Alexi Laiho-In Your Face

January 16, 2017 | Author: Bonjourku | Category: N/A
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In Your Face Guitar

In Your Face Guitar

Presents

Alexi Laiho In Your Face Guitar Advanced Techniques & Concepts Method By: John McCarthy Adapted By: Jimmy Rutkowski Supervising Editor: Joe Palombo Music Transcribing & Engraving: Jimmy Rutkowski, Matt Warnock Production Manager: Anna-Lisa Tedeschi Layout, Graphics & Design: Jimmy Rutkowski Music Transcribing & Engraving: Jimmy Rutkowski Photography: Rodney Dabney Copy Editor: Cathy McCarthy Cover Art Direction & Design: Paul Enea, Tovero & Marks

Produced by The Rock House Method® Fred Russell Publishing 2011©, LLC All Rights Reserved

In Your Face Guitar

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2

In Your Face Guitar

Table of Contents About the Instructor ......................................................................................................................... 5 6 Introduction ....................................................................................................................................... Icon Key .......................................................................................................................................... 7 8 Reading Tablature ............................................................................................................................ 9 Tuning ................................................................................................................................................

DVD 1 Chapter 1: Scale Patterns & Sequences C Major Scale Sequences ............................................................................................................... 11 12 E Minor Scale Pattern #1 .................................................................................................................. 12 E Minor Scale Pattern #2 ............................................................................................................... E Minor Scale Pattern #3 .................................................................................................................. 13 14 Full Scale Run #1 - “In Your Face” ................................................................................................... Full Scale Run #2 - “Bodom Beach Terror” ...................................................................................... 15 16 Pentatonic Scale Sequences .......................................................................................................... Combining Pentatonic Scale Patterns .............................................................................................. 17 Chapter 2: Arpeggios Three String Arpeggios ...................................................................................................................... 19 20 String Skipping Arpeggios ................................................................................................................ Sweep Tap Six String Arpeggios ....................................................................................................... 20 String Skipping - Diminished Arpeggio ............................................................................................. 21 21 D Major String Skip & Tap Arpeggio ................................................................................................. 21 Arpeggio Combining Techniques ...................................................................................................... Five String Arpeggio Pattern ..........................................................................................................22 Chapter 3: Writing a Harmony Guitar Section Verse Harmony Section - “Blooddrunk” ..........................................................................................24 25 Harmony Section - “Follow the Reaper” .......................................................................................... Pivoting Harmony Section - “Smile Pretty for the Devil” ................................................................... 25 Chapter 4: Warm Up Exercises Pivoting Exercise ............................................................................................................................. 28 Pivoting Exercise #2 ........................................................................................................................ 28 Classical Exercise .........................................................................................................................29 Classical Bach Exercise .................................................................................................................. 29 Chapter 5: Writing a Lead Writing a Lead - “Blooddrunk” Solo ................................................................................................... 32 Lead Technique - Tapping Sequence .............................................................................................38 Complete Lead - “Everytime I Die” .................................................................................................... 39

3

In Your Face Guitar Chapter 6: Infusing Other Styles Into Metal Funk Techniques for Metal Guitar ..................................................................................................... 42 Blues Techniques for Metal Guitar .................................................................................................. 43

DVD 2 Chapter 7: Bending The Scream Bend ............................................................................................................................ 46 The Over Bend ................................................................................................................................ 46 Intro a Riff with a Bend ...................................................................................................................... 47 The Semitone Bend ......................................................................................................................... 47 Double Stop with the Whammy Bar ................................................................................................. 48 Bend and Tap .................................................................................................................................. 48 Bending as a Rhythm Technique - “Living Dead Beat” .................................................................... 48 Chapter 8: Crazy Guitar Sounds Pick Scrapes ..................................................................................................................................50 50 Rake Harmonics - “Six Pounder” ...................................................................................................... Chapter 9: Syncopations 52 Syncopated Rhythm - “Roadkill Morning” .......................................................................................... 53 Syncopated Rhythm - “Needled 24/7” ............................................................................................. Syncopated Rhythm - “Lobodomy” .................................................................................................54 Chapter 10: Songwriting Dynamics Dynamics - Playing Aggressive - “In Your Face” ............................................................................56 Dynamics - All Down Strums - “Punch Me I Bleed” .......................................................................... 56 Chapter 11: Playing Slow Playing Slow - “Punch Me I Bleed” .................................................................................................. 58 Chapter 12: Full Songs 60 “Blooddrunk” .................................................................................................................................... “Tie My Rope” ................................................................................................................................... 63 “Hatecrew Deathroll” ......................................................................................................................... 67 How To Get Your Next Rock House Product .................................................................................. 73 The Rock House Catalog ...............................................................................................................74

4

In Your Face Guitar

About the Instructor

Alexi Laiho

Alexi is the founding member and lead guitarist of the Metal band “CHILDREN OF BODOM,” he has his own Signature Model ESP guitar, made Guitar World’s list of the top 100 metal guitarist of all time in 2004 and appeared on the cover of Guitar World in 2005 with Steve Vai and Zakk Wylde. Originating from the town of Espoo, in Finland, Alexi began his musical training at an early age by learning the Violin. However, influenced by the music his sister listened to (heavy metal music) bands such as W.A.S.P., Poison and Stone; he ended up dropping the classical instrument at the age of 11, in favor of guitars. A taped live performance of Steve Vai’s song “For the Love of God” (from the Passion and Warfare album) was especially influential in Alexi’s decision to become a guitarist. He then began taking lessons at the Finnish Pop & Jazz Conservatory in order to study the instrument. At the conservatory he also studied the pianos. The development of his playing style was heavily influenced by Stone’s Roope Latvala (who many years later became his band mate in Sinergy and then in Children of Bodom). His vocal influences came mostly from Phil Anselmo of Pantera and Mille Petrozza of Kreator. He has dedicated his life to creating music and developing his technique. Alexi is known for his incredible six string momentum and melodic speed along with stern vocal strength. 5

In Your Face Guitar

Introduction Welcome to The Rock House Method® system of learning. You are joining millions of aspiring musicians around the world who use our easy-to-understand methods for learning to play music. Unlike conventional learning programs, The Rock House Method® is a teaching system that employs DVD and 24/7 online lesson support along with this booklet to give you a variety of sources to ensure a complete learning experience. The products can be used individually or together. The DVD that comes with this booklet matches the curriculum exactly, providing you with a live instructor for visual reference.

How to Use the Lesson Support Site Every Rock House product offers FREE membership to our interactive Lesson Support site. Use the member number included with your book to register at RockHouseMethod.com. You will find your member number in the package that contains your DVD. Once registered, you can use this fully interactive site along with your product to enhance your learning experience, expand your knowledge, link with instructors, and connect with a community of people around the world who are learning to play music using The Rock House Method®. There are sections that directly correspond to this product within the Additional Information as well as Backing Track sections. There are also a variety of other tools you can utilize such as Ask The Teacher, Quizzes, Reference Material, Definitions, Forums, Live Chats, Guitar Professor and much more.

Register Now Click Here!

Click here now to use the member number included with your program to register for free at RockHouseMethod.com. Registering will also make all of the icon links in this booklet active links that will take you to the Lesson Support site. 6

In Your Face Guitar

Icon Key Throughout this book, you’ll periodically notice the icons listed below. They indicate when there are additional learning tools available on our support web site for the section you’re working on. When you see an icon in the book, visit the member section of RockHouseMethod.com for musical Backing Tracks, Additional Information and learning utilities.

Backing Tracks Many of the exercises in this book are intended to be played along with bass and drum rhythm tracks. This icon indicates that there is a backing track available for download on the Lesson Support site or click here.

Additional Information The question mark icon indicates there is more information for that section available, it can be theory, more playing examples or tips on the Lesson Support site or click here.

Metronome Metronome icons are placed next to the examples that we recommend you practice using a metronome. You can download a free, adjustable metronome on the Lesson Support site or click here.

Tuner Also found on the web site is a free online tuner that you can use to help tune your instrument. You can download the free online tuner on the Lesson Support site or click here.

7

In Your Face Guitar

Reading Tablature Tablature (or tab) is a number system for reading notes on the neck of a guitar. It does not require you to have knowledge of standard music notation. This system was designed specifically for the guitar. Most music for guitar is available in tab. Tablature is a crucial and essential part of playing guitar. The six lines of the tablature staff represent each of the six strings. The top line is the thinnest (highest pitched) string. The bottom line is the thickest (lowest pitched) string. The lines in between are the 2nd through 5th strings. The numbers placed directly on these lines show you the fret number to play the note. At the bottom, underneath the staff, is a series of numbers. These numbers show you which left hand fingers you should use to fret the notes.

first string (thinnest)

fret number

sixth string (thickest) left hand fingering

8

In Your Face Guitar

DVD 1

Tuning

Alexi Laiho uses two different tunings in his music. One tuning he uses is “D” tuning and the Dropped “C” Tuning other is Drop “C” tuning. Below are the tuning notes for each, notice that the only difference Dropped “C” Tuning = D = C you will see an icon for the tuning between the two is the note on the 6th string. On each page = = used in the example. The icons for each are =D Ashown below. =C G If you do not have a tuner, go to the Lesson Support site at RockHouseMethod.com = A to download = G one for free.

=F =F

=C =C

“D” Tuning “D” = DTuning= C = = =D A =C G = = =A F =G D =F =D Dropped “C” Tuning Dropped = D “C” Tuning =C (thinnest string) = D = (thinnest string) =A =C G = A = =F =G C (thickest string) =F = C (thickest string)

(thinnest string) (thinnest string)

9

“D” Tuning “D” = DTuning= C = = =D A =C G = = =A F =G D (thickest string) =F = D (thickest string)

In Your Face Guitar

Chapter One Scale Patterns & Sequences

In Your Face Guitar

C Major Scale Sequences Pattern 1

12

15

C Major Scale Pattern





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Pattern 2

3



8 10 12

13 12 10

 11

5

8 10 12 8 10 12

13 12 10 13 12 10

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9

9 10 12 9 10 12

12 10 9 12 10 9

9 10 12 9 10 12

12 10 9 12 10 9

12

10 12 13

12 10 8

15

10 12 13

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17

In Your Face Guitar

E Minor Scale Pattern #1

3 12 14 15 14 12



5

7

15 13 12 10 12 13 12 10

12 11 9

9

7 9 11 9 7

12

10 9 7

15

5 7 9 7 5

9 7 5

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7

E Minor Scale Pattern #2

3 1412151412



5

151312 1312151312

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141211 1211141211

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12

141210 10 91210 9 1210 9

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1210141210

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141210 12

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In Your Face Guitar

E Minor Scale Pattern #3

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 

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 14

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Combining Patterns 15

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 

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In Your Face Guitar E Minor Scale Pattern #3 - Sixteenths 15

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 

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 12

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E Minor Scale Pattern #3 - Triplets 15

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 

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Full Scale Run #1 “In Your Face” 13

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In Your Face Guitar

Full Scale Run #2 “Bodom Beach Terror” Basic Lick

     

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Descending Neck Run in “Em” 20

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 5

 5

 

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 

In Your Face Guitar

Pentatonic Scale Sequences The first two sequences will be played using the minor pentatonic scale diagrammed below.

3

5

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17

 

Sequence Pattern 1 #1 Descending P.M.

15 12



15 12

14 12

15 12

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14 12

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Pattern 2 #2 Descending Sequence 15 12



12 15

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15 12 1 1/2

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Sequence Pattern 3 #3 Ascending H

In the17following sequence Alexi12uses the same root position minor pentatonic scale, however; 15 12 15 12 17 17 into 15 the pattern 17 15 12for more12 hePattern adds 1a few extra notes tonal color. Note the added b5 and major 6th 17 15 17 15 14 12 14 degrees within the scale as well as a 4th added on the 1st string 17th fret.14 12 13 14 14 





P.M.

15 12



15 12

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15 12

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x

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b5 14

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Pattern 2



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Pattern 3 H



14 12

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14 12

In Your Face Guitar

Pattern 2



14 12

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14 12

15 12 1 1/2

Combining Pentatonic Scale Patterns 12 15

12 14

12 14

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13 14

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Pattern #1 Pattern 3

17 15 12



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H

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Pattern #2 Two String Sequence 5th pos.

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2nd pos.

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7 1st pos.

4th pos.

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12 3rd pos.

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17 5th pos.

Repeat All 4x with P.M.

     

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       

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   

In Your Face Guitar

Chapter Two Arpeggios

In Your Face Guitar

Three String Arpeggios E Minor

  

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G Major 22

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       

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 15 19 15 17 16 17 Arpeggio 15  15 19 Progression 17 16 17 16 H P   H P 17

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F# Diminished 20 17

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P

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sl.

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P H

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H P 17 17 17 H 20 P 17 16 20

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sl. 19

sl.

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19 22 P 19 sl. H

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H

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19

15



15

In Your Face Guitar

String Skipping Arpeggios Em

P 15

P

12

12



12

16

Dmaj

Amaj

H

P

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Sweep Tap Six String Arpeggios Em

C H



H

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P

15 19 24 19 15

H 17

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P

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F#Dim

D H

H



H

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14 17 22 17 14

H 15

14 15 18

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14 17

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14 17 23 17 14

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In Your Face Guitar

String Skipping Diminished Arpeggio sl. 1916



sl.

19 1512 1916

sl.

14 1815 1512

sl.

18 12

9

1815

sl.

12 1512 12 9

sl.

15 9 6 15 12

8 12 9

6 3

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6 3 0

D Major String Skip & Tap Arpeggio P 14



P

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H 10

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sl. 17

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Arpeggio Combining Techniques P

P

15 12



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sl. P

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H 17

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sl. P

15 19 22 19

P 20

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full

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In Your Face Guitar

Five String Arpeggio Pattern Em

Bbº

P

P

19 15



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H

P

19 14 19

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Em



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sl.

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In Your Face Guitar

Chapter Three Writing A Harmony Guitar Section

=D =A =F

=C =G =C

In Your Face Guitar

“D” Tuning =D =C =A =G =F =D

Verse Harmony Section “Blooddrunk”

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)



Guitar 1 “D” Tuning (thinnest string)



=P.M. D =A =F

0

=C =G = D (thickest string)

3 3

0 0 0

0 0

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P.M.

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In Your Face Guitar

Harmony Section “Follow the Reaper” Chorus Melody





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Harmony Line

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Pivoting Harmony Section “Smile Pretty for the Devil” Melody

  



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 10   25

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In Your Face Guitar 8

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 10  



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10

17

12

14

16

17

10

17

12

10

16

17

Harmony

  



7

   12

3x

9

7

 

9

9

9

12

12

10

8

12

10

10

9

8

10

12

12

9

10

12

12

9

10

10

14

12

10

9

12

12

10

3x

14

14

17

15

17

15

14

17

14

17

14

15

17

14

 

17

 

 

12

14

14

17

15

17

15

17

19

17

19

17

21

17

19

26

In Your Face Guitar

Chapter Four Warm Up Exercises

27

In Your Face Guitar

Pivoting Exercise Basic Pattern

Variation Moving Across the Neck

1013121310131213101312 1310131213 10131213 7 10 8 10 8 1210 12 5 8 7 8

sl.

7 10 8 10 4 7 5 7 5



Pivoting Exercise #2



14 12 11 12

10

12 11 12

12

12 11 12

14

12 11 12

15

14 15 12 15 10 15

14

15

12

15

 11

COBHC 28

In Your Face Guitar

Classical Exercise sl.





7 10 9 10 7

8

7

P

8

7 10 12 9

8

7

sl.

P

10 7

8



7

7

7

8

4

5

5

4

10

  11

10 14 12 9

P

7 12 9

4

9

12

10

9 14

15

9

9

9

10

6

7

6

7

6

10



9

sl.

P 10

14 17 12 9

7

Classical Bach Exercise 

5

7

8

7

5

8

4

8

7

5

8

7

8

7

7

5

6

3

5

5

3

6

5

6

2

6

5

3



3 5 6

5 3 3

6 5 3 5 1 3 5

1 3

3 1 2

5 3 2 3 5 6 3 5 6

 29

1

3 2 0

3 2 3

0 0 2 0 0

2 3 5 2 3 5

X

3

6



A.H. full

3



H P

2 0

0

5



sl. 3 5

6

1 3 3

1

1

3

1

3 2 0

1 3 2

0 2 4

0 2 3 2 0

3





sl.



3 5 6

3 5

5 3 3

In Your Face Guitar 1 3

6 5 3 5 1 3 5

3 1

2

5 3 2 3 5 6 3 5 6





1

3 2 0

3 2 3

0 0 2 0 0

1

1

1

1

3

3 3

3 2 0

3

3

1 3 2

0 2 4

0 2 3 2 0

3

 2 0

3 3

0 2 3

0

2 3

1 3

0 1

1 0 1

3 1 0 1 0 3 1 0

2 1 2 1

4 2 0

24

12

0

01

310

4

212

013

10

0 1

5 4 2 0 5

310

3

0 2 4

1 2

1 0

2 1

0

4 2



H P



full



H P

2 0

2 3 5 2 3 5

X

0



A.H.

A.H.

3 1 3 1 0

013

2

04

23023

13

31 2

3

sl. 1





2

0

0

1

0

2

0

3

X

5

6

3

5

6

2

6

5

3

6

5

6

3

 2

0 2

2

3

2

2

3

0

3

0



N.H.

1

3

2

0

3

3 4

0

2

3

0

2

3 3

2

0

3 3 3 3

3 3 3 3

30

In Your Face Guitar

Chapter Five Writing a Lead

31

In Your Face Guitar

Writing a Lead “Blooddrunk” Solo

Dropped “C” Tuning =D =C =A =G =F =C

In this lesson Alexi shows how he creates a lead by improvising over the rhythm and finding sec“D” Tuning = D C tions that =work best each time to build a great lead. I have included the Blooddrunk rhythm so =A =G you =can see the chord changes that corresponnd with the lead. The rhythm is played in drop C F =D tuning but Alexi uses D tuning to play the lead. Dropped “C” Tuning =D =C (thinnest string) =A =G 2 =F = C (thickest string)



4 4 4

2 0

0 0 0

Ex. 2 “D” Tuning =D =A =F

(thinnest string)

C

D

E

F#

G

C

B

C

E

F#

G

F#

121415

17 19 20

E

12 14 15 121416

B

C

D

E

F#

G

F#

G

A

D

D

E

G

A

A

B

15

17

17

19

1214

12 13 15

Second Position

12 14



12 13 15

141517

14 15 17

14 16 17

17 19

16 17 19

   

141517

141617

14 16 17

15 17

16 17 19

17 19 20



12 14 15

12 14 15

Third Position



D

B

12 14 15

14 15 17

C

C

Second Position



B

B

15

2 2 2

A

A

12 14 16

0 0 0

A F#



4 4 4

A

E

    

5 5 5

G

D

 Position  First      

121415

F#

A

12

2 2 0

4 4 4

G

First Position



5 5 5

=C =G = D (thickest string) F# G E

B



2 2 0

4 4 4

14 16 17

15 17

Third Position





171920

1719

161719

16 17 19

2 2 2

C

    

14 15 17

2 2 2

17 19 20



17 19 20

14 15 17

17 19 20

32

In Your Face Guitar

Writing a Lead “Blooddrunk” Solo Solo 1 full



17 16

P

full

17 16

16

T P H



full

T P H

T P

1/2

21 14 17 19 14 17

H

17

17

16 14

P H

1/2

1/2

1/2

T P

H

1/2

(17) 14 17 19 14 17

T P

H

19 14 17



17

1/2

19 14 17 17

(17)

1/2

17

17

14 14

16

21 17 21 17 15

17

1/2

19 14 17

19 15 15

15

15

P.M.

1/2

14 16 17

(17)

H

1/2

sl. 1/2

T P

1/2

14 16 17 16 14

17 14 15 17 15 14

16 13 14 16 14 13

16 12 14 16 14 12

Tremolo Picked P.M.



12

14

16

14

11

14

12

14

16

12

14

17

14

16

17

33

17

19

16

18

19

1/2

19

16

17

19



P.M.



14

17

19

19

16

1/2

(19)

18

P 17 19

19

1/2

16

1/2

(19)

18

P 17 19

19

18

16

1/2

1/2

(19)

P 17

19

16

18

19

17

19

21

w/bar

16

17



16



P.M.



19

17

16

18

19

1/2

19

17

19

19

In Your Face Guitar

16

1/2

(19)

18

19

P

16

1/2

17 19

1/2

18

P

(19)

1/2

17 19

18

16

19

1/2

(19)

1/2

5

19

17

17

17

15



1/2

14

17

13

full

17

X

X

17

17

17

17

17

(17) 14

17

14

16

14 15

14

16

sl.

15

15

14

16

14

15

14

16

14

15

15

H 17

15

P 14

17

sl. 17

17

17

14



24

P 21

H 17

19

18

19

21

17

21

17

19

14

18

TH



17

1/2

16

21



full

10

1/2



17

full

8



rake

H

0

12

17

17

17



w/bar

full

7

w/bar



18

21

w/bar 1/2



16

19

P

 Solo 2

19

17

17

TH 21

24

P 21

H 17

19

18

19

17

TP 21

24

18

19

17

1 1/2

21

34



In Your Face Guitar 

H 21

20

19

17

19

17

19



17

17

19

17

17

19

17

19

Solo 3 14

16

17

16

14

17

14

16

17

16

14

17

14

16

17

16

14

17

14

16

17

16

14

17

14

16

17

16

14

17

14

16

17

16

14

17

19

16

17

19

16

17

19

16

17

19

16

17







hold bend

T

full

P

22

19

P 21

 

w/bar



15



35

3

16

17

16

14

17

17

21

17



17

hold bend

P

1/2

14

14

P.H.

17

14

16

14

14

16

16





19

15

sl.

14

(16)

15

15

16



P.H.

15

0

15

2

4

sl. 2

5

4

2

5

4

2

4

2

4

2

2

4

2

4

6

4

5

4

5

T

full

P

22

19

P 21





15



17

16

14

17

17

21

17

17

P

1/2

14

14

16

16

14

16



P.H.

16

15

19

15

sl.

14

(16)



3

15

15



hold bend

14

14

P.H.

16





w/bar

In Your Face Guitar

17

0

sl. 2

5

4

2

5

4

2

4

2

4

sl. 5

7

4

2

2

2

4

6

5

4

w/bar

14

16

full





7

P 9

7

0

7





A.H.

5

5

4

7 3

Solo 4



2

4

w/bar



15

17

14

16

H

14

14

X

H P

full

17

15



1/2

14

16

TP H

full

14 17 14 19 14 17 17

14

15

16

14

15

16

full

19 14 17 17

16

14

15

17 16

14

T P H

16

1/2

17 16

TP H

14

16

16

full

19 14 17

17

17

14

1/2

14

1/2

17 16

17 16

TP H

full

19 14 17 17

16

17

14

14

14

16

17

17

14

16

17

36





In Your Face Guitar

14

15

16

14

15

P 14

17



17

17



14

14

17

17

19

17

 Lick 1 T P



H

T

P

1/2

19 14 17 19 17

14

15

16

P 14

14

14

17



19

T

P

H

17

14

P 17

14

14

14

w/bar

21

16

P 14

14

15

14

16

16

14

14

14

T 14

17

16

14

17

P

19

14

21

16

17

17

17

16 18

T

1/2

19 14 17 19 17

14 15 16 14 15 16

14 15 16 14 15 16

19

17

17

17

19

T

P

H

19

T

P

17

1/2

19 14 17 19 17

14 16 17 14

19

19

21

T

P

19

H

T

16 17

15

P

19 14 17 19 17

14 16 17 14 16 17

37Lick 3 21

1/2

(17)

Lick 2



17

P

19

P

16

full

1/2

17

14

H 14

21

17

15

1/2



In Your Face Guitar 14 16 17 14

14 15 16 14 15 16

14 15 16 14 15 16

16 17

14 16 17 14 16 17

Lick 3 21

17

17



18

21

19

15

15

18

16

19

19

Lead Technique Tapping Sequence Lick 1 H





H

15

17

T P

TP

H

P

17

15

19

P

H

T P

T P 19

TP

20

P

P

T P 19

T P

21 19 21 19 17 16 24 19 24 19 17 16

P

20

TP

19

P

P 17

P

T P 15

T P

T P

20

TP

19

P

20

P 19

P 17

15

P

21 19 21 19 17 16 24 19 24 19 17 16

21

Lick 2 T P



19

H

12

T P



20

T P

15

17

H 12

H

12

T P

15

19

T P 15

17

H

12

H 12

T P

14

17

H

12

T P 15

19

T P

14

H 12

19

H

12

T P

14

T P 15

17

17

H

12

T P

14

12

T P

14

16

H

12

15



H 12

19

H

full

15

22

38

T P



H

H

T P

H

T P

H

T P

H

T P

H

In Your Face Guitar 19

12

15

T P



T P

20

17

H 12

12

19

15

T P 15

17

12

H 12

14

17

12

T P

14

H 12

19

15

12

19

14

17

T P 15

12

T P

14

12

12

19

T P

14

16

H

12

15



H

17

H

full

15

22

Complete Lead “Everytime I Die” Part I



w/bar



19

17

14



w/bar

15

17



Harm.

T



19

P

full

(19)

w/bar

P

14

12

12

(7 )

5

0

17

13



(5 )

Part II



16

17

20

16

17

17

16

17

20

16

w/bar

20



39

18

19 17

18

17 17

17

20

19

17



17

16

P 17

20

P 17

19

17

20

16

H 17

20

17



In Your Face Guitar w/bar

20

19

18



17

18

17

17

17

20



P 17

20

P 17

20

19

H 17

20

17

Part III P

1 1/2

(20)

20

17

17

20





Part IV



17

19

20

20

17

18

17

19

19

19

17

1/2



P (19 )

19

17

19

Part V 20

17





20 17

IPart V



17

20

17

19 17

20 19

17

20

17

19 17

19 17

19 17

H

H

20

19

19

17

17

17

17

20 19

17

19 17 19 17 19 17

T P 20

17

24

20

17

20 19

17

19 17 19 17 19 17

P 20

17

20

20 19

17

19

17

17

P 17

17

17

19

19

20

17

40

In Your Face Guitar

Chapter Six Infusing Other Styles Into Metal

In Your Face Guitar

Funk Techniques for Metal Guitar Rhythm 1



15

X

X

X

15

X

X

X

15

X

X

X

15

X

X

X

12

X

X

X

12

X

X

X

12

X

X

X

12

X

X

X

Rhythm 2



15 X X X 14 X X X 14 X X X 13 X X X

15 X X 14

X X X 14 X X X 13 X X X

12 X X X 11 X X X 10 X X X

12 X X 11

X X X 10 X X X

9

X X X

Rhythm 3



Triplet

Triplet

15 X X 14

X X X 14 X X X 13 X X X

12 X X X 11 X X X 10 X X X

12 X X 11

X X X 10 X X X

2 2

9

X X X

X X

2 2

9

X X X

 X X

5 5

X X

X X

7 7

X X

X X

4 5

5 5

0

0

 

X X X

15 X X X 14 X X X 14 X X X 13 X X X

Metal Riff



9

X X

X X

5 5

X X

X X

7 7

0

0

0

0

0

0



With Palm Slide To Create Harmonics H

X

X

X

4 5

5 5

3

P

5

3

In Your Face Riff 1/2



11 14

1/2

1/2

11 14 11 13

13 13 10 13

11 13

11 13

11 16

11 14

1/2

11 14

sl.

10 11 X X 11 12 X X 10 11

sl. X X X

10 11 11 12 10 11

X X X

14 14 11

42

In Your Face Guitar

Blues Techniques for Metal Guitar Lick 1 13

10



13

10

12

10

12

10

12

Lick 2 13

10

10

13



13

12

10

12

Lick 3 13

10



10

12

12

10

12

Lick 4 1/2



43

12

1/2

13

13

13

In Your Face Guitar Blues-Metal Solo 1/2



1/2

10 10 10 10 10 10

10 13

10 10 10 10 10 10

13

13 10



12

13 10 12 10

10

12

13 12 10 10

12 12

10

1/2



10 13

10 12

10 12

10 12

10 12

15 10

13 10

13 10 12 13 12

P.H.

1/2

10 10 10

13 10

10 12 12

sl. sl.

12 10

12 11 10 8

1/2

10

10

13 10

12



13

13

10 10

13

10

13

10

12 10

13

12 10

12

P sl.

10 12 10 8 10

1/2

10

10

13 10

12

10

10

sl. 10

10

10 12

13 10 12 10

full

14

13 15

13 15

P (15) 13 15

44

In Your Face Guitar

DVD 2

Chapter Seven Bending

In Your Face Guitar

The Scream Bend sl.



sl.

P full

16

17

16

full

full

17 17 17 17

17 15

17 17

17

16

15 17

17

full

17 17

17 17

full

17 17

17 17

17 17

The Over Bend full

19

1 1/2

19

19

19

 sl.



17

19

17

19



sl.

1 1/2

19

18

17

15 19

17

15

15

17

18

19

15

16

17

46

In Your Face Guitar

Intro a Riff with a Bend 

full

15

15

12



1/2 full

17

15 12

12

14

15 12

19

17

14

12

14

12

14

14

 P

P

P

14

14

 14 12

P sl.

P

full

47

14 12

17



1/2

12

19 14

14

1/2



1/2

The Semitone Bend

15 12

17

full

P

15

19



1/2

1/2



1/2

19

15



 

full

1/2

12

15 12 14 12

14

12

14 12

14

14 12

14 12

14

14

14

12

14 12

14 12 10

P



H sl.

12 10 12 14

In Your Face Guitar

Double Stop with the Whammy Bar 

  

w/bar



full



15

15

  

w/bar

-1

-1

full

22

22

Bend and Tap T

P

P

T

full



P

full

15

19

Dropped “C” Tuning =D =A =F

P

19

15

12

14

15

15

14

12

14

=C =G =C

“D” Tuning =D =C =A =G =F =D

Bending as a Rhythm Technique “Living Dead Beat”

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)

(thinnest string)





P.M. full “D” Tuning =D =C =A =G =F = D (thickest string)

0

0

0

0

3



P.M.

3

0

0

0

0

0

0

0

0

0

0



P.M. full

1

1

0

0

0

0

7 x 5

7 x 5

7 x 5

7 x 5

48

In Your Face Guitar

Chapter Eight Crazy Guitar Sounds

=F

=C

In Your Face Guitar

“D” Tuning =D =C =A =G =F =D

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)



(thinnest string)

Pick Scrapes

    

X “D” X Tuning = DX =C =A =F

=G = D (thickest string)

X X X

0 0 0

"The Hangover Hand"





X X X

             

X X X

X X X

X X X



Dropped “C” Tuning =D =C X =A =G =F =C

“D” Tuning =D =C =A =G =F =D

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)

(thinnest string)

“D” Tuning =D =C =A =G =F = D (thickest string)

(3)



N.H.



3

3

3

3

0 0

sl.

N.H.

(3)

(3)

0 0

Rake Harmonics “Six Pounder”

N.H.



0 0 0

0 6 5 3 0 4 3 1 0 6 5 3 0 4 3 1

(3) 0 0 0 (3) 0 0 0 0 0 0 0 0 0 0 0

0 6 5 3 0 4 3 1 0 6 5 3 0 4 3 1

sl.

5 4 0 0 2 3 0 0 3 2 0 0 2 3 0 0

0 0 0

50

In Your Face Guitar

Chapter Nine Syncopations

=F

=C

In Your Face Guitar

“D” Tuning =D =C =A =G =F =D

Syncopated Rhythm “Roadkill Morning”

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)

(thinnest string)



“D” Tuning =D =C =A =G =F = D (thickest string)

0

0

X





X



X



P.M.

7 5

7 5

0

0

0

0

0

    

9 7

9 7

X



X



0 0 0 0 0

   

0

0

 

0 0

 

X



X



X



7

8

5

10 8

7

10 8

0

5 3

5 3

0

0

0

0

    

   



0

7

0

 

8

6

8

 5 7 4

3 3 3 3 3

X





P.M.

7 8 5 7

X



P.M.



P.M.



X





Riff



X



3 3

 

7 5

7 5

52

=F

=C

In Your Face Guitar

“D” Tuning =D =C =A =G =F =D

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)

(thinnest string)



Syncopated Rhythm “Needled 24/7”

“D” Tuning =D =C =A =G =F = D (thickest string)

0

0

X

 



0

X



0

X

 

X

X

X

X

X

X

X

X

X

X

      

X



X

X

X

X

X

X

X

X

X

      

X

X

      

X

X

X

  

X

X

0



0

0

9 7

0

0

0

0

0

0

0

0

       

0

0



0

0

0

53

9 7

0



0

0

0

  

12 10

12 10

0



P.M.

10 8

0

    

Riff







0



0



P.M.

10 8

X

 

0

  

Riff



0

  

0

0

0

0

0

0

     

0

0

0

  

0



7

5

7

10 8

9 7

=F

=C

In Your Face Guitar

“D” Tuning =D =C =A =G =F =D

Syncopated Rhythm “Lobodomy”

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)

(thinnest string)



“D” Tuning =D =C =A =G =F = D (thickest string)

 Riff

X X X

0

0 X

X X X

0 0 0 0 0 0

X X X

0

X



0 0

0 0 0 0 0

0 0 0



P.M.

0 0 0 0 0

0 0 0

0

X X X

0

X

0 0 0

7 8 5

0 0 0 0



6 0 0 0

 7 8 5

X X X

  

X X X

3 3

3 3

0

6 0 0 0

0

0 0 0

0 0



P.M.

5 3

5 3 3 3

3 3 3

2 2

  

0 0 0 0 0 0

  



0 0 0

X X X

  

0

P.M.

P.M.

3 3

  

0 X 0

     

P.M.

3 3

X X X



 



P.M.

0 0 0 0



0 0

      

P.M.



X

     

P.M.



0

7

8

5

8

5

6

8

9

 7 5

7

6

8

9

54

In Your Face Guitar

Chapter Ten Songwriting Dynamics

=D =A =F

=C =G =C

In Your Face Guitar

“D” Tuning =D =C =A =G =F =D

Dynamics - Playing Aggressive “In Your Face”

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)



P.M. “D” Tuning =D =C =A =G =F = D (thickest string) Dropped “C” Tuning 6 3 5 0 =D =C =A =G =F =C



(thinnest string)

“D” Tuning =D =C =A =G =F =D

6

3

5

5

0

0

6

3

5

2

6

2



“D” Tuning =D =C =A =G 6 5 0 =F = D (thickest string)

X 6

6

Dynamics - All Down Strums “Punch Me I Bleed”

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)

(thinnest string)

5

3

X 5

0 0

0 0 0

6 X 6

5 X 5

0 0 0

0

3

7

 P.H. 

P.M.

0 0 0

4

4

5

56

In Your Face Guitar

Chapter Eleven Playing Slow

In Your Face Guitar

Playing Slow “Punch Me I Bleed”   

3

3

2

2

5

5

5

5

3

3

2

2

5

5

6

6

1

1

0

0

3

3

1.



1 1

2 2

3 3

2 2

1 1

2 2

3 3

0 0

3 3

1

0

0

1

0

0

3

3

5

2.

2 2

5 5

5 5

6 6

5 5

5 5

5 5

 

w/bar

3 3

2 2

5 5

5 5

5



6

58

In Your Face Guitar

Chapter Twelve Full Songs

=F

=C

In Your Face Guitar

“D” Tuning =D =C =A =G =F =D

“Blooddrunk”

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)

“D” Tuning =D =C (thinnest string)Intro =A =G =F = D (thickest string)







P.M.



P.M.

(3) 5 5 5

5 5 5

5 5 5

8 6

8 6

8 6

8

0

8

0

0



N.H.

rake

(3)

(3)

(3)

0

3 3 (3) 3

(3)



P.M.

3 3 3

3 3 3

3 3 3

3 3 3

5 3



Main Melody 13



10

10

15

13

13

12

15

14

15

13

13



0 0 0

0 0 0

0 0 0

0 0 0

0 0 0

0 0 0

Harmony P.M.

3 3 3



P.M.

0 0 0

P.M.

0 0 0 P.M.

0 0 0

4 4 4



0 0 0

P.M.

0 0 0

13

0 0 0

0 0 0

P.M.

12

10

10

13

12

13

13



0 0 0



5

7

0 0 0

6

0 0 0

0 0 0

P.M.

8

15

5

7

6

0 0 0

0 0 0

0 0 0

P.M.

10

8



P.M.

8

13

13 15



P.M.

3 3 3

13

13

14

P.M.

4 4 4

13 12

12

15

12

P.M.



12

10

Verse Rhythm



12

12

13



10



2 2 2

2 2 2



8

14

12

15

8

P.M.

0 0 0

0 0 0

10

8

12

0 0 0

3 3 3

3 3 3

P.M.

7

7

6 6 6

6

10 7

8 8 8 6 6 6

60



0 0 0

0 0 0

0 0 0

0 0 0

4 4 4



Harmony Harmony P.M.



0 0 0

0 0 0

0 0 0

P.M.



0 0 0

0 0 0

0 0 0

3 3 3

0 0 0



0 0 0

4 4 4

0 0 0

4 4 4

0 0 0



P.M.

3 3 3

0 0 0

0 0 0

2 2 2 2 2 2 2

P.M.

7

5

0 0 0

6

5

5

6

7

2 2 2

2 2 2

2 2 2

2 2 2

2 2 2

Chorus





61

1.



P.M.

2 2 2 2 2 2

2 2 2



2 2 4 4 4 4 4 4 2

2 2 2

6

0 0 0



2 2 2

4 2 4 2 4 2

5 5 5

2.

2 2 2

0 0 0

0 0 0

2 2 2

2 2 2

0 0 0



2 2 2



2 2 2



 2 2 2

2 2 2

3 3 3

10

3 3 3

9

10

8

6 6 6

9

8 8 8 6 6 6

4.

2 2 2 2 2 2 2 2 2 2 2 2

P.M.

4

0 0 0

2 2 2

P.M.

7.

5

2 2 2

0 0 0

0 0 0



8 8 8 6 6 6

P.M.

3.

2 5 4 2 2

2 2 2



P.M.

4 4 4

0 0 0



6.

2 2 2 2

0 0 0

P.M.

P.M.



6

2.

5.

2 2 2

7

6 6 6

3 3 3

2 2 2



P.M.

P.M.

0 2 0 2 2 0 2

0 0 0

0 0 0

0 0 0

0 0 0

6



1.

P.M.



8

P.M.

P.M.

0 0 0

0 0 0

0 0 0

P.M.

Bridge



In Your Face Guitar

3 3 3

0 0 0



3 5 3 5 3 5

2

0

2

4

5

8.

P

2 2 2

3 3 3

5 5 5



w/ bar 5

2 2 2

2

0

2

4



5



2 2 4 4 4 4 4 4 2

4 4 4

4 0 4 0 4 0

H

11 11 9 9 9 9 11 11 9 9 9 9 5 11 11 9 7 7 9 11 11 9 7 7 9 5 9 9 7 7 7 7 9 9 7 7 7 7 5







2 2 4 4 4 4 4 4 2

4 4 4

4 2 4 2 4 2

5 5 5

4 4 4

11 11 9 9 9 9 11 11 9 9 9 9 5 11 11 9 7 7 9 11 11 9 7 7 9 5 9 9 7 7 7 7 9 9 7 7 7 7 5

4 0 4 0 4 0

In Your Face Guitar 2.

1.



2 2 4 4 4 4 4 4 2



11 11 11 6 6 6 7 7 7 5 5 5 9 9 9 4 4 4 7 7 7 5 5 5 7 7 7 5 5 5

H

11 11 11 6 6 6 7 7 7 0 2 2 9 9 9 4 4 4 7 7 7 0 2 2 7 7 7 0 2 2

Breakdown

4 4 4

6 4

2 0

2.

1.

P.M.





4

44444



44



Keyboard Solo Rhythm P.M.





P.M.

6 6 6 666 68666666

full





full

X

H P P









full

24

full

24

15

17 15 17



44444 44 4



full

6 6 6 666 68666666

1.

911



P.M. P.M.



79

22

21

24

4

57 9

9 7 9 9 7 7 9 9 9 911 7 7 7 7 9



6

79

67

2.



9 9 9

2 2 2

H P P

full

14

14 16



14

17

17 16 14

21 19 21 19 17

17

19 17

1/2

14

17 14 16

141617

14

1617

1416

17

14 16 17 21 17 19 21 22 19 21 22 24 21 22 24

sl. 21



P.M.

1 1/2

 24

4 7 911



P.M. P.M.

w/bar

10 12

full

19 17 19 17 15



P.M.

w/bar 5 7

* P.S. = Pick Slide



4

9 9 9 9 9 9 9 9 911 9 9 9 9 9 9

full

4

444444 44

P.M. P.M.

 P.S.

Guitar Lead

2 4

4

7



0 0 0 0 0 0 0 0 0

21

22

22

22

2421 19

21

21

21

2219 17

19

17

19

211919 14

P.M. P.M.

15

16

15

1715

62

H P P



full

19 17 19 17 15





full

24

17 15 17

14

In Your Face Guitar 17 14 16

24

21



22

21

24

21

22

22

Main Riff





2

3

2

0

2

Verse P.M.

  

3 2

0 2 3 2



3 0 0 0 3

2421 19

21

3

0

21

2

2219 17

14 16 17 21 17 19 21 22 19 21 22 24 21 22 24

19

P.M.

0 6 0 6

0 0 2 0 3 0 2 0 0 2 0 3 0 2

17

19

211919 14

P.M. P.M.

15

16

15

1715

 3

2

0

 

4 2

0 2



3 0 0 0 3

2 0

5

2

3 3.

4 2

0 5 0 5

0 0 0

P.H.

0 0 2 0 2 0 5 0 0 2 0 2 0 5

4 2

5 3



P.M.

P.H.

63

21



Bridge



17



5



6 3 0 2

22

1.

“D” Tuning =D =C =A =G =F = D (thickest string)

2.

1416

“Tie My Rope”

Dropped “C” Tuning =D =C (thinnest string) =A =G =F = C (thickest string)

0

1617

2 2 0 2 2 2 0 2 2 2 2 2 0 2

“D” Tuning =D =C =A =G =F =D

  

14

sl.

Dropped “C” Tuning =D =C =A =G =F =C

(thinnest string)

141617



full

24

15



1/2

7 7

 

2

0

 P.H.



3 5

0 0

5 5 5 3 3 3



0 0 0

8 6

 P.H.

0 0 2 0 3 0 2 0 0 2 0 3 0 2

2 0

7 5

7 5

9 7



5 7 5 7

1. P.M.

5

2

7 5

 

7 7 7 5 5 5

2.

7 7

7 7

9 9

10 10

 X X 12 X X 11 X X 12 X X 14 X X 12 X X 12

5

 

In Your Face Guitar Breakdown



6 4



P.M.

6 4

6 4

4 2

6 4

4 2

6 4

4

4

4

0 0 2 2 0

4



P.M.



2 2 2

2 2 2

9 7

7 5

2 2

0 0

2 2

2

2

2

2

5 5 5

0

Chorus Melody 1/2

  

P.M.

15

15

13



13 13 13 13

13



1.

1/2

15

15

17

P.M.

15

13

17 15 13

15 15 15 15

17 17

15 15

13 13 15 15 15 15

13 13

2. 13 15 16 15 13

14

13

 

16

13 13

15 15



1/2

15

17

15

18 16 13

Keyboard Guitar Interlude First Part



H

13 11

11

13

11 14

H 13

H



20 18

18

20

18 21

11 13

H 13 11

11

13 11

11

13

16 14

14

16

14 18

H 16

14 16

16 14

14

16 14

H 20

18 20

14

16

1/4

20 18

18

20 18

18

20

23

21 23

23

21 23

23

21 23

23

21 23

23

64

11  18 10 Second Part 13



10

11

14 18

11 14

13

11 14

14 13 11 18

14

18

15 18

15

In Your Face Guitar

11 16 13 11

13 11

14

17

14 13 11

14

15

17

15 18

15 20 17 15

18 17 15

17 15

18

18 17 15

Second Part 13

 

13 11 17 15 17 15 20 17 15 17 14 14 13 11 18 18 17 15 15 15 18 20 10 20 18 20 22 2414 18 18 20 24 24 24 24 18 18 20 22 22 22 24 20 22 22 24 22 24 22 24 17 11

20



17

Ending 20 P



24

18

18

17 17



Ending Part I P

13

20

20





18 20 22

21

18

18

18 20 22

24

18 20 22 18 20 22 20H22 P

24

20 22

17

22

18 20

24

H

Part I

Part I P

11 16 13 11

18 20 22

22

24 17 17 15 12 Guitar Lead 22

Ending 17

11 14

15 12

17

15 12 22 17 21 17 15

17

15 12

17 15 H

17

22

22

21

22

17

24

12

H 17

17

17 15 15 12 15 12 12 17 17 24 17 2417 17 17 15 2212 15 1222 22 17 22 17 15 17 15 21 21



14 13 14 13

12

12 12

14

14 14

13 12 14 13

13 12 14 13 13 12 14 13

12

12 12

14

14 14

14 12 15 14

14 12 15 14 14 12 15 14

12

12 12

15 15

12

Part12III13 14 Part III

12 13 14 12 13 14

Part IV

22

21 17 15 14 12

12 12 13 14 12

12 14 15

15 12 17 15

12 12 13 14 12

12 14 15

12 12 13 14 12

12 14 15



12 14 15 14

1/2

24



22 14

17

14

24

14



12

H



TP

T



rake

 



P

P rake

X  hold bend rake 20 17 22 17 17 15 17 full

17

TP

T

P

P

TP

T

P

P

    17 1/2

20 17 22 17 17 15

20 17 22 17 17 15 X X

X

X X

17

1/2

1/2

17



1/2

12

14

1/2

12 14 15 14

17

17 15 14 12 14 12 14 14 24 24 17 17 12 22 22 17 15 14 12 14 12 21 14 14

15 12 17 15



24

22 24

H 12 P

full

 12 14 15 14

22

21

15 12 17 15 hold bend

1/2

65 

22

17

17

15

24

H

full

Part III



22 24

hold bend

Part II



24

P

Part II

Part14II 13

17

24

22 22 17 15 12 15 21 12 17 15

P17 15 12 15 12

22 24

24 24 24 24 22H 24 P 22 24 22 24 22 H24

P 24 12

24

22 24

15 12 14 12

1/2

14 14

12 1/2

12

15 12 14 12 15 12 14 12

15 14 12

15 14 12 15 14 12

14

14 14

14

14 14

14

14 14



12



12 12

17 15 12

17



15 12

17 15

12

17 15 12 15 12

12

17 15

In Your Face Guitar hold bend

Part II



full

14 13

12

14

13 12 14 13

12

14

14 12 15 14

12

15

15 12 17 15

1/2

12 13 14

12 14 15

12 12 13 14 12

12 14 15 14

17

TP

T

14



14

14

12

 

rake

P

P

1/2

20 17 22 17 17 15 X



Part III



17 15 14 12

17

X



1/2

12

14

15 12 14 12

15 14 12

14

14

14

12

Part IV



19

17

16

17

15 19 17 15

17 15

16 14

17 14

16 14

17

16 14

17

14

14

17 14

17 14

17 14

17 14

14

 

Whammy Dives



14

14

12

12

14

14

11

11

12

12

12

12

12

12

17 17

66

In Your Face Guitar

“Hatecrew Deathroll” Intro sl.

  

7 5

sl.

9 7

7 5

sl.

9 7

0

0

0

7 5

0

sl.

9 7

7 5

sl.

9 7

0

1.



0

2 0

2 0

sl.

7 5

9 7

2 0

2 0

sl.

P.M.

7 5

9 7

5 3

5 3



0

0

5 3

0

 

5 3

sl.

7 5

0

9 7

0

0

0

sl.

9 7

7 5

9

9

9

7

7

7

7

7

7

7

7

5

5

5

5



P.M.

9 7

0

0

0

2.

2 0

2 0

2 0

2 0

5 3

5 3



Verse sl.

7 5

sl.

9 7

7 5

P.M.

9 7

0

0

0

0

5 3

5 3

sl.

7 5

sl.

9 7

 

7 5

0

0

9 7

0

7 5

7 5

9 7



0

0

2.



sl.

sl.

9 7

7 5



P.M.

9 7

0

0

0

0

sl.

P.M.

1.

67

7 5

9

1.



0

9 7

2.

  



0

7 5

sl.

P.M.

0

7 5

9 7

X X X

X X X

sl.

sl.

P.M.

9 7

7 5



9 7

6 7

0

6 7

X X X



0

0

6 7

0

sl. 7

Verse





5

7 5

sl.

9 7

9 7

7 5



9 7

0

9 7

0

0

0

0

0

sl. 7 5

0

7 5

0

sl.

9 7

7 5

9 7

9 7

7 5

P.M.

0

9 7

0

0

2. 2.

2 20 0

2 20 0

2 20 0

0

0

2 20 0

5 53 3

5 53 3

5 53 3

5 53 3

0

0

0

0

1.1.





In Your Face Guitar

P.M.

7 5

 

0

0

sl.

7 5

7 5

0

9 7

9 7

P.M. P.M.

0 0

7 5



9 7

7 5



P.M.

9 7

0

0

0

0

0

0

0

0

6 6 7 7 7 7 5 5

6 6 7 7 7 7 5 5

6 6 7 7 7 7 5 5

0 0

0 0

sl.

Bridge





1

1

0

4

0

1

1

1.





    P.M.  10  1 0 0 0 8 10  1. 8 P.M.

Bridge 2

0

12 0 1 10 0 0 0

0

9 

8 8 Break Transition Riff 9 9

   

0

07 0

0

8 9 A.H.9 A.H. 5 7 5

12 10

P.M. P.M.

0

0

A.H.

Verse 0





sl.

0

sl.



P.M.



P.M.

0

P.M. 9P.M.



P.M.



7 7 9 9 7

7 7 9 9 7

7 7 9 9 7

8 9 9 7

8 9 9 7

8 9 9 7

07

4

0

1

0

0

1

0

4

0

2.

Bridge 2



0

P.M.

5



P.M.

4

0

0 7 7 9 9 0 70

0

1

0 0 0 0

0 0 0 0 7 7 9 09 0 7



5

0 0

0 0 0

0

0

0



7 7 A.H. 9P.M. A.H. P.M. 5 90 5 7 0

P.M.

1 0

P.M.9 9 8

P.M.

07 0

w/bar

sl. 3

P.M.



P.M.





P.M.

9 07 10 0

10 12 0 8 4 0 101 0 0 0

2. 0 0



sl.



P.M.

10 8



0 0

0 8 9 9 7

7 8 8 6

7 8 8 6

7 8 8 6

8 9 9 7

8 9 9 7

8 9 9 7

0

12 10

8 9 A.H. 9 A.H. 5 7 5



7 10

P.M. P.M.

0 0



sl.

9

9 10 1 7 0 10 4 0

9 7 10 7 7 9 09 0 7

7 7 9 09 07

sl.

   

9



9 10

3x 7 7 A.H. P.M. 9 A.H. P.M. 9 5 0 5 70

P.M.



 

68

  

P.M.

0

0



A.H.

 A.H.

P.M.

5

0

0

0

P.M.

P.M.

0

0

5

0



A.H.

5

0

0

P.M. P.M. 15 17 17 14 17 14

P.M.

In Your Face Guitar 

A.H.

0

5

  17

Solo 1/2 Bridge 3

   

P.M.

15 14

12 3 3

0

14

0

3 3

0

5

1/2

P.M. 15

6 6

0



P.M. 18 15

17 3 3

0

0

0

3 3

0





11

14

8 9 9 7

8 9 9 7 17



  



13

8 9 9 7

17



17

17

P.M.

3 3

19



11

0

0

15

0

11

13

7 7 9 9 7 16

16

10 7 7 9 9 7

P.M.

3 3

17

7 12 7 9 9 7 22 22

P.M.

6 6

0 19

0 17

2. 14

 

13

22

P.M.

3 3 15

0 17

0 15

8 9 9 7



22

0

12 8 9 9 7

21

21

3 3

0 15

11

14

0

0

12

15

14

8 9 9 7 21

7 8 8 6 15

P.M.

6 6

0

15

14

P.M.

8 9 9 7

8 9 9 7

7 7 9 9 7

12

0 12

12

12

14

3 3 10

0

0

12

7 7 9 9 7

7 7 9 9 7

 

69

3 3

0

14

0

12

15



17

0

11

14

15

P.M.

3 3 10

A.H.

0

12

7 8 8 6

0

10

14 6 6



7 8 8 6

w/bar

5

P.M.

15 12 15 12

P.M.

P.M.

6 6

0 7

17

 

10

0 8

7

0

5

Chorus

 13 12  

 

0

P.M.

2.

1.

8 9 9 7

3 3

15



sl.

11

16

6 6

0

sl. 1. 14

5

3

full

P.M. (17)

0

P.M.



w/bar

0

 A.H.

P.M.

1/2

12 15 14 12

15

14

12 12

13

12 14

10

10 14 12

12

12 15 14 12

15

15

15 12 15 12

14

 

 12      0

12 10 10 8 0 8 0

0



Transition Riff Transition Riff P.M. P.M.

 08 7    

0 0

A.H. A.H.

P.M. P.M.



1/2

P.M.

12 10 12 14 8 14

0

0

0 7 0 8

7

17

1/2

full full

0 0

A.H. A.H.

0 0

P.M. P.M.

95 5 5

10 10 8 0 8 0

50 9 0

0 0

P.M. P.M.

0 0 7

14 17 14w/bar 10 14 15 10



14 14

11 11

13 13

11 11

12

12



15 15 17 17

19 19

15 15

17 17

19 19

17 17

9

0 100

9 10 7 10 9 10 7 10 A.H.  A.H.

7

5 7 5

3x 3x P.M. P.M.

9

9

0 0

7

7

 

1/2

15

15

0

0

0

0

0

10 10

11 11

0

0

15 12

15 12

14

17 17

0



P.M.

14 15 14 15 12 15 12 12 8 15 12 15 12 2 12 15 14 8 214 0 6 0 0 0

 

sl. sl.

12 12

13 13

14 14

11 11

12 12

14 14

22 22 22 22 21 21 21 22 22 22 22 21 21 21

15 15



P.M.

18 15 15 18 15 17 15 17 14 17 14 17 17 14 17 14

0

13 13



12 15 14 12

P.M.

12 10

P.M. P.M.

 

14

3 3

17 17 17 17 16 16 16 17 17 17 17 16 16 16





11 11

A.H. A.H.

9 9

9 7 10 9 7 10

7 10 95 7 0 10 0 0 5 0 0 7 0 10

sl. sl. 14 14

12 12 10 0 10 0

0 0



  w/bar

sl.

(17) (17)

0

0 0

5 5

1/2

17 17

15 15 14 14 0



0 0 0 0 0 0 0 0

70 0

12 15 14 14 0 13 0 15 012 0 5 12 5

12

In Your Face Guitar

0 0

A.H. A.H.

Bridge 2 Solo SoloP.M.1/2

 

12 12 10 0 10 0

7 010 9 5 09 0 5 100 7

0

  

12

15 15

15 15

12 12

15 15

12 12

12 12

15 15

14 14 12 12

14 14

12 12

11 11

15 12 14 15 17 14 15 17 15 12 14 15 17 14 15 17

10 10

12 12

10 10

10 10

7 7

10 10

8 8

70

In Your Face Guitar  

w/bar w/bar

 

5 3 5 5 3 5

8 5 8 8 5 8

10 8 10 12 10 12 10 8 10 12 10 12

15 12 14 17 15 17 15 12 14 17 15 17

full full

20 17 20 22 20 22 20 17 20 22 20 22

22 22

full

22 22 22 22

 

hold bend hold bend

 

full

1/2

full

1/2

H H

 

8 8

TP P TP P

7 10 15 10 7 7 10 15 10 7

15 15

H H

8 8

8 8

7 7

T T

full

15 15

15 15 14 14

7 7

full

H H

8 8

8 8

7 7

20 20

T P T P

  71

18 18

TP P TP P

TP TP

P P 15 15

H H

8 8

P P

8 8

7 7

P P

15 15

TP P TP P

7 10 12 10 7 7 10 12 10 7

TP TP

T P T P

P P

8 8

P P

15 19 20 19 20 19 15 17 15 19 24 19 15 17 15 19 20 19 20 19 15 17 20 19 20 19 17 15 17 15 19 24 19 15 17 17 16 17 20 19 20 19 17 15 16 17 16 17 16 17 17 15 19 17 15 19

T P T P

 

15 15

7 10 12 10 7 7 10 12 10 7

T P T P

 

T T

20 20

TP P TP P

7 10 14 10 7 7 10 14 10 7

P P

full

19 19

T P T P 20 20

TP TP

19 19

P P

P P

P P

15 15

P P

17 17

T P T P

T P T P 20 20

T P T P 19 19

TP TP

20 20

P P

P P 19 19

P P

P P 17 17

T P T P

T P T P 15 15

21 21

TP TP

T P T P 19 19

P P

P P

21 21

P P 19 19

T P T P

P P 17 17

T P T P 16 16

TP TP

24 24

P P

T P T P 19 19

24 24

P P

21 19 21 19 17 16 24 19 24 19 17 16 21 19 21 19 17 16 24 19 24 19 17 16 21 19 21 19 17 16 24 19 24 19 17 16 21 19 21 19 17 16 24 19 24 19 17 16

21 21

P P 19 19

P P 17 17

16 16

In Your Face Guitar

C H

B O

C

72

In Your Face Guitar

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