It Was 2O Iears Ago TodaY by
Andi Ostrowe
The Punk Rock scene in New York was in full force by the mid-seventies. Those that laid the foundation of that music were the Velvet Underground, the New York Dolls, Detroit's MC5, and the Stooges. Emergent with the music was the art, literature, attitudes, and fashion of the New Wave (as it was called). Just as important as those things were the places people played. Entrepreneur Mickey Ruskin started Max's Kansas City. Hilly Cristal was convinced by local musicians to transform his Country Blue Grass Bar on the Bowery into the legendary and still reigning CBGB's. A growing number of clubs gave local New York bands easy access to play music and go out and mingle. Every night was new wonderment. The scene was intact. 1975 around New York City. Lou'Reed (Velvet Underground) and Patti Smith (who had been reading poetry at St. Mark's Church and performing her series of Rock 'n' Rimbaud performances at lounges like Reno Sweeny's and Trudy Heller's and was adding music to her
A flux of bands began emerging in
words), have been labeled the innovators of the New Wave. They gave new meaning to the marriage of poetry and music which, because of a few ripped t-shirts, sneakers, stenciled words and safety pins, became known as Punk. Individuals from the Dolls, the Velvets, the Stooges, and MC5 originated their own bands and the roster of new bands developed into the Heartbreakers, the Dictators, Sonic's Rendevous Band, Iggy Pop, Lou Reed, David Johansen, and others. Then came a barrage of newer energy like the Ramones, Blondie, Talking Heads, Television, the Voidoids, Tuff Darts, the Cramps, the Mumps, the Dead Boys, and many others that populated the scene. While the first wave of New York bands got signed to major record labels and left New York to go on tour for months at a time, new bands kept forming. Across the Atlantic, a powerful British punk scene was dominated by bands like the Sex Pistols, the Buzzcocks, the Dammed and the Clash.
The music was like a wall of sound. There wasn't the technology there is today. There weren't rack mount effects. MXR, Cry Baby, and Electro-Harmonix pedals were available and widely used. Echoplex and Space Echos were bulky but essential. Loud, driving rhythms and three-chord rock were the predominant elements in punk. The New Wave was about the freedom of expression. It was rock 'n' roll getting back into the hands of the people. It was created by people who came out of an era of big rock stars like David Bowie with big stage shows, laser lights, and fancy frills. It signified taking the music back to the everyday person who didn't depend on money or fame to express themselves. Look at Elvis Presley and the musicians who were his contemporaries. They were farm kids. Then there came the corporate music world of show businessmen, agents, managers, lawyers, conffacts, media people, and obligations.
Every generation needs a form of self-expression. Punk tried to break that barrier of rpck stars and celebrities. No one was unapproachable. The music and ideas were always accessible and ever present. Performers on the stage were like the people in the audience. Johnny Rotten WAS the kid staring him in the face (so to speak). It was the freedom that kept it going. The possibilities seemed limitless. There were no resfraints on creating art. There was no jealousy. It was about camaraderie. Then the cycle of the businessman started to take over again. The current "alternative" or "grunge" rock may be the '90s wave of freedom'
Certain poweful individuals remincled people they cotild do it too. It u,as about giving room to netv people. The torch is constontly changing hands. You gotta keep passing it.
-Patti
Smith FebrtLarv 1995
ANDI OSTROWE is the Guitarist with Purple Rising. She worked with the Patti Smith Group 1916-1979.
6
The Ramones レ ー ト ト ー ー ー
of America's gleatest punk bands' They took The Ramones have been acknowledged as being one repetitive tfuee-chord drone with a btigttt" punk music to a new dimension by combiiing an intJnse and (born Jeffrey Hyman-vocals)' Johnny Ramone (born provocative melody. The Ramones: Joey Raione (born Douglas Colvin-bass) and Tommy Ramone (born Tom John cummings-guitar), Dee Dee Ramone in 1974. They met in high school and shared Erdelyi in Budapest-drums) first played in New York city Holly, and fun' They quickly built a strong followcommon interests in comic books, surf music, Buddy and landed a record deal with Sire. They ing in New york with their intense, speedy pop-punk songs of five albums in three years' .eieased their first album in 1976 and pressed a total
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The Ramones
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L.A. Punk Scene
Ｉ Ｉ Ｉ Ｉ Ｉ
part, based on a three-chord rock founThe musical style of these punk bands was, for the most if used at all, were often brief and dation, incorporating hundreds of chordal variations. Guitaffolo', were short and fast, much like the two- or usually played in a rock 'n' ro11 style. Most of the songs
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threc― IIIInute Songs of the BritiSh invasion bands.
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Angeles where bands such as the Go1978, The Mask became the popular punk club in Los The Mask was a starting ground for up-and-coming GO-s, X, the circle Jerks, and the s"r"ame6 played. anti-social style: broken glass' grffiti' punk bands. Its decor and atmosphere tru1y represented a violent, years later by the chamber of commerce and and holes in the walls. When the club was closed a few new stomping ground for the punk scene' the Fire Department, The Whisky A Go Go became the
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British Punk Scene The Sex Pistols During the mid-1970s, Great Britain was suffering from one of its highest unemployment rates WWII. This, coupled with a rising cost of living, caused a mood of discontent among the working class. The youth, especially sensitive to the bleak outlook, easily associated with the pessimistic, antisocial, and nonconformist music of the New York underground scene that dramatically deviated since
from the primrose boy-meets-girl of popular music. The members of the Sex pistols, brought together
by manager Malcom Mclaren, were all from poor working-class areas of London. Though never musically trained, they had all been arrested for criminal activities and found music an appropriate outlet for expressing their hostility.
The Sex Pistols played at St. Martin's College in Nov. 1975 for all of 10 minutes before the audience, offended by their crude social realism, pulled the plugs. Posing as the opening band, The Sex Pistols continued to play the college circuit. They were usually thrown out before completing a set and never received any pay. However, they developed a significant following that would show up when the word was out that the pistols would be playing. In the summer of l976,the Sex Pistols were engaged to play Tuesday nights at the 100 Club in London after being banned from almost every club they had played in. By this time, their following had greatly increased and their fans attended performances dressed in a create-it-yourself fashion style of slashed and shredded clothing garnished with safety pins and colored or spiked hair, shocking general audiences.
In October 1976,EMI offered the Sex Pistols f,40,000 to release their first single, ,Anarchy in the UK." In December, they were dropped from the label following an appearance on a prime-time family news and talk show in which the Sex Pistols' aggressive attitude and demeanor created a public outrage. The single made the British pop music charts and sold 55,000 copies even though it was
banned from British radio after only a few plays.
In February T977, GlenMatlock was replaced by Sid Vicious, and in May, Virgin Records, then a small and experimental label, released "God Save the Queen" at the height of the eueen's Jubilation Celebration. Despite the BBC's ban on the song and the bad press, its popularity took it to the top of the British music charts, where it was sometimes listed as a blank space. Before the end of the year they released their first album, "Never Mind the Bullocks, Here's the Sex pistols.,, in the UK and the US.
The Sex Pistols disbanded in early 1978 in San Francisco, on the last stop of an American tour. This event, followed by the stabbing death of Nancy Spugen, Sid Vicious' girlfriend, and his overdose shortly thereafter, marked the unraveling of the punk movement. The Sex Pistols became one of the most recognized Punk bands of the seventies, but they were not the only band setting new standards and breaking down barriers in the UK and the US. The Clash, Siouxie and the Banshees, theBtzzcocks, X-Ray Spex, Generation X and the Lurkers, among others, were successful punk bands that developed in England at the same time.
8
PUNK CH{]FT]S Punk Ghord Forms And Fragments
*
Punk chord forms are often ,n" keys of A and E. Usually the chords are broken into fiagments. Fragments are two note dyads, expressed as power chords or 5th chords. 5th chords are made up of the root and 5th note of the major scale. For instance, in the key of A, A is the root and E is the
12 fl
7 fl
Ｈ
E(♭
ｉ
7 fl
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２ ・５一 ¨中中］］］︲
崎ｘ ス一一 ２ Ｗ
翻 上翻 Ｌ翻
5th. The root is the lst note of the major scale, and gives the chord fragment its letter name. The 5th is the 5th note of a major scale and is played along with the root, giving the chord a strong sound. The notes A and E played together are called ,{5. The most commonly used 5th chords in punk styles are ,{5, E5, D5, and 85.
5)
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13421
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‐ 翻 囲 134211
叶 翻 蹄 叶 醐 翻 1333 A5
13
132
A5
A5
A5
124
A(♭ 5)
‐ 国 囲 鰍 134111
13421
9
――
132
134211
D5
D5
13
2
Dsus4
G5
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翻 134
対 断 竹
133
Dsus4
5 fr
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234
ｉ
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翻
汁 翻 術 翻
3111
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12
12
3411
断 翻 断 熙 G5
G 12,
134
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F5
10 fl
1
l144
Open Position Chords 一 ∞ 一 ¨ 中 ¨ 一 ］ ］ ４
３
l
Open Position Chords Open Position Chords In E This example uses two open chord forms of E and A. Open chord forms are played by picking the open strings with your right hand. Let the open strings ring while fretting the remaining chord tones with your left hand. The open string is usually the root of the chord. This example also contains a turnaround. A turnaround is a closing phrase based around the five chord (B5) of the scale, resolving to the one chord (E). The turnaround in this progression begins with the power chord 85. power chords are made up of the root and the 5th of a major scale. In this example, they are played on the 4th and 5th strings. 10
◆
Exalllllel
A#s
Bs
Open Position Chords in D
This example uses three open chords: D5, G and 45. The roots of the D5 and ,{5 chords are played in the bass. The root of a chord is the note that gives the chord its name. The G chord is played with three open notes: B on the 2nd string, G on the 3rd string and D on the 4th string. Exalllple 2
D5
門
門
間
門
目
目
目
目
Ascending Half-Step Chord Slides The half step is equal to the movement of one fret up or down the guitar neck. In this example, G#5 shdes up one fret to 45. To slide, press the strings down, maintaining the pressure with your fingers as you move up through the frets, sounding the ascending motion of notes as you slide into the next chord.
Example 3
Gfs
As
c#s as
c#s
c#s os
Ascending Whole-Step Chord Slides In this example, G5 slides up two frets (one whole step) to ,{5. Example 4
G5 1./
,A5
G5 A5
A5
A5
C5
D5
D5
c#s ns
Descending Chromatic power Chords
Q
nxamnte s A5
Power Chord Eighth口 Note Rhythm Example 6
nr
Iflanhattan's CBGB's was one of the first clubs to allow punk to be performed. Bands to emerge from the New York streets and into the punk scene were: the Cramps, patti Smith, Television, Richard Hell and the Voidoids, the New York Dolls, the Dictators, Blondie, Tuff Darts, Mumps, and many more. . .
13
PUNK PftOGFESSI{]NS to Bbs Power Chord Progression
E5
The flat 5 chord is often used for a sinister, heavily distorted shock sound effect. In punk, the perfect 5th interval (E to B) is usually followed by the flat 5th interval (E to Bb). Example 7 B♭ 5
B♭ 5
Speed Up
G5
E5
to
E(bs)
This rhythm pattern uses a.palm mute. A palm mute effect is created by placing the palm of your right hand against the strings near the bridge. Pick the 6th, 5th and 4th strings while holding your palm down hard against the strings near the bridge. Press your palm down hard enough to achieve a muffled, chunky sound.
Example
Es
I E(is)
PM______1
A5to B5to E5 Exalllple 9
A5
B5
P Nl______J
PUNK RH・ イTHMS
Punk Beatl Example 10 E5 A5
Punk Beat 2 Exalmple ll
E5
F5
E5
F5
E5
E5 F5 E5 F5 E5 F5 E5 F5
Punk Beat 3 This example uses a tie on the upbeat ofthe 2nd beat,leaving the 3rd beat unaccented.
Example 12 く 1)〉
D
Fritish punk
bands began in London and Manchester. Some of them were: X-Ray Spex, Siouxie and the Banshees, Generation X,999, Sham 69,the Lurkers, Alternative TY the Sex Pistols, the Clash, theBuzzcocks and more. . .
15
Punk Beat 4 This riff uses a hammer-on effect. The hammer-on effect is sounded by picking one note and then letting your left hand quickly press onto the next note without picking. In this riff, hammer-on from the F#on the 6th string, 2nd iei, to the G on the 6th string, 3rd fret.
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E*u-pte t3
7'--z
Punk Beat 5 This riff is similar to punk beat 3. It differs by using power chords and eighth notes on the 3rd and 4th beats. Example 14 C5
Ties Across Bars Ties connect notes together in time. Two eighth notes tied together equal one quarter note = J)' ttre following 45 and E5 power chords use a tie on the upbeat of bear 4. In the 1st measure' the lst beat is accented and in the second measure the
(tl-l
1st beat is not accented.
Example 15 A5
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丁
す
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丁
丁
丁
Syncopated Rhythm This example uses syncopated rhythm. Power chords are struck on the upbeat of each beat (1 & 2 & 3 & 4 &), the downbeats are eighth note rests. The rest is a moment in time where the guitar does not play. Example 16 A5
Modern Day Rhythms Exalmple 17
E5 B5 D5
目
E5 B5 D5
目
V
V
目
C5
V門
日
間 V
SOLO SCALES The following scales may be used as solos for several chord progressions. For example, A minor pentatonic may be used against an ,{5 power chord. Try rearranging the notes in these scales to create your own solos.
A Minor Pentatonic-Background chords: As
or A minor
Example 18 8ソ α
E Minor Pentatonic-Background chords: Es or E minor ◆
Example 19
楊 unk arrived in San FranciscO,califOrnia abO:￨」
the Nuns,the Mutants,the Dcad Kcnnedys and I
18
j[1キ
:::me ofthe bands were:theAvelgerS'
F#
Minor Pentatonic-Background chords: FiS or F# minor
Example 20
A Major Pentatonic-Background chords: A major or AS Example 21
Most punk solos are based on pentatonic rock 'n' ro11 riffs. The A minor pentatonic scale (A, C, D, E, G) and the E minor pentatonic scale (E, G, A, B, D) are the most widely used.
reen Day, a Berkeley, California based punk/alternative rock band has sold over two million copies of their debut disc, Dookie.
. Guitarist: Billie Joe Armstrong . Bassist: Mike Dirnt . Drummer: Tre' Cool
19
SOLO丁 ECHNlaUES Unlson Bends To play a unisOn bend,place the lst finger of your left hand on thc 2nd string,10th fret note A.
Then bend the 3rd string,12th fret note C}up till the string reaches the notc A,one whole stcp abOve. The whole step is equaltO the sound oflnoving two frets up or down on the guitar neck.In this exaln―
ple,bending the stnng up is thc cquivdent of moving twO frets up.For an added effect,vibrato the bent A note held with your 3rd fingcr.
Example 22 A Note
バ」 ハ
Rock'N' Roll Solo With Half-Step Bends This rock 'n' roll solo uses a bend on the 3rd string and a dyad (two notes played at the same time) on the lst and2nd strings. To bend, place your 3rd finger on the 3rd string, Tthfretnote D and push up about a quarter of an inch: the D becomes DH. Then bar your lst finger across the 5th fret, 1st string A and 5th fret, 2nd string E. Play these two notes at the same time. This type of lick was popular in many of Chuck Berqr's solos. Example 23
Punk 4ths The 4th has a floating,outer space feel to it,as wcll as a shattp rOCk'n'101l so10 sound.The 4th
sound is created by playing the root of a scale and the 4th degree of the scale at the same time,or in
sequence.In the key of D maJor,thc 4th is G:1 2 3 4 5 6 7 8
DEF♯
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25
Morch 2, 1941 Lou Reed is bont in Free
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Rock'Nワ Ro‖ 4ths Exa】 mple
26
Jumping 4ths
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PUNK STYLES Punk Surf Surf sounds have been used by Dick Dale, the ventures, the Beach Boys and many others. This combines a punk hammer-on technique with the E phrygian major scale. rrre E phrygian major scale is made up of the notes E, F, Gil, A, B, c, D or D# and E. In measure 3, the high notes E (rzth fret)' F (13th fret), and G# (16th fret) each pull off to the lst string, open. In measure 5, a natural harmonic is played where the 24th fret would be located. Natural harmonics are played by lightly touching the strings directly over the frets across the bar.
riff
◆
In this example, hold the F# on the 6th string, 2nd fretwith the the 6th string and let your left hand,2nd,finger hammer onto the
tr, nng". of your left hand. pick
G note, 6th string, 3rd fret.
︲ ｒ ｔ Ｇ
Example2T
E Minor RifTA
E Phrygian Major Gtr. 1: W Riff A, 2 tfmes, simile
Punk Reggae Reggae rhythms are found in many punk songs.
The accent (>) represents
a chord or note played louder, or more staccato
(') than'the surround-
ing notes. The note lengths are often shortened and the right hand palm is used to dampen the strings, producing a chunky sound effect. Example 28
C '(ふ 1
V
目
V
x (. ) - stacatto
門 V V tt V V ―――――一―――――――――――――――――――――――――――――――一――――――――――――――――――――
tt
PM________― ―
(p1ay notes
briefly with sharp pick attack)
Punk Reggae Variation
目
目
V
PM________―
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目
V
間 目
V
V
門 門
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Punk Rock'n'Ro‖ Exalmple 30
A
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Bruce
Punk Bass Line ThisexampleusesastandardI-IV-Vbluespattern(A-I,D=IVandE=V)alongwitha1950s style bass line. Power chords are added in measure 9 to give this ending a strong feel.
Example 31 A
I 979 Tlte Dead Kenne
release their debut album, Fresh Fruit and Rotten
,6
Mystical Cult Punk Mystical, or cult punk sounds are often slow and tribal. The music uses 5ths, octaves, phrygian and harmonic minor modes. The vocal parts are usually chanted an octave higher than your normal voice register. The vocal pitches are sometimes processed through an octave harmonizer for an eerie effect. Example 32 Slowly
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1979 Blortdie has both "Heart
glglli
and "One Way Or Another," at the
of the charts.
a
a-
COMPLETE SON6S
The Go― Gos
Pop Punk This example begins with a half-step power chord slide from D#5 to E5. The verse melody uses notes from the E major scale (E, Fil, G#, A, B, Cfl, D#, E) followed by a relative Cil minor chord section descending to G#5, then ascending to ,{5, 85 and back to E5. The bridge section uses a unique power pop punk staccato effect using an eighth note
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alternating with an eighth-note rest (7) in
sequence.
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33 Fast (bass)
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ofis Bs
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28
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as
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Dfis Es
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ps
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ps
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ss
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es
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目
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目
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ods
rs
nfls
Bs
ofis
ps
ofis
rs
nils Bs
―
o#s Bs
o#s ps
Dils
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nfis
Bs
o#s us
o#s
32
Es
Es
ofs Bs
Rock Punk This example begins with an introductory rock 'n' ro11 bass line in the key of G. The verse section that follows takes advantage of power chords and half-step slides (Ffi to G = one half step). The verse uses a standard rock 'n' roll blues progression (I, IV I, IV I, V ry !. Half steps precede each G, C,0 and D power chord. Next, the chorus section is signified by power chords played in quarter notes with a stop feel, followed by eighth notes. The entire introduction, verse and chorus is repeated. The second ending begins by modulating (changing keys) the tune to the key of A, up one whole step through the E5 power chord. The E5 power chord acts as a V(5) chord to the I(1) chord A. Raising the tune one whole step is corlmon in hit commercial songs as well as in punk music. This final section repeats the rock 'n' roll bass Iine, moves into half-step power chords and ends with quarter notes in the chorus section.
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34
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pfls cs
B5 C5
C5 G5 C5 G5C5
C5 G5 C5 G5C5
rfls cs
r#s cs
pils cs
r'#s cs
cfs
rfs
os
c#s os
p#s
cs
C5 G5 C5 G5C5
c5 G5 c5 c5 c5 11
D5
cs
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日
c#s ns
#-+o
c#s as
c#s es
c#s
As
c#s
n#s
As
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♯ ブ
D5 A5 D5 A5D5
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D5
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目
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D5 A5 D5 A5D5
目
A5
D5
D5
A5
D5
A5 D5
37
6UiTAR NOTAT10N LE6ENB Gular Music can be nOtated three different ways:on a mυ
s/caノ
BHYTHM SLASHES are written above the staff. Strum chords in the rhythm indicated. Use the chord diagrams found at the top 0f the first page of the transcription for the appropriate chord voicjngs. Round noteheads indicate single notes.
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A
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Notes: YB
THE MUSICAL STAFF shows pitches and
rhythms and is divided by bar lines into measures. Pitches are named after the first seven letters of the alphabet.
FE Strings:
TABLATURE graphically represents the guitar fingerboard. Each h0rizontal line
represents a a strjng, and each number represents a fret.
strings
4th str ng,2nd fret
1st & 2nd open, played together
open D chord
DEFINIT10NS FOR SPECIAL 6UITAR NOTAT10N HALF.STEP BEND: StTiKE thc NOIE ANd
up '1l2
step.
bENd
WHOLE-STEP BEI{D: StriKE thE NOIE OenO
BEND ANo RELEASE: Strike the note and bend up as indicated, then release back to
the original note. 0nly the first note ls struck.
dy 慇胤踏 認亀 謹」 lよ 誂 :'詰 鷺 ]♀
fretting hand
LEGATo SLIDE: Strike the first note and then slide the same fret-hand flnger up or down to the second note. The second note is not struck.
up one
step.'-
ANd
「… 試 鷺 詳‖ :ifendthenoteashdに ed,
WIDE VIBRAT0: The pitch is varied to a
greater degree by vibrating with the fretting hand.
SHIFT SLIDE: Same as legato slide, except the second note is struck.
GRACE NOTE BEND: StriKC thE NOIE ANd bend up as indicated. The fjrst note does not take up any time
PRE-BEND AND RELEASE: Bend the note as indicated. Strike it and release the bend back to the original note.
HAMMER-0N: Strike the first (tower) note with one finger. then sound the higher note (0n the same string) with another finger by fretting it without picking.
TRILI: Very rapidly alternate between the notes indicated by continuously hammering on and pulling off.
f"..%
SLIGHT(MICROTONE)BEND:St‖ note and bend up lμ
ke the
step
UNIS0N BEND: Strike the two notes simultaneously and bend the lor,ver no.. to the pitch of the higher.
PULL-0FF: Place both fingers on the
n...
to be sounded. Strike the first note and without picking, pull the finger off to sc_the second (lower) note.
TAPPING: Hammer ("tap") the fret indicated with the pick-hand index or middle finger and pull of,f to the note fri:: by the fret hand.
NATURAL HARMONICi Str ke the note
Pll'lCH HARM0t'ilC: The note is fretted normally and a harmonic is produced by adding the edge of the thumb or the tip of the index finger of the pick hand to the normal pick attack.
whi e the fret hand lighJy tOuches the string directly Over the fret indicated
MUFFLED STRIIIGS: A percussive sound is produced by laying the fret hand across the
PAIM MUTING: The note is partially muted by the pick hand lighfly touching the string(s) just before the bridge.
string(s) without depressing, and striking them with the pick hand.
ARPEGG:ATEI Play the notes of the chord
V:BRATO BAR DiVE AND RETURN:The
bottom to top
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.
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ingS
VIBRATo BAB SG00p: Depress the bar just before striking the note, then quickly release lhe bar.
VIBEAT0 BAB DIP: Strike the note and then immediately drop a specified number o{ steps, then release back to the original pttch.
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塾 Ａ 塾 塾 ＞
AB口
hm
-
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剛角 ‖∬ 濶 博 諦鮮 ly需
indicated by quickly ro‖ ing them frOm
HARP HARM0N|G: The note is fretted n,rmalty plCK SCRApE: The edge of the pick is and a harmonic is produced by genfly resting ihe rubbed oown ior up the string,'producing hlng.r index p]9l finger direcily above the u ,rr.utrt}l ,o,jnO.rndicated fret (in parentheses) while the pick hand's thumb 0r pick assists by plucking the appropriate string.
ITloNALMUSiCAL DEFINITloNS
Accentuate note (p ay it louder)
Accentuate note with great intensitv
Play the note short
Downstroke
Upstroke
.
Rhy.Fig.
Riff
Label used to recall composed, melodic lines (usually single notes) which recur.
.
Fi::
Rhy.F‖
l
tacet
Go back to the sign ( X then ptay untit ),
回
匠
Label used to identify a brief melodic figure which is to be inserted into the arrangement.
.
A chordal version of a Fill.
.
lnstrument is silent (drops out).
.
Repeat measures between signs.
the measure marked ,,f0 6ada,,,then skip to the section labelled,,Coda." Go back to the beginning of the song and play untll the measure marked ,,Fner, (end).
Label used to recall a recurring accompaniment pattern (usually chordal).
.
When a repeated section has different endings, play the first ending only tfre first time and the second ending only the
second time. Tablature numbers in parentheses mean: '1. The note is being sustained over a system (note in standard notaiion is tied), or 2 The note is sustained, but a new artiiulation tsucri as nlmmer-on, pull-off. slide or vibrato begins. or 3. The note is a barery audibre "ghost" note tnotr in rurorit notation is arso in parentheses),
i
ABOUT THE AUTHOR John Tapella,guitarist,transcriber and authOr9 has transcribed over 20 note¨ fO卜 nOte books fOr such artists as Stevie Ray Vaughan,Eric Clapton,Yngwic ⅣIallnstcen,Rush,Bryan Adallns,and inany others.Hc has alSo authored many best― selling music instnlctiOn b00ks On blues guitar9 m6tal guitar,五
s
wOll as a creative scries of hOw tO play classical masterpieces on elcctric guita■
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