2. THIS IS… HETFIELD

4. Born: August 3 rd 1963 Place: Downey, California

6. Breakups Suck… Or Do They? James’ first bands Obsession and Leather Charm did not last.

8. Add to the Mix: Kirk Hammet and Cliff Burton and you get… Kirk LarsJames Cliff

9. Sex, Drugs, and Rock and Roll

10. And they took the world by storm!!!

11. 1983 1984 1986 1988 1991 1996 1997 1998 1999 2003 2008 2010 To Be Continued…

12. Master of Puppets Listening Guide 0:00 – 0:23 Intro: Enter Rhythm Guitar, Bass Guitar and Drums very abruptly in unison with four hard power chords. The guitar then plays descending pattern of fast notes intro with the drums and guitar emphasizing the same four chords. 0:23 – 0:33 Intro II: The drums do a drum roll at the end of the first section to enter into intro II. At this point the rhythm guitar plays an ascending set with the drums and bass hitting the last 9 chords. Repeated twice. 0:33 – 0:52 Intro II continued with all parts. Rhythm guitars, drums and Bass all play in unison the intro II. 0:52 – 1:02 Bridge: Rhythm guitar pays two notes with similar beat to the intros taking us to the rhythm portion of what will be the homophonic background for the verses. 1:02 – 1:19 Verse 1: The guitars for the verse continue the same rhythm over again with the same pattern. The bass still plays in unison with the rhythm guitars. The music is written in the major mode, but it still has a very disjunct feeling to it as so much Heavy Metal does. The voice is cracked with a raspy vocal melody. The drums are beating in a duple simple pattern but have fills added to it on the transitions to pickups. The drums seem to be mimicking a heartbeat which would make sense for the topic of the song which is drug use. 1:19 – 1:28 Verse 1 with chord change. Has similar feel to last few stanzas but chord change and slightly different pattern gives the anticipation of a new verse or the start of the chorus in the near future.

13. 1:29 – 2:12 Enter transition to chorus and Chorus. Chorus continues with the same beat as before but with different chords. The accompaniment plays a stretch of music and then the vocals enter and the end. The music builds up the vocals and the vocals are accentuated with an echo effect creating the picture that the “Master” is calling out. 2:12 – 2:23 Back to the intro to the Verse. Same pattern as the intro to verse 1 with the drums and rhythm guitar are playing in unison with the rapid beats. In this intro though there is no rhythm guitar that plays two notes on the same beat just before the verse starts. 2:23 – 2:39 Verse 2. This is the same exact pattern as the first verse. It continues with the guitars and drums playing in the same hard timbre and mood as the original part of the song. 2:39 – 2:48 Chord change verse 2. Same as the chord change in verse 1 as an anticipatory change to the chorus. 2:48 – 3:32 Chorus. This Chorus is written exactly the same as the first Chorus. There is more echo put on the vocals to give the feel that the “Master” calling out to the servants. The guitars give a rapid beat that draws your attention in to give a more dramatic effect to the voice.

14. 3:32 – 3:54 Interlude 1. The voice fades off into the back ground echoing Master, over and over again decreasing in pitch as it fades. The beat is half of what it was previously. The rhythm guitar starts to play individual notes rather than chords. The mood of the song changes to a lighter fluid mood. The drums hit certain beats with symbols. The bass guitar is playing a simple complimentary bass line. Rather than keeping the homophonic mode to the music, it now changes to polyphony where the bass plays its line complimentary to the rhythm guitar. 3:54 – 4:13 At this point in the interlude the bas and rhythm guitars continue to play their pieces while two guitars enter in playing harmonizing guitar parts. Some parts of the harmonization complimentary while other portions are counter point. 4:13 – 4:31 The harmonizing guitars stop and at this point enters in the lead guitar. This point of the music turns from the light and fluid mood to a more confused mood. It is still in the major mode, but because of the range of the lead guitar it gives a more anxious timbre. The number of triplets that Kirk plays upsets the light airy fell of the previous portion of the interlude. It almost gives a tumbling feeling. 4:31 – 4:50 Back to the original interlude portion. It is played exactly the same as the first interlude. 4:50 – 5:08 Bridge from interlude 1 to interlude 2. The beat picks up. The drummer hits more symbols. Palm muting becomes more prevalent to set precedence for the incoming faster beats. The guitars now play in unison the same music that was played in the beginning of interlude 1 but with more distortion and palm muting. The other guitar is playing the power chords of the bass line.

15. 5:08 – 5:22 Now the drums and guitars all play in unison for a few measures as it continues to build to interlude 2. 5:22 – 5:40 Vocals enter giving the picture of an addict begging to his master for more. Master is shouted by more than one vocalist. 5:40 – 6:12 Begins interlude 2. Interlude 2 is a solo. The rhythm guitar and bass guitar are playing the same music from verse 1 and 2 while the lead guitar is cranking out a rapid solo hitting high notes, low notes, and hitting ascending and descending scales all in a short period of time. 6:12 – 6:21 At this point in the interlude all of the guitars play a rhythmic pattern all in unison. 6:21 – 6:41 at this point the guitars continue play in unison a different rhythmic piece splitting at the end into a harmonizing guitar segment. This then leads perfectly into the guitar sections that were played for verse 1 and 2 immediately taking us into verse 3. 6:41 – 7:17 Verse 3 is exactly the same as verse 1 and 2 with the same timbre and beats. Guitars are playing in unison and the vocal’s mood changing slightly putting a bit more emphasis on the words in this line. The words for this verse are about trapping more people in this snare. 7:17 – 8:00 Transition to chorus and chorus once again. 8:00 – 8:37 (end) Coda. Here the guitars play in unison in the same beat and music as in the verses. They play together until the end when they play in unison the last six chords. And at the last the music fades out while the vocalists laugh their way into the fade.

16. Listening Guide for One 0:00 – 0:17 Non music intro has the sound of war in the background, machine guns, people shouting and bombs going off. 0:17 – 0:35 Intro. This begins with a very simple four note piece played by the rhythm guitar. There are some simple variations with each succession but it is the same is style for all pieces of the intro. 0:35 – 0:54 Enter Lead guitar playing a simple yet sad piece. The mood is very somber. You can almost hear the guitar “crying” as it plays the lead piece. The rhythm guitar is playing the same music as it was in the intro. As the music hits the last few notes, the bass drum comes in with unison beats to the rhythm guitar. 0:54 – 1:13 The drums are played with the music now with a simple beat. There are no fills for the drums, it is a plain and simple beat and the rhythm guitar continues with the same pattern. The lead guitar continues to play a very somber tune reinforcing the feel that something is wrong. The bass plays a simple bass line emphasizing the key of the piece 1:13 – 1:29 The rhythm guitar now plays what will be the accompaniment to the verses. The drums continue the same simple beat but this time with some fills between stanzas and the bass picks up with what will be its bass line through the verses. 1:29 – 1:43 Before we hit the verse though the guitars go into a lighter accompaniment with mimicking triplets before it dumps into the verses.

17. 1:43 – 2:10 verse 1. All of the instruments in this part are playing the same music that was performed in 1:13 – 1:29. The vocals are hard, but smooth; there is not typical hard voice crack that Metallica is known for, in the beginning of the verse. At the end of the verses, the lead singer cracks his voice for a harder sound. 2:10 – 2:17 Chorus. The Guitars play chords in unison with the bass guitar. The Timbre is very loud and hard as it jumps into the chorus. The Vocalist holds a few words for longer beats to emphasis what he is saying. The vocals also mimic the beat of the guitars and drums. There is only one verse of chorus sung at this point. 2:17 – 2:32 At this point the lighter guitars pieces play as they transition back into the verse segment. The Voice fades into the background and the electric guitars fade as well leaving the lighter guitar pieces to play. 2:32 – 2:59 Verse 2. Everything is played exactly as how verse 1 was played. 2:59 – 3:06 Chorus. The chorus is exactly the same with just one verse being sung. 3:06 – 3:34 The guitars go back to the intro to the verse playing a light guitar ensemble. The vocals and electric guitars fade. The lead guitar enters is playing a light guitar solo, while the rhythm guitar continues in the intro to the verse for a second and third time. 3:34 – 3:51 The chorus comes back with two versus this time leading into an interlude. 3:51 – 4:31 Interlude. In this interlude the lead and rhythm guitar play harmonizing pieces and the bass plays a complimentary bass line. This interlude consists of the drum changing its beat over to a beat that will be used in the lead guitar solo portion of the interlude. The music build and build to get much harder and faster to set up for Metallica’s Kirk Hammet’s most famous solo ever. The drum beats that Lars plays are also famous with this solo segment.

18. 4:31 – 4:35 The guitars fade off and all you hear are the bass drums being played. This almost gives you a picture of machine gun fire. 4:35 – 4:52 at this point the guitars join the bass drum in playing the same pattern. 4:52 – 5:01 Vocals entering in as they chant the first verse of a intermediate chorus in beat with the drums and guitars. 5:01 – 5:09 The lead guitar at this points emphasizes some notes with the same beats as the drums and rhythm guitars. This gives a little variation to what is being played. 5:09 – 5:18 2nd verse to the intermediate chorus. 5:18 – 5:44 This is the base music for the rest of the song as it goes into the solo and the end. The guitars will continue to play the rhythmic beat, but the drums will play a much different beat that allows for fills and almost solo style drumming within the music. 5:44 – 6:21 by far one of the most famous lead guitar solos ever played in the history of music. Listen to it and wish you could play like that. 6:21 – 6:33 just a continuation of the rhythms played earlier before that amazing solo. 6:33 – 6:53 harmonizing guitars set to ascending and then descending scales played with many triplets. 6:53 – 7:24 (end) The last part of the song continues with the same rhythmic patterns with a few variations. The guitars all play in unison. The song ends on the same beat with all instruments hitting on chord or note.

19. Works Cited Metallica. Master of Puppets. Elektra Records, 1986. CD Metallica. One. Elektra Records, 1988. CD Pushead. “James Hetfield and Kirk Hammet.” Interview Thrasher Magazine (1986), 2 Oct, 2011.