœ œœ œœj œœ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ & # œœj œœj œj œœj œ œ œ œ œ & œj œ12 # (√)œœBjU œ œ œ œ œœBjU œBj U œ œœBjU œ œœBj U 12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # œT 1œB5j(U17) 12 12 12 12 œ12 œ15 œ12 œ15 œ12 œ15 œ12 œ15 œ12 œ15 œ12 œ15 œ12 œ15 œ12 œ15 12 12 œ œ œ œ œ12 œ œ12 œ œ12 12 &AAAABBBBTTT777777 15(17) 1œB5j(U17) 1œ5Bj(U17) 1œ5Bj(U17) 1œ5Bj (U17) 12 15 12 12 15 12 12 15 12 12 15 12 15 15 15 15 BU 15 (17) 15 (17) 15 (17) 15 (17) 1B5(U17) 15(17) BU BU BU BU 12 15 12 12 15 12 12 15 12 12 15 12 12 1B5 (U17) 12 15B(U17) 12 15B(U17) 12 15B(U17) 15 15 15 15 12 15 (17) 12 15 (17) 12 15 (17) 12 15 (17) 12 15 12 12 15 12 12 15 12 12 15 12 15 15 15 15 77 (√) E5 (√) œ œ œ œ œ œ 2œœœœ2jjjjBB(UU2œœœœ4~~~~~~)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~EEE~~~~~~˙˙˙˙555.... 11JJJJœœœœœœœœ900 & # (√œœ) œ œ œ œ œ œ œ œ œ œ œ œ ‰ 79 & (√) # œ œ œ œ œ œ 22 (24) ‰ œ œ œ œ œ œ œ œ œ ‰ AABTT&& # #œ œ17 œ14 œ œ14 œ17 œ14 œ œ15 œ19 œ15 œ œ15 BU ~~~~~~~~~~~ ‰ œ14 œ17 œ17 œ19 17 14 14 17 14 15 19 15 15 14 17 17 19 9 B 17 17 19 15 22B(U24~)~~~~~~~~~~ 79 14 17 14 14 17 14 15 19 15 AT79 14 17 14 22 (24) 10 ABBT79 14 17 14 15 19 15 15 9 17 17 19 10 9 79 &&& #### ˙˙˙˙˙˙˙˙T [[[[119900]]]] Œ ‰ 11œœœœœœœœJJJJ12 ˙˙˙˙ Œ ‰ 11œœœœœœœœJJJJ23 ˙˙˙˙ Œ ‰ 11œœœœœœœœJJJJ22 &AAAABBBBTTT888111 Œ ‰ 12 ˙˙˙˙[[[[11111122]]]] Œ ‰ 13 ˙˙˙˙[[[[11112323]]]] Œ ‰ [[190]] Œ ‰ Œ ‰ Œ ‰ 12 [[190]] Œ ‰ Œ ‰ Œ ‰ 12 N.C. 11 12 12 [[1112]] 13 [[1123]] 12 11 [[1112]] 12 [[1123]] 12 12 12 13 12 11 12 # ˙˙81 Ó ∑∑ ∑ & ABT [[1122]] 84 MARCH 2021 TOTAL GUITAR

A ROCKABBT84 [[1122]] SCHOOL#84 E5 N.C. ~~~~ E5 N.C. ~~~~ ‰ && # œ œ b œ œ œ œMETALLICA HOLIER THAN THOU œ nEœœ5 œœ œN.C. b œ œ œ œ œ~~~~ ‰ j b œ œ œ œ œ nEœœ5 œœ œN.C. b œ œ œ œ œ~~~~ PM œ nEœœ5 œœ œN.C. b œ œPM œ œ œ~~~~~~~~ ‰ œ œ nEœœ5 œœ œN.C. b œ œPM œTRAœCKSœ~~4~~8~~-~~49 œ3 nEœœ025 œ0 œ1 œ3~~~~~~~~ ‰ j œ3 nEœœ025 # œ œ bœ œ œ œT œ3 n œœ20 œœ œ b œN.0C. 1 PM œ0 œ1 œ3~~~~ œ b œ œPM œ œ œ3 n œœ02 œœ œ0 bœ1 ~~~~ œ &A PM 2 œ3 œ j b PM œ1 2 œœ œ b œN.0C. 1 PM œ1 œ3~~~~~~~~ # œ œ bœ œ œ œ0 1 30 œPM œ0 œ0 œ1 œ0 œ1 30 œ0 T88B0 3 01 œ0 œ3 œ0 œ3 2 3 œPM 2 & œ œ bœ œ œ œA PM 0 30 0 j b œ1 30 œœ œ0 b œ1 œPM œ0 œ1 œ3~~~~ B0 3 1 01 PM 0 œ0 3 T88 3 PM ~~~~ A PM PM B0 3 T88 01 01 01 01 01 01 01 01 33 3 33 A 01 B0 3 01 01 01 01 01 01 01 E5 3 3 ~~3~~~ 33 #88 E5 & ‰ N.C. ‰ # ‰ j bœ œœ œ œ nEœœ5 œœ œN.C. b œ œ œ œ~~~~~ ‰ j bœ œ œ œ œ nEœœ5 & œ œPM œ œ œ nEœœ5 œœ œN.C. b œ œPM œ œ~~~~~~~~~~ ‰ œ j œ œPM œ1 œ3 nEœœ205 œœ œ b œN.0C. 1 œ1 œ3~~~~~~~~~~ ‰ j && ##AAAABBBBTTTT999222 ‰ œ bœ œ1 œ3 n œœ02 œœ œ0 bœ1 PM œ1 œ3~~~~~ œ bœ œPM œ œ œ nEœœ5 ‰ 0 j b œ1 3 1 2 01 œ3 j b œ1 PM 1 E25 œ0 30 œPM œ0 œ œPM 1 01 œ œ œ œ nœ0 j 0 2 3 j œ3 3 0 œ0 3 30 PM œ0 œPM b œ1 PM 3 b œ1 œ0 œ1 œ3 n œœ02 3 0 3 ~~~~~ 3 PM 01 0 1 01 01 2 3 3 3 30 01 1 01 01 2 3 3 30 #92 E5 N.C. & œœ œN.C. b œ œ œ œ œ nnEEœœœœœœ55 œœœ œ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œ œœ œœ œœ œœ œœ œœ œœ œœœ # œœ œN.C. b œ œPM œ œ œ œœœ œœœ œœœ œœœ 80 œ b œN.0C. 1 œPM œ0 œ1 PM œœ œœ œœ œœ œœ œœ œœ PM œœ œœ œœ œœ œœ œœ œœ & œœ œ0 b œ1 œ0 œ1 œ3 nEœœœ2205 œœœ œœœ220 œœœ œœœ202 && ##AAAABBBTTTT999555 œœ 3 œ œ 01 0 1 œPM œ3 n œœœ022 œœœ PM œœ02 œœ02 œœ02 œœ02 œœ02 œœ20 œœ02 œœœ202 œœœ PM œœ02 œœ02 œœ20 œœ02 œœ02 œœ02 œœ20 œœœ022 0 1 3 œ0 œ0 PM 3 PM œœ02 œœ02 œœ20 œœ02 œœ02 œœ02 œœ20 PM œœ02 œœ02 œœ02 œœ02 œœ02 œœ02 œœ20 3 œ0 œ0 2 PM 2 PM 2 2 222 222 2 2 222 222 2 2 30 0 000 000 0 0 0 000 000 0 0 B 01 2 2 2 2 222 222 2 2 222 222 2 2 30 0 000 000 0 0 0 000 000 0 0 #95 E5 N.C. & œœœœœœ œ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œN.C. b œ œ œ œ nEœœ5 ww # œœœœœœ œœœ ww & PM œœ œœ œœ œœ œœ œœ œœ œœœœœœ200222 œœœ œN.C. b œ PM œ œ nEœœ5 ww # ww AT& # œ 2 œ &ABT98 2 œœj ‰ PM œœ20 œœ02 œœ20 œœ20 œœ20 œœ02 œœ02 0 œœœœœœ œ b œN.0C. 1 PM œ1 nEœœ025 œ0 b œ1 œ0 2 œ3 œ0 2 #AABBBTT9988 PM œœ02 œœ20 œœ02 œœ20 œœ02 œœ20 œœ02 0 PM œ0 œ1 n œœ02 œ0 ww œ3 PM 222 2 01 PM 222 000 0 012 0 000 30 N.C. 222 2 2 2 G5 2 01 0 E51 2 Œ 0 000 000 0 30 &98 œœ œ bœ œ œ œ œœ œœ œœ œœ œœ PM T AB 01 015 2222 33 0000 101 Apply Kirk’s riff-fretting advice to the solo by working out the most effective fingering pattern, particularly through the ascending three-note patterns in bars 62 and 63, and during the position shifts in the solo. Aim for a precise execution and be careful not to ‘over-reach’ the target pitches during the string bends. Vibrato is down to taste here – but be careful not to overdo it. Practise with a metronome slowly at first, so you can develop your ‘inner clock’. TOTAL GUITAR MARCH 2021



LEARN TO PLAY IOPGEGN-YMICPSOOPNGBOOK THE PASSENGER TG takes a tour of the strummed chords in this proto-punk ode to the nomadic rock ’n’ roll lifestyle I n 1974, punk forerunners The complete with alternating endings Stooges called it a day after on G and E. revolutionising the rock ’n’ roll Those chords are easy to play, but, landscape, cutting three killer as Gardiner related to TG in issue 230, albums and producing some of the “It becomes a kind of torture because most exhilarating and crazed live there’s no variation and there’s no shows the world had ever seen. middle eight. It just goes on doing that, Come 1977, explosive frontman and that alternating has to keep going... Iggy Pop was recording his sophomore I’m not sure it’s completely correct on solo album Lust For Life, aided and the record. I haven’t checked, but Iggy abetted by close friend David Bowie never looked for refinement anyway.” on production duties, and Read on as we take you through all 82 Edinburgh‑born guitarist Ricky you need to know to strum along. Gardiner, who would pen the And, as Ricky says, don’t worry too song’s cyclic four-chord progression, much about refinement. CHORDS XO X O OO 1 T his track essentially boils down to a two-bar 1 11 chord progression (Am-F-C-G), with the 23 234 23 final chord swapping between G and E chords on each repeat. With two chords per bar, Bm C E there are just these five simple chords to learn. If you struggle with barre chords, you could use 1 11 standard open position C and G chords instead. 2 F can be simplified by playing just the top four strings, so you don’t have to play a full barre 34 across all the strings. G THE PASSENGER 1 11 Guitars and backing: Simon Young Photo: Getty Words and Music by Iggy Pop and Ricky Gardiner 2 Copyright © 1977 BMG VM Music Ltd., Ricky Gardiner Music and EMI Music Publishing Ltd. 34 All Rights for BMG VM Music Ltd. and Ricky Gardiner Music Administered by BMG Rights Management (UK) Ltd. F All Rights for EMI Music Publishing Ltd. Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219 All Rights Reserved. Used by Permission of Hal Leonard Europe Ltd. TOTAL GUITAR MARCH 2021

BACKING TRACK (TRACK 50) SONGSHEET This song comes with a backing track (minus guitar) on your CD. Simply insert the disc in your player, press The Passenger play and jam along, guitaraoke style! Intro Bridge 3 Am F C G But it just belongs to you and me Am F C G Am F C E x3 Am F C E Am F C G Verse 1 Verse 3 Am F C E So let’s take a ride and see what’s mine Am F CG Am F C G I am the passenger Repeat bridge 1, Am F CE Get into the car Am F C E And I ride and I ride We’ll be the passenger chorus 1 & bridge 3 Am F CG I ride through the city’s backsides Am F CG Verse 5 We’ll ride through the Am F CE Am F C city tonight Am F E CG I see the stars come out of the sky We’ll see the city’s ripped backsides Oh, the passenger Am F CG Am F C G Yeah, the bright and hollow sky Am F CE Am F C E We’ll see the bright and hollow sky He rides and he rides You know it looks so good tonight Am see the F CE Am F CG We’ll stars that shine so bright He sees things from Am F Am F under glass Bridge 1 CG C E Stars made for us tonight He looks through his Am F C G Am F C E Am F window side C G Verse 2 Repeat bridge 3 & bridge 2 He sees the things that he knows are his Am F CE Am F C G Verse 4 He sees the bright and hollow sky I am the passenger Am Am F C E Am F CG FC G Oh, the passenger He sees the city sleep at night I stay under glass Am F C E Am F C E Am F CG I look through my window so bright How, how he rides He sees the stars are out tonight Am F CG Am F C G Am F CE Oh, the passenger And all of it is yours and mine I see the stars come out tonight Am F CG Am F CE Am F C E And he rides and he rides And all of it is yours and mine I see the bright and hollow sky Am F CG Am F C G Am F C E He looks through his window Over the city’s ripped back sky So let’s ride and ride and ride and ride Am F CE Am F CG What does he see? Repeat bridge 3 And everything looks good tonight Am F C G Chorus 2 He sees the sign and hollow sky Bridge 2 Am F CE Am F C E 83 He sees the stars come Singing la la, la la, la-la-la la Am F C E Am F C out tonight Am F C G G La la, la la, la-la-la la Chorus 1 He sees the city’s ripped backsides Am F C E Am F C E La la, la la, la-la-la la, la la TGARm34F2.IgCgyPop.Gfig01.musx He sees the winding ocean drive ASmingiFnFiglelaDlCaa, ltael:a1,El6a-:l5a6-la1l1a/01/2021 Am F CG ALamlaP, lFaalgae, Cla1-lao-fla1Gla And everything was Repeat bridge 2, theCnontributor: La la,Nlaoltae, sla:-la-la la, la la Am FC made for you and me E All of it was made for you and me chEonrugrsav1etdobyfaDdigeitalMusicArt.Com IGGY POP THE PASSENGER Intro (strumming) TRACK 50 3 j q q = 135 q q = q 1. 2. Am œœœœj œœœœ œœœœ F œœœœ œœœœ œœœœ C œœœ œœœ œœœ G œœœ œœœœœ œœœœœ C Jœœœ œœœ œœœ E # œœœœj œœœœ œœœœ & 44 .. ‰ ¿¿¿ ¿¿ ¿¿ .. ‰ ‰ TGR342.IggyPop.fig02.musx The Passenger .. ¿¿¿FPABTialegeDa1teo:f16:50129 ¿ ¿¿ .5 5 5 33 3 0 100Iggy010 Pop 12 11210/01/2210021 111 ¿ 555 33 3 555 0 22 111 44 4 555 1 222 .5 5 5 5 5 5 Co5 ntributor:2 Sim2on Yo2 ung 333 5 55 Notes: Engraved by DigitalMusicArt.Com Use a relaxed alternate strumming motion here, starting on an upstroke on the first Am chord. Keep a constant alternate-picking rhythm going, so that you ‘ghost’ a downstroke on the rests between the chords (rests are shown as ‘x’ symbols in the notation) without hitting the strings. IGGY POP THE PASSENGER Intro (arpeggios) TRACK 50 Am F CG Am F CE 3 3 3 & 44 .. jœ j œœ œœ œ œ œ .. œœ œœ œ œ œ œ œœ œœ œœ œ œ œœœœ œ œ œ œœœœ 0:08 œ 0 œ let ring throughout . 1 . ABT . 0 0 0 0 0 2. 0 2 0 00 2 3 202 0 030 3 3 20 0 3 3 1 30 These arpeggios are played along with the strummed part. They loosely follow the chords but there are some other notes, too, so you can’t just hold down the chord shapes here. Try to identify the notes that aren’t in the main chords and devise a suitable fingering to play them. MARCH 2021 TOTAL GUITAR

THE GAS STATION REAL WORLD REVIEWS OF THE BEST NEW GEAR Welcome to the GAS (Gear Acquisition Syndrome*) 92 Station! Every issue, TG scours the market for the hottest new gear and brings you transparent reviews 94 that you can trust. From the smallest of accessories that make your life easier, to big investments, such as 85 START ME UP brand new guitars, amps and effects pedals – if it’s 84 worth your attention, you’ll find it here! Five new products you need to check out HOW WE TEST NO SNAKE OIL BEST BUY AWARD 86 BOSS POCKET GT CURATION You won’t find us getting TG Best Buy Awards are The pocket-sized amp modeller that unlocks YouTube hung up on hokey mythology reserved for stand-out Our product selection is or nonsense marketing products that earn a five-star 90 LANEY CUB-SUPER12 driven by our love of gear. speak: we aim to bring you rating. This is the best, most We select the most exciting bullshit-free opinions on the exciting new gear that you A wolf in cub’s clothing products on the market every gear you’re interested in. month to bring you opinions need to check out 92JACKSON PRO SERIES you can trust. WE CAN’T BE BOUGHT SIGNATURE JEFF LOOMIS BEST FOR… KELLY ASH FACE-VALUE REVIEWS TG review scores are a true reflection of our experts’ Different guitarists have A new weapon from the Arch Enemy virtuoso We’re not gear snobs here at opinion on the product different needs. This badge Total Guitar. We judge it on they’ve been testing. You’ll highlights a particular strength 94 ELECTRO-HARMONIX whether it looks good, sounds never find a rating in our that a product has in a TG Test PITCH FORK + good and plays well – not by mag that has been bought the name on the headstock. and paid for. or Group Test, so you can An new take on the popular pitch-shifter choose what’s best for you *WHAT IS GAS? REAL WORLD REVIEWS BEST Gear Acquisition Syndrome We test every product under FOR… is the guitar-player’s the conditions that they were designed for. For example, never-ending urge to acquire if an amp is designed to be new gear, irrespective of played loud, rest assured that we’ll have tested it at whether they actually need it. rehearsal/gig volumes! Don’t pretend you don’t have it – we all do! SUPERB, ABESTBUY EXCELLENT ABOVEAVERAGEKIT SOMEISSUES POOR TOTAL GUITAR MARCH 2021

GAS STATION 2 34 1 85 5 START ME UP! Five awesome new products to get your gear engine revving this month… ERNIE BALL LIMITED- 2JACKSON AUDIO FUZZ FENDER JOE STRUMMER 4BOSS TU-02 BLACKFIRE PICKUPS EDITION SLASH The only fuzz pedal you’ll How many clip-on tuners IMMPORTAL AND ever need? This modular 3CAMPFIRE do you need? One for every 1SIGNATURE STRINGS fuzz with octave brings can Available in March, the new guitar of course! Not to be 5PROTEUS After decades as a loyal deliver recreations of the most Strummer Campfire is confused with the company’s Firewind firebrand Gus G Ernie Ball user, this signature desirable fuzz units on the planet inspired by the fondly- industry standard TU-2 pedal now has his own company, Slash set sees his favoured with Fuzz Classic/Modern (blue remembered communal tuner, the TU-02 joins Boss’s making the Blackfire 11-48 gauge strings Power Slinky Fuzz Face), Fuzz Page Mark II campfires the late Clash icon every expanding range of pickups you can find on his preference (Slash often tunes (ToneBenderMKII) andGoat held at Glastonbury Festival in headstock tuners. And it’s Jackson signature models down a semitone in Guns) Head (Big Muff) and Modern Fuzz the Strummerville area. This towards the cheaper end of the available to buy separately for receiving some additional Deluxe (adding additional clipping small-body electro-acoustic scale while still delivering what your own guitars. There’s two tweaks. The Slash sets feature options). How is this voodoo shares aesthetic DNA with the you need; a bright colour display high output humbucker models a Paradigm core wire with achieved? Swappable plug-in California Series introduced with chromatic, guitar, bass and available at launch; the Immortal plasma-enhanced nickel-plated circuit boards. It comes loaded in 2018 with the distinctive ukulele options. It can also tune passive with Alnico 5 magnets steel wrap wire for strength. with Jackson’s Modern Fuzz Strat headstock. It features flat up to two semitones lower. and a “powerful midrange boost”. Additional tuning stability is circuit with a Classic/Vintage laminated mahogany back and £14, boss.info and Proteus actives offering provided by heavier brass wire Fuzz board in the box. sides with a solid spruce back “well-balanced EQ and rich reinforcement at each of the ball £279 / additional boards £49 and sides. The matte black finish, harmonics that respond ends. each, https://jackson.audio nickel hardware and star inlays perfectly to picking attack £44.95 set of three in a nod to Strummer’s tastes. and dynamics.” collectable box, ernieball.com £499, fender.com €95, blackfirepickups.com MARCH 2021 TOTAL GUITAR

THE GAS STATION 86 TOTAL GUITAR MARCH 2021

1 REVIEW 3 1AMPS AND 2 EFFECTS The pocket GT is loaded with over 100 models from the Boss GT-1 sound engine. 2AUDIO INTERFACE There’s a USB socket, giving you an audio interface for recording your guitar into your DAW software. 3YOUTUBE INTEGRATION When used with the Boss Tone Studio, you can stream YouTube videos on your mobile device, control them from the Pocket GT and blend the audio with your guitar signal for jamming. BOSS POCKET GT £219 The pocket-sized amp modeller that unlocks YouTube I f smart-home tech is the trifecta of sound, USB and wireless Starting with the sounds, it 87 Internet of Things, then we is Bluetooth connectivity, allowing seems almost complacent to brush reckon we’re currently you to hook the Pocket GT up to over the fact that we have access AT A GLANCE witnessing the Internet your phone. to so many great-sounding tones of Strings unfold. From coming from a rechargable TYPE: Compact amp interfaces and mobile devices to As we’ve already established, battery-powered box the size of modeller amps that figure out chords for this is fast becoming the standard - you guessed it - an iPhone. you to computer-based plug-ins for many do-it-all products, so MODELS: 108 amps that all overlap with multiple what’s different here? But, here we are: they’re great, and effects duties and communicate with the with plenty of useable presets outside world in some way, we’ve Well, once you hook it up to straight out of the box you’ve got FEATURES: YouTube never had so many options when your mobile device, you’ll need enough clean/crunch/hi-gain and audio streaming to download the free Boss Tone amps, as well as a whole host of via Boss Tone Studio Studio app to unlock the jewel drive, modulation, pitch, filter app, Bluetooth, audio and time-based effects to play interface, centre- A LOT TO GET YOUR HEAD with. Boss has even included cancel function AROUND; IT DOES SO MUCH some digitised versions of old classics such as the Slow Gear CONTROLS: Value, 3x it comes to sounding like AC/DC, in the GT’s crown. The app acts as and Feedbacker pedals. But rotary controls, model playing along with songs and a gateway to a world of additional the big sell from Boss is select switches, recording ourselves at the tap features: additional, touchscreen the connectivity and centre cancel, play/ of a screen. tone editing, sound management integration with YouTube. pause, fast-forward, and preset downloads from Boss’ rewind With this in mind, the new tone library. First, we made the mistake of Pocket GT from Boss is a practice loading the app and connecting to SOCKETS: Input, tool designed for now. At its core, But the big one is its ability to the MIDI side (used for sending headphone/line out, it’s a compact effects processor/ connect to YouTube and other control messages between your aux in, USB amp modeller offering over 100 streaming services. The end result phone and the Pocket GT) of the models derived from the Boss is that you can hear your guitar and Bluetooth connection before POWER: Internal GT-1, but the Pocket GT is also song audio in your headphones, the audio. rechargeable battery, equipped with USB in order to as well as watching video and mains (via USB port) work as your audio interface controlling the Pocket GT: all Don’t do this, unless you want for recording your guitar to with minimal cabling and to find yourself in a tedious spiral CONTACT: Roland, a computer. Completing the without latency. of resetting/switching off www.roland.co.uk Bluetooth and rebooting your Photography: Olly Curtis device. Connect to the audio side, MARCH 2021 TOTAL GUITAR

THE GAS STATION Sweet Streams ALSO TRY... It doesn’t start and end POSITIVE GRID SPARK £218 with YouTube... Positive Grid has A s well as the integrated shifted over YouTube functionality, 100,000 of its the Pocket GT’s Bluetooth Spark amp in the connection basically routes any year or so since audio from your phone into it launched. your headphones so you can Smart Chords, a ton of sounds and hear it alongside your guitar similar connectivity to the GT means while you play. This means that this is the smartest practice that your native music library, amps on the planet. Spotify, Amazon or any other service can be played over the IK MULTIMEDIA £13.99 connection. The Pocket GT’s AMPLITUBE iOS transport buttons can also serve The latest version of 88 as play/pause [etc.] controls in IK’s amp modelling plugin is ridiculously these settings, as well as spec’d. You’ll need to YouTube. Boss has included add in an iRig interface a centre-cancel function that to connect, but it does knocks out anything panned give you the mobile modelling to the middle of the recording side of what the Pocket GT does. you’re playing, and while this means you’ll likely lose YAMAHA THR II £295 some other elements of instrumentation, it also means If wireless, home-friendly jamming that you’ll make a space where is what you’re after, the THR II is the solos and possibly some another winner. You can Bluetooth rhythm tracks used to live, your phone into its great-sounding turning your songs into partially speakers, and guitar-less backing tracks. the guitar tones are and it’s plain sailing. The phrase used to create looped sections, and SUMMARYfortunately you can still use thegreat. ‘RTFM’ springs to mind... can even act as switching points. unit while it’s charging (it’s This way, the Pocket GT will take a micro-USB socket). There’s a lot Once you’re hooked up properly, you from, say, a clean sound to to get your head around because though, the Pocket GT is a breeze. screaming lead automatically as it does so much. We’re not You can edit and store presets a lot you play through the track without complaining, though. If extended easier than using the GT’s you needing to take your hands home-time is in store for us all, on-board controls, manage and off the guitar. products like this are sure to download presets, and most make it more bearable. importantly add videos to the It’s a well thought out way of Stuart Williams Session section by pasting-in allowing you to practice, and the video URL. actually, could serve as FEATURES a performance tool for buskers or We loaded up a number of TG’s guitarists performing to backing SOUND QUALITY own YouTube lessons and tracks tracks. The internal battery time and got busy learning and is a solid four hours, which means VALUE FOR MONEY jamming, just as promised! What’s you’ll probably be charging this more, you can set up markers every other day or so, but BUILD QUALITY within the song that can in-turn be USABILITY OVERALL RATING TOTAL GUITAR MARCH 2021



THE GAS STATION 90 TOTAL GUITAR MARCH 2021

REVIEW LANEY CUB-SUPER12 £399 1 REVERB The digital spring A wolf in cub’s clothing reverb is excellent here, and without I n this strange kind of removed for any valve basks in it. Crank the gain and add undesirable hiss. 91 lockdown normality it’s easy replacement, which isn’t ideal, in the boost for articulate alt and Laney’s Black Country to forget what a valve amp but on that subject – three 12AX7s heavy rock with harmonic detail Custom Secret Path sounds like; no practice for the preamp and pair of EL84 and girth that belies this ‘small’ pedal is the rooms or stages but families power tubes offer a tried and amp. Leads ascend with the boost, inspiration. hunkered down at home often true formula in a portable, but when we rolled back on the means headphones, software and medium-weight package. guitars’ volumes, there’s real 2OUTPUTS digital modelling for us guitarists. sensitivity in the responses. Yes, The lack of Boy, does the arrival of this Cub The control panel is refreshingly this feels like a boutique rock amp headphone and feel welcome right now. simple for a plug-in and play and there’s much to enjoy without auxiliary-in is slightly aesthetic; white chicken knobs a pedal in sight. puzzling for an amp But first, a quick recap. Laney with a red one for the onboard that’s so suitable for are a British amp institution – the boost, 1-watt and full 15-watt Having said that, the boost, that the home as well as Black Country brand that won Class AB outputs make this a is thankfully more hot-rodded small gigs. a young Birmingham lad called potential home and away combo. Tube Screamer than metal mode, Anthony Iommi over from his The 1-watt setting shines in isn’t much use on-the-fly without 3OPTIONS a footswitch that we feel should If you want PRACTICE FRIENDLY AND have been included here, but to expand your MORE THAN CAPABLE FOR GIGS is available for around headroom horizons, £20 separately. there’s the external 50-watt Marshall half a century delivering this Cub’s palette of speaker jack and ago. Much has changed since then, tones at manageable volumes with Nevertheless this is a versatile Laney’s 1x12 and 2x12 but Iommi still writes righteous an impressive low end response UK-built amp that is home- speaker cabinets riffs and Laney still builds superb too. And that palette is a rich one. friendly for practice and recording (£159 and £199). amplifiers. The Cubs are its mini while also being more than valve combos and head line and We test with a Texas Special- capable for the kind of gigs AT A GLANCE this single-channel 1x12 model loaded Tele, Gibson SG Special and (remember those?) most of us is the largest combo of two. an LP Junior-style single cut with will ever play. A timely reminder TYPE: Valve preamp Monty’s superb vintage recreation of the addictive power of a valve and power amp with The Lionhearts may be Laney’s 54 P-90 to experience the wide amp and under £400? It’s digital reverb boutique line but this looks the gamut of what the Cub-Super12 super alright! part. Black and dark grey livery can offer. Rob Laing OUTPUT: 15W or 1W with a diamond pattern grill confidently striding the Rather than glassy, the cleans FEATURES VALVES: 3x 12AX7, minimalist and classic spheres. here move from slightly hot and 2x EL84 Closer inspection reveals that the compressed to crunchy when gain SOUND QUALITY whole chassis would need to be is dialled in. It’s wonderful blues CONTROLS: Gain, territory and the P-90 absolutely VALUE FOR MONEY treble, mid, bass, Photography: Olly Curtis volume, reverb level, BUILD QUALITY boost level SUMMARY USABILITY SOCKETS: External speaker jack, series OVERALL RATING effects loop, line out WEIGHT: 12kg DIMENSIONS: 399 (h) x 430 (w) x 233mm (d) RANGE OPTIONS: Non-reverb Cub-Super10 1x10 10-watt combo (£319) and the Cub-SuperTop 15-watt head (£349) CONTACT: Laney Amplification, www.laney.co.uk MARCH 2021 TOTAL GUITAR

THE GAS STATION 92 TOTAL GUITAR MARCH 2021

REVIEW JACKSON PRO SERIES £1429 1 HEADSTOCK AT A GLANCE SIGNATURE JEFF LOOMIS We love how both KELLY ASH ends of the fretboard BODY: Basswood with are decorated with The Arch Enemy lead virtuoso unveils sandblasted ash 1 aSandblastedAshTop his new weapon of mass destruction… – Jackson could easily NECK: Maple have cut corners here FINGERBOARD: Ebony N ot many people can say versatile than the standard and chose not to. FRETS: 24 they auditioned for Blackouts, using Alnico 5 magnets SCALE LENGTH: 25.5” Megadeth at the tender instead of hotter ceramics. As 2NECK FRETBOARD INLAYS: age of 16, but then again a result, the clean tones are less Luminlay dots on Pearloid Sharkfin Jeff Loomis is far from compressed and more open- the side of the neck PICKUP: 2x Seymour your average guitar player. sounding, while maintaining the emit a soft Duncan Jeff Loomis Deemed too young at the time, high-headroom and low noise fluorescent glow to Signature Blackouts he later went on to form Seattle- metal players tend to prefer. guide the player along BRIDGE: Floyd Rose based progressive metallers the fretboard, no 1500 Series Nevermore before eventually The double-locking Floyd Rose matter how dark it Double-Locking joining Swedish metal giants Arch tremolo feels sturdy and reliable, gets on stage. Tremolo Enemy in 2014. He switched from which is exactly what you’d need CONTROLS: Volume, Schecter to Jackson four years to even try to attempt those 3PICKUPS: 3-Way Toggle Pickup later, resulting in the arrival of two extreme dive-bombs or squeals The Loomis Switch signature Kelly models – this more and still have a fighting chance of signature Blackouts FINISHES: Black affordable Korean-produced finishing the song in tune. It holds have a mid-range exceptionally well, though on the bump for a more 93 earthy and organic attack compared to 3 the scooped and less versatile originals. MARCH 2021 TOTAL GUITAR 2 ONE OF THE BEST METAL SIGNATURES IN RECENT YEARS version costing roughly one other hand doesn’t feel too tight or quarter of its American-made stiff, providing a more natural and counterpart with very little in fluid whammy bar experience terms of difference. compared to other metal machines. The majority of the Before it’s even plugged in, the components, such as the bridge sandblasted Ash top is the kind of and pickups are exactly the finish that will stop people dead same as the USA model. in their tracks – looking more like an IKEA shelf from hell than the All in all, as one of the best metal often-mundane flat blacks signatures we’ve seen in recent synonymous with metal axes. years, it’s really hard to see where That already gives it some sense you can go wrong with this one. of depth from the off, but more If you’re on the hunt for the right importantly does it sound actually tool to inspire your own anthems like a war machine? Thanks to for rebellion, look no further. the high-quality build, the neck Amit Sharma through body for increased sustain and the ear-flaying active FEATURES Seymour Duncans, very much so. While the signature pickups SOUND QUALITY sounds mighty thunderous on high gain settings, they’re also VALUE FOR MONEY noticeably more dynamic and Photography: Olly Curtis BUILD QUALITY SUMMARY PLAYABILITY OVERALL RATING

THE GAS STATION 94 ELECTRO-HARMONIX PITCH FORK + £159 Worth forkin’ out over the original? T he Pitch Fork from pedal input and the new X-Mod The pitch bend and harmony AT A GLANCE Electro-Harmonix mode for giving you ring mod/ settings are near indistinguishable wowed us back in 2015 FM-style modulation effects. from the famous red pitch effect, TYPE: Polyphonic pitch with its polyphonic too. Out of the box you can use the shifter/harmoniser pedal pitch-shifting, dual- Our first question when we plug footswitch either in latching (for harmonies, Whammy-style bends into a pitch-shifter is about the fixed pitch shifts) or momentary CONTROLS: Dry, shift 1 & 2 and more. Now, EHX has added to handling. Here, the tracking is modes (ideal for instigating those levels, value selector, 8x the Pitch Fork line-up with the rock solid without any jumping/ Morello-style glides). Meanwhile, mode selector switches, Pitch Fork +. The big difference wavering pitch wobbles. While the X-Mod effects are going to be bypass/control switch here is that the Pitch Fork + offers there is a slight latency at higher Marmite: they add to the already- two independent, but identical tempos, we found that the Pitch versatile offering of the pedal, but SOCKETS: Input (mono pitch shifting engines, but the Fork + was more than capable of you may find that these aren’t the and stereo), expression price isn’t doubled – with the + detuning our guitar for us, go-to modes you find yourself in. pedal input, footswitch, only costing around £30-40 more. allowing us to play in lower main output, aux output This means that rather than EHX’s standard and drop-tunings It’s a great pedal that reveals preset dual-shift options on the with stability. a whole load of uses once your BYPASS: Buffered original, you can now set the two imagination kicks in and worth pitches to any of the available It’s great if you need a low- the comparatively small price tag. POWER: 9v PSU intervals across the +/-3-octave tuned or 12-string effected guitar, Stuart Williams range simultaneously. Other new or even if you want to add CONTACT: www.ehx.com features include an aux out basslines to your recordings FEATURES  (assignable between the engines/ without a bass. Plus, the dual SUMMARY dry signals), user and factory outputs have serious scope for SOUND QUALITY  presets, an external footswitch Royal Blood-style double duty, socket as well as the expression allowing you to shift and split VALUE FOR MONEY your signals into different chains when they leave the pedal. BUILD QUALITY  USABILITY  OVERALL RATING TOTAL GUITAR MARCH 2021



Subscribe to Total Guitar and get a G7th PERFORMANCE 3 CAPO FREE HURRY! GIFT OFFER ENDS 12/3/21 WORTH £50 96 TOTAL GUITAR MARCH 2021

SUBSCRIBE TO TG! Print Only For just £24.50 every 6 months Save 37% Print & Digital Bundle For just £27 every 6 months Save 58% 97 The G7th Performance 3 Capo offers unrivalled tuning stability thanks to the Unique Tension Control system and Adaptive Radius Technology (ART) string pad. With ART, one capo delivers complete confidence that there will be no string buzz or need for constant retuning. That’s why we say – G7th is The Future of Capos. ORDERING IS EASY. GO ONLINE AT www.magazinesdirect.com/tgr/86ar FOR CALLS (0330 3331113) QUOTE ‘86AR’ *TERMS AND CONDITIONS: Offer closes 12th March 2021. Offer open to new subscribers only. Direct Debit offer is available to UK subscribers only. *£24.50(Print) or £27 (Bundle) payable 6 monthly Direct Debit. This price is guaranteed for the first 12 months and we will notify you in advance of any price changes. Please allow up to six weeks for delivery of your first subscription issue (up to eight weeks overseas). The full subscription rate is for 12 months (13 issues) and includes postage and packaging. If the magazine ordered changes frequency per annum, we will honour the number of issues paid for, not the term of the subscription. Payment is non-refundable after the 14 day cancellation period unless exceptional circumstances apply.†Your gift will be delivered separately within 60 days after your first payment has cleared. Gifts only available to subscribers on the UK mainland. In the unlikely event that we run out of this gift, we promise to offer you an alternative gift of the same or greater value. For full terms and conditions, visit www.magazinesdirect.com/ terms. For enquiries please call: +44 (0) 330 333 1113. Lines are open Monday- Friday 9am- 5pm UK Time or e-mail: [email protected]. Calls to 0330 numbers will be charged at no more than a national landline call, and may be included in your phone provider’s call bundle. MARCH 2021 TOTAL GUITAR

IN THE SPOTLIGHT JOANNAWords:EllieRogers Photo:MaryamWilcher CONNOR 98 F irst seen by many shredding, sliding and TOTAL GUITAR MARCH 2021 tapping her way through an electrified version of Walking Blues in a viral video, Joanna Connor is a powerhouse. Her recently released 14th album, 4801 South Indiana Avenue, produced by and featuring Joe Bonamassa, features ten tracks that Connor describes as “obscure covers from various blues greats”. Fiery slide is the trademark of this Chicago- based virtuosa, and there’s plenty of it on the record. Rapid runs lead to languid sequences and there are some astonishing, spontaneous- sounding leaps that halt right at the squealing edges of the final frets. While recording, Joanna was invited where many guitarists can only dream of going: Bonamassa’s museum-like collection of vintage gear. She recalls feeling like a “kid in a candy store”, but employed more self-restraint than any wide-eyed kid on a sugar high ever could: “We kept it simple - a 1955 Fender Deluxe. A 2018 Les Paul Custom Mickey Baker with flat wound strings, and my 2019 Les Paul Modern.” Her live rig is similarly utilitarian. Armed with the same Les Paul Modern and a minimal pedal selection consisting of a Boss Chorus, Boss Blues Driver and “a delay of some sort”, she uses little else to bolster her raw sound. She opts for a transistor amp - an Orange Crush Pro 120 combo - noting “I like an amp with enough clean power because many venues we play there is a possibility I won’t even be mic’ed and my rhythm sections slam”. When it comes to slides, Joanna is unfussed by brands but tends to go for metal over glass. Again, this is for practical reasons: the metal ones don’t break. During recording she did however find a new favourite: “Joe has his own slide he makes... It was a perfect fit for me, perfect weight. So, I guess you could say that is my slide of choice now.” Although it wasn’t quite off the luthier’s bench in time for recording, Joanna recently collaborated with Delaney Guitars on an interesting signature model. Her custom ‘LaGrange’ has a Les Paul shape, but delivers Strat-like tones thanks to its Stetsbar Trem System and trio of Denali pickups. And it comes in what Joanna laughingly describes as a “girlie colour… it’s a pretty red”.

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