附注:
Guitar Notes: Featuring one of Glenn's first true
"shred" solos this barnburner of a song has been a fan
favorite for years. This file is my own interpretation of a
published source. That said, there are significant
differences between this version and the
aforementioned "source". Here are a few points to
help you with your interpretation of this file.
- All chord voicings represent the implied harmony with
the bass guitar (not transcribed here, sorry ) : (
- In measures 9, 57, 61 62 & 65 the notes I've shown
as artificial harmonics are actually representitive of
harmonic and microphonic feedback. The pitches
notated are accurate.
- In measure 12 the muted notes after the whang bar
dive represent the E and A strings crashing onto the
pickups as the strings go slack.
- In the chorus (measure 35 and repeats), the artificial
harmonics represent pinch or "pick squeal" harmonics,
and are a combination of the fundamental and its
overtone. Ignore the notes in the upper register,
they're only there to generate the overtone for the
purpose of the midi playback. Again the overtone
pitches are notated and correct.
- The pick scrapes that Ken does in the Bridge to the
solo (statring at measure 71) are notated in the correct
rhythymic manner but I can't figure out how to get
sound out of them. Listen to the recording and also
note that there are TWO guitar overdubs COMBINED
to create the effect that is heard on the recording.
- Glenn enters at measure 98 with his tour de force (for
the time!) solo. The lick in measures 103 and 104 is
notated the way that I play it, I've seen it notated in
other ways, some definately wrong. The position shifts
are easy to manage at the tempo and I've never had
anyone tell me that it sounded incorrect. (I play guitar
with a Priest/Maiden tribute based in western Canada)
As there is no way to express it in the software, it
should be noted that the palm muting is quite light,
serving mainly to prevent the open E string from ringing
out.
- The legato slides bridging between measure 107 and
108 are my own interpretation as well, (I've seen this
notated using the whammy bar) frankly the long slide
looks really cool on stage; watch Glenn on Priest's
video for the song!
- The pentatonic lick in measures 111- 114 is partially
muted throughout. I put the notation on the prominent
notes and left the rest, listen to the recording and you'll
hear what I'm talking about.
- The subsequent lick is notated (yet again) as I play
it, in a more linear hand position with a couple of wide
stretches; they shouldn't give a problem with practice.
String skippers can transpose this to the 17th position
as it also falls under the hand quite easily up there!
- The "guitar army" harmony solo is notated in it's
entirety, live I play guitar III for the first time through
and move up to the octave (gtr II) on the repeat while
my partner stays on the low harmony (gtr IV)
throughout. If you've got half a dozen buddies who
play, give it a try, we did at a semi-drunken jam one
night and it was pretty righteous.(might have just been
the alcohol however ; )
- The end of the song features some feel based retard
and accelerando manoevres that I frankly didn't feel it
was necessary wasting the time on duplicating exactly.
You'll figure it out with the drummer you're playing with
as he's the one that "drives the boat" through this part
anyways. Listen to the recording!!
Have fun with this !!!!!!!
Ron
