IUIY AR

Guitar Music can be nolated three different ways: on a musical staff, in tablature, and in rhythm slashes.

nE G®®o~n 3fr

o

SLIGHT (MICRDTDNE) BEND: Str;ke thenote and bend up 1/4 step.

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WHOLE-STEP BEND: Strike the note andbend up one step.

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Strings

1~~~~4th string, 2nd 1ret 1st & 2nd stnngs open, open 0 chord

played together

GRACE HOTE BEND: Strike the note and bend up asindicated. The first note does not take up any time.

"

GUITAR NOTATION LEGEND

RHYTHM SLASHES are written abCIYe thestaff. Strum chords in the rhythm indicated.Use the chord diagrams found at the lOP ofthe first page of the transcription for theappropriate chord volcings. Roundnoteheads indicate single noles.

THE MUSICAL STAFF shOws pitches andrhythms and Is divided by bar lines intomeasures. Pitches are named after the firstseven letters of the alphabet.

TABLATURE graphically represents theguitar fingerboard. Each horizontal linerepresents astring, and each numberrepresents a lret.

HAlF·STEP BEND: Strike the note and beMup 1/2 step.

,n• r"n ,n '"

BEND AND RElEASE: Strike the notB andbend up as Indicated, then release back to theoriginal note. Only the tirst note is struck.r--:----

PRE·BEND: Bend the note as iOOicated. thenstrike iI.

VIBRATO: The Siring is vibrated by rapidlybending and releasing the note with Ihefretting hand.

, t t·

WIDE VIBRATO: The pitch is varied to agreater~ree by vibrating with the fretting t\and.

""""'"'12 ." t , •• ,

HAMMER-ON: Strike the first (tower) note withone finger, then sound the higher note (on thesame string) with another linQer by Iretting itwilhout picking.

PUll·OFF: Place both fingers on the notes10 be sounded. Strike the lirst note andwithout picking, pull the finger off to soundthe second (lower) note.

-------

LEGATO SLIDE: Strike the first note andthen slide the same fret·hand finger up ordown to the second note. The second noteis not struck.

SHIft SLIDE: Same as legato Slide. exceptthe second note is struck.

TRILL: Very rapidly alternate between thenotes indicated by conlinuou$ty hammeringon and pulling off..0----

TAPPING: Hammer ("lap") the Iret Indicatedwith the pick-hand Index or middle linger andpull off 10 the note Iretted by the Iret hand.

~

NATURAL HARMONIC: Strike the note whilethe Iret·hand lightly touches the stringdirectly over the fret indicated.

PINCH HARMONIC: The note is 1rettednormally and a harmonic is produced by addingthe edge 01 the thumb or lhe tip of the indexfioger of the pick hand to the normal pick attack.

•

• TP.H.

PICK SCRAPE: The edoe of the pick Isrubbed down (or up) the string, producinga scratchy sound.

MUFfLED STRINGS: Apercussive sound isproduced by IayWlg "" lret hand across ""string(s) without depressing, and striking them'"til the picJ< hand.

PALM MUTING: The note is partially mutedby the pick hand tightly touching thestring(s) just belore the bridoe.

RAKE: Drag the pick CJCrOSS the stringsindicated with a single motion.

P~"'... . ~

TREMOLO PICKING: The note is picked asrapidly and continuously as possible.

VIBRATO BAR DIVE AND RETURN: Thepitch 01 the note or chord is dropped aspecilied number 01 steps (in rhythm) thenreturned to the original pitch.

VIBRATO BAR SCOOP: Depress Ihe bar justbefore striking the note, then quicklyrelease the bar.

VIBRATO BAR DIP: Strike the note and thenimmediately drop aspecified number ofsteps. then release back to the original pilch.

·In .L/2 ·InV V V

2 .,

....._- . ../bIr ,·In ·In ·InV V V

CONTENTSPage Title Audio Tracks

4 Introduction5 The Recording6 Satriani's Writing Process

Tuning (Standard Tuning) 1Tuning (Open F Tuning) 2

6 Legato Licks 3-4

9 NOT OF THIS EARTH10 Not of This Earth 5-613 Rubina 7-816 Memories 9-1020 Hordes of Locusts 11-13

25 SURFING WITH THE ALIEN26 Crushing Day 14-1633 Always with Me, Always with You 17-1937 Satch Boogie 20-2447 Circles 25-27

53 DREAMING #1154 The Crush of Love 28-30

58 FLYING IN A BLUE DREAM59 Flying in a Blue Dream 31-3366 Big Bad Moon 34-37

71 THE EXTREMIST72 Summer Song 38-42

3

Locusts:' For the backing tracks, drums were programmed onto an Alesis HR-16 drummachine, while a Yamaha BBN411 bass guitar was used to cover all of the basslines. Allguitar, bass, and drums tracks were then mixed down to an Otari DTR-8S DAT recorder.

I would like to extend my thanks to Erik Hanson at Roland Corporation US, GregRomano at J. D'Addario & Company, Inc. for the strings and picks, Derek Snyder andCraig Booker at West L.A. Music, Adam Castillo for lending me his funky Sitar-Guitar, andeverybody at Hal Leonard Publishing Corporation.

SATRIANI'S WRITINGPROCESS

In an interview conducted by Jas Obrecht for Guitar Player magazine's February1988 issue, Joe Satriani attempted to put into words the type of music he plays and thecontents of his then-forthcoming album, Surfing with the Alien. From the mouth of Satchhimself, the music on this new album is described as:

Satriani: "Full-tilt boogie to ambient bliss, tongue-in-cheek psycho-Western todire metallic adagio, cerebral cool to visceral hot, two-handed fantasies to foot­stomping wanged and wah-wahed surf and roll, andpossibly the only heavy metalinstrumental about an insect!"(Guitar Player)

At the crux of Joe's creativity lies a handful of interesting little methods he oftenuses to get inspired. Many of the approaches he takes, since they are far from typical,help generate some of the atypical sounds and mesmerizing musical vibes he is famousfor. Song Ideas seem to come most often when Joe's mind is allowed to openly run wild.Some of these periods occur during moments of mental clarity arrived at while taking alengthy run, through meditation, or while staring at the television. In the case of Joe'smoodier pieces, many sparks of creative magic have flickered after seeing a strangemovie or reading a bizarre book. Sometimes Joe will simply select a mood or a particularfeeling and write to it, encapsulating a particular experience in an arrangement of musi­cal sounds. Even Joe's caffeine intake has an effect on his muse; Satch oftentimes optsto drink countless cups of coffee (multiple cups of Joe!), or none at all, as a means ofspurring on his creative juices.

In addition to his constant practicing, performing, and recording, Joe makes it apoint to keep his composing chops up to snuff by writing, on the average, three to fourhours each and every day. This helps keep the creative floodgates open. When he'sputting down the basic idea of a song on a reference tape, Joe usually programs a rudi­mentary drum part on a drum machine-using a repeating pattern that is just basicenough to get the groove going-and works only with generic sounds on all the instru­ments (guitar, bass, drums, keyboards, etc.). This prevents him from creating a piece ofmusic where the song's primary focus is merely the sound of a particular instrument. Atthe same time, this prevents him from dabbling with "trendy" tones which he may not likethe next day. By keeping all of the elements very basic at the beginning, the song will beforced to stand on its own. He also saves all of his early reference recordings becausethey usually contain the initial excitement and intensity of his musical creations.

LEGATO LICKSBelow is a legato sequence similar to some of the lines Satriani whips out when­

ever the spirit moves him, as well as a few tips on how to master these types of passages.Legato is a term used to describe a musical passage whfch is meant to be performedsmoothly, without any break between notes. This is typically indicated in the notation and

6

TAB staves with a slur-a curved line which appears over or under a series of notes ofdifterent pitches. This type of technique is extremely demanding on the frethand, as itsfingers are required to articulate each note by a series of hammer-ons, pull-ofts, or lega­to frethand slides with minimal picking activity.

To cleanly execute Satriani's lickety-split legato licks, refined frethand skills aremandatory! In the interest of avoiding string slop, you will need to make sure that eachnote you articulate with your frethand is approached in the most efficient manner possi­ble. For starters, here are a few guidelines that may help you keep excess motion to aminimum:

o Keep your frethand's wrist and forearm straight and relaxed.o Try keeping the palm of your frethand parallel to and almost touching the gui­

tar neck's binding.o Fret each note firmly behind the indicated fret, pressing straight down using

your fingertips.o Each of your frethand fingers should line up parallel to each fret.o When a finger is not fretting a note, keep it hovering as close to the fretboard

as possible.o When ascending (hammer-ons), keep fingers depressed after a note is fretted,

removing them at the last possible moment to avoid excess motion.o When descending (pull-ofts), try to finger all the notes that occur along that

string in advance.

The next step in developing strong legato chops is to incorporate the above sug­gestions into the performance of all the primary legato techniques-hammer-ons, pull­ofts, and legato frethand slides. What foliows is an in-depth description of each of theaforementioned techniques and an efficient approach towards executing them.

Hammer-ens

When tackling a legato lick which employs hammer-ons (an ascending legatotechnique), once you've fretted the first note of the passage with an appropriate finger,sound the string with your pick, then physically slam down (like a "hammer") another suit­able finger onto the same string at the indicated fret, sounding the new note with the pres­sure from your "hammering" finger. Note that you'll have to press down hard enough sothe note will sound as loud as the previous picked note. When playing a lick that involvesa combination of picked, hammered, and pUlled-oft notes, it is important each of them areplayed with a consistent volume. This ensures the line will come across to listeners as anuninterrupted, steady stream of notes.

Pull-efts

When confronting a legato passage which makes use of pull-ofts (a descendinglegato technique), you must first fret each note that occurs on the indicated string inadvance with the appropriate frethand fingers. Next, articulate the first note using yourpick, pull the string downward slightly using the finger that's fretting that note (not so farthat it goes out of tune), and quickly remove (or "pull oW) this finger from the string witha quick, flicking motion. This pUlling and releasing action should force the second note tosound. When executing this type of technique, it is important that the finger performing thepUll-oft doesn't flap across any of the higher adjacent strings, producing undesirable stringnoise.

Legato frethand slides

In a legato frethand slide, the first note is picked, and the second note is soundedby quickly sliding into it, while maintaining pressure with the sliding finger as it moves

7

along the fretboard. A slide between notes is indicated in the notation and TAB staves asa slightly diagonal line. A line sloping downward indicates a descending slide, while onethat slopes upwards indicates an ascending slide. As in all legato techniques, a slur is alsowritten over note groupings which are articulated using legato frethand slides.

With all that said, try tackling the following legato lick. It employs each of the threetechniques discussed above and involves all six strings of the guitar.

A Featured Guitar:V Gtr. 1 (center of mix)

+ Slow Demo:• Gtr. 1 (center of mix)

'--------

f

Fig. I - Legato Lick

N.C.(Em)Glr. I (di"t.)1

~~-~J-~~-~~-----

3 #_

----------7

I· - -- .--.r r I

.--;--. .--­I

7

7 -----------.

88-8

8

NOT OF THIS EARTHAfter leaving the Squares in 1984, Joe Satriani took it upon himself to finance his

own instrumental solo album. Between January and April of 1985, under the enthusiasticears of producer John Cuniberti, Joe recorded all the guitar, bass, percussion, keyboard,and drum machine parts (former Squares member, Jeff Campitelli, played drums on a fewof the tunes) for an album he would eventually call Not of This Earth (note: when Joe wasin high school, he and his pals watched the infamous science-fiction film Not of This Earthon a regular basis-they'd even act out the parts with bits of dialogue they'd memorized!).

By June t 985 (after 107 hours in the studio) Not of This Earth was mixed and Joewas contemplating whether or not he should put himself through the frustrating processof soliciting his album to record companies. It was around this time that vocalisVguitaristGreg Kihn approached Satch with an invitation to record on the new Greg Kihn Bandalbum, Love & Rock & Roll, and go on tour. Given the huge debt Satriani had racked upby charging all the expenses for Not of This Earth on his own credit card, Satch anxious­ly accepted.

Shortly before Satriani went out on the road with the Greg Kihn Band, he passedaround some copies of Not of This Earth to a few of his buddies, one of which was friendand former pupil Steve VaL By 1985 Steve Vai had already played with Frank Zappa foryears (since he was 19), recorded and released a pair of solo albums (FleX-Able and Flex­Able Leftovers), and was Yngwie Malmsteen's replacement in the band Alcatrazz. He hadalso earned a high level of respect from several record company executives. Vai forward­ed a copy of Not of This Earth to Cliff Cuiteri at Relativity Records and Cuiteri flipped overit. Relativity Records released Not of This Earth in November 1986 and signed Sateh inDecember. Joe soon found himself on tour playing his own music in Scandinavia withbassist Jonas Hellborg and drummer Danny Gottleib.

9

NOT OF THIS EARTHMusic by Joe Satriani

This song is a great example of creatively implementing a compositional approachcalled the pitch axis theory-a procedure for manipulating harmonic information that Joepicked up from his high school music teacher, Bill Wescott. A "pitch axis" is a central toneor pitch that functions as a pedal point in which parallel modes are then sounded over.(Say what!?) Try to imagine a bass player thumping on the low E string, creating the illu­sion that he or she is playing in some kind of E key (E major or E minor). The chords per­formed by another instrument (like a guitar) over this droning E note (pedal point) willimply different kinds of. E major or minor keys (I.e., different modes), depending on whattypes of chords the guitarist plays.

In "Not of This Earth," Joe uses his melodic lines to imply different modalities overa four-measure chord sequence played by Gtr. 1 (Rhy. Fig. 1). This accompaniment fig­ure, which consists of the chords Emaj7/6, Em7b6, and E7sus4, cleverly dodges many ofthe mode-defining tones like the ;4 and, in cases like E7sus4, the major 3rd. This createsan ambiguous harmonic situation. Joe (Gtr. 3) blows through these chord changes usingthree different modes: E Lydian (E-FI-GI-Al-B-CI-Di) over Emaj7/6, E Aeolian(E-Fi-G-A-B-C-D) over Em7b6, and E Mixolydian (E-FI-Gl-A-B-CI-D) over E7sus4.He is using the note E as the pitch axis in this case, relating three different modalities toone central pitch or "axis." Throughout "Not of This Earth:' Joe exploits this type of "modalfreedom" in the way he constructs his primary theme and in the solo sections. Othersongs that utilize Satch's pitch axis concept include "Satch Boogie" (tapped interlude) and"Always with Me, Always with You."

Figure 1 - Primary Theme

Here's the psychotic legato theme Joe juggles over the various modalities dis­cussed earlier-E Lydian, E Aeolian, and E Mixolydian. This lightning-fast legato-fest is aperfect example of Joe's command over an abundance of shredding techniques. Keep inmind all the technical elements that were studied in the previous Legato Licks section andstart gettin' your fingers flappin'!

Rhy. Fig. 1 (Gtr. 1) outlines the majority of this song's harmonic content and isrepeated throughout this section over an E pedal. At the very end of this excerpt (mea­sure 16), Joe blazes through a descending cascade of notes derived from an Fim7 arpeg­gio (FI-A-GI-E). This lick resurfaces almost note-for-note (only in different keys) in a cou­ple of other tunes we'll study at a later point in this book-"Memories" (measures 17-18),and "CrUShing Day" (measures 31 and 35), among others.

Slow Demo:Gtr. 3 (center)

Featured Guitars:Gtr. 1 (hard R.)Gtr. 2 (center)Gtr. 3 (hard L.)

6

+ '-----------'

3

Em7'6-........ _3

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Gin. I & 2: wi Rhy. Figs. I & 2. 4 limes (see p. II)

Emaj7/6

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10Copyright Q 1986 Strange Beautiful Music (ASCAP)

International Copyright Secured All Rights ReservedUsed by Permission

Emaj7/6

3 ••

E7sus4

7

Emaj7/6

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Rhy. Fig. I

Gu. I (dean).. Emaj7/6

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12

RUBINAMusic by Joe Satriani

"Rubina" is Joe's wife-undoubtedly the inspiration for this beautiful piece ofmusic. This song is one of the few Satch tunes which revolves around a strictly majortonality-G major (G-A-B-G-D-E-F#), in this case. On a later album, SUrfing with theAlien (1987), Joe also achieves a powerful melodic statement by staying within the para­meters of a garden-variety major scale in "Always with Me, Always with You."

Figure 1 - Guitar Solo

Featured Guitar:Gtr. 1 (panned hard l.)

Slow Demo:Gtr. 1 (center of mix)

- --- --- -->~ >~ >~ >

P,M. -; P.M. -l P.M. _ - - - - -i P.M._ -i- ---- ---- --f

The solo for "Rubina," aside from being an all-time favorite solo ever for hordes ofguitar nuts across the globe, is also a personal favorite of Satch's former pupil, Steve VaLWhen Satriani first sat down to blow over this song's basic tracks, he couldn't seem toshake the two-note theme--G (fifth fret, fourth string) to A (seventh fret, fourth string)­that appears in measures 1-2. Needless to say, all Joe needed was a great starting point(which these notes clearly were) and he was oft to the races, improvising the remainderof this 24-measure masterpiece!

Throughout this solo Joe demonstrates an aspect of his improvisational brilliancethat separates him from the proverbial "pack"-his intuitive knack for creating unpre­dictable syncopations (deliberate disruptions of the normal pulse). The subtle rhyth­mic quirks that Satch naturally gravitates towards-breaking up the industry-standardsixteenth-note subdivision into breathing musical phrases (measures 3-8, 11-12, 16-17,etc.)-helps render one of the most tasteful solos ever to ooze from the fingertips of anyinstrumentalist.

Don't let the above paragraph fool you; amidst all of his masterfully-craftedmelodies, Joe crams in some serious legato licks. He just puts them in the perfect places!In measures 9-10, Joe flaps his fingers across the fretboard, pUlling-off notes from Bminor pentatonic (B-D-E-Fi-A) at the seventh position. Opting for B minor penlatonicover the implied chord progression (G-Em) at this point creates an interesting arrange­ment of notes. This brings out unexpected scale tones (most nolably, FI) that a tradi­tional pentatonic approach would usually bypass [nole: a more-traditional pentatonicapproach would probably call for G major pentatonic (G-A-B-D-E) or E minor pentaton­ic (same notes, constructed from E: E-G-A-B-D)].

Joe persists with his pentatonic patterns in measure 16 with an angular organiza­tion of pitches rooted in E minor pentatonic. Here Joe breaks the scale up into 4th and 5thintervai shapes and slithers down, via frethand slides, to lower string sets. This sameapproach towards manipulating pitches within the parameters of a pentatonic scale is alsoexplored in the song "Circles" (Fig, 2, measures 27-28), from SUrfing with the Alien.

In measure 18, Joe pulls out all the technical stops with a descending spiral ofnotes covering nearly two octaves on strings 1---4. Notice how the position shifts betweeneach group of pull-ofts (roughly every three notes) gives him an extra shot at squeezingmore notes out of a string. It also allows him to cover more territory along the fretboard as

opposed to across it. +Fig. I~~I~ool A

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Copyright@ 1986 Strange Beautiful Music (ASCAP)Intemational Copyright Secured All Rights Reserved

Used by Permission 13

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15

MEMORIESMusic by Joe Satriani

One goal Joe Satriani always had, in terms of aesthetic achievement, was to cre­ate solos within his own songs that had as much melodic intensity and dramatic impactas Jimi Hendrix's solos in tunes like "Machine Gun" and "Voodoo Chile." At the completionof "Memories," Satch left the studio with a real feeling of accomplishment, pleased with thefact that he made a significant melodic statement of his own. However, he still feels thatthe spirited playing of Hendrix epitomizes the highest plane of guitar artistry and hopesthat someday he himself will get even closer to reaching that same level of inventiveness.

Figure 1 - Guitar Solo

After a series of cleverly-timed descending slides reminiscent of the song'smelody in measures 1-2, Joe punctuates the first four measures of this solo with a state­ment in A minor pentatonic (measures 3-4: A-C-D-E-G). This same four-measure motifis repeated similarly over the course of the next four measures (measures 5-8), givingway to an unexpected avalanche of slurred sextuplets (sixteenth-note triplets-six notesper beat) in the measures that follow. Between measures 9-12, Joe peppers the sound­scape with a plethora of pull-ofts and hammer-ons, accessing every note (in multipleoctaves) from A natural minor (A-B-C-D-E-F-G) in the process. Once Joe reaches theeighth position in measure 13, he unleashes another timeless legato pattern which alter­nates between a slurred flurry of notes on the first string (C, D, and E) and a single pitch(B) on the second string. The legato sextuplets give way to an ascending sixteenth-notesequence (measure 16) which is performed moments before a key change to D minor.

In measure 17, Joe shifts gears in response to the D minor key change, opting tosift through notes from D natural minor (D-E-F-G-A-B~C) between measures 17 and32. After whipping through a descending Dm7 (D-F-A-C) arpeggio shape [note: a simi­lar phrase pops up in "Not of This Earth" (measure 16) and "Crushing Day" (measures 31and 35)], Joe lays down the law with a classic blues phrase derived primarily from D minorpentatonic (D-F-G-A-e) in measures 19-20, with the addition of a '5 passing tone or"blue" fifth (A,) squeezed in between the notes A (tenth fret, second string) and G (twelfthfret, third string). Joe perseveres with his pentatonics in measures 21-22, spicing thingsup with a series of compound bends (a pitchbend that covers an interval distance greaterthan one whole step).

After a palm-muted ascending triplet run (measure 23), Satch breaks into an inter­vallic triplet passage which alternates between a D (seventh fret, third string) and variouspitches along the higher strings which descend the D natural minor scale (measure 25).A similar pedal-point approach is also taken in measure 26, only the D pedal occurs on ahigher string in this case. After a brief return to Satch's bluesier side (measures 27-28),two measures of quarter-note rakes ensue in measures 29-30. Raking can be accom­plished by slicing your pick (using a downstroke) through a couple of strings that are lowerand adjacent to your target note. Muting these lower strings so that no discernible pitch isproduced when the pick passes through them adds extra grit to the notes you are rakinginto, creating a dramatic variation to the standard pick attack sound [note: a similarapproach surfaces in the "Circles" solo (measures 17-18)]. After a descending series ofhammer-ons, pUIl-ofts, and legato slides along the first string, Joe ends this memorablemusical event with a blistering Am7 arpeggio lick (measure 32) which bears a strikingresemblance to the descending Dm7 arpeggio run we encountered earlier in measure 17.

16

Copyright © 1986 Strange Beautiful Music (ASCAP)International Copyright Secured All Rights Reserved

Used by Permission

+ featured Guitars:Glr. 1 (panned hard L.)

Fig. I Dsus2 Gm7add4 Am7add4 Bbmaj7#11 Csus2 +Glr. 2 (panned hard R.)

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3

19

HORDES OF LOCUSTSMusic by Joe Satriani

"Hordes of Locusts," a one-of-a-kind heavy metal instrumental about bugs, is aspooky brew of power chords, pick scratches, middle-eastern melodies, sitars, and palm­swept artificial harmonics. There's even a bizarre chord sequence inspired by the unpre­dictable harmonic quirkiness of Chopin and John McLaughlin thrown in for good measure!The song's primary riff is presented here in two formats: (1) transcribed and performed inthe same manner it was originally recorded (with multitracked guitar parts), and (2)arranged for performance on one guitar (the way Joe played it live on the Dreaming#11 EP).

Figure 1 - Primary RifflTheme

There are a myriad of guitaristic elements that set this riff apart from every otherguitar passage on the planet. Aside from the fact that swarms of notes from "Hordes ofLocusts" flutter around Fi Phrygian Dominant (measures 5-8 and 13-16: FI, G, AI, B,CI, 0, E) and B Phrygian Dominant (measures 9-10: B, C, 01, E, FI, G, A) [note: Satchalso employs B Phrygian Dominant in the tail end of the "Circles" solo (measures 33--44)],a handful of orthodox guitar techniques are used to create some cleverly unorthodoxmusical settings. This song's trademark pick scrapes first enter the picture in measure 3(Gtr. 2) and resurface throughout the piece. There's no real mystery behind how to exe­cute a pick scrape. All you need to do is dig the side edge of your pick into the windingsof the lower sixth string and drag it along the string's length, producing a scratchy or"scraping" sound. Synchronizing your pickhand with the appropriate scratching rhythm willbe the trickiest part.

If you haven't noticed, Gtr. 2 is pretty much the designated noise-maker instrumentthroughout this tune. In measure 7 (see Fill 1), Gtr. 2 engages in a series of natural har­monics which are performed alternately at the fourth and fifth frets of strings 6-3. Naturalharmonics occur on any stringed instrument (guitar, violin, harp, etc.) when one of itsstrings is lightly touched at a particular point. In notation, harmonics are represented withdiamond-shaped noteheads, while the abbreviation "Harm." is aiso used between thenotation and TAB staves in an effort to clarify the type of technique involved (e.g., "feed­back" is also written with diamond-shaped noteheads). The harmonics performed through­out this section can be articulated most efficiently by alternating between the first and sec­ond fingers of your fretting hand to play the harmonics found at the fourth and fifth frets,respectively.

After a couple measures of sitar (arranged here for standard electric guitarw/clean tone: measures 9-10), Joe infests the airspace with a horde of palm-swept har­monics (measures 11-12). To successfully emulate Satch's screeching palm-swept har­monics, lightly touch your guitar's strings near the bridge with the palm of your pickhandand rapidly pull-off the three indicated notes (F, E, and D) along the fourth string. Thisshould generate some squealing harmonic overtones (if it doesn't, your pickhand is press­ing into the strings too hard). While your frethand continues to articulate the indicatednotes, slide your pickhand's palm along the strings towards the neck pickup. This will pro­duce a handful of random artificial harmonics.

20Copyright © 1986 Strange Beautiful Music (ASCAP)

International Copyright Secured All Rights ReservedUsed bv Permission

ES F#5

Featured Guitars:Gtr. 1 (center of mix)Gtr. 2 (slightly

off·center)Gtrs 3&4 (hard L. & R.)

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Figure 2 - Primary RifflTheme (arr. for one guitar)

What follows is a transcription of Joe's live performance of "Hordes of Locusts· asit appears on his Dreaming #11 EP. This is a great example of how Joe adapts his ownmullitracked madness so his tunes can be played on one guitar in a trio situation (guitar,bass, and drums).

FeatlJred Guitar:Glr. 1 (panned hard L.)

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23

Figure 3 - Chord Sequence

According to Joe, the bizarre harmonic structure of this song's middle section wasinspired by the compositional quirkiness of Frederic Chopin and John McLaughlin. For themost part, this passage involves major triads (three-note chords) positioned alongstringset 2-4 sounding over completely unrelated bass notes. These types of sonoritiesare often referred to as polychords and are usually analyzed in a manner which indicatesthe type of triad first, while the specific bass note played beneath it is preceded by a slash.This type of chord structure first appears in measure 1 on beat 4 with the chord FIE. Inthis case, an F major triad (F-A-C) sounds over an E bass note.

+ Featured Guitars:

Fig. 3 Glr.1 (slightlyoff center)

IO:5J! Glr. 2 (slightly

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24

w!bar~2

SURFING WITH THE ALIENReleased in October 1987, Surfing with the Alien was the pivotal album for Joe

Satriani's solo career. It was the first rock guitar instrumental album to make it into the Top40 since Jeff Beck's There and Back album (1980) and quickly went gold (500,000 copiessold), 1hen platinum (1,000,000 copies sold). Other critical accolades include winning"Best Guitar Album" in numerous guitar publications-you couldn't pick up a guitar mag­azine without seeing Satch's mug on the cover or finding a feature article inside-and aGrammy nomination. In terms of commercial success, in the heart of the '80s shred era,Satriani simply left all the other trailblazing six-string slingers in the dust.

In the tradition of Not of This Earth, Surfing with the Alien (which was almost enti­tled Lords of Karma-the name of 1he album's eighth track) featured Satriani performingthe majority of the instrumen1s (guitar, bass, keyboards, percussion, and drum program­ming), with Jeff Campitelli playing drums and Bongo Bob Smith doing some of 1he addi­tional drum programming. Joe also entrusted John Cuniberti wi1h the album's productionresponsibilities. Though Relativity Records had originally budgeted $13,000 to coverSurfing with the Alien's expenses, the final figure ended up being more like $29,00o-wayover the proposed bUdget. To put the finishing touches on the record without racking upadditional overhead, Joe made an arrangement with the recording studio's manager,Sandy Pearlman, to work as a guitar repairman in exchange for studio time.

When the time came to put together the artwork for Surfing with the Alien, Joeopted to follow the jokingly casual suggestion of Relativity Records' product manager, JimKozlowski, by placing the Silver Surfer comic book character on the album's cover.Kozlowski, after being informed that the album's title was Surfing with the Alien, revealedthat he used to be referred to as the "Silver Surfer" when he was a disc jockey in Boston.

After the album was released, Satriani recruited the monstrous musical talent ofStuart Hamm and Jonathan Mover (bass and drums, respectively) for the Surfing with theAlien tour. Satch used this same lineup of musicians for almost every recording and roadexcursion that followed.

25

CRUSHING DAYMusic by Joe Satriani

The guitar solo in "Crushing Day" is the lengthiest guitar showcase Joe Satrianiever put on a studio recording, clocking in just shy of the two minute mark! Over thecourse of this spectacular solo, Satch crams in everything from three-note-per-string pen­tatonics, sweep-picked passages, and whammy bar wackiness, to a variety of doublestops, alternate-picked sequences, and an aerobic arpeggio workout!

Figure 1 - Guitar Solo

This solo begins with a burning open-position G minor pentatonic (G-B,-e-D-F)lick comprised of hammer-ons and pull-offs performed mostly along the third and fourthstrings (measures 1-8). Notice the repetitions of the note G (fifth fret, fourth string/open,third string) which is played on adjacent strings throughout. Satch then transposes theexact same lick-virtually verbatim-up one octave to the twelfth position, stretching outhis frethand fingers in a classic display of three-note-per-string pentatonic shredding(measures 9-16).

After a few measures of rockin' rhythm guitar (measures 17-20), Joe sets thescene for the next phase of his solo with eight measures of a repeated eighth-note motifphrased with intermittent pick harmonics, microtonal (1/4-step) bends, and other inflec­tions (measures 21-28). At measure 29, the chop-fest resumes as Satch engages in arare display of his sweep picking prowess. Sweep picking is a pickhand technique thatmakes it a breeze to blast through arpeggiated passages which involve primarily one noteon each string by using just one pick stroke. In measures 29-36, Satriani employs thistechnique to a flurry of notes that outline G minor (G-B'-D), F major (F-A-C), and Dm7(D-F-A-C) chords. Glancing at the tablature, it immediately becomes evident that thesenotes are grouped side-by-side on adjacent strings in a mostly one-note-per-stringarrangement. Since many of these note groupings could actually be fretted simultane­ously (like fingering a chord), it is important to notice that these notes need to be fingeredseparately in order to achieve the proper effect. In other words, don't let each note ringinto the next so as to avoid creating a chordal sound, This can be accomplished by sim­ply pressing each note to the fretboard one at a time the instant your pick "sweeps"through the string. The "sweeping" aspect of the pickhand is the central component of thistechnique, After picking the first note with a downstroke, allow the pick to fall into the nexthigher adjacent string so it rests up against it. Next, push the pick right on through thishigher string and continue this motion until the pick has passed through each of thestrings indicated, using one smooth "sweeping" motion. For the descending version of anarpeggio shape, use this same type of motion, beginning with an upstroke on the higherstring, and pushing through each lower adjacent string. Satch follows up each of his sweptarpeggio shapes in this section with a furious descending lick which also surfaced in a pairof his earlier tunes-"Not of This Earth" (measure 16) and "Memories" (measures 17-18).

Three-note-per-string pentatonics reign supreme throughout measures 37--44,spruced up with an occasional D' (twenty-first fret, first s1ring/eigh1eenth fret, thirdstring)-a '5 chromatic passing tone that Satch squeezes in between the C and D notesinherent to G minor pentatonic. He also tosses in an occasional E, eluding to the G Dorianmode (G-A-B'-G-D-E-F). Notice how this three-note-per-string layout on the finger­board produces some unison pi1ches on adjacent strings similar to this solo's outset-in1his case, the pair of Gs (fifteenth fret, first string/twentieth fret, second string) found inmeasure 40. This pentatonic ou1burst is punctuated with some Chuck Berry-inspired, per­fect-fourth double stops and broken sixths in measures 45-50, followed by some semi-tra­ditional, bluesy phrases found within the G minor pen1atonic "blues box" at the fifteenthposition (measures 49-52),

If you're a fan of blazing, alternate-picked sequences, this next lick is for you-abarrage of sixteenth notes arranged in ascending groups of four, built off of each ,succes-

26

sive scale tone from G natural minor (G-A-B,-e-D-E~-F) beginning on each beat (mea­sures 53--56). If you start this lick with a downstroke (using consistent alternate pickingthroughout), practice it for hours at a slow enough metronome setting so you don't makeany mistakes, then gradually increase the tempo until you reach Satch's speed of 168bpm, you'll be ready to rock out with the best of them! Seriously, though, if you want to bea hard-core shredder, these types of sequences should already be a regular part of yourpractice regimen. Having several variations of alternate picking sequences similar to thisunder your belt will provide you with the physical capability and technical foundation to beable to rip through passages like this almost immediately. By practicing sequentiai exer­cises along with a metronome you will be able to constantly monitor your progress andalso be aware of your current speed threshold, Some people even keep a record of thisinformation In their daily practice log.

As if your fingers haven't suffered enough already, Satriani commits the final coupde grace with a staggering sprint through several inversions of arpeggios that are dia­tonic (found within the key) to G natural minor-E~ (E~-G-B~), F (F-A-C), and B~

(B~-D-F)-in measures 61-{)4. These arpeggios are arranged so that Satch can alternaterapidly between the two highest notes using pUIl-offs-a feat made possible by position­ing these two higher notes along the first string (as opposed to the one-note-per-stringarpeggios encountered in the earlier sweep picking passage).

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G". 2 (di'l.j IGer. I (diSl.)/>

1 A ,

Featured Guitars:Gtr. 1 (panned hard L.)Gtr. 2 (panned hard R.)

Slow Demos:Gtr. 1 (center of mix)

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Used by Permission 27

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32

ALWAYS WITH ME,ALWAYS WITH YOUMusic by Joe Satriani

The basic contents of "Always with Me, Always with You" came to Satriani's cre­ative mind while he was sitting by himself with a guitar in his hands. While his mind wasfree of distraction, the tune simply found its way down to his fingers. From that point, Satchworked tediously on the piece, editing down every nuance of his playing in an effort tokeep it appropriately subdued. He was going for the kind of vibe a saxophone player in asmall jazz club exudes while on the bandstand-standing alone playing the melody of atune, improvising a bit, then bringing the tune back in the end. He felt that each of hismelodic outbursts had to be free of any guitaristic self indulgences-an approach muchmore subtle than some of the in-your-face, over-the-top chops displayed on other cutsfrom Surfing with the Alien.

Figure 1 - Introduction and Primary Theme

To achieve a combination of maximum gain and sustaining power while also main­taining the ability to allow notes to die out naturally with virtually no feedback, Satrianiused a Pultec tube equalizer in combination with a GML equalizer and a Rockman. Theseitems helped Satch generate the stinging, horn-like guitar tone he used to perform thestaggering melodies and solos in "Always with Me, Always with You,"

Like "Rubina" from Not of This Earth, "Always with Me, Always with You" is anoth­er powerful example of Satch's sensibiiities within the confines of a basic major scale-inthis case, S major (S-GI-DI-E-F;-GI-Al). Joe sticks to notes from this scale exclusive­ly for the tune's entire melody (measures 13--28).

Featured Guitars:Glr. 1 (hard R.)Glr. 2 (hard L.)

F#sus4

B5

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Figure 2 - First Guitar Solo

While composing the harmonic structure for this song's guitar solo, Satrianiemployed a concept he previously used to extremes on the title track of his album, Not ofThis Earth. Remember the pitch axis theory? Since this solo section fluctuates betweenB major (measures 1-16), and then shifts to B natural minor (B-CI- D-E-FI-G-A), it piv­ots between major and minor tonalities using the note B as a pitch axis.

Satriani's touch on his Ibanez axe is simply beyond reproach. He's not beingoverly heavy with his pick, which keeps his phrasing smooth and even. In fact, the soundof his pick amidst slurred passages is almost imperceptible (measures 21-24). One effec­tive way to incorporate the phrasing style of another instrumentalisl into your own playingwhen studying a note-for-note transcription is to play along with the artist's recording,keeping your volume level well below his/hers. This will enable you to clearly hear everynuance of the player, making it easier to replicate his/her phrasing. Focus on emulating allthe basic elements of musical expression: everything from the player's vibrato intensity,bend intonation, and pick attack, to their tone, dynamics, and rhythmic feel. Studying thephraseology of a passionate player will only make your personal melodic statements allthe more powerful-broadening your own range of musicality.

Featured Guitars:Gtr. 1 (hard R.)Gtr. 2 (hard L)

Slow Demo:Glr. 2 (center)

Badd48Wl

F#sus4Emaj7/6Glr. I: wI Rhy. Fig. I

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~.

SATeH BOOGIEMusic by Joe Satriani

Satch wrote most of this tune while he was temporarily debilitated, wearing a neckbrace from a recent car accident. In "Satch Boogie," Satriani again grappled for the soundof a saxophone-this time reaching for the power of an entire saxophone section blowingunaccompanied in a fiercely swingin' big band. Think of it almost as "a blast of blisteringbebop meets the Texas boogie of Billy Gibbons, meets legendary jazz drummer, GeneKrupa-all falling down a flight of stairs!"

Figure 1 - Primary Riff

Once Surfing with the Alien was released, every guitar player on the planetwanted to get the ferocious figure for "Satch Boogie" under their fingers. Based primarilyin A minor pentatonic (A-C-D-E-G) and rooted mostly in the open position, this burnin'boogie takes single-note riffing and double-stop delivery into uncharted territory. Afteryou get comfortable with the basic fretting positions, dial in the crunchiest, punchiest, dis­torted tone you can get. This will give you gobs of sustaining power, making it a little eas­ier to cop Satch's fierce finger vibrato as you wrench your guitar's strings back and forthacross the neck. To make this riff flow in the saxophone-like manner Satch intended, takeheed of every passing pull-off between fretted notes and open strings. This will not onlymake the figure easier to play, it will also help keep things smooth and make it much eas­ier to bring out the natural accents that occur each time Satriani digs his pick into hisstrings. Smokin' Joe puts the cap on this riff with some serious whammy-bar wankage!

Fig. IAS

III

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Figure 2 - Guitar Solo

Joe (Gtr. 1) blows over a mixture of Mixolydian modal centers (dominant-seven1hsounds) throughout this 68-measure showcase for his devastating guitar heroics. Thoughsingle no1es and power chords are the only types of analyzable materials (performed byan overdubbed rhy1hm part-Gtr. 2), over the course of this solo the modal key centers ofA7 (measures 1-16,33-48, and 65-68), D7 (measures 17-24 and 49-56), and F#7 (mea­sures 25-32 and 57~4) are all clearly implied.

When improvising over the implied A7 and FI7 chords, Joe takes more of a blues­man's approach, whipping out some finger-flappin' bending licks in A minor penta­tonic (A-C-D-E-G) and FI minor pentatonic (Fl-A-B-CI-E), respectively. Some of hisdOUble-stop (two-note) ideas and bending licks during these sections even resemble pas­sages performed by one of rock 'n' roll's pioneers, Chuck Berry (see measures 13-14 and35-37). Satch also spends a lot of time grooving in the traditional minor pentatonic "bluesbox" found at the fifth position over A7 (see measures 1-8, 11-15,33-38) and at the sec­ond position over Fl7 (check out measures 29-31 and 59-63), When the spirit moves him,Joe also tosses in the note FI amidst flurries of no1es from A minor pentatonic, borrowingfrOm the A Dorian mode (A-B-C-D-E-FI-G)-most notably in measures 5, 34-36, and41-42 (buried in the pick-tapped lick along the third string).

38

Fig. 2

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Figure 3 - Tapped Interlude

As we encountered in "Not of This Earth" and, to some extent, "Always with Me,Always with You," Satch once again demonstrates his command over modal manipulationvia the pitch axis theory-this time in the form of a 37-measure fingertappin' fiesta. Usingthe open A string as his pitch axis, Joe navigates his fingers through sounds rooted in ALydian [A, B, Cl, Dl, E, FI, GI (measures 1-2, 9-10)], A Dorian [A, B, C, D, E, Fl, G (mea­sures 3-4,11-12)), A natural minor [A, B, C, D, E, F, G (measures 5-6, 13-t4, 17-20,23­24,27-28,31-32,35-36)], A Ionian [A, B, cl, D, E, Fl, GI (measures 15-16, 25-26, 29-30,33-34), A harmonic minor [A, B, C, D, E, F, GI (measures 21-22)), and A Mixolydian [A, B,el, D, E, FI, G (measures 37-38)], using a variety of fingering patterns involving two fret­hand fingers and one fingertapped note-all soaked with a heavy flanger effect.

When Joe recorded a sample tape of "Satch Boogie" for Relativity Records he hadthree different mixes of the tune-each of which varied due to the contrasting treatmentof this tapped interlude section. The first mix had the entire track (all instruments) duringthe tapping section flanged out to the max, the second just had the guitars flanged, andthe third excluded the tapped part altogether, Since the release of Surfing with the Alien,whenever Satch listens back to "Satch Boogie," he can't envision the tune without the tap­ping segment. He's glad he left it in. After all, it was the way the song was conceived inthe first place-a reminder that you should always follow your initial instincts!

43

T

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46

CIRCLESMusic by Joe Satriani

Like "Always with Me, Always with You," "Circles" is another song that popped intoJoe's head while he was hanging out with his guitar, letting his cerebellum simply run in"circles," This piece runs the emotional gamut-dark and brooding in its intro, to fiercelyflamboyant and intense in its guitar solo,

For the Surfing with the Alien album, Joe dusted off his wah-wah pedal for the firsttime since the seventies, The spectacular solo in "Circles" makes life without wah-wahseem inconceivable.

Figure 1 - Primary Riff

After a few seconds of spooky synthesizer effects and drum machine thumps,Joe's squeaky-clean strat (run through an echo device) gets this tune rolling with a hand­ful of haunting double stops (two-note chord partials) amidst reiterations of a palm·mutedE string (open sixth string), The double stops in measures 3 and 4 fluctuate between per­fect fifth and major and minor sixth interval shapes extrapolated from the E natural minorscale (E-FI-G-A-S-C-O). Joe punctuates this repeated two-measure figure with an Epower chord, comprised of unison Es (ninth fret, third string/open first string) and Bs (ninthfret, fourth string/open second string).

Joe enhances this riff's harmonic scheme with the insertion of two chords­C5add9 and Am-in measures 5 and 7, imparting a reflective quality to the soundscapeprior to the return of the opening figure in measures 8-9, At measure 10, Joe foreshad·ows the intense musical moments to come with a sinister figure highlighted by a heavily·vibratoed tritone sonority-an augmented fourth/diminished fifth interval which wasdubbed musica diablo (the "devil in music") in pre-twentieth-century Western music(European and American music),

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Used by Permission 47

C5add9 Am N.C.(Em)

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P.M. let ring _____ -1 P.M. - -l P.M. P.M. 1'.~1. P.\-1. -l P.M. P.M.-- --Figure 2 - Guitar Solo

The band launches into a double-time feel (approx. 168 bpm) at the outset of thisguitar solo, providing Satch with a smoldering backdrop to splatter his scorching licks over.At this point, Joe whips out his wah-wah pedal for the first time, using it mostly as a tonefilter (activated but not manipulated) to access screeching, high-frequency tones.Following some frantic phrases in E minor pentatonic (E-G-A-B-D) located at the twelfthposition (measures t-4), Joe provides mere mortal guitar slingers with yet another time­less inspiration to pursue sizzling technical perfection. If you're a pessimist, well thisseamless barrage of psychotic shred just might give you the one reason you've beenlooking for to wimp out, throw in the towel, and use the instrument as a coffee table!Combining rapid-fire pull-offs with notes tapped onto the fretboard using the edge of hispick, Joe takes no prisoners in this four-measure melting pot of legato licks----<:ramming ina staggering combination of irregular note groupings at warp speed (measures 5-8).Incidentally, you may find it encouraging to know that learning this lick will actually put youahead of the game when it comes to tackling the third solo in "Big Bad Moon" (see Fig. 2,measures 10-14 of said song). After a couple of measures of raunchy bends, the tappedflurries continue (measures 13-15). This time Joe uses a more traditional tappingapproach, using a finger from his pickhand to articulate notes on the fretboard, asopposed to hammering on notes with the edge of his pick.

The tune modulates to the key of A minor for the next eight measures, promptingSatch to engage in two measures' worth of quarter-note rakes (measures 17-18) [note: asimilar approach is taken in the earlier "Memories" solo (measures 29-30)]. Joe strictlyadheres to the notes found within the A natural minor scale (A-B-C-D-E-F-G) duringthis eight-measure section_ The only exception occurs in measure 22 with the inclusion ofthe note E, (eighth fret, third string)-a lowered or "blue" fifth (~5)-amidst a blues-inspiredA minor pentatonic (A-C-D-E-G) lick. This section climaxes with a squealing tapped har­monic which Satch manipulates with his tremolo bar (measure 23). To reproduce this"lapped harmonic," while sustaining the note C (fifth fret, third string), lightly touch thevibrating string exactly five frets higher (tenth fret). This will produce an ear-piercing har­monic overtone that is two octaves higher than the fretted note (note: touching the stringtwelve frets higher produces an overtone one octave higher).

At measure 25, Satch's circle of musicians returns to the key of E minor, provok­ing an intervallic avalanche of descending triplets out of our gifted guitar hero's fleet fin­gers (measures 27-28). These triplets are comprised mostly of fourth and fifth intervalswithin E minor pentatonic (E-G-A-B-D) [note: a similar lick is employed in the "Rubina"solo (measures 16-17)]. The solo concludes in dramatic fashion (measures 33-44) witha staggering melody over an implied B7 chord (B-DI-FI-A) using notes from a scalewhich is often referred to as Phrygian Dominant-in this case, B Phrygian Dominant(B-C-m-E-FI-G-A).

48

Featured Guitars:Glr. 1 (hard R)Gtr.2 (hard L)

Slow Demo:Gtr.2 (center)

E5A5Glr. I: wI Rhy. Fig. 1.7 times

E5 G5

w/bar ~

Fig. 2

Guitar Solo 11 :031Double Time J = 164

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The last four measures of this "Circles" solo depict yet another masterful demon­stration of Satriani's patented whammy bar work-complete with his lizard down thethroat technique (measures 47-48). To achieve this effect, slide a frethand finger up thethird string while depressing the tremolo bar at almost the same rate as the note isascending. This will keep the pitch somewhat the same, while creating a gurgling soundas your frethand fingers slide across each passing fret.

full

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50

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51

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* "liz,lrtJ down the throat" technique. Slide upto the twelfth frel while dipping 4 whole stepswith the whammy bar, then slide back to thefourth fret while rele<lsing the b'lr.

52

DREAMING #11Three of the four tracks on Dreaming #11 were recorded live at the California

Theater in San Diego, CA on June 11, 1988 and feature the band from the Surfing withthe Alien tour (Satch, Stu Hamm, and Jonathan Mover). Joe borrowed the album's title­pronounced "Dreaming Number Eleven;' not "Dreaming Sharp Eleven"-from a song thatappeared on his out-of-print EP, Joe Satriani (1984). The three incredible live cuts demon­strate how Satriani adapts the blazing, multitracked guitar madness from his studioalbums to a live situation. This is particularly evident in "Hordes of Locusts" (note: one ofthe arrangements back in Chapter 1 depicts Joe's live approach towards playing thissong). The other live tunes on Dreaming #11 include "Memories" (from Nol of This Earth)and "Ice Nine" (from Surfing with lhe Alien).

The lone studio track on the album, "The Crush of Love;' was originally recordedat Alpha and Omega Recording in San Francisco, CA for Guitar Player magazine'sFebruary 1988 Soundpage and featured the same lineup from the Surfing with the Alienrecording sessions: Joe (guitar, bass, and keyboards), Jeff Campitelli (drums), Bongo BobSmith (percussion), and John Cuniberti (producer). An in-depth study of "The Crush ofLove"-a melodic masterpiece in the tasteful tradition of "Rubina" and "Always with Me,Always with You"-is presented in the pages that follow. The Dreaming #11 EP wasreleased during November 1988 and, propelled by the heavy radio airplay "The Crush ofLove" received, quickly went gold and earned Satch his third Grammy nomination.

THE CRUSH OF LOVEMusic by Joe Satriani

After Sa1riani had been away from home for an extended period of time recordinghis Surfing with the Alien album, he returned only to be reminded that his wife, Rubina,had a hectic work schedule as well. "The Crush of Love" came about on an evening whenJoe was experiencing very intense emotions, wishing he was able to spend more timewith his wife. So what did he do? He picked up his guitar and immortalized this crushingfeeling into a song.

"The Crush of Love" is another melodic masterpiece in the tasteful tradition of"Rubina" and "Always with Me, Always with You." Throughout this song Joe kept the reignspulled in, keeping the dizzying displays of 1echnique and flash to a minimum. He simplysought to phrase each passing measure in the same manner an accomplished vocalistwould sing the most memorable melody. In short, this song is a beautiful example of thetypes of deeply-moving musical statements Joe can make without relying upon his patent­ed bag of tricks.

Figure 1 - Instrumental Chorus

in the tradition of many of Joe's moodier pieces, this song was written in theAeolian mode-specifically A Aeolian, or A natural minor (A-B-C-D-E-F-G). Many ofthis song's phrases actually adhere to a five-note SUb-grouping of pitches found within thisminor scale-the A minor pentatonic scale (A-C-D-E-G). Throughout "The Crush ofLove;' Joe (Gtr. 1) uses many subtle vibrato techniques-including finger vibrato andvibrato, courtesy of his tremolo bar (e.g., "w/bar"). If you've ever studied the way a vocal­ist's pitch fluctuates when he/she is engaging in vocal vibrato, you've probably noticed thatthe pitch oscillates down from the primary target note that is being sung. In a guitarist'sfinger vibrato, the pitch wavers upward from the fretted pitch. Throughout this song, usingthe tremolo bar for vibrato (lowering the pitch by quickly pressing the bar down slightly,releasing it, then repeating this motion) is one of many ways Joe Satriani phrases hismelodies in the style of a veteran vocalist. The first instance tremolo bar vibrato occurs inthis song is in measure 7 of the following page.

53

Featured Guitars:Glr. 1 (hard L.)Glr. 2 (hard R.)Glr.3 (hard L.)

ClI. 3: wI Fill 1

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International Copyright Secured All Rights ReservedUsed by Permission

Am 06 _ Fmaj7

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Figure 2 - Instrumental Verse

In many of Joe's flashier pieces, it's no secret he uses his tremolo bar to generatesome seriously shocking sounds, In this song's instrumental verse section, Satch whips outhis whammy bar to achieve more subtle inflections which seem to suit the song perfectly­specifically a few tastefully placed vibrato bar dips (measure 2, beats "1" and "3"), A "tremo­lo bar dip" can be accomplished by quickly depressing ("dipping") and releasing the bar,forcing the note to waver in pitch moments before it is allowed to sustain. This technique isindicated above the notation and TAB staves with a directional pointer ("V" indicates topress down, while the opposite would instruct you to pull up), and a specification of theinterval distance of the dip ("-6" means lower the pitch by 6 whole steps).

Featured Guitars:Glr. 1 (hard L.)GIL 2 (hard R)

wI barwI bar

Fig, 2

1o" 1 Fmaj7/A 6 06 ·1/4

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55

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Figure 3 - Instrumental Bridge

At the dramatic high point of ''The Crush of Love," Joe wails like no other, cram­ming in everything from ear-piercing pitchbends, wicked finger and tremolo bar vibrato,and blazing blues phrases, to pick harmonics, vibrato bar dips, and harmonic minor runs.In the closing measures of this section, Gtr. 3 enters (measure 13) with a staggering lick:after a screaming whole-step bend from G (fifteenth fret, first string) up to A, he slithersthrough pitches from A harmonic minor (A-B-C-D-E-F-G#) on beat 4 and continuesdown the fretboard outlining an Am7 arpeggio (A-C-E-G). This phrase is concluded witha palm-muted handful of notes from A natural minor in measure 14 [note: this line is sim­ilar to some of the licks encountered in "Not of This Earth" (measure 16), "Memories"(measures 17-18). and "Crushing Day" (measures 31 and 35)]. Way to go Joe!

56

wI bar

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Featured Guitars:GIr, 1 (hard L.)Glr. 2 (hard R.)Gtr. 3 (center)Fig. 3

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57

FLYING IN A BLUE DREAMIn 1989, Joe teamed up with producer John Cuniberti once again and created an

18-song gem of an album in the tradition of Jimi Hendrix's Electric Ladyland and Cream'sDisraeli Gears-all masterpieces of musical diversity. Satriani's Flying in a Blue Dream(released October 1989) was Joe's most eclectic album to date, featuring everything fromharmonica and banjo, to slide guitar and vocals-all of which were performed by Satchhimself! Consistent with his previous releases, Satriani also covered all the guitar, key­board, most of the bass, and some of the percussion parts as well. To round out therhythm tracks, he brought in virtuosic veterans like Jeff Campitelli (acoustic/electric drums& percussion), Bongo Bob Smith (electric drums & percussion), Stuart Hamm (bass), aswell as renowned rocker Simon Phillips (drums)-each of which were featured throughoutdifferent parts of the album. Producer John Cuniberti even whipped out a sitar on one ofthe tunes! Aggressive and atmospheric, bombastic but bluesy, spacious and spiritual,Flying in a Blue Dream sold over 900,000 copies in the United States alone and earnedthe Satchman his fourth Grammy nomination.

58

FLYING IN A BLUE DREAMMusic by Joe Satriani

Like the song's title suggests, "Flying in a Biue Dream" was inspired by Joe'smemory of a recurring dream which involved him flying from his bed in his sleeping garband advancing to a purer plane of reality where everything the eye could behold was crys­tallized in a brilliant blue color. Joe likened these images to what it must be like to meetGod. In the song, Joe used specific instruments to represent the various visions his mindconjured up. The lights illuminating his dream were portrayed by the acoustic guitars,while Joe himself was personified by the central guitar melody, soaring through thedreamscape without a care in the world.

For the curious, the bizarre voice heard at the song's outset was committed totape by producer John Cuniberti while Joe was experiencing some strange radio and tele­vision interference-in the tradition of Spinal Tap-while attempting to lay down the song'sbasic rhythm track. It's a little kid's voice saying something along the lines of, "...And after­ward, sometimes they like each other and sometimes they don't. .." John and Joe figuredit was too hip to leave off the record. The sublime timing of the kid's initial entrance waspurely coincidental.

Figure 1 - Main Theme

The acoustic guitar figure (Gtr. 2: wi Rhy. Fig. 1) performed first at the beginningof this song and throughout the statement of the primary guitar theme (Gtr. 1) was per­formed on a Yamaha steel-string acoustic (recorded direct), tuned to an open F chord (lowto high: C-F-C-F-A-C). Essentially, this tuning is the same as open-G tuning, only tuneddown one whole step. The acoustic guitar's repeated chord structure outlines the CLydian modality (C-D-E-F#-G-A-B) throughout this section, with the exception of mea­sures 9-12 [Rhy. Fig. 2: A~sus2(111)l, measures 16-17 [Rhy. Fig. 3: Gsus2(111)]. andmeasures 19-20 [Rhy. Fig. 4: Fsus2(111)].

Joe chose to model his phrasing of this song's primary guitar melody in the styleof legendary songster Frank Sinatra. For the most part, this melody is pretty sparse­comprised mostly of eighth notes. Joe does manage to cram in a speedy G minor penta­tonic (G-B!>--C-D-F) run in measure 12, using nothing but the pressure of his frethand fin­gers to articulate the notes throughout (no picking!). To pull this off, YOU'll need to basicallyhammer on out of nowhere by slamming down the appropriate finger (your fourth finger,for example, to fret the F on the eighteenth fret of the second string) onto each lower adja­cent string to sound the notes [note: Joe takes a similar approach in the "Rubina" solo(measure 9-10)].

Fig. 1 10:451

+Grr. 2: Optn P Tuning:

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®.F @.cModerately J = 126

Gtr. 2: wI Rhy. Fig. J. 4 times (St.'e p. 60)

C5# 11(9) CG~. I 1""·) .-11

C5# 11(9)

1\.C

Featured Guitars:Glr. 1 (hard L.)Glr.2 (hard R.)Glr. 3 (cenler)

OJ fw/disl.

Copyright e> 1989 Strange Beautiful Music (ASCAP)International Copyright Secured All Rights Reserved

Used bv Permission 59

C

-If

0#11(9) C

fl-~fl-' .~n- """"'''''''''4)0'''''''''- • ......--...p.- --

Glr. 2: ViI Rhy. Fig. 2. 2 limes

A.sus2# II A.

9 A::- ~f..~~' f..t, ~~~!: ~

~---

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Gtr. 2: wI Rhy. Fig. I. 2 limes Gtr. 2: wfRh)'. Fig. 3

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. . ,,-~-.

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Otr. 2: wI Rhy. Fig. 4 Gtr. 2: wI Rhy. Fig. J. 4 limes

Fsus2# II F C5# 11(9) C C5# 11(9) CHWI • _ •••• _ •••• • _ ••••• •• _ •••• _ •••••••••• __ ••• _

18" ;~'~"~'~'~~~~~~~ ~..-..~ fII- ~ ~._ _;~~'~::~'~~~~'~~;~t.Iot.lot.lot.lot.lo,~'_~.~ ...;~'~...,,'...,,'~~-=

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OJ b. I V•leI ring _____________________________ .... let ring __________________________ -l

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60

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I

Figure 2 - Guitar Solo

-9 ____...__-9 ... ... .. .. .... ...... ..~... ..~..~..

wI bar P.,,",t. - - - - - - - - - - - - - - - -l ~mi·hanll. P.H. semi-harm.

,~~,~~~"'~"~~ ~~"'~~~ ,~""~,~~ ~,~~~"'~

pilCh: G

Featured Guitars:GIr. 1 (hard L)Gtr.2 (hard A.)

Slow Demo:Glr. 1 (center)

The solo starts off with what is most likely the lengthiest legato lick on any ofSatch's recordings. Over the course of eight measures, Satriani rips up his fretboard witha seamless barrage of slurred note groupings derived primarily from the C Lydian mode(C-D-E-Fi-G-A-B). He caps it off with a sliding pick tap, hammering on an FI (four·teenth fret, first string) with the edge of his pick and sliding it back and forth between theG (fifteenth fret, first string) found 1/2-step higher (measure 8). From this point we can geta good idea of how Joe sculpts this improvisatory effort to reflect each chord change, play­ing A' Lydian (Ab--B'-C-D-E'-F-G) over A'sus2111 in measures 9-12), and returning toC Lydian for a bit in measures 13-24. Notice how Joe briefly superimposes notes from anEm triad (E-G-B) over Csus2i11 between measures 16-19, preceding each of the threenotes from the triad with a lower neighboring tone 1/2 step below. He also squeezes in aprecisely picked Gmaj7 (G-B-D-Fl) arpeggio in measures 21-22. After two measures ofFsus2111, where Joe employs-you guessed it-F Lydian (F-G-A-B-C-D-E), Joereturns to C Lydian and unleashes a final flurry of manic, legato-style shred.

Fig. 2

Guitar Solo 11:381Gu. 2: wi Rhy. Fig. 1.4 limes

1 C5#ll(9) C

0::. 1 £-'11_ .. -,.. .......... .. ..II_ ..~,V .-----.-.. ..,...,II-~".'II-.,--..--. ...-------------------

o

C5#11(9) 8,"

61

5C5# 11(9) C

~-----

6 J

7

C5# 11(9)

------- >:-r----------====:::=:::::=..----======= J 6

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----- ~ - "- ------- --------• Tap and slide with edge of pick lhrooghoul this measure.

T

full

t "'~""'"

J

Absus2# 11

------­••

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• +1/2 +1/2 +1/2 +1/2 -+-In

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C5# 11(9)• +1............ -,,---

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full

J

C5# 11(9) CGir. 2: wI Rhy. Fig. 2

A.sus2# II A.I

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GIr. 2: wI Rhy. Fig. 4

Fsus2# II F81'0 • _ •• • _. __ •• • _••• _ •• _. •• _. _ •• __ • _. • _ •••••••• __ • • __ • _. •••••••• _

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full

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63

Gu. 2: wi Rhy. Fig. 1,2 times

C5# I1(9)

·1

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31

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64

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:i=-=J-".- --- ---- ~ -. ~

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full

4;--* ~- t~A - i i f ----~- ._ ..._-

oJ -- -___U' _______

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65

BIG BAD MOONWords and Music by Joe Satriani

While driving towards his home, Joe's eyes were captivated by a magnificentmoon dangling in the evening sky over San Francisco. The song "Big Bad Moon" spranginto Satch's noggin while he was behind the wheel.

This tune serves as a perfect showcase for the broad range of Joe Satriani's musi­cal talents-an open forum for Joe to demonstrate his vocal, harmonica, and slide guitarchops.

Figure 1 - First Guitar Solo

This tune can be likened to some of the chicken-fried Texas boogie of bands likeII Top, among a few others. The rhythm patterns performed throughout this song's earli­er intra and verse sections (Rhy. Figs. 1 and 2) also function as the primary accompani­ment behind the first and third guitar solos.

Joe starts this first solo off with a ream of triplet-based E minor pentatonic(E-G-A-B-D) bending licks which alternate between a whole-step bend from D (fifteenthfret, second string) up to E, and the articulation of a fretted E (twelfth fret, first string),which sounds in the same octave as the previously bent pitch, only it's located on the firststring. This pitch-matching type of bend is a great way to work on perfecting your bendingintonation since you must bend the second string the precise interval (one whole step) soit "matches" the pitch of the stationary note (E).

After the four-measure E-minor-pentatonic bending bonanza, Satriani shifts gearsand squeezes out a pair of measures in E major pentatonic (E-F#-GI-B-CI). Alternatingbetween these two different flavors of pentatonics (major and minor) is a very effectiveway to generate melodic variety while improvising over a blues-based chord progression.A short list of guitar heroes who frequently employ this approach would have to includeEric Clapton and Stevie Ray Vaughan.

Following a frantic flurry of hammer-on and pull-off licks located at the twelfth posi­tion (measures 12-15), Joe engages in a manic display of his bend and tap-on technique(measures 15-17). After quickly bending an A (seventeenth fret, first string) up one wholestep to B in measure 15 (on the "and" of beat 4), Joe quickly positions his pickhand overthe fretboard and uses the edge of his pick to tap (indicated with a "+" over the notationstaff and a "T" over the TAB staff) onto the twentieth fret of the first string. Since the taphere is used in conjunction with a note that is already bent up one whole step, the result­ing pitch will be one whole step higher than the note that normally occurs at the fret you'retapping on. In traditional tuning, the note on the twentieth fret of the first string is C. Sincethe bend executed by the frethand has already raised the pitch of the first string by onewhole step, a tap on the twentieth fret will produce the note D. Joe taps and pulls-offbetween these two notes in rapid succession, represented in this transcription as a trill(alternating between two notes as fast as possible in a legato manner, indicated by"lr-").Figure 2 - Third Guitar Solo

66Copyright C 1989-Strange Beautiful Music (ASCAP)

International Copyright $ecured All Rights ReservedUsed by Permission

Moderate Rock J = 145

Fig. 1 10:571

3

full,

Featured Guitars:Glr. 1 (hard L.)Glr. 2 (hard R.)

Slow Demo:Glr. 1 (center)

full

•

33

full•

..

Guitar SoloDouble-Time Feel

Gtr. 2 wI Rhy. Fig. l, 8 times

E581'(1. _. _••••• • __ •••• _. _

>fI.~ ~~~~-i

!:-

..>

>v

fP.s.••••• __ ~

wI wah-wah

1Gtr. 1 (dist.)

••

-.05 A5 E5

8vu •• _••••••••• __ •••• • • •••••• _•• _

3,,~ ~ ?' ~ ~ ~ ~ ? ? ? ~ ? r?O~_.

3 J 3 J J J J

full, full•

full full, full, full, full

•full,

1/2

j

CRI'{I • ••••• • _._ ••• +.+ •• _. __

5" .. :+t05 A5

Im.'11-­,;>

E5> > > >~~,... .. ~~ ~ /0. .. ~~ff- ~ ~~~/o. ..

tI

112

.-J full+

Jsemi-harm.

'.'---- J -----' '---- J -----'

E5A505

7 •• i~ .. ~ ~Io- .. i- ~Io- .. ~.~ ~ ~.~. E; ": E #i1 p10:. =- .------..

~

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67

ASGS

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full If2T fU.II I12T full Harm. ...

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OlT- 2: wI Rhy. Fig. 2, 2 timesES

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68

Up to this point in the song, all of Joe's regular guitar parts have been blastedthrough a MESA/Boogie amp setup. For this third solo Joe opted for a completely diHer­ent sonority, running his Ibanez axe through a Boss DS-1 distortion pedal and into aRoland JC-120. After some preliminary pick scrapes, Joe squeaks out some greasy,open-position blues licks (measures 1-8), followed by a measure of brief bending like weencountered in the previous solo (measure 9).

If you're a fan of the "Circles" solo (see measures 5-8 of said song), then this nextblistering break is for you. Satch simply lets his fingers do all the talking, whipping out atorrent of taps (w/edge of pick) and pull-oHs to eHectively punctuate this staggering solo.However, how can any "shred" solo be complete without the obligatory, palm-muted,diminished arpeggio? Between measures 17-18, Joe puts the capper in this one perma­nently with the performance of an ascending G diminished (G-Bi>--Ci-E) sequence, trans­posing the initial two-beat, triplet-based lick up the fingerboard in minor third intervals (thedistance of three frets).

Fig. 2 12:571

Featured Guitars:Glr. 1 (hard L.)Glr.2 (hard R.)

Slow Demo:Glr. 1 (cenler)

Guitar SoloGlr. 2: wI Rhy. Fig. I, 8 limes

~~~A" ? -er -> .> 3? - -- -- -v - >~ ;#P.S. >

lei ring ;'V

~ ./2

E5 G5 AS E5

~~ .. r-b. r-4-, .....4-. -! 3,-3--, ,-3--, ,-3--, ,-3--, .--3--,

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semi-harm. -l

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B A ~

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69

8m ~: 1\5 ~5 _r------j , 3 I

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----

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13

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P.H. P.H. P.S.P.M. --l

pItch: B pitch: B

70

THE EXTREMISTJoe went to "extreme" measures in the making of his fifth album, The Extremist.

For the first time since he began making solo records, Satriani nearly abandoned hisFloyd Rose-equipped axes and opted for his Ibanez JS-6. He was also surrounded by newfaces this time around enlisting Andy Johns as producer, Greg Bissonette on bass, MattBissonette on drums, and Phil Ashley at the keyboards. Bassist Doug Wimbish and drum­mer Simon Phillips also contributed to the recording. The album took over two years towrite and record, but the tedious process clearly paid off. Upon its release in July 1992,The Extremist immediately went Gold, debuting at #24 on the Billboard chart, and earnedSatch yet another Grammy nomination. The album's signature tune, "Summer Song;' waseven featured on a Sony Walkman commercial!

71

SUMMER SONGMusic by Joe Satriani

Satriani came up with the title of "Summer Song" before he'd actually written a sin­gle note for it. He took the concept of "summer song" and set out to create a tune thatdepicted the excitement of summer vacation where school is out, flowers are blooming,and people are having a blast. "Summer Song" was featured on a Sony Walkman com­mercial and showcases Joe's superior shredding throughout.

Figure 1 - Introduction

While Gtr. 1 churns out its chords and palm-muted open string iterations (Rhy. Fig.1), Gtr. 2 engages in a melodic application of natural harmonics similar to what weencountered in "Hordes of Locusts;' though yielding an entirely different result. Joe usesan echo effect (set at approximately 550ms) to generate some slapback echo repeatsafter he runs through each handful of harmonics.

Fig. 1G5 C5 C6 C7 F#m7 D5

~... BHfr m'" ilr'" til BlUff Featured Guitars:

II Glr. 1 (hard R.)Glr. 2 (hard L.)

III Il " 1.111 2 33 II

D6 D7 E5 E6 E7 A5

mlOfr~ .. .IUf m12fr DUf

, tI• ,orr

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~~

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• Doobkd by another glr.

Gu. I: wi Rhy. Fig. 1.2 limesDadd4/A A5 Dadd4/A A5

5Gtr. 2 (dis!.) 8\'/1 -- - - - - - - - - - - - - - - -- - - - - - -- - - - •••••••••• - -- - - - - - _. - - _•••• -. - - - - - - - - - - - - - - - - - - - - -- - - - - --- ••••..••• -' ..•• - •••••••• - - - - -- - - - - - - - -- - --

A ••, •• ----j-r - -r:I I I

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Uann. ________ ..... Harm.________ -; Harm.__________ ~ _____ ~

72

Copyright e 1992 Strange Beautiful Music (ASCAP)International Copyright Secured All Rights Reserved

Used by Permission

Glr.l: wI Rh)'. Fig. I. lsI 3 mells. Gu. I: wI Rhy. Fill 1

0/A AS N.C. AS11 81'u •• - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - • _•••••••• _••• - - - - - - - - - - - - - - - - - - - - - - - - - - -.,

....., .Ilo l. l. L

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P.M.___ -I P.hL ___ -I

1/4

Figure 2 - Instrumental Verse

Joe uses this song's introductory riff (Rhy. Fig. 1) as most of the accompanimentbehind the wah-soaked melody played by Gtr. 2. Other chords like B5 and G5 enter thepicture in measures 13-14, creating a more eiaborate harmonic structure which Satchaccentuates with his stinging melody. This section's sixteen-measure melody is rooted inA Mixoiydian (A-B-CI-D-E-FI-G) and is performed Iwice---Qne-octave higher with var­ied inflections the second time through (measures 17-32). The rapidly oscillating vibratoheard throughout is accomplished by quickly depressing and releasing the tailpiece of aFloyd Rose tremolo system with the pickhand each time 'Ow/bar" is indicated.

10:241 ~ Featured Guitars:Fig. 2 Glr. 1 (hard R.)

Glr. I: wi Rhy. Fig. 1.2 limes Glr.2 (hard L.)

1 Oadd4/A AS"~lr.,.z .110 ~.-..~ "Cr""Cr""Cr"Cr"Cr""""""

~~> > > --- -.- ---- -- =.- -- .. _-~

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Figure 3 - Instrumental Chorus

In this instrumental chorus section, Satch basically blueses his brains out, stick­ing to lines which fluctuate between A minor pentatonic (A--G-D-E-G), A Dorian(A-S--G-D-E-F#-G), and A natural minor (A-S-C-D-E-F-G) scales. Notice how hecleverly punctuates each eight-measure phrase with a little whammy bar wiggling (mea­sures 8 and 16). The last six measures are somewhat reminiscent of Jimi Hendrix's bend­ing break performed moments before his guitar solo in "Purple Haze."

75

Fig. 3

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Figure 4 - Guitar Solo

Slow Demo:Glr. 2 (cenler)

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Joe makes a dramatic key change for this guitar solo section, opting for a G minortonality between measures 1-16. For the most part, G Dorian (G-A-Bb-C-D-E-F) isSatriani's scale of choice over this key center, though some of the solo's earliest momentslean towards G minor pentatonic (G-B!>--C-D-F).

Between measures 9-16, Joe whips out a barrage of blistering picked and pulled­off notes which echoes a passage we perused back in the "Crushing Day" solo (see mea­sures 37-44 of said song), cramming in chromatic passing tones between G Dorianpitches along the third string (measures 9-12) and within the parameters of G minor pen­tatonic (measures 13-15).

Another key change takes place for the last sixteen measures of this solosection-this time to F! minor. After four measures of tweaking his tremolo bar, Joe pias­ters the atmosphere with a pair of pentatonic passages-FI minor pentatonic(FI-A-B-Ci-E) between measures 21-22 and A minor pentatonic (A--e-D-E-G)between measures 23-24.

Gtr. 2 then breaks into a boogie pattern, implying the modality of D Mixolydian(D-E-F~G-A-B-C) with its alternation between D5, D6, and D7 chords (measures25-28). While this happens, Gtr. 1 launches into a descending eighth-note lick similar toa soaring passage from the "Satch Boogie" solo (see measures 17-20 of said song). Theaccompaniment pattern of Gtr. 1 moves up one whole step to imply the modality of EMixolydian (E-FI-Gi-A-B-CI-D). These E5, E6, and E7 chords, coax Satriani into climb­ing up the second string in a chromatic fashion (measures 29-30), moving up the fret­board in successive half steps-<me fret at a time. To bring this solo to a dramatic close,Joe takes the chromatic approach once again-this time playing the previous chromaticline one octave higher along the first string (measures 31-32).

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