ihe a Pay) WEEE 7 Ze aurunme (WITH NOTES AND TABLATURE Transcribed by STUART HAMM son LiEsaN 6 STUART HAMM Beok Badged 3 PERFORMANCE NOTES NOTATION LEGEND From Radio Free Albemuth 7 Flow My Tears 14 24 Country Music Sexvolly Active From Kings Of Sleep 38 48 53 57 o7 73 Block lee Surely The Best Terminal Beach | Want To Know Count Zero Call Of The Wild From The Urge 79 86 93 101 107 The Urge Who Do You Want Me To Be Today Lone Star iF You're Scared (Stoy Home} The Hammer rg cover phot by Lisa Wels Bock cover how by tot Sail ison oase-1020s MiB ar rsstig creationPerformance NOTES Flow My Tears This piece ul sa staple of my topping and sliding techniques: laying down an outline of the basic chord with the left hand {in this case, the root, fifth and ninth) and sliding upper structure triads on top with the right hand. The bridge is o tricky piece of contrapuntel topping, combining both hands with use of sextuplets on the E ond A strings ond the melody ployed on the G and D strings. Practice this slowly cond good luck This song was inspired by a novel writen by the great American writer Philip K. Dick and has nothing to do with the piece of the same name written for the lute by John Dowland (co. 1600). Country Music (A Night In Hell) The litle skit thot precedes this song on my frst clbum (Rodio Free Albemutt i for all of us who have cut our teeth playing in bar bands for unappreciative udiences. The trick to getting the banjo-type sound is to hammer on the Ft 10 G on the D string and pop the open G string. This is © technique you'll find | use often throughout my music. You can take the musician out of the Midwest, but you can’t take the Midwest out of the musicion. Sexually Active A hyperactive litle ditty with a melody that was inspired by the late, great jazz trumpeter Miles Dovis. The piece opens with a series of bass taps that furn info open string hammerons. The main groove is ¢ mixture of slapped hammerons and popped fourths The guitar solo groove is 0 “Jaco-esque” or "Francis ‘Rocco’ Prestia (Tower of Power}esque” sixteenthacts line, ployed solely with the fingers. The solo leads up to a series of topped quintuple corpeggios. Be careful of the oddsime bars. (More bout solo: flurry of pops and tops that lead up fo «© series of quintuplets...) The inspiration for the song is obvious, but please remember to practice safe sex! Black kee The opening riff utilizes the lowD extender on the Kubicki X-Factor bass, which | used to record it You con use @ “hipshot” or tune your low E dows to @ D, but you'll have fo transpose some of the lotter ports, making it more difficult. Tho bass takes the melody during the choruses, and then trodes licks with the guitar. The bridge contains a series of octave tops that lead back into the verse. During the last verse, there series of bass fills leading to the last ritard. Block Ice is the nome of c deadly computer virus that took from the novel Neuromancer by Williom Gibson.Sorely The Best This piece opens with a short bass duet. After some harmonics and folse harmonics the duet turns into cone in which one bass plays the first line while the other plays the melody. The technique for the verse is similar to that used in “Flow My Tears.” The left hand outlines the chord while the right hand plays upper structure on top. The chorus is o contrapuntal part with the right hand playing the chords in eighth notes, while the left hand plays the bass parts. Both parts were doubled by the keyboards when | recorded it for my second Relativity album, Kings of Sleep. Be careful of the key transposition from F to Bin the second chorus (after the guitar solo.) ‘The inspiration for the song is simple. It was written for my wife, Shirley Best, who is surely the best there is. Terminal Beach The intro is @ “topping” line, using all four strings. During the first part of the verses, the right and left honds operate independently: the left hand plays the root and fifth on the E and A strings, while the right hand plays fourths on the D and G strings. The two hands then work together, tapping out arpeggios in the keys of Ft and F, and finally, in G Major. During the bridge, the left hand plays rootfithroot on the bottom three strings, while the right hand “hammers” and “pulls -off” on top. During the tom- tom solo, the length of the verses is doubled. This piece is based on a short story, dealing with ‘be psychological effects of nuclear war on a man who participated in A-bomb testing in the Bikini Islonds, writen by J.G. Ballard. | Want To Know This song is in much jazzier vein than most of my other pieces; that ollows the boss to play the melody. The first melody is ployed with false harmonics, while the second verse switches to the fingers with some chordal fils. The solo starts out very slow, melodically, ond then builds up into o series of cascading taps Many of the lines in the solo were doubled up an octave on « piccolo bass, so that is why it may not sound exactly like the album when you play it, ‘As you become more familiar with the melody and chord changes, feel free to start moking your own interpretations of the melody and playing your own solos, becouse interpretation and improvisation is what jazz is oll about. What did Jesus’ face look like? Why do baseball players who moke four million dollars a yeor charge little kids fifteen bucks for on autograph? How come the same people that are against abortion ote always for capital punishment? These ore some of the things that I want fo know! Count Zero The main technique used in this piece is one that has been labeled the “flamenco rake.” This technique is a triplet figure played with the thumb ‘and the first and second fingers, The trick is to keep your first and second fingers completely rigid and let the action of your wrist rolling over sound the notes, instead of bending your fingers, and popping them that way. IF you practice the intro slowly, this will give you tools needed 1o perform the entire piece. The piece then moves on to a series of sixteenth-note “popping” and slapping lines, with the notes on top staying constant, and the lower ‘ones moving. The bridge starts out with @ roke, leading into a of “tapping” lines. Be careful of the quick “tapping” line at the end of the bridge. This piece is bosed on the novel of the some name, by Williom Gibson, the second in his C; tog(Gf The Wild ‘The main groove in D Major of this piece is played by fommering on Ct fo D on the A string and “popping” Se open D string ond then alternating between the |apen D string and the D on the A string. The chorus is = overtly hyperactive “popping” line. The bass solo is ‘essentially the chorus line with minor embellishments. ‘Ths song is based on the short stories of Jack Seedon, as well os some wild men and women that ove known, The Urge From The Urge Aeother rocking tune, with the bass part played sing the thumb, instead of a pick or fingers, to get ‘Se! aggressive sound and feel, much of which was sepplied by Motley Crue drummer, Tommy Lee. Agoin, this song should be ployed with a great deal of aggression. for thote of you who are planning on ploying and seging this song at the some fime, | offer this ode: First, leorn one part so well that you can 2ecform it without thinking about it. Then, after you saster them both, you can work on putting =xpression into both ports save many urges. What are yours? Wiko Do You Want Me To Be Today? The into fo this piece, once agoin, uses the technique = “popping” the open G string, while slopping noles om the D string to create different tonalities. The chores is 0 series of driving eighth notes that are stayed with the thumb to get @ more aggressive sound. The verse also uses pops ond slops that should ‘=e put as deep in the pocket as possible. The lyrics to this song deal with three people to whom ‘tis phrose opplies. The point | am trying to make in sts song is that you should never be pressured by whatever expectations people have of you. You must cmos do wht you feel is sight for yourself Lone Star A tune written for all my friends in the great state of Texas. While writing this song, | met the great guitarist Eric Johnson, who agreed to play on the track, so | rewrote it especially for him. The boss leads are popped and were doubled on @ piccolo bass when | recorded it. Be coretul of the triplet sweeps in F ond G, leading up to the tapped hammerons. Don't mess with Texas! If You're Scared, Stay Homel A funkdilled bass fest! There ore so many bass ond piccolo bass tracks in this piece that | lost track. The only guitar part is the solo, played by Harry Cody The verse is a call-ond-response between two basses. Live, I had the keyboard player and the guitar player double the bottom part, while | played the upper part. During the bass solo, | tried to get os many different bass tones os possible, but it con be played with one sound all the way through. You should have lot of fun working up this song ond performing it, but remember: “If you're scared,....” The Hammer This piece features the bess playing the melody in more of a rock/metal style. When | recorded this song, | pumped the bass through an old Leslie cabinet right to the point of distortion to gets “lead” sound. Live, | use a combination of distortion, delay ond chorus. | turn off the distorson when the bass plays the “popping” line thet leads into the refrain. As with all the pieces on my Se album, The Urge, this song should be played =a c great deal of aggression. This pisce osks the poignant musical question “Where will you be when the hammer comes down”LEGEND + Tap with right-hand fingers ® Tap with left-hand fingers Slide (Bend) n Bend T Slap (thumb) Pp Pop H Hammer-on PO Pulboff st StrumFlow My Tears By Stuart HammCart) TE Bay IzpESEEspestRubato geCountry Music (A Night in Hell) By Stuart Hamm rr Os Os smu = (Play corse ny 5 Oy wmTe TP TM TP smb terete Foe TFt ' i = — esPuTTaTT TPT TeTT errere T ToRTVT ery PTT PTT e Tee TT Team ao + iW pPaTrreteT i$== © +@00- + mormoms H+ romros La Ge + row Oamw een oS fo ate &Sexually Active By Stuart Hamm J=125 Ne Ce ciieseon aoaA a Anes Syne 2 aes eSOs esse Gseses Ores ste Ent OrreO@reeQ TH THTH THTRT TTP TTTHTHTH TTP PT E/T TATMTM TTT TTT PTT TAT ATH TTT PTET TTR THT TUT PT TTP TTT MTT TTT PT TES TIM TMT HK TTT PTT Te TT TAT TH = = Metogy Trarrergy/TraraTH 2En? AE AbsA RG GO tester te setter ite a eet — etree DP ase Ste Qe 0 a ee poe eeeMio DBE DAO AAO DHS DA On Pel Anew PoRRTETHTH TP ast ny Torprr deer tT TOT THTTLTRTTMTTLTTM amie PLIPLIPLTPLTPUTTH TIN THEE PTMOT THTNT * SaoEIrrerT Tt agy P = Whe ny + +99+ +O307+@ oot oaZete @++@ Simile £Eae 2 eaztttCagi7¢411) ¥ ~ eee r= — SSS — ShBlack Ice By Stuart Hamm, rrrttur trrrart Trrteree © toes by UK MUSCTHcoRY Muse exe) | Acmrtered by LEK MLSS EM j os eee eg See Sep re 3roeprrete pe Sa Heorot FOT fo TT Dat 7 Poe PaesTeTP TP PeTITTTTT says Darrer _*.,TuTP TET PT ATESRTTUEEI TMT TET Te sine ©Surely The Best By Stuart Hammoe eS t 22 3 Sens eng 2 coer ers veece: omy smre a + ees pe mT sldee pert2 Og 0009000000000000Terminal Beach By Stuart Hamm0O++e+O++@+9++O+ sme ba (no repeat on DS.) O- O24 Ose++0+0++0; = fete = oy eee to 89 a 4 aul aut " a, =Ds.alcoea Os 1040+ 606s 10s 410602 181 0r 1068s 6058s +0r0++07+ feet = = fe £| Want To Know By Stuart Hamm a. e Bem? oy Bom? |, AbBD Bom, ADRSBea OS Boat Avs Bon? a qgoRn Pts etl ero Eb? Fo Boni Abn * sa S50 a? Baap Enaip arr’ 5) i ; oe ow \ ee act ntl 24 es ae s — abn rosa Bor ausECHDE Ft 8 Bom? E67 bm? ~ Ja A tee bm Ebm7 DongEbm7 E Domebm? Fo FE Dbmo Eba7 DbmOEbm7E Dono Eb? EF Bbm? Abie aa Tuptrrte TH PPT PromsBim? Fras = bm? Abm7 Gea Basen Ema Bont tre Bom? Ba? ro ryevn = all 4 Ab + ou +Bom?mn ie i ite J yn ™ jtite a mnt ©EB Fe 8 Bbm7 ENT Abn Br B AAbm Dino Eb DémQEbm7 & DbmoBbn? = EO Ft Dong Ebm? Dind Eba? & DinoBm? Boa? F Ea? B Aba? Boa? rw Gm Beau! ta C \ ro BontCount Zero By Stuart Hamm 2-18 TT PRT PRM rOrOT Faint t t TTPP THs sOe+0¢ eer a cen 5 st errs pet EEG ae = a “> ES Gs TTPPTRTTPPT? shle r 3 3 2 2 2 2 2 3Trpretre ter rererere ret Terereteretererene T22 e = ae zGuitar Solo (4 times) Bs @O++E++O BG++oy zen ek ee 4 Re e@o++e0+ +Oe++@ss titeCall Of The Wild By Stuart Hamm, Double Time Feet THTPTPTT PreTeTe THTPTPT PTET PTET E sine (cramming USK MESCT-EORY MUSE Am} ‘somes: 5 SK MSC Mm eee ST ae A ee ameFim Gem AB Fim (Guitar Solo) timesPororrormruteerr PRTATHTRTHTH NTHThe Urge By Stuart Hamm NC TaroTT oT TeTtTrerre Pp Tor orerrrerre ; — 5 z S *tteet set eer ae ee - PEEP POTHPOTT sinte Z 3 SS See + = et Se Pf nr eae TTT TET Tee Tes > af ee oe oe & PTT OTT TMT TTT TT THT TTT TT TAT TTT trorrrrearrrrtr ser rears cet ee igs See a(he) choice is youre to make, Been there all the time you Liv - ing on the edge. Wwe keepTeles s te we ees Sie You can't ig -nore the urge —_ =—_——— os a follow the voice. tbat you fet inside your 3 followthe voice. that you fesl in- side your , Guitar Solo (8 rims) 50 fol-low the voice that you feel in- side your hear. re one opm ee =. Wasaga SSSCS~S ae heart,Verse 4 Pye games pas. D ba)—=_. ‘Tha's why Tre got the urge —__ ke there's 29 to = morrow oefal-low the voice that you feet ‘That'swhy Eve got the urge, —__Who Do You Want Me To Be Today? Stuart Hamm EF ae aot ee ee eee er rr Se ee ee ee ee ee oe ee el ee ee (© 1051 by USK MUSICT-EORY MUS Sah Acmaretare by LEK MUSE (Bist peers Capt Senres A Aap SeeTRTPT eT PT Prere TP snl pereteT rate a ‘When the school ett rings. — the leam = ing day ie dome tror re a TrrAnd mm ma thinks. she could. have if she'dnee o and its on r- er iveenbirth to 4 son. Alwaystel- ling him — who they — think he should. be. — fenent_— bread] feed you wor-ny your. ives a way ‘To whom it may concem: ‘Who do you want. me to be day Vd rather play! = Yourev-er list - en to word that say. “That's game that I jut can't. playsTean'tbe- lieve theway you treat - ed me, or that it went on for so” Tong. — = time you real- ly mean i, who will betbere to si-lencethe void? So in- stead of uy ing to fare aoe vw— the night 2- tone, ‘she dries Bor tears and she picksup the phone. < Chorus ‘And when whe hears that voice, she breaks down end say: = == ‘Who do you want me to be to-day — swear do «Lone Star By Stuart Hamm, desist Dm F rrerer otret terrrerorrr rrr t o Dm F 6 Torperer (© 1991 by USIK MUSICTHEORY MUSIC (BM) cecacra Coopgicenre: AW Ags Aesevestorterer T TrPTeEF 6 TTP PTH +rOrOH From H+ FOrOT TP PTH 4 rons forons maiontnetx. (io Repeaton DS‘Begin fading last time) Ginninein 2Tp RTM +7000N + POFOM +70 70 + POFON + FOFOM + FORO + FO FON + POFOK + FOrOK 4 ORO Ks I Stag fing?) Bn Onna aan oe peng ian Alan a re foi + fOFO +TORO H+ soFO!t 70 rp Darton, Dar ieee eisGuitar Solo (8 cimes) DaIf You’re Scared, Stay Home! By Stuart Hamm and Shawn Berman J=9 he Hey, Dude, if you're seared, stay home! % protr p THOT THT PR ep pw ro F turertr fTete rere “ryou're scared, stay home!”Pprer® TP rarot pm. ae ee heeeg RereTp Tr THOT THe 3 be : Teri) reoree Om THT PTT HrororroT OT TT t pal , = bet (Deatble up 1 octave) Mie eames, onO+O++O+O+ + O+O+,+O+O+ + 0+O+10+0 a ee 22 aéet s sis as sie *O+:6--0 AS” PLTTUTPLTTLTPLTTLTPLTTIT P z *apne) Guia Soto a times £ Bs Tere rroerrry pt erate S32 inte) 7 To terete Tete te TarunThe Hammer By Stuart Hamm. ne (they en DS. on) (© 1901 by Lik MUSICTHEORY MUSIC (6M) ‘Agministered by UBK MUSIC (EM) Intemational Copyright Secured Ad Fights Reservedeen a rrr ott THVT HT) W TWEE ORD 32S of tuorerre rrGuitar Melody Et Se i Bey Guitar SoloNC DS.(2nd Ending) al CodaUS. $19.95 ISON 0-7935-3421-5 I, HLo0ss4823