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76 J U N E 2 0 1 0 w w w . g u i t a r e d g e . c o m
4fr
34111
4fr
43 1
4fr
43 1
6fr
43 1
Few bands have been through as many twists and turns in their
career as the Red Hot Chili Peppers. Formed in Los Angeles in 1983,
the original lineup included vocalist Anthony Kiedis, bassist Michael
“Flea” Balzary, guitarist Hillel Slovak and drummer Jack Irons. Slovak
passed away due to a drug overdose in 1988 and Irons left shortly
after. Several guitarists passed through the group until they met
with John Frusciante and unanimously chose him to join the group.
Frusciante continued with the group through their breakthrough
album, Blood Sugar Sex Magik, and then parted ways after a tour
in the spring of 1992. Former Jane’s Addiction guitarist Dave
Navarro stepped in for the recording of One Hot Minute and their
appearance at the Woodstock ’94 festival. In early 1998, Flea visited
Frusciante and extended an invitation to rejoin the band. Frusciante
accepted and the group began work on a new album.
The second era of Frusciante reached a high point with the 2006
release of Stadium Arcadium, an ambitious double album that
featured some the group’s strongest material in years. The album’s
third single, “Snow (Hey Oh),” became the group’s 11th No. 1 hit. The
tune was featured in the movie Death Note as the main title theme.
At the 2007 Grammy awards, Stadium Arcadium ended up with five
awards, including Best Rock Album.
THE INTRO RIFF AND VERSE
The key of the song is G# Minor and begins with
Frusciante playing an arpeggiated figure that
goes through the progression of G# minor, E, B
and F#. The chord voicings are outlined in Fig. 1.
Make sure to practice this at a reasonably slow
tempo in order to get the rhythm of the hammer
on triplets as accurate as possible. The suggested
fingerings in the chord diagrams will allow you
to move smoothly from chord to chord. Kiedis
comes in with the vocals after the eight-measure
Intro. Continue to play the riff from the Intro over
the Verse and Chorus.
In the second Verse after the Chorus, Gtr. 2 plays
some simple triads that outline the progression
presented in the Intro. Chord diagrams for these
triads are provided in Fig. 2. This guitar part
is actually a Melotron arranged for a guitar. A
Melotron is a polyphonic keyboard instrument
that includes a bank of parallel linear magnetic
audiotapes. Each key had approximately eight
seconds of pre-recorded playback available.
Many groups such as U2, Rush and even
Radiohead have used a Melotron on recordings.
PRECHORUS AND CHORUS
During the Pre-Chorus Frusciante plays a
hybrid-picked passage made up of two
notes that are an interval of a tenth apart. As
indicated, you will want to play this with both
your pick and fingers. This technique is called
hybrid picking. Hold your pick normally and
use it to pluck all the notes on the 5th string.
Then use either your middle or ring finger to
pluck the notes on the 2nd string. Intervals that
extend pass the octave are named based on
the same method as standard intervals. In the
first measure of the Pre-Chorus, Frusciante plays
an E on the fifth string and a G# on the second
string. Normally, these notes would be a major
third apart, but since the G# is raised by an
octave it becomes a tenth away from the E. This
pattern continues in measures 3 and 4 of the
Pre-Chorus as he moves the notes up to G# and
B. When the Chorus comes around, Frusciante
switches to just using the pick in order to strum
the same progression from the Intro. The chord
diagrams for this section appear on the first
page of the transcription. These chords appear
again on the last page of the transcription in
“Snow (Hey Oh)”Red Hot Chili Peppers
RIFF NOTES
By Jason Shadrick
John Frusciante Photo by Frank White
Fig. 111fr
32 1
12fr
21 1
11fr
13 2
9fr
34 1
Fig. 2
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w w w . g u i t a r e d g e . c o m J U N E 2 0 1 0 77
11 11 9 9 11
12 12 11 11 12
11 11 11 11 13
the Gtr. 1 and Gtr. 6 parts notated above the staff. The B and F# chords
are fairly standard voicings, but watch for the unusual fingering used
for the C#m(add9) chord. Here Frusciante plays a standard C#m voicing,
but adds a D# on the first string. In order to be able to reach the added
9th, use your middle and ring fingers on the fifth and fourth strings,
respectively, and use your pinky finger for the D#.
In the second Pre-Chorus on the fifth page of the transcription, Gtr.
3, Gtr. 4 and Gtr. 5 each play a series of sustained notes that form
a series of G# minor and F# major triads. This part is reminiscent of
Queen’s Brian May.
THE CODA
At the beginning of the Coda, Frusicante holds down the C#m(add9) chord
and turns towards his amp in order to produce the feedback that leads
into the Interlude. At the Chorus, Gtr. 7 plays a ringing arpeggio part that
is actually three guitars arranged for one. In Fig. 3 you can see how each
part lines up in order to create the composite part that is shown as Riff C.
Frusciante shows a bit more of his Brian May influence with the rakes
in the Outro. Both Gtr. 8 and Gtr.9 play a series of sustaining bent notes
that are preceded by a rake. A rake is when you drag your pick across
several muted strings before you pluck a string. This is used for effect
and to create a bigger sound on the target string.
DIAL TONEWhat He Used
John Frusicante is a huge fan of vintage
gear and his rig shows he isn’t afraid to
experiment with different sounds. His main
guitar is a 1962 Fender Stratocaster and
on the road he also brings a ’55 Strat and
a ’63 Telecaster. Marshall amps are usually
found blasting behind Frusciante. Usually
he prefers Silver Jubilee heads and both
slant- and straight-front Marshall cabinets.
Considering the amount of sounds covered
during a normal show, Frusciante’s pedal-
board is extensive and has been known to
include a Boss DS-2, Boss CE-1, DigiTech
Whammy, Electro-Harmonix English Muff’n
and a Moog MF-102 Ring Modulator.
How to Get the Sound
Frusciante doesn’t get too crazy with the
tones in “Snow (Hey Oh).” Grab a Strat or any
solidbody guitar with single coil pickups and
plug into an amp that has a strong clean
sound. Add your favorite overdrive pedal
and set it to just a bit of dirt. For some of the
sustaining sections, add some reverb and an
additional overdrive pedal for sustain.
• Get more Red Hot Chili Peppers tab at guitarinstructor.com
• Get Red Hot Chili Pepper’s Stadium Arcadium guitar tab book
at musicdispatch.com
• Download “Snow (Hey Oh)”from iTunes• Get cool Red Hot Chili Peppers gear at oldglory.com
• Visit Red Hot Chili Peppers online at redhotchilipeppers.com
Want more? Check out these cool links at guitaredge.com
Get Cool
Red Hot Chili
Peppers gear at
oldglory.com!
Fig. 3
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78 J U N E 2 0 1 0 w w w . g u i t a r e d g e . c o m
Intro
Moderately fastq
= 100
Snow (Hey Oh)Words and Music by Anthony Kiedis, Flea, John Frusciante and Chad Smith
from Red Hot Chili Peppers - Stadium Arcadium
© 2006 MOEBETOBLAME MUSICAll Rights Reserved Used by Permission
Reprinted by Permission of Hal Leonard Corporation
Transcribed by David Stocker
Guitars: John Frusciante
Gtr. 1 (clean)
Riff A
*G m
let ring
E
let ring
7fr
1 3 4 2 1 1
B
9fr
1 3 3 3
F
9fr
1 2 3 1 1 4
C m( 9)
B
let ring
F
let ring
3 33
3
*Chord symbols reflect implied harmony.
66
46
4 6 46
4
76
46
4 6 46
4
76
46 7
4 6 46
49
86
86 8 6
86
G m
let ring
E
let ring
B
let ring
F
let ring
End Riff A
3 33 3
6
64
64 6 4
64
7
64
64 6 4
64
7 6
4
6
4 6 4
6
4
6 4
4
4
4 6 4
4
4
Come
Verse
Gtr. 1: w/ Riff A (2 times)
1.
G m
to de cide
- that the things
E
that I tried
were in
B
my life just to
F
get high on.
G m
When I sit
a lone- come
E
get a lit
tle- known, but
B
I need more
t han my sel f
F
- this time.
Step
G m
f rom t he r oad
to the sea
E
to the sky,
and I do
B
be lieve- that we
F
re ly- on...
G m
When I lay
it on, come
E
get to play
it on all
B
my life to sac
F
ri- fice.-
This song is sponsored by fender.com
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w w w . g u i t a r e d g e . c o m J U N E 2 0 1 0 79
Hey,
Chorus
Gtr. 1: w/ Riff A (2 times)
G m
oh,
E
lis ten- what
F
I say,
G m
oh.
E
F
I got your
hey,
G m
oh,
E
now lis ten- what
F
I say,
G m
oh,
E
oh.
F
When
Verse
2.
Gtr. 1: w/ Riff A (2 times)
G m
will I know
that I real
E
ly- can’t go
to the well
once more time to
F
de cide- on?
*Gtr. 2Rhy. Fig. 1
End Rhy. Fig. 1
*Melotron arr. for gtr.
131211
131212
111211
11119
Gtr. 2: w/ Rhy. Fig. 1 (3 times)
G m
Whenit’s kil l
ing- me, when
E
will I real
ly- see all
that I need
to look
F
in side?-
Come
G m
to be lieve
- that I bet
E
ter- not leave
be
-
fore
I get my chance
F
to ride.
G m
When it’s kill
ing- me, what
E
do I real
ly- need, all
that I need
to look
F
in side?-
Hey,
ChorusGtr. 1: w/ Riff A (2 times)
Gtr. 2: w/ Rhy. Fig. 1 (4 times)
G m
oh,
E
lis ten- what
F
I say,
G m
oh.
E
F
Comeback and
hey,
G m
oh,
E
look at what
F
I say,
G m
oh,
E
oh.
F
The
SNOW (HEY OH)
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artist-approved tab from the current issue of
(issue is current for 30 days).
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80 J U N E 2 0 1 0 w w w . g u i t a r e d g e . c o m
more
Pre-Chorus
I see
the less
I know,
the more
I like
to let
it
F
go.
G m
Gtr. 1Riff B
w/ pick & fingers
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
11
9
11
9
12
Hey,
oh,
whoa,
F
Harm.
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
11
11
14
129
12
9
11
9
9
whoa.
w/ pick
End Riff B
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7
9
7XX9
7XX9
7XX9
7XX9
7XX9
7XX9
7XX9
7XX9
7XX9
7XX9
Deep
Chorus2nd time, Gtrs. 3, 4 & 5 tacet
be neath- the cov
er- of an oth
F
- er- per fect- won
der- where it’s
Gtr. 1Rhy. Fig. 2
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9111111
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9111111
9111111
9111111
9111111
9111111
9111111
00
91111
SNOW (HEY OH)
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(issue is current for 30 days).
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w w w . g u i t a r e d g e . c o m J U N E 2 0 1 0 81
so
C m( 9)
white
as snow.
B
End Rhy. Fig. 2
911119911
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00
799877
Pri
Gtr. 1: w/ Rhy. Fig. 2 (2 times)
vate- ly- di vid
- ed- by a world
F
so un de- cid
- ed- and there’s no
C m( 9)
where
- to go.
B
I n be tw een- the cov
er- of an oth
F
- er- per fect- won
der- where i t’s(So...
so
C m( 9)
white
as snow.
B
C oT oda
Run ning- through the field
where all my tracks
F
will be con cealed
- and there’s
Gtr. 1
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799877
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XXX
XXX
9111111
9111111
9111111
9111111
9111111
9111111
9111111
9111111
9111111
9111111
9111111
9111111
9111111
9111111
9111111
no...)
no
C m( 9)
where
- to go.
Ho.
911119911
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XXX
XXX
SNOW (HEY OH)
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(issue is current for 30 days).
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82 J U N E 2 0 1 0 w w w . g u i t a r e d g e . c o m
Interlude
Gtr. 1: w/ Riff A
Gtr. 2: w/ Rhy. Fig. 1 (2 times)
G m
E
F G m
E
F
When
Verse
Gtr. 1: w/ Riff A (2 times)
Gtr. 2: w/ Rhy. Fig. 1 (4 times)
3.
G m
to de scend
- to a mend
E
- for a friend
all the chan
nels- that have bro
F
ken- down?
G m
Now you bring
it up, I’m
E
gon na- ring
i t up
just
to hear you sing
F
it out.
Step
G m
from the road
to the sea
E
to the sky
and I
do
be lieve- what we
F
re ly- on.
G m
When I lay
it on, come
E
get to play
it on all
my life to sac
F
ri- fice.-
Hey,
Chorus
Gtr. 1: w/ Riff A (2 times)
Gtr. 2: w/ Rhy. Fig. 1 (4 times)
G m
oh,
E
lis ten- what
F
I say,
G m
oh.
E
F
I got your
Voc. Fig. 1
(Hey,
oh.)
End Voc. Fig. 1
hey,
G m
oh,
E
Bkgd. Voc.: w/ Voc. Fig. 1
lis ten- what
F
I say,
G m
oh.
E
F
The
more
Pre-Chorus
Gtr. 1: w/ Riff B
E
I see
the less
I know,
the more
I like
to let
it
F
go.
G m
*Gtrs. 3, 4 & 5
w/ dist.
8va
*Three gtrs., each playing single notes
131211
131211
151414
SNOW (HEY OH)
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Readers have free access to view and print fully-licensed/
artist-approved tab from the current issue of
(issue is current for 30 days).
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Subscribe for free to Guitar Edge’s digital magazine and
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w w w . g u i t a r e d g e . c o m J U N E 2 0 1 0 83
D.S. al Coda
Hey,
oh,
whoa,
F
whoa.
8v a
151414
161616
131211
151414
161616
131211
Coda
(no...)no
Gtr. 1: w/ Rhy. Fig. 2 (last 2 meas.)
C m( 9)
where
- to go.
I said,
B
Gtr. 6 (dist.)
string noise
fdbk.
15ma
8v a
XX
X
(Oo.)
hey,
Interlude
*Voc. Fig. 2
*Applies to upstemmed part only.
Gtrs. 1 & 6: w/ Rhy. Fig. 2 (2 times)
B
hey,
yeah,
F
oh,
yeah.
C m( 9)
Tell
my
Lord now.
End Voc. Fig. 2
B
Hey,
Bkgd. Voc.: w/ Voc. Fig. 2
hey,
yeah,
F
oh,
yeah.
C m( 9)
Tell
my
Lord now.
B
Deep
Chorus
Gtrs. 1 & 6: w/ Rhy. Fig. 2 (4 times)
B
be neath- the cov
er- of an oth
F
- er- per fect- won
der- where it’s so
C m( 9)
white
as snow.
B
**Gtr. 7 (dist.)
w/ reverb
Riff C
let ring
let ring
End Riff C
let ring
**Three gtrs. (each playing single notes) arr. for one
1112
11
1112
11
911
11
911
11
1112
13
SNOW (HEY OH)
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Check out this month’s free tab in the current digital
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How Guitar Edge works:
Readers have free access to view and print fully-licensed/
artist-approved tab from the current issue of
(issue is current for 30 days).
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w w w . g u i t a r e d g e . c o m J U N E 2 0 1 0 85
*Gtrs. 1 & 6
Gtr. 7
let ring
F
let ring
1112
11
1112
11
911
11
911
11
Gtr. 8
rake
rake
X
X
10
1
X
X
12
1
Gtr. 9
rake
rake
*Composite arrangement. See top of first page of song for chord diagrams pertaining to rhythm slashes.
X
X
9
1
X
X
13
1
Free time
C m( 9)
fdbk.
Gtrs. 1, 6 & 7 tacet
µ
99
99
rake
string noise
X
X
12
1
1 1/2
1/2
XX
rake
string noise
X
X
11
11/2
1 1/2
XX
SNOW (HEY OH)
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(issue is current for 30 days).
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86 J U N E 2 0 1 0 w w w . g u i t a r e d g e . c o m
“Pinball Wizard”The Who
RIFF NOTES
By Jason Shadrick
Townshend playing a ‘67 Strat. Photo by Rich Evans/Trinifold Management
3 4 2 1 3 4 2 3 4 2 3 2 1 3 1
4fr
3
4fr
32
Fig. 1
Rock and opera are two genres that seemingly don’t have a lot in
common. Over the years there have been a few times where these
styles have crossed paths and one of the first was the 1969 Who
album , Tommy . Guitarist Pete Townshend wrote most of the music
and came up with the story of Tommy, a kid who has a traumatizing
incident and enters a quasi-catatonic state that leaves his parents
quite worried about him.
“Pinball Wizard” describes an encounter between Tommy and a local
pinball champion who is impressed with Tommy’s skills. Since the
release of the album, “Pinball Wizard” has become one of the most
popular tunes in The Who’s catalog.
THE INTRO
Gtr. 1 begins the tune with a Bm/F# and keeps the
F# as a pedal point through the first six measures.
A pedal point is a note that repeats while chords
change either above or below. The chord shapes
are given in Fig. 1. In measure eight, the accented
strumming pattern begins and Townshend uses
his thumb for the F# on the sixth string and in the
process he mutes the fifth string. This leads into
the key change from B minor to B major where
the accent is on every third strum (look for the
accent marks under the notes). The easiest way
to play this section is to keep a consistent down-
up-down-up motion for each beat, but strum
harder on the accented ones. Another subtle
thing that Townshend adds in this section is that
he lets the high notes ring out while he strums
the non-accented strums. The term sim. appears
in the second measure of the Gtr. 1 part on the
second page. This means to continue the accents
in a similar manner. Four measures before the first
Verse, Gtr. 2 comes in with sustained octaves and
some quintessential British overdrive.
THE VERSES
In the first Verse, Gtr. 1 continues the accented
strums but instead of staying on B, moves the
7fr
T 3 4 11
7fr
T 3 2 11
5fr
T 3 4 11
5fr
T 3 2 11
3fr
T 3 4 11
3fr
T 3 2 11
2fr
T 3 4 11
2fr
1 34
2fr
1 32
Fig. 2