Yngwie J. Malmsteen SongBook - Best of...Signature Licks by FLoOpY

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early eighties, the guitar world was turned upside down. Never before had a rock guitarist come to prominence possessing such Dver-fhe-top playing ability. Eclipsing Eddie Van Halen as the modern rock guitar vir~ tUDSO, Yngwie boasted a unique style that was based on both monster chops and a thor¥: Qugh knowledge of harmony, scales, modes, and the classical tradition. Yngwie picked up the guitar on September 18, 197G-the day Jimi Hendrix died. ~ He soon became obsessed with the instrument, practicing up to nine hours a day and : eventually quitting high school to work at a music store repairing guitars. Yngwie became ; a mainstay on the local music scene in his native Sweden, even attracting the attention of ~ Swedish CBS. :< In 1983 Mike Varney, founder of Shrapnel Records, heard Yngwie's playing on a ~~ demo. He immediately made arrangements for Yngwie to come to the States, where he recorded with the metal band Steeler on their self-titled album. Yngwie left the band after four months and joined Alcatrazz, with whom he recorded two albums-No Parole from Rock 'n' Roll and Live Sentence. After leaving Alcatrazz, Yngwie formed Yngwie J. Malmsteen's Rising Force and released Rising Force, a Grammy-nominated debut of original compositions, on which he played guitar and bass. This primarily instrumental album would change the face of rock guitar playing, marking the beginning of the neo-classical guitar movement. Soon after the release of Rising Force, rock guitarists around the world immersed themselves in the various elements of Yngwie's style-harmonic minor scales, Phrygian modes, arpeggios, sweep·picking, Paganini licks, etc. In 1985, the year that Rising Force was the "it" album among rock guitarists, Yngwie released Marching Out, a more song-oriented album, hoping to reach a broader audience. This album featured mostly vocal songs that were more accessible yet still showcased his ferocious guitar playing. Trilogy, released a year later, was similar in approach. By this time, the market was flooded with Yngwie clones and shredders pledging their allegiance to Bach, but Yngwie still reigned supreme. Tragedy struck in 1987, however, as Yngwie was involved in a serious car accident, smashing his Jaguar into a tree. He was in a coma for a week. After regaining consciousness, he found out his right hand had suffered severe nerve damage. While he was undergoing therapy to rehabilitate his injured hand, his mother died of cancer. Yngwie still managed to persevere, releasing Odyssey in 1988. This album, which featured former Rainbow frontman Joe Lynn Turner, would bring Yngwie a taste of commercial success. A live album, Live in LeningradlTrial by Fire, resulted from the Odyssey .. tour. For Yngwie's next album, Eclipse, he dropped "Rising Force" from the group name ; and formed a new band simply known as Yngwie Malmsteen. Vocalist Joe Lynn Turner ~ was replaced with Goran Edman, and Rising Force members Anders (drums) and Jens ;, Johansson (keyboards) were replaced with Swedish musicians Michael Von Knorring ~ (drums) and Mats Olausson (keyboards). Yngwie signed with Elektra Records for the following album, Fire & Ice. By this ~ time, however, grunge was starting to become popular, and guitar solos went the way of ; the dinosaur. Guitar heroes were no longer in vogue and were relegated to cult status. ~ Yngwie found success overseas in Europe and Asia, but had an extremely d'lfficult time in ~ the United States. This would not stop Yngwie, however, as he forged ahead recording on ovarious labels-even going so far as to record with an orchestra. To this day he continues to keep the neoclassical flame alive.

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"Black Star"-Rising Force "Far Beyond the Sun"-Rising Force "Icarus Dream Suite Opus 4"-Rising Force "I'll See the Light Tonight"-Marching Out "Marching Out"-Marching Out ''Trilogy Suite Op. 5"- Trilogy "You Don't Remember I'll Never Forget"- Trilogy "Deja Vu"-Odyssey "Dreaming (Tell Me)"-Odyssey "Heaven Tonight"-Odyssey "Rising Force"-Odyssey "Making Love"-Eclipse

THE RECORDING Doug Boduch: guitars Warren Wiegratz: keyboards Tom McGirr: bass Scott Schroedl: drums

.. Recorded at Sleepless Nights Studios, Madison, WI

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To match the tuning on the CD, tune your guitar down one half step from standard tuning, so that the strings' pitches (low to high) are: E~-A;J-m-Gb-Bb-H.

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, ABOUT THE AUTHOR

Joe Charupakorn is a guitarist, composer, author, and editor. He has authored and edited over a dozen books, including the four-volume internationally acclaimed Guitar 1,,1 Reference Guides series (published by Cherry Lane). He currently resides in New York & City's East Village. Visit him on the web at www.joecharupakom.com.

Figure 1-lotro Yngwie Malmsteen's solo debut album, Rising Force. marked the beginning of the electric guitar neoclassical movement. The opening cut, "Black Star; was Yngwie's answer to "Eruption" (Eddie Van Halen's virtuosic signature piece) and put him on the map as a guitar legend. "Black Star," written when Yngwie was seventeen, actually appeared on the demo tape heard by Shrapnel Records head Mike Varney. To this day, it is the composi· lion most often associated with Yngwie. Yngwie's brand of virtuosity, a very studied approach to the guitar, differed great· Iy from the reckless abandon of hIs predecessors. Yngwie's neoclassical style of playing and composing required a discipline not common with the training of a typical rock guitarist. "Black Star" opens with a Bach-inspired acoustic prelude (Gtr. 1) played fingerstyle. The tonality of E minor is defined via Yngwie's use of baroque-influenced harmonies, particularly the secondary dominants (EIGI and FIIA~) in measures 5 and 7 and the cadence on the V chord (B) in measure 9. Harmonics round out the section and foreshadow the change of texture. The band then enters with Yngwie making several statements based primarily on an E minor arpeggio (Gtr. 2), with each successive statement climbing higher than the previous one. In measures 22-25, Yngwie articluates all of the notes with hammer-ons (no picking). A delay is set for one repeat at 400 milliseconds, creating an effect similar to Eddie Van Halen's "Cathedral."

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Figure 3-5010 -Black Star" contains one of the all-time great guitar solos, a fact universally acknowledged by the guitar media. Revolutionary for its time, the solo introduced the world to what neoclassical guitar was all about and caught the attention (favorable or not) of just about every rock guitarist on the scene. Before Yngwie arrived, guitarists such as Ritchie Blackmore and Randy Rhoads had successfully fused elements of classical music into their playing, but Yngwie made a career out of this influence by composing complex instrumentals and playing long virtuoso violin-like lines. The solo begins over an E minor progression of Em to CIE. Yngwie emphasizes chord extensions (9ths, 11ths, and 13ths) by bending up to the 9th (Ft) of the E minor chord and holding it over so that it becomes the 111 of the C chord. Yngwie continues with more E minor madness, recalling the pedal·point line from the main theme (three times as fast) in measures 3-4 and wailing with the intensity of a madman. At the chord change to A minor, Yngwie plays the lick that set the guitar world on fire-a two·octave A minor arpeggio articulated with sweep picking (a technique that uses consecutive down or up picking strokes on consecutive strings). This blur-style lick would ignite the sweep·picking craze of the shredding era.

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ous amount of discipline and desire. but the rewards are enormous; if you can play through thIs solo, you can probably play through just about anything. Yngwie uses both the Ct natural (Cl-D!-E-F~j-A-B) and harmonic minor (CJ-DJ-E-F~J-A-8') scales as resources for his melodic inventions. Many of the lines here are not rhythmically measured, however. Yngwie just plays as fast as possible and crams as many notes as he can into a beat, so it will be very difficult to recreate. Some highlights of this solo include tremolo picking in measure 1, irregular note groupings in measures 5-6, and the return of the diminished 7th arpeggios in measures 7-10. To nail the position-shifting diminished 7th arpeggio lick in measure 9, slide down three frets for each successive arpeggio shape.

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Words and Music by Yngwie Malmsteen Figure 6-Theme

Yngwie's love of baroque music is evident throughout his music. The opening to "Icarus' Dream Suite Opus 4" offers a revealing look at just how much, as he borrows the theme from baroque composer Tomaso Albinoni's Adagio in G minor. The melody is transposed here to E minor, a more guitaristic key, and is played rubalo (not in strict time) with Yngwie adding beautiful fills to connect the melody notes. Almost all of the notes in the melody are derived from either the E harmonic minor scale (E-F=--G-A-B-C-D:) or the E natural minor scale (E-FI-G-A-B-C-D). The one exception is the F: in measure 14, which comes from the E Phrygian mode (E-F-G-A-B-C-D). Chord inversions are employed in measures 5-8 and 14-16 to create stepwise motion in the bass. This careful voice leading of the bass notes results in a melodic accom· paniment that is more akin to baroque and classical music than rock.

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Words and Music by Yngwie Malmsteen Figure 11-1ntro and First Theme

Yngwie opens this scorching tour de force with some of the boldest, most in-yourface guitar playing you're ever likely to hear. Burning through a series of C minor scales, he employs a hybrid of the C natural minor (e-D-E~F-G-A~Bb) and C harmonic minor (G-D-El-F-G-AI-B) scales for the opening a cappella scale run. The second run is

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Figure 14-1nterlude This acoustic interlude provides contrast and adds drama to the composition. The section is based on the arpeggiation of primarily open-position chords (Gtr. 3) with a few inverted voicings thrown In. Notice how the open high E string is present in almost aU of the chords, acting as a harmonic anchor. The progression is set in the key of A minor with some colorful chords thrown in, such as the B,addll1 in measures 13 and 21. The ElG; chord in measure 22 creates the expectation of a resolution to A minor, but Yngwie chooses instead to progress to Em/G. This is followed by a diminished chord that leads to a cadence in the key of E minor. After the acoustic guitar fades out on the E minor chord, a lightning-fast ensemble lick is played, marking the return of the electric guitar.

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Words and Music by Vngwie Malmsteen and Joe Lynn Turner Figure 19-1ntro and Verse

"Dreaming (Tell Me)" is Yngwie's neoclassical version of a power ballad, replete with arpeggiated nylon·string guitars, wide-range vocals, and a crying, distorted guitar solo. Opening with some rubata nylon-string work (Glr. 1), Yngwie's guitar playing grows in intensity over the exotic-sounding accompaniment, squeezing in more notes and getting faster until Joe Lynn Turner enters. Rhythm Figure 2 (meas. 31) and the four measures that precede it use a combination of arpeggios and single notes to create an accompaniment that is both melodic and supportive. Yngwie gets a lot of mileage out of a simple V (A) to i (Dm) progression. For example, notice how he embellishes the A chord, adding color by first resolving a suspended 4th, then adding tension in the second measure by leaping to the dissonant ~9 (BJ,) before making a descent down the scale.

Featured Guitar.: Gtr. 1

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