Scribd Logo
Upload

Welcome to Scribd!

  • Lead Guitar Transcriptions (Gilmour-May-Plant)

    Uploaded by

    paco++
    42 views12 pages

    Original Title

    lead guitar transcriptions (gilmour-may-plant)

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    42 views12 pages

    Lead Guitar Transcriptions (Gilmour-May-Plant)

    Uploaded by

    paco++

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 12
    DAVID GILMOUR - ANOTHER BRICK IN THE Dm 30 Oe on ul an 5 [® os e- & tot—}<» 7 aa nm ae wv 1 4 ee" ete a on 8 Shela 5 on an an A 4 ue I ( a- g ooom PO PO PO ne a Fade out (single version)... | m7 BU BU@@| LD Slo>~ 55 Mee oe oe eo eS oo Vib ' Vib Vib Di motto Vib —— eye GD (Single ends). Mu MU} BU BU LD BULD BULD Album only: (Re-Pick Bent String) wu arr SEB : 24 (Album version continues fora more bart) This transcription shows the complete solo from — suggest you re-pick the string immediately prior to Pink Floyd's hit single, Another Brick In The Wall, as bending up to ‘the high F, taking care to make it well as a couple of phrases from the longer album — sound as smooth as possible. version (Pink Floyd ‘The Wall’ Show 411), The ‘scales used include the D minor pentatonic: ‘rom the Pink Floyd single Anatner Brick In The Wal (Har 5194). Copyright 13 Ps te kes DFGACD 1345671 and the D Dorian mode: DEF GABCD Ye 12034 5 671 ‘Another Brick In The Wall is, to my mind, a very ‘good example of Dave Gilmour's playing style; it features tasteful phrasing, subtle dynamics, masterful string bending/vibrato and above all a great sense of ‘taste’ and ‘ee!’ Notice, for example, how the spaces that Dave leaves between each ‘melodic statement give the solo a rambling quality, allowing each individual idea ‘room to breathe’ Technically you will need to watch out for some of the string bending, particularly the two tone bend in bar 4, the two stage bend of a tone up to two tones in bar 19, and the rather severe three stage bend of a tone/two tones/two and a half tones in bar 11. If you feel that your string bending isn't up to ‘scratch, you would be well advised to concentrate (on these phrases first, before attempting the whole S solo, Also, when you play the phrase in bar 11 you may find that the bend won't sustain for the required amount of time. If this is the case | would DAVID GILMOUR & E D ° oo x x ee 5-10 | EBEGHBE F OCH FRA CHF AE AC#HEA DAD F# rs13sst eee eee 1S13st oo A? c#m7 Bm — xo x x eslale aan 4- o 4/0 Qo 0 e 6 9 60 AA CHE GE CROFB E G# B FRB D Ft eee 15 b7b35 151035 Stow J = 64 (Approx) od ee we s (Overdab) 7 PO PO 57 Ee ix > TTA (Lat notes ring ‘into each other) piped T Al 8 5 1 Loco (to end) — — 3 ee Gliss —Giiss Vib Gliss Gliss Gliss Gliss Gliss a ee mpooen Slap 58 Gliss Vib Gliss Vib, Gliss Ss Time is taken from Pink Floyd's immensely ‘successful album, ‘Dark Side Of The Moon’. David Gilmour's solo on the track uses a combination of three scale types, namely the F# minor pentatonic: FAA BCH EE F¥ 1034 5 7 1 the Fi blues scale FRA BOC CHE FR 1 b3 4 65 5 7 1 and the Ff aeolian mode/natural minor scale: FEGH A B CHD E FE 12 63 4 5 6 b7 1 Two important facets of the sound David achieves in this solo are his use of a Fender Strat coupled with delay’ (probably trom an analogue device). Throughout the piece you will need to pay close attention to the pitching of bends and the width of 59 vibrato. The bends vary in size from a semi-tone to a tone and a half, and on the whole are either held for long periods of time, or let down to specific pitches. The vibrato can be produced by either oral let hand techniques, or by the tremolo arm, ‘and it is essential that you listen to the record to hear the amount of variation produced. In addition to the scales mentioned above, some arpeggio ideas are used: F# minor, first triplet bar 10; E major, beats 3-4 bar 16; and D major 6 sus 4, bar 18. On paper the phrasing appears to be quite complex, however, it is a very lyrical solo and after listening to the phrasing should be easy to ‘memorise. Finally, on the last beat of bar 5 there is an overdubbed guitar part, which enters before the completion of the original phrase. As it is impossible to play both parts simultaneously, | would suggest you use your discretion in deciding which part to follow. ‘When fem he Fk yd abn Da Side OF The Moon (Hanes SHV 8D. ec Foy Pat BRIAN MAY ~— CRAAY LITTLE THING CALLED LOVE By x x xxo0 ° oo 2- 98 eo 6 — BbF BbD DAD FE EB EGHBE AE ACHE 1513 1513 151351 15135 F G x ooo 9 3- i F FACE cBDGBS Fil, Preceding Solo — 11351 135131 8¥a throughout X : i é 3 2 * Very Fast. J= 152 (Approx) 8a (Throughout) = = - - - ~ - -= = - = = 5 == - = = f v os Oh ny Vib Gliss Ne. s C Ss SS BU Bb ¥ <0) eso ° g 00) mao Gliss }

    You might also like