1. Yngwie Johann Malmsteen
“Father of NeoClassical Guitar” – “Father of Shredding”
“Father of NeoClassical Guitar/ Father of Shredding

2. Lars Johann Yngwe-Lannerback
Born June, 30, 1963, in Stockholm, Sweden
Brother- Bjorn, Sister- Ann Louise, Mother – Rigmore
Had constant access to classical music
Part of a musical family, but only mildly motivated to play
BIOGRAPHY
Lars Johann Yngve Lannerback (later Yngwie Malmsteen) was born June 30, 1963, in Stockholm, Sweden. His mother, Rigmor, already had two children Ann Louise and Bjorn. This was a naturally musical family, but young Lars, age 5, was only mildly motivated to play.
Bjorn, Ann Louise, Lars

3. Jimi Hendrix Dead! September 18, 1970
A television special on the death of Jimi Hendrix showed the performer setting his guitar on fire, “blasting the audience with torrents of feedback”, and putting on such a show that his guitar solos became the main event.
Jimi Hendrix Dead!
September 18, 1970
Something woke inside Lars
* taught himself keys and scales
* learned music theory, as part of
composing and arranging
* became obsessed with practice
and learning
* love of Baroque style blossomed
* learned to play all of Deep
Purple’s music
* joined 1st band
and…..
Then, on September 18, 1970, a TV special on the death of Jimi Hendrix aired. Video of Hendrix showed a wild performance, in which he set fire to his guitar and “blasted the audience with torrents of feedback”(Official Biography, yngwiemalmsteen,com). Hendrix was putting on a show to draw the audience in, and make his guitar solos the main event. His style and charisma woke something inside Lars, now 7. He was hooked. He began taking his craft seriously.
Much occurred between 1970 and Yngwie spent long hours teaching himself the keys, and scales. Yngwie learned musical theory because it was part of composing and arranging. Although Yngwie was not classically trained, his love of baroque style, years of obsessive practice, and dedication to learning soon made him an accomplished musician. By age 10, Yngwie was part of his first band, Track on Earth. He could play all of Deep Purple’s music by this time, as well . Yngwie stopped attending school regularly, to focus on developing his musical skills.

4. Lars Johann Yngve Lannerback
Lars changed his name
Lars Johann Yngve Lannerback
Lars changed his name. He took his middle name and mother’s maiden name, altering each slightly.

5. Yngwie Johann Malmsteen
It was time to become
Yngwie Johann Malmsteen

6. Influences All classical music; especially Baroque
Bach’s unorthodox works
Niccolo Paganini’s flamboyant style and drive toward perfection
Deep Purple’s Ritchie Blackmore’s classically influenced style
Also the style of Vivaldi, Beethoven, Mozart, Kansas, Rush, & U.K.
There were plenty of classical resources to draw from. Yngwie’s mother owned hundreds of classical albums. Television and radio used classical music in their vignettes and commercials. Yngwie was even able to experience his beloved classical music in person. His Aunt was the head of the box office at the royal Concert Hall in Stockholm, so Yngwie had access to free tickets any time he liked. Yngwie has always been most influenced by classical music, especially baroque. It is his belief that “Classical is the peak of the development of music, and Bach is the most influential composer of all”(Malmsteen, Yngwie, “Like Him or Not, He Demands Your Attention”). Yngwie grew as he studied the more unorthodox works of Bach. His next big stylistic motivator came when he saw television performance of Russian, Gideon Kremer, performing 24 Caprices, of the 19th century virtuoso violinist Niccolo Paganini. Paganini’s flamboyant style seemed to tie the perfection of classical music to the aggressive rock feel that Yngwie loved. He found a great fascination with the classically influenced style of, Deep Purple’s, Ritchie Blackmore. The way he used minor scales over blues riffs led Malmsteen further toward the classical influences he strove to emulate. Yngwie also enjoyed the style of Vivaldi, Beethoven, Mozart, Kansas, Rush, and U.K., but he limits the amount of time spent listening to the modern guitarists because, “If guitar players just listen to other guitar players it’s almost impossible to avoid sounding like them… if you listen to other instruments like violin, flutes, or keyboards you will break away from the clichés of guitar playing”(Malmsteen, Yngwie, “Like Him or Not, He Demands Your Attention”.
“Classical is the peak of the development of music,
and Bach is the most influential composer of all.”
-- Yngwie Malmsteen

7. Something big was about to happen
Yngwie went to work in a guitar shop, as a luthier. A 17th centuy lute came in for repair. Yngwie noticed the “frets” were created by peaks left in the wood when it was carved, and that they were much deeper than ordinary frets.
By age 15 the trademark sound and style began to emerge. A key event in firming up that style came when he worked as a luthier in a guitar shop. One day, a 17th century lute was brought in. For the first time Yngwie saw a scalloped neck. Peaks, created in the wood by carving into the wood, served as the frets. Yngwie was intrigued, and decided to try scalloping on a cheap Mosrite. He discovered that you could grip the strings better. Next, he scalloped an old Stratocaster. The scalloped fret board was harder to play than a normal neck, but the control over the strings was so improved that the alteration became permanent on all of Yngwie’s guitars. Later, he said, “You have much more control of the string as far as the vibrato, pitch, and so on. It’s a better instrument this way”(Malmsteen, Yngwie. Live chat with USATODAY.com community).
Yngwie decided to scallop the neck of an old Mosrite.
He discovered that it was harder to play, but he could
grip the strings better.
“You have much more control of the string, as
far as vibrato, pitch, and so on. It’s a much
better instrument this way.”
--Yngwie Malsteen

8. How did Yngwie learn to play so fast?
A total obsession with the instrument
A craving to develop a unique style
Complete devotion to the art
Perfect pitch
Refusal to play music he couldn’t play clean
Oh, and those cassette decks…
“I had two cassette decks that I used to tape my music on– one at the rehearsal studio and one at home. The one
at the rehearsal studio was slower than the one at home. So I went home and listened back to the tape I recorded
at rehearsals, my guitar sounded so much faster than I actually played it. I said, ‘Wow– I can’t believe how fast I sound.’
And since my goal was to improve on everything I would play the day before, I developed a lot of speed and
I began playing faster and faster.” – Yngwie Malmsteen
A Guitar World article claims that it’s “a total obsession with the instrument and a craving to develop a style quite unlike his contemporaries”(Malmsteen, Yngwie, “Like Him or Not, He Demands Your Attention”) that drives Yngwie’s “distinctively baroque, gothic compositional style and lightning fast arpeggiated solos”(Huey, Steve). They are right on all counts, but his signature comes from a place deep within him. That said, he should tell the world how he came to be the musician he is.
“I’m completely devoted to my art as a guitarist and musician”(Malmsteen, Yngwie, “Like Him or Not, He Demands Your Attention”). “I have perfect pitch, so I figured everything out by listening.” (Malmsteen, Yngwie, “Like Him or Not, He Demands Your Attention”). “If I couldn’t play it clean, then I wouldn’t play it. The impression you get is that it’s fast, but it’s actually clean and perfect. I took that from violin technique”(Malmsteen, Yngwie. Live chat with USATODAY.com community).
“If you do it very fast and very clean… you will appear much faster because what you’re playing actually makes sense.”(Malmsteen, Yngwie, “Like Him or Not, He Demands Your Attention”). When asked about how he became as fast as he is, Yngwie’s response was that beyond the hours of practice, with a determination, “I had two cassette decks that I used to tape my music on—one at the rehearsal studio and one at home. The one at the rehearsal studio was slower than the one at home. So when I went home and listened back to the tape I recorded at rehearsals, my guitar sounded so much faster than I actually played it. I said ‘Wow—I can’t believe how fast I sound.’ And since my goal was to improve on everything I would play the day before, I developed a lot of speed and I began playing faster and faster”(Malmsteen, Yngwie, “Like Him or Not, He Demands Your Attention”).
“If you do it very fast and clean… you will appear much
faster because what you’re playing makes sense.”
--Yngwie Malmsteen

9. Along with, long time friend, Jens Johanson, Yngwie started
After a demo tape found its way into the hands of Shrapnel Music’s
Mike Varney, in 1983, Yngwie was invited to join the band Steeler.
Together, they released one album.
Yngwie then joined Alcatrazz. Together, they released
No Parole From Rock & Roll and Live Sentence. Yngwie
decided to leave the band.
Having developed his abilities to a point where he felt willing to share his gift with the public, Yngwie began playing in bands built around his style. A demo tape got to Shrapnel Music’s, Mike Varney, who then invited Yngwie to play with the band Steeler, in After creating just one album with Steeler, Yngwie joined the band, Alcatrazz. Together they released No Parole From Rock & Roll and Live Sentence. Yngwie decided to leave the band, and create Rising Force, with Jens Johansson on keyboard.
Along with, long time friend, Jens Johanson, Yngwie started
Rising Force

10. In 1984, Rising Force’s very first album, Rising Force
In 1984, Rising Force’s very first album, Rising Force * Rose to number 60 on the Billboard charts * Earned a grammy nomination for best rock instrumental performance * Became album of the year in the neoclassical rock genre * Sold so many copies as an import from Japan, that it was released here as well
Rising Force & Yngiwe’s performance
are credited with being the catalyst
for shredding– a genre whose main
focus is on impossibly fast, demanding
licks rather than song writing.
Their 1984 album Rising Force rose to number 60 on Billboard charts, and earned a Grammy nominations for best rock instrumental performance. Yngwie played lead and bass on the album, as well as doing the production. Rising Force became album of the year in the neoclassical rock genre. It was originally released only in Japan, but sold so many copies as an import to the U.S. that it was subsequently released here. Rising Force, and Yngwie’s performance are credited with being the catalyst for shredding. For those who don’t know, this is music whose “main focus was on impossibly fast, demanding licks rather than song writing”(Huey, Steve).

11. Marching On Rising Force releases Marching Out (1985) & Trilogy
June 22, 1987– Yngwie crashes into a tree, suffering a blood clot in his brain and nerve damage to his picking hand. He lies in a coma for a week
Yngwie’s mother Rigmor dies
Rising Force releases Odyssey (1986)
Following the Odyssey tour, Rising Force is disbanded
Yngwie released Marching Out in 1985, an album which he also produced. Trilogy was Rising Force’s next contribution to the music industry. Then, on June 22, 1987, Yngwie crashed his Jaguar into a tree, cracked the steering column with his head, causing a blood clot in his brain, and causing nerve damage in his picking hand. He was in a coma for a week. Soon after he regained consciousness, he learned of his mother’s death. The next year, Rising Force was back with Odyssey, but following the tour, Rising Force disbanded.

12. The albums kept coming
1989- Trial By Fire: Live In Leningrad Birth of the Sun
1990- Eclipse Attack!!
1991- The Yngwie Malmsteen Collection The Genesis
1992- Fire & Ice (Debuted at #1 in Japan,
sold 100,000 copies on its release date)
1994- Seventh Sign
Power & Glory
I Can’t Wait
1995- Magnum Opus
1996- Inspiration (a cover album)
1998- Concerto Suite for Electric Guitar and Orchestra
in Eb minor, Op. 1
Facing The Animal
Live!
Double Live!
1999- Alchemy
2000- War to End All Wars
Young Person’s Guide to the Classics,
Volumes 1 & 2
2001- Concerto Suite for Electric Guitar and Orchestra
Never missing a beat, Yngwie put together a new band and a new album that year. Trial By Fire: Live In Leningrad was released in brought Eclipse. The Yngwie Malmsteen Collection came in Fire and Ice debuted in Japan at #1, and sold over 100,000 copies on release date, during welcomed The Seventh Sign, Power and Glory, and I Can’t Wait. Magnum Opus followed in In 1996, Yngwie produced an album which covered the music of Deep Purple, Rainbow, U.K., Kansas, Scorpions, Rush, and Jimi Hendrix. He named the album Inspiration. Yngwie’s first completely classical work, Concerto Suite for Electric Guitar and Orchestra in Eb minor, Op. 1, was recorded in Prague, with Czech Philharmonic Orchestra and symphony conductor, Yoel Levi, during Malmsteen also completed work on Facing the Animal and Live! and Double Live!, in Alchemy arrived the next year. The year 2000 came fully loaded with War to End All Wars and Young Person’s Guide to the Classics Vol. 1 & 2. Yngwie looked forward to having the chance to perform his Concerto Suite with the New Japan Philharmonic Orchestra in Tokyo, in He released Concerto Suite for Electric Guitar and Orchestra in E flat minor LIVE, Birth of the Sun, Attack!!, and The Genesis, all in 2002.

13. Power, Prestige, and a Passenger
1994- Miami, Construction began on Yngwie’s own recording studio, Studio 308
2002- Yngwie is escorted from a plane, following a disagreement with a fellow passenger. He is screaming that she has “just unleashed the ****** fury” (see the title of his 2004 album)
2003- Yngwie joined G3, Satriani, Vai, & Malmsteen made up this prestigious group of the best guitarists of our time
2006- Fender updates its Signature Yngwie Malmsteen Model Stratocaster
2006- Yngwie receives his strings endorsement from Dean Markley
2008- October, Yngwie is inducted into Hollywood’s Rock Walk of Fame
2008- Rising Force Records is established
2009- Yngwie contributes 3 tracks to Rock Band
Yngwie also began construction on his own recording studio, in Miami, during The studio was to be called “Studio 308”. In 2003 Yngwie joined G3, a prestigious group of the best guitarists of our time, consisting of Satriani, Vai, and Malmsteen.
There had been turbulence in the air during Yngwie and a passenger aboard a plane had not seen eye to eye. While being escorted from the plane, Yngwie yelled back at the passenger that she had “just unleashed the ****** fury”. Two years later Unleash the Fury was released. In 2006, Fender updated the Signature Yngwie Malmsteen Model Stratocaster, a limited edition replica of his 1972 Strat, nicknamed, “The Duck”, by making small but important changes to the neck. Yngwie also received his strings endorsement with Dean Markley. In October of 2008, Yngwie was inducted into Hollywood’s Rock Walk of Fame on Sunset Boulevard in Hollywood. He rounded out the year with the release of Perpetual Flame, on his own newly established label, Rising Force Records. In 2009, Yngwie contributed 3 tracks to the video game Rock Band.

14. Getting Back to Fast Music
2004- Unleash The Fury G3 Live In Denver Instru-Mental Perpetual Flame Angels of Love High Impact Relentless Spellbound G3 Live: Rockin’ The Free World as well as- Play Loud Volmes 1 & 2, and Play Loud Arpeggio
In Unleash the Fury was released. Also in 2004, Yngwie brought us G3 Live in Denver brought us Instru-Mental, followed by Perpetual Flame, in He rounded out the year with the release of Perpetual Flame, on his own newly established label, Rising Force Records. In 2009, Yngwie released Angels of Love, using an acoustic guitar. This is his only entirely instrumental album. Angels of Love hit New Age music list hard. Adding to this year was High Impact. Relentless was his 2010 album, and Spellbound the brought us G3 Live: Rockin’ the Free World. Yngwie also has four additional albums, for which I did not find dates. They include, Play Loud, Vol. 2 Play Loud, and Vol. 1 Play Loud Arpeggio. His stylistic trademark “the use of harmonic and melodic elements derived from classical composers”(Malmsteen, Yngwie, “Going For Baroque”) “combined with a penchant for aggressive technical display in the tradition of 19th century virtuosos such as Niccolo Paganini are the guiding features which have brought forth so many incredible albums”(Malmsteen, Yngwie, “Going For Baroque”).

15. Personal Life
Yngwie married Swedish pop singer, Erika Norberg, on May 8, 1991
The marriage lasted one year
Yngwie married Amber Dawn Landin, on December 26, 1993
They divorced in 1998
Today, Yngwie resides in Miami, Florida, with his wife April Malmsteen, and their son Antonio Yngwie Johann Malmsteen. Antonio was born on March 6th, He is named after his father and Antonio Vivaldi.
Unlike his musical career, Yngwie’s personal life appears somewhat private. He married Swedish pop singer, Erika Norberg Malmsteen, on 5/8/ They divorced the following year. Yngwie went on to marry Amber Dawn (Landin) Malmsteen on 12/26/1993, divorcing her in Currently Yngwie resides in Miami, with his wife April Malmsteen and son Antonio Yngwie Johann Malmsteen. Antonio was named after Antonio Vivaldi, and was born 3/6/ Having peeped into Yngwie’s life through his music, I believe that if asked, Yngwie would say that he hopes to influence the next generation of guitarists, as they discover “the joys of playing with speed, power, and articulation”(Malmsteen, Yngwie, “Going For Baroque”).

16. It has been said, “At the heavy metal marriage of baroque music and rock & roll, Yngwie Malmsteen is often accused of holding the shotgun”
It has been said, “At the heavy metal marriage of baroque music and rock and roll, Yngwie Malmsteen is often accused of holding the shotgun”(Malmsteen, Yngwie, “Going For Baroque”). Truer words have rarely been spoken.

17. Far Beyond the Sun- History
1st released on Rising Force, March 5, 1984
Performed by Yngwie Malmsteen, Moog Taurus, Jeff Scott, Jens Johansen, Barrimore Barlow
Has been re-released seven times; on Trial by Fire:Live In Leningrad (1989), The Yngwie Malmsteen Collection (1991), I can’t wait (1994), Double Live (1998), G3 Live In Denver (2004), the DVD release of Concerto Suite for Electric Guitar and Orchestra in Eb Minor, Op.1-with the New Japan Philharmonic Live (2005), and High Impact (2009)
Remains a staple in the live set list today
Playing several variations of this piece can cure Yngwie of a case of writer’s block
COMPOSITION HISTORY
Far Beyond the Sun and Evil Eye
Yngwie’s first solo album, Rising Force, featured some of his favorite music. Far Beyond the Sun is one of those songs. Rising Force, with its neoclassical, heavy metal sound, was released March 5, At the time, Yngwie was recording in Record Plant Studios, Los Angeles, under the label Polydor. The album features Yngwie Malmsteen on lead guitar, Moog Taurus, bass, arrangement and production. Jeff Scott Soto provided vocals, Jens Johansen on keyboard, harpsichord, and arrangement, as well as Barrimore Barlow on drums. Rising Force was nominated for a Grammy in 1986, but lost out to Jeff Beck’s Escape.
Since its original release, Far Beyond the Sun has been rereleased seven times. Far Beyond the Sun has appeared on Trial By Fire: Live in Leningrad (1989), The Yngwie Malmsteen Collection (1991), I Can’t Wait (1994), Double Live! (1998), G3 Live in Denver (2004), the DVD release of Concerto Suite For Electric Guitar and Orchestra in Eb Minor, Op.1—with The New Japan Philharmonic Live (2005), and High Impact (2009). Of the song, Far Beyond the Sun, Yngwie told Guitar World, in a 2008 interview, “I’ll probably play Far Beyond the Sun and Black Star until the day I die”(Guitar World) Unlike Black Star, which he had written earlier in his career, Far Beyond the Sun was written specifically for the album. Both songs have maintained their position as staples in Yngwie’s live set list since their original release. Far Beyond the Sun is a piece which Yngwie goes back to time and again. He gives himself permission to play with this song. If he gets creatively stuck, playing several variations of Far Beyond the Sun helps him get moving again. It is a piece that re-centers him, and for its ability to do these things, he loves it.

18. Evil Eye- history 1st released on Rising Force, on March 5, 1984
Performed by Yngwie Malmsteen, Moog Taurus, Jeff Scott, Jens Johansen, Barrimore Barlow
Had its second release on Concerto Suite For Electric Guitar and Orchestra, in Eb Minor, Op.1, as an encore to the concerto itself
Is very reminiscent of The Fugue
Melody inspired by Yohann Krieger’s Bourree
Evil Eye shared the Rising Force album with Far Beyond the Sun. Its second release was on Concerto Suite For Electric Guitar and Orchestra in Eb Minor, Op.1—with The New Japan Philharmonic Live (2005). Evil Eye was also an encore song, rather than a part of the concerto. This piece is, however, very reminiscent of The Fugue. It’s as if there have been melodies in Yngwie’s head since he was just a teen, and they needed further development before he could let them rest. This melody was inspired by Johann Krieger’s Bourree.

19. Concerto - history Work on The Concerto began in 1996
The goal was to write a piece which was as close to orthodox classical as possible, with a guitar where the soloist usually played
The Suite is 50 minutes long, and consists of many smaller movements
One of these movements is The Fugue
The Fugue (part of Concerto suite for Electric Guitar and Orchestra in Eb minor, Op.1)
Yngwie began work on his concerto in His desire was to use an orchestra differently than others had in the past. He felt that they had played rock, with an orchestra playing along. His composition was to be as close to orthodox classical as possible, with a guitar where the soloist usually played. “After months of intensive work sequestered in his Miami Studio 308, Yngwie produced his first completely classical work, Concerto suite for Electric Guitar and Orchestra in Eb minor, Op.1. In discussing the process of writing the concerto, Yngwie says, “I came up with so many themes that I felt were good that I didn’t want to throw them all in one basket… I’d rather have them each as a proper movement”(Malmsteen, Yngwie, “Going For Baroque”), so the piece became a 50 minute suite of smaller movements. This “multi movement suite features Malmsteen playing both acoustic and electric guitars”(Malmsteen, Yngwie, “Going For Baroque”).
“I came up with so many themes that I felt were good that I didn’t want to throw them all in one basket…
I’d rather have them each as a proper movement.”
-- Yngwie Malmsteem

20. Writing music
“Some of the things I had written for the instruments fell outside their range. I didn’t know that!”
--Yngwie Malmsteen
Despite his incredible understanding of music theory, instrumentation, and the sounds produced by nearly every instrument, Yngwie never felt the drive to become skilled in the creation of the musical notation which corresponded to the music he created.
Although Yngwie has an incredible understanding of music theory, instrumentation, and the sounds produced by nearly every instrument, he relates that, “Some of the things I had written for the instruments fell outside their range. I didn’t know that!” (Malmsteen, Yngwie, “Going For Baroque”). Yngwie can compose like crazy, but never felt the drive to become as skilled in the creation of the musical notation which correspond to the music he has created. To remedy this, David Rosenthal was responsible for the transcription and scoring of this piece.
A need for this skill lead to David Rosenthal transcribing and scoring The Concerto

21. The Fugue- history
June Yngwie flies to Prague to perform Concerto Suite for Electric Guitar and Orchestra in Eb Minor, Op.1
Performed with the Czech Philharmonic Orchestra
The recording was made as a multi-track, for better post production control
The volume needed to obtain the desired tone for the guitar was too loud to allow Yngwie to perform onstage with the orchestra
The rattling of Yngwie’s jewelry was picked up on the microphones during quieter passages
A decision was made to record his tracks later
Yngwie would have to work without the benefit of being able to see the conductor
In June of 1997, Yngwie flew to Prague. He was to perform Concerto suite for Electric Guitar and Orchestra in Eb minor, Op.1 with the prestigious Czech Philharmonic Orchestra. Yoel Levi would conduct. They recorded from 10-1 and 2-5 for three days. Yngwie chose to record the orchestra on multi track, so he could control the whole orchestra in post-production. While the recordings were being made, a problem surfaced. “The volume needed to obtain the desired guitar tone was too loud to allow him to record on stage with the orchestra; when he turned the volume down, the rattling of his jewelry was picked up on the microphones during the quieter passages”(Malmsteen, Yngwie, “Going For Baroque”). Yngwie’s solution was to record the guitar tracks later, though this presented the significant challenge of working without seeing the conductor”(Malmsteen, Yngwie, “Going For Baroque”).

22. Shredding the rumors
Rumors from early in Yngwie’s career implied that he sped up the tapes while recording, in order to sound faster. After choosing to record his sections of The Concerto separately, the rumors resurfaced.
An insensed Yngwie immediately began making plans to lay the rumors to rest for good.
Yngwie would record Concerto Suite for Electric Guitar and Orchestra in Eb Minor, Op.1 again. This time he would perform with the New Japan Philharmonic Orchestra. This time the volume issues would be corrected. This time the entire concert would be recorded live.
In 2001, the rumors were laid to rest.
When the album was released, old rumors resurfaced. It was said that Yngwie had recorded his portion in studio so that he could speed up the tape. Incensed, Yngwie began preparing to perform the concerto again. This time the volume levels would be corrected, and the entire concert would be recorded live. In 2001, his dream was realized when Yngwie performed his Concerto Suite with the New Japan Philharmonic Orchestra, in Tokyo. Conductor Taizo Takemoto joined him onstage to set things straight. As has been the case since his earliest albums, Yngwie’s albums are produced by the man who knows the music best. Yngwie’s Rising Force Records handles production of Yngwie’s music.
In the cover notes for perform Concerto suite for Electric Guitar and Orchestra in Eb minor, Op.1 with the New Japan Philharmonic Live, Yngwie thanks those who have inspired his work. Yngwie’s wife, son, sister, and father top the list. Also included are Paganini, Bach, Bach, Vivaldi, Albinoni, Beethoven, Mozart, Tchaikovsky, others who are notable within their chosen fields, and of course his fans.

23. Far Beyond The Sun
The keyboard, lead guitar, and rhythm guitar perform in major mode, while the bass guitar plays in minor mode
The time is 4/4
Guitar solos and speed anchor the piece
There are 5 themes in this piece; Beethoven, A, B, C, and D
A transitional sequence takes us into a series of guitar scales and arpeggios, keyboard scales and arpeggios, and a playful banter between the two
The piece progresses as follows: Beethoven Theme, Scales and Arpeggios, Beethoven Theme, Theme A, Theme A, Theme B, Theme B, Theme C, Beethoven Theme, Theme A, guitar solo, transitional sequence, Scales and Arpeggios (guitar then keyboard), guitar/keyboard call and answer, guitar solo, Theme C, Theme D, 13-second long power chord
MUSICAL ANALYSIS
Far Beyond the Sun 4/4 time-- Keyboard, Lead & Rhythm Guitars- major mode, Bass- minor mode
0:00- The introduction is made by a theme, which is as close to a chorus as this piece has. It is so reminiscent of Beethoven’s familiar “da, da, da, dun” that I have taken to referring to it as the Beethoven theme. The introduction begins with a hold followed by three eighth notes. The next bar contains a half note and three eighth notes. By beginning on a silence, a listener hears the notes blocked as last half with first half in these bars. A series of scales and arpeggios begin with a descending arpeggio, and end the same way. The scales both ascend and descend, during the series. As is always the case in Yngwie’s work, allegro is assumed. We revisit the Beethoven theme, the volume rising to a crescendo, before bumping its way through a decrescendo.
0:27- The melody follows a very conjunct arch. Each of the notes is perfectly articulated. The Bach theme repeats, as before. Theme A enters. This theme has a very harmonic sound. A primary feature is the compound division of the notes. Emphasis is placed on the first note.
0:57- Theme A repeats, as before. A two bar riff of repeating arches create a monophonic bridge to the next theme. The motif has an Allegro alla Marcia feel. Theme B enters, with a duple-simple meter. The feel is that of being driven forward with every beat. Theme B repeats, as before.
1:27- With no transition between Theme B and C, Theme C enters. The phrasing here has a very verse like feel, in that it sounds like a story is being told. The melody is very conjunct. The Beethoven Theme returns. There is an uneasy polyphony, which creates some dissonance. The dissonance is furthered by a sudden shift to a disjunct melody and notes which descend to a more minor scale. The disjunct melody continues into a short series of arches, formed by triple-meter eighth notes.
1:53- Theme A returns, but the dynamics call for a more piano volume. It is also played slower than before. A guitar solo begins, backed primarily by drums, but with a familiar riff providing texture behind the lead guitar. Theme D enters. The guitar has an urgent timbre, as it repeats its motifs. The tempo feels as if increased, but it is more the range which climbs and the emphasis shifting to the last note which create this sensation.
2:27- The range of notes continues to rise through a transitional sequence, as the drums intensify. The listener almost expects the song to reach its culmination here. A series of guitar scales and arpeggios signals the coming interaction between keyboard and guitar. They also provide a much needed break from the building energy of the previous motifs.
2:55- The keyboard runs scales and arpeggios similar to that of the guitar. The notes are noticeably conjunct, and the range here is quite broad.
3:19- With the intensity returning, the guitar and keyboard counter one another. Each return answer carries the volume deeper into a crescendo. Each instrument reaches well beyond its current range to accent the note on which it passes the melody back to its rival.
3:47- A second guitar solo begins. It seems as though the interaction between the keyboard and guitar have resolved some of the tension that had been building. The articulation is such that it gives the initial impression of being disjunct, but this is not truly the case. Theme C returns. It is played at a higher range than before, and the tempo is faster.
4:19- Speed is of great significance as the lead guitar climbs up, down, and back up the fret board, through as many notes as can be packed into this sequence. The drums punctuate each riff, as it ends
As this series of motifs reaches its end, emphasis is placed on the fact that the crescendo has brought us to nearly an octave above the top of the G-clef, by holding the last note for more than a full note
5:02- Theme D enters for the last time. Small variations are made to the original theme by adjusting the length and timbre of a handful of notes.
5:27- As the piece prepares to reach its final resolution, additional emphasis is placed on each note. They are punctuated by a millisecond silence between each one. Finally an inverted arch plays, providing a sense of finality. A power chord, in D natural plays, holding a full 13 seconds. Then, immediate silence.

24. Far Beyond the Sun Beethoven’s theme- * Theme A- Theme B-
Themes C & D follow…

25. Far Beyond The Sun
Theme C-
Theme D-

26. Evil Eye
Played in major mode, by the acoustic, steel string and rhythm guitars, and by the bass guitar in minor mode
Rhythm is marked by a set of drums and a timpani
The time is 4/4
The number of beats per minute change several times; from 145 to 220, to 109, to 210, to 90, to 120, to 190, and back to 90
The introduction is Yohann Kreiger’s Bourree
The piece consists of the bourree, a main theme, Theme 1 (which is the bourree played upside down), Theme 2 Variation A, Theme 2 Variation B, Theme 3, Theme 4, a guitar solo, and a transitional motif
Bourree. Theme 1, Main Theme, Theme 2 Var. A, Theme 2 Var. B, Main Theme, Main Theme, Main Theme, Theme 2 Var. A, Theme 2 Var. B, guitar arpeggios, descending scale, Main Theme, Theme 3, transition, Theme 4, Main Theme
Evil Eye 4/4 time-- acoustic, steel string, lead, and rhythm guitars- major mode, bass guitar- minor mode also drums and timpani
0:00- The piece opens with Johann Kreiger’s, Bourree. The lead and acoustic guitars playing the melody, and the steel string adding a light texture behind them. The volume is pianissimo. The time signature reads 145 BPM. Theme 1 enters. This theme is an ode to Bourree, in that the third bar of Bourree is played upside down as the first, second, and fifth bars of this theme. The volume is now fortissimo. The theme culminates with scales in the arch contour.
0:30- The timing adjusts to 220 BPM, as the Main Theme makes its first appearance. This theme has a wide range. It features notes from E1 to F4. The articulation is such that each note surpasses staccato, but is not featuring a pizzicato. The lead and rhythm guitars carry the melody, but the bass and drums add density, by marking the beat, beginning after the first of three repetitions of this theme. Following the second repetition, an ascending scale runs for one bar. Theme 2 is different from the other themes. It is made up of two parts, and its melody is composed of two different motifs. Theme 2 Part 1 enters. The acoustic guitar is most recognizable, as a four note ascension leads to a sequence of notes which rise and fall in rapid succession, repeating four times, ending in a sequence of chords. Behind the acoustic melody is a second melody, played by the lead and rhythm guitars. This melody begins as more a function of adding density, but progresses as miniature arpeggios run up, then down, repeating through four bars. At this point the acoustic guitar chords becomes background to the lead and rhythm mini-scales
1:02- Theme 2 part 2 begins. It is comprised of four bars of notes which rise and fall in rapid succession, as in the second and sixth bars of Part 1. This sequence is played by a harmony of the acoustic, lead, rhythm, and bass guitar. The Main Theme returns. Following the first repetition, a descending scale plays. The second repetition is followed by a single bar acoustic guitar statement, ending in a single timbre distorted note, which is a distinct question mark. A third repetition follows
1:30- Theme 2 returns, as before with Part 2 following Part 1. The heavy staccato of the rhythm and bass guitars, along with the drums signal the coming of change.
1:57- The lead guitar breaks into a series of very rapid arpeggios, culminating in a descending scale. As the scale finishes, the Main Theme begins again. The guitar solo continues with a combination of short scales and arpeggios, often over main theme.
2:30- The main theme completes, after solo wraps. The time signature adjusts again, this time slowing to 109 BPM. The acoustic guitar, playing in a piano dynamic, begins Theme 3. There is a passionate, yet understated feel here. The notes are quite conjunct, while the rhythm maintains its distance. The familiar sound of the timpani rumbles against the smooth melody of the guitar. A new bass line appears. The tempo picks up, returning to 210 BPM. A transition between the sedate Theme 3 and the driving Theme 4 plays. The purpose appears to be to connect the bass line between the two. There is a definite dissonance created by the sudden change in instrumentation, speed, and timbre.
2:58- Theme 4 plays. This theme is less a focal point, and more part of the texture here. Drums mark the beat, competing with the rhythm guitar as it screams through every contour of scales.
3:34- The Main Theme returns. A double sequence is divided by a descending scale.
3:51- Theme 2 returns, as before, with Part 1 and then Part 2 playing. The lead guitar plays a running E scale, in eighteenth notes, over a dissonant bass guitar, which marks the end of every two bars with two quarter notes.
4:21- As the timing slows to 90 BPM, the notes both brighten and darken. They rise in range, but are played mordent. The lead guitar runs through nearly two descending scales before another change in the tempo. The timing now reads 120 BPM. Another descending scale precedes an inverted arch and series of ascending scales. After another time signature change, to 190 BPM, one bar imitates a variation of the first, third, fifth, and sixth bars of the Main Theme. Having already been at this tempo for two seconds, the piece culminates with a final signature change, placing it at 90 BPM. The keyboard slowly, walks down four note scales, descending both along the scale and in volume, until it fades away

27. Evil Eye
Bourree-
Main Theme-
Theme 1-
Theme 2 Var.A-

28. Evil Eye
Theme 2 Var. B-
Theme 3-
Theme 4-
Guitar Solo-

29. The Fugue The piece is written in 3/4 time
Instrumentation includes electric guitar, 1st and 2nd violins, cellos, 1 and 2nd violas, strings, piccolos, flutes, choir, and percussion
It is played in major mode
The Fugue is written primarily in triple-simple meter
Fugue 3/4 time—lead guitar, 1st & 2nd violin, cello, 1st & 2nd viola, pizzicato strings, piccolo, flute, choir, percussion—major mode—Theme and Variation

30. The Fugue The Fugue is variations.
24 motifs are combined to create few moments where repetition occurs, while creating an all encompassing feeling that you have already heard this section
The motifs are layered through out the orchestral notation, so as to achieve a harmoniously dense texture
Themes manifest themselves as motifs are paired in a “first bar/ second bar” set up, like a first and last name
Due to the complexity of this orchestration, descriptive names were given to each motif (by me)
From the beginning, The Fugue is variations. The variations manifest themselves in a “first bar/ second bar” set up. By grouping the elements in this way, Yngwie has layered harmony, diversity, and complexity to achieve a harmoniously dense texture. It is written in triple-simple meter, primarily.
0:00- Step-up Intro; for the Main Symphony- motif in G- Step-up Intro is the main variation, and is an ascending motif, built of disjunct, staccato notes. This phrase announces the coming attractions. The second bar is Uneven Steps Descending. It is a descending phrase, set in high F, which is homophonic in nature. Both are played by the violins and violas. The cello plays a two part harmony to these phrases. Counterpoint Harmony is an arch which pulls the pitch lower as it completes. The second part is Smooth Harmony. This phrase is composed of simple, three note, descending arpeggios.
Step-up Intro returns as before, followed by Descending Scale. The lead guitar joins in at this point. The scale slides from F-sharp to E-flat, in thirty-second notes. The cello remains on harmony, beginning with Counterpoint Harmony, followed by Rise & Fall. This phrase is four notes which ascend, only to descend, and then rise again.
As Wave enters, Step-up Intro returns, with violins, other strings, and choir supplying a dense bed on which Wave rests. Wave is the lead guitar’s main motif. It consists of a barely there arch with a misstep in its beginning. The instruments continue, with the lead guitar playing Extended Rise & Fall (a six note variation of Rise & Fall) over Uneven Steps Descending, in F.
Wave returns, for the lead guitar, played over Step-up Intro for the violins, strings, and choir. The lead guitar, violins, cellos, and violas harmonize their way through Arpeggios, as the second bar. Arpeggios is a series of rapidly ascending and descending arpeggios, with a very conjunct and consonant feel.
The lead guitar sings the Step-up Intro, over the voices of the remaining members of the symphony. They play Diminutive Arch. Although not a perfect arch, that is its overall contour. Diminutive Arch is played in lower C, and has only a seven note range. The second bar is lead guitar on Uneven Steps Descending in B, over most of the remaining orchestra performing Diminished Arpeggios, so named because their runs cover less than an octave. The percussion is barely audible behind them.
0:20- The entire symphony plays Wave, with the exception of the strings who play a pizzicato Pluck- Pause, which is precisely that; a plucked note followed by a pause. The pattern repeats. The second bar is Rolling Arch, in D. The arch rolls like hills as it forms this melodic motif. The homophonic texture creates a dense rich sound.
Wave, again offered by the lead guitar, enters, over the violin and choir, on Step-up Intro. The cello has returned to Counterpoint Harmony, and the strings continue with their pizzicato motifs. They perform a derivation of Pluck-Pause, Arch Slide, which is a pluck-paused arch with a lilt at its end. Bar, two is lead guitar doing Extended Rise & Fall, over the homophony of the violins, strings, and choir rolling down Uneven Steps Descending. The cello plays Smooth Harmony behind it all.
The lead guitar returns with Wave, followed by Descending Scale. The violins and choir perform Step-up Intro, and the violins continue into Descending Scale. The cello does its Counterpoint Harmony/Rise & Fall combo, and the strings pluck out Arch Slide, followed by silence. While the violas pick up Descending Scale in the second bar.
0:32- Yngwie’s Theme arrives. It is an eight bar guitar solo, with highly articulated notes, that are oddly conjunct against this level of articulation. For Yngwie, this is very slow, with quarter, eighth, and sixteenth notes. The choir sings “ah, ah, ah, ah” softly, as the strings play String Harmony to the theme. String Harmony is a series of rolling arches and inverted arches.
0:48- The lead guitar brings Wave back, while the violins, violas, and choir play Step-up Harmony. They continue into Uneven Steps Descending in F. The cello plays Counterpoint Harmony, followed by Smooth Harmony, and the strings Pluck Pause, before resting. Most everyone comes back for a familiar Step-up Intro, Descending Scale combo. The cellos revisit Counterpoint Harmony, Smooth Harmony. The strings Pluck & Pause, and then rest. The lead guitar begins the first bar, with Wave, while the violins, violas, and choir go to Step-up Intro. The second bar is lead guitar rolling through Extended Rise & Fall, while the others take Uneven Steps Descending in F. The cello runs the Counterpoint Harmony back to back with Smooth Harmony. The strings Pluck & Pause, before a full rest. The first bar of the next series is identical to the first in the last. The second bar features the entire symphony performing Rapid Arches. Rapid Arches is a dissonant set of triple arches featuring tiny arpeggios. The guitar, violins, violas and choir harmonize, as Step-up Intro in C begins. They continue into Uneven Steps Descending in B. The cello plays Counterpart Harmony, and then Smooth Harmony, in the background. Step-up Intro in C returns, followed by Descending Scale, for all except cello and strings. Cello runs Counterpoint Harmony, and the strings play Pluck & Pause, before sitting out the second bar.
1:13- Yngwie’s Theme returns, with a more texturally heavy accompaniment. The violins and violas
present Descending Scale Reversed, which is a shorter, reversed version of Descending Scale. They
continue into Diminutive Inverted Arch, which has a range of only seven notes. Diminutive Inverted
Arch repeats , followed by Ripple. Ripple is a combination scale/arpeggio which causes a minimal ripple
in the melody. The four bar counter melody repeats. The strings lay across the background with String
Harmony.
1:30- The lead guitar, violins, violas play a homophony for the final distinct motif in The Fugue. In an ever changing run of accidentals, Sawing comes to life. Sawing repeats three times, before the lead guitar plays a descending scale, and the Sawing continues for another three bars.
1:44- A guitar solo begins, followed by Marking Time, in which the symphony and chorus march on, at a steady, measured pace.
The Fugue is far from finished, but my space has run out, so I will conclude with the thought that the entire symphony is worth spending some time with….

31. The Fugue- motifs 1. Step Up Intro-
2. Uneven Steps Descending in high F-
3. Counterpoint Harmony-
4. Harmony to Uneven Steps Descending-
5. Descending Scale-
6. Harmony to Descending Scale-

32. The Fugue- motifs 7. Extended Rise and Fall-
8. Uneven Steps Descending in F-
9. Wave-
10. Arpeggios-
11. Diminutive Arch-
12. Diminished Arpeggios-

33. The Fugue- motifs 13. Rolling Arch- 14. Arch/Inverted Arch Slide-
15. Yngwie’s Theme-
16. String Harmony-
17. Pluck-Pause Harmony-
18. Step Up Intro in C-

34. The Fugue- motifs 19. Uneven Steps Descending in B-
20. Descending Scale Reversed-
21. Diminutive Inverted Arch-
22. Ripple-
23. Sawing-
24. Rapid Arches-

35. Imagine if you will,
The lead guitar plays Wave, Extended Rise and Fall
The violins play Step Up Intro, Uneven steps Descending in High F
The Cellos play Counterpoint Harmony, Uneven Steps Descending Harmony
The strings play Arch/Inverted Arch Slide, Uneven Steps Descending in High F
And The Choir sings Step Up Intro, Uneven Steps Descending in High F
That is the density of a two bar section of themes.
The next section will sound familiar, but the motifs, their order, and the
instruments playing them will have changed in a constantly developing
thought

36. Works Referenced
Discography. Allmusic.com, n.d. Web 31 January 2014
Everaard. Evil Eye, sheet music. Jellynote.com, n.d. 26 January 2014
Freyja. Far Beyond the Sun, sheet music. Jellynote.com, n.d. 26 January 2014
Huey, Steve. "Yngwie Malmsteen Artist Biography." Allmusic.com, n.d. Web. 31 January 2014.
Malmsteen, Yngwie. "Going for Baroque" Interview with John Covach. Guitar World, June Web. 26 January 2014
Malmsteen, Yngwie. "Like Him or Not, He Demands Your Attention" Interview with Joe Lalaina. Guitar World, January Web. 26 January 2014
Malmsteen, Yngwie. Live chat with USATODAY.com community. USATODAY.com, 22 March Updated 21 January Web. 26 January 2014
Noema. Fugue, Sheet Music. Jellynote.com, n.d. 26 January 2014
Official Biography. yngwiemalmsteen.com. Malmsteen MGMT. Web. 26 January 2014.
Sincere thanks to those who had already collected so much great information on Yngwie,
to Yngwie himself for the dedication he puts into his work, and to my husband for everything
he does.