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 TABLE t)F Ct}NTENTS
Audio
Introduction Track
1
Punk Rock
Early Punk
New York Punk Scene
It Was 25 Years Ago Today 5

L.A. Punk Scene 6

British Punk Scene

Tuning
2
Punk Chords

Punk Chord Forms and Fragments

Open Position Chords 9
11
Open Position Chords in E
a
Open Position Chords in D .11 J

Ascending Half-Step Chord Slides .. ...ll 4

Ascending Whole-Step Chord Slides 12 5
Descending Chromatic power Chords L2 6
Power Chord Eighth-Note Rhyrhm 13 7
13 8
Punk Progressions

E5 to Bb5 power Chord progression

E5 to E1l5; 149
,{5 to 85 to E5 14 10
14 11

Punk Rhythms
. ... .. .15
Punk Beat 1
Punk Beat 2 15 12

Punk Beat 3 15 13

Punk Beat 4 15 t4
Punk Beat 5 16 15

Ties Across Bars t6 t6

Syncopated Rhythms 16 17

Modern Day Rhythms 17 18

17 19
Solo Scales
18
A Minor Pentatonic
E Minor Pentatonic 18 20
F, Minor pentatonic 18 2t
A \fajor Pentaronic t9 22
t9 23
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 INTft(]UUCTTON
Punk Rock

Punk rock as a popular music style has a relatively short history. It emerged in the early 1970s in
New York City, reached its peak with a heavy driving pace between 1976 and 1977, and returned to
the obscure underground world where it had first flourished by the end of 1978.

The most significant reason for punk's short life in the limelight was that punk rock, in all its
expression, fought against the star status of the popular musicians of the time. Punk was social rebel-
lion, shocking, and sometimes violent. The punk movement sought to tear down founded theories,
techniques, and existing standards of art. Punk was about anti-establishment and rage against the sta-
tus-quo. Punk was about youth and breaking boundaries by picking up an instrument, taking the stage,
and making music happen without any musical training. Punk creatively launched an attack on the aes-
thetic trends of the Western world, influencing not only music, but also fashion, literature, f,lm, and
graphic arts as well.

The punk movement flourished through a cultural exchange between the United States and Great
Britain. Art and the music industry was ruled by a high society standard that defined acceptable art as
that which was pleasing to the senses. Punk music, in contrast to the highly polished rock 'n' roll acts
of the time, was played brutally loud and recorded live on poor equipment, generally in small, seedy
clubs in rough neighborhoods. Distortion levels were typically turned up to the limit. The lyrics,
which often dealt with issues that were disturbing or sensitive to the general public, were yelled or
spoken in monotonous tones. Confrontations often occurred in which the audience and performers
would attack each other with insults, spit, and glass bottles.

Editor's note: Use the audio icons in the book to follow along with the CD.
Introduction (O), Tuning (O).

4
 Early punk

rn 1970' Lou Reed and the velvet

underground shocked New york audiences
style that later became the with a musicar
standard
of the punk genre. Lou Reed's
music of the Beatles' Songs songs ,."u,rf
such as "Heroin" *d "v"ru.l, the popular
thought to be offensive to "ortrasted
Fr..,, not only contained
the general public, they subject matfier
aggressive musical style' were intentionaly prayed
The use or electronic noise with an amateur and
with feedback uro irsrorance
at nearly unbear_
;o",i#:il:ffiH:1t'ffi'r;i"#1j:tl;lyH;ffi rough rook and surlen demeanor
on srage

Fortunately' Andy warhol

produced the band's first
ground in a series of album and incorporated the
mixed media shows' The velvet under-
which was attracted to their velvet urJ*g.orrd slowly ieveroped a cult forlowing
antisocial' non-"onfo.-ist
and non-cornmerciar musical
styre.

L
xb
r?

:!
.,'a:

Blondie

New york punk Scene

Patti Smith

rn r971' Patti Smith' backed

by rock-guitarist Lenny
ing a unique style of musical Kaye, in New york citl,pertorm-
p";il'u". po.., *".";;onal appeared
and emotionar. Her r.ocal
ffHJll,ilT:f#i: She regurariv pr"v"a
",
M;il;;, Bo,".y and cBGB,s. r\ro
sr\1e \\as
clubs knorin

Patti Smith established

herself as
;;
H o r s e s, o n whi c h
#
;;. o"
"r'Ji,
iffi ,[::: #
i:r" ir:l- :: :
UT,l I ?
"Because The Night,',
which ,u, ",,
"o_uuifrorecl
by Bruce Springsteen.
:: ::: : : ?: o; ; ; ;i, : :l
;

It Was 20 Iears Ago Today

by Andi Ostrowe

The Punk Rock scene in New York was in full force by the mid-seventies. Those that laid the foun-
dation of that music were the Velvet Underground, the New York Dolls, Detroit's MC5, and the Stooges.
Emergent with the music was the art, literature, attitudes, and fashion of the New Wave (as it was called).
Just as important as those things were the places people played. Entrepreneur Mickey Ruskin started Max,s
Kansas City. Hilly Cristal was convinced by local musicians to transform his Country Blue Grass Bar
on
the Bowery into the legendary and still reigning CBGB's. A growing number of clubs gave local New york
bands easy access to play music and go out and mingle. Every night was new wonderment. The scene
was
intact.

A flux of bands began emerging in 1975 around New York City. Lou'Reed (Velvet Underground)
and Patti Smith (who had been reading poetry at St. Mark's Church and performing her series of Rock ,n,
Rimbaud performances at lounges like Reno Sweeny's and Trudy Heller's and was adding music to her
words), have been labeled the innovators of the New Wave. They gave new meaning to the marriage of
poetry and music which, because of a few ripped t-shirts, sneakers, stenciled words and safety pins,
became known as Punk. Individuats from the Dolls, the Velvets, the Stooges, and MC5 originated iheir
own bands and the roster of new bands developed into the Heartbreakers, the Dictators, Sonic's Rendevous
Band, Iggy Pop, Lou Reed, David Johansen, and others. Then came a banage of newer energy like the
Ramones, Blondie, Talking Heads, Television, the Voidoids, Tuff Darts, the Cramps, the Mumps, the Dead
Boys, and many others that populated the scene. While the first wave of New York bands got signed
to
major record labels and left New York to go on tour for months at a time, new bands kept forming. Across
the Atlantic, a powerful British punk scene was dominated by bands tike the Sex Pistols, the Buzzcocks,
the Dammed and the Clash.

The music was like a wall of sound. There wasn't the technology there is today. There weren,t rack
mount effects. MXR, Cry Baby, and Electro-Harrnonix pedals were available and widely used. Echoplex
and Space Echos were bulky but essential. Loud, driving rhythms and three-chord rock were the predomi-
nant elements in punk. The New Wave was about the freedom of expression. It was rock 'no roll getting
back into the hands of the people. It was created by people who came out of an era of big rock
stars like
David Bowie with big stage shows, laser lights, and fancy frills. It signified taking the music back
to the
everyday person who didn't depend on money or fame to express themselves. Look at presley
Elvis and the
musicians who were his contemporaries. They were farm kids. Then there came the corporate music
world
of show businessmen, agents, managers, lawyers, contracts, media people, and obligations.

Every generation needs a form of self-expression. Punk tried to break that barrier of qock stars and
celebrities. No one was unapproachable. The music and ideas were always accessible and ever present.
Performers on the stage were like the people in the audience. Johnny Rotten WAS the kid staring him
in the
face (so to speak). It was the freedom that kept it going. The possibilities seemed limitless. There
were no
restraints on creating art. There was no jealousy. It was about camaraderie. Then the cycle of the
businessman
started to take over again. The current "alternative" or "grunge" rock may be the '90s wave
of freedom.

Certain powerful individuctls reminded people they- could do it too. It was abottt givirtg
room to new' people. The torch is cortstontly changing hancls. You gotta keep pctssing it.
Smith Febrttan- 1995
-Patti

ANDI OSTROWE is the Guitarist with Puryle Rising. She wolkecl with the pati Smith Grogp lg,-6-lgj9.
 The Ramones

The Ramones have been acknowledged as being one of America's greatest punk bands. They took
punk music to a new dimension by combining an intense and repetitive three-chord drone with a brignt,
provocative melody. The Ramones: Joey Ramone (born Jeffrey Hyman-vocals), Johnny Ramone (born
John Cummings-guitar), Dee Dee Ramone (born Douglas Colvin-bass) and Tommy Ramone (born Tom
Erdelyi in Budapest-drums) first played in New York City in 7974. They met in high school and shared
common interests in comic books, surf music, Buddy Holly, and fun. They quickly built a strong follow-
ing in New York with their intense, speedy pop-punk songs and landed a record deal with Sire. They
released their flrst album in 1976 and pressed a total of flve albums in three years.

The Ramones

L.A. Punk Scene

In 1978, The Mask became the popular punk club in Los Angeles where bands such as the GO-
GO-s, X, the Circle Jerks, and the Screamers played. The Mask was a starting ground for up-and-coming
punk bands. Its decor and atmosphere truly represented a violent, anti-social style: broken glass, grffiti,
and holes in the walls. When the club was closed a few years later by the Chamber of Commerce and
the Fire Department, The Whisky A Go Go became the new stomping ground for the punk scene.

The musical style of these punk bands was, for the most part, based on a three-chord rock foun-
dation, incorporating hundreds of chordal variations. Guitar solos, if used at all, were gften brief and
usually played in a rock 'n' roll style. Most of the songs were short and fast, much like the two- or
three-minute songs of the British invasion bands.

#
{tl*
K.
. ,': :.: ;r

re]*
 British punk Scene
Ihe Sex pistols

During the mid-1970s' Great

Britain was suffering from one
since WWrI. This, coupled of its highest unemployment rates
with a.irid;;;;il;':aused a mood of diicontent among the work_
ing class' The youth' especially
sensitive to the blealf outlook,
antisocial' and nonconformist easily urr*iut"d with the pessimistic,
music of the New York underground
from the primrose boy-meets-girl scene that dramaticarly deviated
of popular music. The members
by manager Malcom of the sex pistols, brought together
Mclare-n, were all from poor
working-class areas of London.
Though never
arrested ror criminar acrivities
n:,::?:?"fi[f;f:i"l"f"],1,T* *o r.,na music an appropriate
The sex Pistols played at St'
Martin's college in Nov. 1g75
audience' offended by their forall of 10 minutes before the
crude social realism, pilrJ posing
Sex Pistols continued to play the prugs. as the opening band, The
the college circuit. i;;;"."
usually thrown out before completing
a
ffi#l':"J:lJT:x;j'fr]'T:'T'"J':'fr;::"o;;;;;;1 a signincant ro,owing that
would sn;;"';
In the summer of 1976'the Sex
Pistols were engagld
London after being banned from nlav Tuesday nights at the 100 crub in
almosr every .frU tfi"Sitad!oplayed
had greatly increased and their ir. ;; thi, ti*", their following
fans attended performances
dressed in a create-it-yourserf
shredded clothing garnished fashion
with saferv pins and colored or spiked hair,
;3L#;tr*:and shocking

In october 1976' EMr offered the

sex Pistols
f40,000 to rerease their first single, ..Anarchy
theuK'" In December' they *"'" d-pped in
from the laber following an appearance
family news and tark show in which on a prime-time
trrg so pistols, aggressive
attitude and de
lT#5ffi #;;H-f #T#:#f,:Jf,"TJ*"ii,i.*0so,d55,000d;T:3::;;ffiii'Jl;
In February 1977' GlenMatlock
was replaced by sid vicious,
a small and experimental and in May, virgin Records,
label, released "Godsave trr" then
celebration' Despite the BBC's er""r" at the height ofthe eueen,s Jub,ation
ban on the song and thJad
the British music charts' where press, iu p"irr*iry took
it was sometimes risted as a blank it to the top of
they released their first album, ,pu"". Before the end of the year
"N"u.. Mind the Bu[ocks, Here-,s
and the US. the sex pistols,,, in the uK

The Sex Pistols disbanded in

early 1978 insan Francis:o,
This event' followed by the on the rast stop of an American
stabbing i"l n^orNur"y sprg"n, tour.
shortly thereafter, marked th" Sid vicious, girlfriend, and
,rruu""ling of the punk movement. his overdose

The Sex Pistols became one

of the most recognized punk
not the only band setting new bands of the seventies, but
standards and breakin! oo*, they were
Siouxie and the Banshees, barriers in the UK and the
theBuzzcot r, x-Ruy s;;rC;r*ation uS. The clash.
were successful punk bands X and the Lurkers, among otrr".r,
that devel0ped in England
at the same time.

8
 PUNK CH{]FI]S
Punk Chord Forms And Fragments

Punk chord forms are often in the keys of A and E. Usually the chords are broken into frag-
ments. Fragments are two note dyads, expressed as power chords or 5th chords. 5th chords are made
up of the root and 5th note of the major scale. For instance, in the key of A, A is the root and E is the
5th. The root is the lst note of the major scale, and gives the chord fragment its letter name. The 5th
is the 5th note of a major scale and is played along with the root, giving the chord a strong sound.
The notes A and E played together are called 45. The most commonly used 5th chords in punk
styles are A5, E5, D5, and 85.

o x x o co x x
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E5 E5 E5 E5 E5 E-5
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E(ts)
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xo xxx
A5 A5
+i, _ XO
A5
XX xxx
A5
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frl::r
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A(bs) A0s)
xo xxx xxxx

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ffiil-tl
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D5 D5 D5 D5 D5
xx c xx x xxx L]!a x xx
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Dsus4 Dsus4
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B5 B5 B(bs)
xxx x xx x
LLl l l l/ir
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G5 G5 G G5
xxx x xx XX
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Open Position Chords
G5
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132
ti++t

Open Position Chords

Open Position Chords In E

This example uses two open chord forms of E and A. Open chord forms are played by picking
the open strings with your right hand. Let the open strings ring while fretting the remaining chord
tones with your left hand. The open sffing is usually the root of the chord. This example also contains
a turnaround. A turnaround is a closing phrase based around the five chord (B5) of the scale, resolv-
ing to the one chord (E). The turnaround in this progression begins with the power chord 85. power
chords are made up of the root and the 5th of a major scale. In this example, they are played on the
4th and 5th strings.
't0
 Examile 1
Q

afls Bs

Open Position Chords in D

This example uses three open chords: D5, G and ,{5. The roots of the D5 and ,{5 chords are
played in the bass. The root of a chord is the note that gives the chord its name. The G chord is played
with three open notes: B on the 2nd string, G on the 3rd string and D on the 4th string.

Example 2
D5GD5A5D5GD5A5D5

l't.llt'l|.l|.ll.l.
 Ascending Half-Step Chord Slides
The half step is equal to the movement of one fret up or down the guitar neck. In this exampfu
G#5 slides up one fret to ,{5. To slide, press the strings down, maintaining the pressure with your fu
gers as you move up through the frets, sounding the ascending motion of notes as you slide into th
next chord.

Example 3
Gil5 A5 G#s As G#s As cfs es cfis Ds cfls o-;

c#s Ds cfls ns cfls a.s cfs As Gfs As c#s As

Ascending Whole-Step Chord Slides

In this example, G5 slides up two frets (one whole step) to ,\5.
Example 4
G5 A5 G5 A5 G5 A5 G5 A5 C5 D5 C5 D5

G5 A5 G5 A5 G5 A5

12
 Descending Chromatic Power Chords

Example 5
A5 cfls G5 F:-i

r'#s G5

Power Chord Eighth-Note Rhythm

Example 6

lfW$urrnur,an's CBGB's was one of the first clubs to allow punk to be performed. Bands to emerge
from the New York streets and into the punk scene were: the Cramps, patti Smith, Television,
Richard Hell and the Voidoids, the New York Dolls, the Dictators, Blondie, Tuff Darts, Mumps, and
many more. . .

13
 PUNK Pft{]GftESSI{)NS
E5 to Bbs power Chord progression

The flat 5 chord is often used fbr

a sinister, heavily distorted shock sound
perlect 5th interval (E to B) is trsually followeJ effect. In punk. the
tv ,rr. n", 5th intervai (E to et.1.
EramPte z
$ sb5 Es sbs Frs D(

-iJ++i

E5 ro E(bs)
This rhythm pattern uses a palm mute.
A palm mute effect is
right hand against the strings near the Tr=red by placing tre p4m of your
bridge. pict tne 6,h, il and 4th
down hard against the strings near st irgr;hil. holding yo,rpalm
the bridle- n"r, yo*la- down
chunky sound. hard enough to achieve a muffled,

p rramnte s

i 3r3
p.ir,t.-
- _l PM'- -- -r
-V F,rV- P'M -- -- -r

A5 to 85 to E5
) erampte 9

a--r
-t---
a .r_
-:-
 PUNK RHt'IHMS
Punk Beat 1

Example 10
E5 A5

Punk Beat 2
Example LL
E5 F5 E5 F5 E5 F5

3 'v'
r.r tit Fl - l- l.'! -l F V-

E5 F5 E5 F5 E5 F5 E5 F5

Punk Beat 3
This example uses a tie on the upbeat of the Zndbeat,leaving the 3rd beat unaccented.

eru* pre t2
@

Snrtrn punk bands began in London and Manchester. Some of them were: X-Ray Spex, Siouxie
and the Banshees, Generation X,ggg, Sham 69, the Lurkers, Alternative TY the Sex Pistols, the
Clash, theBuzzcocks and more. . .

15
Punk Beat 4
This riff uses a hammer-on effect. The hammer-on effect is sounded by picking one note and
then letting your left hand quickly press onto the next note without picking. In this riff, hammer-on
from the Ffion the 6th string, Znd,fret, to the G on the 6th string, 3rd fret.

@ "*u-ple 13

i'-z

Punk Beat 5
This riff is similar to punk beat 3. It differs by using power chords and eighth notes on the 3rd
and 4th beats.

Example 14
C5

Ties Across Bars

Ties connect notes together in time. Two eighth notes tied together equal one quarter note
(
tl-) = J ). Ttre following 45 and E5 power chords use a tie on the upbeat of beat 4. In the 1st mea-
sure, the 1st beat is accented and in the second measure the lst beat is not accented.

Example 15
A5
Syncopated Rhythm
This example uses syncopated rhythm. Power chords are struck on the upbeat of each beat (1 &
2 & 3 & 4 &), the downbeats are eighth note rests. The rest is a moment in time where the guitar does
not play.

Example 16
A5 D5

Modern Day Rhythms

Example 17
E5 85 D5 C5 E5 85 D5

E5 B5 D5 C5 G5 C5

.r.lv Vr.t-nvVl.,]
 S{]L{] SCALES
The following scales may be used as solos for several chord progressions. For example, A minor
pentatonic may be used against an ,A.5 power chord. Try rearranging the notes in these scales to create
your own solos.

A Minor Pentatonic-Background chords: A5 or A minor

r*u*ple 18
@

E Minor Pentatonic-Background chords: E5 or E minor

Example 19

CT
$r unk arrived in San Francisco, California about 1979. Some of the bands were: the Avengers,
the Nuns, the Mutants, the Dead Kennedys and Black Flag.

18
 Ff Minor Pentatonic-Background chords: Fils or Fi minor

20
Qn*u^pte

A Major Pentatonic-Background chords: A major or AS

Example 21

Most punk solos are based on pentatonic rock 'n' roll riffs.
The A minor pentatonic scale (A, C,
D, E, G) and the E minor pentatonic scale (E, G, A, B,
D) are the most widely used.

)
W'""nDay, a Berkeley, California based punk/alternative rock
band has sold over two million
copies of their debut disc, Dookie.
. Guitarist: Billie Joe Armstrong
. Bassist: Mike Dirnt
. Drummer: Tre, Cool

19
 S{]L{] TEC Utl NIOUES
Unison Bends
To play a unison bend, place the lst finger of your left hand on the 2nd string, 10th fret note A.
Then bend the 3rd string, l}th fret note G up till the string reaches the note A, one whole step above.
The whole step is equal to the sound of moving two frets up or down on the guitar neck. In this exam-
ple, bending the string up is the equivalent of moving two frets up. For an added effect, vibrato the
bent A note held with your 3rd finger.

Example 22
A Note E Note
n3
d-' L 4 4 4 1!=
1

Rock'N' Roll Solo With Half-Step Bends

This rock 'n'ro11 solo uses a bend on the 3rd string and a drad (tu'o notes played at the same
time) on the 1st and 2nd strin-es. To bend. place rour 3rd fin-ser on the 3rd string, Tth fret note D and
push up about a quarter of an inch: the D becomes D7. Then bar r,our 1st fin-eer across the 5th
fret, 1st
string A and 5th fret. 2nd strin-s E. P1a5' these tu'o notes at the same time. Thts t1,pe of lick was popuiar
in many of Chuck Berry's solos.

Example 23

20
 @

Punk 4ths
The 4th has a floating, outer space feel to it, as well as a sharp rock 'n' roll solo sound.
The 4th
sound is created by playing the root of a scale and the 4th degree of the scale at the same
tirne, or in
sequence.InthekeyofDmajor,the4thisG: l Z 3 4 5 6 7 g
DEF#GABC#D
Root 4th
Example 24
8va----------

r.*u ple 25
Q

March 2, 1944
Lou Reed is born in Free

21
 Rock'N' Roll 4ths
Example 26

Jumping 4ths

December 31, 1946

Patti Smith is born in Chica

22
 PUNK ST't'LES
Punk Surf
Surf sounds have been used by Dick Dale, the Ventures, the Beach Boys and many others. This
riff combines a punk hammer-on technique with the E phrygian major scale. The E Phrygian major
scale is made up of the notes E, F, G#, A, B, C, D or Dfi and E. In measure 3, the high notes E (12th
fret), F (13th fret), and G# (16th fret) each pull off to the lst string, open. In measure 5, a natural har-
monic is played where the 24th fret would be located. Natural harmonics are played by lightly touch-
ing the strings directly over the frets across the bar.

In this example, hold the F# on the 6th string, Znd fret with the lst finger of your left hand. Pick
the 6th string and let your left hand2nd flnger hammer onto the G note, 6th string, 3rd fret.

0 Grr.
'Example 27
E Minor
1
l Riff A End Riff A

E Phrygian Major
Gtr. 1: w/ Riff A, 2 times, simile

NVEV Harm.

Gtr. 1

-I-r
o

23
 Reggae rhythms are found in many punk songs'

a chord or note played louder, or more staccato (') than the surround-
The accent (>) represents
palm is used to dampen the strings,
ing notes. The note lengihs are often shortened and the right hand
producing a chunkY sound effect.

Example 28
C "C1 .F

llYv-vnvv
P.M.

+ (. ) = stacatto (play notes briefly with sharp pick attack)

Punk Reggae Variation

Example 29

.! \
P.M.

Punk Rock'n' Roll

Example 30
A

1978
patti Smith,s hit single "BecaLtse The Night," went national.The songwas co-authored b)'Bt'ttc€ SJ)tt||'!i:"'

24
 Punk Bass Line

ThisexampleusesastandardI-IV-Vbluespattern(A=I,D=fVandE=\Dalongwithalg50s
style bass line. Power chords are added in measure 9 to give this ending a strong feel.

Example 31
A

1979
Tlte Dead Kermedt's release their debut album. Fresh Frtit and Roten Yesetctbles.
 fl-t2211

26
 Mystical Cult punk
Mystical, or cult punk sounds are often slou, and tribal.
The music uses 5ths, octaves, phrygian
and harmonic minor modes. The vocal parts are usuaily
chanted an octave higher than your normal
voice register' The vocal pitches are sometimes processed
through an octave harmonizer for an eerie
effect.

Example 32
Slowly

1979
B
e c,ltarts.
 COMPLETE SONGS

The Go-Gos

Pop Punk
This example begins with a half-step power chord slide from Dfl5 to E5. The verse melody uses
notes from the E major scale (E, F#, G#, A, B, Cfi, D#, E) followed by a relative Cfl minor chord sec-
tion descending to G#5, then ascending to ,A'5, 85 and back to E5. The bridge section uses a unique
power pop punk staccato effect using an eighth note () albrnating with an eighth-note rest (7) in
sequence.

r*u-ple
$ 33

Fast p{s ss o#s ps rfs Bs

(bass) {

Copyright O 1995 Tapella

28
o#s ps
T",ro, ,,

cfs es
-VFV

-.-_\

o '----

Dfl5 E5

D#s Es ofls Ps D#s Es Dfis Es

FrV

'
To Coda
lfis es tils a,s D*s Es

I + + + J
ii'-i- -
 n#s Bs

nfs ns ofis Bs o#s ps oils Bs pfs ns

 ofs ss o#s es n$s ss D

$ coaon#s Bs
ofs Bs n#s Bs

ofis ss o#s ss ofs Bs o#s Bs ofs Bs

o#s Es D#s Es ofs Es

32
Rock Punk

This example begins with an introductory rock 'n' roll bass line in the key of G. The verse sec-
tion that follows takes advantage of power chords and half-step slides (Fil to G = one half step). The
verse uses a standard rock 'n' ro11blues progression (I, IV I, IV I, V ry I). Half steps precede each G,
C,0 and D power chord. Next, the chorus section is signified by power chords played in quarter notes
with a stop feel, followed by eighth notes. The entire introduction, verse and chorus is repeated. The
second ending begins by modulating (changing keys) the tune to the key of A, up one whole step
through the E5 power chord.

The E5 power chord acts as a V(5) chord to the I(1) chord A. Raising the tune one whole step is
cofirmon in hit commercial songs as well as in punk music. This flnal section repeats the rock 'n' roll
bass line, moves into half-step power chords and ends with quarter notes in the chorus section.

The Dead Kennedys

33
Example 34
Fast
G5 G

1-- -- -J iJ -T

iI V N V E VN V

pfs cs r'#s cs r'#s cs

-- -j/'a
1.- iJ

Copyright @ 1995 Tapella

r'#s cs

cils ps c#s os

rils cs rils cs

C5 G5 C5 G5 C5 C5 G5 C5 G5 C5

Ir.
C5 G5 C5 G5 C5 C5 G5 C5 G5C5I D5
 11 4411
l.l v EV

cfs as cfs as cils es cils es

\J fr ian -C -j iO
'-J 'J
I'!EV

c#s Ds c#s os c#s os ci5 D,i

 cils as cfs As cfls A5

D5 A5 D5 A5 D5 D5 A5 D5 A5 D5

l''l l'l

A5 D5 D5 45 D5 45 D5
 GUITAft N0IATt 0N LE t: Er\u
Guitar Music can be notated three different ways:
on a musicar staff, in tabrature, and n ,.r,r1- _i:_i-.-:

RHYTHM STASHES are written above the

staff. Strum chords in the rhythm indicated,
Use_the chord diagrams found at the top of
the first page of the transcription l0r the
appropriate chord voicings. Round / /-/
noteheads indicate single notes.

THE MUSICAL STAFF shows pitches and

rhythms and is divided by bar lines into
measures. Pitches are named after the first
seven letters of the alphabet.

TABLATURE graphically represents the

guitar fingerboard. Each horizontal line
represents a a string, and each number
represents a fret.
4th string, 2nd fret lst & 2nd strings open D chord
open, played together

DEFINI TIONS F{)ft SPECIAL GUIIAft N(]IAII{]II

HALF-STEP BEND: Strike the note and bend
up 1/2 step.
wHoLE-srEP BEND: strike the note and GRACE NoTE BEND: strike the note and
bend up one step bend up as lndicated. rne tirst noie ooei
sLtGHT (M|CR0T0NE) BEilD
note and bend up 1/4 step.
not take up any time.

BEND AND RETEASE: Strike the note and

PRE-BEND: Bend the note as indicated.
bend up as indicated, then release back t0 PBE.BEND AND RELEASE: Bend the note
then strike it. UNIS0N BEND: Strike rhe ir,: ^:.
as indicated. Strike it and release the bend
the original note. Only the first note is
struck. back to the original note.
simultaneously and bend th: :
-
to the pitch o{ the htgher.

VIBRAT0: The string is vibrated by rapidly

WIDE VIBRATo: The pitch is varied to
bending and releasing the note wiih the
greater degree by vibrating with the
fretting hand.
hand.
a HAMMEH-ON: Strike the first (tower) note
PULL-oFF: Ptace both fingers :- :
fretting with one finger, then sound the higher note
to be soundBd. Stflke the fir.st -::=
(on the same string) wjth another-finger
by without picking, pull the finq::.-
fretting it without pjcking. the second (lower) note.

IEGATo SLIDE: Strike the first note and

SHIFT SIIDE: Same as legato sfide. except
TBILL: Very rapjdly alternate between the
then slide the same fret-hand finger up or
the second note ls struck.
notes indtcaled by cortrn:ousr1 harmenng
TAPPING: Hammer (i
down to the second note. The seiond note indicated with the pick
is not struck. on and pulling off.
middle finger and pull
by the fret hand.
 HARP HARMONIC: The note is fretted normally PICK SCRAPE: The edge of the c('s
p
\lT,iRAL .-: "i:" PINCH HARMoNIC: The note ls fretted -;
' .'-- '':-"'.': j-:.-i:-..
HARI'10NlC pr0dt:
::-:-:s :ra norma ly and a harmonic is produced by and a harmonic is produced by gently resting the rubbed down (or up) the string
:-. -. , :,: . ,.=- ". ":: -C Caigd addlng the edge oJ the thumb or the tip ol pick hand's index {inger directly above the a scratchy sound

the rndex iinger of the pick hand to the indicated rret (in parentheses) while the pick
normal pick attack. hand's thumb or pick assists by plucking the
appropriate slring.

RAKE: Drag the pick across the strings TREMoL0 PICKING: The note is picked as
I"lUFFLED STRINGS: A percussive sound is PALM MUIING: The note is partially muted
indicated with a single motion. rapidly and continuously as possible.
'-::-,ec by laying the Jret hand across the by the pick hand lightly touching the
.'- - s \!ithout depressing, and striking
I string(s) just before the bridge.
:-.- .. :h the pick hand.

E
ts_-
--
VIBRATO SAR SC00P: DePress the bar lust VIBBATo BAR DIP: Strike the note and then
ARPEGGIATE: Play the notes of the chord VIBRAT0 BAR DIVE AND RETURN: The
-r pitch of the note or chord is dropped a before striking the note, then quickly immediately drop a specified number 0f
cated by quickly r0lling them from
reiease the bar. steps, then release back to the original
:3:tom t0 t0p. specified number o{ steps (in rhythm) then
pitch.
returned to the original Pitch.
-U2 -112 -112
VVV

At]t] IT IONAL MUS I CAL DEFI N II I (]NS

a
ll
(accent) . Accentuate note (play it louder) Rhy. Fig. Label used to recall a recurring
accompaniment pattern (usually chordal).

a
(accent) . Accentuate note with great intensity Ritf Label used to recall composed, melodic
lines (usually single notes) which recur.

a
ll
(staccato) . Play the note short Fiil Label used to identily a brief melodic
figure which is to be inserted into the
arrange ment.

. Downstroke Rhy. Fill A chordal version o'f a Fiil.

. lnstrument is silent (droPs out),

' UPstroke tacet

D.S. al Coda Go back to the sign ( ff ), then play until

. Repeat measures between signs.

the measure marked "Ia Coda," then skip

to the section labelled "Coda."
.
D.S. al Fine Go back to the beoinning of the song and
play until the measure marked "F,r,e" (end),
tilD. When a repeated section has different
endings, play the iirst ending only the first
time and the second ending only the
second time.

NOTE: Tablaiure numbers in parentheses mean:

1. The note is being sustained over a system (note in standard notation is tied), or
2. The note is sustiined, but a new articulation (such as a hammer-on, pull-off, slide or vibrato begins, or
parentheses).
3" The note is a barely audible "ghost" note (note in standard notati0n is also in

39
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John Thpella' guitarist' transcriber
and author, has transcribed over
artists as stevie Ray vaughan,Eric 20 note-for-note books for such
clapton, yngwie tvtut*rt""n, Rush,
others' He has also authored Bryan Adams, and many
many best-selling
well as a creative series of how to -rri" irrt*"tion;;;il;;tJ"'. guit*, metal guitar, as
play crassical masterpieces on
electric guitar.
Look for these books at your local
music store:

Challenge the Masters

HL006601 44 Boolc/Cassette
HL00660145 BookrCD
More Challenge the Masters
HL00699391 Book /Cassetre
HL00699392 Book/CD
The Sound and Feel of Blues
Guitar
HL00000092 Book/CD
Guitar Styles of the British Invasion
HL00695021 Book/CD
The Punk Guitar Method
HL00695035 Book/CD
Classic Rock Guitar Styles
HL00695042 Book/CD

40
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