Wolf Marshall

MALMSTEEN YNGWIE, TRILOGY. 128 pages. TAB.

Series: Guitar Recorded Version TAB
Artist: Yngwie Malmsteen

Matching folio to the album includes nine songs in note-for-note guitar transcriptions. 128 pages

Crying
Dark Ages
Fire
Fury
Liar
Magic Mirror
Queen In Love
Trilogy Suite Op. 5
You Don't Remember I'll Never Forget

OSBOURNE OZZY/RANDY RHOADS TRIBUTE. TABLATURE

Ozzy Osbourne - Randy Rhoads Tribute

Series: Guitar Personality
Publisher: Cherry Lane Music TAB
Artist: Ozzy Osbourne
Artist: Randy Rhoads

Matching folio to the sensational live album, featuring: Suicide Solution - Believer - Iron Man and more. Plus feature story and photos.

Inventory #HL 02507904
ISBN: 9780895243478
UPC: 073999079043
Publisher Code: 7904
Width: 9.0"
Length: 12.0"
128 pages

In virtually every tune, the listener can hear evidence of Randy's
elaboration and embellishment of the basic song structure with
countless additional fills, extending and intensifying existing sections
with interesting new material. All the familiar Rhoads-isms
are here but more plentiful: long, elastic bends, wailing artificial
harmonics, switch flipping, pick slides, portamento glissandi, pull off
flurries, trills and whammy bar manipulations uf all lypes. Tn
"Crazy Train" Randy elaborates on the basic song structure by
adding two solos to the form which function as intro and outro,
respectively. These new solo sections were given a freer treatment,
producing statements which were more like an assortment of fills
and noises than the constructed solos he was famous for.
Randy approached his solos in two ways. The first being a stylized
classical concept of reproducing/duplicating the melodic and
rhythmic entity intact, with little or no obvious variation. The solos
to "I Don't Know," "Crazy Train," "Mr. Crowley," "Flying High gain,"
"Revelation (Mother Earth)," "Steal Away (The Night)" and
"Goodbye to Romallce" all share this approach. The second is one
in which he paraphrases while extemporizing/improvising on the
underlying solo mood, structure and thematic content. This more
liberal attitude is employed in the solos of "Believer," "Suicide
solution," "iron Man," "Children of the Grave," "Paranoid" and
''No Bone Movies," where fragments from the original solos serve
as inspiration for further invention.
Throughout his live performance, Randy used sound effects from
his pedal board coloristically to add new dimension to the song
(e.g. the final chorus of "I Don't Know," where the wah-wah is
heard prominently as a filter sweep) or to generally enhance solo
lines and chord textures. His well-known arsenal of processors:
wah. flanger, fuzz, chorus, EQ, echo and delay was exploited to
an even greater extent than in the studio.
Included in this collection is Randy's unaccompanied guitar solo
which evolves from the closing bars of "Suicide Solution." The
elaboration begun in the internal solo hints at the mood and substance
of an a cappella spot, particularly in the usage of exotic
intervals (tritones), feedback, quick ascending and descending
phrases and whammy bar sounds. The unaccompanied solo combine
virtuoso flash techniques with melodious episodes, culminating
in a mixture of compositional and jammed styles. Key elements
in thi solo are: extremely fast minor pentatonic riffs which are
moved through related tonal centers, muted flurries, diminished
7th arpeggio out-lines, scalar, triadic and chromatic runs, double-
handed sequences and whammy bar growls and dives.
It is immediately obvious that the Black Sabbath selections in
this set were particularly conducive to Randy's style by virtue of
several aspects-the darker, quasi-classical (early Eurometal) mood
in modality and melodic content; the heavier driving rhythm feel
(much like his own riffs); and the backing chord progressions for
solos, which complemented his penchant for signature melodic rolling
scale passages and use of minor and exotic line forms_ This
suited his guitar playing more aptly than the pop-rock leanings of
his Quiet Riot material, which relied in great part on I IV V chord
progressions depictive of the major mode. In "Children of the Grave"
the background harmony for the solo is 1 vi vii, an Aeolian chord
pattern, which seems to coax out of Randy the trademark style he
developed with Ozzy. The solo to "Paranoid," again built over a
driving minor riff, combines, humorously, Chuck Berry unison bend
sequences with "outside" scale excursions, bent tap-ons and
machine-gun quick picking ostinati. A clear example of Randy
Rhoads' rootsier rock 'n' roll/blues side can be heard throughout
the straight ahead rocker "No Bone Movies," which finds him using
ideas from the basic A pentatonic/blues vocabulary effectively.
Furthermore, a solid rock 'n' roll 12/8 triplet phrasing indicative
of blues shuffle rhythm and soloing over a simple 1 IV chord progression
strengthens this impression.
Possibly the most unique and unexpected treasure on this album
is the personal experience offered the listener to join Randy in the
studio during the tracking of "Dee. "Here we share intimate moments
of a thoughtful performance, resulting in two foundation tracks being
laid down, over which he added over-dubbed voices to create the
familiar masterpiece. Admirers of Rhoads' studio technique will
appreciate the insights, informality and candor of this all-too brief
session with Randy.
In re-evaluating his contributions, it becomes apparent that
Randy Rhoads' work is still as moving and significant as it was
over five years ago. It is interesting to see the seeds Rhoads planted
take root and bear fruit in so many contemporary guitarists' styles.
His pioneering of the fusion of high-tech heavy metal with classical
and exotic musics redefined and revitalized the idiom of modern
rock guitar. For those who never had the opportunity to see or hear
this star shine so brilliantly, and for those who wish to remember,
this final encore deserves a standing ovation. We applaud you, Randy and Ozzy!
 

Believer
Children Of The Grave
Crazy Train
Dee
Flying High Again
Goodbye To Romance
I Don't Know
Iron Man
Mr. Crowle
No Bone Movies
Paranoid
Revelation
Steal Away (The Night)
Suicide Solution

128 pages.

GREATEST GUITAR SOLOS OF ALL TIME. 18 solo: Black Sabbath, Hendrix, Santana, Elvis, Guns n' Roses, ecc. CD TABLATURE

Signature Licks
Series: Signature Licks Guitar
Medium: Softcover with CD
Arranger: Wolf Marshall

18 awesome solos for all rock guitarists! Includes, 72 pages

All Right Now Performed by Free

Babe, I'm Gonna Leave You Performed by Led Zeppelin

Bohemian Rhapsody Performed by Queen

Crazy Train Performed by Ozzy Osbourne

Crossfire Performed by Stevie Ray Vaughan

The End Performed by The Beatles

Hey Joe Performed by Jimi Hendrix

Hound Dog Performed by Elvis Presley

Iron Man Performed by Black Sabbath

No Particular Place To Go Performed by Chuck Berry

Sultans Of Swing Performed by Dire Straights

Sunshine of Your Love Performed by Cream

Sweet Child O' Mine Performed by Guns N' Roses

Walk This Way Performed by Aerosmith

While My Guitar Gently Weeps Performed by George Harrison

Evil Ways Performed by Santana

You Really Got Me Performed by The Kinks

You Shook Me Performed by Led Zeppelin

GUITAR RIFFS OF THE '70s. 16 Titoli. CD TABLATURE

GUITAR SIGNATURE LICKS
HAL LEONARD
A step-by-step breakdown of guitar styles and techniques

Guitar Riffs of the 70's is a step by step breakdown of electric guitar styles and techniques featuring well-known artists such as: Kiss, Van Halen, Kansas, Queen, The Rolling Stones and more! Comes with a demonstration CD with authentic note for note versions to help the player even more.

ALL RIGHT NOW - FREE
BANG A GONG (GET IT ON) - T. REX
CARRY ON WAYWARD SON - KANSAS
DETROIT ROCK CITY - KISS
HAPPY - THE ROLLING STONES
IRON MAN - BLACK SABBATH
JESSICA - THE ALLMAN BROTHERS BAND
LAYLA - DEREK AND THE DOMINOES
MONEY - PINK FLOYD
MESSAGE IN A BOTTLE - THE POLICE
MORE THAN A FEELING - BOSTON
SULTANS OF SWING - DIRE STRAITS
SWEET HOME ALABAMA - LYNYRD SKYNYRD
TAKIN' CARE OF BUSINESS - BTO
TIE YOUR MOTHER DOWN - QUEEN
WALK THIS WAY - AEROSMITH
YOU REALLY GOT ME - VAN HALEN

INTRODUCTION
Often called the era of excess, the seventies were certainly an era of excessive change.
On the heels of the tumultuous sixties, myriad forms of rock sprang up, seemingly
overnight, and became codified. The rock family tree sprouted several new branches
including such divergent idioms as heavy metal, funk rock, jazz/rock fusion, power pop,
and progressive rock. Throughout it all, the riff reigned supreme. This volume is dedicated
to seventeen of the period's greatest riffmasters-the pioneers and innovators who
made the music and gave us the riffs that will live forever in the annals of rock and roll.
Wolf Marshall
THE RECORDING
Wolf Marshall, guitars
Michael Della Gala, bass
John Nau, keyboards
Mike Sandberg, drums and percussion
Gary Ferguson, additional drums
Michael McCarty, additional synthesizer and percussion
Special thanks to Jimmy Dunlop and Julie at Dunlop Manufacturing for the MXR Phasers
and Tremolo-Pan, Brad Strickland-artist relations at Vox amps (KORG USA) for the AC30
amp, and Del Breckenfeld-artist relations at Fender Musical Instruments.

The titles in this book include:

Layla - Derek and the Dominoes - Words and Music: Eric Clapton, Jim Gordon - 1970

All Right Now - Free - Words and Music: Paul Rodgers, Andy Fraser - 1970

Bang a Gong (Get It On) - T. Rex - Words and Music: Marc Bolan - 1971

Iron Man - Black Sabbath - Words and Music: Frank Iommi, John Osbourne, William Ward, Terence Butler - 1970

Happy - Rolling Stones - Words and Music: Ketith Richards, Mick Jagger - 1972

Money - Pink Floyd - Words and Music: Roger Waters - 1973

Jessica - Allman Brothers Band - Words and Music: Dickey Betts - 1973

Sweet Home Alabama - Lynyrd Skynyrd - Words and Music: Ronnie Van Zant, Ed King, Gary Rossington - 1974

Takin' Care of Business - Bachman-Turner Overdrive - Words and Music: Randy Bachman - 1974

Walk This Way - Aerosmith - Words and Music: Steven Tyler, Joe Perry - 1975

More than a Feeling - Boston - Words and Music: Tom Scholz - 1976

Detroit Rock City - Kiss - Words and Music: Paul Stanley, Bob Ezrin - 1976

Tie Your Mother Down - Queen - Words and Music: Brian May - 1976

Carry on Wayward Son - Kansas - Words and Music: Kerry Livgren - 1976

You Really Got Me - Van Halen - Words and Music: Ray Davies - 1964

Sultans of Swing - Dire Straits - Words and Music: Mark Knopfler - 1978

Message in a Bottle - Police - Words and Music: sting - 1979

YOU REALLY GOT ME
Words and Music by Ray Davies
Figure 15-lntro and verse
We tend not to think of Van Halen as a "seventies band" because their work in the
next two decades came to be so historically important, musically innovative, and sweepingly
influential, but it's a fact. The self-titled debut record, released in 1978, was a barometer
indicating a change of climate in the future. Just as Jimi Hendrix had done eleven
years earlier, Van Halen defined a new direction and style for the coming age in tunes like
"Runnin' with the Devil," "I'm the One," "Eruption," and "You Really Got Me." Apparently the
public agreed and responded-"You Really Got Me" made it to the Top 40 and became
Van Halen's first hit single. The band already had been rearranging cover tunes for years
in their early gigging days around Hollywood, transforming them and making them their
own. "You Really Got Me" is a perfect example of how they did it-in Ed's words, "a hot
tune we turned into a jet airplane" -and a perfect vehicle for the maiden voyage of the
power quartet in the waning years of the seventies.
Screaming into the space after the close of "Eruption," the crushing intro riff in "You
Really Got Me" hits you squarely in the face like a left jab. Ed Van Halen converted the
Kinks' shifting barre-chord figure into a harder, more streamlined, very Van Halenesque
open-chord riff in the intro and verses. Deceptively simple, it is founded on a single AS
power chord with an added low G on the sixth string. Many of Ed's "neat noises" abound
in the figure as fills and extra texture, including muffled, percussive chord strums, pick
slides, pinch harmonics, and snarling low bends on the sixth string. The basic rhythmic
pattern and chordal idea are moved to different harmonic levels in the verses. Here, barre
chord and movable power chord versions of the main riff are found as the progression
moves to Band E tonal centers. Check out the intriguing and subtle variations Ed throws
into the figures along the way in the form of licks, fills, and varied interpretations of the
song's thematic motif. His licks and fills have endured in their own right as essential and
invaluable riffs, and have become embedded in the very core of contemporary rock guitar lore.
 

IRON MAN
Words and Music by Frank lommi, John Osbourne, William Ward, and Terence Butler
Figure 4-lntro, verse, chorus, and interlude
1971 was a watershed year for metal. While Jimmy Page and Led Zeppelin were building a stairway to heaven, a Birmingham blues band asked the unthinkable question: Is there life after Zep? Arriving with thundering riffs, sinister occult themes, and dark gothic trappings, the answer came in the form of Black Sabbath. Sabbath is generally acknowledged as the first official heavy metal band-setting undeniable precedents for the late-seventies metal renaissance ("The New Wave of British Heavy Metal"), as well as the thrash/speed metal school of the eighties, and the grunge/metal of the ninetiesa fact underscored by the numerous bands that cite Sabbath as influential-Iron Maiden, Van Halen, Metallica, Pantera, and Soundgarden, among many others. "Iron Man," from the landmark Paranoid album, is one of the heaviest and best riff-based songs of their definitive early period.
"Iron Man" abounds with numerous riffs-each with a purpose, each well-placed in the arrangement. The main "Iron Man" theme is one of metal's most memorable riffs and is heard throughout the song. It appears in the intro as a rhythm figure made of parallel two-note power chords in B minor, spelling out the B natural minor scale (B-C#- D-E-F#-G-A). In the verses, a single-note version of this riff, derived from the roots of the power chords, is used. Between the first and second verses, a second single-note riff in B minor is found as both a connection and a transition. This figure employs chromatic notes in its ascending melody (meas. 23). In the interlude, a different riff is played against a double-time feel (which sets up the guitar solo). This riff is a single-note line which modulates up to C# minor, and uses notes of the C# blues scale (C#-E-F#-G-G#-B) which comes off like a deft manipulation of Cream's "Sunshine of Your Love" theme. Notice the tough accenting, staccato attack, and syncopation in the phrase which give it plenty of rhythmic character and push forcefully toward Tony's solo.

VAI STEVE, THE ULTRA ZONE NAKED VAMPS. CD TAB.

Series: Signature Licks Guitar
Softcover with CD - TAB
Author: Wolf Marshall

Learn the secrets behind the signature sounds of this guitar virtuoso, and then play along with the actual backing tracks from The Ultra Zone - mixed and produced by Vai himself! In this unique book/CD pack, Wolf Marshall teaches you everything you need to know to play exactly like Steve. Songs include:

The Blood & Tears
I'll Be Around
Jibboom
The Silent Within
The Ultra Zone
Voodoo Acid
Windows To The Soul

88 pages