Innehållsförteckning för July 2016 från Total Guitar

A WHOPPING 272 ISSUES. That’s how long it’s been since we last spoke to Eddie Van Halen for a TG cover interview. That was 1995, and TG was a mere nine months old. Grunge had killed guitar histrionics and was itself in the process being killed off by the arrival of Britpop. Eddie was 38 years old and Van Halen had just released 10th album, Balance. It’s safe to say that a lot has changed since then, for music and for Van Halen. Singers have come and gone and Eddie’s then-toddler son Wolfgang is now a fully fledged member of the band. Entire generations of guitar players have carved their own path to success under Eddie’s influence, and while many have brought new life to the instrument, there’s only one…

Following the release of Radiohead’s latest album, A Moon Shaped Pool, we’ve decided to look back at the mood-changing, tension-building riff from their 90s classic, Paranoid Android. The song is in standard tuning, so tune to EADGBE to play along. Forming a strong, melodic theme, the riff in question is featured throughout the song. During softer sections, Thom Yorke plays the line on acoustic guitar; later you’ll hear the riff delivered by the overdriven electric guitars of Johnny Greenwood and Ed O’Brien. O’Brien takes a lower octave and holds the last note, whereas Greenwood plays the riff an octave higher and adds a fill over the last bar. Picking-wise, O’Brien mixes alternate picking with downstrokes; Greenwood and Yorke use alternate picking. It’s not crucial, so use whichever method feels most…

The LA nightlife has long been a lure for the weird and wonderful (see: Crüe, Mötley). Likewise, All Hail The Yeti’s guitarist Alan Stokes was born in Ireland, raised in Vancouver and now plies his in trade in Hollywood, chugging filthy, classic rock-inspired riffs. Appropriately his band’s new collection Screams From A Black Wilderness, proves AHTY’s taste for the dark and monstrous, both lyrically and tonally. “I play a Schecter Solo II ATX and the Hellraiser Solo II,” explains Stokes. “Then on the left I have my Mesa Single Rectifier with a vintage, Marshall JCMstyle tone and on the right I have a Dual Rectifier with a modern punchy, bass-y Mesa tone.” It’s a melding of vintage rock and modern metal beef that can be heard throughout the group’s output…

EXCEPTIONAL EXCELLENT GOOD FOR FANS OF POOR Red Hot Chili Peppers THE GETAWAY You know it’s summer when there’s a new Chilis album, and where this once meant a pounding distorted bass, The Getaway’s title track opens with a human beatbox sample that seagues into a liquid electro funk tune. Having swapped longterm producer Rick Rubin for Danger Mouse, what we find is a mostly laid back album with relaxed tempos and expanded instrumentation (pianos, strings, synths and the like). Despite this, Josh Klinghoffer serves up a range of tones, with his funky clean wah and chorus sounds meeting reverb-drenched psycadelic filtered lead lines, and even a QOTSA-esque fuzz on This Ticonderoga. Of course, no Chilis album would be complete without the slap of Flea’s thumb (Go Robot), and he…

“I’VE ONLY said this once or twice I think; how I came up with the tapping thing. I was a huge Led Zeppelin fan, and whenever they came to town we’d go and see them at The Forum. Jimmy Page would do Heartbreaker and he’d be up there going [plays semi-quaver triplet pull-off lick from Heartbreaker]. And I’m going ‘Wait a minute, if he can do that, then...’ So then I just reversed it, instead of this [points to nut] being the nut, I made my finger the nut. So then you can move it around wherever the fuck you want. But it was Page who inspired me. That’s where it came from, I’ve met him a few times and I always forget to tell him! “You know, people say,…

SHORTLY after Weezer finished recording The Blue Album, Rivers took delivery of a new guitar. The Sonic Blue S-type was put together from Warmoth custom parts, and was a unique beast. Rivers spec’d Seymour Duncan Trembucker and DiMarzio Super Distortion II humbuckers, a monster hardtail bridge, and a built-in Black Ice passive distortion circuit in place of the tone control. The ‘Blue Guitar’ was Rivers’ live weapon of choice between 1994 and 1997, when a huge crack on its body saw it retired. After this, several replacement Warmoth guitars were built, canibalising Blue to create four new S-types that he’s used on and off for nearly two decades. His favourite remains the new ‘Blue’ he started using in 2000 – “the Strat with the lightning strap” as he proclaimed in…

There are metal bands and then there is Gojira. Since their formation in 1996, close to the Spanish border in the south western French surf town of Ondres, there’s been something inexplicably different about their take on heavy music. Even in metal’s obsession with subgenres, Gojira are a difficult band to tag. And that’s to their credit. But make no mistake, for all the spiritual, political and atmospheric elements that help set the band’s music apart, they are also a monolithically heavy proposition in rhythm and riff. Now two decades into a career that has seen them rise slowly, but nonetheless steadily, the French quartet – founded by singer/ guitarist Joe Duplantier and sticksman brother Mario – have redefined themselves once again with their sixth full-length, Magma. Truth be told,…

GETTING STARTED TRACKS 48-62 WITH SOME basic chords (C, A, G, E, D for example, plus some minor versions such as Am, Em and Dm) under your belt, you can easily reach new heights in your guitar playing by learning a few of the shapes shown here. Most are variations on basic shapes, so memorising them shouldn’t be a problem, and many are actually easier to play than the ‘beginner’ chords they’re based on. Of course, the idea is to experiment with new sounds so this month’s tab examples showcase the different musical moods you can create. Try out the chords, have a go at the tab, then it’s over to you to use some of our ideas in your own chord progressions. 1. MAJORLY CHILLED TRACKS 63-64 Major 7…

LINE 6 VARIAX STANDARD £487 With its host of digital guitar models, Line 6’s Variax technology has never been more accessible than in this Yamaha-made electric, which mixes classic solidbody with archtop and acoustic sounds FRET-KING COUNTRY SQUIRE SEMITONE DE LUXE £629 Mix it up a bit! This thinline Tele-inspired mash-up adds a full-sized humbucker at bridge, with a minihumbucker at neck and mid-placed single coil and a vibrato. Bonkers but brilliant EMG AB AFTERBURNER £49 This single-pot, retro-fit active circuit can be added to any guitar with either passive or active pickups. If it’s the former, it’ll buffer your signal from high to low impedance and, in both cases, give you a variable boost of up to 20dB…

AT A GLANCE TOP: Solid Sapele BACK & SIDES: Black HPL NECK: Birch laminate SCALE LENGTH: 645mm (25.4”) FINGERBOARD: Richlite FRETS: 20, medium ELECTRICS: Fishman F1 Analog System w/ volume and tone controls, and tuner HARDWARE: Chrome die cast machineheads LEFT-HANDED: No FINISH: Hand-rubbed THE Westside spec’d GPCPA5S – aka ‘Grand Performance Cutaway Performing Artist’ – of course swaps spruce for sapele on top, and playability is identical to the other Westside Editions, too. The common ‘Modified Low Oval’-profile neck and low action means that electric players worried about moving to a bigger acoustic neck need not fret. It’s a much easier transition than you’d expect. The GPCPA5S shares the fret count of its brothers but makes them easier to access with the addition of a cutaway. The only other…

FOUNDED in China back in 2008, CKK Electronic promises to deliver boutique tone from a range of affordable pedals. For this round-up we’ve chosen the Soul Echo delay pedal and three gain stompboxes: the Lunar Drive, Destruction Drive and the Royal Fuzz. The latter trifecta pretty much cover the development of glorious guitar filth in rock ‘n’ roll history. Broadly speaking, the Royal Fuzz is 60s garage, Lunar Drive is 70s classic rock, and the Destruction Drive takes you from hard rock to metal. Basic construction is identical from pedal to pedal with the guts packed securely into a robust metal case. Side-mounted sockets provide the inputs and outputs, and power comes via a nine-volt battery or mains adaptor. But what makes these pedals stand out from the over-crowded stompbox…

IN RECENT issues we’ve been looking at the chords and rhythm playing tests in RGT’s Grade One exam, and these provide the foundation for this month’s lesson. That’s because learning chords and changes is a vital first step to mastering almost any fingerstyle piece. Get those vital chords down and you can focus your attention on the tricky task of fingerpicking. Printed below is a Grade One study piece – which you’ll need to prepare if you take RGT’s exam. You’re thrown straight in at the deep end with a picking pattern that uses the thumb and three fingers – quite a lot to manage, initially. Still, there’s a logical and easy-to-remember approach you can take: use your thumb for the three bass strings and your first, second and third…

CHRIS BIRD THERE’S been the constant sound of tapping emanating from Chris’s corner of the office as he’s been beavering away putting this month’s eight-page EVH tutorial together (which you can find on p43). “I can manage the tapping,” says the big man. “Just don’t ask me to jump!” JOSH GARDNER THEY say you should never meet your heroes, and for Josh, they don’t get much bigger than Rivers Cuomo. Thankfully, he came away from their chat with the with his fandom intact, and the first UK guitar interview with the Weezer frontman in over a decade in the bag, too – read it on p52. ROB LAING WE’VE been seeing tears in Rob’s eyes, but they are spheres of great joy. The author of Panama is on our cover…

“We’ve played together so long that it doesn’t take much for us to feel connected again” The last time Thrice played the UK, it was 2012 and the California four-piece’s farewell London show. But after a brief hiatus, the band are back. It was a shorter break than expected, and accordingly, getting back in the saddle was no problem for frontman/guitarist Dustin Kensrue. “It felt great; it felt like coming home to something,” says Dustin of the band’s return. “I think we’ve just played together so long that it doesn’t take much for us to feel connected again playing.” New album, To Be Everywhere Is To Be Nowhere, is a powerful comeback, full of snaking upper-fretboard work and menacing baritone riffs from Kensrue and fellow six-stringer Teppei Teranishi. The band…

“THIS IS the guitar I’ve played for our entire band’s career, pretty much. It’s an ESP Viper 1000 and currently it has Railhammer pickups in it. I played EMGs for a long time and I liked them, I’ve tried some Lace pickups too but so far the Railhammers are really cool. They’re very thick pickups, they’re passive, which is kind of a different thing, but they still sound active, and that’s really good.” “I ACTUALLY used to play bass in Code Orange a long time ago and I got this from a friend who was filling in. I paid $300 for it, so I got a decent deal. It plays really well and the action is really nice. It’s been durable too, only a couple of little things needed repairs.…

WHEN Eddie Van Halen set out to combine the comfort and feel of his Fender Strat with the meaty humbucking tones of a Les Paul, he not only created a monster – literally named the Frankenstein – but he also kick-started a movement in guitar design that has since become standard. The Striped Series from EVH offers players the culmination of Eddie’s design features; a single bridge humbucker, hand-rubbed, oil-finished neck, a Floyd Rose complete with D-Tuna and, of course, the famous (and trade-marked) striped paint job. When the guys at Fender offered us one as a competition prize to accompany our exclusive interview with the man himself (see p36), we bit their hands off! All you need to do to be in with a chance of winning is answer…

“I was pretty good at listening to something, finding the notes and figuring how to play it [when I was young]. I also had the opportunity to play with some of the musicians I really liked – Eddie Van Halen ended up becoming a friend of our family so when he came over to our house, the first thing I did was put a guitar in his hand and show me how to play Eruption and Mean Streets! Seeing it up close made a big difference. “I always liked the Van Halen guitars and I tried to make my own versions of some of those but he actually gave me two guitars – one of them he used on the Fair Warning tour.”…

“My brother Mike was a huge Van Halen fan. We would just sit and listen to all of his Van Halen records and then I think he bought the video of Flying Without A Net, one of the old Van Halen videos, and Eddie just stole the show. At that point he was way beyond my reach of beginning to understand how good he was. “We’ve [Creed] opened for them a few times and it’s always a huge honour. I always put my foot up on my monitor and I remember I went to go and put my foot up on one and it said ‘EVH’ on it. I took my foot off. Oh man, I don’t want to put my foot on his monitor. When we played with him…

ON TREMOLO PICKING EDDIE SAYS… “It’s just kind of a spasm. The guys who use [small plectrums] are the guys who pick the way I can’t! I pick very hard.” EDDIE’S use of thin picks points to the fact that he’s not renowned for alternate picking, usually combining legato with picking for speedier licks. This still requires excellent two-hand coordination however, so don’t think it is an easy way out. His pure alternate picked lines are normally limited to tremolo picking, where he uses two methods: either with his pick hand ‘floating’ in free air (great for the first string!), or with his palm resting on the bass strings. TREMOLO PICKING TRACK 15 THE IDEA here is to play rapidly alternating downstrokes and upstrokes on each note along one string…

Metal has its theatrical clichés but they’re not the whole story by any means. Especially with Gojira, a band that’s outlook on the world and search to find meaning in it permeates through their sound. Their music isn’t afraid to tackle emotive themes, and many of these are concerned with environmental politics. “It’s the way we were brought up," explains Joe. “Our mum always taught us to respect others and not throw shit on the floor. It makes sense, so I guess I must have listened! As I grew up I wondered why everyone was throwing their shit on the floor, it didn’t make sense to me. It’s probably what makes me angry the most, it’s so obvious and it’s fuckin’ annoying. Why are we killing all the fish? It’s…

This is a lot of Canadian-made guitar for the money BODY GODIN use many indigenous woods, such as the Canadian basswood body from the Laurentian mountains. It’s finished here in a limited edition Coral Blue high gloss PICKUPS SEYMOUR Duncan’s ’59 is a classic choice to pair with the T-style Godin ‘Custom Cajun’ single coil. The lever switch offers standard and coil-split options in both series and parallel HDR THIS mini switch introduces Godin’s High-Definition Revoicer (HDR) and powered circuit that creates more active-like performance and voicing from the passive pickups AT A GLANCE  BODY: Canadian basswood NECK: Maple, bolt-on SCALE: 648mm (25.5") FINGERBOARD: Rosewood, 305mm (12”) radius FRETS: 22, medium PICKUPS: 1x Seymour Duncan ’59 humbucker (neck), 1x Godin ‘Custom Cajun’ single coil (bridge) CONTROLS: 1x volume, 1x tone,…

It’s a solid piece of kit, well thought-out and executed NECK WHILE many Mosrite guitars have ultra-thin necks, the Dano offers a comfortable C profile that is much more likely to appeal to the average guitarist SOLID THE ’64 offers a departure from the classic Dano construction with a solid Agathis wood body – a lightweight timber that offers good level of sustain TONE MACHINE THE Lipstick tube humbucker can be split via the tone control for a range of classic tones from surf to country to classic rock AT A GLANCE  BODY: Agathis NECK: Maple, bolt-on SCALE: 635mm (25") FINGERBOARD: Rosewood FRETS: 22, medium (with additional zero fret) PICKUPS: 1x Lipstick humbucker (bridge), 1x vintage-style single coil (neck) CONTROLS: 1x volume, 1x tone with push/pull bridge pickup coil-split, 3-way…

AT A GLANCE TOP: Solid sapele BACK & SIDES: Black HPL NECK: Birch laminate SCALE LENGTH: 645mm (25.4”) FINGERBOARD: Richlite FRETS: 20, medium ELECTRICS: Fishman Sonitone w/ volume and tone controls HARDWARE: Chrome die-cast machineheads LEFT-HANDED: No FINISH: Hand-rubbed CONTACT: Westside Distribution 0844 326 2000 www.martinguitar.com THE Westside Custom Sapele Edition #II is a tweaked version of the dreadnought-size Martin X-Series DX1AE. Its spec is pretty much identical, but while the DX1AE features a Sitka spruce top, our Westside Edition #11 uses solid sapele. Like the DX1AE, and the other guitars here, back and sides are High Pressure Laminate. HPL is created by compressing wood particles under intense heat in a resin to create a sheet that can be formed into the appropriate shapes. Martin generally ‘prints’ its HPL sheets…

This could really help layer and expand your sound in a duo NECK THE reduced scale length of 590mm (23.2”) is a bit like capo’ing a standard guitar at the 2nd fret. Tuned standard E-to-E, the string tension is therefore lower. Tune up a tone for a more standard tension BODY YUP, it’s down-sized, too. Whereas a classic dreadnought’s body might measure 508 (l) x 397 (w) x 124mm (d), the Nomad goes for 440 (l) x 345 (w) x 93mm (d) – bigger than Taylor’s Baby and slightly smaller, and less deep, than Taylor’s GS-Mini. So there! PREAMP DESPITE its stripped-down spec, the Nomad features a neat preamp with onboard tuner, three-band slider EQs and a phase switch to kill feedback AT A GLANCE  TOP: Solid spruce BACK &…

TYPE: Rotary speaker simulator pedal CONTROLS: Volume, fast, slow, balance, acceleration, drive, attack, sustain, squeeze, bypass switch, speed/ brake switch SOCKETS: Input, left [mono] output, right output, expression pedal input, power BYPASS: Buffered POWER: 9V power supply (included) CONTACT: Electro-Harmonix www.ehx.com LESLIE rotating speakers were designed for use with Hammond organs, until The Beatles had the bright idea of using one to amplify guitars. The EHX Lester G Deluxe Rotary Speaker pedal captures that classic swirling phase sound of a Leslie, as immortalised on the spooky intro riff to Soundgarden’s Black Hole Sun, among others. Leslie cabs have two speakers, offering bottom-end grunt from a woofer that feeds a rotating drum and top-end from a horn that physically spins. The Lester G’s balance control lets you sweep between emulations of…

SWEET HOME ALABAMA was recorded by what many regard as the definitive line-up of lynyrd Skynyrd, featuring original vocalist Ronnie Van Zant and guitarists Gary Rossington, Ed King and Allen Collins. With three guitarists, it’s important to be clear about who’s playing what – or the wrong kind of ‘wall of sound’ will quickly ensue... As you’ll see, the three parts are carefully arranged and overdubbed, making it relatively easy to hear each line. The first thing you hear is Ed King’s clean Strat playing that iconic intro, joined soon afterwards by… well, Ed King again, overdubbed with a little overdrive for fills and solos. Allen Collins deftly doubles King’s rhythm, while Gary Rossington plays jangly contrasting chords. At several points, all three guitarists play the same part in unison…

10. RONNIE WOOD – £55 MILLION Good thing the Rolling Stone has deep pockets: he was stung for a reported £6.5 million in his 2009 divorce, sank a fortune into his doomed Woody’s nightclub, blows a grand a week on flowers and £170k on chauffeured cars annually. “I’m a terrible businessman,” shrugs Ron, “but I do try.” 9. PETE TOWNSHEND – £75 MILLION “I might retire from making money,” mused Uncle Pete in Uncut. Not likely: The Who’s 50th anniversary tour grossed $22 million in just 27 shows last year. 8. MARK KNOPFLER – £75 MILLION Since he packed in peanuts-paying early graft as a journalist and teacher, the Knopf has shifted over 120 million albums. Admittedly, most of these were for Dire Straits’ yuppie benchmark Brothers In Arms, but…

“Fano’s mash-ups of classic guitar designs have won accolades aplenty and turned heads the world over” Fano’s mash-ups of classic guitar designs have won accolades aplenty and turned heads the world over – the only problem is the £2k+ price tags of the builder’s Alt De Facto models. For 2016, however, Fano has announced a more affordable line of guitars, the Standard Series, which features the brand’s signature traits – vintage looks, comfortable playability and, yes, relic’d finishes – off the peg. Two models are available initially: the offset JM6 and SP6 LP Jr/Tele hybrid, each weighing in at £1,699. Here’s why they have us distressed… but in a good way. 1 PICKUPS FANO makes its own pickups for this line: in the SP6, you get a Tele-style bridge single…

Pendulum are a band that can play any festival they so desire. They could be face-to-face with an army of metalheads, shuddering the hallowed grounds of Castle Donington one night, and then staring at the fluorescent glare of Pyramid Stage ravers dancing ‘til the sun comes up the next. Which is exactly why guitarist Peredur ap Gwynedd – who has also performed with Faithless and Tinie Tempah – is someone that has a very specific set of requirements from the gear that travels around the world with him. TG are invited into Pendulum’s South London HQ, where the Welsh axeman is putting the final touches to his rig before the electronic rockers fly out across the pond. 1 PRS FLOYD CUSTOM 24 “The first time I picked up a PRS,…

KISS This track shows off Prince’s mastery of funk rhythm guitar. It’s all about steady timing in your pick hand and keeping the idle strings silent. The iconic opening chord is an E9, which is one of the most common ones in funk guitar. It’s essentially an E7 with an added F# note. Known as a 9th interval, the F# is the note that changes the E7 to E9. For this particular E9, Prince plays the root note on the 12th fret of the first string, instead of having the lowest note as the root. Next we jump ahead to a riff based in the 12th position around an Am7 chord on the first, second and third strings. The constant 16th note rhythms here should be played in a relaxed…

“When we first toured with Van Halen we went out and did a leg with them and we hit it off really well. They were really great to us and they gave us one of our first big breaks. They kept asking us to come back on for further legs and we ended up being on tour with them for about six months. I became really good friends with Ed and to this day it’s one of the friendships that I treasure the most. We don’t hang out all the time but anytime I see him he comes up and gives me a hug and a kiss. He’s just a really genuine guy and we’ve always hit if off really well. “When he had his guitar line, I asked him…

“It was 1984, that album. I loved the hits; Jump, Panama, Hot For Teacher… now I love the whole record. At the time it was extraordinary. He still is, I think. An extraordinary sound and a very explosive guitar player. He was really fast for the time by he also had that tone, his tone. “Obviously his brother is a fantastic drummer – they’re so tight. People have underestimated him as a rhythm guitar player, he’s a great rhythm player, I think. They started in the seventies of course but from the 80s scene it’s basically him and Yngwie for me. Those were the top dogs.”…

’59 GIBSON LES PAUL JUNIOR MARK: “I used this on the album, and I was playing it this morning and just had to bring it down to play it again! I bought it from my friend Neil, who is an amazing tech who’s worked with The 1975 and various others. He bought it with a really bad headstock repair and he broke it again and reset it. It actually had two pins holding it in before, it was horrendous – but he did a kick ass job. I wouldn’t be able to afford it otherwise. It’s stripped and battered but it sounds like a cannon. It’s loud. It’s had loads of changes, the pickup is original but the cover isn’t, 70s pots, stripped finish and I’m pretty sure it’s had…

If you run a pedalboard with any pedal that isn’t true bypass then you’re in the ‘active’ world. So having an active buffer, or preamp, on your actual guitar is really little different. Of course, not all buffers are equal, and they require power (typically a nine-volt battery), but just as long cable runs can rob your sound of high-end clarity, a good buffer – be it onboard or in a pedal – can restore the high-end, clarity and definition. The neat thing about Godin’s High-Definition Revoicer is that it’s switchable. If you want some pristine highs and clarity, just push in the switch. If you want to go old-school, leave it out. More and more companies are fitting active preamps or buffers – be it in the PRS/ John…

AT A GLANCE TOP: Solid Sapele BACK & SIDES: Black HPL NECK: Birch laminate SCALE LENGTH: 645mm (25.4”) FINGERBOARD: Richlite FRETS: 20, medium ELECTRICS: Fishman Sonitone, w/ volume and tone controls HARDWARE: Chrome die cast machineheads LEFT-HANDED: No FINISH: Hand-rubbed THE snappily titled 00X1SAE Westside Custom Sapele Edition #IV is built around the Martin 00 platform, but otherwise the spec is identical to the #II. In this case, the solid Sapele top and black HPL back and sides form a much smaller package than a dreadnought. Again, the regular X-Series 00X1AE has a solid spruce top, so the slab of solid sapele represents the Westside version’s major upgrade. While Martin produced 00 size guitars in the preceding years, the style didn’t really become popular until the 1930s when they fell…

TYPE: Class-A FET overdrive pedal CONTROLS: Level, gain, treble, bass cut, input filter, high/low switch, internal DIP switches (for use with buffered pedals) SOCKETS: Input, output, power BYPASS: True bypass POWER: 9V battery or 9V DC adaptor (not supplied) CONTACT: Sound Technology 01462 480000 www.digitech.com A collaboration with US boutique firm, Shoe Pedals, DOD’s latest drive utilises a class-A FET design, popular among high-end pedal companies for its valve-like dynamic response. But where some overdrive pedals only work well in certain guitar/amp combinations, the Looking Glass is a more universal fit thanks to an input filter knob, which can dial in a smoother sound to tame overly spiky pickups. The pre-overdrive bass cut knob can also take some flab out of the sound, making it leaner and tighter and aiding…

BACK IN 2014, Blame It On Me gave Herts-born George Ezra his second Top 10 hit, and, containing essentially just four basic chord shapes (C, F, Am and G), it is an easy song to add to your repertoire. As a bonus, you’ll also get to grips with a pro chord technique thanks to George’s sus2 and sus4 shapes. Don’t worry about the technical names; all you need to remember is that these chords sound best mixed in around major or minor chords – just as George does! The singer-songwriter’s ‘trick’ F chord is also revealed. The idea is to play only the middle four strings – so no more wrestling with that cumbersome 1st fret barre! Just remember to mute out the first and sixth strings by touching them…