e e Jamie Humphries throws his head bac a reks in Zakk Wyle sve 1o.Pat 1 ineducon ipa 1 12 Fat 2 inaction 1a.Pan 2 16, Batng waxk 18. Backing track 2 Tis ack may cause problems duet the fart aerate ping one oft ics meet your gt tutor: rieibescat el tei Ozzy Osbourne discovered his fair share of legendary guitarists — eis nce Fert are. there was Randy Rhoads, Jake E Lee and the flaxen haired fireball from New Jersey, Zakk Wylde! akk Wylde is renowned f all endorse. To reproduce a similar sgain with the mid ¥y of bottom end. Dberformance notes Example 1 is ort tune that and Thunder Underground the solo Example 2 isnotes from the F# minor pentatonic scale: (HA 8 Gf E fF Ga 46 way Bars 5-8 make use of fast ils that ascend on the G string and use notes from the F¥ Dorian scale (HDG AB OCH DF EF M664 5-6 wt ‘ars 9-10 feature a lick that Zakk often employs. features a repetitive idea from the F# major pentatonic scale. This would also make an ‘xcllent picking exercise, so practice it slowly to begin with Bars 1-12 also illustrate a classic Wyle lick. The iytim is based on sixteenth note triplets and uses notes from the Fe blues scale: WEA 8 C GE FF RSet Bary 13-16 feature a string skipping ide, based around the F# blues scale. Pay close attention 10 the muted notes and the semi-pinched harmonics. Te shove chord form the basis of ake Attack Bars 17-20 modulate to C# minor and feature more bluesy bends and a fast, alternately-picked sequence using notes from the C¥ minor pentatonic sea: HOE Fe Ge BO oF HDs ALT Bars 21-22 use a fast, muted ran whieh repeats in ‘octaves. This lick incorporates notes from the C¥ blues scale Bars 23-25 contain a fast sixteenth note triplet run that should be performed with alternate picking and palm mutes. Bar 24 features a string bending idea which is repeated an octave higher ‘ith a tapped note and is bent up using the tapping finger. Bars 26-12 feature an idea hase around fast ascending, diatonic arpeggios Thope you've enjoyed! this month's feature. Don't forget to experiment with some ideas of your own. gt Jargon buster 1 pal mating Palm mating 3 technique where hepa of the ‘ght hands rested om the Stings to produce 2 safer, inffed sound 1 ENENER rms LA ison ry lane on page 89Fem? Bor} Fim? Fim? ofss_glse 48| guitar techniques | october 1998fe | october 1998 | guitar techniques | 49POH POH POH H POH POH FO H FOS —— oa ee 2 + es Famr BSF Fam? = 2 gies 5 SS ee pgm ge oN Es eee eee ee ptittresceece ee et re saa SS SS HPOHFOH POH PO HPOHPO HPOPOS HPOH 4 FOH HPO PO H POH PO SSSR EOE R SESS TESTO SOS OH ETH 10110 18 19 1010 Toate tote Bore Fim Bsr Fit 4 s | HPO HPO HPO H FO PO H a lai wie wir aie wir (oe 7” ee 6) 16 mu = *(g»)- 4 4 =a — a WG 6 6 ete 88h na : BaF: BSF: tm? com7 cemr mu 46 4 We ae = ——— com as —S = okete ==S=S— fete pete ww i ig nger Ow®, ©, ©, ©, PO POP p’PO OPO PO PO PO PO PO PO ORO PO-PO PO RO AO PO ia aie i 3 ih october 1998 | guitar techniques | 53