coo a JAM with Includes superb quality, live Tre LD ed CUT BTC 1D note for note transcriptions to OL CEE / CAL) Pen en Ded aCe) era ( Pea Ts Te arpa) Professional Guitar WorkshopsCONTENTS INTRODUCTION 4 PERFORMANCE NOTES 5 TABLATURE EXPLANATION 8 SMOKE ON THE WATER 9 Biack NiGHT 14 Highway STAR 20 SPACE TRUCKIN' 30 STRANGE KinD Or WomAN 39 Lazy 47 Since You've BEEN GONE 62 | SURRENDER 69 ON THE CD The CD is split into two sections; section 1 (tracks 1-8) is the backing tracks minus lead guitar & vocals, while section 2 (tracks 9-16) is the backing tracks with all guitar parts added, so in addition to the written tab you can hear the rhythm, fils and solos as they should be played! Music arranged & produced by Stuart Bull and Steve Finch. Recorded at the TOTAL ACCURACY SOUNDHOUSE, Romford, England. Stuart Bull: guitar (tracks 9-13816) & drums, Richard Barrett: guitar (tracks 14815), Mick Ash: bass, Pete Adams: keyboards. Music engraving: Chris Francis First Edition 1997 © 1997 International Music Publications Limited Southend Road, Woodford Green, Essex IG8 8HN, England Reproducing this music in any form is illegal and forbidden by the Copyright, Designs and Patents Act 1988 Professional Guitar WorkshopsIntroduction The TOTAL ACCURACY ‘JAM WITH...’ series, is a powerful learning tool that will help you extend your stockpile of licks and fills and develop your improvisational skills. The combination of musical notation and guitar tablature in the book together with backing tracks on the CD gives you the opportunity to learn each track note for note and then jam with a professional session band. The track listing reflects some of Ritchie Blackmore's most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to. The first eight tracks on the CD are full length backing tracks recorded minus lead guitar. The remaining tracks feature the backing tracks with the lead guitar parts added. Although many of you will have all the original tracks in your own collection, we have provided them in the package for your reference. The ‘JAM WITH...’ series allows you to accurately recreate the original, or to use the transcriptions in this book in conjunction with the backing tracks as a basis for your own improvisation. For your benefit we have put definite endings on the backing tracks, rather than fading these out as is the case on some of the original recordings. The accompanying transcriptions correspond to our versions. Remember, experimenting with your own ideas is equally important for developing your own style; most important of all however is that you enjoy JAM with RITCHIE BLACKMORE and HAVE FUN! Ritchie Blackmore has written, amongst many other classic pieces, arguably the most recognisable guitar riff of all time. The first seven notes to Smoke On The Water are probably known by everybody in the western world between the ages of 15 and 50! For over three decades Ritchie has impressed and dazzled us with his anthemic songs. Born on April 14th 1945 in Weston-Super-Mare, Ritchie took up the guitar at the age of thirteen under the guidance of ‘Big’ Jim Sullivan. His first band of note was Screaming Lord Sutch And His Savages, but a few months later he switched to Joe Meek’s Outlaws, which at that time also featured a young Jimmy Page, and toured the UK behind Jerry Lee Lewis, Gene Vincent and Chuck Berry. After forging an erratic path through several bands, Ritchie moved to Hamburg in 1967, but the following year was invited back to London by organist Jon Lord to join the embryonic Deep Purple (almost called Concrete God). After some initial line-up changes, something they were to get used to, Deep Purple recorded their first album, Shades Of Deep Purple, in a single eighteen hour session with Rod Evans (vocals), Jon Lord (keyboards), Nick Simper (bass), lan Paice (drums) and of course Ritchie Blackmore. From this the single Hush, recently a hit for Kula Shaker, was released. In the U.S. the single hit No. 3 and the album No. 24, but both failed to chart in England. In 1969 Rod Evans and Nick Simper both quit and lan Gillan joined with Roger Glover to make the now classic Deep Purple line-up. Although initially envisaged as an English version of Vanilla Fudge, Deep Purple soon became one of the leading exponents of "70s heavy rock, with Ritchie's thunderous riffs and neo-classical melodies being a large part of their huge attraction. Together they recorded seven albums from 1969 to 1973 including Deep Purple In Rock which reached No. 4 during a 68 week stay in the charts and Fireball which topped the U.K. charts for one week. It was while recording for the following album, Machine Head at the Montreux Casino in Switzerland, that the place bumt down during a set by Frank Zappa's Mothers Of Invention and influenced the band to write Smoke On The Water, which later gave the band their only gold disc for a single. Ritchie stayed with Deep Purple until 1975 when due to disappointment at their just finished album Stormbringer and the band’s move to a funkier sound, he quit. He joined forces withDeep Purples! then tour support band, Ef, and brought with him a name change to Ritchie Blackmores’ Rainbow. With a shortening to the name Rainbow and 18 personnel changes in 9 years, they released as many albums with the notably successful singles being Since You've Been Gone and | Surrender. In March 1984, both Ritchie and Roger Glover, who joined Rainbow in 1979, were invited to re- join the classic Deep Purple line-up amid rumours that each member was offered $2 million to do so, Rainbow completed their final tour of Japan and in November, Deep Purple began a world tour and released the album Perfect Strangers. Ritchie is now back with Rainbow and a new line-up. Their latest album Stranger In Us Allis the band's thirteenth recording. Ritchie Blackmore has had a tumultuous career with two of the world’s biggest rock bands, but has never failed in enforcing his prowess as an undisputed guitar hero. Performance Notes Smoke On The Water This is perhaps the most famous Deep Purple riff, though very atypical in that it is played with the fingers or a pick/fingers combination exclusively on the G and D strings. The verse is a repetitive muted pattern based around G and F power chords. The chorus modulates to C, then G sharp power chords, returning to G for a repeat of the intro rif. The solo is taken from the G minor pentatonic scale (G,Bb,C,D,F) using lots of pre-bends and self imitation in the phrasing. The overall feel is surprisingly mellow, given the context of the rest of the track, but this only makes it stand out more. This track was played on a Fender Stratocaster through Marshall amplifiers, possibly through a rotating ‘Leslie’ speaker or similar effect. Black Night Played to a jazzy ‘swing’ rhythm, this song shows the gutiar, bass and drums working very closely together, with the Hammond organ considerably thickening the sound. The riff itself is based around the E minor pentatonic scale (E,G,A,B,D). The bridge uses the same sort of pattern, though adding an F# to the scale, just before the modulation to the A and G power chords. There are lead guitar fills at this point every time this section repeats, using the E blues scale (E,G, A,Bb,B,D). Heavy vibrato is often added with the tremelo arm, testing the limits of the standard ‘vintage’ vibrato system. Both solos are played using the same scales as the fills, though using positions all over the fretboard and even heavier vibrato from the tremelo! This track was played on a Fender Stratocaster, using Marshall amplifiers. Highway Star This track begins with a series of ringing open power chords leading to a chunky rhythm, played ‘ona muted G power chord. The verse is based around this idea, interrupted by C and Bb power chord accents. It modulates to D, then A and back to the original key, after a repeat of the C and Bb accents. The solo work on this track has a very 'worked out! sound, often harmonised or double-tracked, showing much of the classical influence that is Blackmore's trademark. The scales used are the D minor pentatonic (D,F,G,A,C), and the A minor scale (A,B,C,D,E,F,G,A). The faster picked phrases are played horizontally up the B and top E strings, moving up in a modal style, three