METALLICA - "welcome home" Tablature
Official METALLICA Tablature & Sheet Music »
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kilka utwórów zagranych przeze mnie i moj± kapelê
---------------------------------------------------------------------------------
---
WELCOME HOME (SANITARIUM)
-=-=-=-=-=-=-=-=-=-=-=-=-
Master Of Puppets (1986)
Metallica
Intro Solo
sl. sl. sl. sl.
-------------------------|-------10/12--15/17--17---|--(17)----|-15--15--12-12/14
---
-------------------------|-10/12--------------------|----------|-----------------
---
-------11--12--9-------12|--------------------------|----------|-----------------
---
----9--------------------|--------------------------|----------|-----------------
---
-7-----------------------|--------------------------|----------|-----------------
---
-------------------------|--------------------------|----------|-----------------
---
Full
/\ sl.
-12/--\|----12---------------------|-------------|-------------------|----19---19
---
-------|15------15--12---12h13p12--|-------------|-------------------|--17-------
17-
-------|-------------------------14|-12\11-------|-------------------|16---------
---
-------|---------------------------|--------12---|-12/14-------------|-----------
---
-------|---------------------------|-----------14|-------------------|-----------
---
-------|---------------------------|-------------|-------------------|-----------
---
sl.
Full
sl. /\ s
l.
--------17|-171514----------|------/--\--------------------12|10h12p10-----------
---
----------|-------171514----|-----/----\-----------------13--|--------13-12--(12)
\--
-16\14----|-------------1614|--12/--------~~~~~~-------14----|-------------------
---
----------|-----------------|------------------------14------|-------------------
---
----------|-----------------|--------------------------------|-------------------
---
----------|-----------------|--------------------------------|-------------------
---
--------5----|-----3--------||---------------------------------------------------
---
-------------|--------------||---------------------------------------------------
---
-----6-------|--4---------6-||---------------------------------------------------
---
-/7--------/5|--------/7----||---------------------------------------------------
---
-------------|--------------||---------------------------------------------------
---
-------------|--------------||---------------------------------------------------
---
sl. sl. sl.
Middle Solo
sl.
--------------------------------|----151719-19------------|----------------------
---
------------------------------10|1719----------17---------|19h20p19--17--19h20p19
---
---------------------7-7-9/11---|-------------------------|----------------------
---
-------------7-7/9--------------|-------------------------|----------------------
---
-----5-5-7/9--------------------|-------------------------|----------------------
---
-/7-----------------------------|-------------------------|----------------------
---
sl. sl. sl.
Full
/\ sl.
--------------|----/--\----------1415|1715141514h15p14--14----------------------|
---
-----1920p1917|-15/------15----------|----------------17--17171415p14--14-------|
---
-19-----------|----------------------|-------------------------------16--1614\12|
---
--------------|----------------------|------------------------------------------|
---
--------------|----------------------|------------------------------------------|
---
--------------|----------------------|------------------------------------------|
---
sl. sl. sl. sl. sl.
------------------|-------------------------17---|--15-----14-----12----10---7--|
---
------------------|--------------------17\15--15\|14--14\12--12\10--10\8--8\7-7-|
---
-14p12--12--------|------------------------------|-----------------------------7|
---
------16--161412--|12h14~~~~~~~~~~~~-------------|------------------------------|
---
----------------16|------------------------------|------------------------------|
---
------------------|------------------------------|------------------------------|
---
sl.
----------------|--------------------|--------------------5----|-----3-------||--
---
----------------|--------------------|-------------------------|-------------||--
---
--7-9--9/11----9|--9------------999-9|9--7-------------6-------|-/4---------5||--
---
-9--------------|--------------------|------5------/7--------/5|--------/7---||--
---
----------------|--------------------|-------------------------|-------------||--
---
----------------|--------------------|-------------------------|-------------||--
---
sl. sl. sl. sl.
II solo gitary
---------------------------------|--------------------------------|--------------
---
---------------------------------|--------------------------------|--------------
---
-12121212121212121212121212121212|16121212121212121212121212121212|14121212161212
12-
---------------------------------|--------------------------------|--------------
---
---------------------------------|--------------------------------|--------------
---
---------------------------------|--------------------------------|--------------
---
sl.sl.
---------------12|1312121215121217\------12|17p15p12-----1217p15p12-------|17p15p
12-
-13121212151212--|-------------------/12---|--------17p15----------17p1512|------
---
-----------------|-------------------------|------------------------------|------
---
-----------------|-------------------------|------------------------------|------
---
-----------------|-------------------------|------------------------------|------
---
-----------------|-------------------------|------------------------------|------
---
Full---| Ful
l
/\ / /
------12-17p15p12------12|-17/--\/-(17)~~~~--1715|14----14--------------|-----/--
---
-17p15------------15p12--|-----------------17----|---15----15~~~~~~-----|----/---
---
-------------------------|-----------------------|-------------------2--|---/---4
-2-
-------------------------|-----------------------|---------------------4|-4/-----
---
-------------------------|-----------------------|----------------------|--------
---
-------------------------|-----------------------|----------------------|--------
---
1/2 Full Full Full Full Full
/ / / / / / sl.
----------|----------/--------|----/-------/--------/--|----/-------/------------
---
----------|---------/---------|---/---5---/----5---/--5|---/--5----/--5----------
12-
---2-4-2--|--------/---------4|-7/------7/-------7/----|-7/------7/------7\---14-
---
-4-------4|3-2---2/~~~~~~~~~~-|------------------------|-------------------------
---
----------|----5--------------|------------------------|-------------------------
---
----------|-------------------|------------------------|-------------------------
---
Full Full Full
/ / / sl
.
----/---------15/--15--14-|12------12-----/--------------|15----151715--15191715/
21-
-15/--15--12--------------|----15------15/-~~~~~~~~--1717|--1718------19---------
---
--------------------------|------------------------------|-----------------------
---
--------------------------|------------------------------|-----------------------
---
--------------------------|------------------------------|-----------------------
---
--------------------------|------------------------------|-----------------------
---
Full Full
/ /
-1922|2219-2222/---22/-----||----------------------------------------------------
---
-----|----X----------------||----------------------------------------------------
---
-----|---------------------||----------------------------------------------------
---
-----|---------------------||----------------------------------------------------
---
-----|---------------------||----------------------------------------------------
---
-----|---------------------||----------------------------------------------------
---
The Last Solo
Full
/ F
ull
---------------------|----------------------------|-------------------------/----
-/-
---------------------|----------------------------|------------------------/-----
/--
---------------------|----------------------------|------12---------12--14/---14/
---
---------------------|----------------------------|---------14---14--------------
---
/7~~~~~~~~-7-7-7-6--7|9--10-12-----12-12-12-10--12|12/14-------------------------
---
---------------------|----------------------------|------------------------------
---
sl. sl.
Full Full
/ /\
-----/|--------------------------------|--------------------/--\---------------|-
---
----/-|-----------------12----12-------|12----12-----------/----\--------------|-
---
-14/--|12---------------12----12-------|12----12----121414/----(14)p12-------12|-
---
------|--14---------1414--1414-----1414|--1414--14--------------------1414-14--|-
---
------|--------------------------------|---------------------------------------|-
---
------|--------------------------------|---------------------------------------|-
---
Full Full Full Full Fu
ll
/ / /\ /\ /
-----/12-----/~~--1215/(15)p12~~12h15p12|15p12h15--------------/--\------------/-
\--
----/---1215/---15----------------------|--------12-----------/----\----------/--
---
-14/------------------------------------|----------1412--1214/----(14)p121414/-(1
4)-
----------------------------------------|--------------14------------------------
---
----------------------------------------|----------------------------------------
---
----------------------------------------|----------------------------------------
---
Full Full Full
/\ /\ / sl.
----------/--\------|------/--\------------/--------------|-------------------||-
---
---------/----\-----|-----/----\----------/---------------|-------------------||-
---
-p121414/----(14)p12|1414/----(14)p121414/--11111112-14/16|12/1717~~~~~~~~~~~~||-
---
--------------------|-------------------------------------|-------------------||-
---
--------------------|-------------------------------------|-------------------||-
---
--------------------|-------------------------------------|-------------------||-
---
<<<=============================================================================>
>>
Symbole i oznaczenia u¿yte w moich tabulaturach s± w miare realnym odwzorowaniem
znaczków spotykanych w nutach drukowanych w ró¿nych magazynach.
Jak wiadomo w trybie tekstowym ciê¿ko jest zrobiæ po¿±dny bending, oznaczenie
u¿ycia wajchy czy ³uk odnosz±cy siê do sekwencji legato, dlatego w niektórych
miejscach moje taby nie bêd± wygl±da³y tak jak z w gazetce, ale trudno...
E|------3-------2---------|-
H|------3-------3---------|-
G|--------------2---------|-
D|--------------0---------|-
A|-1----------------------|-
E|------------------------|-
Drugi próg za struie A, struny E i H zagrane razem na progu trzecim, akord D.
Z powodu braku mo¿liwo¶ci umieszczenia warto¶ci nutowych, ka¿dy sam, s³uchaj±c
kawa³ka musi domysliæ siê d³ugo¶ci granych dzwiêków. Trochê u³atwi pracê podpowie
d¼,
¿e cyferki umieszcza³em na ka¿dej tabulaturze w ten sam sposób, ¿eby ³atwiej by³o
odgadn±æ d³ugo¶æ granych dzwiêków:
szesnastki triole ósemkowe ósemki itd.
-1234-----|-1-2-3-4-5-6----|-1--2--3--4---|------------------
----------|----------------|--------------|------------------
----------|----------------|--------------|------------------
----------|----------------|--------------|------------------
----------|----------------|--------------|------------------
----------|----------------|--------------|------------------
Najlepsz± metod± jest jednak æwiczenie z muzyk± z p³yty (kasety). Wtedy s³yszysz
co jest grane i jak powinno zabrzmieæ.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
-=-
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
-+-
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
-=-
HAMMER-ON (legoato w górê)
-=-=-=-=-=-=-=-=-=-=-=-=-
Literka "h" to skrót nazwy tej techniki.
Nale¿y zagraæ pierwszy dzwiêk, a drugi powstanie wtedy gdy energicznie przy³o¿ymy
palec na wy¿szy próg. Cyfry oznaczaj± palce prawej rêki.
1 3
-----------------------|-
-----------------------|-
-7h9-------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
PULL-OFF (legato w dó³)
-=-=-=-=-=-=-=-=-=-=-=-
Literka "p" to skrót nazwy tej techniki.
Aby dobrze wykonaæ tak± zagrywkê nale¿y mieæ przygotowane palce na odpowiedzich
progach i energicznie szarpn±æ strunê z progu IX (palec trzeci) na VII (palec
pierwszy).
3 1
-----------------------|-
-----------------------|-
-9p7-------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
HAMMER-ON & PULL-OFF/PULL-OFF & HAMMER-ON (po³±czenie "h" z "p")
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
W obu pzrypadkach gramy tylko pierwszy dzwiêk. Reszt± zajmuje siê lewa rêka.
1 3 1 3 1 3
-----------------------|-
-----------------------|-
-7h9p7---9p7h9---------|-
-----------------------|-
-----------------------|-
-----------------------|-
BENDING (podci±gniêcie)
-=-=-=-=-=-=-=-=-=-=-=-
Maj±c strunê przyci¶niêt± do np. XI progu, trzeba p³ynnie podci±gn±æ j± o jeden
(pó³, æwieræ, pó³tora, dwa) ton do góry - podci±ganie jest skierowane w kierunku
strun basowych. bardzo wa¿ne jest, ¿eby podci±gniêcie koñczy³o siê na odpowiednim
tonie, bo w przeciwnym razie mo¿na sie nie¼le zb³a¼niæ fa³szuj±c. Mo¿na sobie
pomóc (je¶li mamy za ma³o si³y w palcu) drugim i pierwszym palcem, które powinny
le¿eæ odpowienio na progach VIII i VII.
Full 1/2 1/4 1 1/2 2
3 / 3 / 3 / 3 / 3 /
----/---|----/---|----/---|----/---|----/---|-
---/----|---/----|---/----|---/----|---/----|-
-9/-----|-9/-----|-9/-----|-9/-----|-9/-----|-
--------|--------|--------|--------|--------|-
--------|--------|--------|--------|--------|-
--------|--------|--------|--------|--------|-
Jest to podci±gniêcie struny po³±czone z opószczeniem jej do normalnej pozycji.
Full
3 /\
----/--\---------------|-
---/----\--------------|-
-9/--------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
Po³±czenie dwóch technik - bendingu i legata. Po zagraniu bendingu za progu IX,
opószczamy strune do normalnej pozycji i lew± rêk± gramy p³ynny pull-off.
Full
3 /\ 1
----/--\---------------|-
---/----\--------------|-
-9/----(9)p7-----------|-
-----------------------|-
-----------------------|-
-----------------------|-
PRE-BEND (podci±gniêcie przed zagraniem dzwieku)
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Napierw podci±gamy, a potem gramy dzwiêk.
3
Full
|\
-|-\-------------------|-
-|--\------------------|-
-9---------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
Poprawno¶æ techniki mo¿na w bardzo ³atwy sopsób sprawdziæ graj±æ dzwiek o dwa pro
gi
wy¿ej niz podci±gany dzwiêk.
SLIDE (¶lizg po strunie)
-=-=-=-=-=-=-=-=-=-=-=-=-
Przesówamy palec wzd³ó¿ gryfu weg³ug zaznaczonych w tabulaturze pragów.
Istnieje kilka rodzajów slide'ów. Poniewa¿ niemo¿liwe jest zaznaczenie ³uków
tak samo bêd± wygl±da³y zagrywki z uderzeniem w wy¿szy próg, jak i bez grania
wy¿szego dzwieku.
1/1 1\1
sl. sl.
-----------------------|-
-----------------------|-
-7/9-----9\7-----------|-
-----------------------|-
-----------------------|-
-----------------------|-
Przesówamy palec lewej rêki z pocz±tku gryfu od wskazanego progu i wtedy gramy
w³a¶ciwy dzwiêk. Czêsto stosowany zabieg w grze solowej.
1
sl.
-----------------------|-
-----------------------|-
-/9--------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
Po zagraniu dzwieku szybo przesówamy palec w dó³ gryfu.
1sl.
-----------------------|-
-----------------------|-
-9\--------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
VIBRATO (wibracja sturny)
=-=-=-=-=-=-=-=-=-=-=-=-=-
Wibrato lew± rêk± (szybkie podci±ganie i opószczanie struny)
3
-----------------------|-
-----------------------|-
-9~~~~~~~~-------------|-
-----------------------|-
-----------------------|-
-----------------------|-
Wibrato z wahch±, lub lew± rêk± - dzwieki nale¿y szybko podci±gaæ o ca³y ton
i opószczaæ.
3
-----------------------|-
-----------------------|-
-9\/\/\/\/\/-----------|-
-----------------------|-
-----------------------|-
-----------------------|-
TRYL
-=-=-
bardzo szybkie hammeringi i pullofy pomiedzy wskazanymi progami.
1 3
tr~~~~~~~~~~
-----------------------|-
-----------------------|-
-7(9)------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
TAPPING (m³otkowanie)
-=-=-=-=-=-=-=-=-=-=-
Wy¿szy dzwiêk grany jest trzecim palcem prawej rêki - mocne uderzenie w ¶rodek
progu. Dalej to juz czysty pull-off.
T
-----------------------|-
-----------------------|-
-12p9------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
PALM MUTING (struny t³umione praw± d³oni±)
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Struny s± czê¶ciowo t³umione praw± rêk± przez przy³o¿enie jej tu¿ przed mostkiem.
P.M.-------|
-----------------------|-
-----------------------|-
-------------2---------|-
-------------2---------|-
-0--0--0--0--0---------|-
-----------------------|-
SWEEP PICKING (czyli popularne arpeggio)
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Trudna technika polegaj±ca na p³ynnym przesuniêciu kostki po strunach. W tym samy
m
czasie nale¿y szybko zmieniaæ palce na strunach.
3 2 1 2 3
sweep------|
-----12----------------|-
---13--13--------------|-
-14------14------------|-
-----------------------|-
-----------------------|-
-----------------------|-
RAKE (czyli trochê uproszczony sweep)
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Jednym, p³ynnym ruchem nale¿y przeci±gn±æ kostk± po st³umionch (niedoci¶cniêtych)
strunach. Fraza koñczy siê na w skazanym progu.
1
rake
---7-------------------|-
--X--------------------|-
-X---------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
MUFFLED STRINGS (t³umione struny)
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Ten zapis symbolizuje technike wydobywania perkusyjnych dzwiêków z gitary.
najzwyczajniej w ¶wiecie niedociskamy strun do gryfu i gramy to kostk±.
-----------------------|-
-----------------------|-
-XX--XX----------------|-
-XX--XX----------------|-
-----------------------|-
-----------------------|-
NATURAL HAMRONIC (fla¿olet naturalny)
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Fla¿olety naturalne wydobywane s± przez lekkie dotkniêcie struny dok³adnie nad
progiem. Trzeba pamiêtaæ, ¿e nie wszystkie progi wydadz± fla¿olety. Naj³atwiej je
st
je osi±gn±æ nad III, IV, V, VII, XII i XIX progiem.
Harm.
-----------------------|-
-12--------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
ARTIFICIAL HARMONIC (fla¿olet sztuczny)
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Dzwiêk wydobywany jest w tradycyjny sposób, a fla¿olet dodajemy przez przy³o¿enie
kciuka prawej rêki do struny w trakcie kostkowania.
A.H.
-----------------------|-
-----------------------|-
-9---------------------|-
-----------------------|-
-----------------------|-
-----------------------|-
TREMOLO PICKING (tremolo)
-=-=-=-=-=-=-=-=-=-=-=-=-
Ka¿dy dzwiek nale¿y kostkowaæ tak szybko jak to jest mo¿liwe.
-----------------------|-
-----------------------|-
-7----9----10----------|-
-/----/-----/----------|-
-/----/-----/----------|-
-----------------------|-
TREMOLO BAR (wajcha)
-=-=-=-=-=-=-=-=-=-=-
Szybkie ruchy wajch± - graj±c dzwiêk nale¿y obli¿yæ wajchê o podan± liczbê tonów
i pó¶ciæ j± do normalnego po³o¿enia. Ta technika bardzo wyra¼nie jest to uchwycen
ia
na samym koñcu solówki do "Enter Sandmman"
w/trem. bar
1 1
\/ \/
-----------------------|-
-----------------------|-
-7---9-----------------|-
-----------------------|-
-----------------------|-
-----------------------|-
Druga mo¿liwo¶æ u¿ycia wajchy - d³ugie frazy: obni¿anie, podci±ganie strun, itp.
w/trem. bar---------------------------|
-4 0 +1
-----------------------------------------|-
-----------------------------------------|-
-0--------------------12-----------------|-
-0--------------------12-----------------|-
-----------------------------------------|-
-----------------------------------------|-
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