Chords for Dave Mustaine - Guitar Lesson

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[Gb] _ _ _ _ _ _ _ _
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[Am] _ _ _ _ _ _ _ _
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_ _ I used [Abm] the VMNTs, not this exact one because [G] _ I have different colored ones.
The different colored [Eb] ones, because of how old they are, they have different degrees
of _ _ seasoning, the pickups, the water, the moisture, the sweat from me going inside the
pickup rings has changed the way the pickup sounds.
So they get broken in over time.
And I used the signature cabinets I have that Marshall made for me. _ _ _
They're classic square Marshall cabinets, but it's a new model.
It's something we designed together.
Yeah, speaker cabinets.
It's called a _ 1960DN.
It's my model.
We have completely redesigned the whole thing and are using signature Celestion speakers
that I designed too.
So I mean, frankly, take my name off it if you don't like it.
But just listen to it because it's one of the best cabinets I've made.
People that have worked there almost 30 years said it's the best thing that they make. _ _
_ _ _ Well those are a little bit less wattage, so [G] you can't really fire them up that much
without them wearing down over time.
_ It's definitely got the characteristics of greenbacks, but it's a little bit more consistent than that.
You just have to listen to the record.
It's on the record.
It was _ _ _ a JVM Marshall 410 and like I said, the 1960DN cabinets. _ _ _ _ _
_ I don't practice.
You don't practice?
Uh-uh, because I get bored doing it.
Usually what happens is I'll write something and I start playing, and I'm never ready to record.
So my brain tells me don't pick up the guitar.
Okay.
Because if you're going to write something and you're not going to record it, you're
going to get pissed off.
And I've done that so many times.
I'll start playing something and I'll look around and I'll look for my cell phone so
I can call my voicemail and then listen to what I'm doing over the voicemail.
[F] My phone's always away someplace.
I [Gb] have to walk a couple steps [Ab] and by the time I come back to the guitar, I have to pick
it back up and sit down.
[Abm] I've forgotten what I've done.
And [G] the difference between one note means all the difference in the world.
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_ Well the technique is really, it's based on a lot of things.
It's not just the [Abm] right hand.
It's what you're doing.
[Gm] I pedal on all different kinds of strings.
You're talking back and forth like this.
That's [G] either called pedaling or butterfly picking.
And I do a lot of down picking, which is [Am] the same exact motion [Db] as butterfly picking except
you're not picking it on the way back up.
So one is down picking like this and the other _ is_
[E] Well I can't really show them.
You want me to keep playing it.
This is how I play.
But the part about the pick too, when the pick is going perpendicular to the string
like this, it makes more noise because when it hits the string before it releases, it's
got more time before it plucks it.
If it's flat with it and it's parallel to the string, there's no_
You can hear it.
_ There's a noise there.
You can almost hear it right before the note.
This way, it's just a note.
So I try and pick as much as I can, pedaling over the string with the pick parallel to
the string like that.
[A] And if I mute the string with a little bit of the meat on the outside of my palm here,
[E] it makes the string sound better so it's percussive.
If I open it up, _ _ _ that's the same thing.
It's the same thing pedaling.
Just sliding your hand up.
You can completely deaden it so it's just percussive or roll it back a little bit more
and it becomes more melodic.
_ _ _ _ _ _ _ _
_ _ Okay, [Dm] that [Ab] is_
_ _ _ [E] _ _ [B] So that part_
_ [E] _ _ [N] That's the beginning part.
It has a couple different variations of that and then the first [E] part is_ _ _
_ _ [A] _ _ [E] _ _ [E] _ _
[Gb] _ _ _ [A] These are all weird chords.
People [G] wouldn't even notice that.
[Ebm] _ _ _ [Em] _ _ [Bbm] _
Those are all really evil sounding chords.
I didn't do it to try and be like, oh, I'm so evil, you know, because that's stupid.
[G] But [Em] it was just something that worked.
_ _ _ _ [Bbm] _ _ [Em] _
_ _ _ _ [Gb] _ _ [A] _ _
[E] _ _ _ [A] _ _ _ [D] _ _
_ _ [B] And at the [Abm] very end, I go from those weird chords to a power chord [E] _ because it has finality to it.
So when I'm going in this kind of shape, which [Ab] is basically the same [G] shape as a normal G
chord, that's a G.
So when I do this, [Ab] it's kind of like just moving the G.
[G] _ [A] _ _ [D] _
_ _ _ [Em] _ _ _ _ _
And the power chords.
[Eb] And that ends it.
And that's the same thing [Ab] again.
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So that's that part.
There's other riffs to that song, so I'm not exactly sure.
That's all there really [E] is to Holy Wars, except _ for_
_ _ _ [Em] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [B] _ _ _ _
_ _ _ [Gb] _ _ _ _ [E] _
_ That's the progression on that too.
So the second part of that song, the Punishment Deuce, is different.
_ [B] _ _ [C] _
_ And the way I grab all those chords, it makes [Gb] all those different sounds.
[D] _ _ _ [B] _ _ _ _
Hammering [A] on that and then rolling off.
[E] _ _ _ [B] _ _
_ [A] _ _ [B] _ [C] _ _ _ [Eb]
And it gives [C] it way much more sound than [B] _ _ [C] going_
_ _ [F] _ _ _ [E] _ _ [C] _
_ _ _ _ [E] _ [B] _ _ _
[E] _ _ _ _ And I do that over and over again.
And I do something that reminds me kind of like of the Beatles.
[A] _ _ [G] _ _
_ _ _ _ _ _ [Bbm] _ _
[E] Let me do this right.
It's been a while [G] since I played this.
_ [Bb] _
_ [F] _ _ [Gb] _ [G] _ _ [Bb] _ _
_ _ _ [G] _ _ _ [F] _ _
[Bb] _ _ [Ab] I'm doing a C [Bb] chord there. _ _
_ _ _ _ _ _ What would that be up here? _ _ _ _ _ _ _
_ [E] That's what the chord would look [G] like if you did it [Bbm] this way. _
[F] _ _ _ _ _ _ _
Yeah, I could do [E] that.
_ So that's the other part.
And then the very end of it, it [Fm] changes _ _ [E] _ _
_ _ _ _ [Db] _ _ _ [Ab]
back to the funky chord [Em] again. _ _ _ _ _
_ _ _ _ _ [B] _ _ _
_ _ _ [E] _ _ [F] _ _ _
_ _ _ _ [Gb] _ _ And then I