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    Power Studies - A Companion Songbook To The Wolf Marshall Guitar Method (PDFDrive) PDF

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    Anderson Henrique

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    Basics 3 Poa ee was De ova Can Coo Peo ey and many others HAL*LEONARD POWER STUDIES 3 | CONTENTS Audio Page Track 2 introduction 3 Foreword | 4 Power Studies 3 Bonus Song List | Introduction To The Recording. 1 Tuning 2 3 People Get Ready Jeff Beck 3 12 The Sunshine Of Your Love Cream 4 Fb Tuning 5 20 sweet Child O' Mine Guns N’ Roses... 6 31 Lenny Stevie Ray Vaughan 7 40 Hideaway Blues Breakers (John Mayall with Eric Clapton) 8 47° Crazy Train Ozzy Osbourne, 9 56 Black Magic Woman. Santana 10 62 Reelin’ In The Years Steely Dav. 1 75 Another Brick In The Wall, Part 2 Pink Floyd 12 80 ton Man Black Sabbath 13 87 You Shook Me Led Zeppelin... 14 95 Glossary HAL*LEONARD” CORPORATION Copyright © 162¢ by HAL LEONARD CORPORATION Inomatora Copyngrn Secured Al Agus Reseed For at works contsines heroin: ‘Unauthorized copying, arranging, adaping, recording or publ performance san irfangement of copyght Ininger ae isle under the law POWER STUDIES 3 INTRODUCTION ‘The Power Studies series is designed to bring you countless hours of musical enjoyment while enhancing the learning process and building your chops. In Power Studies, you are presented with an exciting array of your favorite songs to hone your musicianship and supplement the concepts in the Wolf Marshall Guitar Metbod. This will provide you with a meaningful environment for applying the method ideas while developing a working repertoire, An environment which is stimulating and fun—in the context of real music ‘Through the music itself, you will experience and assimilate the same powerful ideas that have inspired all the great guitarists from Jimi Hendrix and Bric Clapton to Stevie Ray Vaughan and Edward Van Halen. The Power Studies material is a varied collection embracing many styles of music while focusing on a tight core of must-know tunes. Besides the emphasis on rock classics you'll explore different styles like rockabilly, blues, fusion, country, heavy metal and pop. Each Power Studies song is purposefully selected to reflect and amplify the important guitar playing principles found in your corresponding Wolf Marshall Guitar Method. You will get to know the music on a very intimate level. Every song is preceded by a full annotation and performance notes which amount to a complete guitar lesson in their own right. These sections are filled with musical insights and shed light on the important technical points within each composition. You'll learn about the professional application of chords, scales, articulations, song form, rhythm playing, arpeggios and much more. Above all, Power Studies is dedicated to you— playing, hearing and understanding the music you love. THE RECORDING The recording for this book contains all of the songs from the book in complete musical settings. The featured guitar part (found in gray box areas in the book) is on the right channel, the rest of the instrumentation is on the left channel. The use of the gray box areas is not employed in songs where there is only one guitar part featured Most of the time, the featured part contains material that explores the concepts and techniques taught in Basics 3 of the Wolf Marshall Guitar Method. Occasionally, when there is only one guitar in an arrangement, the featured guitar part may go beyond the Basics 3 level. Wolf Marshall — guitars Gary Ferguson — drums, percussion Michael Della Gala — bass John Nau — keyboards Warren Hamm — harmonica on “You Shook Me’ Michael McCarty — additional sythesizer, percussion & engineer Produced by Wolf Marshall -_ FOREWORD In preparing these Power Studies, one naturally faces the dilemma of finding the ideal songs as ‘musical illustrations to support the various teaching points as they are presented in Basics 3 However songs don't always cooperate with authors. They are living, breathing musical entities which yield techniques and theory only after existing as art, And that’s as it should be. With that said, there seemed two ways to approach the matter, One was to present only the pieces of a song which reflected the “letter of the lesson.” In other words, omitting sections beyond the immediate scope of a lesson to satisfy teaching criteria alone. This approach would result in butcheries like songs without solos and often without some of their most significant riffs, Can you imagine "Crazy Train” without its immortal Randy Rhoads solo? Or Guns N' Roses "Sweet Child ©’ Mine* minus the signature wide interval intro? Unthinkable. Instead an alternate route was chosen. In the Power Studies series you play the entire song with all its parts intact to form a complete musical picture. In the performance notes at the beginning of each song you will find points which are cross-referenced to other Wolf Marsball Guitar Method volumes. For example, references to certain lead guitar scales and ideas from Advanced Concepts and Techniques as well Basics 1 and 2, may be cited in the performance notes of Power Studies 3. These will aid you in not only selecting the particular “graded” parts to play within the Power Studies 3 course, but will provide the advancing guitarist with a continuum of music throughout the Power Studies series. By presenting each song in its entirety, complete with annotations, each volume of the series is as viable and valuable as the next and consequently no vital step in your musical growth will be overlooked or slighted. There is another benefit. The extra motivation it takes an aspiring, guitarist to tise above his present abilities and struggle to learn a trickier scale fingering or that more difficult chord may well be what makes him a dedicated player and ultimately a successful musician. In this spirit | can truly say that this series lives up to its name—Power Studies? We? Mahal POWER STUDIES 3 BONUS SONG LIST The following pieces can be used to expand and enhance your exploration ofthe major and minor pentatonic scale forms and chord shapes covered in Power Studies 3. Use the basic guidelines mentioned in the performance notes for “Lenny”. As you work thru the ils and solo phrases inthe boous lst, assign a corresponding cho feem to every line you learn. Don't forget o rela forms tothe chords a wel, 5, Lite Wing Jimi Hendrin/Stevie Ray Vaughan. let It Be—The Beaties Hleetric Fye—Judas Priest Punk #45 james Gang Jessica—The Allman Brothers Band While My Guitar Gently Weeps—The BeatlesJelf Healey ‘The Sky is Crying—Stevie Ray Vaughan Born Under a Bad Sign—lbert King Cream/Robben Ford Rock and Roll Hoochie Koo— Johnny Winter Free Bird—Lynyrd Skynyrd Livin’ on a Prayer—Bon Jovi Layla—Derek and the Dominoes/Erie Clapton Kid Charkemagne—Steely Dan ‘The End—The Deatles More Than a Feeling-—Boston Dream On—Aerostulth Change Ti—Stevie Ray Vaughan AIL Along the Watchtower—Jimi Hendrix All Your Love—Ouis Rust/Exie Clapton/Gary Moore Highway Star—Deep Purple Stairway to Heaven—Led Zeppelin Can't Get Enough—Bad Company You'te No Good—Van Halen Sill Got the Blues—Gary Moore Time—Pink Floyel Flying Ligh Again—Ozzy Osbourne Hotel caloinis—Eagles Paradise City—Guns N’ Roses love Gun—Kiss Wheelin the Sky—Journey 2st Century Schizoid Man —King Crimson ‘Waiting For An Alib—Thin Lizzy Back in the Saddle—Aerosmith See See Ricker Elvis Presley Shapes of Things—Vanlbirds/Jelf Beck/Gary Moore Spanish Castle Magic—Jimi Hendrix Only You Can Rock Me—UFO Steppin’ Out—Fric Clapson Good Times, Bad Times—Led Zeppelin 16 Was 9—jimi Hendrix Mr. Brownstone —Guns N° Roses Boys Are Back in Town—Thin Lizzy Whole Latta Love—led Zeppelin ‘War Pigs Black Sabbath Back in Black—AC/DC Black Dog—led Zeppelin Purple Haze—Jioi Hendeix Garry On Wayward Son—Kansas Photograph—Def Leppard See the Light—Jelf Healey ‘Too Rolling Stoned—Robin Trower Train Kept A Rollin'—Aeresmith CCrassfire—Stevie Ray Vaughan Somebody Get Me a Doctor—Van Halen ‘You shook Me All Night Long—AC/DC Hound Dog—tlvis Presley Since Ive een Loving You~Led Zeppelin JBlue Skj—The Allman Brothers Band Hell ent for Leather—judas Priest No One Like You—Scorpions PEOPLE GET READY Jeff Beck Universally acclaimed as one of rock’s premier and most influential guitarists, Jeff Beck has led ‘many self-titled groups over the years but few as memorable as the all-star late-1960's lineup on Truth and Beck-O-La which debuted singer Rod Stewart. In 1985, Beck rejoined forces briefly with Stewart on the Flash album to produce one of the all-time great moments in the genre. “People Get Ready" is a cover of the Impressions’ (Curtis Mayfield) 1965 gospel-tinged R&B hit reinterpreted with Rod's gravellike vocals and Jeff's bluesy and haunting guitar lines. As the producer, he played it simple on this track using a direct-into-the-board Scholz Rockman for all the guitar parts and a sparse, synth-generated background as the canvas for his colorful soundscapes. A shor, unaccompanied chordal intro begins the piece [A]. In this intro as well as in the overall rhythm guitar par, Jeff uses a variety of both common and slightly unusual voicings. (The basic shapes can all be found in Basics 3 in either their open or bar chord versions. The important D/P inversion, for instance, is found on pg, 51). Note Beck's thumb fretting (designated with a T) of this and the G and G/A chords in the opening section, (For other significant examples of thumb fretting see Hendrix's “Hey Joe” in Power Studies 2). The recurring chord progressions labeled Rhy. Fig, 1 and Rhy. Fig. 2 are idiomatic to R&B and gospel music. These are constructed of simple changes using chords which are diatonic or in the key center of D. See the numerals below the TAB for their harmonic identity and function. For example, the D-Bm-G-D, Bm-Em-G/A-D will be designated by the numerals Iii 1V-1 and vi-ii-V-1 In his soloing, Jeff plays over both progressions elegantly, outlining the changes with strong sense of melodic continuity. He sticks primarily to the open G form (Basics 3 Ch. 1) often combined with the open E form (Basics 3: Ch. 4)—a standard connection in rock, blues, pop and country lead guitar styles. This combination of G and E forms of the major pentatonic is pursued throughout the intro [A] and first solo [D]. Note the tasteful addition of the 4th, G, to the otherwise straight pentatonie framework. In the second solo (GI, two more forms are added. Besides G and F forms, you'll find use of the ‘open C form (Basics 3: Ch. 2) and the open A form (Basics 3: Ch, 3). (See Basics 3: Ch. 6, Connecting Major Forms, for more information.) Jeffs playing in these sections serves as further testimony to the major pentatonic’s melodic nature and reveals how a scale in the hands of a skillful and imaginative master becomes a great artistic statement with attractive phrasing and interesting note choices. His single-note lines are beautiful examples of major pentatonic usage both as pure melody and as related to chords, Be sure to check out each phrase for strong note- to-chord relationships—a primary theme throughout Basics 3 ‘The song's signature motif, heard between sections, is an intervallic line (built on fourths and fifths) created by arpeggiating a D5 or E35 chord. (See arpeggiation in the beginning of Basics 3 Chapters 1-5.) Also noteworthy in “People Get Ready” are the fills behind and around the vocal in the verses and the legendary Beck vibrato bar phrasing throughout. From the Epic ot FLASH reer et Ready Words and Musiby Cais Mafld cm Em? AbIBb Fi Be ee BY a y+. dd oy Aa a eee Cesena Payee 1 vi vi iy, gt. tytn comps Lay ec ia imei, * wit 7%, J BON aA. } / j SS we. wi wT Ww i Vv 1 “Alow top 3 sng of D chord ing CH bass oe ©1964 WARNE. TAMERLANE FUBLISHING CORP 6 ‘AU Rh Reed Used by Deri [B) verse People get ready, there's 8 train a coming. You don't need no bapeage, you just Ray Fin Do Ba? 6 Br T wi W Vv T vi et on board Allyou need is feihh to hear the sels humming G D Bm? ¢ AD dc ® ee eg ~ Be = “es vi fi v 1 wi Vv 1 Verse People get ready for the train to Jordan, picking up passengers fom coast to coast, (Sty. 2 D Bat Go om D Bm cont) ox clean e ~ ot I w Wea w Voor Faith is the Key, open the doors and board ‘em. @)+4 There's hope for all among the loved the most, Yeah. Ba G =, ADD CH Bo? Em? See Re reed = é ~ Rod Shaws vi v vu “od v 1 DD] cuitarsoto1 4 casei el eae a aS eA ret a) f 2 Ba? Verse wi Vv 1 wi v T There n't no room for the hopeless sinner who would hur all mankind just to save his own (Ge. wb Fg 3,2 tines Do imt 6 AD oD Be? Gump Get XY = 1 anc W. y a y pity on thot Nynose chants are toner, ‘cause there's 19" hiding place'Yrom the kingdom's throne. So Bn? @ ADD CE Bn? Em? Ga D x, — (ean ee) i] Vere Elves ‘pet ready for the train e-coming. You don’t need no baggage. you just get on board. ‘All you need Daan on ND ‘sa ae ye aaa Ye wy a vont oar Figen ‘a UD ae Tw VESSEL w T IV T ‘sae eger wile eine barpith 4s falth to hear the diesels humming sz Don't need no ticket, you jut, ‘yu jst tha the Lod ‘Bn GAD Dd & Ba Em? AD. ms ae Ae Reavy A. fee fo oan su nat SD w v T vi, i et tp 3a. of ord ag wD ba ate 9 wv outro ready. (3: wy. Fg 3.07 Tm geting Ge bw Sines oxi Eb cat Ay Bb 10 ‘Thistime I'm amir 2:02 ‘ay Tsien ont as » : aaa @ (6,3: ny FLY Seeman ‘Cn? Fmt Abra Bom a2 ym F ons ot wy u 2 THE SUNSHINE OF YOUR LOVE Cream Cream was the prototype of the power trio—guitar, bass and drums exploring loud, improvisatory blues-based rock. Almost two decades later the influence of the Fric Clapton Jack Bruce-Ginger Baker amalgam is still enormous. Though best remembered for aggressive live concert performances (see “Crossroads” in Power Studies 1), Cream excelled in the studio ‘where their compositional and arranging abilities could transcend the physical limitations of the three-piece ensemble. “Sunshine of Your Love” was their first “pop” hit and unquestionably one of the heaviest tunes to make the Top 40 playlists, Reputedly written for Jimi Hendrix, it is a precursor of today's hard rock music containing a powerful, relentless riff, allusions to blues song structure and chord changes (see Basics 1) and brilliant guitar work. ‘The main riff introduced in the opening measures dominates the song—it is heard in the intro [Al, verses [B], [DI, [G] and behind the solo [Fl. During the verses and solo, it incorporates the char- actetistic I1V-I moves of the standard 12-bar blues form, (See Movable Riffs in Basics 2. Ch. 3.) Eric's landmark “Sunshine of Your Love” solo is exemplary. He plays with the fire of a rocker and the soul of a bluesman striking that perfect balance which is definitive Clapton. Here his signature use of mixed major and minor pentatonic scales is in full force presenting a textbook case of blues-rock melodic ambiguity. This blend of major and minor sounds and the resulting ambiguity is a mainstay of his style specifically and of blues-rock music in general. (See Basics 3: Ch. 3, p. 31). In this D tonal center, the ambiguity would be created through the deliberate use of both major third (F#) and minor third (F) in melody lines (see Basics 3: Ch. 7 parallel minor). More on this in Advanced Concepts and Techniques, In the solo’s first three bars, the open E form (Basics 3: Ch. 4) is used. Eric switches to the open G form (Basics 3: Ch. 1) in bars 4-2, These serve to set up a predominately major sound. Over the A-C-G part of the progression, he alternates between minor and major sounds in ‘open E minor form (Basics 3: Ch. 1) combined with the open D minor form (Basies 3: Ch.4z pp. 40-41)—a time-honored move in blues and rock guitar playing. Check out his string bends of a half-step used consistently in this section to change the quality of the third from minor to major. In the last six bars, Clapton builds to a climax, moving freely between the E minor and D minor forms as well as minor and major combined sounds providing us with an ideal study in combining shapes and mixing minor/major tonality. See both Chapters 6 and 7 in Basics 3 for more on connecting major and minor forms, From the Atco reearding DISRAELI GEARS The Sunshine Of Your Love ‘Words and Music by Jack Bruce, Pete Brown and Erie Clapton ooo ne Eel ona Gt ee ‘Moderate Rock @ = 112 1 T33 Beant a5 oxime a = ee D__c DNe. D__c pnc, [B) verse seeing near dawn, when lights close their tired eyes. m D__c DNC. ior D__c pNc 1 soon be with you, my love, to give you my dawn’s surprise. rm D__c_DNc Dc pxc be with you, dain, soon, Tbe with you when the stars start ‘fang. GF GNC GF GNC opyrigh © 19681973 by Dread aati Enel by Une a Inceraonal Copyright Seed Ri Reh Reed D__c prc. D__c pyc. ve been iting song. fo be where mg’, v vit Vv v vil v inthe sunshine of your love A cc G A b__c ne. v vio " D)yere Pm with 70H, my ove, fhe gt sing trongh on D_¢ DNC DL DNC 7 you. Yes, I'm with you, my love, Ws the moming and just we D__¢ pve. D__c pne wo. TM stay with you, dain’, now Tm ae G F GNC = ake say wih youll, my seas re ried) G F GNC D. cop Nc Tre been wating, «song. fo be where, mein v vi W v TH Guia soto oS pNc ae Dc NG RAR REACTOR a NRL Rev aeeeeerenenenanens, BB 15 D cop Ne s F GNC 16 19 1918 18. Pei ean Ay my Feet oe Bipeeause Vil W Vv with you, myn, the light shining through on you, cp NC on. Rood D. Ye, Tm with you, my—_dove, its the D cp Ne morning and just we wo, Yu stay with D cp NG G you, darn’, now, F GNC ei YU stay with you ull my seas are dried up, G Fa NC. Poe 18 Tve been walling «sD, Te been waiting slong c v vu v v vi v Te been wating s0 Tong tobe whee = P'm goin’, A c o A os i I v vi v vy Vi WV in the sunshine of your love c Begin fade Fede out » SWEET CHILD O’ MINE Guns N’ Roses ‘The LA. bad boys truly arrived with their bombastic and trend-setting 1987 debut album, Appetite for Destruction. Exuding from every groove on the record is the sound and attitude that an- nounced the birth of a new hard rock music for the ‘90's, “Sweet Child O" Mine” is a ease in point, ‘This breakthrough hit track became an overnight MTV standard, a perennial in-concen favorite and remains one of their very best; full of contrasts and harmonic/melodic/dynamic surprises and well- orchestrated with layers of guitars, electric and acoustic. Like all of Guns N’ Roses’ tunes, “Sweet Child O’Mine” is tuned down a halfstep to Es, Get an Eb note from a piano and then follow the relative tuning procedure in Basics 2: p. 6 of use an electronic tuner to get the pitches string by string, You can, of course, use the companion CD or cassette tape which has the tuning recorded and comparison tune by ear. The intro [A] begins with the song's intervallic signature riff-Riff A played by Gir. 1. This is based on the open D form (Basics 3. Ch. 5) and incorporates a wide interval approach to melody with unusual and angular leaps. (More on wide intervals in Advanced Concepts and Techniques) Slash uses a creamy, thick front-humbucker tone to further enhance its distinctive character ‘The simple, almost country-inspired verses [B] use a D-C-G-D (-VILIV-1 progression indigenous to many standard rock tunes like “Takin’ Care of Business,” “Can't Get Enough of Your Love" and ‘All Right Now” in Power Studies 2. This section involves layered guitars and arpeggiation of the basic changes in the second 8 bars. (See Basics 2 p. 55.) ‘The chorus [C] beginning on A, the V chord, introduces variations of the opening riff altered to fit the progression of A~C-D (V-VII-D. They are based on the open forms of A form (Basics 3: Ch. 3) and D form, During the ending of the verse, Slash gets in some tasty, country-flavored melodic soloing in D major pentatonic derived from the open G form (Basics 3 Ch. 1), You'll hear the use of the major pentatonic with the added 4th, G. Jeff Beck in “People Get Ready” also uses this tone consistently to creates a melodically similar effect. ‘The guitar solo [D] involves a key change and a mode change. This section is in the key of E minor and here Slash uses the E natural minor scale or Aeolian mode primarily. (For more on modes see Adlecancedl Concepts and Techniques.) Occasionally, on the B chord of the progression, the harmonic minor Scale is heard. Nonetheless, these new diatonic scales still fit into our basic framework of minor melody/chord forms as covered in Basics 3 and it’s as easy to visualize them related to the basic open chord forms as their pentatonic counterparts. The forms used are E minor form (Basies 3: Ch. 1), A minor form (Basics % Ch, 2) and D minor form (Basics 3: Ch. 4. ‘The second part of the solo [F] changes character to more blues-based sounds. Slash improvises over a HINI-IV-VI-VII-Il progression in E minor: Em-G-A-C-D-G and it’s E minor pentatonic all the way. He positions his licks largely in the typical "blues box” E minor form (Basics 2 Ch, 4 and Basics 3: Ch. 1) and D minor form (Basics 3 Ch. 4), Check out the sequence (Basics 3: p..9) in bars 11 and 12. This is an ascending pattern with repeated notes in its pattern units. The fast ‘ostinato riffs which follow should present no problems once you work them out technically. (Review Basics 2 Ch. 4 if you need extra help.) ‘The outto [F] incorporates wah-wah pedal sounds. ‘The throw of the pedal is indicated by the + and 0 in the music. The + is the symbol for the down (treble) position and the o designates the up (bass) position. By rocking from the bass to treble position the wah-wah effect is created. After you've mastered the technique in this section go back and learn the wah solo in Stevie Ray Vaughan’ “Scratch-n-sniff” in Power Studies 1 for some very useful extra study. The lead lines again use open E minor and D minor forms of the E minor pentatonic scale. From th Gefen recording APPETITE FOR DESTRUCTION tT Sweet Child O' Mine Words and Music by W. Al Rose Shh, ey Sead, Dulf Maan and Sever Ale Dforen DP Cali? Gust Daun? Aopen C5 mi ete O-% On @ o DSopen 3D caso fedag> _ —$————_ 9 ee —— ad Ray Fig. Copyright © 1987 Gene Rett Mc (ASCAP) ictal Capri Seared A Rg Ree a 1 wR, 6a (ee ey ig Tez es Gr 3 denote) c Vir (1: wa a D Das D v Bvere T Sws gx some, hath seems fo me—romins.«moof_ lod 2 See adiona hes 1 memories where ev'ry _—sthing «was ws_—sfresh_«= asthe’ © Bhue hy, Vv T Now and then when I see er face, she takessme away 10 that (2 wy. Fig Ta Vil run 2 special place, and if 1 stared t00 ong, I'll prob'ly break down and ery, G. D. Daus4_D Dsus? D ASopen ee tt) ph) Vv. .." D Daud 23 WV ae Se iD - 2 wy. Bg, 17 be DAO eee _ 4 sweet child 0” mine ch, yeah, yeah 00m, cs Ds pat Ny Me 1 TIT) TT) +p) iy ROOD? End Woy Pi} Gir 4 wy. P3208 Gre ES Em Shae 25 cs a 8 ASopen oF — 6 (2: ny. FH By. Tie “ASopen BS “TTLSTTA STL IT ED. } tt im ir 4 wy Pg 43m ES peppers 1 a) Wi Vil i 7 ey. 7 Where do we go? Where do we go? ‘Sweet child Bod Rhy. Bl.S Ge: Ry Fg § PdooTDRL Vi vi 7 cn 1 W Where do we go now? 5 Whee do we go tow? 7 a — ee eee eee = 1 6 ie 7 it W No, no mo, 10, 0, 80,0 Swoot child, Sweet ES pS BS BS AS GS BS as SS ca) DD) dD mesmmenie Tow vow Ww om 7 i chil mine WV wow i aed ET Additional Lyrice ‘She's got eyes ofthe blues skies, acif they thoughtof rain, hate look ino thoso eyes and see an ounce of pain Her hair reminds me of @ warm safe place ‘where as a child I'd hide. ‘And peay forthe thunder and the rain ‘to quietly pass me by. (Fo Chorus:) 30 LENNY Stevie Ray Vaughan ‘This moody and atmospheric ballad from Stevie Ray Vaughan’s 1984 debut album Texas Flood presents the leading bluesman of the 1980's in a dramatically different context. Considered to be one of his career pinnacles and a musical milestone in the genre, “Lenny” embodies many of the blues and rock influences of which Stevie was so proud, Like all of Stevie's music, “Lenny” is tuned down a half-step to E flat. (See “Sweet Child ©" Mine” for a reference to Es tuning.) ‘The intro [Al, head (B], head restatement (D] andl outro [F] make use of the attractive chord-metody syle indigenous to R&B and soul music a Ja Curtis Mayfield, Jimi Hendrix et al. Stevie employs just a handful of chords and well-placed fills to make a simple but beautiful main theme—in jazz. and blues parlance, the “head”. Check out the fingered shape used for the IV chord, AG (bar 6). This shape is moved around the fretboard to produce a B6-D6-G6-B16 progression. Note both the \ypical hammer-on/pull-off (Basics 3 p. 15) approach to filling melody and the consistent use of the vibrato bar to bend chords and individual tones. ‘The solos and fills provide a valuable study in combining pentatonic forms in the key center of E. ‘Make sure you assign each melody line to its corresponding open chord form to gain a solid understanding of the fretboard chore/scale geography. The solos take place over a repeating HIV (E to A) progression. With no background chords to specify the exact type of chord—major, minor or ominant-Stevie takes great liberties in his improvisation to deliver colorful and contrasting melodies. “The first phrases of Solo 1 [C] are clearly major pentatonic and slide up the neck connecting open A, G, E and D major forms (Basics 3: Ch. 6) much in the vein of Jims playing in “May This Be Love ‘The next section is a contrasting parallel minor lick (Basics 3 Ch. 7) in open E minor form, Here Stevie uses an Albert Collins-style double-stop approach and fingerpicking (Basics 2. Ch. 5). An altemation between parallel minor and major sounds continues through the solo’s course essentially in and around the 12th position E minor or E major form (Basics 3: Chapters 1 and 4), In Solo 2 IE}, Stevie again begins in the major mode with a strong line in the open G form (Bastes 3: Ch, 1). A number of forms are used in the first 8 bars open A form (Basics 3: Ch. 3), open E form (Basics 3: Ch. 4) and open D form (Basics 3: Ch. 5). Check out the R&B/country-inspired double- stops and chord-melody licks in bars 5-7, Parallel minor ideas dominate the rest of the solo. Stevie plays this section with a variety of approaches. Highlights include the delta-based open position ostinato riffs in E minor pentatonic (Basics 1: p. 56), the Albert King-flavored sting bends in the open 1D minor form (Basics 3: Ch. 4) and the high-energy minor pentatonic sequence as the solo's climax. The cadenza IG] is played in free time and recalls and elaborates on the intro’s mood. Check out the textbook major pentatonic run that begins the section. Here Stevie strings together the G, E and A forms. For those of you out there who can‘, as I can’t, get enough of Stevie Ray Vaughan, the video concert Live at the Mocambo is highly recommenced. Though unassuming in its production values, it captures the spirit and atmosphere of his nightclub performance in the early days—around the time that Texas Flood was recorded. The first encore number was “Lenny” that night nd is well worth viewing as an adjunct to this power study, 31 32 “Tune Doma 12 Step @-t5 @-ps =) Os O-o O-= (H)intro aunt ce) ‘Slow ballad J = ca. 52 Free time Emi E6 From the Epi recording TEXAS FLOOD By Stevie Ray Vaughan, eck a mise pete) ew Tee Vv Capyghe © 1980 by RAY VAUGHAN MUSIC, INC, Tito Capri Seated Al igh: Roar os rc Bb6 sit b. v Emsjl3 wyenenennens 46 T W Triplet fet SD = 3.5) a i AK oy oe 33 T ? v [BD] Head restatement) Straight th fet J'3 = 2) kai ; = i a Road 4 G6 Bb6 Ag, Solo2 ar Ee. W=s9) E 3 35 (owiehe pap) a0 (ovo ac ek) Ba Straight 8th feel (d 2 = JJ) As B NH ae ee v 1 Eoure a6 Emgii3 peerncnad Free ime (owiehe pte) oe cca HIDEAWAY Blues Breakers — John Mayall with Eric Clapton Eric Clapton's cover of “Hideaway” was so influential it began a tradition that endured through the early history of British blues in the first three Blues Breakers bands. His formula? A supercharged reinterpretation of (Texas/Chicago bluesman) Freddy King’s hit instrumental. Clapton's “Hideaway” in 1966 led to successor Peter Green’s 1967 version of “The Stumble” which led in turn to “Driving Sideways” a vehicle for Mick Taylor (who later joined the Stones). “Hideaway” is a 12-bar shuffle-feel blues in E (see Basics 7 and Basics 2) with numerous internal contrasts-varied riffs, melodic hooks, improvised solos and feel changes. ‘The head or main theme is a catchy melody in major pentatonic. This is played in G form (Basics 3: Ch. 1) and open E form (Basics 3: Ch. 4). As preparation, review the open E blues progressions Basics 2. Ch. 6 and the blues melody pieces at the end of the first five chapters in Basics 3. You'll sce that the same general sort of approach was used by Freddy—an ostinato-type melody over a 12-bar blues. The brief improvising in [B] makes use of Clapton’s patented minor/major pentatonic mixing, Be aware of both sounds in this section as well as the other solos in the tune, He plays largely in the open and lower positions in open E form (Basics 3 Ch. 4), D form (Basics 3: Ch, 5) and C form (Basics 3: Ch. 2) ‘The ensemble figure in Interlude 1 [C] is very similar to the open and movable riffs we covered in Basics 1 (Ch. 3) and Basics 2(Ch. 3). If you have any trouble with this line be sure to review those chapters. Solo 1 {D] tems with definitive Claptonisms-blues lines distinguished by his aggressive attack, characteristic string bends and vibrato, bent double-stops and impeccable phrasing. Like the guitar work in “Crosstoads” (see Power Studies 1), it laid the foundation for today's rock solo styles. Itis played exclusively in the E form (Basics 3: Ch. 4) “blues box", a typical concession to the blues guitar heritage ‘The first break [E] is begun with a fanfare on an E9—the “Hideaway chord,” to quote Johnny Winter. The parallel sixth double-stops that follow are a little tricky since they are fingered on the Ist and 3rd strings and move down the fretboard rapidly. Use hybrid picking or finger picking (Basics 2: Ch. 5) 10 articulate the sixth diads and learn the shapes separately at first, Be aware of common physical shapes. Combine all the positions only after you can make a series of smooth connections with one or two position changes in a group. ‘This will help you build up the physical and visualizing technique necessary to nail them effortlessly every time. A combination of pentatonic forms is used throughout the remainder of the section—E minor form, C form, A minor form (Basics 3: Ch. 2) and C minor form (Basics 3 Ch. 7), Also check out Basies 3: Ch, 7 for connecting forms. Interlude 2 IF] switches to a contrasting straight-8th feel, Here, open and movable riffs are moved through the 12-bar progression. See Basies 1: Ch. 3 and Basics 2: Ch. 3). The triplet feel shuille groove is recalled for the rest of “Hideaway.” The fiery solo at [Gl is played entirely in the E form (a la “Crossroads”) and uses the mixture of E minor and major pentatonic sounds. The string bending in bars 4-6 will demand a little extra technique work. This is all played with 4 one-finger (index) bend which requires more strength to accomplish since no additional reinforcement fingers are available to help push the string, ‘The head out [I] restates the main theme with variations in the E and D minor forms (Bastes 3 Ch. 4). Notice the skillful improvising blended with allusions to the theme's melody. Fram the London coring BLUESBREAKERS Hideaway Words and Music by Freddy King and Sonny Thompson lites ‘Moderate Shuffie d = 144 Triplett C155), is T * chads deve tom age pa. ar * ED (Copyrigh © 1961 Foe Koos Mai Ie and Ti Mac Ca, In Al Rik Admini by Hud Bay Mise tera Ca ee fed a Interlude ray. Be nal errr) BD By E “ gay o ed 7 a. ‘ J Es — he te S&S CRAZY TRAIN Ozzy Osbourne Ozzy and Black Sabbath may have invented the ultra-heavy, dungeonistic branch of metal some ten years earlier but his 1980 Blizzard of Ozz band with Randy Rhoads virtually cleared the decks and reinvented the genre. More than historically important, the well-known Osbourne/Rhoads collaboration ‘Crazy Train” contains many of the traclemark elements that madle up Randy's style and influenced the course of hard rock and metal music in the 1980's. ‘The memorable siff in the intro [A] is a diatonic/modal line, (For more on the subject of modes see Advanced Concepts and Techniques) The tiff is in ¥ minor, Play it as an introduction to modes and realize that itis a typical Aeolian Mode melody. For now use your current tools to get a handle on it. Visualize the F#5 power chord as you play the riff and see it as the underlying shape behind the ‘iff. This is also a great line to reinforce the power chord scale relationship. Rhy. Fig, 1, used throughout verses [B], is definitive Rhoads. It is made from familiar ingredients— ttiads over an open A pedal point. Driven by a chugging 16th-note groove, itis a staple of modern metal, Relate the triad shapes to their larger parent chords in Basics 3. For example, A in the fifth position is from the E form (Basics 3: Ch. 4), and E and D are from the G form (Basics 3: Ch. 2) (Look for more on triads in Adeaced! Concepts and Techniques.) The patented open position pull off scale line played before the verses serves a good introduction to basic diatonic scale sounds. ‘The strong, inventive accompaniment figures in the chorus [C] combine movable and open chord forms, (See Basics I and Basics 2). This is a textbook example of a well-constructed hard rock/heavy metal rhythm part, In the first chorus, the F# minor fill between phrases is based directly ‘on the open E minor form (Basics 3 Ch. 1), Randy's guitar solo [F] is more advanced than most we've looked at so far. As with other difficult solos in the Power Studies series, begin by playing the rhythm part (Gtr. 1 in slashes) behind the solo and get the sound and feel of the phrases in your ears, Then approach it carefully learning and practicing the phrases gradually until the motor skills and technique develop. It would be helpful to review Van Halen’s solo in “You Really Got Me" from Power Studies 2 for tap-on technique. ‘Tap-on lines outline the backing chord changes, F# minor and D major in the first two bars. Bends and tap-ons are found in the next measure. Put these bars together slowly, focusing on accuracy. ‘Some of the diatonic scale licks are easier and more accessible like the melodious lines in bars 5 and 6, You can easily relate these to the E minor form in Basies 3: Ch. 1. Others will bear resemblance to pentatonic licks you already know—like the ones in bars 7-9 and bars 13-15. These are cleafly in our E minor blues-box form seen in the movable lead pattems in Chapter 4 of Basics 2 The tricky diatonic run which is the solo's climax will be in your grasp after you work on the modes in Adeancecl Concepts and Techniques. For now work on it slowly, breaking down the long line into bite-sized pieces. Here's a suggestion, Take each 3o-a-string pattern and learn it separately before joining the patterns together. Then take two or three strings’ worth (Four to six patterns) of music at a time and practice that much. Finally play the whole phrase slowly, concentrating on your hammeron technique and smooth connections in position changing. As you improve in practice, gradually bring up the tempo making certain the notes remain clean and precise. This is particularly important when playing with the sort of ultra-distorted metal tone that Randy used. Crazy Train ‘Words and Mise by Ozzy Osbourne, Randy Rhoads and Bob Daisey pe EB Fes BSS, CHS BS AS. GBS HSH Sm 7 fon. fre Fecrttse Pareto. am se fa fate mE dna ae a fee” fa” FB ee ie Jaw has ‘Aller Hah a pan NC. (Fam) a) © vt Fem o ap wip longs ite i AW OY (2 wy. i. 1A A BA DA A BA a Bd Ry Fes G2 wy. ig. 1A, a Vb Be = ot ‘erie @ 1981 Bad Meine 12 Tae Ss Landon WIM SLD, Eagan 48 re 8 sc Capra ee Age a [Blverse 1.Crazy, ‘but that’s how it goes. 5. See adational rier wot sm By. tht ee DA A rs BA DA A 55 OS v T T v v 1 (2 3 Sie ‘Mittions of people BA DIA € BA living a5 foes (2: WS 3 te DIA A BA DA A Maybe R's ot too le, BA VA A BA a3 rd © {0 eam how 10 love, fad forget how to hate DIA A BA DA, 4 W 1 v W 1 lcvorae hie Weaal wounds nt be - as xe BA bs A 745 Bs 1 v WV I Fem i vi (1 NFL, ete ing, Iite’s a Diver shame. rm Gr rua 50 going off the nals one crany sea, rm? ms. — ES st NC. Fm) tm going off the rails os cmy train, A BA DA A (0,2: wy Fig. 1A 1 V2 BA DIA x ane v DJsnige Te koow that things ae going wong forme ks ms em) a3 es re You gotta listen © ny words, ra ‘ yeah, [E)euiter soto Fes o ) i) 2. Fal vi Vir {Gr slo dota Sigh Sacer oes wo gt rn wy core ces Bs As ots / ) / ? 7) / SS Haamanee Bs AS ts FAST Bs As Gas Est DS. al Code Fis ps = Gt Fs a & FAs ps E 2 1Om a mt vit 1S vi Vit Begin fade FS As E FES eng sie @ ) To) I] sels vi Vir i Additional tyries I've listened to preachers, I've listened to fools. Tre watched all the dropouts who make their own rules. One person conditioned to rule and contol, ‘The media sells it and you live the role. (Chorus 2) Mental wounds sill seaming, driving me insane. ‘Tm going off the rails on a eazy tain. (2 times) 3, Heirs of a cold war, that’s what we’ ve become. Inheriting toubles, I'm mentally numb. Crazy, I just cannot bear. ‘Fm living with something tht just isn’t fai. (Chorus 3) ‘Mental wounds not healing, who and what's to blame, TT going off the rails on a crazy train. (2 times) 55 56 BLACK MAGIC WOMAN Santana Spawned in the late 1960's San Francisco psychedelic hippie scene, Santana was unique in its day, and remains so to the present. An ambitious experiment of guitarist Carlos Santana, the gfOup personified the term eclectic blending rock, jazz, latin and blues music and effectively reconciled all differences in the seemingly disparate styles. “Black Magic Woman,” written by guitarist Peter Green John Mayall/Fleetwood Mac), is a case in point. Elusively simple, it is a part minor blues, part modal jazz, part modern rock and all Santana, “Black Magic Woman’ can be called an altered minor blues. If this sounds obscure, consider the use of i, iv and v chords (Dm, Gm and Am) as the only chords in the piece and the length of cach section is 12 bars. This is indicative of the blues progression (B1). Here all the chords are minor thereby producing a minor blues The order of the chords is slightly different than standard 12-bar blues hence the altered blues. Here's a chart of the basic form, bf v v Mii iv iv MWiv i i Dm Am Dm Gm Dm Am Dm ‘The intro [A] begins with subtle minor mode lines. These are quite accessible and serve as an ideal introduction to diatonic minor scale sounds, The lines are centered around the Am form (Basics 3: Ch, 2). The arpeggiated Dm chord leads to the intro solo [B}. Carlos improvises in D ‘minor pentatonic in the open E minor “blues box” form (Basics 3: Ch. 1) for the first six bars of the solo. In the remaining six bars, he combines connections of D minor and G minor forms with the “home base” E minor form, (The mechanics of combining minor forms is covered in detail in Basics 3: Ch. 7.) Santana keeps his guitarwork lean and understated in the verses [C] [DI] (F]. His light comping is based on simple shapes in open E minor form and A minor form. (Again check out the forms in Basics 3: Ch. 7.) ‘The solo [E] finds Carlos building his lines almost exclusively in the blues-oriented boxes of the E minor (Basics 3: Ch. 1) and D minor (Basies 3: Ch. 4) forms. Check out his signature string bends, vibrato and his frequent melodic use of the ninth, E, as an added tone to the minor pentatonic scale, (See “Another Brick in the Wall, Part I? and “Lenny” elsewhere in Power Studies 3 for other examples of this typical addition to the minor pentatonic.) The important subject of adding other tones to the pentatonic will be pursued in greater detail in Advanced Concepts and Techniques. From the CBS recording SANTANA - GREATEST HITS Black Magic Woman ‘Words and Music by Peter Green Gm De? Dm Am7™" Gm? Dm? Am? Bnro “Moderate Latin/Rock 4 = 120 sont Ne.@m) He pao a for Dm oo ES : ec: cm (2 wT A, toy ona 7 Fick D ca pga by Fas Dat Gm i iv op 1968 1980 King aig Co Lad acy AU ghatr she USA and Cana Connled 6 Muro Mae Pu mera Copgh Secured Al Rights Red 7 Got ® black magic woman, gota black magic woman, Tre Pa Dat cém7 Dm? Am? Diack magic woman, got_me so blind T can't see that she's a Da? Dmé6 Dm? Gm Gm7Gm6 Gm = cin . v black magic woman, She's tryin" to make a devil out of me. Don't tur your back on me Da? Am? AmT(wuss) Am? Dm z 1919-10-10 — don't tum your back on me baby. Yes, don't tm your Chet Det ‘An? buck on me_— baby, stop messin’ ‘round with your tricks, Don’t tun your Dat Dré — DmT Gm Gm7 Gms G9 Gm ar oo back on me baby, you just might pick up my magic sticks, Dnt Amt Det ‘ 7 i * . choca 9 EElcatar sein ~ mamtonnym 2 _ nA en a oy. Flt Dat Am? Dat (Zou) got your spell on me aA baby. you got your spell on me baby. Yes you got your sie v. Mon me baby, my beat into stone pnt ” si ‘bm? Gm r iv 1 need you so bad magic woman, [can't eave you alone Ga7Gm6 Gm Dm? Amt Dm? [Hloutro G29 A, nes oat NCOm) eS Begin fade + * py upicrned sis onty piskiD Pade out + pity nerd derase vlan peed ‘ot col cesig weno eet a REELIN’ IN THE YEARS Steely Dan On their 1972 debut album, Can't Buy a Thrilt, Steely Dan was essentially a self-contained six- piece band, One notable exception is the participation of New York sessionman Elliott Randall, on “Reelin’ in the Years,” who was called in by long-time friend Jeff Baxter (then a member of Steely Dan). It was Eliott who played the memorable and stirring lead guitar lines on the track Conceming rock playing, Elliott stated in a 1977 interview that two important factors in his style are knowing how to bend notes properly (intonation) and how to control tone at high volume (overdrive)—two elements clearly at work in his “Reelin' in the Years” solos. ‘The chord progression in the intro [A], choruses [C] [D] [Gl], interludes [E] [H], solo IF] and outro li] is derived from an A Mixolydian mode tonal center and embodies the dominant changes of the song. The use of the recurring VII-I pattern (in this case, G-A in the tonal center of A major) is indigenous to rock—think of classics like “My Generation,” “Shapes of Things’ and “Freeway Jam’ as just a handful of the countless tunes employing this common progression. ‘The intro guitar solo [A] finds Elliott (Gtr. 1) all over the neck in A major pentatonic, The lines combine the E form (Basics 3: Ch, 4), D form (Bastes 3: Ch, 5) and G form (Basics 3: Ch. 1), Though predominately major pentatonic there are moments which combine major and minor sounds—a common aspect of the rock and blues idioms. (See “Sunshine of Your Love” elsewhere in this volume for more background.) The diatonic Mixolydian mode line in bars 12 and 13 makes a great study in the intervals of the mode. It's easy to visualize on the fretboard and to hear the individual steps as they are moved down in repeating patterns on the high E string. Gt. 2 plays major pentatonic lines in G and A as accompaniment riffs behind the solo. These also heard in the choruses and outro in slightly varied forms. The figures are similar to and function like the movable riffs in Basics 2 Ch. 3. The first interlude [E] makes use of open position diatonic lines, The melodies are clearly scalar implying the A Mixolydian mode. Begin ‘o train your ear for modes by playing the lines and listening to how they define the background G-A (VII-D chord changes, ‘The trickiest part of the section is in the second ending where quick pull-off riffs are found. Work on this measure slowly at first, concentrating on an even tempo, smooth legato technique and clarity. In his memorable guitar solo [F], Elliott works primarily out of the combined major pentatonic forms covered in Basics 3: Ch. 6. "The individual forms used are the E form (Basics 3: Ch. 4), D form (Basics 3: Ch. 5), € form (Basies 3: Ch. 2) and A form (Basics 3: Ch. 3). The outro guitar solo [1] begins with repeated major pentatonic motifs played in a continually shifting thythm. This is a strong and effective musical tool used by countless improvisors in rock, blues, jazz, pop and country. The idea is simplicity itself. Create a motif and then place each of its repetitions on a different beat. Here it is first heard on beat 3, then on the and of 2, ext on beat 1, then on beat 4 and so on. ‘The hammer-on/pull-off pattern played in bars 5-8 is an early jazz/rock/blues guitar cliché transplanted into a progressive rock setting, In fact, Les Paul played similar licks in the 1940's as did Cliff Gallup in the 1950's. Throughout the solo, liot alternates between major and minor sounds emphasizing parallel minor as in the aforementioned lick. (See parallel minor, Basics 3: Ch. 7.) Solos like the one ‘Reelin’ in the Yeats” are ideal for developing the ear to hear major/minor scale combining. Along similar lines, be sure 10 check out "Sunshine of Your Love.” “You Shook Me” and “Lenny” in this volume as well as “You Really Got Me," “Crossroads,” “Walk This Way,” “Get Back” and *All Right Now” in Power Studies 1 and 2, Also see Advanced Concepts and Techniques for more on scale combining. @ From the ABC recording CAN'T BUY A THRILL Reelin' In The Years ‘Words and Music by Walter Becker and Donald Fagen GA CG Si isn Fiveagse: Batre se, ae SH Moderte Rocked = 138, riplet teat 7D = 3) NG ieee > Ad vu | 1 vu (© Cepyeghe 1975 by MCA MUSIC PUBLISHING, A Division of MCA ING and RED GIANT MUSIC _AURighe Adele by MICA MUSIC PUBLISHING, A Dist af MCA Incy 1758 Brady, New Yate NY 1001 Tnverstonl Cpr cowed Al ugha ACA aus pitis 6 @ wo vu 1 w piano: D events — Sa SBivene I Your everlasting summer, you can see it fading fast. So you grab apiece of something that you think 2.3. see ational lyrics wt, a te (Gen 22: Tae Lt) © Act Bm? A D_ Act Bm? W T w T wot i ‘poonn Ist, Well, you wouldn't even know a diamond if you held it in your, hand, =the A Emaddé Bo. Dm Ct D 1 v we w T W 2nd time to Chorus 2 ‘rd time to Chorus 3 things you think are precious 1 can't understand. Aw you reel the ACE Bat A [honors cua yeas? Ssovit avy ene? ‘Are you gatherin’ up the tears? Have you had enough of mine? © vl 6 Ave you reelin’ in the years? Stowin’ away the time? vp the tears? Have you had enough of _mine? DS. to 2nd Verve Fas im) D oa ee vi wv 66 Coda Chorus? a ‘years? ‘Stowin’ the — time? Gn2 NC(G) a) vu 1 ‘Are you gatherin' up the teas? Have you had enough of mine? @ oO Have you hed enough of _ mine? = FAS Fim a 54 oon efi Mn momn anmn 2 3 2 4 3 Gua 6s cy roe OH (2 wy. 7FFiATSTTTI 1 oi T iy. ra Ge —I— Coda 1 om T yeas? Stowin' away the time? ‘Are you gathern’ up the NO 35 ag ee vr 1 tears? 3 Have you had enough of mine? ‘Are you rein’ in the = : eae Bad Ry Ft vir 1 n years? Stowin’ mi, way the tne? w 0 ‘Ase you ath’ up he eas? Have you had enough of ona Fim ona m5 on i * Binertate2 x 0niy Fe! ot @) 3 2 2 w n —— Er te Gita Sato = ~& > T Son ine ly 4,2 0, ig, 3 te) 1 OD Se ae eee ok —— B wm. Additional lyrics 2, You've been tellin’ me you're a genius since you were seventeen, Inall the time I've knovra you [sill don't knaw whal you mean, ‘The weekend at the college didn't tum out like you planed, ‘The things that pas for knowledge lean't understand, (Chorus?) 3. T've spent lot of money and I've spent a lot of time, ‘The tip we made ta Hollywood is etched upon my mind. ‘Aer all the things we've done and seen yot find another man, ‘The things you think are useless I can't understand. (Chorus 3) ANOTHER BRICK IN THE WALL, PART 2 Pink Floyd Born of late ‘60's psychedelia, British blues and space rock, Pink Floyd occu place in the annals of contemporary music history. A cult band with an enormous mass audience, they have endured in spite of the varied trends and fickle tastes of the 1970's. After a string of adventurous records, their 1979 conceptual double-album effectively closed out the decade and produced their biggest (and often deemed best) hit, “Another Brick in the Wall, Part 2." Regarded as one of guitarist David Gilmour's finest moments, it combines the trademark Floydian elements of progressive rock, pop, R&B and musique concrete creating an ideal setting for his sonic explorations, Le’s examine the way Gilmour approaches the guitarwork in this piece. Two guitars are involved in the verses [Al. Gtr. 1 plays a simple D minor line in the open A minor form (Basics 2.Ch, 2) with a smooth distorted tone while the second, Gtr 2, is a contrasting clean chythm part, Rhy. Fig. 1., revealing Gilmour's R&B side. His comping is percussive and funky relying on fret-hand muting (Basics 1: Ch. 2), sixteenth-note strumming (Basics 1: Ch. 3) and syncopation (see Power Studies 1: “Bang A Gong") and the use of the Dm chord in open ‘A minor form (Bastes 3: p. 19). In the choruses [B}, three guitars play the well-conceived accompaniment parts, Gtrs. 2 and 3 use the Stratty clean tone established in the verses and Gtr. 1 plays the dirty power chords, perfect example of Gilmour's uncluttered and effective guitar . Note the use of the F (Basics 3 p. 34) and C (Basies 3: p. 26) barre chords in Gir. 1's part. Also check out the triads used in the other two guitar parts. These can easily be traced back to their open forms: the F triad is directly based on the open D form (Basics 3: Ch. 5) and the C triad is based on the open E form (Basics 3: Ch. 4). (For more on. triads see Advanced Goncepts and Techniques.) Gilmour's solo [C] is classic—a “must-learn’” for all guitarists, The insights it yields in terms of string bending and phrasing alone are extremely useful—particularly his wide string bends 1/2, 2 and 2 1/2 step bends ) and intonation. Also noteworthy is the way he interpolates double-stop textures with single-note playing in his lines, The solo further presents a valuable study in combining the various shapes of the minor pentatonic scale in D minor, During the improvisations he moves in and out of a number of forms, beginning in the E minor “blues box” form (Basies 2: Ch. 4 and Basies 3: Ch. 1) and continuing through the open G minor, A minor and D minor forms—see Basics 3: Ch, 7 for details on these connections. Check out his frequent addition of the second (or ninth), E, during the solo. This is a common expansion of the minor pentatonic scale favored by countless guitarists including Jimi Hendrix, Erie Johnson, Eric Clapton, Carlos Santana, and Stevie Ray Vaughan. (In this regard, be sure to look at “Black Magic Woman” and “Lenny” elsewhere in Power Studies 3 for more examples.) 8 From the Columbia recording THE WALL Another Brick Wall In The Wall, Part 2 Words and Music by Roger Waters Dm 6G FR Cc ps pm cD Gm BD i ie & ee ee ia” ad m2 don't eed 10 cedvcation “i. Riot 4 ™ D Dm Q Se of pdr) ) Ar ) FURR TE Gxt ——s nf, Cisorin) T On ep Gt 2 uct frit no a We, dont, meed—n— thought contr Bed Raye Ga 2: wy. P12 tee Dm No dark sarcasm in the classroom. Teacher leave them Kids alone Dm WR) ) Fee) a ————* Mase Plier Le Landon SA by Unchppel Mane fc, I Cop Scud Al Raat seed 76 Teacher! Leave the kids alone! Leave us Kids alone! Wo) fe ‘ae i (ees iee) [By Choras All in all i's just another brick «inthe. wall, ‘All im all you're ust another brick inthe wall. c F ong 7 ? Ay. 7 ’ ’ t t Rea sh ete en ne “en gta o__________ Nc.@m) Vir 7 8 IRON MAN Black Sabbath Arriving with thundering riffs, sinister occult themes and dark gothic trappings, Black Sabbath is generally acknowledged as the first official heavy metal band—setting undeniable precedents for late-1970's metal renaissance as well as the current thrash/speed metal school. A fact underscored by the numerous bands that cite them as influential—Iron Maiden, Van Halen, Faith No More, Metallica, Megadeth and Pantera. “Iron Man” is one of the heaviest and best of their definitive early period. ‘The intro [A] sets the tone for the piece with ominous bass drum footsteps, the lunatic protagonist's mechanoid voice and Tony Iommi's eerie groaning guitar. He exploits an unusual string bending technique for this effect—a behind-the-nut bend. This is done by pushing down the low E string toward the headstock with the fingers as if they were on the fretboard. The “Iron Man” leitmotif in the intro is in B minor and is unmistakably Sabbath—a modal rhythm riff composed entirely of movable power chords. See Basics 2 In the first verses [BI [C] and [EI, a single-note version of the riff is heard. This melody is in B minor and contains the added minor 6th, G, implying the B Acolian mode or natural minor scale. (See Advanced Concepts and Techniques for more on modes and diatonic scales.) This simple riff would make a perfect introduction to modal playing. Think of it as being based in B minor like its minor pentatonic counterpart. Seen this way, it would be in the G minor form (Basics 3 Ch. 7). A second B minor riff is used as a transition to connect verses 1 and 2. A syncopated ensemble riff signals the modulation to C# minor and a shift to double-time feel establishing a new key and groove for the guitar solo. The rifs C¥ pentatonic melody incorporates the flat five “blue note”, G, and uses A minor form (Basics 3: Ch. 2). Guitar solo 1 ID] provides an ideal study in combining the various positions of the minor pentatonic scale in Ct. Tony plays predominately blues-based ideas and strings together a nimber of forms—C minor form, A minor form and E minor form. (See Basics 3: Ch. 7 for a detailed look at connecting these and other minor forms.) The connection of C minor and A minor forms in the first two bars is indispensable—one of the most frequently-used physical moves in rock and blues playing The final section modulates to the key of E minor, Here more of Tony's behind-the-nut bending is heard as well as a new melody riff. This simple and attractive minor mode line is situated in the C minor form (Basics 3: Ch, 7). Note that the added ninth, F, is used in the melody. This ‘occurs over a characteristic Sabbath progression. ‘The progression: Em-Em/D-Em/C+Emv/C, is classically-inspired employing the harmonic technique of oblique motion. Notice that the voice- leading is in the bass line. The notes, E-D-CHC, move down while the upper notes of the E minor chord stay put. This is the essence of oblique motion. Cultivated as a Black Sabbath trademark, they applied this harmonic device to a number of tunes in their repertoire like ibbath, Bloody Sabbath,” “Snowblind,” ‘Black Sabbath” and “Looking for Today” Guitar solo 2 [G] involves two guitars weaving independent but imitative melodies around each other over the E minor progression, There is a looseness in the double guitar improvisations which conveys something midway between a duet and a duel. In both guitar parts of this solo look for lots of shifting between connected minor pentatonic forms. (See Basics 3: Ch. 7.) From the Wamer Bros. cording PARANOID. Words and Music by Frank Tommi, John Osbourne, William Ward and Terence Busler 1am on mant intro ra Slow Rock J = 69 ra ss un) Ng Sak “end yore dow on swans else it | ite ‘aging ea Fk Ge) om BS os Bs os 7 7 Wr FISGSFISGS DS ES Bs Ds ES GSRASGSFHSGS DS ES Ww 0 ¥ WI ar Slightly faster J = ea 76 verse Has he lost. his ming?” Cane seer ithe blind?» Can he walk at NC (em ae NC_@m = be moves, will be fl? ps ps Es GSFASGSFASGSDS ES Tm © vi i Is he live or dead? I see thoughts within his head. “We'll just’ pats him — thee NC. Gn) NC Bm) © Gop 17 a7 Wanna Man al Loon Epa "TRO sExex Mace Inert Ibe, New York canto al eben gh br semasonl Copp Seid Aig Re nig Re Perma fr Pa Und by Permission al USA. and Canada Why should we even caro? am) “ Bs ps ES GSRESGSFESGSDS ES Hei ey te ; = im pS coy Evene 2 He wat tuned 0 see 3 Now Ge tine ig hee Bs Ds es osrisasriscs pss no cons fn the great_—magnotic —ficld, when he trwelled time for the—future— ofan for Tron Man to spread fear, vengeance from the grave ills the people be once saved NC.@m) ee Nobody wants him he just. stares atthe work. Nobody wants him they just tum their heads ES Ds BS Planning his vengeance that he will soon Nobody helps him now he has his 5S Ds 82 Double = time fel) Nein) Chai Bloat sotot (Cm) 83 BSDS ES TW vere 4. Heary bs of ad, osrtsosrtsosps Es BS DSBS GSTESGST¥SGSDS BS NClBm) vt it iv i vi mW 7 fils his victims full of dread, running as fast as they can Iron Man lives again! Bm) [Elemoate- inet w nares ‘ Bay ——— Perrone a Neem yi) enc) mio), Sel ea a vi wD Neem) yD, emt) Exo, a ‘inci wi vp onitarsoion on: Em) mb) emcg) A 6x. 2 (overated as gta) 85 (emca) emo) em) En) eEmch) (em) aS ———— Hlowtro, -e IF Em) ie i Ge 86 YOU SHOOK ME Led Zeppelin Led Zeppelin rose in 1968 from the ashes of the proto-metal Yardbirds—a group that produced the mighty British rock guitar triumvirate of Clapton, Beck and Page. Final guitarist Jimmy Page, veteran of the fertile London recording scene and heir to the legacy, fashioned what many consider to be the most important hard rock band of the 1970's during the Yardbirds’ final death throes. Following the lead of Eric Clapton in Cream and the Jeff Beck Group with Rod Stewart, he steeped the powerful new band in blues classics in addition to writing extraordinary new pieces. “You Shook Me” from Zep’s eponymously titled debut album is a prime example. Their take on Willie Dixon’s classic presented a much heavier blues-rock attitude and sound with a plodding groove that presaged the heavy metal of the “70's, loud, aggressive guitarwork and heightened vocal-guitar interaction. ‘The intro [A] begins in free time with some slippery slide guitar—an early Page trademark. ‘The band is in by the next phrase as is @ definite tempo. This is a great section to work on for basic slide technique in standard tuning. The slide lines rely on simple pentatonic melody. Like jamming buddy, Eric Clapton, Page is fond of mixing of major and minor sounds and forms. You'll find E minor form (Basics 3: Ch. 1), G minor form (Basics 3: Ch. 7), G form (Basics 3: Ch. 1) and A minor form (Basies 3: Ch, 2) used in this section. ‘The verses [B] are marked by the heavy slow shuffle groove. Here, Page uses a simple, open- position blues comping riff played on the low E string—spartan but very powerful. The accompaniment is clecorated with various slide fills in A minor form, F minor form and G minor form. Behind the organ and harmonica solos [C] and [D], Page keeps it simple and rootsy. He develops a straightforward rhythm groove with open and movable blues comping figures. (See Basics 1 and Basics 2) I's interesting and enlightening to compare his figures with Clapton's ‘comping and arpeggiated chords in “Ramblin’ on my Mind” in Power Studies 1. Page's guitar solo [E] is well-conceived, starting with understatement and restraint and building inexorably to a powerful climax. He begins with sparse but melodious slide lines. Though. these are played with the slide we can’ still perceive them as chord-based physical shapes and as being part of our network of fretboard forms The lines fit into the E form, G form and D form (Basics 3: Ch, 5). The second part of the solo is more dynamic, involved and virtuosic. Page wails with notey E major pentatonic passages based on the C form (Basics 3: Ch. 2). Check out the B-BF-A chromaticisin he consistently adds for melodie flow. He also incorporates the minor third, G, into the phrase for that unmistakable blues-rock impression a la Clapton, Hendrix and Beck. On the B-A-E (V-IV-D cadence, Page continues mixing minor and major sounds more vigorously. Here, he uses the D minor form (Basics 3: Ch. 4), E minor form, G form and A minor form. In the outro [Fl, the tempo reverts to free time. Page plays out of the D minor form and C minor form (Basics 3: Ch. 7) during the infamous Page/Plant guitar/vocal interplay. From the Atlantic recording LED ZEPPELIN You Shook Me ‘Words and Music by Willie Dinon and J. B. Lenoir BS 6 ET «EMD Am OB OAH CET AS (Ee ee « Bmw 4 ee ee Be Slow blue sbulte J. = ca 53 Free time NC (ace) syaew see ou. S af Cierra) witioe seve Intime T % B] vere You know you shook me. 23, See adtonal rice po oo © v T ‘You shook me all night long. You know you shook (ew, etme a (©1962 (Copyigh Renewed) Hoscie Cake Max nd Ar Mase Cop. Tigh for Hoscie Conch Mesc Admired by Bag Mae 88 Inston CoprightSeewed All Righs Reed mee You shook me all night on AT & sibel 7 (1 wa, me Zi biwe a bed | bad wont dling oh, oh, on withost 8 diamond sing 90 1 v [D]armonica Sto 5 fs Bs 56 Es as _as A As @ As a A Gs 1 2, 2:00 fs oie ove Ge: 2 (ose) (isos wet we) 2 Ge kway. FL ‘hy FF 93 DS. al Coda 0b, 20,0. You shook me all, al, al, al, KAAKARA Hye ve me Lue *sciing emcee prude elk = a3: ws Sank all, all, all night tong, MAN is = G3 overt) ‘Additional Dyrics 2. Thave a bird that whistles and 3. You know you shook me, babe, Thave birds that sing. ‘You shook me all ight long. have a bird that whistles and know you relly relly di, babe. Thave birds that sing [think you shook me, baby, have a bird won't do nothin; of, of, ob, ob, ‘You shook me al night long. 4 without a diamond rng. ‘You shook me so hard, baby, Lknow. (Ouro) GLOSSARY ‘There are a number of important and useful musical terms, abbreviations and stylistic ‘elements found in modern guitar transcriptions and arrangements, So that it will be easier for you to negotiate your way through the Power Studies songs, the following list and explanations are offered, 1. RIFF. In a general sense, this is synonymous with repeated figure. A riff is normally a self- contained and sonically identifiable musical idea. In a song form sense, it has a more specific meaning. It means a recurring figure or pattern which is structurally important to the arrangement. It is used to describe a mostly single-note figure or one that is more melodic than chordal, Multiple riffs in a song are given letter names to distinguish one from the other For example, Riff A, Riff B, Riff C and so on, It is named when it first appears so that it may be recalled throughout the arrangement. 2, RHYTHM FIGURE. This is the converse of riff. Rhythm Figure refers to a recurring pattern which is more chordal than melodic. It can be a purely strummed part, a series of arpeggiated chords, triads, an intricate progression or something as simple as just a repeating iad Multiple rhythm figures in a song are abbreviated and given numbers in an arrangement. For example, Rhy. Fig. 1, Rhy. Fig. 2 and so on. 3. TACET. This means don't play in a particular section of a song. When you have several bars of tacet, it is written as long, thick whole-note rest with brackets on each end. The number above the rest tells you how many measures to remain silent 8 ——— 4, GUITARS. In arrangements with more than one guitar, they are given proper guitar part names, abbreviated and numbered. For example, Gir. 1, Gtr. 2, ete, If there is something significant about the particular Gtr, part it will usually be cited. For example, acoustic or electric guitar, clean, semi-clean (semi-cln.) or distorted (din) tone, etc. Particular articulations are also cited: let ring, P.M., with fingers and pick, with slide, etc. Effects which significantly process the sound are similarly designated: with echo, with fuzz, with flanger, etc 5. SONG FORM. Here are some basic musical symbols, terms and points used to set up the structure of a song as an arrangement. REPEAT MARKS, These ae written as bracketed sections with thick barlines on the outside and thin barlines on the inside. ‘These are followed by two vertical dots. If they are repeated more than once, the direction is written as a number of times, For example, these symbols mean repeat the inside two bars (play them twice) and then continue. If you played them again (three times) it would be written with this added direction Play 3 times First, second, third (etc.) endings are used with longer repeat sections if their final few bars have different music, For example these symbols 95 1 2 3 4 3 6 7 8 9 10 ‘mean that you are dealing with an eight bar section which has different music in the last two bars on the repeat, Play the first eight bars (1-8), repeat only the first six bars (1-6) before going on to the second ending (bars 9-10) to complete the eight-bar section. DS. (DAL SEGNO). This literally means “from the sign’. You'll see it accompanied by this symbol. % Itis used to indicate the beginning of a section to be repeated, The abbreviation D.S. means go 10 the sign and repeat until a new direction is given or until the music ends. D.S. is usually found with the words Al Coda. And no, Al Coda is not a famous Italian musician. D\S. Al Coda means “from the sign, go to the coda” CODA. This literally means “the tail” and refers to a concluding section of a piece of music. You'll see it written with this symbol: o Inside these broad mappings of the arrangement, you will find the various song form sections labelled. These could include: INTRO (Introduction). VERSES (Ist Verse, 2nd Verse, ete,). PRE-CHORUS. CHORUS. INTERLUDE. BRIDGE. SOLO (or solos). OUTRO (ending section) 6. FILL. ‘This is a brief melodic figure inserted into the arrangement, These are often boxed, named and numbered. For example, Fill 1, Fill 2, etc. When these are brought into the song. they are called up by the direction: w/Fill 1, w/Fill 2, ete. 7. RHYTHM FILL. This is a chordal version of the Fill. It can be an independent litle figure or a piece of a larger Rhy. Fig. These are also boxed, named and numbered. When named they are abbreviated. For example, Rhy. Fill 1, Rhy. Fill 2, etc. They are called up just like Fills, by the direction: w/Rhy. Fill 1, w/Rhy. Fill 2, etc, 8. RHYTHM SLASHES. These are strum symbols written as rhythm patterns with chord names located above the staff. When you see these, look for corresponding chord frames in the beginning of the arrangement, Find the name that goes with the frame. They will show you, in diagram form, the chords to be played, For example, this AS as im 7772307) means you play the A5 chord shown in the frame with a steady eighth-note strum. Articulations like PM, and x’s are often included and appear below the rhythm pattern. Rhythm slashes can also indicate single notes in figure. In this case, the rhythm pattern will show note heads instead of strum slashes. ‘The note name will appear above rhythm pattern, followed by its fret number and string number, Q @ The ‘fr A DB [,_ — ae NOTATION LEGEND TN sa, Tend ood Beni end_——‘Bend__—

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