Tuesday Wisdom: In The Style Of Marty Friedman Part II

artist: misc date: 08/07/2012 category: ug news
I like this
150
voted: 15
Tuesday Wisdom: In The Style Of Marty Friedman Part II
Due to comments of UG members, I've decided to do a second part on Marty to further break down his style. The first part is a break down of "Tornado Of Souls" piece by piece, while the last part is a way to come up with your own Marty-esque solos. This is a follow up to "Tuesday Wisdom: In The Style Of Marty Friedman". "Tornado Of Souls", as well as a look at following the chords, as per requests to the first part of this look at Marty's playing style. As for the rhythm, I'm going to simplify it. If you want to know the actual solo rhythm on the song, search for tabs. There's some pretty good ones on Ultimate-Guitar.
e|------------------------------------------------|
B|------------------------------------------------|
G|--4r----2--------b----------4~------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--9---------------------------------------------|
A|--9---------------------------------------------|
E|--7---------------------------------------------|
In the piece above, the Rhy. Guitar is playing a B5 power chord, which contains a B root note on the E string, F# 5th in relation to the root, and a B 8th note, which is an octave from the root note. For the lead guitar, it starts with you fretting a note at the 2nd fret on the G string, which is an A note minor 7th in relation to the B5 power chord. However, you start the note bent a full step, hitting the target chord tone of B, release it and ease it back up, and give it a nice vibrato.
e|------------------------------------------------|
B|------------------------------------------------|
G|----4-----------6----------7----/--9~-----------|
D|--x--------x-----------x------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--9------------------------5--------------------|
A|--9------------------------5--------------------|
E|--7------------------------3--------------------|
Rhy. Guitar this time goes from B5 to G5 at the end. The G5 chord contains a D note 5th in relation to G. For Marty's part, he dead notes the D string a couple times by using multiple fingers to dampen it. I'd use my index, middle and ring fingers to dampen the D string and use your pinky to hit the notes, as well as moving your hand around when necessary. In between the dead notes, he hits a B, C# and slides a D up to an E with vibrato. The B needs no discussion, but the C# is a 5th to the F# in the B5 power chord, so Marty manages to make it fit. The interval relationships changing [root note in one case and in regards to C#, a 5th to F#]. Notice that the last note in Marty's part is a D note, which is the 5th to the G5 chord under it. He slides it up and adds vibrato to an E note, which is a major 6th in relation to the G root note. Something like this is what adds Marty Friedman's special exotic sound to a lick.
e|------------------------------------------------|
B|------------------------------------------------|
G|--/11---11---11---9~-------\--(7)d5--(h9)7---r--|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|---5---------------------------------------2----|
A|---5---------------------------------------2----|
E|---3---------------------------------------0----|
G5 again for the Rhy. Guitar, with an E5 at the end. B is the 5th in the E5 chord. For Marty's part, this isn't very easy to tab out nor explain, but I'll try my best. You slide into an F# and play it three times, which is a major 7th in relation to the G5 power chord it is played over. Then, it brings back up the interesting tone of major 6th over a G5 power chord. After that, it slides down to D, the 5th in relation to G5, but as I tried to tab above, slides to the 7th fret, uses his whammy bar to pre-dive a full step from D to C [hence the d with the 7 in ()'s]. Hammer your ring finger onto the 9th fret, and release the bar, bringing the note up from a D to an E, which hits the root note of the E5 chord the Rhy. is playing. Btw, the C is a minor 7th to D and perfect 4th to G.
e|------------------------------------------------|
B|--------10--7-----------------------------------|
G|--7--9---------9--7--6--7-------6h7--6~------6--|
D|----------------------------9-------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--2-----------------------------4------------7--|
A|--2-----------------------------4------------7--|
E|--0-----------------------------2------------5--|
For the Rhy. Gtr this time, the first chord is an E5 with a B note for a 5th, F#5 with a C# for a 5th, and A5 with an E for a 5th. The most notes of any of the previous dissections, but let's see what we got here. That first note is a D, which is a minor 7th in relation to the E5 power chord. It quickly moves to the E note, hits A and F# notes on the B string, then goes back to the G string to hit E-D-C#-D, which contains more minor 7th and major 6th relations. Anyone sensing a pattern? He resolves the pattern over E5 with a B note at the 9th fret on the D string. He initiates the pattern over the E5 power chords with an E and ends it with a B. Well played, Marty. Over F#, he targets the 5th [C#], hammers onto the minor 6th [D], and back to the 5th sustained and with vibrato, hitting another short C# note over an A5 power chord with an E note as a 5th, giving it a major feel as the relationship from A to C# is a major 3rd.
e|------------------------------------------------|
B|------------------------------------------------|
G|--9--6---------------------------------------6--|
D|--------9--7-----7--9---------------------9-----|
A|--------------9--------9~----------9--10--------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|-----------------.------------------------------|
D|--7--------------8-----9------------------------|
A|--7--------------8-----9------------------------|
E|--5--------------6-----7------------------------|
Chromatic power chord ascent from A5 to A#5 to B5 including E, F and F# as 5th's respectively. The stacatto A#5 power chord adds some nice dissonance with the lead part that resolves well with the B5 power chord. Onto Marty's part, he hits an E note a 5th in relation to the A5 power chord the Rhy. Guitar is playing moving onto a C#, B, A, and F# in an interesting little melody. Respectively, that is a major 3rd, sharp 2nd, root note, and major 6th. [Again with the damn major 6th!] The A#5 power chord is stacatto and abrupt, and the A note on the D string in relation to it makes for a major 7th, which is one note away from A# in the rhythm, and creates a little nice dissonance. The B note also on the D string adds a little as well before finally hitting the F# note on the A string, which is a 5th in regards to the B5 power chord, making for a nice resolve. The last four notes at the end F#, G, B, and C# are a 5th, minor 6th, root note and sharp 2nd in regards to the B5 power chord.
e|------7-9-7-9-9----9----------------------------|
B|----7-----------12---14b15-----------15r14--12--|
G|--7---------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--9---------------5-----------------------------|
A|--9---------------5-----------------------------|
E|--7---------------3-----------------------------|


e|------------------------------------------------|
B|--14b15r--14--12--12--14------------------------|
G|--------------------------12b-14r-12----12--12--|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--5-------------------2-------------------------|
A|--5-------------------2-------------------------|
E|--3-------------------0-------------------------|
For the 1st bar of this section, the Rhy. Guitar is playing a B5 chord and then a G5 chord. We've discussed the 5th scale degrees earlier in the lesson. As for Marty's part, he starts off with a D, which makes the section with the B5 chord in this portion of the solo sound somewhat minor, as the interval between the B root note and the D note is a minor 3rd. The second note is an F#, which is the 5th in this case, and the third note is a B note, which outlines the 2nd inversion of a Bm arpeggio [B-D-F#]. Like we discussed earlier, the C# on the high e in regards to F# is a 5th. In regards to the root note B, it outlines a Bmadd9 chord, as C# is a 2nd, but used as a 9th in this case. Around the 12th fret B note on the B string, the Rhy. Guitar goes from B5 to G5, but it still works because the B is a 3rd in regards to G5 and hints at a G major chord [G-B-D]. Interestingly enough, Marty hits a C#, which now is a b5 in regards to G, the root note. He hits it again, but bends it up half a step from C# to D to raise it to a perfect 5th instead of the b5 that C# is in regards to G. He releases it back to the b5 shortly, then hits B, a major 3rd in this case. For the 2nd bar of this section, the Rhy. Guitar plays G5 and E5 and the 5ths have already been explained previously. Back to Marty, he bends the b5 up to a perfect 5th and releases, then plays two B notes, the major 3rd in regards to G5. Upon the Rhy. Guitar going to the E5 power chord, Marty hits the C# note, which is now considered a major 6th. Next, he goes to the minor 3rd, G and bends it up a full step to A the perfect 4th and releases back to G. Moving on...
e|--14-14h15-14p10h14p10h14p10-9-10-9-------------|
B|------------------------------------12----------|
G|---------------------------------------11-9-11-9|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--2-------------------------------4-------------|
A|--2-------------------------------4-------------|
E|--0-------------------------------2-------------|


e|---------------------------14----10h14p10-------|
B|------------------------------------------14-12-|
G|-----9b11-9-7\6~----(6)/------------------------|
D|--12--------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|---------------------.--------------------------|
D|--4-------7----------8-----9--------------------|
A|--4-------7----------8-----9--------------------|
E|--2-------5----------6-----7--------------------|
In this section, the Rhy. Guitar plays E5 and F#5, and in the 2nd bar, plays F#5, A5, A#5 staccato and then B5, which we've gone over previously. To recap, the 5ths are B, C#, E, F, and F# respectively. Marty's part this time entails the F# note, which in regards to E5 is a 2nd, but in for chords, refers to an E5add9 chord. He then hits the F# again but hammers onto the G, minor 3rd, and hints at an Emadd9 chord. After that, he pulls off 3 times from the F# note to a D note. The D in this case is a minor 7th to E5. He hits a C# [Major 6th] then a D note again. When the Rhy. Guitar goes to F#5, Marty hits the C# note for a second time and as you all know, that is a 5th interval between F# and C#. The B note, a perfect 4th in this case, is kinda weird for Marty, as he seems to prefer major 6ths and minor 7th intervals quite a bit. It probably hints at an F#5sus4 chord. Marty closes this bar off with an F#-E-F#-E pattern, which again brings up the minor 7th [E]. For the second bar of this portion, Marty starts it off with a D note over an F#5 chord, which is a minor 6th. Then he moves to the G string, plays an E note at the 9th fret and bends it up a full step to F# to resolve the line over F#5. The Rhy. Goes to A5 and Marty plays an E, the 5th, which the Rhy. Guitar is playing in the A5 power chord. Then, he plays a D note [perfect 4th] and slides down to C# [major 3rd] with vibrato before sliding it up to position for the next part. The slide starts over A#5 which drops the major 3rd to a minor 3rd while still playing the same note [C#]. Over B5, Marty hits the 5th F# and then plays a hammer-pull from the 10th fret D note, to the 14th fret F# and back. The last two notes are a C# and B. D is a minor 3rd, C# hints at a Bmadd9 chord like earlier and B is the root note.
e|-----------10-/19p14----------------14-19-------|
B|-----12-14-----------15-14----14-15-------------|
G|--11-----------------------16-------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--9---------------------------------5-----------|
A|--9---------------------------------5-----------|
E|--7---------------------------------3-----------|
Rhy. Guitars play B5 and G5 in this section. For the first note, Marty chooses F#, which is a 5th to B. Then he plays B, C# and D before sliding up to B, where he pulls off to F#. B is the root, C# is the 2nd [and hints at Bmadd9 again], D is the minor 3rd, and F# is the 5th. The last five notes he plays over B5 are D, C#, B, C# and D. The last two notes F# and B are a major 7th which is kinda dissonant and creates a bit of tension being only a semi-tone apart from G. The B in this case is a major 3rd.
e|--15h19p15----------------15-19b---22--r19--19--|
B|-----------17----------17-----------------------|
G|--------------16----16--------------------------|
D|-----------------17-----------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--5---------------------------------------------|
A|--5---------------------------------------------|
E|--3---------------------------------------------|
For this section, the Rhy. just does G5. For Marty's part, he plays an E minor sweep arpeggio, takes it through 4 strings and re-ascends, then bends the B note up to a D, releasing it and playing the B one more time. E is a major 6th to the 5th of G5, D in this case, and B is a major 3rd. This section really doesn't require all that much explaining.
e|--19~---0-19--16h19p16-------------------12-16--|
B|-----------------------17-------------12--------|
G|--------------------------16\13----13-----------|
D|--------------------------------14--------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--5---------2-----------------------------------|
A|--5---------2-----------------------------------|
E|--3---------0-----------------------------------|
From this point forward, I'm going to skip the Rhy. Guitar as far as dissecting it goes, but will still put it up in relation to the lead parts, etc. Like in part 1 where I demonstrate Marty mutating arpeggios, this shows him taking a E minor sweep arpeggio and turning it into an E Major sweep arpeggio. When he reaches the B note on the G string, he slides down to G#, hits an E note on the D string at the 14th fret and plays the notes G#, B, E and G# in a sweep arpeggio fashion.
e|--12--------------------------------------------|
B|-----12-----------------------------------------|
G|--------13-----13\9~------9--11----11--12-----|
D|-----------14-----------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--2--------------------------4------------------|
A|--2--------------------------4------------------|
E|--0--------------------------2------------------|
Marty descends down 4 strings of the E Major arpeggio over an E5 power chord, plays the G# note on the G string and slides down to E at the 9th fret with some vibrato. Then he plays E one last time before the rhythm changes to F#5 and Marty plays an F#, then tremolo picks an F# and G note. The G note is a b2 from the root note and a b5 between G and C#.
e|------------------------------------------------|
B|------------------------------------------------|
G|--/15----\7----9----6~---------7~------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|----------------------------.-------------------|
D|---4----------7-------------8-----9-------------|
A|---4----------7-------------8-----9-------------|
E|---2----------5-------------6-----7-------------|
The first note with the slide and tremolo picking is an A# note and doesn't have much relation to the scale or the chord it's being played over, however, it's a Major 3rd in regards to F#. Typically, you'd probably play A instead of A#, but this is how Marty plays outside of the scale. Just before the Rhy. Guitar goes to the A5 power chord, Marty slides down to D and tremolo picks it as well. This is a minor 6th in regards to F#5 and in regards to A5, it probably hints at an A5sus4 chord. Then he moves it to an E note tremolo picked, and adds vibrato to a C# and D note. Over A5, the C# is a major 3rd and over the staccato A#5 power chord, a minor 3rd, which I seem to remember going over the last time that this part in the Rhythm Guitar came up. The D note w/ vibrato over B5 is a minor 3rd. This is not much going on in this part like in a section that is coming up soon, but regardless, takes quite awhile to discuss and dissect.
e|------------------------------------------------|
B|------------------------------------------------|
G|-----------------7-9-9b10r-------9--7~----------|
D|--9-----------/9--------------------------------|
A|----9~------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--4------------------5--------------------------|
A|--4------------------5--------------------------|
E|--2------------------3--------------------------|


e|------------------------------------------------|
B|------------------------------------------------|
G|-----7---------7---9-7--------------------------|
D|--/9---9-9~------9-----9-7-9b11r9-7-------------|
A|------------------------------------9\7~--------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|---5-----2--------------------------------------|
A|---5-----2--------------------------------------|
E|---3-----0--------------------------------------|
This part has some nice phrasing. Let's look at the 1st bar first, then we'll dissect the 2nd bar of this portion. The first two notes are a B on the D string and an F# on the A string with vibrato. He then slides up to the B that was just previously played and hits a D and E on the G string. Since this is over an F#5 power chord, the B is considered a 4th to F# and a minor 7th to C#. If it were a chord, it'd probably be an F#5sus4. The D in regards to F#5 is a minor 6th and E is a minor 7th. The E to F bend with a slow release compared to the G5 power chord it's played over is a major 6th to minor 7th. The D at the end of the 1st bar in this section is a Major 3rd over the G5 power chord. In the 2nd bar, a B note is slid into, plays a D note on the string above it, and hit's the B again. Over G5, the B note is a major 3rd and D is a perfect 5th. The Rhy. Guitar then goes to E5. Play a 3rd B, this time with vibrato and over E5, this is a 5th. Then Marty plays D, B, E, D, B and A. Over E5, D = minor 7th, B = 5th, E = root, and A = perfect 4th. To end this bar, Marty bends a B up to a C# and releases, then A at the 7th fret, and sliding the F# at the 9th fret down to E at the 7th fret on the A string, adding vibrato to the E note. Let's take a break right here to get another Cola, Pepsi, Budweiser, or Rock Star, refresh and come back.
e|------------------------------------------------|
B|--------------8-11/14p11------------------------|
G|------------9------------12---------------------|
D|-------8-11-----------------14-11-------11-14---|
A|--/9------------------------------14-12---------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|---4--------------------------------7-----------|
A|---4--------------------------------7-----------|
E|---2--------------------------------5-----------|
In this section, Marty takes an F# Dominant 7th sweep arpeggio then mutates into a G diminished 7th shape and finally turns it into A Major with a B to make it work over the F#5 power chord, as Marty's line starts on F# and ends on B, which is the 4th here, but you can think of it as a B5 power chord like Marty probably did here. The A Major shape is played over the A5 chord.
e|------------------------------/14p10----10------|
B|-----14/19\14-10----10-14p12---------12---------|
G|--14-------------12-----------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|-----------------.------------------------------|
D|---7-------------8---------9--------------------|
A|---7-------------8---------9--------------------|
E|---5-------------6---------7--------------------|


e|--14p10-14p10----10-14p10-14p10----10-15p10-----|
B|--------------12----------------12----------12--|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--9---------------------------------------------|
A|--9---------------------------------------------|
E|--7---------------------------------------------|
Here, Marty plays an F# Minor 2nd inversion over an A5 chord, which in this case is A-C#-F#. Then he plays G-A-C# over a staccato A#5 chord. I'm pretty sure the only note over A#5 power chord is G, which is a Major 6th interval to A#. Then, the Rhy. Guitar plays a B5 power chord. Over this, Marty plays a B note, slides into an F# note on the high e string, which is the 5th of B5. Pull off from F# to D, play another B and then one last D. Over B5, B-D-F# is a Bm sweep arp. In the 2nd bar, the rhythm plays a B5 power chord still, as Marty continues to play B-D-F# as indicated above, with a G note added at the end. This note adds interest and is a minor 6th compared to the B5 chord.
e|--10-14p10----10-15p10----10-14p10----10-15p10--|
B|-----------12----------12----------12-----------|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--9--------------------------------5------------|
A|--9--------------------------------5------------|
E|--7--------------------------------3------------|
Continuing with B5, Marty continues to go back and forth between B-D-F# and B-D-Ga few times, which sets up nicely for the G5 power chord coming up. Over G5, he still plays B-D-G, which over G5, changes this to a G Major sweep arp.
e|-----10-15p10-15p10----10-15p10-15p10----10-17--|
B|--12----------------12----------------12--------|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--5---------------------------------------------|
A|--5---------------------------------------------|
E|--3---------------------------------------------|
Here, Marty continues to play a G Major sweep arpeggio, and the A note at the end of this section adds a minor 7th so as to keep it interesting.
e|--p10----10-15p10----10-17p10----10-15p10----10-|
B|------12----------12----------12----------12----|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--5---------------------------------------2-----|
A|--5---------------------------------------2-----|
E|--3---------------------------------------0-----|
Continuing, Marty alternates between G Major and A-D-B, which might make this Gsus2 or something, I'm not too sure what. Over the E5 at the end, Marty plays B and D, which are a 5th and a minor 7th.
e|--16p10----10-16p10-16p10----10-16p10-16p10-----|
B|--------12----------------12----------------12--|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--2---------------------------------------------|
A|--2---------------------------------------------|
E|--0---------------------------------------------|


e|--10-17p10----10-16p10----10-17p10----10-16p10--|
B|-----------12----------12----------12-----------|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--2---------------------------------------------|
A|--2---------------------------------------------|
E|--0---------------------------------------------|
Over E5, Marty plays a G# Minor arpeggio pattern, which is G#-B-D. B and D we just talked about, but the G# turns this, over E5, into an E7 Major arpeggio pattern. It goes from min to Major because of the root note of the power chord being E, and the relationship between E and G# being that of a Major 3rd. In the second bar of this section, Marty switches back and forth between G# and A. As we just discussed, with the G#, it is E7 Major, but with the A, it is E7sus4.
e|-----10-18p14----14-18p14-18p14----14-18p14-18--|
B|--12----------14----------------14--------------|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--4---------------------------------------------|
A|--4---------------------------------------------|
E|--2---------------------------------------------|


e|--p14----14-17p12----12-17p12-17p12----12-17p12-|
B|------14----------14----------------14----------|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------.-----|
D|---4--7-----------------------------------8-----|
A|---4--7-----------------------------------8-----|
E|---2--5-----------------------------------6-----|


e|--12-12-17b19~--------17b19----\----------------|
B|------------------------------------/17---------|
G|------------------------------------------19----|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--------9---------------------------------------|
A|--------9---------------------------------------|
E|--------7---------------------------------------|
This is a long section, but since there is a lot of repeating, we'll be fine. In the first bar of this section, Marty plays a B and D over F#5. In this case, the B is a 4th, so it hints at F#5sus4, and the D is a minor 6th. He moves on and then plays a repeating pattern involving the notes F#-A#-C#, which is an F# Major triad. In the second bar, Marty plays a C# and F# over an A5 power chord before moving to a repeating A-C#-E pattern. F# is a Major 6th, C# is a Major 3rd, E is a perfect 5th and A is the root note. At the end, the Rhy. Guitar plays a staccato A#5 power chord, while Marty plays one last A and E in this bar. The A causes a little tension as it's a Major 7th and only a semi-tone apart, while the E also causes some tension, as it's a b5 in regards to A#5, and is only a semi-tone away from F, the perfect 5th for A#. In the 3rd bar of this section, Marty plays 2 more E notes while the Rhy. Guitar is silent after the staccato A#5 in the previous bar. The tension is relieved when the Rhy. Guitar hits the B5 power chord as E is a perfect 4th to B, and would work in a B5sus4 chord. Marty then bends the 17th fret A note on the high e up a full step up to B with vibrato, does it again, this time without vibrato, and then slides downward, and slides back up to a 17th fret E note on the B string and hits a 19th fret D note on the G string. Over B5, the D note is a minor 3rd and again, E is a perfect 4th and would work in a B5sus4 chord.
e|-----------------------------17p14-17/21\17-----|
B|--19-17-------------15-19p15----------------19--|
G|--------19-18-16-18-----------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--9--------------------------------------5------|
A|--9--------------------------------------5------|
E|--7--------------------------------------3------|


e|--------17-19-24p19----19-------22p17--15-19p14-|
B|--17h19-------------22----22p19------19---------|
G|------------------------------------------------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--5---------------------------------------------|
A|--5---------------------------------------------|
E|--3---------------------------------------------|
This is where it starts getting harmonically crazy again as Marty breaks away from the repeating patterns of the previous sections. Anyways, Marty's first couple notes are F#, E, D, C#, and B. Seeing as this is over a B5, this is a perfect group of notes. In terms of intervals, F# and E are a perfect 5th and 4th respectively. D and C# are a minor 3rd and sharp 2nd. These are what the first 7 notes of this 1st bar consists of. Next, at the 19th fret of the B string is an F# which is pulled off to D at the 15th fret. On the high e string, Marty moves onto doing a pull-off from A to F#. Then, he slides the A up to C# and back down to A. Sliding back down to A is over the G5 power chord towards the end of this bar and then an F#, somewhat oddly avoiding the G. A would be a #2 to G, so possibly an add9 or sus2 chord, and F# is a Major 7th. The next bar, Marty plays an E to F# hammer on as shown and continue avoiding the G note. This is towards the end of the solo, so I can imagine he's trying to build tension and suspense. Anyways, on the high e string, he plays A and B notes, and then pulls off from E at the 24th fret to B at the 19th fret. He then plays A, B, A with a pull-off to F#, D with a pull-off to A, F#, G [finally!], and B with a pull-off to F#.
e|-----12-17p12----10-15p10----9-14p9-------------|
B|--15----------14----------12--------------12----|
G|------------------------------------14-14----14-|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--5---------------------------------------------|
A|--5---------------------------------------------|
E|--3---------------------------------------------|


e|------------------------------------------------|
B|------------------------------------------------|
G|--14-12-14p12----12----11h12p11-------11\9------|
D|--------------14----14----------14-12------12~--|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|--5--2------------------------------------------|
A|--5--2------------------------------------------|
E|--3--0------------------------------------------|
First off, I just wanna say I'm not too entirely sure about the 2nd bar in this section. Anyways, the 1st bar starts off with a couple partial arpeggios. There's a D note, which doesn't apply, but is a 5th to the G5 power chord the Rhy. Guitar is playing. The first is a A Major arpeggio [A-C#-E], then G Major [G-B-D], and finally F#min [F#-A-C#]. Cleverly, he manages to go from one phrasing to another in different positions while still including A. He closes this 1st bar out with 3 A notes and a B note. Still, he's avoiding the G note over a G5 power chord for the most part, only utilizing it occasionally to keep it slightly in. His use of B and D, however, are what make it work in my opinion. In the 2nd bar, Marty plays one last note, an A, over G5, only to hit G over the next chord, E5, making it a minor 3rd from E to G. Then, he plays a series of notes, consisting of G, A, E, F#, and D as shown above. F# is a #2, so it probably hints at E5sus2, D is a minor 7th and hints at E7, and A is a 4th and hints at E5sus4.
e|------7-----------------------------------------|
B|--/7-----10p7-10b12------\----------------------|
G|--------------------------------------9p7-9h10--|
D|----------------------------9-10-12-x-----------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|---2-----------------4--------------------------|
A|---2-----------------4--------------------------|
E|---0-----------------2--------------------------|


e|------------------------------------------------|
B|------------------------------------------------|
G|--p7-7-8-9p7-12p11-11-12p11-12-13-14-16p15-14---|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|------------------------------------------------|
D|---4---------------7----------------------------|
A|---4---------------7----------------------------|
E|---2---------------5----------------------------|


e|------------------------------------------------|
B|------------------------------------------------|
G|--15-16-15-14-15-16-15-16~------------\---------|
D|------------------------------------------------|
A|------------------------------------------------|
E|------------------------------------------------|
 |
e|------------------------------------------------|
B|------------------------------------------------|
G|-----------.------------------------------------|
D|--7--------8-----------9------------------------|
A|--7--------8-----------9------------------------|
E|--5--------6-----------7------------------------|
Last section... Are you guys ready? I definitely am! Anyways, over E5 in the 1st bar of this section, Marty slides up to an F#, plays a B note on the high e string, does a pull off from A to F# and bends the A note up a full step to a B note and slides downward. Over F#5, Marty breaks the scale, and plays B-C-D on the D string and then E-D-E-F. Neither the C nor the F fit, but that's what makes Marty Friedman who he is as a guitar play. In the 2nd bar, Marty plays an interesting line on the G string. Over F#5, he plays D, D#, E, F#, and G. Most of these, except one which he only plays once over F#5 even fits and is not apart of the scale used throughout the previous sections of the song. Lots of chromaticism and whatnot. Over A5, he plays F#, G, G#, A, A#, and B. Only one of these fits the chord, but only the G# and A# this time don't fit the scale. Over the staccato A#5 above, he plays A, A# and B, and settles on the B over the B5 power chord at the end to release the tension that's built up with some nice vibrato and slides out. A look at scales Marty uses and making our own Marty style solos...
  • A Mixolydian - A B C# D E F# G A
  • B Hirajoshi Pentatonic - B C# D F# G
  • C# Iwato Pentatonic - C# D F# G B C# Using these three scales, focusing on the B Hirajoshi and C# Iwato scales to add interest, as well as sweep arpeggios and playing to the chord changes as we have illustrated with the "Tornado Of Souls" solo dissection above. If you're playing over a power chord, treat each chord as an "event", so rather than trying to find a line that works over everything, play something that works just over that chord. Chord tones and hinting at extended chord forms sounds quite nice. Here's a piece I came up with based on Marty's tendencies to follow the changes. See if you can use the scales above to not only identify what scale I'm using in certain parts, but also how my notes follow the chords.
    e|--14h15p14p12-14b-15--r--14-10h14p10------------|
    B|-------------------------------------14/17~---\-|
    G|------------------------------------------------|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2-----------4----5------7---------7-----7-----|
    A|--2-----------4----5------7---------7-----7-----|
    E|--0-----------2----3------5---------5-----5-----|
    
    
    e|--------------12----14p12----12h14--14b15r14----|
    B|-----------12----15-------14--------------------|
    G|-----11/12--------------------------------------|
    D|--12--------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2--------------5--4--2------------------------|
    A|--2--------------5--4--2------------------------|
    E|--0--------------3--2--0------------------------|
    
    
    e|--12~-------------------------------------------|
    B|---------14-12h14p12----12-------12-------------|
    G|---------------------14----14p12----14p12\11~---|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2---------------------------------------------|
    A|--2---------------------------------------------|
    E|--0---------------------------------------------|
    
    
    e|--12-11-10-12b14r--12b14--12~---------12--------|
    B|--------------------------------------12--------|
    G|--------------------------------14-14----14-14--|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2-----------4----5------7---------7-----7-----|
    A|--2-----------4----5------7---------7-----7-----|
    E|--0-----------2----3------5---------5-----5-----|
    
    
    e|-----------12--------------------------------12-|
    B|--12-14-15----12-------12~----------12-14-15----|
    G|-----------------12\11--------14-14-------------|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2--------------5--4--2------------------------|
    A|--2--------------5--4--2------------------------|
    E|--0--------------3--2--0------------------------|
    
    
    e|-----------14h15p14---17-15-14h15p14-17b19~-----|
    B|--15-14-15---------15---------------------------|
    G|------------------------------------------------|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2---------------------------------------------|
    A|--2---------------------------------------------|
    E|--0---------------------------------------------|
    
    
    e|---------------------------------------------11-|
    B|------------------12----------------------12----|
    G|---------------------14p12--14p12---12\11-------|
    D|-/12p11-12-14~------------14------14------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--7---------------------------------------------|
    A|--7---------------------------------------------|
    E|--5---------------------------------------------|
    
    
    e|--h14/19p14----14-------14-14-------------------|
    B|------------14----17p14-------17p14-17b19~----\-|
    G|------------------------------------------------|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|---9--------------------------------------------|
    A|---9--------------------------------------------|
    E|---7--------------------------------------------|
    
    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|---------------------------------------------9--|
    D|--11/12-11-----------------------------10-12----|
    A|-----------12~----10h12p10\9~----10-12----------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2--------4------5--------7--------7-----7-----|
    A|--2--------4------5--------7--------7-----7-----|
    E|--0--------2------3--------5--------5-----5-----|
    
    
    e|----------------9h12b14-------------------------|
    B|-------------10---------------------------------|
    G|--12p9~----9------------12p11-10h11h12-11-9~----|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2--------------5--4--2------------------------|
    A|--2--------------5--4--2------------------------|
    E|--0--------------3--2--0------------------------|
    
    
    e|-----15-20p15-19p15----------------15-20p15-19p-|
    B|-/17----------------17----------17--------------|
    G|-----------------------16----16-----------------|
    D|--------------------------17--------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2---------------------------------------------|
    A|--2---------------------------------------------|
    E|--0---------------------------------------------|
    
    
    e|--15----14-19p14\12----12-17p12----------15b17--|
    B|-----17-------------15----------15b17r15--------|
    G|------------------------------------------------|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2-----------4----5------7---------7-----7-----|
    A|--2-----------4----5------7---------7-----7-----|
    E|--0-----------2----3------5---------5-----5-----|
    
    
    e|----r15p12----------14p12-17b19-17b19----17b19--|
    B|-----------15-12-12-----------------------------|
    G|------------------------------------------------|
    D|------------------------------------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2--------------5--4--2------------------------|
    A|--2--------------5--4--2------------------------|
    E|--0--------------3--2--0------------------------|
    
    
    e|--~----14h17p14----14---------------------------|
    B|----------------17------------------------------|
    G|----------------------14h16p14----14------------|
    D|-------------------------------16---------------|
    A|-------------------------------------14h16p14---|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--2---------------------------------------------|
    A|--2---------------------------------------------|
    E|--0---------------------------------------------|
    
    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--------------------------------------12----12--|
    A|-----14\12~----14b16~--------14-12-14----14-----|
    E|--17--------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--7---------------------------------------------|
    A|--7---------------------------------------------|
    E|--5---------------------------------------------|
    
    
    e|--------------------------------10-14p10-14~----|
    B|-----------------------------12-Ending__________|
    G|-----------12----12\11----11--------------------|
    D|--14p12-14----14-------12-----------------------|
    A|------------------------------------------------|
    E|------------------------------------------------|
     |                                                    
    e|------------------------------------------------|
    B|------------------------------------------------|
    G|------------------------------------------------|
    D|--9---------------------------------------------|
    A|--9---------------------------------------------|
    E|--7---------------------------------------------|
    
    The end here can be different. Here's a few different endings:
    e|-10-14p10--------|-10-14p10-14~----|-10-14p10-10~----|
    B|----------12~----|-----------------|-----------------|
    G|-----------------|-----------------|-----------------|
    D|-----------------|-----------------|-----------------|
    A|-----------------|-----------------|-----------------|
    E|-----------------|-----------------|-----------------|
    
    e|-10-14b15r14~----|-10--------------|-10\9-12b14~-----|
    B|-----------------|----12b14r12~----|-----------------|
    G|-----------------|-----------------|-----------------|
    D|-----------------|-----------------|-----------------|
    A|-----------------|-----------------|-----------------|
    E|-----------------|-----------------|-----------------|
    
    And there are more you can come up with if you use your noggin and licks in both parts of this look at Marty Friedman's style of shredding. In my next column, shall I focus on creative uses of chromatic notes or ways to get out of box patterns. By Thurisaz
  • More misc news:
    + Eighth Grade Metal Band to Be Subjects of Feature-Length Documentary General Music News 07/29/2014
    + Revolution Haromny's Charity Single 'Hello' Featuring Tom Morello and Steven Wilson Released General Music News 07/29/2014
    + Unique Web Startup Crowd Audio Launches the Music Mixing Revolution Industry News 07/28/2014
    + Top 10 Best Stage Shows Entertainment 07/25/2014
    + 'Heavy Metal Is Totally Gay,' Terrorizer Magazine Claims General Music News 07/25/2014
    + Scientists Create Color That Is Blacker Than Black WTF? 07/25/2014
    + view all
    Comments
    Your captcha is incorrect