kiss - signature licks

8/3/2019 Kiss - Signature Licks

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A STEP-BT-STEP BRFAKDOV#N

OF THE BAND'S GUITAR

Si.-LEa AND TECHNIQUES

c.... PI.... ~ MlCH..,_·.L PUTl.AHD/.......

HAL- LEONARD"__ COR PC>RA. • ION

7777 W. BLUEMOUND RD. P.O. BOX 13819 MILWAUKEE, WI 53213

Copyright @ 1994 by HAL LEONARD CORPORATIONInternational Copyright Secured All Rights Reserved

For al1works contained herein:

Unauthorized copying, arranging, adapting" recording or public pertormance is an infringement of copyright.Infringers are Jiable under the law..

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PAGE

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In ...2.I... ..

6 DEUCE

..2 STRU ER

20 IT.

27 ROCKANDROLLALLNITE

33 DETROITROCKCITY

43 SHOUT ITOUTLOUD

48 I STOLEYOURLOVE

S3 SHOCK NlE

66 LICKTUP

72 HEAV.NSONFI

3-6

7-10

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17-20

21-23

24-26

27-29

30-32

33-34-

3S~36

37-38

59 NlADE FOR LOVIN' YOU

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ARE FALLING

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In the entire history of rock and roll, few bands have made as significant

an impact on popular music as Kiss. In 1974, these four New York C ity musi-

cians took th e music world by storm with a debut album that featured aggres-sive, yet catchy songs composed of roaring electric guItars supported by a thun-

derous rhythm section. In an admittedly bland era. Kiss' music offered a more

e ne rg etic re le as e fo r young rock and ro ll fa ns w hile prese ntin g a n e la bo ra te th e-

atrical image Involving makeup, costumes and pyrotechnics that made the band

, hard to miss. As a result. early Kiss albums achieved platinum status almost

immediate ly a fte r the y w ere re le ase d an d by th e b an d's fo urth album, th e Kiss

phenomenon was well on it's way to encircling the globel Kiss' unique music and

image paved the way for future rock musicians. Now. loud guitars and wild stage

antics are qualities almost expected of hard rock bands. As m any of today's sue-

cessful rock musicians cite Kiss as a predominant early influence, they are oftenreferred to as one of the founding forefathers of heavy metal I

While many have examined the history of Kiss as a band and discussed

the various publicity that has surrounded it's members for over two decades, few

have explored the most important factor that has enabled Kiss to continue for so

long: th e m usic. T his book focuses on som e of the m ore popular tracks from the

Kiss catalog and explores each of the guitarists' contributions towards creating

the incredibly successful Kiss sound,

The Best Of Kiss-Signature Licks book. along with th e accompanying

recording essentially serves as a "hands-on" learning tool with which to study

some of Kiss' best music. The book features transcription excerpts from twelve

K iss songs which appear in chronological order of release, spanning from the

debut self-titled album to their most recent release~ Revenge. (Many of the

songs covered in the book may be found on the more recent compilation C.D.,

Smashes, Thrashes, & Hits.) T he tra nscrip tion e xcerpts showca se some of the

more significant and memorable riffs and solos from each of these songs. All of

th e excerpts also appear in audio form on the book's accompanying C.D./cas-

sette recording. This not only lets you hear the guitar in context, but allows you

to mo re e ffe ctiv ely p ra ctic e each guitar part in an ensemble setting.

For optimum s tu dy , th e le ad or main guitar part is presented in the right

ch an nel w hile th e rh ythm sectio n d om ina tes the left channel. With this set-up,

you may choose to study the examples covered in the book by:

1. playing along with the recording "as is " in order to hear th e riff in

context.

2. panning the stereo's balance to the right in order to more c lea rly

he ar th e fea tu re d gu ita r p art,

3. panning th e stereo's balance to the left to allow for rehearsal with

just the rh ythm s ec tio n .

.~..~ ~ w .



Editorial Note:

By taking full advantage of the described study methods, you should easi-

ly be able to learn the songs and prepare them for performance.

The Best of Kiss-Signature Licks book and recording are primarilydesigned to help one learn and prepare selected Kiss songs for a live perfor-

mance. For a more detailed analysis of the theory and techniques involved in

these songs, check out The Best Of Kiss-Guitar School. a lso ava ilab le from Hal

Leonard.



DEU(KisS '74)Words and Music by Gene Simmons

Example 1~Introduction

With cranked ..up, distorted guitars. a pounding rhythm section and the

menacing (yet catchy) lead vocals of bassist Gene Simmons, "Deuce" not only

served as a dramatic first impression for the band Kiss, but foreshadowed what

was to come on the rest of their debut album as well.

In "Deuce." guitarists Paul Stanley and Ace Frehley use double-stops to

g iv e th e in tro ductio n it's ra un ch y sound. The double-stop is a two-note partial

chord form frequently employed by both rhythm and lead guitarists to add "gritl!to a riff or lick. Most of the double ..stops in the example can be played simply by

barring your first (index) finger across the strings. (When a higher fre t n umberappears on the lower string in the tablature, just add your third (ring) finger.)

Occasionally, Paul and Ace employ techniques known as hammer -onsand pull-offs in order to create more legato (smoother) sounding rhythms within

the riffs. Hammer-ons and pull-ofts are indicated in the staff and tablature by

curved lines. above or below the notes, called slurs.

A hammer-on is a technique where the left-hand's finger(s) strikes the

string, sounding one or more notes without the help of the picking hand . F or theslur at the beg in nin g o f measure 2 , p ick the double-stop at the 10th fret (whichis fretted by your index finger) and bring your 3rd finger down on the note A

(12th fret) quickly and with force, hence the name "hammer-on." When execut-

ing this technique, a bit more speed and strength is required from the 'eft-hand

than i f you were normally placing your 3rd finger down and picking the note.

The harder you hammer your finger down, the louder the note will be!

The pull-off is a technique where only the first note of the slur receives

an attack from the pick, while the following lower note(s) is sounded by the left-

hand alone. A slight pull. or "plucking" m otion, to the side of the string as the

finger pulls off will help to provide volume and sustain for the next note. To per-

form the pull-off on the last beat of measure 2, pick only the first double-stop

(notes E and G on the 14th and 12th frets respectively) and allow the left..

hand's pulling action sound the 0 note (4th string, 12th fret) afterwards. You

should soon discover that when performing a pull. .off, you must have the follow-

ing note fretted ahead of time (unless you are pulling-off to an open string). For

example. before you can play the pull-off in this example, you must first barre

your index finger across the 12th fret. This way, you're giving yourself some-

where to pull-off to.

At the end of Example 1 on the recording, the first 4 measures of guitarare repeated at a slower tempo. This will enable newcomers to the hammer-on

and pull-off to study these new techniques more closely and in context to the•music.

6



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Copyright C 1974 Hort Productions America, Inc.• Gladwyne Music Publ~Corp~and Cafe AmericanaA ll r igh ts fo r cafe Amer ic an a in the U .S . Adm in is te re d b y t nt er so ng -U . S .A . , I nc .

AJ I rights ou tBide 1h e U .S . Co nt ro ll ed b y Po lyG ram In temaUonaJ Publi sh ing . Inc.International Copyright Secured All RIgf11SReserved

. .

2 - 1st Verse and Chorus

Upon arriving at measure 14 in Example 2, you may notice the transcrip-.

tion indicates that tw o guitars a re n ee ded to p erfo rm the next two measures ofthe cho rus riff. However, a quick look at the tablature will reveal that one guitar

could easily perform both parts/ (The lead guitar in the accompanying C.D./cas-

.........ette recording performs the riff this way.) After playing through these two meas-

............. " .. ',

7



ures just once. you should discover that when both parts are played on one gui-tar, the notes actually come together to form simple power chordsl Often times,when two guitars share a staff system in a transcription (also referred to as divisi

notation), it is possible that both their parts may be performed by a single guitar.

This is an option e sp ec ia lly w orth e xp lo rln q if y ou a re the sale gu itar is t in a ban d.

Ex. 2 [Track 4]

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work • in' hard.L this year. Andp, IS

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Example 3 - 2nd Verse

In the second verse of "Deuce," lead guitarist Ace Frehley overdubs a

lead fill which, in measures 3-4 and 7-8. doubles a funky. 2-measure 16th-note

rhythm played on Peter Criss' snare drum. When performing his lea d, A ce a ccu -

rately duplicates the drum's very s ta cc ato , o r short, rhythms by employing a

technique known as left-hand muting. Left-hand muting involves loosening your

hand's grip on a note or chord just enough so th at th e s trin g(s ) s to ps v ib ra tin g.

To perform Ief t . . .hand muting on the notes in measures 3-4 and 7-8, release the

left-hand's finger pressure off the frets immediately a fte r e ac h p ic k a tta ck . Be

careful not to let go of the string completely after each mute, as you might acci-dentally sound the open Bstring.

At the end of Example 3 o n th e re cordin g, th e 2- mea su re lick discussedabove is presented again at a slower tempo for close study.

Ex. 3 (Track 5]2nd Verse

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Example 4 - Guitar Solo

Throughout m uch of the so lo in "D euc e." A ce F re hle y creates some w ail-

in g le ad lic ks by using w h o le -s te p b e nd s. (In the ta bla tu re . whole -s te p bends a reindicated by the term full above an arrow.) I f any of your whole-step bends sound

a little "sour." you may need to work on achieving the proper intonation. or pitch.whe n b en din g th e strin gs. On t he gu ita r . a w h ole s te p is e qu iv ale nt to tw o fr ets .Therefore. when you bend a note, its final destination. or "target pitch," must

s ou nd id en tic al to it·s fr e tt ed counterpa r t located two frets higher. If you havet rouble hearing th e target pitches, play them as regular fretted notes first. Inother words, play the note two frets higher than the note you want to bend. Then.try performing the bend again with the correct pitches still in mind.

i f you can hear the target pitch. but you're just having trouble physically

controlling the bend, you m ay want to reinforce the bend w ith your 1st and 2nd fln-

gers (a ll of th e b en ds in Example 4 ca n be played w ith the 3rd finger ). These addi -

tional f ingers will provide you with more strength with which to push the strings.

At the end o f Example 4. measures 1 3-1 6 are played at slow speed.

These licks provide the perfect opportunity for you to pract ice the hammer-onand pu ll- o ff techniques d is cu ssed earlie r in Example 1. as well as the whole-stepbends covered in this lesson. Also, check out the 1 1/2 step bends in measure s

13 and 14. Use the same prac tice techn iques on th ese b end s as you would on

w hole -step bends (1 1/2 ste ps e qua ls 3 fre ts ).

' " . . ' .' .: .. : .. '.'.. .. '

: ' _ '. ', : . : . : " ' : .' . ' ,' , . .



Ex. 4 [Track 6]

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f f u n fun

hold bend

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TR TTE(Kiss '74)

Words and Music by Paul Stanley and Gene Simmons

Example 1- Introduction and 1st Versa

Take your time when working with the wide stretches in "Strutter." At

some point you'll probably feel your left-hand and forearm become warm or even

stiffen up. If this happens. stop and relaxl While this is part of the process of

developing muscles and tendons. continually pushing yourself past this point

may result in tendinitisl(Warning signs: sharp pains in the hand and/or forearm.)

Ace Frehley's pumping, melodic guitar part in the intro ana verse to

"Strutter" is actually a blues-based approach to rhythm playing which is quite

commonly utilized in rock g uita r s tyle s. A lth ou gh th e b as ic guitar rhythms them ..

selves can be traced back as far as the early delta blues days, guitarist Chuck

Berry usually receives credit for bringing this style of playing into the mainstreamof popular m usic w ith his famous h it, " Johnny B. Goode. "

Performing this "rock 'n' roll boogie" style of playing usually involves tak-

ing a power chord and moving the fifth degree of the chord up to the sixthdegree on beats 2 and 4 of each measure. In "Strutter," however, Ace Frehley

creates his own variations by employing the sixth degree more frequently, In

measure 1 of Example 1, Ace (gtr. 1) begins with a 85 power chord and thenstretches his pinky finger up to the note G~ (6th fret) on the downbeats of beats

2 and 3. This four fret stretch between th e index finger and pinky may present a

challenge for any beginning guitarist, so if it feels too difficult when you first tack-

le it. move up the neck and practice th ere fo r a while. The shorter distance

between the higher frets will make the stretch a little easier, allowing your fingers

to adjust more gradually.

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Al l rights fo r Cafe Amer icana i n t he UtS. AlJminister&d by In tersong-U.S .A . • Inc.All rights outside the u.s. Controlled by PolyGram International Publlshlngt Inc.

International Copyright Secured All Rights Reserved

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But when she walks, __ she'll p ass _ you by. __ -- _

Jet ring - --t

14



Example 2•Chorus

When playing through the chorus. use constant downpick attacks to re-

create the rock steady guitar rhythms heard on the recording. Downpicking is

preferred because it generally sounds more uniform than alternate-strumming.

To better understand the difference between the two methods, first play Example

2 with downpicks only and then again with alternate-strumming. You'l l probably

notice that the alternately-strummed version sounds weak when compared to

the pumping. all downstrokes method.

Ex. 2 [Track 8]

Chorus

Bm

GIr.2 J ~ » jBm

J - j » j1 - . . . . L ~II- ~l- .. -l- t= ~~:

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Ev - 'ry -bod - y says she's look - in' good.c, And the la - dy knows it's un - der - stood.L

Otr. t

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Rhy. Fig. 2

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Example3-Guitar Solo

,

.' ,

The guitar solo in "Strutter" hosts a smorgasbord of whole-step bends

(see Ex. 4 for "Deuce") for you to practicel However, in measures 5-8, we

encounter some whole-step prebends. Prebend notes are different from "regular"

bends in that they require you to bend the note a full step before it is picke d. Y ou

must rely solely on your fingers' experience to silently bend the note exactly one

whole step.

You can p ractice you r p rebends by first p ickin g a note and bending it up a

whole step. Then, try a nd p re be nd the same note u sin g th e preceding bend's

pitch as your "target" note. (Make any pitch corrections while still holding thenote.) This process teaches your left-hand how much pressure is needed in

o rd er to quietly bend the string up one whole step.

15



Ex. 3 [Track 9]

Guitar SoloGbI~1" 2:w/Rby IFil. 1

AS1

A ~_ , . . •

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JW I"-~ ~ . ..t

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1 j j J J J J 1 j j. . . I I J I I I J I I I

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5

full-tul~ - - - - - - - - - - - - - - - - - - - - - - - ..., fu ll'" .. - .. - IIIr ... - - - - - - - - - - .. - - - - - - .. - • - ... - ., ro ll - - - - - - - - - - - - - ...........- .... - - - - - - - · full - - - - - - - - - - - - - - -

fun --- -- - - - I I ' . . , full fu n full- . . . . . . . . . . . . . . . . . . . . . . . full

•played slightly "behind" the beat

B !i AS B .5 D5 E5 G C DAB8~ -----------------------~-------------------------~-~-~---------------------------------------------------- ••• ----------------,

10 . . . . .

full f u n full fulJ fu ll fu ll full

11



A fter the example, the firs t tw o measu res of th e sora a re re pe ate d at slowspeed,

Example 4 ..Outro solo

In measu res 1-2 o f Example 4, Ace re pe ate dly emp lo ys a d ou ble -sto p

with an oblique bend to create a catchy lead melody, (Oblique is a term used in

music to describe when one voice moves apart from another stationary voice.)This lic k is actually a variation on yet another popular riff made famous by gui-

tarist Chuck Berry in the intra to his classic hit "Johnny B. Goode."

To play this lick correctly, barre your index finger across the 1st and 2nd

strings behind the 7th fret and push the 3rd string with your ring finger. If you findthat the string tends to slip under your finger or you have trouble achieving the

proper pitch, try adding the middle fin ge r fo r s up po rt. This shou ld give you the

extra "muscle" needed to perform the bend comfortably.

Ex. 4 [Track 10]

Outro Solo

GIn. 1 .t2: w/Rhy. AI- 1

A5 BS1 J r

AS BS

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FL. . .I - - - -

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Ie . rin g - , let r in g . .. ., le t rin g - .. . . - - - t let ring --I kt ring --i let r in g . .. .. .t

full fun full full full full

I . , . , . , , . , I .. , t - . , f .,I • I • /

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18



OS ES7A

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-- . ,.. ; .. . " j • • •r . .

·p Jayed s l igh tl y ~hind" t he b e at

n s•

10

full

./\1 1

*played slightly "ahead" of the beat

D!i B

GlIa.1"2 j>

12 •

1· 9



- '74)

Words and Music by Ace Frehley

When working on the opening riff for "Parasite," start out slowly. as this

will help you to work on the precise timing needed to coordinate the left-hand's

mutes with the right·hand's pick attacks. The 2 measure riff is repeated at slowspeed after the example so that you can more clearly hear the exact rhythms

involved.

Example 1 -Introduction

In order to perform the intra riff for "Parasite" comfortably and up tospeed, you'll need to perform left-hand muting techniques in combination with

some p re d ete rm in e d r ig h t- ha n d p ic kin g .

Check out the suggested picking pattern below the staff in Example 1 .

This is the best m ethod with which to play the riff at fast speed, as the pattern

takes advantage of the right-hand's strumming motion. When you use this pat-

tern, you should notice that your right-hand is continually moving up and down,

even durin g the rests. This e co nom iz es th e rig ht- ha nd 's mov emen ts better thanif strict alternate-picking or constant down ...picking was used.

Use left-hand muting to silence the notes befo re each 16th note rest, aswell as when playing the muted string attacks (represented by XIS) at the end of

the fir st measu re .

Ex. 1 [Track 11]IntroModerate Rock J = 126

1Otr.l N.C.

"1 C ; ~ J v. . . .I

41

"

-r .,t

WI

&I

_eJ1

,

picking: ,., V ,., V v v ,.., V .., v

- ... - '" ----t~ ~~--~ - - - : , . . . _V r- I V filii

-... --.. -... .-...oI--,..

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q - " : i4I-r- I V ,., V

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'II

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. .A • .... A

ft '" v ... A A .A

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Copyright 0 1974 t 19n Hor i Productions America, lnc. a nd C afe Americana

AJ I rights fo r C8fa Ameticana In 1118U.S. Administered by In ta rsong -U .S4A ., I nc.All rights outside th e U.S. Controlled by polyGram Intemationa~ Publishingl Inc.

I n te rna t iona l Copyr igh t Secured All Rights ReseNed



(band enters)5Ii

EL[J - -- ... . Ii

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~.'r#-- - ~ - - - . - ~ - - • . . . . ~ .. .

•

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",ft ft "V '"'

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A • A,. .. . A .A . . A A . . A ft

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1 .

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L ':~ -1~ ~ - . . ,- .' • ~ ~ fII fII--- ~. . . . . . fiI . ~ - • &I . . . . ~ J " " ' l 1 l I,~

J I t f f .. . ~ til

• •r-.. -" - -. . . . . . ~ -" -"' - -.. -. -. -. -" -- -. -- ~. . .~-.. 1-- q - " i ~~. . . . . , . . . . . . _ C ~ I~~ 'r# , . . . . _ \ J

III - - ~,. . . .. . -

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"~ I . . ~ '\.. ~~

Example 2- 1st Verse and Chorus

Perhaps the most difficult part in performing the chord changes in theverse riff involves moving the barre chords quickly up and down the neck in wide

intervals while keeping the rhythm s sm ooth and steady. If you experience aslight hesitation when switching from chord to chord or your rhythms just feel

choppy in general. try planning your chord changes ahead of time. In other

w ords, once you strum a chord, start scouting out th e lo ca tio n of the next chordbefore you have to change position. (Practice this slowly at first. When played up

to speed, this process takes place in less than a secondl) By scouting ahead in

this manner, you're giving you r left- hand a "target fret" to shoot for when itcomes time to make that speedy chord change.

Ex. 2 [Track 12]

Verse1 1 . 2.

GS OS A t,1

r ,, .~

- ~.". . . . .

"",~ ~ . . . . .

. . . . . -r- ..I • . . , . , . . . . .

. ." . . , n r • I I~ ,; I

I 1 1 I I I.JShe'll al . . ways be there try'ng to grab a - hold ..

thought s h e knew me, but she did . . n't know

I was set a n d want --

<,Otr.1It

. . . . . . . . . .

:, -F tC 2.... . . . . . '

fII:"

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~ = ~ :' j ' . .. .. A~• It .. .. . . . . . . .. . ,. v ~ • v V tI' I . .. ~ . . . . . . . . . ~

21



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22



9

Chorus

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Example 3 • Guitar Solo

23

While a lot of the licks found in Example 3 fo r "Paras ite " in vo lve mos tly

b en ds a nd pull-ofts. in measure 14we encounter the brief usage of a tap-on

technique. Tapping involves using your right-hand alone to fret, or hammer-on. a

note on the fretboard In order to create wide interval legato sounding licks. In the

first beat of measure 14, rather than pick the note B~on the 15t string. 6th fret,

Ace taps the note on the 3rd string. 13th fret, in order to create a more "hammer-on" type feel.

When pe rfo rm ing this lic k, s im ply re ach u p w ith yo ur rig ht- ha nd (while still

holding the bent note C. 5th fret. with your left-hand) and hammer-on the note B~

on the 13th fret. Try to achieve a pull-off effect with the right..hand as weU,because you nee d to sound the note D (previously bent C at 5th fret) immediate-

ly afterw ards. M easures 1 3-1 5 are rep eate d slo wly after the a udio exam ple so

that you can more clearly hear the tapped note.



Ex~3 [Track 13]

Guitar Solo

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ITE(Dressed To Kill- '75)Words and Music by Paul Stanley and Gene Simmons

When playing th e rhythm fig ure in measure s 6 and 8, hold the E barrechord played in th e previous measure and use your p inky to add the appropria te

notes.

Example 1 • Introduction

T he introd uction to the c la ss ic K iss tu ne "Rock And Roll All Nite" is actuaJlycomposed of two d iffe rent guita r parts which mesh together to form a unique sound-in g riff that would be im possib le to p lay on one gu itar. O n the record ing accom pany-

in g th is b oo k. you can pan your stereo's balance from side to side to better heare ac h o f th ese parts separately. (Gtr. 1is in the left speaker , g tr. 2 in t he r igh t. )

When performing the first guitar part, be sure to keep your index fingerbarred across the 1Othfret on the Gadd9 and 0 chords in measures 3-4. Thisshould help you to perform the chord changes smoothly at a fast tempo. If you

also ke ep y ou r middle finger on the 1 1th fret during these measures, a ll you'llneed to do to perform this riff is move your ring and pinky fingers back and forthacross th e strings.

As with th e firs t g uita r, p erfo rm in g the second guitar's part will require thatyo u main ta in s ome sort of barre throughout much of the e xample. In the third

measure , k eep your index f inger barred across the 7th fret while your middle andring fin ge rs h ammer- on the notes for the G chord. If this sort of technique is new

to you. make sure that both fingers hammer ..on their notes at the same timelMaintain the barre at the 7th fret until the slide in the next measure.

Ex. 1 [Track 14]Intro

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All rights fo r C afe Ame ric an a in the U~S.Administered by Intersong-U.S~A~.nc,All rights outside the U.S. Controlled by PolyGram International Publishing, Inc.

International Copyright S ecured All R ights Reserved



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Example 2• Intro, Verse and Bridge

The recording of Exam ple 2 and 3 includes the second guitar part on ly.This allows you to practice either guitar part with the rhythm section alone bypanning your stereo's balance to the left speaker.

If you've mastered the intra to "Rock And Roll All Nite" (Examp!e 1). you

should have no problems here. as this example contains many of the same riffs.

It w ill. h owev er. te st y ou r ability to perform the riffs sm ooth ly a t a fast tem pol Ifyou have trouble keeping up with the recording, practice the song by yourself.Bring the piece up to speed only when you feel comfortable performing the riffs

at a slower tempo. A major advantage to practicing new material slowly at first isthat you are more likely to hear and correct any mistakes in your playing.

Ex. 2 [Track 15]

Intro Otr. 2:w/Rhy. Fi~ 1

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Example 3•Chorus

When perfo rm in g th e c ho ru s section of "Rock And Roll All Nite," u se co n-

stant downstrokes to reproduce the guitars' heavy, aggressive attitude. Alternate

strumming not only sounds weaker when compared to the meaty downstro ke

attack, but would make many of the guitar parts in "Rock And Roll All Nite" more

difficult to play.

Ex. 3 (Track 16]

Chorus

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DETR ITR(Destroyer '76)Words and Music by Paul Stanley and Bob Ezrln

Example 1 • Introduction

"Detroit Rock City" is one o t the few Kiss songs that features an extrava-

gant arrangement of multiple guitar parts. By orchestrating as many as five differ-

ent guitars at one time. Kiss create a huge -Wal l of guitar" soun d w hich se ts a

powerfu l mood for th e song. However, even Kiss themse lves don't have enough

guitarists to recreate the exact studio recording livel Therefore, for performance's

sake I have omitted the least audible guitar parts and arranged the transcription

for "Detroit Rock City" to accommodate a two-guitarist band.

When playing either of th e guita r parts in the introduction, be sure to per-

form the 8th-note rhythms in the example with a triplet feel, as indicated in the

transcription by ..(J1 = J » • after the tempo ma rk in g. (These types of rhythms may

also be referred to as shuffle style or swing 8ths.) A triplet is the rhythm of three

notes played in the space of one beat. To get a feel for this rhythm, tap a slow 4

count with your foot and use your hand to tap three even attacks for every beat

your foot counts. When playing 8th notes with a tr ip le t fee l. the first 8th note of a

beat is equa l to the firs t tw o notes of a trip le t, w hile th e s eco nd 8 th n ote is actual-

ly the th ird note of the triplet. The best way to learn this feel is to study and play

along with the recording for Example 1.

If you a re the sole guita ris t in you r band or just w ant to jam through the

song by yourself, begin the introduction with guitar 1. When you get to measure

9, switch to the second guitar part. This change in harmony will help to liven up a

single guitar performance.

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Example 2• 1slVerse and Chorus

35

In the verse sections of "Detroit Rock City," Ace and Paul hold on to sim-

ple barre chords allowing the rhythm section and vocals to carry the tune.

However, at the end of measure 16, to lead the song into the powerful chorus

section.

In the recording, beginning with the pickup into the chorus. guitar 1 is

heard in the right speaker. while guitar2is on the left. This arrangement is tobenefit th os e o f you in a single guitar situation, as the first guitar part is probably

the best one to use in reproducing the original feel heard on the album.

"



Ex. 2 [Track 18]

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Example 3- Interlude

Perhap s th e most c ha lle ng in g part to playing the interlude to "DetroitRock City" lies in the second half of measure 8. Here, all the guitars need to play

their trip lets perfectly in synch in order for the lick to sound tight. If you experi-

ence any tro ub le when perfo rm in g these lick s u p to speed. try prac tic ing them

using alternate picking. A lternate picking sim ply m eans to sw itch betw een dow n

and u p pic k attacks (d ow n, u p, down, up, etc.). This is often employed by gui-

tarists when clean, precise rhythm s are required, such as in m easure 8 of this

example. If alternate picking is a relatively new technique to you, start out slow ly.beginning with a down pick on the first triplet. Before you try playing along with

the recordlnq, practice this one measure over and over until your right hand feelscomfortable with the l ick.



Ex.3 ffrack 19]

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Proceed through the res t of E xamp le 4. sim ila rly w orkin g o ut fingeringswhich allow you to most comfortably play the licks. Afterwards. you may need to

run through the solo slowly a few times by yourself in order to get used to the

new and some times s trange fin ge rin g pos itio ns . This "thinking ahead" approachto guitar playing is well worth exploring as it may come in handy in working out

other guitar solos or even in composing your own fretboard extravaganzasl


In the solo fo r "Detroit Rock City." Ace Frehley and Paul Stanley give their

licks a smooth. glassy feel by employing lots of slides in between notes. While

all these slides create a more interesting guitar solo, they pose a unique chal-

lenge for the beginning guitarist. If when playing these licks you feel a s lig ht d es -peration as you try to keep up with the recording, you may need to stop and

w ork out some p red e te rm i ned fing e ring s fo r the licks. For example, check outmeasures 4..7 of Example 4. After playing the first four notes in measures 4 and

5, you'li probably find that your middle finger will be all set to perform the first

slide in measure 6. right? Wrongllf you proceed this way, you'll leave yourselfno choice but to use the weaker pinky finger on almost half of the notes in this

lick. However, had you started this slide with your index finger, you would have

set yourself up to more com fo rta bly p la y the rest of the l ick.

In measure 10. you may be tempted to begin the slide from the note C~

(6 th f re t) to the note B (4th fret) with yo ur in de x fin ger. H ow eve r, yo u'll soon find

that you've forced your index finger into making a quick and most likely clumsyjump down to the note A (2nd fret). Begin the slide with your ring finger instead,

as th is w ill set up your index finger to effortlessly play the note A. resulting in a

much smoother sounding lickl

Ex. 4 [Track 20]Guitar Solo

1 -Gtr 3N.C.

• 3

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40



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41



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42



UTIT UTL(Destroyer - '76)

Words and Music by Paul Stanley, Gene Simmons and Bob Ezrin

Example 1• Introduction and 1st Verse

While the notes and rhythms in the introduction to "Shout It Out Loud"

should be fairly easy to follow. p erfo rm in g th e b en t n ote s in measures 2and 6 inperfect harmony with another guitarist may prove a little more challenging. Not

only do you have to concentrate on the proper distance to bend your own string.

but you have to do so w hile lis tening to the other guitarist bend his note a differ-

en t in te rva lli c d is tance . (You need to consciously or unconsciously listen to the

other player like this in order to best "lock into" each others' rhythms. Doing so

cre ate s a nice, tig ht harmony guitar linel) In o the r words , wh ile you 'r e trying to

bend. say. the note D# (11th fret) up a half step. your ear is also picking up onth e o th er p la ye r's whole step bend. making the intonation (proper pitch) of your

note a little harder to hear then usual.

The best way to prepare for performing Example 1 with another player is

to practice perform ing the 1 /2 and whole step bends ahead of tim e (see Ex. 4 for"Deuce"). This way. you can rely more on your fingers' experience to perform the

bends correctly than i f you just used your ears alone.

Ex. 1 [Track21]

IntroModerate Rock ~ = 135

1 Gtr.l m f

Ott. 2

divis;1 1 2

./1 / 2

J1 / 2 (Gtr. 1 w/aligbt fdblL)

B M I - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ - . - - - - - - - - - - - . - ~ - - - - - - - - - - ~ - - - - - - - - - - - . - - - - - - - - - - - - - - - - - - - - - - - - - - - ~

1 1 2

./1/2

J1/2

Copyright C 1976 by Hon P ro duc ti on s Ame ri ca . I nc . • cafe Americana and AU By MyseH Music

A ll rights fo r cafe Americana in the UtS. Admin is te red by I nt er so ng -UtStA. I nc .All rights outside the UtSt Controlled by PolyGram Internat ional Publishing. Inc.

J n temationaJ Copyr igh t Secured AJIR igh ts Reserved

43



8

Ist Verse

B OSA i

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1 1 - 1 1 "-~- - . . . . . I J

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1

~1 J . 1 -, -When th e night's b e - gUD_ a n d you want some fun, do you think -. ~

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A B

. . .-

_ you're gon - na find You've got to treat you r - self like

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it? Think __ you're gOD .. na find o t t ?1._

-

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Dum-ber one. Do you n e e d to be re • mind - ed? Need to be re - mind - ed?

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.. . .. .. . . . l' fill

Example 2- Bridge and Chorus

Many of guitar 1'8chords in Example 2 closeJy resemble those found ingu itar 2 's part in the intro to MRock And Ro ll A ll N ig ht. " These riffs are performed

in the same manner. For re view , to p la y th e first two chords of the chorus (at

measure 10), simply barre your index finger across the 4th fret for the first chord,

44



B. Then, add your middle finger on the note E (5th fret) and your ring finger onthe note G# (6th fret) notes to complete the next chord, all without lifting the

index finger's barre off the 4th fretl Again, most of guitar 1's chords in this exam-

ple can be performed this way.

E x. 2 [T rack 22 ]

BridIe

D G/B D G/B D/B A,.--.._ A Er:

A » •t _ , . . .

~l - It

_ .If - -., • . J W .

~ . " . ~ 1 1 1 6 - ~• I., 1 J - . , -II I T [ _I_ I " v: t I J

~ .J . . . . . . . ...I

It does- n't mat - ter what you do or say. Jus t for - get the things that you've been c told.Dy. F1g.1

• G irt 1 ..,,/'\,/'\..,r - -~

. . . . . . . . . . . (~\ t • ; j . .. .. .. .. .-~

. . .•

,. . . . . . . r ~ •~ -r •.II

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at - -..- ___.,.~

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A l E D G/B D D/B A

oth - er Ev - 'ry-bod-o it an - ye can't--

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-let ring - - - ---i

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he rhythm section. Pe rfo rm ing a unison bend involves bending a note up to the samepitch of another note on the next highest string. To playa unison bend such as theone In the first measure, fret and then pick both notes simultaneously. allowing them

o ring togethe r wh ile pe rfo rm ing the bend . Use the top note 0 (10th fret, 1st string) asyour "target pitch" for the whole step bend from C (13th fret, 2nd string) to D. If youexperience some trouble in controlling the pitch of the bend or the string tends to Slipunder your finger, try adding your middle and ring fingers to help reinforce the bend.

Ex. 3 [Track 23]

Guitar Solott. 1~w/Rhy. Pi.. 1, similetr. 2: w/Rhy. Fi~ 1~ .imile

D G /B D G/B GIB D A A E

Ii ~ •~iii ~

= :L• - - ""'"I . . . . . . . _. . -

I~ J . . . . . .

• 1

loud.~r (\A· 1':- 1 ' . ~. 1':-,

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~' :~

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A "• I 1 ._

,~I I

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a •I

3I J

-f

fulJ slight P..M .. - - - - - i1 / 2 I t " - - ,;

le t ring --)- full full full full full

"A J ! J J J ~ - - - - - - - - - - ~ ~

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' ' ' 'ItiJ lIiI J.... I. \, . ., IV . . . . . I . , . IV

.4~

w

1

Olr . .2: w /R hy . F iU 1AlE

D IP

D G /B D G /B D D

~~~: A· 1\. 1 ' . 1\. ". r"

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A\.. .. . . . . . . . •• ". &" .. ~ t,

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7

A B)r v'\./\J

G/B A~ -

slight P.M.- - - - - - i

Rby. Fill1Gtr~2

N . C . D S

•

Gtr. 1~w /F iU 1

~~

-

full ful l

FWI

Orr~1>•

47



I(Love Gun - '77)

Words and Music by Paul Stanley

Example 1• Intro and 1st Verse

When working out the intra riff for "I Stole Your Love," be sure to observe

the term "le t ring" that appears several tim es above the tablatu re . In each case,

this indicates not to mute any of the sounding strings for the entire duration of

the "dashed line." Any additional notes that appear in this duration are either

re pea ted n ote s of the cho rd or n otes ad de d w ith o the r fing ers. As a result, youshould find that your index finger maintains a barre across the 5th fret.

When performing the ln troducnon sec tion , use constant downstrokes, asthis will help re-create the intensity heard on th e a lb um .

x DS x x

Ex. 1 (Track 24]

lotro

Heavy Rock Feel J = ca. 194

j '

4n•

s fr.

133

Rh,.. Fig. 105 D5 D7su s47su s4 F

Olr.l

f let ring ------1

D!i & 5 CS~,.__ End Rby. Fig. I

let r ing - - - - - - - - - - - - - - - - - - - - - - - I

D7su s4 D7su s4S F D5 cs

kt ring ---; let ring ---i let ring - - - - - - - - - - - - - --t let ring --I

C op yrig ht 0 1 8 77 H on P ro du ctio ns Am eric a. I n c 4

A l l R i gh ts / il Jm lnl st er ed by PolyGram Intemational Publishing, Inc.

International COpyright Secured All Rights Reserved

48

•

•



1st Verse

F c Gr 3 r 3

A- -

~- - - -,"' -It- ~

~

_ - I t : , """"" ,- -L, I _L_ I I~• . '" ,. ..,. W r - I ,I ,

!f_ _I· I t -- r . . . . . . . l,~I - . .. .. . r

.1. . . . . . . . .

I re -mem -ber the day that we met. I need - ed some -one, you need-eel some ..one _

Spenttime tak • all you could get. Giv ing yourself thing109 - was some . . you nev - er

t . . . . . . . . . . "-.c>: ~ . . .:~ ~". ' > - -" *?1 1 .,~"".J.. . . . ~. ~I . . _ _ . ~ . . J'~ III

:." "

1 "- - J - - ~. I_ . . . . . ,

~ ..

.,'"

.J L . . . . . . . . . . ~ ~. - . . . . . . . . ~ ~ . . . . , . . . . . . _

.1 - - .,_,/+ I'-- _/-

iliA .. • I II .. U h

"• . . • • ~: ,• II • ~ . . . .

• oil ~ iii

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• II! . . = : ~t ~A ~.: j

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Iii I!V • • .. IV 'IV .....A

U

D5 D7sus4 F DS

Gtrl l:wlRhy. r m t, 2nd time

D7sus4 D S &5 CS

1\ f t ~~1Irl_" -a. .. . . . . .

";

,. . . . . . . . _ , . . . . . . . . _ ~ . . _ , , ' \,. . . . . . - - ,~ ~ •.I II •

"\: .J,.. . , .

.t.,

too, yeah. -(2ndtime) Thecould L do.

-_ft

- - - . . -" = L - :

~ ~

b_

~ ,~

~

., .._ .. .~~

fjj ~ .. _ .I "\ " " " ' -

,'- "'

•~l J I F

~

L J., ~ .J

leI rin g - - - ---1 let rlng - . ........- - - - - - - - - - - - .. - - . ." ' - - i

Ii . ..~ " "' ~f r-.. ~ . . . . . .

fA'• • • • II• .. .. . . - ~ . . . t . . . .. . . . . . . • . .. .. A .. •

r i' ~ • ~ "' " it i1~,

1. jl j ' j ' : = ~• i i i . . . .. _. ~--

. . • • ..11 . .. . • ~~ ~I r ~ , . . - ,: J :. 1 I I i I '

~ . ii' .iI 'iJ ~~J 'iI,

•~t • _ . • • • ~ • d

~ .. ., 1 i i i J ., g 'iii' "iI" V V iI iJ iii ~ ~J'

Rhy. Fill 2D5

Rhy.FIlii

Otr.ltr.l

•. .let ring - - - - - - - - - ~- - - - t

Example 2 • Bridge and Chorus

With the exception of measures 11 and 12, the chorus riff for "I Stole Your

Love" is nearly identical to the riff in the introduction. When playing through

easures 11 and 12, however, you'll soon find that these chords require similar

49



performance techniques as the rest o f the riff. Just barre your index f inger

across th e app ropria te fre t on the first beat of each measure and le t your ring fin-

ger do the restl

Ex. 2 [T r ac k 25 ]

Bridge

&1_ " _ , , . - - . . . . . ~ a

~ - 3A _ , , _ , - . . . ,~ ~

#

=LII I

*. . . . . I . , . .

.. """'I I ., ~ .,".. _III . . . . . . I _l J

"\.': J :x - "•things

I

heart play with head . I've got to laugh when I0 my my

--~

I

~It ~ ~

~::~ ~

~~

~~ ~ : S i - - - . .~,." '- ~,. " . . . ~

~ ....JI ~ "WI . . . . ...IIIL,.

J Y . .:. . c . . • Jill ., _ .. ,L ..... -L

e J u ' - _ . , . . . . , / ~ . . . . . . _ ~~ ~

~ -<, _/'- : ./

~ .. .1 1I ~ _ . . . , . )~

.4 ~ . . . ,~. . . .-" , "' XIII

~. . . ,

c

4D S

•~

3 - ----~~~~~~~~~.~-~~~Ii

*. . . . . .I !I.i

~~

~ "', . . . . .

- . . I I ' "," J. t

think of th e things you said. 'Cause

' "~ ~

~ -~~

.. L • _jP'., jl" - -

~ " : t5 ~- ' ' '

, .. r"- . . : . i .J _ " -

.t -:is.....>...__"

.- - - - - - - - - - - - - - - - - - ,I •

"i ~ _ . , . . . _ , . .

'-" _Uij , :. r"III ..." . . . . . .. . . . . . . _ _ _ . . . . . . , .Ii ~ I. c c c

. . . . ~ ~ , . . . . . . . . . . . . . -·slap back from delay

7

Chorus

D5 D7su s4 D S D 7su s4 D5 n7su s4A ..." ........,_ . . . . ~ - - .;:- -- - - -

~~ • ~,J! • ~• ."- - ., . . . , . ~ ,. - ~" .,

~ . .. t . r .! L . , . . . I

"'1 1 I

.t,.

r

I stole- you r love. Stoic - you r

. . . . - . . . . .l'1 - - - - -

~

~

, , . , . . . . . . . . ,I

~ ~

. . . . . . .~

i IIl. • . . . _ .. . L . . . . . .

~

. . . . t "- " ' " ' I\.~ J ...L ~ 1 _/

I . . . . ..J .. . , , ' I I . . . . --i. ,~

• ., . .~

l et r in g --~---1 let rin g - - - - --I let r in g - -- ., let ring ---1

-- - , . . - -•• - . •

III

. .• !II 1 .. 111 . . . . . . _ IIj HI

. . . .. . Ii!

. • •~ ) r' "I J J

1 ,

:, _~ '# )f .1 , . r ."I- .. ~ ~ k

- 5• JI! PI I 1 I I . . ! e I ! I ' • ~ Ij~e • ~ ~ " '" ..I! ;~ ~ , . ... v ~

, ."

~, 'ttl ' l 1 l i '- " '1 1 1 . - W V . .

"w v v . .

50



c D5 D7su s4

GIr. l:w/Rhyjl Fill 2, 2nd time

D' D7sUS4 F~,- 3 I

~ "~

"--- ~- '\ ""-

- ~ •.. ,. . - . . . . . . ~, ... tI IJ lilt •"

i i i - ,. I -- - f . . . . , .. . - .wi _ - - -.1

love. Ain't nev - er g o n - n a le t you go .

- - . . . . . . - -It > > >~ >.,-.. . . . . .1

. . . . . . . . . .

I~

J ~ ~.I

~

. . . . . . . .

~~

~ ~ 1 I I W i I I

I .\r •~

. . . . L ' " " " " •. . . . "1~. . . . . _ . . . • ,

J /JIII ~

.J I I ~ I II , . _ _ ~ .

" ". . . . . r, r-

• - .. . .",_,

let ring - - - - ----- ---t (fret noise) let ring-- -- -~"'--i let ring -- ......., let ,.lng - - - - --i

t _ l_ . .. . \ 1 r : """. H

~r .... .. ,....,. :, r ]~ . . . . - ~

. , . . ~II ,j~.......,.,.... III ~ k •. A -~ !II

~: v . .A

~, ." l 1 li , If

!, - , , - & :, ~ II," ~

~ - I~ ".... , •l~, V V I,

II - ' - - .II! .- : j~ I!' . ~ ... r . i : : : : CIl, V 'V . . .. - ' 1 1 " - . . ... ,-,. . , . . . , •

My point here is, many times a seemingly monstrous barrage of licks istually just a melod ic , c rea tive arrangement of smaller, more familiar guitar

W h e n le a rn in g solos that are technically beyond your playing ability,proach them as a mechanic would rebuild a car engine.

3• Guitar Solo

When first l istening to Ace Frehley's blazing guitar solo in "I Stole Your

ve," some beginning guitarists may feel a bit intimidated by all the furious,tn in g fa st lic ks . If th is is th e ca se w ith yo u. tr y breaking the solo up into small-"chewable" bites. Let's tr y a bit of this, skipping ahead to measure 9 of thelo, where Ace really starts rippin'l

Beginning with measure 9, we can see that these first few notes are actu-y prebends , as covered in Example 3's lesson for "Strutter,nThe next lick at theg inning o f measure 10 is an exaggerated hammer-on/pul l -of f technique similarthose discussed in the introduction lesson for "Deuce." Another hammer-

pull-off appears at the end of measure 11 fo llow ing a double-stop bend lick.mber that th ose were cove red in th e le ss on for Example 4 to "Strutter."

First the mechanic takes the engine apart (in your case the solo) piece byece. Then he'll repair and polish each piece individually (practice each lick).n ally , w he n a ll the pieces are in perfect working order (you can comfortably

ay each lick on it's own), the mechanic assembles the engine (put all the licksin hopes that he'll end up with a smooth running machine (totally

so lo I) .

. 3 [Track 26]

Guitar SoloGIr. 1:w /R h y . .Fig. 1,3 3/ 4 t imes, simile

OS D 7sus4 D!i D7su s4 F D5 C5

A_- -~, I

I r a

"1

~

c 11r , . . . - . , . r . .. . . . . . . . I\".-

" - If " AI ..!J'1 . .: J I &J - ,.J. . -1

~ • • •- •

f

•

I i; r - - - . . - - - - . - - - -- - - - . . . . - - . - - - -~. . . . . ./ t -I .-7

"'- fill _ "A • \ 1 1 ' , ¥ .. ... . . . . .

.-.. . - - JIL . ..

8~ g, ,

~ t i i J A • •. , . .,.- w

3

51



D7su s4 F D S D S7su s4

31 '1 . . ~ ~

~~

I r....~ ~ . . . . . . . . . . . .

_I I JI • ~. . ~

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"~

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. . . _ _ -

- - -.. I,. ... .

A • A-.. A . . ,. . . . . • ~ . . . . .. , . . . .. . ~ 'fI ., ~ . iI - _ , 'tI ~ i# _.- I f"- . . . . .II

D7su s4•

1/4 1/4let ring - - - - - - - - -I

fullf u U fullull

12

cs D7sus4

. . .-,._

- - - - - -

os D7sus4

- - -F

O t t . 1

14 A

- -

. ' Lis .. ten~ .. ---------- ,

~-)t. -l'- -__..~ .~ -II--- ..~

-I-- -~ -r-- o~

-I-- -....._ -I-- -~

/'.. . . ~-. ~- -I---

• /'. •

--.r .... -'- ~ 61~ ~ - - - - ~ ~ - - - - - - - - - - - - - - - - - - - - - - ~ / ~ - - - - - - - - - - - - - - - - - - - - ~ / ~ ~ - - - - - - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - - - - - ~ - - - - - - - - ~ - - - - - - - - ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

1---~_ 3~_---..J

--- -I I

. . . . . . _

.1

full

_/ full

I,.A ... • ... r "..._.... 4ft.. .. . .-., \"I~""" ..., ...,...l." .6 IV IV - - - _,V •.., '6 IV

~. . - . . . . . . . - .. . . . . _ . . . . -. . . . .- .. . . . .( - M I l IUV IU .-~ IV T-.;J

·_'Iayed slightly "ahead" of the beat • 'slap back from delay effect

52



,

E(Love Gun - '77)

Words and Music by Ace Frehley

Example 1- Intro and 1st Verse

To perform the 1/2step bend for each open G chord in Example 1 (check

out beats 3 and 4 of measure 3), simply pull the note F~(2nd fret) toward the

o the r string s th e ap prop ria te 1 /2 ste p d is ta nc e. R emember th at a 1/2 s tep equals1 fret on the guitar, so if you find yourself over- or undershooting the bend, stopa minute and fret the note G (3rd fret). This will give your ears a target note toremember when perfo rm in g th e 1/2step bend.

When performing the main riff for "Shock Me" (Rhy. Fig. 1), use both left

and rig ht hand mu tin g te ch niq ue s to e nsu re th at the chords are m uted at theappropriate times. This is important in re-creating the original feel of the riff asheard on the album.

Dx x

A Sxx x

BSx x X

7 ft.

xB

x

~~

4n tl•

. ~

t n . ,•

I~

~ . . ~

, ft. , -

~ •~

.5 fr. 7 fr~

1 333 133 3 GIB 1341 3 4

Csus2 Gxo~- x

I - • •

x _0 4 "') X

~.u

0 x X

4n•

xooo

U ~

.x. 1 [Track 27]Intro

Moderate Rock J = 138D/A A

Rby. FIg. 1(drums) Otr+ t •• r-....--_

2 3 1 3 2 4 1 1

D/A A D/A G

1

--"v

1

•Key signature denotes A Dorian

• ·doubled simile

5

A D/AAEad Rby. Fig.1

D/AA5 D/A G

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g

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Your life•

all I need, sat .. is - fac - tionS my grows.-

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I a • •• You make me feel at ease,-

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elIr p

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y o u e -ven make me glow.

f t . ~

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I

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,~J . . . . , . . .

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\, ' 'I ,.' P I 'I, . . . . . . .

- -

Example 2 ..Bridge and Chorus

Check out the slurs above and below the barre chord slides in measures1and 2. When playing these, remember that you should only strum the chord atthe beginning of each slur. The left-hand must slide up to the next chord without

the help of the right-hand. If you experience trouble when sliding the barrechords in this example, apply some extra f inger p ressu re to the frets. This willhelp keep the chord's notes from dying out during the slide.

54



x. 2 [Track 28]

Bridge

D1 , . . .

t 1 - L.~ .. . f I' . . . . .- I- K • r '.1 .,

.. " ftI . . . . . .~ eI J I l l " " ' "

_II_ .

1 1 - t . .- I ,I

"-~~J .:::r -a J I -

Don't cut the pow - er on me. I'm feel - ing low, so get me:..I

I\~

l ! ? e~- - ~;-::-~ =

- -~'

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., -_II

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r . . . . . , . . . .

t: I.- - ~ I t , IIIL..tI' ~ iii.

.4...

. . . . . . ~4I1 . . , . . , .. . . . . . . .. . " " _ . I ' '"-,"J' I I I . . J i l l .I . . . . ~ ~ . '" . .~

J~f " " ' - - . . . . . L ~,~~• I,,. .i A _ 1 I j , . ~ f t- .. .. _ " '" . . ~ ~ ~• • .ft 4 ~. . . . .. ~,,-_ I~ . . . . . _ - . . . _ . ~

II! _. . . .", tJ '11 I ~ fiT , ~ . . , tJ ~

~ . . ., • ",III' ..

Csus2 GIBChorus

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. . . - . .

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, . , . ., ../ I ., -I J 1 I L I .I - I J I

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high. Shock me.. Make me feel bet .. tee.

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"- J

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' 1

- . . . . . . . . . . ~ - L A t - . . . . . . _ . . _ ~. . . . . . .:.I --t5l- .'- . / " " " " r - -. . . .

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~t. fill~ r

,

• • • •• • •I •

r ~. 4.l i l l .

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v . . . . . .. ., ~ ,. . . ill iii "~ "

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Shock me. Put on your black leath - er,

~/,~

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C1 " _

~~-----------~-~-------~-----------~-~------~~~ w ~~ M r - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ~ ~ ~ ' _ - - ~ / ~ ~ - - - - _ _ "

D A

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Shock me.-- can come to - geth- er.

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55·t:

:1.



D E10

Example 3- Guitar Solo

This Ace Frehley "piece de resistance" is chock full of savory licks wellworth learn ing note - fo r -sc reaming-no te . As described in E xample 3 for "I StoleYour Lov e," a th oro ugh d ls se ctlo n will most likely reveal that many of the licks

within the solo utilize techniques a lready covered in earlier lessons. While learn-

in g a nd e ve ntu ally p erfo rm in g th is lengthy so lo a lo ng w ith th e re co rd in g may

pose quite a challenge. you'll be rewarded with improved playing skills and a

considerably larger arsenal of le ad g uita r licks to employ in y ou r own solos.

After Example 3 on th e re co rd in g. meas ure s 11 and 18-19 (some of the

fastest runs in the solo) are played at slow speed.

At the end of the first beat in m easu re 11. move from the note A (7th fret,

4th string) to 0 (7th fret, 3rd string) and back by simply "rolling" your finger

across the 7th fret. Picking your finger up off the fretboard when moving backand forth between these two notes will be a nearly impossible feat (with clumsy

rhythms at bestl) to accornpilsh when playing the lick up to speed.

In measure 18, use this "rolling" technique when moving back and forth

from th e notes A (19th fret, 4th string) and D (19th fret, 3rd string) at the end of

beat 4.

8e on the lookout for opportunities in other solos where this "rolling fin-

ger" technique (for lack of a be tter term) may help you to rhythmically smooth

out a lick.

Ex. 3 (Track 29]

Guitar Solo

D E

G I r . l » , ~ J J - t J _ _ , J . . . . . . . . . . . . . . .-J............J J J J ) . , ~ .. . .Ott~2 8 ~ - - ~ - ~ ~ - - - - - - - - - - - ~ ~ - - - - ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ~ - - - - - - .It • ~ ~

~~

. . . JI

" *. . . .

~- ~ fU ~v

1 ow I~ J _::x I I I I I I I I. ~ ") --

3

I~

I l 1 l i " III •l i •• _:III" .. 1 1 1 " - t ~ ~ •• ~.~ "~4~ • j • __,IIII,ft_ . . ~ . . . . . . . . . . . . . _. _

- I~ t ~~ ~ r ~~ · t o ~ .. . . I I~ . ~ .. j ~ ~ ~ . . . . 0 1

~: 4...1& . . . " 16 ." 16 Iii..

I I. ~I ~. ~.. . .. . . • • ~ i l l • • . 1 1 1 ~ .. ~.. . . . . , . , -

An. . .

56



, , ~ • ! 1 f - _ -ff-. . . . . .

A j\• • • ~- • • I I . . ~

~J J " m .,~ ." . -"

, ., ., . -I

- I&{ _ . ,I I

'III." .J - I I

.. t

full full full full full full full full

J~

J ./~

.r>: ! J. . •• . . . . . .. .-I W ' fU I" " I' " 1.J . .. , \liJl "" I . . I,. . . , . . , ,

. . . . .. .-~~v , , I

ill I

r. 1:w/Rhy..Fi,. I, 4 tima, simile

D/A A AS D/A AS D/A AS G~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ~ - ~ . - - - ~ ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,

/':. A _,.. ..... A~ A.

A D/A A

L 3 J

lull

J\ r "....

I

J }. - -V f V • .- ...

a... v ,. v

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r \ f I ~ • ~ _ 1 ! 1 . ~ 1;1,

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1 / 2

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...

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A' D/A AS A6 A5 G DS Dsus4 D 05~--~----------------------~--------------------------- ~-~. M. ~•••• •

r - :2

- -

3 3 3

1 fsJ1·M.t PJi. _ -I llfl ..I-.ht PH.,/'" J........ • . - - - - -1 full

.- . . •

AS D/A A AS D/A AS A6 AS 0'__ ••••• ~-.~.~-~--- ••• M ._ •• .~ ~~_ ••••• ~ ~. __ •__ .~ ._••• •

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lun

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full

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full

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let ring --I let ring ...---t

fullulJ

full

57



DS Dsu s+ D os

~ - - - - - - - - - - - - - - ~ . - - - - - - - - - - - - - - - ~ ~ - - - - ~ - ~ - - - - . - - - - - - - - - - - - - - - - - - - - - - - - - - ,18

full

l et r in g - -- i

3

fun fun fun full

21

BS

j~;; JB5 AS B 5 AS

J . : : : J J J Ja ~Aj _ , . . . . . . .

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. . ,., --., ~ -A I . . . , ., . . . . - I I I &I.,

W ~ eJ

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_ , -- -_ l

Alight P J I H . - - - - - - - . . . - - - - - - - - - - - - - - - --I full full ~ fu~ slight P11...- -- ---- -- ---- ---"'-1"" 1/2'" 1/2 1/2 J/ ~7 \../ ~ ~. . . . . . . . . •A . . . . . 4ft 111ft •

IV . . . . IV TV IV IV IV

•

".

MIA

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oe. t:w/Rhy. Fil..2A5 BS

24

full 1 /2

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26

A~ A S DO

full

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Shock me, ba - by" Shock me, oh yeah.-

A ~ /VV\ 1'....\

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.). . . . ~ iii

- - - . . . . ...-I .

full (jIange effect on)

/'V/\ r- ,J ~

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58

G AS"

»~J; - ;_ P O f J > O f J r - J .



'79)

ords and Music by Paul Stanley, Desmond Child and Vinl Poncla

DEF RL,

xample 1 - Introduction

In order to achieve a percussive, a lmost k eyboard -lik e a tta ck on cho rd s inhe in troduction to "I W as M ade For Lovin ' You," Ace Frehley employs a fo rm of

hand f inger picking known as hybrid picking.

Hybrid picking is a technique which involves holding th e pick betweenur index fin ge r a nd thumb in order to free up the remaining digits to finger ahord or riff. I t enables you to take advantage of both fla tp ic kin g (s ta nd ard p ic k-

and fingerpicking methods simultaneously or individually without having toet the pick down between techniques.

T o h ybrid pick the chords in the measures 5 and 6 of Example 1, u se yo ur

hand's middle and ring fingers to p luck the first two s trings, while at them e tim e using the guitar pick to pluck the 3rd string. (This same picking

is used on the chords in measure 7, only on the 2nd through 4thr ings ins tead .) B y hyb rid p ic kin g th e c ho rd s lik e th is , you achieve a m ore uni-ied sounding attack, similar to th at produced by s tr ik ing a chord on a piano. Thiss because when you strum two or more s trin gs w ith sta nd ard picking. you areua lly p ick ing them in succession. The pick can m ake contact with only one

tring at a time. n o ma tte r how fast you strum l

Performing the c ho rd al riff in me as ure 8 (a ls o in 12 and 20) will require ae ffo rt o n the p art o f both you r righ t a nd le ft h an ds. When fretting th e

chord (E minor) with your le ft ha nd , b arre your in dex f inger acro ss th e 8th fretnd use your middle and ring fingers fo r the rest of the notes on the 9th fret.hen, following your right hand's hybrid pick attack, perform a pu//-offwith th e

and ring fingers as you slide th e in de x finger barre dow n to the D chord athe 7th fret. This maneuver may seem a bit awkward at first, so make sure youractice this one measure over and over before you play a lo ng w ith th e re co rd in g.

Here are a couple more tips for playing this example: Pulling o r "s nap-th e s trin gs s lig htly w ith your finge rs w ill help yo u to ach ie ve the percussive

o un d th e c ho rd s possess in the recording. Also, muting the strings after each

with the right hand's fingertips will help keep the rhythms staccato (shortpunctua ted ).

1 [Track30]lotro

Moderate Rock J = 128Otr.1 ES 1

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International C O p y r i g h t Secured AU Rigtlls Reserved

59



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81



Beginning in measure 20 of Example 2, both guitars 1 and 2 utilize palm

mu tin g to ge th er, p ro vid in g a g re at e xample o f th is te ch niq ue and how it can be

u sed to crea te stronq , pumping rhythms.

Example 2- Bridge

Throughout most of H I Was Made For Loving You," Paul Stanley (gtr.1,

heard in the l ef t speaker on the recording) performs a simple, yet constant 16th

note rhythm guita r fig ure wh ic h closely fo llows th e rhythms o f th e high-hat and

bass gu itar . In o rd er to ke ep his bu sy gu itar pa rt from interfe ring with or over-

powering the other instruments, Paul employs a right hand technique known asp alm m u tin g (in dic ate d b y th e a bb re via tio n P .M . ) to keep his notes more sub-

dued.

Palm muting is a m aneuver w hereby you ligh tly rest the fleshy side of

your palm on the strings n ea r th e bridge as you pick. This palm pressure

red uces string vibration, affecting the sou nd and d uration of the notes involved.

T he m ore right hand pressure app lied . the shorter the note or chord duration will

be. When perform ing m any of the riffs in th is tu ne, you·1I only need to apply a

moderate amount of pressure to the string. Too much right hand pressure will

d ead en the n ote s, and too little will a llo w th em to rin g to ge th er.

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62



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26

- - - - - - - - - - - - - - - - - - - -rrrr


O f the variety of licks A ce Frehley m anages to tastefully cram into th is

short, four m easure solo, the notes that stand out the m ost are those punctuated

with squealing pinch harmonics. Pinch harmonics (indicated by the abbreviation

P.H. ) a re h ig h- pitc he d o ve rto ne s c re ate d by a specific kind of p icking attack on

the s tr ing . By u tiliz ing th is technique, A ce is able to m ake certa in notes seem ing-

ly jum p right out of the speaker.

T o perform a pinch harm onic. you'll need to slightly m odify the w ay youhold the guitar pick. Grip the pick with either your thumb and index finger or your ·

thum b and m iddle finger and "choke up" on the pick so that only a sm all portionof it extends beyond the tip of the thumb. This is important because the tip of the

thumb is largely responsible for the effect.

84.I



A pinch harmonic is performed by simultaneously brushing the string withth e tip of the thumb while picking a downstroke. In o rder to achieve this, thethumb must also touch the string at one of the harmonic node points (pointsalong the string where natural harmonics occur). Different harmonics can be gen-

erated by pinching the string at different points. Moreover. the lo ca tio ns o f thenode points are different fo r each left hand fret pos itio n, s o you'll have to dosome exploring on different areas of the string to find them.

The most obvious pinch harmonics occur in the second half of measure 1.Here, Ace produces several piercing harmonics which sound ove r tw o o cta ve s

above their fu ndam ental (fretted) p itches. T hese harm onics are located on the

3rd string roughly around th e middle pickup area of the guitar.

The best way to p ra ctic e y ou r p in ch h armon ic s is to take any fretted note and

pinch up and down the string, searching for node points. Extra gain or distortion willalso enhance the effect and help to bring out hid den or hard to find node points.

Ex. 3 [Track 32]Guitar Solo

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65I:



LI ITUP(LickIt Up '83)

Words and Music by Paul Stanley and Vincent Cusano

When switching from the open G to the open D chord in measures 1 9 ,

23. 27 and 31• try keeping your ring finger anchored to the high note 0 (3rd fret,

2nd string) throughout both chords. Your ring finger can then act as a "pivot

point" to help you change between G and 0 more quickly and easily than if you

completely lifted your hand off the fretboard in between chords.

Example 1•2nd Verse, Pre-Chorus and Chorus

When playing the catchy guitar riff found in measures 24 and 28. fret the

first double-stop with your ring finger. When you slide the C5 diad (a diad is a

two note chord) down to the 4th fret, your index finger will be in position to easily

fret the double-stop on the 2nd fret. Your m iddle finger w ill also end up "han ging

out" at the 3rd fret, all ready to fret the note C (3rd fret) which starts the brief

scatular run on beat 3. As you'll find out, this sort of predetermined finger posl-

tioning (see "Detroit Rock City" Ex. 4 lesson) wiU allow for a rh ythm ic execu tion

of the lick that is smoother than if you begin the riff by fretting the first double-stop with your index finger.

Ex. 1 (Track 33]2nd Verse

Moderate Rock J = 120N.C~ D/A A DJA A

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In te rnat iona l Copyright Secured Al l Rights R8I8MId

88



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Example 2 • Bridge and Interlude

In measures 9, 11, 13 and 15 of Example 2 for "Lick It UP." Kiss' new leadgu ita ris t V inn ie V incen t creates a unique guitar solo by using arpeggios. The

word arpeggio (originally a classical European musical term) is used 10 describewhen a chord's notes are broken up and played one at a time. When playing the

arpegg ios in these measu res, be su re to allow all notes to rin g their fu ll d uration

68



Wh ile e ach te ch niq ue h as its own a dv anta ge s, tr y becoming familiar withboth, as you may find that different musical situations will prefer one over the other.

as indicated by the dashes after the term "let ring." Also, try to perform the 8th

note rhythm s for the arpeggia ted chords as evenly as possib le . T o best accom-

p lis h e ve n rh ythms. y ou 'U p ro ba bly need to work out a right hand picking pattern

using either alternate or economy picking techniques.

As mentio ne d in E xample 3 f or "De tro it Rock City," alternate picking

involves s tr ic tl y a lternat ing the direction of your pick attack for evety note. Al-though alternate picking offers superior speed and precision. it requires a great

deal of practice and patience to perfec t. (Espec ia lly when working with extremely

fast licks!) If you have trouble getting used to alternate picking. you may find

economy picking better suits your own style of playing. (Economy picking works

fin e fo r m os t lic ks. but is not as clean sounding as a lte rna te picking is wh en usedon high speed passages.)

W ith e co nomy picking. y ou s till a lte rn ate ly p ic k n ote s. e xc ep t w hen m ov-

ing from one string to another. When moving to a higher string, use consecutive

downstrokes. letting the pick "faU" onto the next string. Likewise. when moving to

a lowe r s trin g. u se c ons ecu tive u pstrok es. P ic kin g th is way helps reducedemands on the tendons in your right hand and forearm, making certain licks

easier to execute.

In measure 9, I have provided an economy picking pattern below the tab-

lature system. Try playing through the next few measures using this economy

picking pattern and then again using strict alternate picking. Notice how each

picking technique presents a slightly different rhythmic feel when playing through

t he arpegg ios l

Ex. 2 (Track 34]

Bridge

G'/F- G G/FiI G/F~ 0 A

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71



HE '5(Animalize - '84)

FIRE

Words and Music by Paul Stanley and Desmond Child

Example 1 - Verse, Pre-Chorus and Chorus

Throughout measu res 1-7 of the verse section for "Heaven's On Fire,Huse right-hand palm muting to silence the open chords after every strum. (If you

don't know how to read the standard notation in th e to p s ta ff s ys tem , be sure tolisten carefully to the guitar's rhythms on the recording.)

In measures 11 and 12, guitarists Ace Frehley and Mark St. John usemicrotone. or 1/4 step bends (represented by upward arcs above the notes) on

the B~5power chords. (Incidentally, Mark St. John replaced Vinnie Vincent when

V in ce nt w as fire d p rio r to the recording of Animalize.) S uch slight bends aresometimes used by guitarists to "dirty up" or add "grir- to a note or chord, oftenresulting in a bluesy sounding quality. To perform the bends in Example 1, sim~

ply pull b oth no tes of th e chord evenly and ever so slightly. If y ou exert too m uch

force on the strings, you most likely will pull the chord out of tunel

Note th at a t mea su re 9, only th e second guitar part is featured on therecording accompanying this book. This gives you the opportunity to practicethrough the entire example with just the bass and drums when you pan th estereo to the left.

Ex. 1 [Track 35]

1stVerse

Moderate Rock J = 124O S o D G 0

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I look at you and my blood boils high. Ifeel my tem -p'ra - ture rise.

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73



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You know the w ay to give me what I need..- Just let m e lo ve you, I could n ev - e r leave..- Feel-

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higher. Burn with h e a v en's fire. P ain t _y - mg you me, - on

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74



Example 2 - Interlude

In Example 2 for "Lick It Up," we heard how Vinnie Vincent created a solo

interlude with the use of arpeggios. Here t in measures 11-18 of Example 2, wecan hear how Mark S1 .John also uses arpeggios to compose his interlude for

"Heaven's On Fire.H

When memorizing a piece of music that involves arpeggios, it is often

helpful to visualize the chord from which the arpeggio originates. By examiningthe transcription, we can see that Mark St. John builds his lead guitar break pri-

marily from the top three strings of an 8th position F major barre chord and a

1Othfret G major barre chord (the F barre chord is simply slid up the neck tworets). Therefore, in the case of Example 2, you need only to remember twochords to play all the licks in measures 11-181

Ex. 2 [Tr ac k 3 6]Interlude

F & 5 F

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76



LLI(Asylum •• '85)

Words and Music by Paul Stanley

Example 1 • Intra, 15t Verse and Pre-chorus

By depressing his gu itar's vibrato bar in even 8th note rhythm s on certa in

chords (ind icated by check m arks above the term "w /oar"), gu itaris t B ruce K ulick

adds a much more interesting quality to the intro and chorus riffs than if those

chord s w ere perm itted to ring norm ally. (B ru ce K ulick replaced lead gu itarist

Mark St. J oh n p rio r to the recording 01 Asylum after Mark developed an acute

form of arthritis known as Reiter's Syndrome.)

When performing the v ib ra to b ar scoops in Example 1, simply depress

the bar with quick. even rhythms as indicated in the transcription. Try not to hold

or depress the bar too much, as this 'dipping' technique requires a m ore subtle,

re laxed tou ch in order to achieve the flu id scooping effect heard on the album .

Again. if you don't know how to read the standard notation in the to p s ta ff

system , and are w orking w ith just the tablatu re alone, be su re to lis ten carefu lly

to the guitar's rhythm s in the record ing. You 'll best be able to concentrate on the

rhythms. and hear precisely where to apply pressure to the whammy bar in

Exam ple 1 ) i f you study th e a cc ompan yin g re co rd in g with your stereo's balance

panned to the right speaker.

Measures 5-12 feature a riff which is also used in the chorus for "TearsAre Falling." When playing the F~ m ajor barre chords in m easures 5-6 and 9-10

of th e example. use an index finger barre completely across the 9th fret. This

way, you won't have to reposition your left hand when it comes time to play thefollowing F~5 diads on the bottom two strings. However, you must be sure to

strum only the notes ind icated in the transcription. as th is is im portant in re-

c re atin g th e o rig in al fe el and m elody of th e riff!

x. 1 [Track 37]latro

Moderate RockJ= 124

F~

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Copyright C 1985 by Hart Productions America. Inc.All Rights Administered byP~yGram lnternational Publi8h'ng~ Inc.

International Copyr~ht S ec ured A ll R ig hts R e se rv ed

77



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.,~

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. . . . . . . . . . .

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, ~, r !i J 'I~, ~ .,

I I .. ..,

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1 t~pJ oj

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f .. it II I I i ,• I •~, , ttl

•I J • 1 • ~ I I . , .

•

79



Example 2•Guitar Solo

This lengthy solo is presented in it's entirety to provide you with one of

th e m ost challenging and potentially rewarding examples in this book. As men-tio ne d in EXample 3 for "I S tole Your Love," the best way to approach learning

such a monstrous solo is to break it down into small. manageable portions.

In measu res 13-15 and 21 -24 . B r uce Kulic k fire s off a volley of l ightning . .fast licks which utilize very wide Jefthand stretches. If this sort of lead playing is

new to you, take it s low . as you don't want to pull any muscles in you r fo rea rms l

T o p la y Kulick's acrobatic licks in measures 21-23, use your index and

pinky fingers to execute the pull-off on the first string. Use your ring finger to fret

the note E (17th fret) on the second string following each of these pull-afts. U sea down pick attack in picking the pull-ofts located on the first string, and an up

pick attack for notes played on the second string. This will economize th e right

h an d's p ic kin g motio n b etw ee n the tw o string s and con trib ute tow ards m ore

even rhythms when performing the l icks at high speed.

At the end of the exam ple . m easures 1 3·1 7 are played at slow speed, as

these extremely tricky and y et melo dic lic ks will probably require the most atten-

tion out of aUthose in the transcription. Throughout these measures, you'll prob-

ab ly f ind that the key to mastering these licks lies in working out a predeterminedright hand picking pattern. For the wide interval licks in measure 13, use a tech-

nical approach similar to that described above fo r measures 21-23. Later. in

measure 15. try to w ork out a picking pattern using either alternate or economypicking (see Ex. 2 fo r "Lick It Up"), or maybe even a combination of both!

Ex. 2 (Track 38]

Guitar Solo

GIr. 2 1 > . , . , 1 > J J . , J JOtt. 3

1

ffull

Ctr.l

w/bar

80



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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- - -

full

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82



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~ IIII' L . . . . I

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And it's " • Looks like it's • ..now f a I n - mg. raID - mg.

(Yeah~ So what's "go - lo g8va - - - - ~ ~ - ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ - ~ ~ - ~ ~ ~ ~ ~ - ~ ~ - ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ - ~ ~ - - - ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ - ~ ~ ~.- ~ - ~ ~ ~ ~ ~ ~ - ~ ~ ~ ~ ~ ~ - - - - - - - -

~ . . . . . . ~ ~/

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(pick scrapes)

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OR. )

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83



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84



NOTATION LEGEND

B va . .. .. .. .• - - , Bva - . . • . .. .. . . - , Bva ~ ~ - ~ - - - 1 8va - - - - - - - , 8va - . .. . - . ... • , &va • .. - - - - - - - .. - - • - , Bva - - ... . - - - , 8va - - - - - - ~ ~- - ~~- - - - - ~ ~~- - - ,

~~.~~~~~~~~~~~~~~~~~~~~ __~.~~~A~__~~~~~~h~~A~/\A~ - = - - - - ~ ~ ~ , . . . . _ j . . .~--t+--. ......:,.. . J ........ jill·.... ~ . _ - - + + - _1 • _l . . . . .-_-+++"'111/ - .. . \~ I \ ~~---+I

If:k~~",.....-r:- .,; f * 1 1 . J 1 1 1 1 L - - . - - - + + - - - - . i l . , . . I - - - f - - - - - - - - - I + - - - - - - . i I ~ . ~ \-7"-'V 1 1 J I ~eJ ~~ ~.~--~~~~ __+~--~-m-~~-T~-~--;a.~-----~~----~--~----~~-~.~~~2 ..·-~---+---~

full fuJI fu l_ l - . . .. . . .. - - ,. . '- -~ fu llT '\ 4~ j' ~

1 /2

J1/2

+fullJ

I1 /2

J2. ,

.! I~ . , ;;;T . . a ._~

Ii&.

R

Bend

(half step)

Bend

(grace note)

Bend

(whole step)

Bend

(whole and

half steps)

Bend

( two whol esteps)

Bend and Release Prebend

(string bent

b e fo r e n i ck ing )

Compound B e nd a nd Release

(only first note plucked)

Sva Bv a 8va 8va_ _ _ ~ _ _ _ _ ~ A _ _ _ _ _ _ _ _ • • • • ,

~

----1 .. - - - , .. . . ,Ii

i.~ [.~{.~

J~ "" ~.- ·~ffi-

~

..; - -J.. . . . . .

'-.'1J - .. . -

.J-

3~

- - -.

full 2 ful l1 /4 full rake--t r -1 - - - - - - - - , V ---~~--- .. .

~~ "". o i l ~ ... . . . . .".~

,. .~ ,.

wIbarA_ ..tA A A

. " . o l i o ...&... . . . . . I '! J .ttIP .. "filii. A

g 0A.. -

~ I~ h' 14 . " ~..J'"g- I~ IV ' vA

A0 a

.A, 1\.. A V " . . . . .IV IV

A fA\

v~ - I . J . . v ,»<:>

Compound Bend and Release

(every note picked)

S li gh t B e nd

(microtone)U n is on B en d Vibrato Wide

Vibrato

Rake

StringsSweep Picking Vibrato Bar

D i ve a nd Return

1 \ ~ ~ ~I,

~

: f I I J ~ - . . . . . . I I

.",. "J

.I /' .L _

"'-JIJ 1 1 . / '-/ V

-." v w/bar

w/bar -1/2 -1/2 -1/2

V V V - - ~ ~. . , - ~ . . . . " " " " . . ~.. ." ;.. .. ., }.. .. . ~ .. . ~ "1'6 . . . . . .~

_ . ~ . . . . ~ . . II -. .. . , • • " "I II Ir . . "II . " .. . , II . '" I' 10 II I;;'" r-: \_

/. . . /w /. . ttl , \: ;J J

VVV

-1 /2 -1 /2 ~1/2

VVV8va .. - .. • • - - - , 8va - - - - • . ... - - , Bva - ~ - - - - - - , 8va ~- - - - - - - , B va . ..- . . • . . - - - - .. .. . . .. . . .. - • ,

Vibrato Bar Scooping Vibrato Bar Dips Legato S lide Shift S lide Pull-O ff Hammer-On Legato Phrasing Ghost Note

(first note picked only)

.. 1

~ b'~~-1\ .. • .. • A t\ • oil It i • .. + ..

f* ~: ' p = : :

;(.J " L. . . . , - -- . . .J v

~ wlbar

P ..M . ._ __ __ _ ..._ __ , ~

. . . . . .IV~

• ~

,""-

~ ., ~ p ~ ~ ~ v v v v ~ . . • . . . . . . - - .- . . . . . .v V iI W 'tI iI y itl A

"A A ~

"til i,I iJ , g \ I .)

,. . . . . . . . .

1 1 1 :21""-

Staccato Phrasing Choppy Phrasing

(extreme staccato)

Fret -Hand MUling

( pe rc u ss iv e t on e )

Pick-Hand Muting Tremolo Picking Prebend

(with bar)

Trill

(fast hammer-onl

pull-off combination)

Rv a

+Bva ~ - - - ~ ~ - . - - ~ ~ ,

+. -" x""""_ Svo -I-- Bvu - - - ' '~. r-: .".- . . . . . .

: 1 ; , . .x - .. . . . . . . .-

. . . . . . . . / ~ - - . .. . . . . . . . rr ,-

"'. . . . .~ J

"-'1, -

.J . . . . .

full 3 fu ll hold bend TA . H .Harm. P .H. H.H~T T~ ~

- .. . - - - - - - - - - - - - . . . - . _ ,u_

" " " "_ _ - - - , . . . ..... .A . . . . . . _ _ . . t . . . . .... ...A J

A - 1£ U I e . II I . . , I.e; .. ../. ".1..._"\. ...r '\I,,} .. . .,

Pick Scrapes Open

Harmonic

P inch

Ha rmonic

(w it h p ic k )

Harp Harmonic An i fi ci al Ta p Harmonic Tap-On Technique Bend and Tap-On Technique

kiss - signature licks

Documents