RS oy d ws ry frente ee y lps Tg ra Vy Guitar DMCA UE ant tea} OSAMU cea 9 SCN ates Te CM Kr) Play like the greats - today! WORLD EXCLUSIVE! Or TH BECKER ALTITUDES We tab this incredible Roa USC Sonirgersay latte Niner mae rts eee , a it RTT ga NEAL SCHON Rock's king of taste SCOT a DAVE GRISSOM Sophisticated blues CC Tatts] (1) ELON tea Dun Uea esa| Techniques + CONTENTS + DECEMBER 2009 + JASON BECKER Altitudes 24 Lear Jason's instumenta rock masterpiece. Jamie Hun SUPERCHARGE YOUR PLAYING! Lead guitar 14 suthrie Govan takes you beyond the pentatonic to boost your lead play TRACKS 9 uw THE WHO Sunrise. Play thisgcrgeoussolo. TRACK? WELCOME 3 ALBUM REVIEWS. 88 ‘Nev introduces this montis special ears “his montys CDand DVD review ‘TALKBACK, 6 THEORY GODMOTHER, 90 Indugng Sar Let Gara asngetecncl pion USER GUIDE 2 Howto use out tab an notation i Banger ou andere ‘TEACHER DIRECTORY 56 Seder aback copy eck out out dre A Guitar TechniquesVania Jason Becker onTHEGD & TRAcKS 10-11 Jason Becker's story is tragic, yet inspirational. This month Jamie Humphries hits the heights with a track that has been called the greatest piece of instrumental rock guitar ever recorded... Se @@@@@ Advanced KEY: Bm TEMPO: 78 bpm CD:TRACKS 10-11 1 Advanced rock techniques 1 Oriental phrasing Use of ed time signatures MANY GREAT GUITARISTS emerged from the Sosshred era, but possibly the most gifted ‘was Jason Becker. Becker's eompositions included complex progressions, arrangements and time signature changes;and also Showcased his immense abilities on the guitar; made even move amazing by the fact he was ‘only in his mid teens when much of his material was recorded. Jason was born July 22nd, 1969, and began playing gnitarat the age of five. He became totally immersed in the instrument, practising for hours and finding influences in players as varied as Bob Dylan, Stevie Ray Vaughan, Jeff Beck, Robbie Robertson and Eric Clapton. Jason practised for hoursand ‘advanced quickly, and even ata young age performed at school and coffee houses. Ashe progressed the influences came more from technical rock guitarists like Eddie Van Halen «and Yngwie Malmsteen. But healso became Interested in classical composers such as Bach, Paganini, Stravinsky, Philip Glass and Bartok, as well as muse from other cultures including Native Ameriean and.Japanese. Byhis mid teens Jason had reached such a level that he was even giving his music teacher lessons ~ he could play practially anything “This is highlighted by a jaw-dropping home video of him performing Black Starby Yngwie Malmsteen at a school concert (you can find it on the Legendary Guitar of Jason Becker DVD, which also includes other astonishing, home videos of the young shredmeister), ‘When just 16, the young prodigy caught theattention of Mike Varney of Shrapnel records. Mike paired Jason with Marty Friedman to form the speed metal guitar duo, Cacophony. Theband’s debut, Speed Metal ‘Symphony was released in 1987 and scored highly within the guitar community, the 16-year-old Becker earning legions of fans. Jason in turn became influenced by Marty, ‘whose love for the more exotic approach inspired slight Japanese tingesto his melodies ‘and phrasing, In 1988 Jason released Perpetual Burn, his finest hour.’The all-instrumental album boasted eight tracks ranging from the ‘anthem-like melodies and flawless arpeggios of Altitudes, to the blistering riffs of Temple Of ‘The Absurd and the clean, ethereal, multi- 46 By his mid-teens dason had reached such a level that he was even giving his music teacher lessons - he could play practically anything 99 layered counterpoint classical piece, Air. Inthe ye year Cacophony released thei final album, Go Off, which also included another amazing Becker-written piece called Images. During Cacophony’ finaltour of Japan, Jason developed cramp in hisleg that ‘wouldn't go away ~and at exactly the time he ‘was invited tojoin Van Helen voealist David Lee Roth's band, replacing Steve Vai. Becker doctors diagnosed ALS, Amyotrophic Latera ‘Sclerosis, o Lou Gehrig's disease,a degenerative illness that eventually paralyses thebody. He was given only ive yearsto live, but continued to play and complete Roth's album, Little Aint Enough. Jason became ‘weak duringthe recording sessionsand struggled to even play the guitar. By the time the album was completed he was walkingon sticks, He returned home and began recording, as much musicas he could, and as hishands began to seize up he worked moreon keyboardsand computer. Now ina wheelchair, he could barely maveat all, and began to operate the computer by wea visor thathe nsed to move the mouse. Yethe ‘was able to compose a newalbum, and with the holp from someold guitar tracks, other ‘musicians, friends, and fellow guitarist Michael Loo Firkin, it was released in 1995, Eddie Van Helen secured the release of thealbum on ‘Warmer Brothers, and in 2001 Jason's music could again be heard by the world. ‘As his condition deteriorated Jason lost the ability tospeak, but with his family devised a system wherehe would spell words with hiseyes, Healso could hardly breathe, and eventually needed a tracheotomy. Yetie still released more albums: The Raspberry Jams and The Blackberry Jamsarea Collection of previously unheard demo recordings that really gave guitar fans ‘chance to hear how Jason developed and ‘TRACK RECORD Checlcoutall of Jason's rocerdings from the Cacophony material - Speed Metal Symphony and Go Off and of course his. solo albums Perpetual Burn, The Raspberry Jams, The Blackberry Jams, Perspectives and Gollection, plus A Litle Ait Enough with Dave Lee Roth. Also available are tribute albums, Warmth in Tho Wilderness, Voll, and Vet Il, featuring Vinie Moore, Paul Gilbert, Steve Vai and others. 24 GuitarTechniques Decemb= 2008i,BY DRUMMER ATMA ANUR ‘worked with MkeVarney extensively fom !985to about 1999 recording around 18 CDs forthe Srvapnel uta abel and met Jason when wasjust 1 1988, Mike ret inttoduced eto Marty Friedman, then we Sottegether wth lazan and began working on 3 new projectuhich wat to bocome Cacophony’ was aleady Working ith Peter Marino ina band called Le Mans Jason andi hit tof quite well andhada wonderful and {reatve couple of veers working together. found Lethe mos naturally talened of Mikes many Ineredibie guitar lscoveres. He wos already ovituosoin terms oftechniguewhen wemetandhe very {uel aboroed my polyrhythmic fluence We began working with various od time signatures and odd Sroupingsin a heavy metal ormat.lacon was aways upfor any new challenge andbrought gretjoyand ‘cxementto some pretty hard work The Perpetua! Burn sessions were amazing:it ‘wasjusteson andme nthe studio nite Varney and Steve Fortanoin the {enttolroom. lotsofhardwerk done vary quicey with baialy norehearea Mice od toworc per fastin the stuca Iason shoneddmse parte and ieame un withthe approprate crums.wrotery chats and we were ff lke brought the best out of beth of usforsure and tink Perpetua Burn some of my bet workFor Mike Varney. (Ofcourse, despite acon nes to this day he continues towrte amazing music and havea nonderf postive andinspringatttude What a blessing constructed ideas. In 2008 he released !hingsas closely as possible to what he play Collection, which included re-mastered older songs, plus newly written material by Jason performed by Marty Friedman, Grog Howe, Joe Satriani, Michael Lee Firkins, Steve Vai and Steve Hunter. Although today Jason cannot move or speak, he is able to communicate with his eyes, sohis father ean ‘was thinking; then using Logic, he edits the {deas, gets together with (my friend and co-producer), Dan Alvareze and works on arrangements and sounds. Musician friends ‘then record the parts ‘Jason also now has a signature instrument ‘courtesy of Paradise guitars. It is based on his JASON BECKER: natural finished Peavey guitar, which features brightly coloured pickups and numbers onthe fretboard. Also available is aJason Becker signature distortion unit, produced by Pro. Tone Pedals, which features adesign painted byhis father. Jason also hasthe ‘aforementioned DYD available through Hollicks (The Legendary Guitar Of Jason Becker), which includes an entire clinie at the Atlanta Music Institute. There are also performance videos and some amazing home video of avery young Jason. Jason Beeker isan inspiration to anyone. Even with his disabilities he says he is blessed. T received the following email from him when Tinformed him that we were running his track in GI. Despite all his difficulties he got back to ‘meand told us this about the number: “I used my white and black Hurricane guitar wit Marshall 1o0-watt amp and Boss Super Overdrive pedal. For the clean parts Iwent direct. I was very inspired by Marty Friedman and Eddie Van Halen, also abit by Jorge Strunz andthe musical Phantom Of The Opera by Andrew Lloyd Webber. I wanted this tune tohave a mix of my style of shredding, and emotional gut-wrenching melody -1 always loved it when Jeff Beck and Rey Buchanan would play beautiful melodies and ‘cry’ with their guitars. Talso loved Yngwie's interpretation of the Albinoni piece and wanted to incorporate my newfound arpeggio technique. Allof this makes it sound like 1 thought itll out before writing i, but it just came out of me-it was all anatural progression." Thanks, Jason. i TECHNIQUEFOCUS LINKING ARPEGGIOS In thistrck there are many greattechniques but fone ofthe mest aificult yetharmonialy Entisying ithe ue ofarpeggies strom ‘watching JasorisVO yougetanidea this thought processes and the fact hat he uses some Eighty cliferentngeringy leas ater close feamination ofthis piace tat realised Jasondhc Some pretty unusvalshitscurng shapes to perform is arpeggios. Sometimes heusesen ‘Sporcach that males thearpegge slighty nhnarctostartwith butonce you hngersare accustomed this new approach theyare Gefintely moredefine ard tismay abo allows {youto play sequence: asopoosedto svaight Becendingand descending ines. Jaconuses oth ‘ajorand minor versions ofthese shapes ané dissects them playing them not only 3 larger Shapes covering the entrefretboard, butas {malerbite-278 tad that he perform in sequences To perform this rack mith 23:21 would advise looking atthe fve CAGED e"pequioshapes Tostortnith nether breaking temdowninto ‘thesathrae shapasthatare ear to snopits alco ‘erthmentioning somaot thesighty unusual arpeggo types Jason usesinthistack, including Binadd9, neds |, Baus2iaddl andan A7eu34 Jnsonalso makes uso ofomeintoesting sequences Inking climnisned 7tharpegaios Marty Friedman wastne obsousinfluence here, 50 formoreonitisbesureto checkoutaneaty Marty Instructional video alee Exotic Metal Gul. » December 2009 GultarTeciniques 25,PLAY: SHRED : | TBars 1-91The main intro section is based around the Bharmonic minor position-shifting three-notesper-tring lines. scale (6 CD EF# GAA), fast neo-classical gures and wide vibrato. Pay {Bars 10-19] Here we see the introduction of a6/B time signature, ‘attention tothe string bends and notice how Jason makes them sound _with the tempollifting slightly. Once again more dramatic Bending and ‘dramatic by loweringa bend by a semitone before returning IttOp\tch. aggressive vibrato al included in our melodic theme. Pay attention to | Bar9includese very tricky violin style ick based around some stiingand the whamnmy bar scoops during the slippery legato phrase at ber! om Fteuss " Lap GEEEUt Nspiasises alles oe pe ee wm asierton & delay Bu Gee (82) 182} 2 tet Buby, eT eGi7)— et 27 5 Hie Pen Por Pon ey aU | BD BO (BO aU BD Be ar KD OMT — ee aT Ae) ra eu. aU puso | Fea aTHt6)647) Sag OHO 00) sae 26 GuitarTechniques December 2009[Bars 20-35] The clean solo savs the piace shifting back o.4/4time. “This section hasan almost D'd tone, and makes uses of some Japanese Inspired phrasing ana whammy bar viprato. Tako cate at bar 35 where we kickin the heavy distortion and conclude this section withafast V/l6th note tripletharmony picking sequence, SS, Bu 80 Bu 4 aS IMIS to) — Tata pF — Tatoo — 10 oc cw Fteuse Em a Bu weer Feo wba G0) —Hohnarta 40-10-4048 — = yoar PONY pd Bo eu = aa) Pe Re | EDD) OLD, (1a) i514) —(15)—tta)— 12-14-12 <0 a} Decemiver 2009 Guitar Techniques 27PLAY: SHRED owmisco © tracks 0-1 Gas ceoreren [Bars 36-47] This arpeggio section very difficult, so be sure to ‘approach itin small sections and at a slow tempoto start. Allofthe _arpeggios should be performed with sweep picking, Be suretoread ‘upon the arpeggio section in our Technique Focus (page 25) as this ‘lscusses Jason's approach. eu Pe ooo 40-(11) ——@7-ON} 97-97-68 T OT Z SURRRY URRR SOVRRRVY VARA 7 é % 5 101410101810. 401470 1014) 5 “i a1 1a a1 5 ° i 1 a a sen i g 2 —— & feat (RRR 1744- 441744. 441078. 441794, 1 ts a 5 7 a ne +28 GuitarTechniques December 2009‘JASON BEGKER: §1/1/UDES 49-52] Some fast scale lines here, so once again make sure you this into small sections and gradually Bulld up the speed. Also take with the many position shifts during these extended runs and pay on to the 2/4 bar at bar 32. [Bars 53-60, next pagel Thisnext theme has a Japanese sound and 's, ‘sequence based around the B Hirajoshi scale (R 2b3 5 bé -BC# OF# {@) This sequence ls very difficult to play at speed, 3o break itdown and practise slowly to start with. This section concludes with more extended Scale runs that cover large portions of the neck. Bm Gm am Bim tte afeethatfPe 3 P 6 6 101414 40——1540——1410-—150- 1 gee ge Oe 2 BVY \mmRRR V VME V\ VaRRRRy ; x iS Epp eet teeter ia 6 - . 4540 401510 40154010} 1742424742 aaa gi, th Fi ei, —ianeaar6 1 = RvRV VRVR v (g)- “71917-471929) 16186161819 Tarte 161710 ee ire erro mo Vmymy aye December 2009 GuitarTechniques 29[Bars 61-681 Things slow downa little here, so time to catch your breath before the onslaught begins again - see how Jason introduces dynamics | bynot simply going att ke a bull ata gate. This section Includes some Interesting whammy bar diving ideas at bars 67-68, = OBOE 1 Fis Bs — 1010-7 7 FanJASON BECKER: ALTITUDES [Bars 69-84] Another arpeggio sequence, but with the sixteenth- ‘note rythm this section is alittle more manageabl Jason does use ‘some rather unusual arpeggio types and so there area couple of ricky moments. Once again, take it slow and steady at fest es Bs Fuuns e eu eu arti9)-17—15—1g— ya (15-1412 — yr (1412-10 mv RRA 211 VARAY Ve ‘emagas 101410 — 10 1410-5 10-—1210- eg ee ey 101d 141814191818 7 5 ne plete sate, oS December 2009 GuitarTechniques 31ONTHECD (TRACKS 10-11 Ene Dare [Bors 85-92] Here's a blues style solo from Jeson,usingnotesfrom the executing some slippery legato lines and more sweep picked arpeggios. Gt minor pentatonic scale (G# 6 C¢ EF). Pay attention to the use of Take care with the fast position shift, plus the whammy bar scoops: pinched harmonics and palm muting in this section. between the legato runs. This section concludes with a deadly run, 50 [Bars 93-104] Here we head backinto neo-classical teritory, with Jazon _tackleit slowly and break it down into smaller sections ifrequired. Beus2ecttts om tam | (=. sotanci0rs TFET a io) — 91 OSI Pee ere eT '32 GuitarTechniques December 2009ALTITUDES, 408} There are come pretty scary ampeggio ideas here. {Bars 109-170} A fast harmony picking sequence links the two sections attention tothe fast position shifts during the two-barG here. Take care when counting this section as ituses a7 time signature. Toe ers aT Oy (oa 9 910-% = aaa RO rT AY—1STE ta 0a ia0% December 2009 GultarTechniques 33ONTHECD (& TRACKS 10-4 | 5 111-132] The outro melody includes more Jepanesesiylelines. [Bars 133-134], bistering fee-timeB Aeolian un (R334 5 b6b = To perform this section swing the whammy bar round soithangs off CF DEF#GA) concludes tings plus more whammy bar scoops inthe “the backofthe guitar The bars then pushed back, moking the note rise final descending line. Tiss one ofthe mest difcul racks GT has ever slightiyn pitch Use feting hand hammer-ons,leavingthe pking hand transeribed, 0 exteme care should be taken when tackling it-ony {rae to manipulate the bar. ite Steve Vol influenced. Aiscomfert rest for afew minutes shake out and resume with caution. sei3)— eis Se — IT 34 uitarTeehniques November 2009