By Dale Turner 1984, former Thin Lizzy uitaristJohn Sykes hooked {up with David Coverdale (vocals), Cozy Powell (drums) Nell Mucray (bass), Jon Lord (keyboards), and Mel Galley (gui- tar) to record a few overdubs fon Whitesnake's seventh studio album, Slide It in. Sykes, who then joined the band on tour, ‘was one of the few—together ‘with Murray and new drummer Aynsley Dunbar—to remain in the Coverdale-fonted lineup for the recording of Whitesnake's sel-ded breakthrough album, known mostly fr itis “Sill of the Night” and “Is This Love. Butinasurprise move, short- ly before Sykes compl ‘guitar tracks on Whitesnake, Coverdale cleaned house again, firing his entire band and the producer By the disc's April 196 Felease, this era of Coverdale's Whitesnake was (mis)repre- sented—both on the road and in music videos—by guitarists Vivian Campbell and Adrian Vandenberg, drummer Tommy ‘Aldridge, and bassist Rudy Sarzo. Inthe end, Sykes may have got the shaft, but a single listen to Whitesnake makes it clear who teally deserves props for this multi-platinum smash Novi letsrevist the disc's #1 hit, “Here I Go Again’—the only track on Whitesnake featuring ‘ solo cut not by Sykes but by Vandenberg. ” Whitesnake KEYBOARDFOR THE FRETBOARD “Here Go Again” opens with an elaborate keyboard passage (or “cheesy keys” ifyoure nota fan cof '805-era synthesized strings), Inthefollowing ranscription this section—which also functions asthe song’ verse accompani- rment—is arranged for guitar Since keyboard players can play low-tegister sounds, or even bass lines, with thelr left hands, and chords and melody with their right hands, adapting keyboard parts toa single guitar ean be quite challenging. Here are some gen: ‘eral guidelines First, figure out the song's ‘melody ands basic chord changes. You ‘ean do this elther by studying the tran- scription ofa piano frrangement—look- iva ing at chords in the i song’ lead sheet an arrangement con: taining only chords, melody, and song form) or by figuring tall ‘outby ear Whatever the case, pri fortize the piano outer nots in {your rangement; find a work- Ablepositionand string set where ‘you can grab both the bass line and the melody notes comfort: ably These outer notes areimpor tant because 1) the melody will most likely get buried if its not placedin the highest register and 134 GUITAR ONE « gutaronemag, om ¢ DECEMBER 2004 ee 2yfrthemeiodytohavethecom- psersintended eles is pie must be volced over cealy defined root movement ofthe howd Inve cases, 870 OF Sitferet tuning (or bot) may provide the easest—and most runcalsoluton Inothercasc, Shapes already fama (o you (Sadar bare chords and thee inversions wilds ine Once the outer voices ae fly in plac, feel fe toil the spaces Eerwcen them wh arpeos or oer gui coore nour arrangement, ost ofthe melody notes ae placed on thedndstring whe bas line landing on Strings 5-6. From an arranging and perfor mance standpoint onsier experiment SAAR ine with afew dierent ae ticle icky spoke measures 2 6, and 8 (Fg 1 thisallowe the chord to teep ing wl melody noes Sound vehead (Fg 18-C HEAVY METAL DOUBLE STOPS. During his heavy riffing In this song, Sykes complements his pinch harmonies, ballsy vibrato, find dramatic fret-hand slides ‘with erunchy double stops— ‘much like those illustrated in Fig. 2. Implying an Am? chord (A-C-E-G), these moves take notes from A minor pentatonic @-C-D-£-G, groupthemindths, andthen side themberween scale ‘eps thatare two fies apart. This tactic should work well n most ‘minor key metal is. 3} tr aren Ce ennai reeGNX4 Guitar Workstation Powered : Hf Ts Tt 9) ‘HERE | GO AGAIN ‘As Recorded by Whitesnake (From the GetfenRecoréing WHITESNAKE) Transcribed by Adam Perlmutter By David Coverdale and Bernie Marsden Verse 1 Chorus Ton" know where I'm go ‘And ere Igo again on my owa, Bat! sure know where Pve doa heel oad ye rer known Hanging on tothe promises Like adeiftee 1 was bor to walk shone, ln songs of yesterday ‘And I've made up my mind. ‘And I've made up my’ mind ‘ain't wasting nt more time, i ‘wasting oo more Une Buthere go again, Verse 3 Here go again [Fist another hearin need of rescue, f ‘Waiting on love's sweet char Verse2 And 'm pont hold on ‘Though I keep searching for an answer, For the rest of my days, I never sem to find what Irs looking fr. ‘Cause I Enow what means Ob Lord. Tray ‘Towalk along te fonelystret of dreams You give me strength to carry on, "Cause | Know what means Bridge ‘Towalk long the lonely sitet of dreams But here Igo again, Here I go aga Here go apn Here [50 Intro Moderately Slow Rock J = 92 o D> c 6 > ‘ = eit CoLVerse sob c aes: < Fs Pet ‘DECEMBER 2004» G1 The Magasin You Can Play 135Here I Go Again o pr cE c GB An (a Verse (te 1: w/ Rly Fg or 246) 9Am? Here I Go Again ToCoda @ ToCoda? @ ps nd Pe saan 7 + }. ——- SS ee Se fan wens G — ee (eed gaa af ering throng ———— prt on ng Ra DECEMBER 2004» G1 The Magasine You Can Play 137Here I Go Again DS. al Coda 1 SEF Rh Fe 2 te bs cs bs ny. a iy FLL * = 138 QUTAR OME « gutaronemap.com « DECEMBER 2004Here I Go Again (ESE) Guitar Salo (rn 24.3 6/RMOAKAL Qe) G Tori om 25: Rite BI e Dn on on en ete eT eT oe rareTerery 3 p/n. Fe. 2 9 es) DS. atCoda2 Oe duct (2 Flt [Repeat and Fade Sani oetandtl 3 bs ° Ds ———- +t DECEMBER 2004» G1 The Magasine You Can Play 138