MORE TRANSCRIPTIO! r\ Orv aT AN oe ede a ee wl 3 a TT aaaRUSH ¢ ALEX LIFESON & GEDDY LEE SHOW DON’T TEL A fourth is a fourth, of course, of course—Lifeson uses fifth-century B.C. chords to create 21st-century sounds. Most chords are built in thirds Ee ee You can generate all kinds of (Fig.1). But nearly all the harmo- quartal chords by stacking consec- ny in "Show Don't Tell” is based on a more unusual chord which is neither major nor minor but is constructed in fourths. Say hello to a quartal chord (Fig.2) Quartal chords have their roots in ancient Greece and. have been used more recently by such greats as Arnie ‘Schoenberg, McCoy Tyner and Maley Crite ("Dr. Feelgo- od”) Like a major chord, a quartal chord can be inverted twice before it repeats (Fig.3). Alex Lifeson employs all these voicings to create a sort of floating, open sound. Quartals often suggest sus, Tousd, min7(addl]) or sus? sounds to our Sré¢based ears (Fig.4). Their ambiguity is mysterious, Fig.5 utive fourths above or below any given root note (Fig.5). Figure 6 shows several quartallyderived chord voicings found throughout “Show Don’t Tell” All exclude open strings and are thus easily transposed, The quartal concept is also evident in the mystical chord progression during the verse sections (Fig.7). The first three chords (Amin?, Dadd and G5) progress up in fourths, whereas the last three (F5, C5 and G5) retrogress (move backwards) in fourths The preceding stuff should permit you to physically produce some of those great QuartaL ifesonRushophonic ‘chords, Now what'll ya do with them? —Mark Mitchell Fig. 2-cquaat or ce i == . = Fig 4 Com Teush_ Clases} ig 6 ee eee idee) "ER ee | fezces| EBRE ee eee "el ee | 43RUSH * Show Don’t Tell BGT te Daas os 1s From the ANlonic recording PRESTO SHOW DON’T TELL ‘Words by NEIL PEART ‘Music by GEDDY LEE ond ALEX LIFESON ‘Guitor Transcription by Mark Mitchell nTads Bavk Ant O'R AT ares gaat @nTIA. An OIA ANT 3 A Anfgst rik An DAANT nas 44Whe can you believe Ws hard to ply sale ant 15 But ape from 2 few good tends we dont take anything on ‘ath ‘ant Daas Waist Fue ‘Cai suse oO nt ater Aad AnTadse BavA An? DIA An? ra ‘Show don't tat ‘Aoi 7&. An? 01 A? o ‘Show me dont tl me, you figured out the score Show me ont tel me, Ive ag 2 ComRUSH * Show Don’t Tell head tall betore Show me dont tel me | dont care what you say Show me dont tel me Ian = You can twist perception, reatty wont budge baw ase ws ss Fousd 5 6 8 i] TEL You can rte objections 1 wont be the judge andthe uy 7 asst Asi Fou c Gaus TL give hue rection. Watching trom the fence ant ast os 15 Foust cs 6 rae Fe c couAout oie Amiatde BA An? OIA An Show dont tt out Amtadét Emi An OVA An? [5] _snowie dont tall me, (Hey order in the court) Show me don't tl me, (Let's try to kee it short) Show me dont tel me Enough of your den) Show Deutz couse Thon POH Oma rly disguised by a passing Fsus2 chord which for a moment sounds ike the target chord. Ako noe how the second resolution is intensified by the desing dated Sigh noice Contrasting this modal madness isa downtoearth dia tonic pasaige in D major beginning at leter D (Fig). Notice the entchy bass ine melody, supported fom above ty vlling arpeguion "This wong ako features onc ofthe band’s most memo- rable insinimental workouts beginning a letter |. Lifewon Stretches out here with relentless steants of rapid-fire Staccato phrases over a driving, uptempo 12/8 groove. ‘Work these lines out slowly, using # metronome for acc racy. Beginning in measure 108 (Fig) Lifeson plays & series of nasty squats (pinch harmonies), bending them Slightly for that crowlike effec. The approximate sav ing locaton are notated in nie print below each Hote to telpyou find the correct harmonics —Mark Mitchell Brinadle) BmahbS Oma Doves Oma sce BB 5 55From the Mercury Polygram recording PERMANENT WAVES. FREEWILL Words by NEIL PEART ‘Music by GEDDY LEE and ALEX LIFESON ‘Guitar eansctiption by Mork Mitchell a= ; eS EIS aaa aed 2 not — Fri Gnsj Crain) ra) Gra) Fra Gj ee, 2 HB e # Thee arthoe who tink tate has no-go can, host lyre Fa, Go) Fmsj nay Gna, 5 To direct our aimloss dance n B a 3 pts Planet of_—_paythings- we dance on sang =o powers we Brintadie) ——BhmaihSs Fee ma Gig Erina68) cannot prrceive the stars sent aligned or the gods are ma Oewet naj Brnvatee Bomaes Fuso © copyright 1980, 990 CORE MUSIC PUBLISHING Tirfughe Rwreed” Used by Permsion 56ign ame is —_beter fo gve than ceive rai Branvacse Boas ma suet Da [B) Youcan choose andy ute in same cesta oie ‘you ree nat 9 dee you sl have mate choice be OSCh AS 8S ESOnA EAS o OScH «BS «ASG DFR AS a 3 3 § ‘You choose trom phantom feateand Kindness that an kil wil choose 2 path tats clear bs osce BS ES OnajF# AS bs psi 85 as a 1 wt eros tee wit EY na Drak Oho ne a Fr Gmaj naj na) Gna Fn raj Gray Fa) Gra) Ga) Gna) Fa ‘There are those who thik hat they've Been dealt 2 losing hand, the Fai maj Fal ona amg NC ad *RUSH Freewill ‘57 Cards ae stacked against them They were bom inated “23 at preordsined | pisoner inching 2 viet of wenomous ea Bias) Shah Faso a aj Bea habs = Fate Wicked inthe foce you ean pray for piace io Dn exes naj Enin Bind Boas Fue ‘ng 6 Heaven's snearthy estate Brunia) eras ‘ma Oss ma [B] vou can choose » ready guide in some celestial voice 1 you choose not to decide you sillhave made a choice 9 BS 5 Dray AS Ds Osch BB AS a) Da AS You can choose from phantom fears and Nndess that can 7 sce as 85 erat AS 58| wil choose 2 path thats clear I wil choose fee wil 0s sce AS maj OmayA NC. 105 2% (2) (8 Eee ti net 59RUSH ° Freewil “ s2fTMOMUSSA, mh Fea Gog Fem my ny rrajoajcna ang Foy om cin ws Brinrad Bhai Fra ona ) 2 RL TT veareness ——_Inperect, end Incomplete sete 47 om Brira68 obras Po Owst Oma) ira)bends wit Uncertain ends on a fortune hunt thats tar to het Bbarss Foust on Bmiviads ma5 Om wo a ) Soma o can choose 2 ready guide in—_some costal guide sce oS 5 DnaiFt AS aust a 149 W you choose moto ecto you silk have made choice Ds sce 85 as naj nai AS 154 ve You can choose trom phantom far and Kindness tht can kal | wil choose a path thats clear a re) 5 OnaiFe as 05 050 AS a ; 2 1 wat croote te Ow na) Ona 164 6From the Mercury/Polygrom recording PERMANENT WAVES a FREEWILL ‘Words by NEIL PEART Music by GEDDY LEE and ALEX UFESON Boss Transcription by Mark Mitchel see * * 6 ti ti FS ot Coprgh 1988, 1990 CORE MUSIC PUBLISHING RUrighe Reserved Used by Permision 62= ——— — SS SS aa atts x ——— — = ° ae f te. ee = 3 rea firey = Tt a + + * fe 2a ote pz eee fat po = = s SoS = = * — =RUSH © Freewill 5 Seo eS = === B= eS % + = = = * a $ 2 —— a 4 SSS — = + — — — — — C7 . PSS ee ee Pa = co he — ot Ke ~, + oer 2 aosRUSH * Freewill 15 es Pay aa = 2 = z 5 et cis | 124 a ere ee SS SS oa 2 z Botte te i Soe SSS - — ee : = = = = * ++ = = 18 —————— — baa - FESS E= —— © 13 —— a I reo aaa ai | = Fe a x ¢ | 66ooo reo [ee oe 7From the Geffo recording SUP OF THE TONGUE FOOL FOR YOUR LOVING Words end Music by DAVID COVERDALE and ADRIAN VANDENBERG Guitar Transcription by Deve Whitehill Verse a6 sgn, fet out In the colt 13 4 os os Ant os os But 1 took atthe heart os 65 ps what I means 2 lose contol os 0s Ant Yonely man who krows 47 at 198, 1990 wR MUSIC CORP. AURighiResered. Used ty Permiaion 7ache nd ured itt shame Now rm a aot os 0s 8 An? 6 Taz == movin, movin’ on and in taking the bare ~ cs oS oS. An? cs os 8 Don't come running fo me 1 know Fve done all can ‘ 2 er hard loving woman the you just_make a hard loving ma, Sol cansay it to you babe bea bev? cons eal for your loving no. more ‘A foot for your loving no mare tm ars se Aa oF ia An care Sorted of trying, | almays end up ering. A foo! for your loving no more bea Tocose 1 En ro ont ‘>‘WHITESNAKE ¢ Fool For Your Loving Verse {ool or your loving no more Tim td of ing Tks You et me lonely too Em 7% Ant toe 8 tang 1 gave my bear and you toe it apart Ooh baby, you done me wrong an? Seanad Ant, ae ‘ant cs os 82 ina, ‘ 08% at Cods code foo! fr your ving 90 more 1 bea fol for your loving no mare . en? 15 A, 4 n05 68) 5 5 7WHITESNAKE © Fool For Your Loving ont % ey Shae So et Sas SsH=see Ss a5 Se z a = Se 1 I SS oy s = - - = 12 1846 + a 7 re ent fear) So Lean sey Ho you, babe, TH be oI sagt! Fg ing 2 SS A falter yout ova no mre *5 3 ie 74‘fool for your loving no mare me Se wy za * = 4 = Fool for your loving no more Fool for your toving no more | 75WHITESNAKE ¢ Fool For Your Loving Fool for yout loving 90 more Fool for your loving no mare wager zete 1 ol for your loving no more Ano as iFrom the Geffen recording SUP OF THE TONGUE FOOL FOR YOUR LOVING Words and Muse by DAVID COVERDALE and ADRIAN VANDENBERG Boss Transcription by Dave Whitehill Sas See 1989, 100 WH MUSIC CORP ARighe Reserved” sey PermisionWHITESNAKE ¢ Fool For Your Loving 33 78a2 os 5555 79WHITESNAKE STEVE VAI CHEAP AN’ NASTY The grandmaster of flash guitar shows there’s no such thing as a cheap trick when it comes to tapping into nasty li This cut showcases ve Vaiss I oles to a osherwine bare power tery of harmonies and tapping techniques. Unlike the hordes of woultbe guitar heroes who abuse these tactics in a desperate attempt to turn heads, Vai is motivated by melody Although easy to execute, natural harmonies present a creative challenge 10 apply effectively. Steve seizes the ‘opporuunity in measure 112 (Fig), adding a splash of Fig. 1 en i 65 sw . chord. In measure 53 (Fig.2) he creates a doorbell effect, outlining an Eadd9 chord with harmonics. Edge-ofine-pick harmonies (aka, squawks, whistlers, or pinch harmonics) are an integral part of Steve's sound, Here he demonstrates how yout can generate different harmonics from the same fyewed note, simply by pinch: ing the stving at different points (the pineh:points are a mirror image of the fretboard harmonic points; the dis ance being measured trom the bridge as opposed to the nut of finger). Vai gencrates a nasty squeal two octaves above the fundamental in measure 5 (Fig.3). In measure 31 he pinches a litle closer t the bridge, producing a nasty squawk two octaves and a major third above the fim damental, In measure 27 (Fig.4) an even higher harmon- ic is obtained (aso ocaves and a perfect fifth above the fundamental) Tapped harmonies are difficult to execute cleanly. espe- Fig. 3 | aly fo vn suid D on ev he 4 Mc sigh the Fig.cially in the heat of baule. Steve effordessly nails three consecutive pairs of them in measures 8 and 9 (Fig.5), To perform this technique, slap the strings at a perpendicular over the indicated frets with your picking hand's idle finger. Edward Van Halen used tapped harmonies intro 10 “Spanish Fly” and for the chordal interlude ance The Night Away ‘One of the most appealing aspects of Vai's solo work is the way he combines standard flash techniques to et new sounds. For example, in measures 64 and 65 (Fig.6) he combines fretboard tapping with sting bending for a run cling effect. Notice how he gradually widens the gap between the tapped and fretted notes. In mea sures 72-75 (Fig.7) he gets real wacky, pumping the wham- my bar while tilling beoseen two notes Measure 76 (Fig.8) features an unusual whammy tech nique known as fluttering. To get the desired effect, pick the note while your vibrato bar is fully depressed, Then, Fig. 745 % AS release the bar, allowing it to fluer like a diving board. This technique requires a free-floating, lowtension vibrato bar system—one that allows you to raise notes as well as lower them. Your bar should be loose, since the rapid ‘oscillation of pitch can only be produced if the bar ean move freely once itis released. Dave Whithitt Fe 8 noe From the Geffen recording SUP OF THE TONGUE CHEAP AN’ NASTY Words and Music by DAVID COVERDALE and ADRIAN VANDENBERG. Guitar Teanscription by Dave White ecerate Roce sy cs fs a ee) a aoe but my heart knows you're one ofa kind 0s os 5 ‘aight All ighs Reserved Coed by PermisionWHITESNAKE © Cheap An’ Nasty Leather a’ ace, an angele, ring on sone Wack ming You'e tulad wit as 0s os No. (Fue) 3 an cree at tae aee = ruse contol My four wheels rock with your back seat roll You'e cheap an’ nasty ‘you want to do is (ove) a5 os as 6s 19 ve itup, give Lup cheap a’ nasty ‘come on and do te ity wth me 1 get so Ass ‘i 6s, 25 05 wes oa AA Hes excited babe when Im ive orien your Hnousine. You dive it evty day dive evry aight 1 Ds 5 1s 0swonder how you keep I s0 clean Smooth secleraior you get_me so loose You 3 05 No. Fr2) te — > = ; + I « é $ ae a = = = = keep your motor ninning "iru ou of juice Your cheap a’ nasty YoU want 10 is give H up, gle Ht up (rz) 7 mm SS 6s suet 05 " eg (cheap an nasty Come onan’ do the ity wth me Gs 6 05 om De 8WHITESNAKE * Cheap An’ Nasty ® us EA DE os (DEAE © ee 5 2 = OAD fs D SAS os Ds as a15 ngonane 6 No) % ee Ccheap_an' nasty a ‘cheap an nasty cheap an nasty heap an nasty Cheap an nasty never knew eould 8sWHITESNAKE ¢ Cheap An’ Nasty ‘heap an’ nasty, cheap an! nasty 87 be this way ever thought Td ever complain But ginme 2 second ust to — ——= — Hers 6 (crea) 2 [A you went to dois giv it vp, vet up Cheap an nasty A you want 0 do Is 9 SO 15 Os KRRSIA PeeEeN ive tu, gle Whup cheap ant rasty Anyouwantto dos a os Gs tw nee ive Wop, ge Mup cheap an’ nasty cme onan’ do the sty wth me dyyeres Come on os aS GS Stem Oe FO SERIE n° do the dry eimon an do the ity mon a’ do the dy wit me Come on ‘n° do the dry with me 115 .* cs bs ewanBONHAM « IAN HATTON WAIT FOR YOU This piece of heavy metal magic is full of tricky passages and chordal mysteries guaranteed to challenge all expectations. This tune is full of surprises—subtle twists and turns that keep you guess- ing and, more importantly, listening. For example, the opening chord. progression (F5-G5-AbS- 'BbS) implies an F Dorian flavor (F-G-Ab-Bb-C-D-Eb), But ‘when the verse kicks in (B section) this ominous riff resolves deceptively up to C major implied by the vocals) as opposed tw the typical C minor resolution (Fig.1). In measure 12 the C major vamp is interrupted with an ‘upbeat kick on BbS. This sets us up fora pleasant deception in Fig) fs as measure 16 where they kick on DbS ead (Fig.2). The next surprise ‘occurs right before the chorus in measure 20 where the rhythm section pivots on a sarcastic F#S chord (Fig. 3) This musical irony isn’t limited to chords. In measure 6$ the ‘whole band momentarily breaks from the groove with a series of staggered triplets (Fig). In measure 68 the band tries to trip us up with a measure in 2/4 time (Fig.5). Finally, noice hhow the quirky ending leaves you waiting (Fig.6). —Chris Amelar as 5BONHAM * Wait For You Fig. 6 xe. From the Epic recording THE DISREGARD OF TIMEKEEPING. WAIT FOR YOU Words and Music by J. BONHAM, |. HATTON, D. MacMASTER, J. SMITHSON ond B. EZRIN, loser to your heat Lot around =e Ws time Tako the tine ve. shown you the 1960 Cs MUSIC, INC, BANGS AND CRASHES MUSIC, ING |ASCAP), EZRIN MUSIC (ASCAP) “A igh administered by CBS MUSIC, INC Insets Copyright eee Al Regs Reserved ‘eed by perme o he bli Cope 88 7Youre ‘oo young fo know what i is ha fet Fs AI that ean do sal for you Just wat for you sien 5) (co ase) © Tocaga BRA nN TAN nan & Full of sorow your eyes ‘Though! know these feelags | gel when your ne ao os | eantghe you ove without fear a1 05, ms You're 60 young 1 dont tow whats keeping ee bere 03% acne 45 cs ASBONHAM © Wait For You cots! % es 6 M5 as ns Bs SBS O5 Bs ne, urn st on 90fa maa aa ws BS 5 mS Neo. 8 $ ag, 28 8a {nano ve cose 1 % ws es oo FP alin sna (Cade) (cast)PINK FLOYD * DAVID GILMOUR TIME Plucking away the notes that make up a cool riff. Back in 1973 when unbes and Echoplexes were considered state lofthe-art technology, Pink Floyd was creating some of the most psychedelic, otherworldly sounds ever recorded. Using stich primitive instruments as the Fender Strato caster, the Rhoads electric piano, the musty old Moog syn- thesizer, acoustic drums andl, of course, the human voice these Brits showed the music world what's possible when raw ereativity is unleashed, Since the long intro section of “Time” isn't very guitar- intensive, I thought it would be cool to include the key board melody in the transcription, What you see in the first 24 measures is a combination of David Gilmour's ‘ominous guitar drones and Richard Wright's surreal clec- trie piano drippings, which appear as a combination of natural and harp harmonics. With enough practice, one could perform this hybrid arrangement on a single guitar as written, IT it seems too overwhelming for you at first try working on just the upper part only, enlisting the aid of a fellow guitarist of a tape recorder to play the lower part, Here are some suggestions for the singleaxe attack, 1, Hold your pick between your lips so you ean geab it in a hurry when the verse kicks in '2 Snap all the low notes with your picking-hand’s index. finger to get that earthshaking attack c your fretting: hand’s pinky to finger the half note measure 10 (Fig.1). This will enable you to sus- tain it while your index finger walks up the low E string (Use the same fingering for the same note in measure 4) 4, Barre your freuing-hand’s index finger across the Fig. 2 or 2nd fret for all the Fémin mea sites, as you will need 10 sustain Tboth the low notes and the harmonies as in measure 15 (Fig2). 5. Make sure you don’t accidentally kill the last harmon: jc in measure 22 (Fig.3) when racing your lefthand down Fig. 3 Ha should be taken in To avoid sudden to the open position. The same ea measure 20 (Fig.4) for the first note, E death, arch your freuing-hand high above the finger bourd, staying clear of the vibrating high E string. Tn case you're not familiar with harp harmonics, Md like to give you a primer, Let’s use the F# minor pentatonic scale in the second position (Fig.5) as an example, since this is where most of the harp harmonics occur in this song, Notice that there are two tab numbers below cach note. The number to the left indicates lefthand frag placement, whereas the number to the right in parenthe- tes indicates where to touch the string with your picking hand's index finger (hereafier referred to as your “harp- ing finger"). Here we go: T Put your fingers in position to play the first note. Your fretting-hand’s index finger should be pushing down on the low E string behind the 2nd fret and your harping finger should be lightly touching that same string dizeetly over the 14th fret. 2. Sound the harp hiarmonic by thumbing the suing, 3. Immediately it the harping finger to permit sustain 1. Play the entire ascending descending pattern in this fashion, altering the position of the fretting and harping fingers for each note as indicated in the tablature ‘One last thing Fd like to mention before moving on + Fig a f }Fig.5 2 Ww * = or the tap harmonic in measure 21 (Fig.6). (See “Cheap An’ Nasty" lesson for more information on tap harmonies.) Fig. 6 , The notes F and G# are sounded by tapping the G and B strings behind the 2ist fret from a perpendicular angle with your picking-hand’s outstretched middle finger. Your Finger should bounce off the strings, Having said enough about the intro, I'd like to briefly an 0 EE ann touch upon some of the finer points ofthis classic produc tion. AS the verse begins at leuier A, notice the delicate interplay between the guitar and electric piano chord rhythms. Gilmour’s heavy, on-the-beat stomping, is com- plemented by Wrights light, syncopated comping. “Alec ter B both instruments downshift to whole- and halfnote thythins, providing a soft bed of blisschords beneath Roger Waters’ airy vocals, Gilmour's passionate lead break is a perfect example of how to build a solo. Notice how he begins in the middle register, snoaning and weeping with slow, sustained bends In measure 49 he soars up into the stratosphere, where he bends and shakes a few select notes. This dramatic tension is released at letter D , where the groove changes to 2 half time feel. Gilmour kicks back here, skating around the rneck with pretty legato slides. Finally, notice how he ends the solo with a pair of growling powerchords, charging up the intensity for the final verse Jimmy Brown ST CASSETTES Tao ee Pee eee ea ie ae Conese (oie centre Lame Leer Siar ey Cicer tania tert) Cheer ry Poorer gas Perm rae anaee ara Sete mcr tiaeriana eat rere eres l oneal ian erties Dee td asserts Ce ora te ro eae ger coneees corer i etary ne CLASSICAL MUSIC IN TABLATURE ! MAD MUSIC PRESENTS FLIGHT OF THE BUMBLE BEE IN TABLATURE! Proton eG Tne nna reer Doma a a any popcurrent) Uae ee nner ricer area Sr Morret nine eeu reek) ren co utters aeFrom the Capital cording DARK SIDE OF THE MOON, 2 TIME ‘Words and Music by ROGER WATERS, NICHOLAS MASON. DAVID GILMOUR and RICK WRIGHT Guitar Transcription by Jimmy Brown Fay 3 Fenn “TRO Copyright 193 HAMPSHIRE HOUSE PUBLISHING CORP, New York. SY TAD Rights Reseed. Used by Perminion 9Era SS i Ficst verse ely yh Month ew iy tran wae eh a dy 2 en oa tact toa nn ‘ane on —_ 1 np ET ya ae = ne : — = + oe = + = | SS > SSS oa soa ea Tenn Ginn Finn Ena SSS ap tht toss + ‘ — - - - = = = aa SS Se (segs on fg your ane on-again hw ue wy gee ~ Famin GprinFfma 95PINK FLOYD ¢ Time Biotin Tin finest sng ao wa han You ate yoga eng andthe te 1 il tay 2 tne 5 asa fa And ten ne day you tnd toners av gan end you Noo eld you when tin YoU mised the_staring on 05 cfnar beat or tan. Salant _— — ee Bsa ay 08 Fh ma ema Fain _ jareaem SF Famin poo 96BRN aA asi 7PINK FLOYD ¢ Time Ena) Fini naj Era aeaid maya DD) second verse ‘And you fun and you runtoesthup wih the su, but is ‘naiD mar en? 5 Fein sinking ‘acing around to come up behind you again ‘Te sum the same in clave way bu youre 66, maj «AB AT Drama) Era Fine an Se in Gtmin Fein Ena)ler ‘Shorter of rest and one dy closer to death nts At hha Finn A S54 aes SS ce = gene + ~ E ae = = | = — ¥ = ow faust Asi st Am) hed Era) Fin + == SSS ———t == <= s/s er ST =aE [El hat et Every yee is geting shor, never seem to find the tne Plans that ler come to naught or hal «page of scribble nes no aso a had pitts = = eo: SS ? = + e ate : ar = — Engin naj Engja : —— = : += = = 7 + : E p= $ = Hanging on. in _quetdesperston is the English way The tie is gone the song is over, though Fé something more to say os Ne. nin Brin maj Emin ge ae n ‘AnaiD tmnt Brin cams anaes) Bin? Fa Erin 1 s AmLYNYRD SKYNYRD | KNOW A LITTLE These Dixie rockers sho’ nuff know a little about swing: ng and playing the blues. By keeping the riffs Swing time is one of the hardest TM Sara I vere (Fie?) simple and crisp. they're able to fill Things 10 capture on paper. Most ‘musicians notate it in 4/4 and instruct you to "play with a owing feel” or use “swing eighths.” I think the best way to rotate swing is in its tue time signature, 12/8. This format is better for two reasons. One, it shows you the exact rhythms used, as opposed to the rounded-ofT approximation you get with 44. ‘Two, it’s simpler, You don't have to write a [ 3 | ‘every time you have triples, which abound in this tune. The following diagram shows a swing rhythm notated three differ. ent ways (Fig.D). ‘As a fhythm section, these fun-loving fretters from Florida show us that it possible to have three guitars ina band with- ‘out sounding like a pack of out-of-tune Harley Davidsons. For instance, notice the economical arrangement of axes during the Fig. 1 ong ooo mo Compas way ‘out the harmonic spectrum without muddying the groove. ‘Another effective arranging technique can be found. at the chorus, where the guitars double up on a tight rockabilly riff for two measures. before splitting off into separate parts ig). Fig. 2| Notice how the opening riff (based on an A6 arpeggio) is embellished with an added "blue note" (B#) (Fig.4). In mea sure 15, chromatics are used to create a falling effect (Fig.S). ‘The guitars of Skynyrd employ a similar technique in measure 21, this time climbing instead of falling (Fig.6). Notice the feeling of tension and release here as this turbulent pattem resolves toa stable chord tone (E). —Dave Whitehill Fig. ¢ BT AT rn? From the MCA recording STREET SURVIVORS 1 KNOW A LITTLE Words nd by TET oan ater enna OF Be hk ae ya ‘EB alas te ia ar 1 anges - “ apr? ~ ot aprp ‘Coprght © 1977 by DUCHESS MUSIC CORPORATION and GET LOOSE MUSIC igh administered by MCA MUSIC PUBLISIUNG, A Divi of MCA In. International Copyright Secured ALMights Reserved Use by Permsion 101LYNYRD SKYNYRD © I Know A Little 3gmomi Gt A No. 8 No. 102vee ager te cy wo the ight hs Sigg te deg, wa the harder the te Pmt Sm toa, race te tae mee BSS Se eae : + $ tH 5 = = + = Sp =o : {dont know where ya! bran fst ight, ut, think, uh, mama you ant doin” ght ney cant — dig what they cant use. |W they’ stick to the surface they'd be much less abused § SY [e]o know ate 1 know a tte sbout oo A 103LYNYRD SKYNYRD * I Know A Little 1 krow a ite 1 know ale about 50 8 s know a title about love, but, baby 1 can guess he rest 34 88 ET > 6 ot a 2. Wel, if sia DB so e1_ Simonse tem ae na 7 oo 7 Peeeae pee So6 nn ge sag a Sr “ie ae ea ice | — 10sLYNYRD SKYNYRD * I Know A Little [El tess rent as tom DE DE = : depres - { seg ma a L 2 [F] Peo soto 400. 08 yn smn a o Wa, uy A e o oo A Nes No aS Verse ‘You woot nied 10 be romance. ‘Sold, listen up, mama, teach ye! all Lean De 2 (r epatg er 1 108‘ight baby, by. your man ‘Don wony mame teach you all can, Sad, (ox tt Hi chons 13 9 nena a a 1 know a ie Lord, 1 know a le about 1 know ite 1 row 2 ule about Wel, 1 know 2 te sbout ive Ne. ss No. 1s Na) 107(Bee ee LYNYRD SKYNYRD KNOW A LITTLE IT DON’T MEAN A THING IF IT AIN’T GOT THAT SWING— THIS WALKING BASS LINE WILL SHOW YOU HOW TO PUT THAT BOOGIE IN YOUR WOOGIE. This is a great example of a well-structured walking bass line. I's simple, yet it swings. Pd like to point out some of the techniques Lynyrd Skynyrd’s Leon Wilkeson uses (0 achieve that smooth, strut ind. As you will see, cre- ating a good walking bass line isn’t that difficult: It's sim- ply a matter of getting from point At point B, and from point B to point C—each “point” being the root of the next chord, Asa general rule, when playing a walking bass line, play the roots on the downbeat of each meastire, “These are ur “target” notes, Wilkeson begins his. stroll right fore the chorus (Fig.1). In measure 22 he approaches cooler when he starts walking again in measure 27. In measure 31 (Fig. 3) he ereates more of a skipping effect Fig. 3 gt as he walks through an E. major arpeggio. Wilkeson vo za o breaks the “root on the downbeat” rule in measure 32 : (gat). (Remember, rules were meant 10 be broken) — Ped Fig. 4 o — —_ SSS fe fe Wilkeson temporarily breaks from the walking pattern re o — = Instead, he plays the third (F#), which works well because it’s such an agreeable chord tone. I air sound, which is effectively co Fig. 5 SS Sa Foes a = ir = be = ie riff an octave lower: This switch over to eighth notes fdds variety to the line and makes it sound all that much, 108 After you get all the notes under your fingers, work on playing with a loose, relaxed swing feel Stew GorenbongFrom the MCA recording STREET SURVIVORS 1 KNOW A LITTLE ‘Words and Music by STEVE GAINES Boss Transcription by Steve Gorenberg Como 7 Duc use conronaioN aa cer yong ste Intmniond apy Seeured Air Resenca Used) PenmanLYNYRD SKYNYRD © I Know A Little 46 TG) crons |96 [E] Lead beak 102 mLYNYRD SKYNYRD * | Know A Little woo oA\ To ha Fc ch FigCHIEF HEARTBREAKER MIKE CAMPBELL TAKES A RARE EXTENDED SOLO AND MAKES IT STICK TO THE RIBS. [aurea va yarunyu aur Fa gate maj Dmaj Emin Daw Celentano From the MCA recording FULL MOON FEVER RUNNIN’ DOWN A DREAM Words and Music by [MIKE CAMPBELL, TOM PETTY and JEFF LYNNE Solo Transcription by Dave Celentano aren tenes © 15 tgn wacom Me Con CATON MUSIC ASK APRIL MUS INC (SCAR) igh taininered by WB MUSIC CORP iy Fermision nsTOM PETTY AND THE HEARTBREAKERS * Runnin’ Down A Dream na — — = ee we ete et eae nin a ‘ ona cc} nalose asad eaten ies ele¢ GEORGE LYNCH PLESS NIGHTS A TWISTED AND HORRIFYING SOLO STRAIGHT FROM MR. SCARY’S MOUTH. George Lynch is noted for his powerful attack and Wicked wbrato. "At the tine of iis 1987 recording he cnet to get his characterise bite by cigging into his OHS Sifings with metal picks which, rumor hax iu were fi ioned from the knives off of one of Freddy Krueger's spare gloves during the recording of “Brean Warriors (lee Trading Licks in the Apri 188 ise of Guitar Nonld for a transcription). The mela picks were phased out Tater because ofthe possibilty of injury when they were rose om set feo meni plified in measures S..7 and 8, Nouce How he combines Erichand shuring techniques Chammenons, pullofs and slides) with righthand tapping. Harmonieally, notice how he combines the £ minor pentatonic scale (CATS D) with the E Mixoldian (ERRGHABCHD) in measure 3 for dramatic effect. In measure 7 Lynch incorporates the E blues scale (E-G-A-A#B-D) via a slurred dip down, to Ad on the B string/IIth fret. In the next measure he plays Bh, the enharmonic equivalent of A#, on the G Siring/ 15th fret in conjunction with a double pullofl ble use of the vibrato bar (see measure 2) and tasty bends are other noteworthy features of this powerful solo. For example, Lynch begins in measure 1 with one OF his favorite ballstep bends, maj6 tip to flat (CH to D in this case), Just before measure 2 he plays another soulful halfstep bend from the augmented second (F##) up to the major third (Gi) for that “blue note” effect. In measure 5 he takes more of a countrvish approach to the same note, bending up 10 it this time from a wholestep below. (George is a big fan of English guitarist Albert Lee of "Country Boy" fame.) Dawe Whitill From the Mercury/Polygram recording BACK FOR THE ATTACK. SLEEPLESS NIGHTS Words and Musi by ‘GEORGE LYNCH, MICK BROWN ond JEFF PILSON, ‘Sole Transcription by Dave Whitehill a ‘A Rights for dhe work exchding Japan administered by WB MUSIC CORP. ‘AittgiwsReseted Used by Fermin ne