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In DEEP Reggae and Funk Columns

In DEEP Reggae and Funk Columns

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Published by Unspe Xi

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Categories:Types, Sheet Music
Published by: Unspe Xi on Jul 05, 2012
Copyright:Attribution Non-commercial

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01/04/2013

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CONTENTS
IN DEEP: BOB MARLEY
FIG. 1: BASIC REGGAE RHYTHMFIG. 2: COMBINING DIFFERENT CHORD VOICINGS WITH DEADSTRING ACCENTSFIG. 3: BASIC REGGAE CHORD PROGRESSIONFIG. 4: USING ECHO TO CREATE A “DUB” EFFECTFIGS. 5 & 6: “ONE LOVE”STYLE RHYTHMSFIGS. 7A & B: “WAITING IN VAIN”STYLE RHYTHMSFIG. 8: SOLOING À LA “WAITING IN VAIN”FIG. 9: “I SHOT THE SHERIFF”STYLE RHYTHMFIG. 10: “NO WOMAN, NO CRY”STYLE RHYTHMFIG. 11: SOLOING À LA “NO WOMAN, NO CRY”
IN DEEP: FUNK
FIG. 1: BASIC FUNKSTYLE RHYTHMFIG. 2: SYNCOPATED CHORDAL ACCENTS ONLYFIG. 3: DEADSTRING ACCENTS ONLYFIG. 4: SYNCOPATED DEADSTRING ACCENTSFIG. 5: 9th-CHORD SYNCOPATED RHYTHMSFIG. 6: ADDING BASS RIFFS TO RHYTHM PARTSFIG. 7: 13thCHORD SYNCOPATED RHYTHMS WITH RIFFSFIG. 8: MINORCHORD SYNCOPATED RHYTHMS WITH RIFFSFIG. 9: DOUBLING THE BASS LINEFIG. 10: ADDING A COUNTER BASS LINEFIG. 11: SLIDING MIXOLYDIAN SIXTHS
 
108
 
 w
RASTA VIBRATION
Reggae guitar and the music of Bob Marley 
 
 IN DEEP 
columns
FIGURE 1
= 148 ( = 74)
Bm
X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7
FIGURE 2
= 148 ( = 74)
Bm
X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X12
 
11
 
12
 
1012
 
11
 
12
 
10X
 
X
 
XX
 
X
 
X12
 
11
 
12
 
10X
 
X
 
XX
 
X
 
X12
 
11
 
12
 
1012
 
11
 
12
 
10
 sim.
X
 
X
 
XX
 
X
 
X12
 
11
 
12
 
10X
 
X
 
XX
 
X
 
X16
 
15
 
1416
 
15
 
14X
 
X
 
XX
 
X
 
X16
 
15
 
14X
 
X
 
XX
 
X
 
X16
 
15
 
1416
 
15
 
14X
 
X
 
XX
 
X
 
X16
 
15
 
14X
 
X
 
XX
 
X
 
X19
 
19
 
1919
 
19
 
19X
 
X
 
XX
 
X
 
X19
 
19
 
19X
 
X
 
XX
 
X
 
X16
 
15
 
1416
 
15
 
14X
 
X
 
XX
 
X
 
X16
 
15
 
14X
 
X
 
XX
 
X
 
X 11
 
12
 
1011
 
12
 
10X
 
X
 
XX
 
X
 
X 11
 
12
 
10X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X 4
 
3
 
24
 
3
 
2X
 
X
 
XX
 
X
 
X 4
 
3
 
2X
 
X
 
XX
 
X
 
X 4
 
3
 
24
 
3
 
2X
 
X
 
XX
 
X
 
X 4
 
3
 
2X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
7
FIGURE 3
= 148 ( = 74)
Th
Bm
79
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
X9
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7
Th
 sim.
A
X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
756
 
7
 
5
 
56
 
7
 
5
 
5X
 
X
 
XX
 
X
 
X6
 
7
 
5
 
5
Em
07
 
9
 
9
 
8
 
77
 
9
 
9
 
8
 
7
Bm
X
 
X
 
XX
 
X
 
X7
 
9
 
9
 
8
 
779
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
7X
 
X
 
X9
 
7
 
7
 
77 979X
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
XX
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
79
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
X9
 
7
 
7
 
7X
 
X
 
X12
 
11
 
12
 
1012
 
11
 
12
 
10
A
X
 
X
 
X12
 
11
 
12
 
10X
 
X
 
X11
 
9
 
10
 
911
 
9
 
10
 
9X
 
X
 
X11
 
9
 
10
 
9
Em
X
 
X
 
X14
 
12
 
12
 
1214
 
12
 
12
 
12X
 
X
 
X14
 
12
 
12
 
12
3
Bm
X
 
X
 
X16
 
15
 
1416
 
15
 
14X
 
X
 
X16
 
15
 
1411
 
12
 
1011
 
12
 
10X
 
X
 
X11
 
12
 
10X
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
79
 
7
 
7
 
79
 
7
 
7
 
7
FIGURE 4
= 148 ( = 74)
Th
w/phaser 
Bm
79
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
X9
 
7
 
7
 
7X
 
X
 
X7
 
7
 
77
 
7
 
7X
 
X
 
X7
 
7
 
7
3
A
7
 
6
 
5
 
57
 
6
 
5
 
5
Em7
X
 
X
 
XX
 
X
 
X
echo repeats
7
 
9
 
7
 
8
 
77
 
9
 
7
 
8
 
77
 
9
 
7
 
8
 
7
Bm
7
 
9
 
7
 
8
 
77
 
9
 
7
 
8
 
77
 
9
 
7
 
8
 
779
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
X9
 
7
 
7
 
79
 
7
 
7
 
77 9799
 
7
 
7
 
79
 
7
 
7
 
7X
 
X
 
X9
 
7
 
7
 
7
1/2
9 797 57
3 3
FIGURE 5
= 148 ( = 74)
B
(repeat prev.beat)
X
 
X
 
XX
 
X
 
X8
 
8
 
7
 
6
 
6
F
X
 
X
 
X8
 
7
 
5
 
6
 
58
 
7
 
5
 
6
 
5X
 
X
 
X8
 
7
 
5
 
6
 
5X
 
X
 
XX
 
X
 
X8
 
7
 
5
 
6
 
5
E B
X
 
X
 
X6
 
8
 
8
 
8X
 
X
 
X6
 
8
 
8
 
8X
 
X
 
XX
 
X
 
X8
 
8
 
7
 
6
 
6
F
X
 
X
 
X8
 
7
 
5
 
6
 
5
B
X
 
X
 
XX
 
X
 
X8
 
7
 
5
 
6
 
5X
 
X
 
X8
 
8
 
7
 
6
 
6X
 
X
 
XX
 
X
 
X8
 
8
 
7
 
6
 
6
FIGURE 6
= 148 ( = 74)
B
X
 
X
 
XX
 
X
 
X8
 
7
 
6
 
6
Gm
X
 
X
 
XX
 
X
 
X5
 
3
 
3
 
3
E
X
 
X
 
XX
 
X
 
X6
 
8
 
8
 
8
B
X
 
X
 
XX
 
X
 
X8
 
7
 
6
 
6
B
X
 
X
 
XX
 
X
 
X8
 
7
 
6
 
6
Gm
X
 
X
 
XX
 
X
 
X5
 
3
 
3
 
3
E F
X
 
X
 
XX
 
X
 
X6
 
8
 
8
 
8
B
X
 
X
 
XX
 
X
 
X8
 
10
 
10
 
10X
 
X
 
XX
 
X
 
X8
 
7
 
6
 
6
FIGURE 7a
= 152 ( = 76)
A maj7
X
 
X
 
X6
 
5
 
4
 
36
 
5
 
4
 
3X
 
X
 
XX
 
X
 
X6
 
5
 
4
 
3X
 
X
 
X6
 
5
 
4
 
36
 
5
 
4
 
3
 sim.
D maj7
X
 
X
 
XX
 
X
 
X6
 
5
 
4
 
3X
 
X
 
X4
 
6
 
5
 
6
 
44
 
6
 
5
 
6
 
4X
 
X
 
X4
 
6
 
5
 
6
 
4X
 
X
 
X4
 
6
 
5
 
6
 
44
 
6
 
5
 
6
 
4
FIGURE 7b
= 152 ( = 76)
A maj7
 sim.
X
 
X
 
XX
 
X
 
X4
 
6
 
5
 
6
 
4X
 
X
 
X11
 
10
 
8
 
8
 
811
 
10
 
8
 
8
 
8X
 
X
 
XX
 
X
 
X11
 
10
 
8
 
8
 
8X
 
X
 
X11
 
10
 
8
 
8
 
811
 
10
 
8
 
8
 
8
D maj7
X
 
X
 
XX
 
X
 
X11
 
10
 
8
 
8
 
8X
 
X
 
X11
 
10
 
9
 
811
 
10
 
9
 
8X
 
X
 
XX
 
X
 
X11
 
10
 
9
 
8 811 910 8
BY ANDY ALEDORT 
W
hen BoB Marley
 brought the Jamaican soundsof reggae to the .S. in theearly Seventies, he created a musicalrevolution. His first to sland ecordsreleases,
Catch a Fire
and
 Burnin’ 
(bothissued in 1973), included the hits “Stir itp,” “et p, Stand p” and the mega-smash “ Shot the Sheriff,” hich hencovered in 1974 by Eric Clapton helpedcatapult Marley to international acclaim.Folloing 1974’s
 Natty Dread
(including “No woman, No Cry”), 1976’s
 RastamanVibration
and 1977’s
 Exodus
(featuring “ne ove”), Marley as firmly estab-lished as one of the biggest pop stars inthe orld. his edition of 
 In Deep
exam-ines the basics of the reggae guitar styleas ell as specific techniques used onsome of Marley’s most beloved songs.Stylistically similar to funk, reggaeis built from distinct musical “puzzlepieces” provided by multiple guitars,bass, keyboards, drums, percussion andvocals. hese elements are precisely fittogether in the musical arrangements.n terms of the guitar ork, one guitaroften plays a “scratchy” rhythm part—like a percussion instrument, such as aashboard, snare drum or maracas—hile another guitar provides a lo,single-note melodic line that is sim-ilar to but differs from the bass line.n sharp contrast to many styles of music, in reggae the bass often providesmelodic content hile the guitars lay asolid rhythmic grid underneath.et’s start ith a very basic reggae-style rhythm part (see
FIGURE 1
 ). Here,the percussive role of the instrument ismade prominent by the accentuationof muted “dead-string” accents, inter-spersed ith a Bm chord voiced on thetop four strings. he strumming pat-tern is steady 16th notes—count “NE-ee-and-a, w-ee-and-a,” etc.—and thechord accents are placed on the eighth-note upbeat of each beat. lso,  releasefret-hand finger pressure beteen thechord accents to make them sound as
staccato
(short and crisp) as possible. great ay to make a static rhythmpart like this more interesting andmusical is to move to different voicings
   O    n     D    i   s   c
 
110
 
u 
 
 IN DEEP 
columns
FIGURE 8
= 152 ( = 76)
A maj7
6 86
8
8 10 108 10
D maj7
9 11
1
11 11 11 9 9 910
A maj7
8 910 11 11 9 8 9 811 9 11
33
D maj7
1
11 11 9 11 910 109
A maj7
1316
1
1316
1
1315
D maj7
15 1315 15 13 13 1513 13 1315
33
A maj7
13151315131513151315131513151316
D maj7
131613
1
16 16 16 13
1
13131615
A maj7
15
 
1315 13
3333333333
FIGURE 9
= 88 Triplet feel(
)
w/wah
Gm
5
 
3
 
3
 
35
 
3
 
3
 
3X
 
X
 
X5
 
3
 
3
 
3X
 
X
 
XX
 
X
 
X5
 
3
 
3
 
35
 
3
 
3
 
3
Cm
X
 
X
 
X5
 
3
 
3
 
33
 
5
 
5
 
4
 
33
 
5
 
5
 
4
 
3X
 
X
 
X3
 
5
 
5
 
4
 
3X
 
X
 
XX
 
X
 
X3
 
5
 
5
 
4
 
33
 
5
 
5
 
4
 
3
Gm
X
 
X
 
XX
 
X
 
X3
 
5
 
5
 
4
 
35
 
3
 
3
 
35
 
3
 
3
 
3X
 
X
 
X5
 
3
 
3
 
3X
 
X
 
XX
 
X
 
X5
 
3
 
3
 
35
 
3
 
3
 
3X
 
X
 
X5
 
3
 
3
 
3
1., 2., 3.
(repeat prev. bar)
E maj7
65
 
3
 
4
 
35
 
3
 
4
 
3
Dm
X
 
X
 
XX
 
X
 
X5
 
3
 
4
 
357
 
7
 
6
 
57
 
7
 
6
 
5X
 
X
 
XX
 
X
 
X7
 
7
 
6
 
55
 
3
 
3
 
35
 
3
 
3
 
3X
 
X
 
X5
 
3
 
3
 
3X
 
X
 
XX
 
X
 
X5
 
3
 
3
 
35
 
3
 
3
 
3X
 
X
 
X5
 
3
 
3
 
3
4.
Gm
5
 
3
 
3
 
35
 
3
 
3
 
3X
 
X
 
X5
 
3
 
3
 
3X
 
X
 
X5
 
3
 
3
 
353 53 5 3 33 55 3
5
3 1 3 5 13 3
FIGURE 10
= 82
let ring 
C
 
35 5
 
5
 
5
G/B Am
254
 
30 022
 
1
Th
F
13
 
2
 
1
C
3 53 35 5
 
5
 
5
F C
1010987655555
 
5
 
5
G
5 753 523
FIGURE 11
= 82
C
w/phaser 
 
12
10 10
G/B
13
1412 1413
1
Am
151513 13 13
F
131513
1
13151515
C
13 13 13 158
8
10
F
8
7
98
 
8
C
7
 
89 710
3
( )
10
 
1012
G
12
101210
14
1412
C
121012
1
7 7 575
1
755
Am
5 8 555
1/2
8 57 7
F
5 5
5
57 577 57 5
C
 
3
5
F
1/2
75
7
7 7
 
5
C
988
1
10 10 8
G
9
107 57 5
C
5 7 5 57
of the same chord (in this case, Bm)while maintaining the steady rhythm.s shown in
FIGURE 2
,  move p fromseventh to 10th to 14th and 19th posi-tions, and then back down. Notice thata sbtle melody is allded to as thehighest note in each voicing moves pand down the fretboard.Now let’s apply this approach to astandard reggae-style chord progression,as demonstrated in
FIGURE 3
. n thisexample, one bar of the  (one) chord,Bm, is followed by two beats of the
f
 V(flatted seventh) chord, , and two beatsof the minor iv (for) chord, Em. hispart is made most effective by alternat-ing between a light toch on the mtedstring strms and a sharp, harder attackon the chord accents.t the end of 
FIGURE 3
,  play eighth-note triplets in a staccato fashion toemlate the sond of an echo effect, oneof the common signal enhancementssed in reggae gitar. lso sed oftenare wah pedals and phase shifters. n
FIGURE 4
,  se an analog delay pedal(an MX Carbon Copy) to provide theeighth-note triplet effect, along with anMX Phase 90, which changes the sonictextre as the part progresses.Marley’s classic hit, “ne ove,” fea-tres rhythm gitar parts dring thechors and verse sections that are sim-ilar in exection to the previos exam-ples.
FIGURE 5
illstrates a similar partplayed within a chord progression biltfrom the , V and V chords in the key of B
f
: B
f
, E
f
and F.
FIGURE 6
adds the rela-tive minor chord, m, to the mix.nother great example of this strm-ming techniqe is Marley’s “aiting in Vain,” which consistently alternatesbetween the  chord in 
f
,
f
maj7, andthe V chord, 
f
maj7.
FIGURE 7a
offersa part along these lines.“aiting in Vain” featres a melodicgitar solo, as do other Marley hits,sch as “ne ove” and “Stir t up.”
FIGURE 8
illstrates a solo along thelines of that heard in “aiting in Vain,”based primarily on 
f
major pentatonic(
f
B
f
C E
f
F). “ Shot the Sheriff” isbilt from similar rhythm techniqes,bt with more complex syncopations,akin to
FIGURE 9
.
FIGURE 10
offers chord arpeggiationslike those heard on “No oman, NoCry,” and
FIGURE 11
depicts an accom-panying solo based on C major penta-tonic (C  E  ).
   O    n     D    i   s   c

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