(POR BOB) –  Página Inicial

Em entrevista ao site Music Radar, o guitarrista do Velvet Revolver Slash revelou quais são os seus riffs de guitarra favoritos de todos os tempos, inclusive os que ele fez, além de dizer qual é o segredo de um bom riff…(Veja a matéria completa)

This Wednesday night, you may be tempted to swallow handful after handful of sleeping pills in the hopes that you’ll wake up in 2010, safe from the clutches of visiting relatives. We suggest that you instead use this time to come to The Oakland and watch our newest Garbage Duck short — and don’t worry, you can still get obliterated to the point that you forget your creepy spinster aunt even exists!

But she does. And she’ll be judging you soon enough.

Located at The Oakland Center for the Performing Arts at 220 West Boardman Street in picturesque Youngstown, Ohio. If you’re coming from out of state, just follow the trail of shattered dreams!

We’ve cooked up a new Thanksgiving-based short in the hopes that you’ll appreciate the little things in life, like cheap, affordable newspapers, and your right to run laundry through a mangle without being beaten and carried away in a bag by some sort of secret police force. Join us, and try to forget that you’ll be kissing scratchy grandma cheeks for the majority of your tomorrow.

Okay, so I rate my movies and television programs by what I’ve come to call The Cheezewhiz Meter… in brief, movies and television programs get a rating that can range from a “10th Level of Hell” score or TOTAL Cheezewhiz, to a “OMG THAT WAS AWESOME” which is more like a really nicely, aged Brie…

In any event, I’m sitting here watching yet one more movie based on the 12-21-2012 Mayan prophecy of the apocalypse, with Dale Midkiff, Amy Dolenz, and a variety of other B actors I’ve never seen before, and I’m thinking to myself in the first 15 minutes, “well, shit, this is gonna be 90 minutes of my life I’ll never get back but what the hell” given that I still have work to do tonight, and need some time to turn my brain off and spud out before I even try to finish that.  No before I go on to riff this particularly movie within an inch of its ridiculous life, I have to say Amy Dolenz looks just like Mickey, sadly has none of the talent as far as I can see… pfffft… Dale Midkiff, you know he’s an odd duck in my book because I’ve always found him attractive, but he’s clearly far better off just standing there looking pretty than trying to really stretch his acting chops because he just does not really have them to stretch.

So having said that on to the review of 2012: The End Of The World. Okay, for starters, LMAO at the title, but I don’t think it was meant to be funny.  This movie is a freakin’ riot, in spectacular, Cheezywhiz fashion.  Whoever wrote this, was not only drinking the Kool-Aid, but they were mainlining it, along with the Elmer’s… and yet, they managed to get produced and made into a movie, which calls in to question what criteria some production companies are using to in development of treatments but that’s a blog for another day.  Anyways, whoever wrote this movie pulled out the Good Book, dusted it off, turned to Revelations and pretty much wrote characters around each entry, and not really in a good way… every cliche is trotted out IN ORDER, and if you’re not Christian or Catholic, basically Revelations are all the Brimstone warnings about what the Apocalypse is gonna be like when God really gets fed up with our shit, and decides to pull the plug on the whole mess.  However, Revelations happen in a certain order, and I’ll be damned if this movie is not unfolding in the same way as Revelations was written.  It’s actually astonishing, because I’m  sitting here in riotous laughing fits, but having flashbacks to parochial school and the nuns, so it’s making me rather twitchy because I haven’t had scary nightmares of Sister Mary Whatsherface since I was 12 and I get the feeling I might have one tonight.  ACK.   In any event, I’ll say this much for the writers and producers of this flick, in typical B movie fashion, there has to be some gratuitous  T&A, and the chick they got playing the part of the Mayan’s version of the Virgin Mary, has a really bad boob job, not that you can see her boobs anywhere but through the dress she’s wearing but for fuck sake, if your boobs are hovering around your clavicle, you got a problem – FYI chickie no matter what the Tijuana, bargain basement doctor who did them tells you, they are most certainly NOT supposed to be up that high… if you’re jumping rope or jogging and they can literally bounce up and knock you out cold from blunt force head trauma THEY ARE UP TOO HIGH!!!!!!!!!!

RATING:   CHEEZIEST OF WHIZ

Redeeming Quality:  Anyone who has been to parochial school will get a good laugh revisiting some of the best written parts of the Bible that probably were fodder for many a sleepless night when you actually were too young to interpret it all any other way but verbatim.  Also, I got a good long laugh when my surround sound kicked in and scared the HUA HUA out of Freeway my Chi… I keep forgetting how small this house is compared to the other place, I’m betting you could hear the surround sound three zipcodes over… pffft…

For the benefit of those you your reading who are not Christian, Catholic or have the Bible handy to read Revelations, let me give you some of the highlights of this movie:

1.  California is the first place to go. This particular part is not exactly in Revelations, per se, but apparently the Almighty hates California as much as the rest of us do (I live in California and even I’m over it), so in typical B movie fashion, California is sinking into the ocean AFTER it gets torn asunder by a massive earthquake (no irony there) AND gets set on fire.  Very imaginative, not so much… pffft.

2.   Its snowing in the middle of summer?  Again, I don’t believe this is exactly, per se, in Revelations, but in the big scheme of catastrophes I guess this is right up there with #1.

3.   The earth has abruptly stopped rotating on its axis.  Again, not exactly in Revelations, but I’m thinkin’ that if that were to happen, #1 and #2 wouldn’t be too far behind.

4.  The Rapture.  Suddenly half the B roll cast disappears 3/4 of the way into the movie, THIS is in the Bible and presumably God is going to Rapture (take to heaven any and all who he deems worthy to be there for varied reasons) and the rest of us get to take our chances with the Big Bad that is Lucifer and deal with famine, pestilence, and assorted nasty shit his coming will unleash on the planet… hmmm… you know maybe this already happened and the whole dating experience is part of the nasty shit because I got left behind???  Well fuck… you know I can deal with pestilence and everything else but messin’ around with my dating life, is just not cool…

There are other things this movie trotted out and made a spectacle of, but my surround sound just freaked out Freeway again and I need to go peel his little bits off the ceiling… poor baby is gonna have a permanent tic at the rate we’re going…

Edge of Desire - John Mayer
Album: Battle Studies

OK guys this is my version of how i think John plays it.
I think its pretty close, if anyone has any suggestions, please leave a comment.
Im not entirely sure about the very last part of the Intro/Verse, but i think its virtually there.
This is an amazing song,listen the song to get the timing of the picking right,
its pretty straight forward! Good Luck!

Intro/Verse

	Amaj7
e |------------------------|
B |--------0---------2-0---|
G |----1-----1-----1-----1-|
D |--2---2-------2---------|
A |0-----------0-----------|
E |------------------------|x2

	Dmaj7
e |--------0---------2-0---|
B |----2-----2-----2-----2-|
G |--2---2-------2---------|
D |0-----------0-----------|
A |------------------------|
E |------------------------|x2

	Bm7
e |------------------------|
B |--------3---------2-3---|
G |----2-----2-----2-----2-|
D |--4---4-------4---------|
A |2-----------2-----------|
E |------------------------|

	E
e |----5---4---------------|
B |------------3--3-2------|
G |-------------------4-2--|
D |------------------------|
A |--2---------------------|
E |0-----0---0-------------|

	Amaj7
e |------------------------|
B |--------0---------2-0---|
G |----1-----1-----1-----1-|
D |--2---2-------2---------|
A |0-----------0-----------|
E |------------------------|x2

Whole thing repeats.

Chrous

There is a picking pattern in the Chorus but i havnt figured it out yet,
it's a bit hard to hear, its just these chords played interchangeably.
I just strum them, sounds ok to me:

"Dont say a word.."	"..with me"
	Dmaj7	then	A/Asus

	   0r		  and
e |------0----2---------0-----0-----|
B |------2----2---------2-----3-----|
G |------2----2---------2-----2-----|
D |------0----0---------2-----2-----|
A |---------------------0-----0-----|
E |---------------------------------|

Bridge thing after Second Chorus:

A F#m D A
A F#m D E
F#m D A A

This Riff is played throughout:

	Riff 1

e |------------------------|
B |2-3-5-3-2---2-3-5-3-2---|
G |----------2-----------2-|
D |------------------------|
A |------------------------|
E |------------------------|

Back to Chorus:

	Dmaj7	then	A/Asus

	   0r		  0r
e |------2----0---------0----0-----|
B |------2----2---------2----3-----|
G |------2----2---------2----2-----|
D |------0----0---------2----2-----|
A |---------------------0----0-----|
E |--------------------------------|

Riff 1 is played throughout this last chorus and through to the end of the song
along with this Riff also:

	Riff 2

e |4-5-4-0---0-4-5-4-0---0-|
B |--------0-----------0---|
G |------------------------|
D |------------------------|
A |------------------------|
E |------------------------|

Any feedback, leave a comment! Thanks.

THIS IS JUST AN ACOUSTIC VERSION OF PEARL JAM'S "RELEASE" ITS A NICE ONE TO SING WITH
GUITAR IF YOU'RE ASKED   THE CHORDS AREN'T PLACED EXACTLY, BUT IT'S EASY TO GET THEM IF
KNOW THE SONG. THE RIFF AT THE BEGINNING IS JUST PLAYING AROUND WITH D, SO HAMMER AND
OFF TO YOUR HEART'S CONTENT. Slán XD

 (Dsus4)   (G)     (Cadd9)
  I    see the  world
 (Dsus4)   (G)     (Cadd9)
  Feel      the chill
 (Dsus4)   (G)     (Cadd9)
  which way to  go
 (Dsus4)   (G)     (Cadd9)
  win      dow  sill
 (Dsus4)   (G)     (Cadd9)
  I     see the words
 (Dsus4)   (G)     (Cadd9)
 on the rockin horse of time
 (Dsus4)   (G)     (Cadd9)
  I    see the    birds
 (Dsus4)   (G)     (Cadd9)
  and the rain
 (Dsus4)   (G)     (Cadd9)
 ooohhh            4 times
 (Dsus4)   (G)     (Cadd9)
 Oh       dear damned
 (Dsus4)   (G)     (Cadd9)
 can you see  me now
 (Dsus4)   (G)     (Cadd9)
  I      am  my self
 (Dsus4)   (G)     (Cadd9)
 like you    somehow
 (Dsus4)   (G)     (Cadd9)
 I'll    ride the wave
 (Dsus4)   (G)     (Cadd9)
 where it takes me
 (Dsus4)   (G)     (Cadd9)
 I'll   hold the pain
 (Dsus4)   (G)     (Cadd9)
 release me          4 times
 (Dsus4)   (G)     (Cadd9)
 Oooohh              4 times
 (Dsus4)   (G)     (Cadd9)
 Oh       dear    damned
 (Dsus4)   (G)     (Cadd9)
 can you  see me now
 (Dsus4)   (G)     (Cadd9)
 I       am   my   self
 (Dsus4)   (G)     (Cadd9)
 like  you    some how
 (Dsus4)   (G)     (Cadd9)
 I'll wait up in the dark
 (Dsus4)   (G)     (Cadd9)
 for you to speak to me
 (Dsus4)   (G)     (Cadd9)
 I'll     open  up
 (Dsus4)   (G)     (Cadd9)
 release me          4 times
 (Dsus4)   (G)     (Cadd9)
 Oohhh               5 times

First heard it today. and im already in love with it:P.
maybe not 100% accurate. but close enough:)
Enjoy!

Verse:
E|-------------------------------------------------------|
B|---5----5----------------------------------------------|
G|---5----4----------------------------------------------|
D|---7----7----------------------------------------------|
A|-------------------------------------------------------|
E|-------------------------------------------------------|

Chorus is Dm, Am, Em, Am and then tht end chord b4 2nd verse is A#

Riff:
A|--5-5-5-5-7-5------------------------------------|
E|--------------8--5-5--5-5-7-5-3-0-0--0-0-0-3-5-5-|

Solo:
E|---------------------------------------------------------------------|
B|---------------------------------------------------------------------|
G|---------------------------------------------------9-7---------------|
D|-7-9-10--9-7-9-7--------12-9-10-----------10-9--10-----10-7-10-9-----|
A|-----------------7-5-7----------8-7-5----------------------------6b7-|
E|--------------------------------------8-7----------------------------|

E|-------------------------------------------------------------------------|
B|-------------------------------------------------------------------------|
G|-5-8b----5---5---9h10p9--7-9-5--9s13-16-14-9-13-14-16-14-9-13-16b-14-16b-|
D|-------7---7-------------------------------------------------------------|
A|-------------------------------------------------------------------------|
E|-------------------------------------------------------------------------|

G|--9-13-14--16-9-14-16-10-9----------

Bridge: F, G, Am F,Dm,G, G#5

This is by far the most daunting task I've ever put upon myself. I've been working on
song for hours and I'm only at about 1 minute. I'll keep on adding to this as I get it. I
you enjoy it, its a fun song!

Intro: Gabriela

E|---------------------------------------------|---------------------------------------------|
B|---------------------------------------------|---------------------------------------------|
G|---------------------------------------------|-----------------------------77----77----9-9-|
D|-----9--xx--------------------9----xx--------|-----9--xx----------------xx-77-xx-77-xx-9-9-|
A|-----0--xx------7h8p7---------0----xx--------|-----0--xx------7h8p7-----xx-00-xx-00-xx-0-0-|
E|-7-7----xx-7-10-0*----10--7-7---55-xx--5-5h7-|-7-7----xx-7-10-0*----10--xx----xx----xx-----|

Every other time, Gabriela plays her crazy, fast, muted thing as a substitute for the very
end part

Intro: Rodrigo

E|------------------------------------------------------------------------------|
B|-------------5-6-5------------------------------------------------------------|
G|-----/7-6--7-------7----------------------------------------------------------|
D|---4----------------7/9--------7-------7-9----7-9-----------------------------|
A|-2-------------------------7h9-----7h9------9-----9~-5-7-9--------------------|
E|-------------------------7-------7-------------------------7~-5-5-5-5-5-5-6-7-|

0:32 Riff 2: Rodrigo

E|----------------------|---1st Ending-----------|---2nd Ending---|
B|----------------------|------------------------|----------------|
G|----------------------|------------------------|----------------|
D|----------------------|------------------------|-4444-4444-44-0-|
A|-------5-------5------|-------5---8-7h8p7------|-4444-4444-44-0-|
E|-7-5h7---0-3/5---7--5-|-7-5h7---0*--------10-5-|-2222-2222-22-0-|

After that entire part is played once, another lead guitar comes in and plays the same
an octave higher, and
at the 2nd ending the chords are played straight, without rhythmic breaks.

That's all I've got for now. Please feel free to send any comments or corrections
to hildesaw88@hotmail.com

Tuning – Drop B (B F# B E G# C#)

Song Order:
Intro Riff
Verse 1
Chorus 1
Intro Riff
Verse 2
Chorus 2
Bridge Clean
Bridge Distorted
Chorus 3 Clean
Chorus 4
Outro Riff

Intro Riff - (*PH is same with a pinch harmonic, pm is same with palm mute)
C#|------------------------------|-----------------------------|
G#|------------------------------|-----------------------------|
 E|------------------------------|-----------------------------|
 B|----------------3-------------|----------------3-----3h5~---|
F#|------3-----3h5---5--5*PH-----|------3-----3h5---5-5--------|
 B|--3h5---0-0-------------------|--3h5---0-0------------------|

C#|------------------------------|--------------------------------|
G#|------------------------------|--------------------------------|
 E|------------------------------|--------------------------------|
 B|----------------3-------------|--------------------------------|
F#|------3-----3h5---5--5*PH-----|---5---3------3------3----------|
 B|--3h5---0-0-------------------|-5---5---5--5---5-3----5-3-3-2--|

Verse 1
C#|-------------------------------------------|----------------------------|
G#|-------------------------------------------|----------------------------|
 E|-------------------------------------------|----------------------------|
 B|-------------------------------------------|----------------------------|
F#|--0-0--------3---0-------3---0-0--3*-------|--0-0--------3---0----------|
 B|--0-0--3h5p3---0-0-3h5p3---0-0-0------3*---|--0-0--3h5p3---0-0----------|

C#|-------------------------------|
G#|-------------------------------|
 E|-------------------------------|
 B|-------------------------------|
F#|----5---3-----3-----3----------|
 B|--5---5---5-5---5-3---5-3-3-2--|

C#|-------------------------------------------|----------------------------|
G#|-------------------------------------------|----------------------------|
 E|-------------------------------------------|----------------------------|
 B|-------------------------------------------|----------------------------|
F#|--0-0--------3---0-------3--0-0-3*PH-------|--0-0--------3---0----------|
 B|--0-0--3h5p3---0-0-3h5p3--0-0-0------3*PH--|--0-0--3h5p3---0-0----------|
C#|-------------------------------|
G#|-------------------------------|
 E|-------------------------------|
 B|-------------------------------|
F#|----5---3-----3-----3----------|
 B|--5---5---5-5---5-3---5-3-3-2--|

C#|-----------------------------------|------------------------------------|
G#|-----------------------------------|------------------------------------|
 E|---7---7------5--5-5-5-5/7--7-7-7--|------------------------------------|
 B|-5-5---5----3-3--3-3-3-3/5--5-5-5--|------------------------------------|
F#|-5-5-5-5--0-3-3--3-3-3-3/5--5-5-5--|-0-0--------3---0-------3---0--3*---|
 B|-5-5-5-5--0-3-3--3-3-3-3/5--5-5-5--|-0-0--3h5p3---0-0-3h5p3---0-0-----3*|

C#|-----------------------------------|
G#|-----------------------------------|
 E|---7---7----5----------------------|
 B|-5-5---5----3----------------------|
F#|-5-5-5-5--0-3----------------------|
 B|-5-5-5-5--0-3------5/15\3----------|

Chorus 1
C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|------------5-0-3-0----------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-2-0-5-0-3-0----------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-2-0-5-0-3-0----------|

C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|------------5-0-3-0----------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-0-0-5-0-3-0----------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-0-0-5-0-3-0----------|

C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|-----------------------------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|-----------------------------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-5-3-0-5~-0-3-0---------|

C#|------------------------------------|-----------------------------------|
G#|-----3-3----------------------------|-----------------------------------|
 E|-----2-2-------12-12-------10-10----|-----------------------------------|
 B|--0--0-0-------10-10-------8--8-----|------------5-0-3-0-7~-------------|
F#|--0--0-0--0-0--10-10--0-0--8--8-----|--0-0-3-0-0-5-0-3-0-7~-------------|
 B|--0--0-0--0-0--10-10--0-0--8--8-----|--0-0-3-0-0-5-0-3-0-7~-----7/15\5--|

Intro Riff
C#|------------------------------|-----------------------------|
G#|------------------------------|-----------------------------|
 E|------------------------------|-----------------------------|
 B|----------------3-------------|----------------3-----3h5~---|
F#|------3-----3h5---5--5*PH-----|------3-----3h5---5-5--------|
 B|--3h5---0-0-------------------|--3h5---0-0------------------|

C#|------------------------------|-----------------------------|
G#|------------------------------|-----------------------------|
 E|------------------------------|-----------------------------|
 B|----------------3-------------|-----------------------------|
F#|------3-----3h5---5--5*PH-----|---5---3-----3-----3---------|
 B|--3h5---0-0-------------------|-5---5---5-5---5-3---5-3-3-2-|

Verse 2
C#|-------------------------------------------|----------------------------|
G#|-------------------------------------------|----------------------------|
 E|-------------------------------------------|----------------------------|
 B|-------------------------------------------|----------------------------|
F#|--0-0--------3---0-------3---0-0--3*-------|--0-0--------3---0----------|
 B|--0-0--3h5p3---0-0-3h5p3---0-0-0------3*---|--0-0--3h5p3---0-0----------|

C#|-------------------------------|
G#|-------------------------------|
 E|-------------------------------|
 B|-------------------------------|
F#|----5---3-----3-----3----------|
 B|--5---5---5-5---5-3---5-3-3-2--|

C#|-------------------------------------------|----------------------------|
G#|-------------------------------------------|----------------------------|
 E|-------------------------------------------|----------------------------|
 B|-------------------------------------------|----------------------------|
F#|--0-0--------3---0-------3--0-0-3*PH-------|--0-0--------3---0----------|
 B|--0-0--3h5p3---0-0-3h5p3--0-0-0------3*PH--|--0-0--3h5p3---0-0----------|

C#|-------------------------------|
G#|-------------------------------|
 E|-------------------------------|
 B|-------------------------------|
F#|----5---3-----3-----3----------|
 B|--5---5---5-5---5-3---5-3-3-2--|

C#|-----------------------------------|------------------------------------|
G#|-----------------------------------|------------------------------------|
 E|---7---7------5--5-5-5-5/7--7-7-7--|------------------------------------|
 B|-5-5---5----3-3--3-3-3-3/5--5-5-5--|------------------------------------|
F#|-5-5-5-5--0-3-3--3-3-3-3/5--5-5-5--|-0-0--------3---0-------3---0--3*---|
 B|-5-5-5-5--0-3-3--3-3-3-3/5--5-5-5--|-0-0--3h5p3---0-0-3h5p3---0-0-----3*|

C#|-----------------------------------|
G#|-----------------------------------|
 E|---7---7----5----------------------|
 B|-5-5---5----3----------------------|
F#|-5-5-5-5--0-3----------------------|
 B|-5-5-5-5--0-3------5/15\3----------|

Chorus 2
C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|------------5-0-3-0----------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-2-0-5-0-3-0----------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-2-0-5-0-3-0----------|

C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|------------5-0-3-0----------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-0-0-5-0-3-0----------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-0-0-5-0-3-0----------|

C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|-----------------------------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|-----------------------------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-5-3-0-5~-0-3-0---------|

C#|------------------------------------|-----------------------------------|
G#|-----3-3----------------------------|-----------------------------------|
 E|-----2-2-------12-12-------10-10----|-----------------------------------|
 B|--0--0-0-------10-10-------8--8-----|------------5-0-3-0-7~----0~~~~----|
F#|--0--0-0--0-0--10-10--0-0--8--8-----|--0-0-3-0-0-5-0-3-0-7~----0~~~~----|
 B|--0--0-0--0-0--10-10--0-0--8--8-----|--0-0-3-0-0-5-0-3-0-7~----0~~~~----|

Bridge  clean part
C#|------------------------------------------------------| 4 times
G#|------------------------------------------------------|
 E|------------------------------------------------------|
 B|-----------------0-----0-----0-----0-----0-----0------|
F#|------------------------------------------------------|
 B|--0--0-0-0-5-7-8---8-7---7-5---5-3---3-5---5-3---0-2--|

Bridge  distorted part
C#|---------------------------------------------------------------|4 times
G#|---------------------------------------------------------------|
 E|---------------------------------------------------------------|
 B|---------------------------------------------------------------|
F#|---------------------------------------------------------------|
 B|--0-0-5-3-0-5/8-8-8-10-8-7\5-3-3-5-3-0-7-7-7-8-7-5\3-----------|

C#|-----------------------------------------------------------------------|
G#|-----------------------------------------------------------------------|
 E|-----------------------------------------------------------------------|
 B|-----------------------------------------------------------------------|
F#|----------------------------------------------------------1b-----------|
 B|--1b-0-0-0-0-3b-0-1b-0-0-0-0-3b-0-1b-3b-0-1b-3b-0-1b-3b-0----1b-0~~~~~-|

Chorus 3 - clean
C#|--0-----------------------------------------------------------| 3 times
G#|--3----3-3----------------------------------------------------|
 E|--2----2-2-------12-12-------10-10---10-10-10---10-10-10------|
 B|--0----0-0-------10-10-------8--8----8--8--8h10-10-10-8--0----|
F#|--0----0-0--0-0--10-10--0-0--8--8----8--8--8----8--8--8--0----|
 B|--0----0-0--0-0--10-10--0-0--8--8----8--8--8----8--8--8--0----|

C#|--0-----------------------------------------------------------|
G#|--3----3-3----------------------------------------------------|
 E|--2----2-2-------12-12-------10-------------------------------|
 B|--0----0-0-------10-10-------8--------------------------------|
F#|--0----0-0--0-0--10-10--0-0--8--------------------------------|
 B|--0----0-0--0-0--10-10--0-0--8-------X\\\\\\\-- -19\3-------|
                                        pick scrape

Chorus 4
C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|------------5-0-3-0----------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-2-0-5-0-3-0----------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-2-0-5-0-3-0----------|

C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|------------5-0-3-0----------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-0-0-5-0-3-0----------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-3-0-0-5-0-3-0----------|

C#|---------------------------------------|-----------------------------|
G#|-----3-3-------------------------------|-----------------------------|
 E|-----2-2-------12-12-------10-10-------|-----------------------------|
 B|--0--0-0-------10-10-------8--8--------|-----------------------------|
F#|--0--0-0--0-0--10-10--0-0--8--8--------|-----------------------------|
 B|--0--0-0--0-0--10-10--0-0--8--8--------|--0-0-5-3-0-5~-0-3-0---------|

C#|------------------------------------|-----------------------------------|
G#|-----3-3----------------------------|-----------------------------------|
 E|-----2-2-------12-12-------10-10----|-----------------------------------|
 B|--0--0-0-------10-10-------8--8-----|------------5-0-3-0-7~-------------|
F#|--0--0-0--0-0--10-10--0-0--8--8-----|--0-0-3-0-0-5-0-3-0-7~-------------|
 B|--0--0-0--0-0--10-10--0-0--8--8-----|--0-0-3-0-0-5-0-3-0-7~-----15\3----|

Outro Riff
C#|------------------------------|-----------------------------|
G#|------------------------------|-----------------------------|
 E|------------------------------|-----------------------------|
 B|----------------3-------------|----------------3-----3h5~---|
F#|------3-----3h5---5--5*PH-----|------3-----3h5---5-5--------|
 B|--3h5---0-0-------------------|--3h5---0-0------------------|

C#|------------------------------|-----------------------------|
G#|------------------------------|-----------------------------|
 E|------------------------------|-----------------------------|
 B|----------------3-------------|-----------------------------|
F#|------3-----3h5---5--5*PH-----|---5---3-----3-----3---------|
 B|--3h5---0-0-------------------|-5---5---5-5---5-3---5-3-3-0-|

C#|-----------------------------------------------------------------------|
G#|-----------------------------------------------------------------------|
 E|-----------------------------------------------------------------------|
 B|----------------------------------------------------------------0~~~~~-|
F#|----------------------------------------------------------1b----0~~~~~-|
 B|--1b-0-0-0-0-3b-0-1b-0-0-0-0-3b-0-1b-3b-0-1b-3b-0-1b-3b-0----1b-0~~~~~-|
                                                                   let ring

Manchmal muß man gar nicht so weit reisen, um erstaunliche Unterwasserwelten zu entdecken. Die Sea Life Aquarien bieten eine einzigartige Möglichkeit einen Blick unter die Oberfläche der Weltmeere zu werfen. Und das sogar völlig trockenen Fußes!
Im Münchner Sea Life gibt es neben den heimischen Tieren der Flüsse auch Meeresbewohner aus dem Schwarzen Meer und dem Mittelmeer sowie ein paar tropsche Vertreter zu bewundern. Lassen Sie sich verzaubern…

© 2009 Blue Wave Films – www.bluewavefilms.de

Swing by Boohmsai

This track starts with a strong guitar riff and evolve in fluid landscapes of sustained electric notes. Please leave me comments. Thanks!

Nicola îşi sărbătoreşte astăzi ziua de naştere. Născută la data de 5 noiembrie 1968, Nicola, după numele de scenă, a făcut primii paşi importanţi în muzica românească în 1985 când, alături de grupul FORTE, obţine la Festivalul “Mamaia” premiul teatrului “Fantazio” şi premiul de “cel mai bun prieten al carului 5 TVR.  În 1986, din cele patru membre ale grupului FORTE rămâne cu Cristina Fronea şi formează grupul ADAGGIO susţinând alături de Holograf peste 200 de concerte într-un interval de 2 ani. Cristina este cea care o ajută în prezent cu detaliile de imagine fiind cea care se ocupă de siteul artistei. În 1988 işi începe cariera solo alături de trupa RIFF sub numele de Nicoleta Nicola şi susţine mai multe concerte în ţară. În 1992 participă la prima selecţie a concursului Eurovision cu piesa “Balerina”. Lansează mai multe discuri şi participă în multe festivaluri atît în calitate de concurent cât şi cu recital. Nicola a urmat cursurile Şcolii Populare de Artă-clasa Mihaela Runceanu-Ionel Tudor şi cunoaşte succesul puternic datorită colaborării cu fostul soţ, compozitorul Mihai Alexandru.  Pe 1 Martie 2003, cu piesa sa “Don’t break my heart”, Nicola câştigă selecţia naţională la Eurovision iar la Riga se califică pe locul 10.  Mai multe despre Nicola puteţi citi pe siteul personal al artistei http://www.nicola.ro. Astăzi Nicola îşi sărbătoreşte ziua de naştere motiv pentru care echipa Top Romanesc îi urează LA MULŢI ANI şi numai realizări. Tot astăzi îşi aniversează ziua de naştere şi Maria Radu şi Nelu Dumitrescu (Iris), fapt pentru care le adresăm amândurora aceleaşi frumoase urări.

Echipa Top Românesc, 5 noiembrie 2009

Ein Blaupunktstechrochen liegt träge im Sand und läßt sich dabei auch kaum stören.

© 2008 Blue Wave Films – www.bluewavefilms.de

Gick till gitarrlektionen igår ganska opeppad… Min egentliga läxa, att skriva ett nytt solo, hade jag inte hunnit med så vi hade inte riktigt planerat något. Jag tänkte nästan ställa in, men bestämde mig för att köra ändå. Det blev en skön djupdykning i modus med mycket praktik!

Jag hade skrivit ett rytmmönster som ser ut såhär:

     PM PM   PM PM   PM PM   PM PM   PM PM
     S  S  S S  S  S S  S  S S  S  S S  S  S  S
E||---------------------------------------------|
B||---------------------------------------------|
G||------------------------4--------------------|
D||--------4-------5---------------4-------5p-4-|
A||--2--2----2--2----2--2----2--2----2--2-------|
E||---------------------------------------------|

Efter mina sköna Maiden-experiment så ville jag göra en tersstämma till det här riffet, och flyttade glatt iväg kompfiguren tre skalsteg (i mollskalan) till D på A strängen. Enda problemet: det lät helt förjävligt. Disharmoniskt. Problemet: när min figur spelas på A-strängen band fem så blir det en D-mollfigur, men D-moll är ju inte en del av tonarten Bm som första figuren är. Lösning? Det verkar smartare att spela en D-durfigur, men varför?

Bm är ju samma tonart som D-dur.  Bm är ackord vi i tonarten, och till varje ackordnummer hör en skala, eller ett s.k. modus. Till ackord vi hör eoliska skalan (den vanliga mollskalan) - så här hade jag prickat rätt med min kompfigur. Jag vill inte säga att det var tur, men det var helt klart en kombination av tur och gehör. D är ackord I i tonarten och till det hör den joniska skalan (vanliga durskalan). Första rytmfiguren spelar tonerna 1-1-5-1-1-6-1-1-8-1-1-6-5 i Bm eolisk, så därför ska tersstämman spela samma toner men D jonisk. Då blir det såhär:

     PM PM   PM PM   PM PM   PM PM   PM PM
     S  S  S S  S  S S  S  S S  S  S S  S  S  S
E||---------------------------------------------|
B||---------------------------------------------|
G||------------------------7--------------------|
D||--------7-------9---------------7-------9p-7-|
A||--5--5----5--5----5--5----5--5----5--5-------|
E||---------------------------------------------|

Det låter plötsligt riktigt bra! Det blir säkert svintråkigt om man håller sig till den här regeln i varje givet läge, men det är alltid bättre att förstå saker än att gissa/testa tills det låter bra.

Hello,

It’s so annoying that when you’re trying to come up with stuff you never come up with anything good, and when you’re half-asleep humming to yourself in the middle of the night you come up with something amazing and you have to wake yourself up enough to remember it and write it down.

Such is the case with an interesting chord progression I came up with for the bridge and another for the outro of Happy Riff Song. I’m still having quite a hard time coming up with lyrics, I’m afraid it’ll sound too teenage-poetry-y. But the chord progression sounds pretty cool. The end of the song will just be the same melody as the chorus, maybe the same lyrics, but sung against this new chord progression. It’ll be cool. I just need to get to recording it, and last week was crazy, this week is crazier, and although I had a day off, I was waiting for something to arrive in the mail (keep reading) so that I could test it out and stuff. Besides, it’s a day off for a reason, and although it’s fun to do, recording this stuff is work.

So what arrived was a condenser microphone, a Røde NT1-A to be precise, that I had ordered to replace my O.K. dynamic mic to use for recording. It sounds wonderful, and it’ll be nice to record my amp with it, as well as acoustic guitar, and drums (sort of). But that’ll be cool, my vocals will sound a lot more nice and clear. The only thing I’m worried about is that the room that my studio is in is terrible reverb-wise; things echo like a… I dunno, something really bouncy and energetic. I may need to breakout the thumbtacks and funky wool stuff or whatever it is that you get at the craft store to make a little vocal booth of some sort.

In other news, I’ve been satisfying my electronics interest by looking at modular, analog, control-voltage synthesis. It’s quite interesting, and would be a great (if somewhat expensive) thing to start, because it would be pretty fun to make but would yield something that I could make music with. I already know that pre-built modules are pretty expensive, but as far as I can tell it’s cheaper to build your own if you make your own PCBs, buy components individually, etc. Besides, I have a local electronics store that I’m almost certain would have everything that I need besides fancy potentiometers and other music-centric components. I’ve found a few cool sites that have diagrams and schematics and such, like the “Bergfotron” or the “Synthesizer DIY pages”. But yeah, I’d get started by making a VCO of some sort and then figuring out how to give it notes (i.e, a CV keyboard, a midi-to-CV interface or software Audio Unit), and then test it using oscilloscope freeware that I found. From there, I’d build maybe a VCA and an EG and so on and so forth, and it would be awesome.

Forever Endeavor,

Walker

Foto: Christopher Redigering: Jag

Den efterlängtade ledigheten har äntligen kommit och det firar vi med en vacker höstbild!
Sitter just nu vid datorn och tar det ganska lungt, mumsar på några Mentos (tropical mix – melon är inte min stil), lyssnar på flådiga gitarriff och laddar kameran inför morgondagen.
Senare ikväll ska jag nog se idol, alternativt någon de filmer jag ännu inte hunnit med att kolla på.

Upptäckte tidigare att Onoff hade ett erbjudande med chips, läsk & en valfri film för 49:-, gissa var jag ska bränna en femtiolapp nästa vecka!

Welcome to the 1950s: an idyllic era known best for its white picket fences, Uncle Milty, and the constant threat of unexpected nuclear war. Luckily, our own government recognized the common fear of being vaporized as the result of a global pissing contest, so they produced several films instructing citizens on how the most dangerous weapons ever created could easily be avoided by cowering in the basement or hiding under a desk made out of balsa wood. This is one of these films.

You’ve sent us e-mails. You’ve verbally threatened us in the street. You’ve cried softly into an embroidered pillow. And now you can stop doing all of these things, because our third riffed educational short will be premiering at The Oakland’s Stage Fright this coming Wednesday!

Located at The Oakland Center for the Performing Arts at 220 West Boardman Street in picturesque Youngstown, Ohio. If you’re coming from out of state, just follow the smell!

We’ll eventually post the video on this very blog, but should nuclear war happen before then, you’ll have no idea how to prevent complete immolation using only a suit jacket! Oh, and there’ll be a lot of other content here soon. So you’re gonna want to watch out for that.

Garbage Duck’s second riffed educational short. Here’s a description ripped right from where it was originally posted:

Our new riff of a not-at-all creepy educational short about puberty from the 1950s. Please put on your 3D glasses and watch boys grow right before your eyes! But do not touch the boys; the boys are not real.

It’s also on YouTube: PART ONE |   PART TWO.

Garbage Duck’s first riffed educational short. Here’s a description ripped right from where it was originally posted:

Something Awful’s Bob “BobServo” Mackey enlists the help of forum goon Billiam to deliver an MST3K-style mockery of the horrible town that turned them into the subhuman monsters they are today. No reading necessary by popular demand!

And the video itself:

It’s also on YouTube: PART ONE |   PART TWO.

Haha, haven’t posted in awhile, but I guessed that I would be official like Intel or something and discuss my “roadmap!”

Basically, I’m just going to discuss the new songs and such that I’m working on.

In addition to writing lyrics for “Happy Riff Song,” I also had three other musical ideas that I’d like to turn into songs.
The first one is a very piano-centric piece that I’ll unofficially call “Epic Piano Song” because it’s pretty classical-sounding in a very epic, dissonant, minor kinda way. It’s in 6, and it is relatively emotional sounding and will yield a good melody. I PROMISE.
The second one is a little less piano-centric, but has a specific chordal arpeggio thing that reminds me a lot of “Summer Skin” by Death Cab for Cutie and once I listen to the song again I’ll decide if it just sounds way too similar and therefore scrap it or change it up a lot, but I think that it sounds different enough to really work.
The third one is a lyric-centric piece (i.e. not particularly fancy chords or anything, and, keep reading) that tells a story. I figured I could put a couple of stories into song. I really don’t have the time to sit down and write a short story, nor do I have as detailed ideas in my head as I would need to write one. So I write songs, and even though it’s taking me forever to come up with good lyrics for “Happy Riff Song” I can at least write wherever and whenever. But it’s actually a pretty sad-ish story, or at least it has a sad ending, sort of, but I have a couple of good lines for it. I can’t really be too specific, but yeah. To give the people, i.e. the 1.5 people who actually read this blog, something to chew on before I actually finish “Happy Riff Song,” here’s a few lines I came up with that may end up being the bridge that will turn the chords into 2/5/1/4:

In the yard with autumn leaves
I was standing right here
until the impulse said go ahead
and everything disappeared…

Words about a dream I had… anyway.

Forever Endeavor,

Walker

P.S.  Don’t plagiarize! ©2009

Chegou a hora, amigos. Inauguro neste instante a categoria na qual falarei sobre música, neste infeliz blog. E, pra começar, não poderia ser diferente: a seguir vocês encontrarão uma análise de um dos álbuns da minha banda favorita, Arch Enemy, que fica na frente até de Metallica.

O álbum a ser comentado aqui será o primeiro com a maravilhosa Angela Gossow no vocal, o Wages Of  Sin. É considerado por muitos o melhor álbum da história da banda, mas não é o meu preferido. Aliás, é importante deixar claro que não trabalharei aqui com as palavras “melhor” e  “pior”, em nenhum de meus posts. O mesmo serve para as palavras “bom” e “ruim”. Os motivos só eu tenho a capacidade para entender, portanto, não questionem.

Primeiro, uma ficha técnica do álbum em questão, só pra imitar meu companheiro Presunto.

Wages Of Sin (2001)

1 – “Enemy Within” – 4:21
2 – “Burning Angel” – 4:17
3 – “Heart of Darkness” – 4:52
4 – “Ravenous” – 4:06
5 – “Savage Messiah” – 5:18
6 – “Dead Bury Their Dead” – 3:55
7 – “Web of Lies” – 3:56
8 – “The First Deadly Sin” – 4:20
9 – “Behind the Smile” – 3:38
10 – “Snow Bound” (Instrumental) – 1:34
11 -”Shadows and Dust” – 4:27
12 – “Lament of a Mortal Soul” (Bonus Track) – 4:06

(copiei descaradamente da Wikipédia)

Trata-se de uma banda sueca de Death Metal Melódico. Ela conta com Daniel Erlandsson na bateria, Sharlee D’Angelo no baixo, Michael Amott e seu irmão Christopher Amott nas guitarras e a alemã Angela Gossow no vocal.

Esse álbum foi o primeiro gravado assim que Angela Gossow entrou na banda, com a saída do antigo vocalista, Johan Liiva. Segundo o guitarrista e líder da banda, Michael Amott, ele foi expulso por não estar se apresentando de maneira decente ao vivo. Angela foi a escolhida para substituí-lo, já que Michael havia gostado bastante do que viu em uma fita de uma apresentação dela com sua antiga banda. A fita havia sido deixada com ele em uma entrevista feita com a banda pela própria Angela Gossow, que trabalhava como repórter.

A partir dessa entrada de Angela e do lançamento do Wages Of Sin, a banda começou a ganhar muito mais reconhecimento. Acredito que seja em grande parte por causa da loira que canta feito o capeta, realmente. Atualmente a banda só cresce cada vez mais.

O álbum começa com Enemy Whithin, a primeira música que ouvi do Arch Enemy e que me deixou espantado e até assustado com essa mulher encapetada cantando. Não é uma das minhas preferidas atualmente, mas é ótima ao vivo e é porrada do começo ao fim, com belos solos, coisa que é encontrada em todas as músicas do Arch Enemy. Ela é uma boa introdução para o álbum, uma vez que começa melódica com teclado para de repente explodir na bateria.

Depois temos Burning Angel, que possui riffs belíssimos e mostra perfeitamente o que é o Death Metal Melódico. O começo é empolgante demais, com uma melodia maravilhosa de guitarra. O vocal da Angela é um vocal que mantém-se praticamente na mesma linha o álbum inteiro. É o demônio cantando, em sua versão feminina.

Heart Of Darkness é uma música mais pesada, mas continua com a bela linha melódica.

A música seguinte, Ravenous, é outra música com riffs maravilhosos, belas melodias e um refrão pegajoso, coisa que eu particularmente adoro.

Savage Messiah e Dead Bury Their Dead são marcantes como as anteriores. A primeira é arrastada e possui um clima sombrio. É a mais lenta do álbum e o refrão também é uma coisa que gruda. A segunda é uma das minhas favoritas dentre todas da carreira da banda. Possui partes rápidas e partes mais lentas e é excelente para ser tocada ao vivo. O vocal da Angela aqui é algo surpreendente, com urros que me arrepiam. Não preciso mencionar os maravilhosos solos, por estarem presentes em todas as músicas. O mesmo se aplica à bateria, maravilhosa durante o álbum inteiro.

Web Of Lies é uma música que não chama tanta atenção. Mais pelo fato de estar entre duas músicas magníficas do que por outra coisa. Tem uma bela melodia e novamente um refrão grudento.

A próxima música é outra que está entre minhas preferidas da banda e é minha preferida do álbum. The First Deadly Sin é uma das músicas mais pesadas que eu já ouvi na vida e, não fosse por uma paradinha no meio, para depois entrar o solo, seria porrada do começo ao fim. A Angela aqui agrada até os mais chatos em relação ao vocal dela (estou falando de você, Presunto). O baixo do Sharlee ganha mais destaque nessa música, também.

Behind The Smile é meio diferente das outras, meio esquisitona, com um refrão sem guitarras. Não me agrada tanto. A seguinte, Snow Bound é uma instrumental belíssima. Só me desagrada pelo tempo de duração, que é muito curto.

As duas últimas músicas, Shadows And Dust e Lament of a Mortal Soul, são mais pesadas e também são ótimas para um show. Finalizam muito bem o álbum.

O álbum como um todo é bem aquilo que se espera de um Death Metal Melódico com muita influência do Thrash. Agressividade, melodias maravilhosas e riffs e solos muito criativos, aliados a um belo gutural desse traveco dessa mulher encapetada. Aliás, um bom número de pessoas só não gosta de Arch Enemy por ser uma mulher no vocal. Eu sei lá, acho que é questão de costume. Ou não. Eu  gosto bastante do fato de ser uma mulher cantando.

Até mais, espero que tenham gostado desse post de merda .

And now, ladies and gents, the real reason we went to the Rajasthan International Folk Festival. For the rare opportunity to jam with folk artistes, to feel, even if for an instant, music created with no motive known to so-called civilized men. Music created by instinct.

We spent the better part of our three-day stay at Jodhpur either soaking in the terrific ambience or worrying about our show. The fact that our hotel was 60km from the venue didn’t help either, it was a long drive into town! And so it wasn’t until the last day that we had time to ourselves.

We’d met Rais Khan when he performed with Dharohar before our performance. His powerhouse performance blew us away and we pretty much stalked him thereafter. The moment we got a chance we whisked him away from the performance area to a dark (and relatively quiet) area of the fort. We jammed. And how!

This free flowing jam lasted about half an hour, weaving in and out of folk-patterns, djembe rhythms, kanjira expressions and vocal histrionics. We did the whole gamut of folk: Nimbuda (Rajasthan), Shadher Lau (Bengal), Theyyam (Kerala) and Carnatic alaaps. Suffice it to say that we had a complete blast.

Rais Khan: Our partner in folk-crime from Jaisalmer, Rajasthan. Adept at the Khartal and Morching, he brings incredible energy to every performance.

Thanks to Ashima Yadava for the video. You can check out her photography here.

P.S. Apologies for the poor video quality, lighting was bad. We hope it doesn’t show us in bad light. The grooving, dancing, swaying silhouette is a Texan fan of ours who we met at the gig. He had the most fun!