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dies. or rock? New England indus: trial-metalheads Godsmack pre- stumably chose the rack. In prepara: tion for a debut recording, these Alice In Chains fans rehearsed five long nights a ‘week, leaving litte time for relaxing with their honeys, Godsmack’ jam“ Whatever was singer Sully Erna’ response his lady friend, who'd been competing with the band for his attention. The groups hard core practicing proved productive; with a loan of §2,700, they financed All Wound Up (1997) and sold the full-length CD through Boston-based retailer Newbury Comics. Boston gigging and radio airplay ensued, Several major labels came courting, and in 1996, the band signed with Republic Records, who remastered the debut recording, added new traeks.and changed the title to Godsmack. The album's pro Fanity suicide references, and pentagram emblazoned cover aroused the ire of watchful parents, who pressured retail giants K-Mart and Wal-Mart to pull the product from their shelves. The record ‘vent on to receive double-platinum sta tus, though, and Godsmack enjoyed big. ume exposure, with performances at Woodstock 1999, and at Ozzfest 1999 and ‘2000. Several years after their freshman debut, Godsmack has returned with Awake, a more aggressive offering. Here's how to play the hard-hitting frst single THE TONE Using a Gibson Les Paul through two MESA/Boogie amps, guitarist Tony Rombola gets a huge, supersaturated sound. To emulate his bone-crunching tone, aheavy metal-type distortion pedal is preferable, Turn its gain and level eon. ‘wols tohighsectings You also want to use anaxe with humbucking pickups, ashum buckers re meatier sounding than sin sle-coll models. In c will give you a serious, frightening sound, Forthesolo, you might want :oaddawah ‘wah pedal, as Kombola did on the record: ing. A wah-wah alters your axe’s tone accordingto foot movement:the toe-down position accentuates treble frequencies: the heel-down spot, bass frequencies to invest in a wah-vwah pedal, as the effect is relatively inexpen sive, and is useful for many different musi us a good ide; ‘al situations THE INTRO The lengthy introduction (20 measures) contains the song'sthree basic chords: Ds, Bosust, and E55, Because of its +I chord 5) this jam has been notated with a D Phrygian key signature. The D Phrygian ‘mode [Fig 1] can be considered a D nat ural minor scale (D-E-P-G-A-Bh-C) in which the 2nd has been lowered to any rate, the three chords form the basis for most ofthe soig’s rhythin figures/ riffs For example, Rhy. Figs. 1 and 1A are also heard in both choruses, and the interlude’s ‘material isa variation of muted open D string figure. Pay careful attention to the rhythms of these guitar part. ‘Tokeep things tight, i'simportant that pitches do not ring longer than their des |gnated values. When there are rest, either release pressure on your frethand of, in the ‘case of open strings, cut off the noces with the side of your frethand, When stopping Im-muted string from ringing, simply apply more palm pressure. Ifyou don't read rhythms, listen carefully to the recording, focusing on note durations. Then play locking into the along with the dise THE WICKED SOLO The wicked solo’ first eight measures are based on the sinister-sounding D Lecrian mode [Fig-2, which can be thought ofas aD Phrygian mode in which the natural Fifth (4) has been lowered to Ab, atrtone (tee whale steps) from the root. Thishias been nicknamed the “devil In masle® by ‘old-school churches and theorstlelans, and their rules dictated that the tritone always had to move to a consonaneinter- val. Remaining on it was strictly forbid den. Naturally, metalheads are all over the sonortty Tremolo, or rapid picking, igenmployed. for the solos Loerian incident, In order to effectively execute this articulation, alter- nate picking (switching between up and downstrokes) is compulsory. To be effi- cient, hold your pick near its pointy tip. Start with just one fretted note, andl pickit in alternating strokes.evenly and very slowly: Work up to. pickingspeedat which you'd feel confident inehallenging Yngwie Malmsteen to a shred-duel. Ones you're comfortable tremolo pieking shat onenote, try to put together the firsthalf of the solo, working one measure ata time. After you've completed that shredding exercise, move onto the solo'ssecond half, which feattres the B blues seale in the 10: position [Eig 3}. Think of this scale as aD minor pentatonic scale (D-B-G-A-C} with the addition of a low- ered 5th (As). Alternate picking will help facilitate the 16th-note phrases. Also, 10 et that crazy Tony Rombola sound. use a rhythms, wide, fast vibrato. Fig. Fig.2 Fig. *D Phrygian Mode D Locrian Mode D Blues Scale ao seep 108 QultarOne OECEMEER 2000 + wwe culaorsnag.com AWAKE As Recorded by Godsmack (From the Republic Universal Recording AWAKE) Transcribed by Adam Perimutter By Salvatore Erna op D wing. une down | sep: (or monemecer aD Intro Moderate Rock J Ds Blows Bs bs te H(i) Rhy. Fig Ent yg FS Kay grate denotes D Phan, ie: wi. ig. | (times) , bs Bosust Bs bs Gr. 2¢4in FRA Bust BS bs DECEMBER 2000 + @4 The Magazine You Can Pay 100 Bs Ds BS 2a ime, Gs 1&2: wy Fall bs BS Ds Bis FOS) oth - er min we cs yon. see what this oth = er Se ond your back on. me and by Ges. 182 410 GuitarOne DECEMBER 2000 » wr itaronemag com