Rockschoo: +6 Rockschool Originais

rockschoo

®

JIMI HENDRIX BILLWÍTHERS MUDDYWATERS S A M SMITH BEN E KING ADELE +6 rockschool ORIGINAIS

rockschoo

®

Debut Guitar Performance

pieces, technical f o r Rockschool

exercises a n d i n - d e p t h g u i d a n c e examinations

EXCLUSIVELY DlSTRIBUTED

S

B Y

H A L » L E O N A R D ^

No p a r t of this publication may he reproduced in a n y f o r m or by any m e a n s without the p r i o r written p e r m i s s i o n o f t h e P u b l i s h e r

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Table of Contents Introductions & Information 1 2 3 4

T i t l e Page Acknowledgements Table o f Contents Welcome to Rockschool Debut Guitar

Hit Tunes 5 9 13 17 21 25

Jimi Hendrix Bill Withers Ben E King Adele M u d d y Waters Sam Smith

' I l e y Joe' 'Ain't N o Sunshine' 'Stand By M e ' 'Helio' 'Hoochie Coochie M a n 'Stay W i t h M e '

Rockschool Origináis 29 ' A n o t h e r D i m e ' 33 ' 1 0 1 ' 37 'Beat T h e M e r s e y ' 41 'HeUcopter' 45 'Cashville' 49 'Spike'

Technical Exercises 52

Scales, C h o r d s & R i f f

Supporting Tests 53 54 55

Sight Reading E a r Tests General Musicianship Questions

Additional Information 56 57 58 60 61 62 64

Entering Rockschool Exams M a r l d n g Schemes Introductionto Tone Guitar Notation Explained Mechanical CopyrightInformation Rockschool Popular Music Theory Rockschool Digital Downloads

Welcome to Rockschool Debut Guitar Welcome to Debut Guitar Welcome to the Rockschool 2018 G u i t a r syllabus. This book and the accompanying downloadable audio contain everything y o u n e e d t o p l a y g u i t a r at t h i s g r a d e . I n t h e b o o k y o u w i l l find t h e e x a m s c o r e s i n b o t h s t a n d a r d g u i t a r n o t a t i o n a n d T A B , as w e l l as F a c t F i l e s a n d W a l k t h r o u g h s f o r e a c h s o n g . The downloadable audio includes: • f u l l s t e r e o m i x e s o f 6 R o c k s c h o o l c o m p o s i t i o n s a n d 6 a r r a n g e m e n t s o f classic a n d c o n t e m p o r a r y h i t s • b a c k i n g t r a c k s ( m i n u s t h e assessed g u i t a r p a r t ) • a l l necessary a u d i o f o r t h e c o m p l e t e r a n g e o f s u p p o r t i n g tests Guitar Exams A t each grade y o u have the o p t i o n o f t a k i n g one o f t w o different types o f e x a m i n a t i o n : • G r a d e E x a m : a G r a d e E x a m is a m i x t u r e o f m u s i c p e r f o r m a n c e s , t e c h n i c a l w o r k a n d tests. Y o u p r e p a r e t h r e e p i e c e s ( t w o o f w h i c h m a y be Free C h o i c e Pieces) a n d t h e contents o f the T e c h n i c a l Exercise section. T h i s accounts f o r 7 5 % o f the e x a m m a r k s . T h e o t h e r 2 5 % consists of: a S i g h t R e a d i n g test ( 1 0 % ) , a p a i r o f i n s t r u m e n t specific E a r Tests ( 1 0 % ) , a n d f i n a l l y y o u w i l l b e a s k e d f i v e G e n e r a l M u s i c i a n s h i p Q u e s t i o n s ( 5 % ) . T h e p a s s m a r k is 6 0 % . • P e r f o r m a n c e Certifícate: i n a P e r f o r m a n c e Certifícate y o u p l a y f i v e p i e c e s . U p t o t h r e e o f t h e s e c a n b e F r e e C h o i c e P i e c e s . E a c h s o n g is m a r k e d o u t o f 2 0 a n d t h e p a s s m a r k is 6 0 % . Book Contents T h e b o o k is d i v i d e d i n t o a n u m b e r o f s e c t i o n s : • E x a m P i e c e s : i n t h i s b o o k y o u w i l l f i n d s i x s p e c i a l l y c o m m i s s i o n e d p i e c e s o f D e b u t s t a n d a r d . E a c h o f t h e s e is p r e c e d e d b y a Fact File. E a c h F a c t F i l e c o n t a i n s a s u m m a r y o f t h e s o n g , i n c l u d i n g t h e s t y l e , t e m p o , k e y a n d t e c h n i c a l f e a t u r e s , a l o n g w i t h a list o f t h e m u s i c i a n s w h o p l a y e d o n i t . T h e s o n g i t s e l f is p r i n t e d o n o n e page. I m m e d i a t e l y after each s o n g is a Walkthrough. T h i s c o v e r s t h e s o n g f r o m a p e r f o r m a n c e p e r s p e c t i v e , f o c u s i n g o n t h e t e c h n i c a l i s s u e s y o u w i l l e n c o u n t e r a l o n g t h e w a y . E a c h s o n g c o m e s w i t h a f u l l m i x versión a n d a b a c k i n g t r a c k . B o t h v e r s i o n s h a v e s p o k e n c o u n t - i n s at t h e b e g i n n i n g . Please n o t e t h a t a n y solos p l a y e d o n t h e f u l l m i x v e r s i o n s are i n d i c a t i v e o n l y . • T e c h n i c a l E x e r c i s e s : y o u s h o u l d p r e p a r e t h e e x e r c i s e s set i n t h i s g r a d e i n t h e k e y s i n d i c a t e d . T h e r e is a l s o a R i f f t e s t that s h o u l d be practised a n d played t o the backing track. • S u p p o r t i n g T e s t s a n d G e n e r a l M u s i c i a n s h i p Q u e s t i o n s : i n D e b u t G u i t a r t h e r e a r e t w o s u p p o r t i n g tests c a l l e d S i g h t R e a d i n g a n d E a r T e s t s , p l u s a set o f G e n e r a l M u s i c i a n s h i p Q u e s t i o n s ( G M Q s ) a s k e d a t t h e e n d o f e a c h e x a m . E x a m p l e s o f t h e t y p e s o f tests l i k e l y t o a p p e a r i n t h e e x a m a r e p r i n t e d i n t h i s b o o k . A d d i t i o n a l e x a m p l e s o f b o t h t y p e s o f t e s t a n d t h e G M Q s c a n b e f o u n d i n t h e R o c k s c h o o l Guitar Companion Guide. •A d d i t i o n a l I n f o r m a t i o n : finally, y o u w i l l f i n d i n f o r m a t i o n o n e x a m procedures, m a r k i n g schemes, guitar tone, guitar n o t a t i o n , a n d t h e f u l l n o t a t i o n a n d b a c k i n g t r a c k o f a p i e c e f r o m t h e n e x t g r a d e as a t a s t e r . Audio A u d i o is p r o v i d e d i n t h e f o r m o f b a c k i n g tracks ( m i n u s g u i t a r ) a n d examples ( i n c l u d i n g g u i t a r ) f o r t h e pieces a n d t h e s u p p o r t i n g tests w h e r e a p p l i c a b l e . A u d i o f i l e s a r e s u p p l i e d i n M P 3 f o r m a t t o e n a b l e p l a y b a c k o n a w i d e r a n g e o f c o m p a t i b l e devices. D i g i t a l versions o f the b o o k i n c l u d e a u d i o files i n t h e d o w n l o a d . D o w n l o a d a u d i o f o r h a r d c o p y b o o k s f r o m R S L d i r e c t l y a t www.rslawards.com/downloads — y o u w i l l n e e d t o i n p u t t h i s c o d e w h e n p r o m p t e d : 6 3 D E 2 5 C M F W Syllabus Guide A l l candidates s h o u l d read t h e a c c o m p a n y i n g syllabus g u i d e w h e n u s i n g t h i s grade b o o k . T h i s can be d o w n l o a d e d f r o m t h e R S L w e b s i t e : www.rslawards.com ni

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4

Errata Updates a n d changes t o R o c k s c h o o l b o o k s are d o c u m e n t e d o n l i n e . Candidates s h o u l d check f o r errata p e r i o d i c a l l y w h i l e s t u d y i n g f o r a n y e x a m i n a t i o n . F u r t h e r d e t a i l s c a n b e f o u n d o n t h e R S L w e b s i t e : www.rslawards.com/errata

Acknowledgements Published by Rockschool Ltd. © 2012 & 2018 Catalogue N u m b e r : RSK200042

CONTACTING ROCKSCHOOL www. rslawards. com Telephone: +44 (0)345 460 4747 E m a i l : [email protected]

Syllabus Designer

Recording & Audio Engineering (Hit Tunes 2018 Repertoire)

N i k Preston

Recording Mixing

engineers:

engineer:

O l i Jacobs, Scott Barnett, P a t r i c k P h i l l i p s Samuel Vasanth

Producer

Mastering

N i k Preston

Audio production:

N i k Preston

Audio

A s h Preston, Samuel Vasanth

Syllabus Advisor and Project Management

engineer:

management:

Recording studios:

Samuel Vasanth

Real W o r l d Studios, T h e

Premises

Sharon Kelly

Publishing (Rockschool 2012 Repertoire) Proof reading

F a c t F U e s w r i t t e n b y Joe B e n n e t t , C h a r l i e G r i f f i t h s , S t e p h e n L a w s o n ,

S h a r o n K e l l y , Joño H a r r i s o n , N i k P r e s t o n ( a n d a l l a r r a n g e r s / p e r f o r m e r s )

Simón P i t t , S t u a r t R y a n a n d J a m e s U i n g s W a l k t h r o u g h s written by James Uings

Syllabus Consultants (Hit Tunes 2018 Repertoire)

M u s i c engraving, internal design and layout by

Guitar:

James Betteridge, A n d y G Jones

Simón T r o u p & J e n n i e T r o u p ( D i g i t a l M u s i c A r t )

Bass;

Joe H u b b a r d , D i e g o K o v a d l o f f , Joel M c i v e r

P r o o f reading and copy editing by Chris Bird, Claire Davies,

Drums:

Paul EUiott, Pete Riley

L a w s o n , Simón P i t t a n d J a m e s U i n g s

Stephen

PubUshing administration by Caroline Uings

Arrangers (Hit Tunes 2018 Repertoire)

Additional d r u m proof reading by Miguel Andrews

Guitar:

James Betteridge, A n d y G Jones, M i k e G o o d m a n , V i v L o c k

Bass:

D i e g o K o v a d l o f f , A n d y R o b e r t s o n , Joe

Drums:

Paul EUiott, Stu Roberts, Pete Riley

Hubbard

Publishing (Hit Tunes 2018 Repertoire)

Instrumental Specialists (Rockschool 2012 Repertoire) Guitar:

James Uings

Bass:

Stuart Clayton

Drums:

N o a m Lederman

Fact files b y D i e g o K o v a d l o f f Covers designed by Phil Millard (Rather Nice

design)

Musicians (Rockschool 2012 Repertoire) A n d y C r o m p t o n , C a m i l o Tirado, Cari Sterling, Charlie Griffiths,

Music engraving, internal design and layout by Simón T r o u p & J e n n i e T r o u p ( D i g i t a l M u s i c A r t )

Chris Webster, Dave M a r k s , DJ H a r r y Love, Felipe K a r a m ,

Printed and bound i n the United K i n g d o m by Caligraving Ltd.

Fergus G e r r a n d , H e n r y T h o m a s , Jake Painter, James A r b e n , J a m e s U i n g s , J a s o n B o w l d , Joe B e n n e t t , J o n M u s g r a v e , K i s h o n K h a n ,

Musicians (Hit Tunes 2018 Repertoire)

K i t M o r g a n , L a r r y Garitón, N e e l D h o r a j i w a l a , N i r Z , N o a m L e d e r m a n ,

Guitar:

A n d y G Jones, James Betteridge, M i k e G o o d m a n ,

N o r t o n Y o r k , R i c h a r d P a r d y , R o s s S t a n l e y , Simón T r o u p , S t e v e W a l k e r ,

D a v i d R h o d e s (Peter

Stuart Clayton, Stuart Ryan

Gabriel)

Bass:

N i k P r e s t o n , Joe H u b b a r d , S t u a r t C l a y t o n , A n d y R o b e r t s o n , J o h n l U s l e y (Diré S t r a i t s )

Endorsements (Rockschool 2012 Repertoire)

Drums:

Paul EUiott, Pete Riley, Peter H u n t i n g t o n , Stu Roberts,

N o a m L e d e r m a n ; M a p e x d r u m s , Paiste cymbals, V i c F i r t h Sticks

Billy C o b h a m (Miles Davis, M a h a v i s h n u Orchestra) Vocals:

Kim

Keys:

Joño H a r r i s o n , H a n n a h V ( o n ' R e d B a r ó n ) , A n d y R o b e r t s o n

Chandler

Horns:

T o m W a l s h (tpt), M a r t i n W i l l i a m s (sax), A n d y W o o d ( t r m b )

Recording & Audio Engineering (Rockschool 2012 Repertoire) R e c o r d e d a t T h e F a r m ( F i s h e r Lañe S t u d i o s ) Produced and engineered by N i c k Davis Assistant engineer and Pro Tools operator M a r k Binge

Endorsements (Hit Tunes 2018 Repertoire)

M i x e d a n d m a s t e r e d at L a n g l e i Studios

N i k Preston:

O v e r w a t e r basses, Positive G r i d a m p s

Paul EUiott:

Liberty drums, Istanbul M e h m e t

Stu Roberts:

cymbals,

M a s t e r e d b y D u n c a n Jordán

A C S c u s t o m ear plugs, P r o t e c t i o n R a c k e t cases

Executive producers; James Uings, Jeremy W a r d a n d N o a m L e d e r m a n

Paiste cymbals, Regal T i p d r u m s t i c k s ,

Executive Producers John Simpson, N o r t o n York

I Q

S u p p o r t i n g T e s t s r e c o r d e d b y D u n c a n Jordán a n d K i t M o r g a n

Regal T i p drumsticks, R e m o heads,

Y a m a h a d r u m s , P r o t e c t i o n R a c k e t cases

O

M i x i n g a n d a d d i t i o n a l e d i t i n g b y D u n c a n Jordán

RSL

Awarding the Contemporary Arts

J i m i

SONG

TITLE:

JOE

ALBUM:

RELEASED

LABEL:

POLYDOR

GENRE:

UK

HEY

ROCK

ROBERTS

BY:

BILLY

PRODUCED

BY:

CHAS

PEAK:

BACKGROUND

SUTGLE

BLUES

WRITTEN

CHART

AS

J = 8 2 Rock

CHANDLER

6

INFO

' H e y Joe w a s r e c o r d e d b y T h e J i m i H e n d r i x E x p e r i e n c e a n d r e l e a s e d as a s i n g l e i n D e c e m b e r 1966, r e a c h i n g n o . 6 i n t h e U K Singles chart. T h e single d i d n o t chart i n the U S . I n 1966 J i m i H e n d r i x was p e r f o r m i n g m a n y p o p u l a r songs o f t h e era, adapted t o his u n i q u e style. C h a s C h a n d l e r , T h e Animáis' e x - b a s s i s t , w h o b y t h e n w a s f o c u s i n g o n m a n a g i n g o t h e r acts, w a s l o o k i n g f o r a n a r t i s t t o r e c o r d a versión o f t h e u b i q u i t o u s s o n g a n d h e a r d H e n d r i x p e r f o r m i t at C a f e W h a ? i n N e w Y o r k C i t y . H e w a s so i m p r e s s e d h e a s k e d H e n d r i x to travel to E n g l a n d w i t h h i m - H e n d r i x accepted and embarked o n the journey that w o u l d t u r n h i m i n t o a star. I t i s n t c l e a r w h i c h versión, o f t h e m a n y a v a i l a b l e at t h e t i m e , w a s t h e i n s p i r a t i o n f o r H e n d r i x ' s r e c o r d i n g . S o m e a c c o u n t s c l a i m i t w a s t h e versión by British band T h e Creation, w h o were k n o w n for p e r f o r m i n g i t at a s l o w e r t e m p o , b u t o f c o u r s e w e can't be sure. J i m i H e n d r i x is r e g a r d e d as o n e o f t h e m o s t i m p o r t a n t figures i n r o c k g u i t a r h i s t o r y . H i s U K b a n d , T h e Jimi H e n d r i x Experience, f o r m e d together w i t h d r u m m e r M i t c h M i t c h e l l a n d bassist N o e l R e d d i n g , recorded songs that became anthems for a generation. T h e popularity o f their music and live shows was

phenomenal and Hendrix's exceptional guitar playing t r a n s f o r m e d h i m i n t o a r o c k deity. H e n d r i x h a d a u n i q u e m u s i c a l visión a n d u p o n m o v i n g t o N e w Y o r k C i t y i n 1968 he b u i l t Electric L a d y l a n d , his o w n recording studio, taking greater control o f his music and artistic direction. T h e demands o f t o u r i n g a n d s t u d i o w o r k t o o k its t o U o n T h e J i m i H e n d r i x E x p e r i e n c e a n d t h e g r o u p disbanded i n 1969. D u r i n g t h a t year, H e n d r i x j o i n e d forces w i t h a n e n s e m b l e called G y p s y S u n a n d R a i n b o w s , featuring M i t c h M i t c h e l l o n d r u m s , B i l l y C o x o n bass, L a r r y L e e o n g u i t a r a n d J u m a Sultán & J e r r y V e l e z o n p e r c u s s i o n . T h i s l i n e - u p p l a y e d o n l y f o u r t i m e s , m o s t n o t a b l y at the W o o d s t o c k festival. I n 1 9 7 0 H e n d r i x r e l e a s e d t h e l i v e álbum Band of Gypsys, a p r o j e c t h e e m b a r k e d u p o n w i t h f r i e n d s B i l l y C o x and B u d d y Miles. N o t stopping there, he w e n t o n to r e f o r m T h e Jimi H e n d r i x Experience before sadly passing away that September. H i s tragic death s h o o k his fans, b u t his influence o n t h e m u s i c i n d u s t r y stays s t r o n g t o t h i s day.

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Walkthrough Amp Settings

B Section (Bars 12-19)

A s l i g h t l y o v e r d r i v e n s o u n d is r e q u i r e d f o r t h i s song. T h e r e are a f e w d i f f e r e n t w a y s t o achieve t h i s s o u n d , b u t t r y u s i n g the distortion channel o nthe amplifier w i t h the gain o n a l o w s e t t i n g . T r y e x p e r i m e n t i n g w i t h t h e levéis o f B a s s , M i d d l e & T r e b l e a n d see w h a t y o u r e a r s l i k e t h e s o u n d o f Be aware, i f y o u w a n t t o achieve a s i m i l a r s o u n d t o the a u d i o t h e n y o u ' U h a v e t o k e e p t h e levéis o f t h e B a s s , T r e b l e and M i d d l e t o around 5 (or half way) o n the amplifier dials. A l s o , e x p e r i m e n t w i t h pick u p selection o n the guitar. T h e f r o n t pick up (the pickup nearest t o the neck o f the guitar) w i l l give y o u a ' w a r m e r ' s o u n d suitable for this song. T r y l i s t e n i n g t o t h e o r i g i n a l s o n g a n d u s e J i m i ' s s o u n d as a reference. J i m i H e n d r i x p r e d o m i n a n t l y used a Pender Stratocaster t h r o u g h M a r s h a l amplifiers a n d created a v e r y u n i q u e s o u n d f o r its t i m e , a s o u n d t h a t has n o w b e c o m e s y n o n y m o u s w i t h r o c k a n d blues guitar playing.

I n the B section the guitar part plays a single note figure playing the root notes o f each chord, before ending o n a long h e l d o p e n E s t r i n g o n b e a t 1 o f t h e f i n a l bar.

Distortion Channel

o

10

GAIN

Equalisation

o

10

BASS

o

10

MIDDLE

Reverb

o

10

TREBLE

o

10

DRY-WET

Intro (Bars 1-3) T h e s o n g b e g i n s w i t h a n a d a p t e d versión o f t h e o r i g i n a l i n t r o , p l a y e d u s i n g n o t e s f r o m t h e E m i n o r p e n t a t o n i c scale i n o p e n p o s i t i o n . T h e i n t r o starts w i t h a descending quarter note m e l o d y using fretted and o p e n strings, w h i c h ends w i t h a l o n g held E m a j o r chord o n beat 1 o f bar 2, lasting a w h o l e bar. T h e E c h o r d is t h e n p l a y e d again o n beat 1 o f t h e n e x t bar, l e a d i n g i n t o s e c t i o n A .

A Section (Bars 4-11) I n t h e A section, t h e g u i t a r cycles a r o u n d a f o u r bar c h o r d p r o g r e s s i o n C , G , D , A a n d E m a j o r . D u r i n g t h e first t w o bars o f the c h o r d progression the chords change o n beats 1 a n d 3 o f e a c h bar, b e f o r e p l a y i n g a n E m a j o r c h o r d o v e r t h e last t w o bars. W o r k o n m a k i n g sure each c h o r d t r a n s i t i o n is s m o o t h a n d t h e c h o r d s r i n g o u t f o r t h e d u r a t i o n n o t a t e d . You m a y w a n t t o spend t i m e w o r k i n g o n one chord change at a t i m e . P r a c t i c e u s i n g t h e s a m e f i n g e r s e a c h t i m e y o u p l a y t h r o u g h the chord sequence. T h i s w i l l help w i t h developing muscle m e m o r y , w h i c h m a n y musicians rely o n w h e n playing and performing!

I f y o u are s t r u g g l i n g w i t h a n y p a r t s i n t h e song, t r y i s o l a t i n g the bars that y o u w a n t t o focus o n and practice t h e m i n i s o l a t i o n w i t h o u t t h e b a c k i n g track. It m a y also help t o t r y p l a y i n g a l o n g w i t h a m e t r o n o m e i n o r d e r t o f o c u s o n áreas w h i c h need more attention. T h e n t r y keeping time yourself by tapping your foot o r nodding your head i n t i m e w i t h the music. T h i s w i l l help y o u develop good t i m e and w i l l help i m p r o v e y o u r ' i n n e r clock'.

SONG TITIE: ALBUM: lABEI: GENRE:

AIN'T NO SUNSHINE JUST AS I AM SUSSEX SOUI/R&B

J = 80 Soul/Blues Bailad

WRITTEN BY: BILL WITHERS PRODUCED BY: BOOKER T. JONES UK CHART PEAK: 40

a :

BACKGROUND INFO A i n ' t N o S u n s h i n e ' is r e g a r d e d b y m a n y as a s o n g w r i t i n g masterpiece. I t was released i n 1971 a n d q u i c k l y b e c a m e a classic a l l o v e r t h e w o r l d . I t r e a c h e d t h e n u m b e r 3 spot o n t h e B i l l b o a r d H o t 100 a n d has b e e n c o v e r e d b y m a n y artists since. W i t h e r s w r o t e the song after w a t c h i n g the m o v i e The Days of Wine and Roses. T h e l y r i c s a r e a m e t a p h o r f o r weakness a n d s t r e n g t h a n d are v a g u e l y b i o g r a p h i c a l . H e w a s 3 1 y e a r s oíd w h e n t h e s o n g w a s r e l e a s e d a n d at t h e t i m e h e w a s w o r k i n g i n t h e a s s e m b l y l i n e o f a f a c t o r y , m a k i n g t o i l e t seats f o r B o e i n g 7 4 7 s . I t is s a i d t h a t w i t h t h i s i n m i n d t h e record company presented W i t h e r s w i t h a golden t o i l e t seat w h e n t h e r e c o r d w e n t g o l d , i t w a s t h e f i r s t of his three gold records i n the US. A i n ' t N o Sunshine' was actually a B side t o W i t h e r s ' single 'Harlem', b u t DJs h u g e l y f a v o u r e d t h e h i t a n d p l a y e d i t instead. T h e record was p r o d u c e d b y B o o k e r T. Jones a n d his band, the M G ' s , w e re used t o back W i t h e r s . T h e band was by t h e n a seasoned outfit that h a d played o n countless records o n the Stax label - amongst t h e m was none other t h a n '(Sittin O n ) T h e D o c k T h e Bay' by Otis Redding.

A i n ' t N o S u n s h i n e ' w o n a G r a m m y A w a r d at t h e 14th a n n u a l c e r e m o n y i n 1972. W i t h e r s f o U o w e d its success w i t h t h e m a s s i v e h i t s ' L e a n O n M e ' a n d 'Use Me'. I n 1975, after s i g n i n g w i t h C o l u m b i a Records a n d r e t u r n i n g to recording after a hiatus produced by contractual complications, he recorded three s u c c e s s f u l a l b u m s . Menagerie, f r o m 1 9 7 7 , c o n t a i n e d t h e n o w classic ' A L o v e l y D a y ' . F u r t h e r c o n t r a c t u a l complications foUowed but Withers managed to continué c o U a b o r a t i n g w i t h o t h e r m u s i c i a n s a n d r e c o r d e d t h e classic 'Just T h e T w o O f U s ' w i t h s a x o p h o n i s t G r o v e r W a s h i n g t o n Jr. ( i n c l u d e d o n t h e b e s t - s e l l i n g Winelight) a n d ' I n T h e Ñame O f L o v e ' w i t h percussionist R a l p h M a c D o n a l d . H e also p e n n e d t h e successful 'Grandma's Hands'. T h e m y r i a d l e g a l c o m p l i c a t i o n s h e f a c e d as a r e s u l t of his record contracts led W i t h e r s to decide he was going to retire f o r m the music industry, including live p e r f o r m a n c e , i n t h e m i d 1980s. A l t h o u g h his m u s i c continúes t o g a i n a t t e n t i o n i n v a r i o u s f o r m s , h e h a s e x p r e s s e d c o m f o r t w i t h h i s decisión a n d s a y s h i s relatively late a r r i v a l i n t h e business e q u i p p e d h i m t o deal w i t h i t w i t h n o regrets.

Ain't No Sunshine Bill Withers W o r d s & Music by Bill Withers

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[14] © Copyright 1971 Interior Music Corporation. Universal/MCA Music Limited. All Rights Reserved. International Copyright Secured.

Walkthrough Amp Settings

B Section (Bars 10-17)

A c l e a n s o u n d is r e q u i r e d f o r t h i s s o n g . T o a c h i e v e a s i m i l a r s o u n d t o t h e a u d i o set t h e levéis o f t h e B a s s , T r e b l e and M i d d l e to around 5 (or half way) o n the amplifier dials. A s m a l l a m o u n t o f reverb w i l l help give the guitar a more natural' sound. T r y experimenting w i t h the pick u p s e l e c t i o n o n t h e g u i t a r t o see o n e ) y o u t h i n k s o u n d s appropriate. As a r o u g h guide, pick-ups near the neck o f the guitar w i l l help produce a " w a r m e r " sound, and pick-ups n e a r e r t h e b r i d g e w i l l p r o d u c e a ' b r i g h t ' t o n e . It's i m p o r t a n t to become familiar a n d experiment w i t h all the controls o n your guitar and find sounds that y o u like!

I n the B section the guitar part switches f r o m p l a y i n g single n o t e s t o c h o r d s , f o U o w i n g t h e s a m e r h y t h m as s e c t i o n A . B e careful to o n l y play the strings indicated. W h e n practicing the chord transitions t r y to f m d the m o s t efficient w a y o f m o v i n g between chords. Practice using the same fingers e a c h t i m e y o u p l a y t h r o u g h t h e s a m e p a r t s , as t h i s w i l l h e l p w i t h developing muscle m e m o r y , w h i c h m a n y musicians rely o n w h e n p e r f o r m i n g ! T h e same eighth note arpeggiated f i g u r e (as i n s e c t i o n A ) is r e p e a t e d , w i t h t h e s o n g e n d i n g o n an A m i n o r c h o r d . B e sure t o let t h e last c h o r d r i n g f o r t h e duration notated.

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A Section (Bars 2-9) T h e song begins w i t h a single note figure, w h i c h outlines the r o o t note m o v e m e n t o f each chord. Practice c o u n t i n g t h r o u g h t h e b e a t s w i t h i n e a c h b a r as y o u p l a y , m a k i n g s u r e n o t e l e n g t h s a r e p l a y e d as n o t a t e d . A i m f o r a c c u r a c y w i t h t h e p l e c t r u m , u s i n g smaller m o v e m e n t s t o help y o u achieve this. Be careful n o t t o let a n y u n w a n t e d o p e n strings r i n g o u t . I n bar 6 the guitar plays a n arpeggiated eighth note figure outlining an E minor, m o v i n g to a c h o r d i n b a r 7. W h e n practicing, a i m for a consistent s o u n d a n d let the notes r i n g out. E x p e r i m e n t w i t h playing all d o w n strokes a n d t h e n altérnate p i c k i n g ( u p a n d d o w n s t r o k e s ) , l i s t e n i n g t o t h e effect each technique has o n the s o u n d produced.

I f y o u are s t r u g g l i n g w i t h a n y p a r t s i n t h e song, t r y i s o l a t i n g the bars that y o u w a n t to focus o n and practice t h e m i n isolation w i t h o u t t h e b a c k i n g track. I t m a y also help t o t r y p l a y i n g a l o n g w i t h a m e t r o n o m e o n its o w n i n order t o focus o n áreas w h i c h n e e d m o r e a t t e n t i o n . T h e n t r y k e e p i n g t i m e yourself, by tapping y o u r foot or n o d d i n g y o u r head i n t i m e w i t h the music. T h i s will help y o u develop good t i m e and w i l l h e l p i m p r o v e y o u r ' i n n e r clock'.

SONG TITLE: ALBUM: LABEL: ' GENRE:

STAND BY ME DON'T PLAY THAT SONG ATCO RHYTHM AND BLUES / SOUL

J = 119 Smooth Classic R'n'B Intro u p s t r o k e

WRITTEN BY: BEN E. KING, JERRY LEIBER AND MIKE STOLLER PRODUCED BY: JERRY LEIBER AND MIKE STOLLER UK CHART PEAK: 27

BACKGROUND IKFO 'Stand By M e was written by Ben E. K i n g and producers Jerry Leiber a n d M i k e Stoller. T h e title was inspired by a spiritual song written by Sam Cooke a n d J.W. A l e x a n d e r called ' S t a n d B y M e Father' w h i c h contains Unes d e r i v e d f r o m P s a l m 46:2. B e n E. K i n g had written the song w i t h T h e Drifters i n m i n d b u t t h e y d e c l i n e d r e c o r d i n g i t . A f t e r t h e success o f 'Spanish H a r l e m ' K i n g h a d some studio t i m e available a n d p l a y e d t h e s o n g t o L e i b e r a n d StoUer. T h e r e are v a r i e d accounts o f w h o d i d exactly w h a t , w i t h b o t h Leiber a n d StoUer c l a i m i n g t h e y w o r k e d o u t h a r m o n i e s a n d a bass l i n e , b u t i n t h e e n d t h e s o n g w a s credited t o aU three w i t h a 5 0 % split i n f a v o u r o f K i n g . 'Stand B y M e ' w a s released i n A p r i l 1960. Since t h e n , t h e e s t i m a t e d royalties generated b y t h e s o n g are over t w e n t y m i U i o n U S dollars. T h e original recording s e s s i o n i n c l u d e d R o m e o P e n q u e o n sax, E r n i e Hayes o n piano, A l Caiola and Charles McCracken o n g u i t a r s , L l o y d T r o t m a n o n bass, P h i l K r a u s s o n percussion and G a r y Chester o n d r u m s , n o t forgetting a chorus a n d strings arranged by Stanley A p p l e b a u m .

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'Stand By M e ' hit the top o f the U S Billboard c h a r t s t w i c e - u p o n i t s reléase i n 1 9 6 1 a n d t h e n a g a i n i n 1 9 8 6 w h e n i t w a s r e - r e l e a s e d as p a r t o f t h e s o u n d t r a c k t o t h e m o v i e o f t h e s a m e ñame. I n t h e U K i t r e a c h e d n o . 2 7 o n i t s o r i g i n a l reléase a n d n o . 1 w h e n re-released i n 1987, p a r t l y d u e t o its u t i l i s a t i o n o n a Levi's jeans advert. T h e song also appeared o n the álbum Dont Play That Song a f t e r t h e single's reléase. B e n E . K i n g h a d a n i l l u s t r i o u s career a n d d i e d at t h e age o f 7 6 i n 2 0 1 5 . H e is n o w r e g a r d e d as o n e o f t h e greatest volees o f s o u l , r o c k a n d r h y t h m & blues. Jerry Leiber a n d M i k e StoUer are a m o n g s t t h e m o s t successful a n d i n f l u e n t i a l r e c o r d producers o f t h e twentieth century. T h e y produced and w r o t e for artists i n c l u d i n g E l v i s Presley, B a r r y M a n n , E l i d e B r o o k s , Peggy Lee, a n d Stealers W h e e l . T h e i r w o r k influenced artists i n c l u d i n g D o n a l d Fagen a n d P h i l S p e c t o r , w h o s t a r t e d o u t as t h e i r s e s s i o n g u i t a r i s t . 'Stand By M e ' was recorded over four h u n d r e d times. Notable versions include those of M u h a m m a d A U i n 1963, J o h n L e n n o n i n 1975, M a u r i c e W h i t e i n 1985, P r i n c e Royce i n 2010 a n d Florence + T h e M a c h i n e i n 2016.

Stand By Me Ben E King J = 119

W o r d s & M u s i c b yB e n E . K i n g ,

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Jerry Leiber & M i k e Stoller

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Walkthrough Amp Settings

A Section (Bars 9-24)

T h e a m p s h o u l d b e s e t r e a l l y c l e a n f o r t h i s R & B classic. I f y o u have a choice o f a m p (or a m p m o d e l ) , a clean A m e r i c a n combo (or equivalent) w i t h a touch o f reverb w o u l d be a g o o d choice. A m b i e n c e c a n also b e created w i t h a s m a l l a m o u n t o f delay, b u t b e c a r e f u l n o t t o o v e r d o t h i s as it's i m p o r t a n t t o o b s e r v e t h e s p i r i t o f t h e p i e c e . It's a l s o w o r t h r e m e m b e r i n g t h a t h e r e w a s n o s u c h t h i n g as d i g i t a l d e l a y i n 1962 w h e n t h i s song was o r i g i n a l l y released!

T h i s is the vocal m e l o d y o f the o r i g i n a l song, therefore y o u s h o u l d s t r i v e t o m a k e y o u r p h r a s i n g as ' v o c a l ' as p o s s i b l e . T r y t o i m a g i n e y o u r s e l f s i n g i n g t h e t u n e - i n fact s i n g i n g it w o u l d b e the best w a y t o get inside the m e l o d y . M a n y i n s t r u m e n t a l i s t s have studied singers i n order t o learn h o w t o p h r a s e . T h e g r e a t j a z z m u s i c i a n M i l e s D a v i s s a i d t h a t he'd listened t o F r a n k Sinatra for phrasing inspiration. Have y o u ever n o t i c e d h o w s o m e singers really deliver the m e a n i n g o f a song, w h e r e others just sing the words? W e m u s t t r y t o b e i n t h e f i r s t category. Y o u m a y have n o t i c e d t h a t the m o t i f i n the p i c k u p b a r (bar 8 ) seems t o b e developed t o f o r m this m e l o d y - t h i s a d d s cohesión. L e a r n i n g v o c a l m e l o d i e s c a n t e a c h i n s t r u m e n t a l i s t s a l o t as i m p r o v i s e r s , s o p a y a t t e n t i o n here a n d focus o n the melody.

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Intro Section (Bars 1-8) T h i s i n t r o gives u s t h e r e p e a t i n g c h o r d p a t t e r n f o r t h e rest o f t h e s o n g . It's f i r m l y i n A m a j o r a n d s t a r t s w i t h t h e I chord, before m o v i n g to the V l m chord, t o the I V , t h e n the V c h o r d . T h i s i s a classic c h o r d s e q u e n c e , u s e d i n c o u n t l e s s songs t h r o u g h o u t t h e years. Bar 8 T h i s i s w h a t ' s k n o w n as a p i c k u p , w h e r e a f e w n o t e s o f m e l o d y lead i n t o t h e m e l o d i c s t a t e m e n t . T h i s is t h e last b a r o f the i n t r o d u c t i o n b u t the m e l o d y starts before the verse section begins. T h e three m e l o d y notes fall o n the second h a l f o f beat 3, beat 4 a n d t h e second h a l f o f beat 4 . T h e easiest w a y t o l e a r n t h i s piece accurately w i l l b e t o relate t h e r h y t h m t o t h e g r i d o f e i g h t h n o t e s . T h u s a b a r o f 4/4 i s c o u n t e d " 1 + , 2 + , 3 + , 4+". I f y o u carefuUy refer t o t h i s g r i d y o u c a n f a i r l y e a s i l y lócate t h e p r e c i s e p l a c e m e n t o f e a c h o f t h e m e l o d y n o t e s i n t h i s p i e c e {see bar 8). T r y to bear i n m i n d that this i s n t really a n academic exercise - you're learning a skill that w i l l allow y o u t o 'lift the music o f f t h e page'. T h i s i s n o d i f f e r e n t t o r e a d i n g t h e m a n u a l o f t h e next camera o r mobile phone that y o u buy!

Please n o t e that the entire m e l o d y is based o n the A m a j o r p e n t a t o n i c scale. It's n e v e r t o o e a r l y t o s t a r t f i g u r i n g o u t t h e h a r m o n y o f a piece. A s y o u l e a r n n e w t u n e s k e e p a n eye a n d ear o u t f o r h a r m o n i c a n d m e l o d i c p a t t e r n s . A l w a y s t r y a n d w o r k o u t w h i c h tensions you're playing above the chords. M a n y o f t h e g r e a t m u s i c i a n s p r o f e s s t o n o t k n o w t h e ñames o f t h e v a r i o u s scales t h e y u s e , b u t a l l o f t h e m w i l l h a v e g o n e t h r o u g h t h e process o f r e l a t i n g t h e Unes t h e y p l a y t o t h e chords t h e y play t h e m over. Altérnate p i c k i n g i s p r o b a b l y y o u r first o p t i o n f o r r i g h t h a n d approach, b u t t h e m e l o d y i s n t t e r r i b l y fast m o v i n g so t h e r e i s r o o m f o r v a r i a t i o n i n p i c k i n g t e c h n i q u e . A s w i t h everything y o u play t r y a n d figure o u t a left h a n d f i n g e r i n g a n d r i g h t h a n d p i c k i n g p a t t e r n t h a t suits y o u r o w n technique.

SONG TITIE: HELIO AIBUM: 25 LABEL: XL GENRE: SOUL WRITTEN BY: ADELE ATKINS AND GREG KURSTIN PRODUCED BY: GREG KURSTIN UK CHART PEAK: 1

BACKGROUND INFO ' H e l i o ' w a s r e l e a s e d i n O c t o b e r 2 0 1 5 as t h e l e a d s i n g l e f r o m A d e l e ' s t h i r d álbum 25. T h e s o n g t o p p e d the charts w o r l d w i d e a n d became her second U K n o . l single. I n t h e U S i t d e b u t e d at t h e t o p o f t h e B i l l b o a r d H o t 1 0 0 c h a r t s , w h e r e i t r e m a i n e d f o r 10 w e e k s . ' H e l i o ' b r o k e t h e d i g i t a l sales r e c o r d b y s e l l i n g o v e r a m i l l i o n c o p i e s i n a w e e k a n d w o r l d w i d e sales h a v e n o w r e a c h e d o v e r 12.3 m i l l i o n . ' H e l i o ' w o n G r a m m y A w a r d s f o r R e c o r d O f T h e Year, S o n g O f T h e Year a n d Best P o p Solo P e r f o r m a n c e . I t also w o n Single o f T h e Y e a r at t h e B r i t A w a r d s . Adele w r o t e the song i n coUaboration w i t h producer G r e g K u r s t i n . ' H e l i o ' is a p i a n o b a i l a d , w i t h s o u l elements a n d a lyrical t h e m e o f nostalgia a n d regret. T h e song was w r i t t e n over six m o n t h s , w i t h producer Kurstin playing all instruments o n the recording. 'Helio' has been covered by R i t a O r a , D e m i Lovato, Celine Dion, W a l k O f f T h e Earth and Backyard Band. Adele performed an interesting l i v e versión o f t h e s o n g w i t h b a n d T h e R o o t s o n The Tonight Show Starring Jimmy Fallón, w h e r e the band used classroom instruments for the p e r f o r m a n c e . ' H e l i o ' o p e n s t h e D V D Adele Live In New York City, r e c o r d e d a t t h e R a d i o C i t y M u s i c H a l l i n N o v e m b e r 2015.

Adele signed to X L after graduating f r o m the B R I T School o f Performing Arts and Technology. H e r debut álbum i 9 w a s a h u g e c r i t i c a l a n d c o m m e r c i a l success o n b o t h s i d e s o f t h e A t l a n t i c . H e r s e c o n d álbum, 21 sold over 3 1 m i l l i o n copies w o r l d w i d e . She f o l l o w e d t h e success o f 21 w i t h t h e s o n g ' S k y f a l l ' , r e c o r d e d f o r t h e J a m e s B o n d f i l m o f t h e s a m e ñame, w i n n i n g a n Oscar, a G r a m m y A w a r d a n d a G o l d e n G l o b e A w a r d a n d t o p p i n g t h e c h a r t s . A d e l e ' s t h i r d álbum, 25, recorded after a three year hiatus, was also a h u g e success, w i n n i n g f i v e G r a m m y A w a r d s a n d s e l l i n g millions worldwide. Her 2016-17 world tour broke attendance records. A d e l e has sold over 100 m i l l i o n r e c o r d s a n d is o n e o f t o d a y ' s b e s t - s e l l i n g m u s i c a r t i s t s . A d e l e is p r a i s e d f o r t h e q u a l i t y o f h e r v o l e e a n d p h r a s i n g a n d t h e e m o t i v e w a y i n w h i c h she conveys lyrics, always d r a w i n g attention to the song. H e r influences are v a r i e d a n d a m o n g s t t h e m she credits t h e Spice G i r l s , D u s t y S p r i n g f i e l d , T h e C u r e , C e l i n e D i o n , A n n i e L e n n o x , E t t a James, E l l a Fitzgerald, R o b e r t a F l a c k , A m y W i n e h o u s e , M a r y J. B l i g e a n d many more.

Helio Adele Words & Music by Adele Adkins J=80

& Greg Kurstin

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Walkthrough Amp Settings

C Section (Bars 21-25)

A clean s o u n d is best f o r this song. T r y e x p e r i m e n t i n g w i t h t h e levéis o f B a s s , M i d d l e a n d T r e b l e , a n d see w h a t y o u r e a r s like the s o u n d o f T o achieve a similar s o u n d t o the audio, t r y k e e p i n g t h e levéis o f t h e B a s s , T r e b l e a n d M i d d l e t o a r o u n d 5 (or h a l f w a y ) o n the a m p l i f i e r dials. A l s o e x p e r i m e n t w i t h pick up selection o n the guitar - you'll f i n d that the f r o n t pick u p (the pickup nearest the neck o f the guitar) w i l l give y o u a " w a r m e r " s o u n d . T r y e x p e r i m e n t i n g w i t h all the controls o n y o u r guitar, f r o m the p i c k - u p selector switch t o the tone and v o l u m e controls, t o f m d sounds that y o u like. N o t e t h a t these settings are j u s t suggestions. T h e r e a r e s o m a n y v a r i a b l e s w h e n i t c o m e s t o t r y i n g t o recréate a guitar s o u n d f r o m a recording, a n d this can be a little over w h e l m i n g a t a n e a r l y stage. T h e m o s t i m p o r t a n t t h i n g i s m a k i n g sure y o u feel c o m f o r t a b l e w i t h y o u r s o u n d .

T h e C section is a v a r i a t i o n o n the A section, w i t h the guitar r e v e r t i n g t o p l a y i n g t h e s a m e c h o r d s a n d r h y t h m as s e c t i o n A . T h e song ends w i t h a l o n g held Em i n o r chord o n beat 1 o f t h e l a s t bar. B e s u r e t o l e t t h e l a s t c h o r d r i n g o u t f o r t h e duration notated.

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A Section (Bars 1-12) T h e song begins w i t h a chordal figure i m i t a t i n g the piano p a r t f r o m t h e o r i g i n a l versión o f t h e s o n g . T h e c h o r d s change o n t h e 'and' o f beat 2 - this m a y feel a little strange to begin w i t h so i t m a y help t o sing o r clap t h e r h y t h m first to help internalise the sound. Practice counting along w i t h e a c h b e a t o f t h e b a r as y o u p l a y , m a k i n g s u r e n o t e l e n g t h s are correct.

B Section (Bars 13-20) T h e B s e c t i o n ( C h o r u s ) sees t h e g u i t a r p a r t s w i t c h f r o m p l a y i n g chords t o playing a single note m e l o d y o u t l i n i n g the c h o r d changes. A s indicated i n t h e m u s i c , be sure t o let each note r i n g out. E x p e r i m e n t w i t h playing all d o w n strokes a n d t h e n altérnate p i c k i n g ( u p a n d d o w n s t r o k e s ) a n d l i s t e n to t h e effect each has o n t h e s o u n d p r o d u c e d . A i m f o r consistency w h e n striking the strings w i t h the p l e c t r u m .

I f y o u are s t r u g g l i n g w i t h a n y parts i n the song, t r y i s o l a t i n g the bars that y o u w a n t t o focus o n and practice t h e m i n i s o l a t i o n w i t h o u t t h e b a c k i n g track. I t m a y also help t o t r y p l a y i n g a l o n g w i t h a m e t r o n o m e o n its o w n , i n o r d e r t o f o c u s o n áreas w h i c h n e e d m o r e a t t e n t i o n . T h e n t r y k e e p i n g time yourself by tapping your foot or nodding your head i n t i m e w i t h the music. T h i s w i l l help y o u develop good t i m e a n d w i l l h e l p i m p r o v e y o u r ' i n n e r clock'.

SONG TITLE: ALBUM: LABEL: GENRE:

HOOCHIE COOCHIE MAN THE BEST OF MUDDY WATERS CHESS CHICAGO BLUES

WRITTEN BY: WILLIE DIXON PRODUCED BY: LEONARD CHESS

J = 8 0 Blues Shuffle r—3

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UK CHART PEAK: N/A

BACKGROUND INFO ' H o o c h i e C o o c h i e M a n is a classic C h i c a g o b l u e s a n d o n e o f M u d d y W a t e r s ' signature songs. O r i g i n a l l y w r i t t e n by W i l l i e D i x o n , the track became a blues s t a n d a r d a n d is s a i d t o h a v e h e l p e d h i m s e c u r e t h e role o f chief songwriter for Chess Records. M u d d y W a t e r s ( r e a l ñame M c K i n l e y M o r g a n f i e l d ) r e c o r d e d ' H o o c h i e C o o c h i e M a n i n 1954, o n e o f t h e f i r s t songs recorded by Waters to feature a full band. T h e lyrics are a m i x o f m a l e p o s t u r i n g a n d t h e S o u t h e r n m y t h o f t h e seer o r h o o d o o . D i x o n s h o w e d t h e t u n e t o W a t e r s i n 1953 d u r i n g a b r e a k i n W a t e r s ' p e r f o r m a n c e at t h e C l u b Zanzíbar i n C h i c a g o . W a t e r s t o o k t o i t immediately and performed it that same night. 'Hoochie Coochie M a n ' was recorded i n January 1954 f e a t u r i n g W a t e r s o n guitar a n d vocals, J i m m y R o g e r s o n g u i t a r , L i t t l e W a l t e r o n harmónica, E l g i n E v a n s o n d r u m s a n d W i l l i e D i x o n o n d o u b l e bass. T h e song incorporates pauses i n the progression , w h i c h are c o m m o n i n N e w O r l e a n s blues, a d d i n g a l o n g w i t h its i n s t r u m e n t a l solos. T h i s w a s a n o v e l m i x at t h e t i m e a n d b e c a m e v e r y p o p u l a r . ' H o o c h i e Coochie M a n (originallytitled ' l ' m Your Hoochie Coochie M a n ' ) reached the T o p T e n o f Billboard's R h y t h m a n d Blues Charts, the Juke B o x chart a n d the Best Seller C h a r t .

T h e r i f f that r u n s t h r o u g h the song has b e c o m e a classic a l l o f i t s o w n a n d h a s b e e n a d a p t e d f o r m a n y blues standards. I n 1955 p r o d u c e r s Leiber a n d Stoller used t h e r i f f i n ' R i o t I n C e l l B l o c k N u m b e r 9' a n d later u s e d t h e r i f f i n o n e o f E l v i s Presley's songs f o r t h e m u s i c a l d r a m a King Creóle. E l m e r B e r n s t e i n a l s o a d a p t e d i t f o r t h e s o u n d t r a c k o f The Man With The Golden Arm, w h i l e B o D i d d l e y m o d i f i e d i t f o r h i s 1955 s o n g ' l ' m a M a n . M u d d y W a t e r s d i e d aged 70 i n 1983. H i s c o n t r i b u t i o n t o blues a n d electric blues i n particular is h u g e l y s i g n i f i c a n t . H e b u i l t a b r i d g e b e t w e e n Delta blues a n d rock a n d roll a n d contributed to the creation o f the Chicago blues s o u n d . H e w o n five G r a m m y A w a r d s a n d was inducted i n t o the Blues f o u n d a t i o n H a l l o f F a m e i n 1980, t h e R o c k a n d R o l l H a l l o f F a m e i n 1987 a n d i n 1992 he received a posthumous G r a m m y Lifetime Achievement Award.

Hoochie Coochie Man Muddy Waters J=80 Blues Shuffle

Words &Music by Willie Dixon

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Walkthrough Amp Settings T h e s o u n d here needs t o be a strong o v e r d r i v e n blues r o c k t o n e . E i t h e r a l a t e 1 9 6 0 s B r i t i s h o r l a t e 50s A m e r i c a n t y p e t o n e w o u l d s u f f i c e . R e v e r b is p r o b a b l y a g o o d c h o i c e regardless o f y o u r e q u i p m e n t o p t i o n s . I f you're u s i n g a clean sound o n the amp t r y adding an overdrive pedal. T h e song starts w i t h a t w o beat p i c k u p o n t h e d r u m s . T h e f i r s t t h i n g t o n o t e w i t h t h i s p i e c e is t h a t w h i l e it's f a i r l y s t r a i g h t f o r w a r d a n d o n l y uses a f e w notes, t h e u n d e r l y i n g f e e l is s w u n g . O n c e y o u h e a r t h i s , i t s h o u l d b e f a m i l i a r . T h i s is c o m m o n i n j a z z a n d R & B m u s i c Distortion

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T h e notation m a y l o o k complicated, but y o u will be f a m i l i a r w i t h t h e s o u n d o f t r i p l e t b a s e d r h y t h m s as t h e y a r e c o m m o n i n R & B , b l u e s , f u n k a n d s o u l m u s i c . I t is i m p o r t a n t for guitarists to understand triplet r h y t h m s , so p l e a s e k e e p r e f e r r i n g t o o u r e x a m p l e s a n d , as a l w a y s , b e p a t i e n t . T h e easiest w a y f o r y o u t o b e c o m e c o m f o r t a b l e w i t h t h i s w o u l d be t o ask y o u r teacher t o p l a y these rhythms to you. T h e b e s t w a y t o p r a c t i s e p l a y i n g s w i n g is t o f i r s t set u p a triplet r h y t h m - three notes per beat: S i n g ' D a - g a - d a , d a - g a - d a , d a - g a - d a , da-ga-da'. t a k e o f f f u l l stop a n d a d d a l i n e i n here, so ' D o that...' appears b e l o w u n t i l you're c o m f o r t a b l e w i t h the feel o f this r h y t h m , t h e n t r y h e a r i n g t h e 'ga m i d d l e n o t e b u t d o n ' t s i n g i t . F e e l t h e s a m e r h y t h m b u t s i n g " D a - d a , d a - d a , d a - d a , d a - d a " (See F i g . 1 ) . Barí T h i s is a n a d a p t a t i o n o f t h e m e l o d y b a s e d a r o u n d E r i c C l a p t o n ' s v o c a l s t a t e m e n t . T r y u s i n g altérnate p i c k i n g f o r t h i s . I f y o u feel t h a t you're n o t l o c k e d i n w i t h the r h y t h m , keep r e f e r r i n g t o o u r e x a m p l e s w h i c h s h o w t h e t r i p l e t subdivisión.

Bar 2 T h i s b a r is a l m o s t l i k e a n a n s w e r t o t h e s t a t e m e n t i n b a r 1 . M u c h blues m u s i c uses t h i s approach a n d t h i s m a y w e l l be one reason for the c o n t i n u i n g p o p u l a r i t y o f this genre o f m u s i c - it's c o n v e r s a t i o n a l . Y o u r p h r a s i n g n e e d s t o b e s t r o n g h e r e as y o u ' r e r e p r e s e n t i n g a vocal melody. M a n y musicians r e c o m m e n d that y o u k n o w t h e l y r i c s t o a s o n g so t h a t y o u f u l l y u n d e r s t a n d t h e m e a n i n g b e h i n d i t , a n d t h i s w o u l d be u s e f u l h e r e . T h i s is a n i c o n i c , s l i g h t l y t o n g u e i n c h e e k , b l u e s classic a n d t h e t r i p l e t l i l t t o the notes adds a cool pulse t o t h e line. It's w o r t h u n d e r s t a n d i n g t h e r e l a t i o n s h i p b e t w e e n t h e n o t e s p l a y e d a n d t h e c h o r d s t h a t t h e y o c c u r over. T h e easiest w a y t o d o t h i s is t o w o r k o u t w h i c h scales a r e b e i n g u s e d . T h e b e n e f i t o f t h i s r e s e a r c h is t h a t y o u w i l l l e a r n h o w i d e a s relate t o the chords, w h i c h m e a n s that y o u ' l l u n d e r s t a n d h o w t o use these licks over o t h e r tunes. T h e h a r m o n y f o r t h i s w h o l e m e l o d y is b a s e d o n t h e b l u e s y A m i n o r p e n t a t o n i c - it's o n l y i n t h e v e r y l a s t b a r t h a t w e h e a r t h e major third of the chord. Bario T h i s b a r f e a t u r e s s y n c o p a t i o n - t h i s is w h e r e t h e n o t e s o c c u r o n t h e offbeats. H e r e t h e h i g h G falls o n t h e second h a l f o f beat 1 . Be aware that i n s w u n g m u s i c this actually means t h a t , d e s p i t e b e i n g w r i t t e n as a s t r a i g h t r h y t h m , t h i s n o t e i s s o u n d e d o n t h e s e c o n d 'da o f b e a t 1 (i.e. t h e t h i r d n o t e o f the triplet). Bar 16 T h i s l a s t b a r is a s t o c k b l u e s e n d i n g . Y o u c o u l d u s e t h i s i d e a o n p r e t t y m u c h t h e last c h o r d o f a n y m a j o r blues.

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SONG TITIE: AIBUM: lABEI: GENRE:

STAY WITH ME IN THE lONEIY HOUR CAPITOI SOUI

WRITTEN BY: SAM SMITH, JAMES NAPIER, W n i I A M PHIIIIPS, TOM PETTY AND JEFF lYNNE PRODUCED BY: JIMMY NAPES, STEVE ITTZMAURICE AND RODNEY JERKINS

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BACKGROUND INPO ' S t a y W i t h M e ' w a s r e l e a s e d as a s i n g l e i n A p r i l 2014 a n d t o p p e d t h e U K Singles chart. I n the U S the song reached no.2 i n t h e B i l l b o a r d H o t 100 chart. D a r k c h i l d ' s r e m i x versión o f t h e s o n g w o n t w o G r a m m y A w a r d s , f o r R e c o r d a n d S o n g o f t h e Year. ' S t a y W i t h M e ' i s f e a t u r e d o n S a m S m i t h ' s d e b u t álbum In The Lonely Hour. S a m S m i t h wrote the song i n coUaboration w i t h James N a p i e r a n d W i l l i a m P h i l l i p s d u r i n g a n a f t e r n o o n . S m i t h recorded v a r i o u s vocal takes f r o m d i f f e r e n t places i n t h e s t u d i o , a d d i n g h a r m o n i e s a n d creating a gospel c h o i r effect. T h e d e m o vocals w e r e u s e d i n t h e final versión o f t h e s o n g . J e f f L y n n e a n d T o m P e t t y w e r e c r e d i t e d as w r i t e r s d u e t o t h e song's similarities t o ' I W o n ' t Back D o w n b y T o m Petty, released i n 1989. T h e lyrics t a l k about Smith's desire t o b u i l d a meaningful and lasting relationship. D u r i n g his acceptance speech at t h e G r a m m y A w a r d s c e r e m o n y S a m S m i t h t h a n k e d the m a n he fell i n love w i t h , a n d w h o broke his heart, saying he got h i m f o u r G r a m m y s as a r e s u l t .

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S a m S m i t h h a d a meteoric rise to fame f o U o w i n g h i s p a r t n e r s h i p w i t h D i s c l o s u r e o n 'Latch', released i n 2012. I n F e b r u a r y 2013 he released t h e single 'Lay M e D o w n ' t o g r e a t a c c l a i m . H i s d e b u t álbum In The Lonely Hour f o l l o w e d a n d s t o r m e d t h e U K a n d U S charts. I n t h e U S i t w a s the second biggest selling álbum o f 2 0 1 4 , b e h i n d T a y l o r S w i f t ' s 1989. I n 2 0 1 5 , again i n p a r t n e r s h i p w i t h James Napier, S m i t h w r o t e t h e t h e m e t u n e t o J a m e s B o n d ' s f i l m Spectre w h i c h w e n t o n t o t o p t h e U K c h a r t s . H i s s e c o n d álbum The Thrill Ofit All, r e l e a s e d i n 2 0 1 7 , t o p p e d t h e U K a n d U S charts a n d w a s f o l l o w e d b y a successful w o r l d t o u r . S a m S m i t h cites A d e l e , A m y W i n e h o u s e , C h a k a K h a n a n d W h i t n e y H o u s t o n as h i s m a i n i n f l u e n c e s . H i s w o r l d w i d e r e c o r d sales a r e o v e r 12 m i l l i o n u n i t s .

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[13] í) Copyright 2014 Stellar Songs Limited/Naught)' Words Limited/EMI April Music Incorporated/Gone Gator Music/Salli Isaak Songs Limited/Method Paperwork Limited. EMI Music PubUshing Limited/Sony/ATV Music Publishing/Wixen Music U K Limited/Universal Music Publishing Limited.

II

Walkthrough Amp Settings

B Section (Bars 9-16)

T h e guitar is replicating the p i a n o a n d voice i n this song so it s h o u l d be clean, w i t h a balanced t o n e that is neither t o o b r i g h t ñor t o o b a s s h e a v y . A d d a t o u c h o f r e v e r b t o simúlate a large r o o m b u t n o t a hall.

T h i s s e c t i o n i s a s i m p l i f i e d versión o f t h e m e l o d y t h a t appears i n the Bridge o f the o r i g i n a l song. S o m e o f the syncopation has b e e n r o u n d e d u p so notes that w e r e o n the offbeat i n t h e o r i g i n a l are n o w o n t h e beat. T h e r u n s i n t o each phrase have also been o m i t t e d , m a k i n g the piece m o r e achievable for D e b u t students.

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A Section (Bars 1-8) T h e A section establishes t h e c h o r d sequence o f the song u s i n g t h e f o u r c h o r d s o f A m , F, C a n d G .

T h i s m e l o d y is v o c a l l y l e d o n t h e o r i g i n a l t r a c k s o p l a y i n g i t s m o o t h l y i s i m p o r t a n t t o replícate t h i s . I t sits o n t o p o f t h e s a m e c h o r d s as t h e A s e c t i o n . B e c a r e f u l n o t t o l e a v e múltiple s t r i n g s r i n g i n g as i s e a s y t o d o w h e n m i x i n g o p e n strings w i t h fretted notes. T h e r h y t h m is the same for every phrase a n d consists o f three quarter notes a n d t w o eighth notes w i t h the second one t i e d t o a w h o l e note. T h e result is t h e last n o t e o f each p h r a s e r i n g i n g f o r f o u r a n d a h a l f beats - t h i s gives y o u p l e n t y o f t i m e t o prepare y o u r s e l f f o r p l a y i n g the first notes o f the next phrase.

Bars 1-6 | Open chords T h e song starts w i t h p l a y i n g the A m c h o r d a n d h o l d i n g it for t w o beats. T h e n e x t c h o r d is F a n d m i g h t take a bit o f p r a c t i c e , as t h e f i r s t t w o s t r i n g s n e e d t o b e p l a y e d w i t h the first finger i n a p a r t i a l barre. T h e first finger is o n the Ist fret o n the second string w h e n playing the A m chord, s o t h i s n e e d s t o b e flattened t o r e m a i n p l a y i n g t h i s n o t e and simultaneously fretting the Ist fret of the first string. T h i s c h o r d is h e l d f o r o n e a n d a h a l f beats, r e s u l t i n g i n the f o U o w i n g C chord being played o n the offbeat between t h e t h i r d a n d f o u r t h beat o f t h e bar. T h i s is t i e d t o a w h o l e note, m e a n i n g the c h o r d is left t o r i n g for the w h o l e o f the f o l l o w i n g bar. R e t u r n i n g t o t h e A m c h o r d o n l y n e e d s t h e t h i r d finger t o be placed o n the 2 n d fret of the t h i r d string. Bars 7-8 | G chord T h e s e t w o b a r s h a v e t h e s a m e t i m i n g as t h e p r e v i o u s b a r s b u t the F c h o r d is n o w replaced w i t h the G chord.

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SONG TITLE: GENRE: TEMPO: KEY:

ANOTHER DIME CliASSIC ROCK 94 BPM E MINOR

TECH FEATURES: POWERCHORDS EIGHTH NOTES RESTS COMPOSER: ALISON RAYNER PERSONNEL: STUART RYAN (GTR) HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS)

OVERVIEW

THE BIGGER PICTURE

A n o t h e r D i m e ' is a classic r o c k p i e c e i n t h e s t y l e o f b a n d s l i k e A C / D C , T h i n L i z z y a n d J o a n Jett & T h e B l a c k h e a r t s . I t u s e s p o w e r c h o r d s , w h i c h i n t h i s case are t h e t w o l o w e s t s o u n d i n g notes o f t h e E , A a n d D c h o r d s . T h e p o w e r c h o r d s are c o m b i n e d w i t h rests t o créate a v a c u u m b e t w e e n t h e h e a v y c h o r d s t h a t g i v e s t h e s o n g i t s h e a v y f e e l . A s w e l l as t h e c h o r d s , t h e r e are also s i n g l e - n o t e phrases t h a t use t h e E m i n o r p e n t a t o n i c scale.

T h e g o l d e n age o f classic r o c k w a s a r g u a b l y t h e 1970s. Bands i n c l u d i n g A C / D C , T h i n L i z z y a n d L e d Z e p p e l i n w e r e at t h e i r p e a k a n d s e l l i n g o u t h u g e s t a d i u m a n d a r e n a t o u r s w o r l d w i d e . O f c o u r s e , at the t i m e t h e y w e r e 'just' r o c k bands a n d weren't yet c o n s i d e r e d 'classic'. T h e t e r m h a s g r a d u a l l y e v o l v e d over t i m e f r o m a n i n d i c a t i o n o f status t o a style o f m u s i c i n its o w n r i g h t . N e w bands i n f l u e n c e d by t h e o r i g i n a l w a v e o f classic r o c k b a n d s a r e r e f e r r e d t o as 'classic r o c k ' . B a n d s l i k e G u n s N ' R o s e s a n d , m o r e recently, V e l v e t R e v o l v e r a n d T h e A n s w e r are c o n s i d e r e d classic r o c k .

STYLE FOCUS Classic r o c k tracks are based o n p o w e r f u l , catchy g u i t a r r i f f s ( a r i f f is a s h o r t , r e p e a t e d p h r a s e ) . U p o n first glance, t h e s i m p l e riffs, chords a n d r h y t h m s m a y i m p l y classic r o c k is e a s y c o m p a r e d t o o t h e r s t y l e s o f m u s i c . H o w e v e r , there's m u c h m o r e t o r o c k m u s i c t h a n its s e e m i n g l y basic ingredients. T h e m o s t i m p o r t a n t a s p e c t o f p l a y i n g r o c k g u i t a r is a t t i t u d e . I n technique terms, this means playing the guitar w i t h a n aggressive attack. T h a t , h o w e v e r , can p r o d u c e its o w n p r o b l e m s . P l a y i n g t h e g u i t a r i n t h i s m a n n e r can cause a g u i t a r i s t t o r u s h t h e i r p l a y i n g a n d h i t u n w a n t e d strings, so g o o d t i m i n g a n d c o n t r o l are t w o k e y aspects o f a successful r o c k g u i t a r p e r f o r m a n c e .

RECOMMENDED LISTENING W h e n i t c o m e s t o classic r o c k b a n d s , A C / D C a r e o n e o f t h e best. T h e y p r o d u c e d l e g e n d a r y a l b u m s w i t h Highway To Hell ( 1 9 7 9 ) a n d Back In Black ( 1 9 8 0 ) . Highway To Hell f e a t u r e s s i n g e r B o n S c o t t ( w h o d i e d s h o r t l y a f t e r r e c o r d i n g t h e álbum) a n d c o n t a i n s t h e songs 'Girls G o t R h y t h m ' , ' W a l k A l l O v e r Y o u ' a n d t h e t i t l e t r a c k . Back In Black f e a t u r e s c u r r e n t v o c a l i s t B r i a n J o h n s o n a n d , aside f r o m t h e title t r a c k , c o n t a i n s a h o s t o f classics i n c l u d i n g ' Y o u S h o o k M e A l l N i g h t Long', 'Hells Bells' a n d 'Have A D r i n k O n Me'.

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Settings

B Section (Bars 9-15)

T h e v i n t a g e classic r o c k s e t u p c o n s i s t s o f a L e s P a u l played t h r o u g h a Marshall amplifier, but any guitar w i t h h u m b u c k e r s is i d e a l . I f y o u d o n t o w n a g u i t a r w i t h h u m b u c k e r s , use t h e n e c k p i c k u p t o get a t h i c k e r t o n e . Ensure y o u r sound isnt too distorted - you're looking for an o v e r d r i v e n s o u n d t h a t ' b r e a k s u p ' w h e n t h e g u i t a r is p l a y e d aggressively r a t h e r t h a n f u U - o n d i s t o r t i o n that w i l l t u r n t h e sound to mush. Distortion Channel

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T h i s s e c t i o n uses m o s t l y p o w e r c h o r d s , a n d s o m e are p l a y e d using eighth-note rhythms. Bars 9-10 I Eighth-note chords T h e eighth-note p o w e r c h o r d s can be played i n t w o ways: u s i n g a l l d o w n s t r o k e s , o r altérnate s t r u m m i n g . Altérnate s t r u m m i n g is u s u a l l y t h e m o s t c o m m o n c h o i c e f o r c h o r d s u s i n g a n e i g h t h - n o t e r h y t h m b e c a u s e it's i d e a l f o r m a i n t a i n i n g fluency, e s p e c i a l l y w h e n m o v i n g b e t w e e n quarter notes and eighth notes. H o w e v e r , i n rock m u s i c p o w e r c h o r d s are o f t e n p l a y e d u s i n g a l l d o w n s t r o k e s because this technique provides a solid, consistent sound. W h i c h e v e r m e t h o d y o u choose, be consistent o r y o u m a y affect t h e fluency o f y o u r p e r f o r m a n c e .

10

DRY-WET

A Section (Bars 1-8) T h i s section opens w i t h t w o - n o t e powerchords combined w i t h rests, f o l l o w e d b y a n a n s w e r i n g ' p h r a s e t h a t u s e s s i n g l e notes to contrast w i t h the chords. Bar 1 I Powerchords P o w e r c h o r d s a r e t w o o r t h r e e - n o t e c h o r d s ( i n t h i s case t w o ) . T h e s e p o w e r c h o r d s are p l a y e d u s i n g a n o p e n s t r i n g c o m b i n e d w i t h a n o t h e r n o t e u s i n g a single finger ( F i g . 1). Bar 1 I Rests I n order t o stop the p o w e r c h o r d s o n beats 1 a n d 3 r i n g i n g on for too long, mute t h e m using your picking and fretting h a n d s . Reléase t h e p r e s s u r e o n t h e s t r i n g s w i t h y o u r f r e t t i n g h a n d . D o n t t a k e y o u r finger a l l t h e w a y o f f t h e s t r i n g s , j u s t stop pressing d o w n . S i m u l t a n e o u s l y m u t e the strings w i t h your picking hand. Bar2 |JV.C. T h e N . C . I n d i c a t i o n above t h e n o t a t i o n i n bar 2 stands f o r 'No C h o r d ' (Fig. 2). Usually a c h o r d s y m b o l w i l l appear a b o v e e v e r y b a r o f a p i e c e o f g u i t a r m u s i c . I f t h e r e is a c h o r d played by the notated part the chord symbol will show this c h o r d . W h e n t h e w r i t t e n p a r t is p l a y i n g a m e l o d y , t h e c h o r d s y m b o l w i l l reflect the chords played b y the accompaniment. W h e n a l l t h e i n s t r u m e n t s a r e p l a y i n g s i n g l e n o t e s , as i n b a r 2 , N . C . is u s e d . W i t h o u t t h i s s y m b o l t h e chord from b a r 1 w o u l d still be i n effect, w h i c h w o u l d be m i s l e a d i n g . Bar 6 | Eighth notes So far all the notes have been quarter notes or quarter-note rests. T h e t h i r d b e a t o f b a r 6 f e a t u r e s t w o e i g h t h n o t e s . T w o e i g h t h n o t e s l a s t f o r t h e s a m e a m o u n t o f t i m e as a s i n g l e q u a r t e r n o t e . B e c a u s e t h e y a r e t w i c e as f a s t as q u a r t e r n o t e s , y o u m a y f i n d i t e a s i e r t o u s e altérnate ( d o w n u p ) p i c k i n g .

C Section (Bars 16-19) T h i s s e c t i o n is a v a r i a t i o n o f t h e A s e c t i o n a n d b r i n g s t h e p i e c e t o a cióse. Bar 19 | Note lengths W h e n a song ends, i t can be t e m p t i n g t o let t h e f i n a l n o t e r i n g o n for longer t h a n notated. Be sure t o stop the final n o t e after t w o beats.

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31

1 SONG TITLE: 101 GENRE: ELECTRONIC TEMPO: 110 BPM KEY: G MAJOR

J=110

Electronic

Am

TECH FEATURES: ARPEGGIATED CHORDS SINGLE-NOTE MELODIES OPEN CHORDS COMPOSER: SIMON TROUP PERSONNEL: STUART RYAN (GTR) SIMON TROUP (PROD)

OVERVIEW ' l O r is a c o m p o s i t i o n i n f l u e n c e d b y e l e c t r o n i c groups i n the vein of H o t Chip, P i n M e D o w n and Bloc Party. O n this song the guitar plays clean a r p e g g i a t e d p a r t s at t i m e s , w i t h f u l l s u s t a i n e d c h o r d s being played i n o t h e r sections against a synthesized p r o d u c t i o n b a c k i n g . T h e r e is a l s o a m e l o d y l i n e f o r y o u t o p l a y i n t h e o p e n p o s i t i o n (e.g. f r o m f r e t s 1 t o 4 u s i n g o p e n s t r i n g s ) w h e r e c l a r i t y is e s s e n t i a l .

STYLE FOCUS Akhough more commonly found in mainstream styles, g u i t a r has f o u n d its w a y i n t o e l e c t r o n i c a l l y p r o d u c e d m u s i c t o serve m o r e o f a t e x t u r a l role i n s t e a d o f b e i n g at t h e f o r e w i t h o b v i o u s r i f f s . I t is c o m m o n f o r guitarists i n t h i s style t o use a clean t o n e , s o m e t i m e s w i t h effects l i k e c h o r u s a n d delay t o add m o r e a m b i e n c e a n d 'space' t o t h e i r s o u n d . I n t h e s e s i t u a t i o n s t h e a p p r o a c h o f 'less is m o r e is c r u c i a l s o t h a t t h e m u s i c is n o t s w a m p e d b y t h e g u i t a r .

THE BIGGER PICTURE Electronic rnusic grew alongside the development o f t h e s y n t h e s i z e r f r o m t h e 1 9 7 0 s o n w a r d s , as g r o u p s

s u c h as K r a f t w e r k w r o t e i n s t r u m e n t a l m u s i c u s i n g synthesizers a n d m o d e r n p r o d u c t i o n techniques. I n the 1980s, s y n t h p o p b e c a m e successful a n d m o s t pop groups o f the t i m e fused s y n t h w i t h clean guitar. T h e scene gave w a y t o m o r e u n d e r g r o u n d f o r m s o f electronic music that were n o t based a r o u n d pop s o n g w r i t i n g . I n t h e 1990s, M o b y a n d o t h e r artists made the guitar a key component of the growing electronic chill o u t ' m u s i c scene w h i l e T h e P r o d i g y u s e d t h e g u i t a r as m o r e o f a n a g g r e s s i v e i n s t r u m e n t using d i s t o r t i o n and p o w e r c h o r d based riffs. Today, m a i n s t r e a m electronic groups like H o t C h i p take a m o r e subtle approach a n d use the guitar t o play softer r i f f s a n d c h o r d s . S i g u r R o s u s e t h e g u i t a r t o créate soundscapes, fusing m o r e traditional i n s t r u m e n t s like d r u m s , bass a n d g u i t a r w i t h effected s y n t h s .

RECOMMENDED LISTENING Discovery ( 2 0 0 1 ) b y D a f t P u n k is a classic electrónica álbum f e a t u r i n g s o m e g r e a t g u i t a r m o m e n t s . P r o d u c t i o n teams like Zero Seven and A i r a l s o f e a t u r e g u i t a r i n t h e i r m u s i c : t r y Simple Things ( 2 0 0 1 ) b y t h e f o r m e r a n d Moon Safari ( 1 9 9 8 ) b y t h e l a t t e r f o r classic e l e c t r o n i c m u s i c . B r i t i s h dúo L a m b w r i t e some o f their m a t e r i a l a r o u n d the acoustic g u i t a r , as d o e s M o b y - y o u w i l l h e a r s o m e m e m o r a b l e g u i t a r o n h i s h i t álbum Play ( 1 9 9 9 ) .

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A Section (Bars 1-8) T h i s s e c t i o n is b a s e d o n o p e n c h o r d s t h a t a r e s t r u m m e d , t h e n t h e notes are p i c k e d i n d i v i d u a l l y . Bar 2 | Arpeggio W h e n t h e n o t e s o f a c h o r d a r e p l a y e d i n d i v i d u a l l y , t h i s is c a l l e d a n a r p e g g i o . I f t h e n o t e s i n a c h o r d a r e p i c k e d o n e at a t i m e t h e c h o r d is b e i n g a r p e g g i a t e d .

b e c a u s e i t u s e s less m o t i o n . T h i s t e c h n i q u e c a n h e l p m a k e y o u r p l a y i n g m o r e fluent. Bar 9 | Counting rests O n e w a y o f m a k i n g sure y o u play the A note i n bar 9 i n the r i g h t p l a c e ' a f t e r t h e q u a r t e r - n o t e r e s t ' is t o c o u n t a l o n g t o the pulse (also called t h e beat) o f the m u s i c . T h e A n o t e s h o u l d be p l a y e d w h e n y o u say t h e n u m b e r '2' ( F i g . 2 ) .

C Section (Bars 17-23) T h i s s e c t i o n is a r e p r i s e o f t h e A s e c t i o n , t h i s t i m e w i t h variations i n the picking patterns. Bar 23 | Fingering options T h e r e are several o p t i o n s f o r p l a y i n g the f i n a l n o t e o f ' 1 0 1 ' . T h e c h a l l e n g e p r e s e n t e d h e r e is t h a t y o u r h a n d w i l l b e holding a chord right up until the time the final note must b e p l a y e d . T h e f o u r t h finger is q u i t e n a t u r a l l y p l a c e d t o f r e t this note and w i l l require m i n i m a l h a n d m o v e m e n t , but y o u m u s t be sure that all the notes f r o m the previous c h o r d have s t o p p e d r i n g i n g as y o u p l a y i t . I f y o u h a v e d i f f i c u l t l y f r e t t i n g t h e n o t e w i t h y o u r w e a k e r finger, y o u c o u l d u s e o n e o f y o u r s t r o n g e r f i n g e r s ( t h o u g h i t is a d v i s a b l e t o b u i l d f o u r t h finger s t r e n g t h as e a r l y as p o s s i b l e w h i l e l e a r n i n g ) , b u t y o u w i l l h a v e t o m o v e q u i c k l y at t h e e n d o f b a r 2 2 t o e n s u r e t h a t y o u play the final note i n time.

Bars 1-2 | Chord accuracy W h i l e it's a l w a y s i m p o r t a n t t o f r e t c h o r d s a c c u r a t e l y , t h e picked chords i n bar 2 w i l l expose any notes i n the c h o r d t h a t are n o t f r e t t e d cleanly. A i m t o f r e t t h e notes w i t h t h e tips o f y o u r fingers t o m a k e r o o m for the adjacent higher s o u n d i n g strings t o r i n g clearly. I f y o u have d i f f i c u l t y w i t h this, e x p e r i m e n t w i t h the p o s i t i o n o f y o u r t h u m b because this has a large i m p a c t o n y o u r hand's m o b i l i t y .

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Bar 2 | Let ring Usually i n a single note m e l o d y y o u s h o u l d a vo id letting the notes 'bleed' i n t o each other because this can i n h i b i t the c l a r i t y o f t h e m e l o d y . I n t h i s case, h o w e v e r , t h e n o t e s r i n g i n g i n t o e a c h o t h e r is a k e y p a r t o f t h e song's m a i n m e l o d y , h e n e e t h e s e l f - e x p l a n a t o r y 'Let r i n g ' i n d i c a t i o n ( F i g . 1).

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B Section (Bars 9-16) T h i s section consists m o s t l y o f single notes p l a y e d i n t h e o p e n p o s i t i o n . It finishes w i t h a single s t r u m o f a n o p e n chord to lead i n t o the C section. Bars 9-16 | Picking options Picking this melody using all downstrokes will produce a consistent, solid s o u n d , b u t y o u m a y f i n d it a challenge t o m a i n t a i n at t h i s t e m p o . Altérnate p i c k i n g is g e n e r a l l y considered a m o r e e c o n o m i c w a y o f p i c k i n g faster phrases

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TECH FEATURES: CHORDS STRUMMING CROSSING STRINGS COMPOSER: JOE BENNETT PERSONNEL: STUART RYAN (GTR) JOE BENNETT (GTR & VOX) HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS) CHRIS BLANDON (HARMONICA) OVERVIEW ' B e a t T h e M e r s e y ' is a n u p t e m p o p o p s o n g i n t h e s t y l e o f 1 9 6 0 s M e r s e y b e a t b a n d s s u c h as T h e B i g Three, G e r r y A n d T h e Pacemakers, T h e Searchers a n d , o f course, T h e Beatles. T h i s s o n g features a c o u s t i c g u i t a r a n d harmónica i n t h e b a c k i n g t r a c k . T h e g u i t a r p a r t w i t h i n t h i s s o n g is b a s e d p r i m a r i l y o n s t r u m m e d chords a n d t h e n m o v e s to single notes.

STYLE FOCUS P o p o f the early 1960s was influenced b y trailblazing r o c k ' n r o l l artists like B u d d y H o l l y A n d T h e Crickets, Elvis Presley and C h u c k Berry. T h e songs w r i t t e n a n d played b y those bands w e r e o f t e n built o n simple chords o r a catchy guitar r i f f V a r i o u s 1960s p o p songs t r a d i t i o n a l l y f o l l o w e d the n o w f a m i l i a r p o p song structure o f verse, chorus, verse, chorus, middle 8 and chorus.

BIGGER PICTURE T h e Beatles are t h e m o s t significant b a n d t o have come f r o m this golden era o f pop music, but i n the beginning they were one of a number of up and c o m i n g acts f r o m L i v e r p o o l w h o m a d e t h e s c e n e s o

v i b r a n t . I n t h e early days o f M e r s e y b e a t T h e Beaties' success w a s m a t c h e d f o r a w h i l e b y G e r r y A n d T h e Pacemakers, w h o scored three consecutive n u m b e r o n e h i t s i n 1963 w i t h ' H o w D o Y o u D o It?' ( w r i t t e n by M i t c h M u r r a y a n d A d a m F a i t h a n d rejected by T h e Beaties), ' I L i k e it' a n d the L i v e r p o o l F C a n t h e m 'You'll N e v e r W a l k A l o n e ' t a k e n f r o m t h e 1945 m u s i c a l C a r o u s e i . T h e s o n g w h i c h t h e y are m o s t a s s o c i a t e d w i t h is ' F e r r y C r o s s T h e M e r s e y ' , w h i c h reached n u m b e r eight i n t h e charts t h e f o l l o w i n g year. T h e Searchers can boast t h e same w i t h 'Sweets F o r M y Sweet', ' N e e d l e s A n d P i n s ' a n d ' D o n ' t T h r o w Y o u r Love A w a y ' i n the same period.

RECOMMENDED LISTENING T h e Beatles h a v e t o o m a n y 'essential l i s t e n i n g ' tracks to list here, b u t standouts f r o m their early m a t e r i a l i n c l u d e t h e h i t s ' L o v e M e Do', 'Please Please M e ' a n d ' F r o m M e T o Y o u ( a l l f e a t u r i n g harmónica). ' I Feel F i n e ' also has a catchy g u i t a r r i f f a n d a n excellent guitar solo for y o u t o check out, a n d ' D a y T r i p p e r ' b o a s t s o n e o f t h e i r b e s t r i f f s . T h e first d o u b l e C D , Anthology J , is a f a s c i n a t i n g r e c o r d o f a b a n d developing f r o m ay o u n g four-piece to the dizzying h e i g h t s o f B e a t l e m a n i a . I n a d d i t i o n . C i l l a Black's t w o 1964 n u m b e r o n e hits ' A n y o n e W h o H a d A H e a r t ' a n d 'You're M y W o r l d ' are w o r t h a l i s t e n .

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Walkthrough Amp Settings A i m for a bright, clean sound. Y o u can boost the treble a s m a l l a m o u n t i f y o u feel y o u r t o n e needs a little m o r e b i t e ( t h i s m a y b e t h e case i f y o u h a v e a g u i t a r f i t t e d w i t h humbuckers). Keep the gain l o w to avoid the chords d i s t o r t i n g as y o u s t r u m . A d d i n g s o m e r e v e r b w i l l h e l p w i t h the vintage 1960s p o p s o u n d . Clean Channel

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Bars 1-16 I Counting rhythms W i t h a r e l a t i v e l y h i g h - p a c e d t r a c k s u c h as t h i s o n e , c o u n t i n g the beats along w i t h the m u s i c can be a h e l p f u l w a y o f m a k i n g sure that y o u play the chords i n the correct r h y t h m (Fig. 1). A s y o u c o u n t , m a k e sure t h a t t h e c h o r d s y o u p l a y coincide exactly w i t h t h e n u m b e r s y o u are c o u n t i n g .

B Section (Bars 17-25) T h i s section consists o f a single-note m e l o d y . Its m a i n challenge is t h a t i t features several phrases t h a t cross strings.

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A Section (Bars 1-16) T h e A section consists o f a n eight-bar c h o r d progression played twice. T h e chords ares t r u m m e d using a combination o f w h o l e , h a l f a n d quarter notes. T h e second eight bars use a different r h y t h m t o the first.

Bar 17 | Crossing strings M e l o d i e s w h e r e y o u have t o cross strings c a n at t i m e s b e c h a l l e n g i n g ( F i g . 2 ) . T h e larger gaps b e t w e e n strings (at least c o m p a r e d t o phrases that stay o n t h e same string) m e a n s that y o u w i l l have t o practise these phrases s l o w l y so that y o u can getused t o the m o v e m e n t - playing up t o speed before y o u are r e a d y w i l l affect y o u r accuracy.

Bars 1-16 | Anticipating chord changes Each b a r o f 'Beat T h e Mersey' has a chord h e l d for either t w o o r f o u r beats before a c h o r d change, a l l o w i n g y o u t i m e to m e n t a l l y prepare f o r the c h o r d change. A s y o u reach beat 4, visualise w h e r e y o u w i l l p u t y o u r fingers i n the next chord. Anticipating the chord change i n this w a y w i l l help y o u change m o r e fluently. Bars 1-16 I Strumming chords A i m t o keep y o u r wrist relaxed and allow the pick to travel l i g h t l y across t h e strings t o achieve a g o o d s t r u m m i n g action. I t is c o m m o n f o r beginners t o 'dig i n t o o m u c h a n d i n e v i t a b l y d r a g t h e p i c k across t h e strings so t h a t i n d i v i d u a l strings can be heard being picked. I f this occurs, t r y relaxing y o u r g r i p o n t h e p i c k a n d a i m t o s t r u m t h e s t r i n g s as a u n i t rather t h a n t r y i n g t o play i n d i v i d u a l strings. Y o u s h o u l d also consider t h e t y p e o f p i c k y o u use (see b e l o w ) . Bars 1-25 | Pick selection P i c k ( o r p l e c t r u m ) selection is a n i m p o r t a n t aspect o f p l a y i n g guitar. D i f f e r e n t picks affect t h e guitar's t o n e a n d m a k e certain techniques easier o r m o r e d i f f i c u l t t o play d e p e n d i n g o n t h e i r properties. P i c k choice is a personal matter, b u t i t is generally accepted that a t h i n n e r pick w i l l o f f e r less r e s i s t a n c e w h e n s t r u m m i n g a n d w i l l , t h e r e f o r e , h e l p t o p r o d u c e a m o r e fluent s o u n d a n d a v o i d s o m e o f t h e p r o b l e m s i d e n t i f i e d i n t h e p r e v i o u s step. T h e r e a r e a l s o single note lines i n 'Beat T h e Mersey', so y o u m a y need a slightly thicker pick to help b r i n g o u t the m e l o d y notes. A pick a r o u n d t h e I m m m a r k is a g o o d place t o start.

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1 SONG TITLE: GENRE: TEMPO: KEY:

HELICOPTER INDIE 95 BPM E MINOR

J = 9 5 Indie G

TECH FEATURES: STRUMMING EIGHTH NOTES CHANGING CHORDS COMPOSER: JAMES UINGS PERSONNEL: STUART RYAN (GTR) DUNCAN JORDAN (GTR) HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS)

OVERVIEW ' H e l i c o p t e r ' is a s l i c e o f B r i t p o p i n d i e i n t h e s t y l e o f bands l i k e Oasis, B l u r a n d T h e Kaiser Chiefs. It starts w i t h a single n o t e verse a n d m o v e s t o s t r u m m e d chords for the chorus. T h e song ends w i t h a reprise o f the verse section. T h e m o s t challenging parts o f this s o n g are t h e e i g h t h notes, w h i c h a l m o s t c e r t a i n l y n e e d t o b e p l a y e d u s i n g altérnate p i c k i n g .

STYLE FOCUS G e n e r a l l y , i n d i e g u i t a r is v e r y d i f f e r e n t t o a l o t o f p o p u l a r g u i t a r based styles l i k e r o c k a n d jazz i n t h a t it doesn t have its roots i n blues guitar. O n e o f t h e m a i n w a y s t h i s s h o w s i n t h e s t y l e is i n t h e g u i t a r s o l o s , w h e r e techniques l i k e v i b r a t o are n o t used. I n d i e g u i t a r i s t s o f t e n a v o i d u s i n g t h e m i n o r p e n t a t o n i c scale as i t h a s a v e r y d i s t i n c t i v e s o u n d t h a t is a n i n h e r e n t p a r t o f a blues-based guitar style.

THE BIGGER PICTURE B r i t p o p ' s g o l d e n age w a s t h e m i d 1 9 9 0 s w h e n O a s i s b u r s t o n t h e s c e n e w i t h t h e d e b u t álbum Definitely Maybe ( 1 9 9 4 ) . N o e l G a l l a g h e r ' s i m p e c c a b l e songwriting combined perfectly w i t h brother L i a m s

raspy vocals to produce the perfect blend o f m e l o d y a n d attitude. Gallagher's regular use o f the b r i g h t e r s o u n d i n g m a j o r p e n t a t o n i c a n d m a j o r scales is a k e y p a r t o f t h e band's l o n g - t e r m appeal. O a s i s ' b i g g e s t r i v a l B l u r r e l e a s e d t h e i r d e b u t álbum Leisure i n 1 9 9 1 . T h e i r b e s t - s e l l i n g álbum Parklife w a s r e l e a s e d i n 1 9 9 4 , a r o u n d t h e s a m e t i m e as Definitely Maybe. A w a r o f w o r d s e r u p t e d b e t w e e n t h e b a n d s . T h i s c u l m i n a t e d i n the 'battle o f B r i t p o p ' - Blur's ' C o u n t r y House' single pipped ' R o l l W i t h It' to n u m b e r o n e . O a s i s t o o k t h e i r 'álbum r e v e n g e ' i n 1 9 9 5 w h e n (What's The Story) Morning Glory? b e a t B l u r ' s The Great Escape t o t h e t o p o f t h e a l b u m s c h a r t .

RECOMMENDED LISTENING ' S l i d e A w a y ' a n d ' L i v e F o r e v e r ' f r o m Definitely Maybe e x e m p l i f y O a s i s ' e a r l y m a t e r i a l a n d f e a t u r e N o e l G a l l a g h e r ' s f a m o u s s t r u m m i n g p a t t e r n , as d o e s ' W o n d e r w a i r f r o m {What's The Story) Morning Glory? B l u r ' s Parklife f e a t u r e d t h e i r b i g g e s t h i t s , ' G i r l s A n d Boys' a n d 'Parklife'. T h e Kaiser Chiefs l e d the w a y f o r t h e second w a v e o f B r i t p o p a decade after its c o m m e r c i a l peak. H e a v i l y influenced by Oasis and p a r t i c u l a r l y Blur, t h e y burst o n t o t h e scene i n 2004 w i t h t h e singles ' I P r e d i c t A R i o t ' a n d ' O h M y G o d ' f r o m t h e i r d e b u t álbum Employment ( 2 0 0 5 ) .

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section ( y o u aren't practising t h e changes w h i l e a chord for a bar) a n d m a x i m i s e y o u r practice s l o w l y a n d m a k e sure y o u are p l a y i n g t h e chords o t h e r w i s e y o u r t i m e w i l l be wasted.

Bars 9-12 I Strumming Y o u w i l l find t h a t c h o r d v o i c i n g s o n t h e h i g h e s t s o u n d i n g strings are s l i g h t l y m o r e d i f f i c u l t t o s t r u m t h a n t h o s e o n t h e lowest. Obviously the l o w e r strings don't have any strings l o c a t e d b e l o w t h e m , so s t r u m m i n g a c c u r a c y i s n ' t s u c h a n issue. S t r u m m i n g t h e f o u r - n o t e c h o r d s o n t h e highest strings requires a m o r e accurate s t r u m m i n g action to prevent y o u f r o m s t r i k i n g any u n w a n t e d strings.

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A Section (Bars 1-8) T h i s s i n g l e n o t e m e l o d y is p l a y e d i n o p e n p o s i t i o n a n d u s e s n o t e s f r o m t h e G m a j o r scale Bar 3 | Counting rests T h e best w a y t o ensure y o u leave the correct a m o u n t o f t i m e f o r t h e r e s t is t o c o u n t t h r o u g h t h e b a r s ( F i g . 1 ) . T h i s w i l l help y o u keep the pulse ( w h a t y o u tap y o u r foot to, o t h e r w i s e k n o w n as t h e b e a t ) o f t h e s o n g i n y o u r h e a d a n d a l l o w y o u t o p l a y w i t h a better sense o f t i m i n g .

C Section (Bars 13-17) T h i s section returns to single notes a n d brings 'Helicopter' t o a s a t i s f y i n g conclusión. Bar 17 | Ending the song T h e song finishes w i t h a w h o l e note open G string. Be careful n o t to h i t this final note t o o hard, and ensure that it lasts f o r t h e w r i t t e n d u r a t i o n o f f o u r beats. M u t e t h e o p e n string by simultaneously placing y o u r fretting and picking hands lightly o n the string.

Bar 6 | Eighth notes So far i n t h i s piece, all the notes have been quarter notes o r q u a r t e r - n o t e rests. T h e f i r s t beat o f bar 6 features t w o e i g h t h n o t e s . T w o e i g h t h n o t e s l a s t f o r t h e s a m e a m o u n t o f t i m e as a s i n g l e q u a r t e r - n o t e . B e c a u s e t h e y a r e t w i c e as f a s t as q u a r t e r n o t e s , y o u m a y f i n d i t e a s i e r t o u s e altérnate ( d o w n u p ) picking, an example o f w h i c h can be seen i n Fig. 2. Count:

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B Section (Bars 9-12)

Fig. 1 : C o u n t i n g rests

T h i s section uses o p e n chords t o p r o v i d e contrast t o t h e earlier single-note melodies, c o m p l e m e n t i n g the lead guitar part i n the accompaniment. Bars 9-12 I Fretting chords Fretting chords accurately can take t i m e to master. Fret t h e n o t e s w i t h t h e t i p s o f y o u r f i n g e r s b e c a u s e t h e r e is a danger that the fingers fretting the l o w e r s o u n d i n g strings w i l l m u t e the higher strings. If you have difficulty w i t h this, e x p e r i m e n t w i t h the p o s i t i o n of y o u r t h u m b - this has a large i m p a c t o n y o u r hand's m o b i l i t y . Bars 9-12 I Changing chords A g o o d w a y o f p e r f e c t i n g y o u r c h o r d c h a n g e s is t o s t r u m e a c h c h o r d o n c e a n d t h e n m o v e t o t h e n e x t c h o r d as q u i c k l y as y o u c a n . T h i s a l l o w s y o u t o f o c u s o n t h e m o s t d i f f i c u l t

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SONG TITIE: CASHVILIE GENRE: COUNTRY TEMPO: 105 BPM KEY: D MAJOR

J = 1 0 5 Country D

TECH FEATURES: CROSSING STRINGS EIGHTH NOTES CHANGING CHORDS -2-

COMPOSER: KIT MORGAN PERSONNEL: KIT MORGAN (GTR) STUART RYAN (GTR) HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS)

OVERVIEW Johnny Cash, H a n k W i l l i a m s and Merle Haggard are s o m e o f t h e b e s t - k n o w n c o u n t r y artists o f t h e past 6 0 y e a r s . ' C a s h v i l l e ' is a c o u n t r y p i e c e i n t h e s t y l e o f t h o s e a r t i s t s , a n d f e a t u r e s c h o r d s a n d scales b a s e d i n open position.

STYLE FOCUS C o u n t r y owes m u c h o f i t s d i s t i n c t s o u n d t o i t s guitars. M o s t c o u n t r y tracks m e l d acoustic a n d electric parts, a n d u s u a l l y the r h y t h m parts are covered by open position chords played o n an a c o u s t i c . T h e e l e c t r i c g u i t a r is m o s t o f t e n u s e d f o r lead - f r e q u e n t l y i n o p e n p o s i t i o n - b u t m a y also c o n t r i b u t e t o the r h y t h m tracks. C o u n t r y guitar solos a n d lead filis m a y be based f u r t h e r u p t h e neck, b u t o p e n s t r i n g s a r e o f t e n u s e d i n tándem w i t h n o t e s t h a t a r e f o r m e d at t h e h i g h e r f r e t s . T h e s e a r e k n o w n as o p e n s t r i n g licks. P e d a l steel g u i t a r s are also c o m m o n , a n d y o u can h e a r t h e m o n t h i s song's b a c k i n g track.

THE BIGGER PICTURE C o u n t r y music's roots go back t o America's early immigrant communities. The influence of British

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f o l k m u s i c is m o s t a p p a r e n t i n c o u n t r y ' s p r e d e c e s s o r , h i l l b i l l y o r oíd t i m e m u s i c . H a n k W i l l i a m s w a s c o u n t r y ' s first m a j o r star, a g u i t a r i s t a n d s o n g w r i t e r w h o s e h i t s are still c o v e r e d b y artists today. J o h n n y C a s h w i l l b e a m o r e f a m i l i a r ñame t o t h o s e w h o a r e n e w t o t h e g e n r e ; h i s h e l l r a i s e r r e p u t a t i o n is a l m o s t as g r e a t as h i s m u s i c a l legacy. Cash's i n s t r u m e n t o f choice was an acoustic; the electric guitar licks o f his early years w e r e p e r f o r m e d by L u t h e r Perkins. M e r l e H a g g a r d h e l p e d t o créate a n e w s u b - g e n r e i n t h e 1960s called t h e Bakersfield s o u n d , w h i c h was characterised by a r a w p r o d u c t i o n style a n d Haggard's t o u g h Pender Telecaster licks. R e i g n i n g over t h e m all, t h o u g h , was t h e v i r t u o s o C h e t A t k i n s w h o used a t h u m b pick and fingers to produce dazzling solo a r r a n g e m e n t s o f s o n g s s u c h as ' M i s t e r S a n d m a n .

RECOMMENDED LISTENING M a n y o f Cash's h i t s a r e d r i v e n b y h i s a c o u s t i c r h y t h m parts, although ' R i n g O f Fire' a n d ' W a l k T h e Line' feature clean tone electric guitar too. ' F o l s o m P r i s o n Blues' a n d 'Get R h y t h m ' also feature tasteful solos. W i l l i a m s ' hits ' H e y G o o d L o o k i n " , 'Lovesick Blues' a n d 'Your Cheatin' Heart' have b e c o m e c o u n t r y s t a n d a r d s . H a g g a r d ' s l e a d s t y l e is e p i t o m i s e d o n ' T h e Bottle Let M e D o w n ' a n d 'Life I n Prison', w h i l e A t k i n s ' guitar m a s t e r y can be heard o n 'Yakety A x e .

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119] © Copyright 2012 Rocls School Ltd.

Ihis music is copyright. Photocopying is illegal.

Walkthrough Amp

Settings

A i m f o r a f u l l , t h i c k , c l e a n t o n e t h a t is s t i l l b r i g h t . E v e n clean channels can d i s t o r t , so be sure t o keep t h e g a i n l o w t o m a i n t a i n a puré t o n e . B o o s t t h e b a s s a n d c u t t h e m i d d l e to add some w a r m t h , a n d boost the treble slightly to keep the s o u n d f r o m b e c o m i n g t o o m u d d y . T h i s style o f m u s i c benefits f r o m a fair a m o u n t o f reverb. E x p e r i m e n t w i t h d i f f e r e n t levéis b u t b e w a r y o f d r o w n i n g t h e g u i t a r s s o u n d . Clean Channel

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Bar 11 I Eighth notes T w o e i g h t h n o t e s l a s t f o r t h e s a m e a m o u n t o f t i m e as a s i n g l e q u a r t e r n o t e . Y o u m a y f i n d t h a t p l a y i n g q u a r t e r n o t e s as d o w n s t r o k e s a n d t h e e i g h t h n o t e s as altérnate p i c k i n g ( d o w n up) helps y o u play m o r e fluently.

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Bar 11 I Leí ring T h e w a y that the m e l o d y notes r i n g i n t o each other i n t h i s b a r is a k e y p a r t o f t h i s s o n g ' s s o u n d , h e n e e t h e selfexplanatory 'Let r i n g ' indication.

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DRY-WET

Bar 11 I Accuracy A l t h o u g h t h e p h r a s e i n b a r 1 1 is b a s e d o n t h e n o t e s i n a n E m i n o r c h o r d , it's i m p o r t a n t t h a t t h e y d o n o t r i n g i n t o each o t h e r so m u c h t h a t t h e p a r t s o u n d s l i k e a r h y t h m p a r t r a t h e r t h a n a single-note m e l o d y . W h i l e t h e r e w i l l be s o m e ' b l e e d i n g ' b e t w e e n t h e o p e n s t r i n g s , b e s u r e t o reléase t h e f i r s t E n o t e as s o o n as i t h a s s o u n d e d f o r t h e r i g h t d u r a t i o n .

A Section (Bars 1-2) T h e i n t r o section to 'Cashville' alternates between t w o s u s t a i n e d o p e n c h o r d s a n d n e a t l y sets u p t h e s o n g f o r t h e m a i n melody. Bars 1-2 | Changing chords T h e D chords s h o u l d be played u s i n g y o u r first finger o n the third string, y o u r third o n the B string, and y o u r second o n the E string. T o change to the chord, simply remove your f i r s t f i n g e r f r o m t h e G s t r i n g a n d p l a c e y o u r f o u r t h finger i n f r o n t o f t h e s e c o n d f i n g e r at t h e 3"* f r e t . Y o u r t h i r d f i n g e r s t a y s i n t h e s a m e l o c a t i o n f o r b o t h c h o r d s a n d acts as a n a n c h o r t h r o u g h t h e c h a n g e . T h i s w i l l f e e l a w k w a r d at f i r s t , b u t i t w i l l g r a d u a l l y b e c o m e a fluent m o t i o n ( F i g . 1 ) .

D Section (Bars 19-22) T h e D s e c t i o n is a r e p r i s e o f t h e i n t r o c h o r d s w i t h a s i m p l e rhythmic variation. Bar 22 | Note lengths U n l i k e the m a j o r i t y o f t h e chords i n 'Cashville', t h e f i n a l c h o r d lasts f o r a q u a r t e r n o t e r a t h e r t h a n a h a l f n o t e .

B Section (Bars 3-10) T h e B section consists o f a catchy single-note m e l o d y based in open position. Bar 4 | Melodic notes on adjacent frets O n e o f the trickiest things to deal w i t h i n single-note m e l o d i e s are notes t h a t are p l a y e d o n t h e s a m e frets b u t o n d i f f e r e n t s t r i n g s , as t h e y a r e i n b a r 4 . T a k e a l o o k at F i g . 2 t o discover a c o m m o n m e t h o d f o r dealing w i t h a m e l o d y such as t h i s . T h e m o s t i m p o r t a n t t h i n g t o w a t c h f o r is t h a t t h e notes don't bleed into each other a n d s o u n d like a chord.

C Section (Bars 11-18) T h e f i r s t h a l f o f t h e B s e c t i o n is b a s e d o n m i n o r s o u n d s , w h i c h gives i t a d a r k e r s o u n d t h a n t h e b r i g h t A section. T h e s e c o n d h a l f o f t h e s e c t i o n is a v a r i a t i o n o f t h e A s e c t i o n , w h e r e the notes are played a n octave h i g h e r a n d t h e r h y t h m includes e i g h t h notes.

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SONG TITLE: GENRE: TEMPO: KEY:

SPIKE INDIE 120 BPM A MINOR

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TECH PEATURES: OPEN CHORDS STRING CROSSING MELODIC LEAD PLAYING COMPOSER: DEIRDRE CARTWRIGHT PERSONNEL: STUART RYAN (GTR)

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HENRY THOMAS (BASS) NOAM LEDERMAN (DRUMS)

OVERVIEW

THE BIGGER PICTURE

'Spike is b a s e d o n t h e k i n d o f i n d i e r o c k spearheaded by T h e Strokes a n d f u r t h e r popularised b y F r a n z F e r d i n a n d a n d K i n g s O f León i n t h e 2000s. Bands w h o play i n this style usually have t w o guitarists, one o f w h o m w i l l generally play a lead role. However, for the m a j o r i t y o f bands, b o t h players w i l l p e r f o r m parts that have been w r i t t e n to complement each other h a r m o n i c a l l y and r h y t h m i c a l l y .

W h e n T h e S t r o k e s r e l e a s e d t h e i r d e b u t álbum Is This It i n 2 0 0 1 , i t w a s c l e a r t h a t t h e g u i t a r s t y l e a d o p t e d b y A l b e r t H a m m o n d Jr. a n d N i c k V a l e n s i was i n f l u e n c e d b y n e w w a v e bands o f the late 1970s a n d e a r l y 1 9 8 0 s s u c h as B l o n d i e , T h e C a r s a n d Televisión. T h e l a t t e r ' s T o m V e r l a i n e a n d R i c h a r d L l o y d are considered t o be especially i m p o r t a n t i n t h e development of indie played by bands w i t h t w o guitar p l a y e r s . T h e S t r o k e s a r e a l s o a s e m i n a l act, s p a w n i n g a generation of like-minded bands including Franz F e r d i n a n d , K i n g s O f León a n d T h e H i v e s .

STYLE FOCUS I n d i e g e t s its ñame f r o m a n a b b r e v i a t i o n o f ' i n d e p e n d e n t rock', s o - c a l l e d b e c a u s e r e c o r d s i n t h i s genre w e r e released o n independent rather t h a n m a j o r r e c o r d labels. T h i s i n d e p e n d e n t s p i r i t translates i n t o g u i t a r p l a y i n g t h a t is d e l i b e r a t e l y at o d d s w i t h t h e u s u a l r o c k clichés. F o r e x a m p l e , l e a d p l a y i n g is d e v o i d o f the typical blues i n f l u e n c e d vibrato. A s a result, indie solos can s o u n d naive i n c o m p a r i s o n w i t h those o f h a r d r o c k , b u t t h a t ' s t h e p o i n t : i n d i e g u i t a r is a r t y , n o t flashy. S i n g l e n o t e r i f f s a n d l i c k s a r e f r e q u e n t l y p a l m - m u t e d , w h i l e solo breaks are either n o i s y freakouts or simple melodies that outiine the chord changes w h i l e steering clear o f t h e m i n o r p e n t a t o n i c b o x . A m p s a r e g e n e r a l l y set t o c r u n c h , s o d o n ' t g o overboard w i t h the distortion.

RECOMMENDED LISTENING T o m Petty A n d T h e H e a r t Breakers' 1977 single ' A m e r i c a n G i r l ' m a y have i n s p i r e d T h e Strokes' 'Last N i g h t ' - t h e i r i n t r o s are a l m o s t identical. Television's d e b u t álbum Marquee Moon ( 1 9 7 7 ) s o l d p o o r l y u p o n its reléase b u t is n o w r e g a r d e d as a l a n d m a r k álbum in the development of intelligent guitar music. T h e a f o r e m e n t i o n e d Is This It is a g r e a t s h o w c a s e f o r H a m m o n d Jr. a n d V a l e n s i ' s c o m p l e m e n t a r y g u i t a r p l a y i n g , w h i l e t h e i m p r i n t o f t h e i r i n f l u e n c e can be h e a r d i n the p l a y i n g style o f K i n g s O f Leon's Caleb a n d M a t t h e w F o l l o w i l l o n t h e i r 2 0 0 3 d e b u t Youth And Young Manhood.

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[21] © Copyright 2012 Rock School Ltd.

This inusic is copyright. Photocopying is illegaL

Walkthrough Amp

Settings

D Section (Bars 21-24)

T h i s t r a c k r e q u i r e s a b i t i n g t o n e , so use t h e b r i d g e p i c k u p . B o o s t the m i d d l e a n d treble t o help w i t h this, a n d use o v e r d r i v e w i t h a médium g a i n s e t t i n g . T h i s w i l l m e a n t h e s o u n d w i l l be j u s t a b o u t b r e a k i n g u p b u t n o t so d i s t o r t e d t h a t c l a r i t y , p a r t i c u l a r l y w h e n p l a y i n g c h o r d s , is l o s t . Distortion Cliannel

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T h e f i n a l section o f the song also uses single notes a n d starts w i t h a phrase t h a t crosses t h r e e strings. Bar 21 | Crossing strings T h i s i s o n e o f t h e m o s t c h a l l e n g i n g p a r t s o f 'Spike'. T h e r e a r e s e v e r a l o p t i o n s f o r p i c k i n g t h i s bar, a n d t h e m o s t c o m m o n v a r i a n t s a r e s h o w n i n F i g . 2. E v e n t h o u g h t h e r e a r e múltiple o p t i o n s available, y o u s h o u l d choose t h e o n e y o u feel t h e m o s t comfortable w i t h . W h i c h e v e r one y o u opt for, m a k e sure y o u stick to it otherwise the lack o f consistency w i l l m e a n y o u w i l l never r e f m e a single approach a n d this w i l l i n t u r n affect fluency.

DRY-WET

A Section (Bars 1-4) T h i s s e c t i o n u s e s o p e n c h o r d s a n d t h e s a m e r h y t h m t h a t is b a s e d o n q u a r t e r n o t e s a n d q u a r t e r - n o t e rests. Bars 1-4 | Anticipating chord changes As w e l l as p r o v i d i n g a b r e a k i n t h e m u s i c , t h e rests i n b a r s 1-4 give y o u a n o p p o r t u n i t y t o prepare for the next chord. As y o u reach beat 4, visualise w h e r e y o u w i l l p u t y o u r fingers i n t h e n e x t c h o r d ( F i g . 1). A n t i c i p a t i n g t h e c h o r d c h a n g e i n t h i s w a y w i l l h e l p y o u t o c h a n g e m o r e fluently. W i t h p r a c t i s e , y o u w i l l b e a b l e t o anticípate c h a n g e s s u c h as t h i s e v e n w h e n y o u are p l a y i n g a c h o r d .

Bar 23 | Counting rests A t f i r s t glance, bar 23 l o o k s s i m p l e : a single n o t e f o l l o w e d b y a q u a r t e r - n o t e rest is n o t t e c h n i c a l l y c h a l l e n g i n g . H o w e v e r , t h e c h a l l e n g e is t o m a k e s u r e t h a t y o u p l a y t h e n o t e at t h e s t a r t o f b a r 2 4 a n d d o n ' t p l a y i t at t h e w r o n g t i m e ( a c o m m o n e r r o r is t o p l a y i t t o o e a r l y ) . T o a v o i d t h i s , c o u n t t h e q u a r t e r note pulse ( w h a t y o u tap y o u r foot to) along w i t h the music.

Anticípate nextchord!

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B Section (Bars 5-12) T h i s section uses single notes m a d e u p o f o p e n strings a n d fretted notes, a n d features s o m e fairly w i d e intervals. Bars 5-6 | Fingering options W h i l e its possible t o fret the notes i n these t w o bars w i t h a s i n g l e f i n g e r , t h e fluency o f y o u r p e r f o r m a n c e w i l l b e g r e a t l y enhanced by using a structured fingering. T r y using your s e c o n d f i n g e r t o p l a y a l l t h e n o t e s o n t h e 2°'* f r e t a n d y o u r t h i r d f i n g e r t o p l a y t h o s e f o u n d o n t h e 3"^ f r e t . T h i s w i l l l e a v e y o u r h a n d i n p o s i t i o n t o use y o u r first finger t o p l a y t h e notes that occur o n the P ' fret w i t h o u t m o v i n g y o u r h a n d position. T h i s will help y o u to play m o r e fluently.

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C Section (Bars 13-20) T h i s section also uses single notes, a n d several o f t h e phrases use repeated notes. Bar 14 | Moving between fretted notes and open strings O n c e y o u h a v e p l a y e d t h e C n o t e o n b e a t 2 o f b a r 14, reléase p r e s s u r e o n t h e s t r i n g t o s t o p i t f r o m r i n g i n g . I f t h e n o t e continúes t o s o u n d , i t w i l l ' b l e e d ' i n t o t h e n e x t n o t e , affecting the clarity o f the part and y o u r performance.

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Fig. 2 :C r o s s i n g strings

1 1

Technical Exercises I n t h i s section t h e e x a m i n e r w i l l ask y o u t o p l a y a selection o f exercises d r a w n f r o m each o f t h e t h r e e groups s h o w n below. G r o u p s A a n d B c o n t a i n e x a m p l e s o f t h e scales a n d c h o r d s y o u c a n u s e w h e n p l a y i n g t h e p i e c e s . I n G r o u p C y o u w i l l b e asked t o prepare t h e r i f f exercise a n d p l a y i t t o t h e b a c k i n g t r a c k i n t h e e x a m . Y o u d o n o t n e e d t o m e m o r i s e t h e exercises ( a n d can use t h e b o o k i n t h e e x a m ) b u t t h e e x a m i n e r w i l l be l o o k i n g f o r t h e speed o f y o u r response. T h e e x a m i n e r w i l l also give credit for the level o f y o u r musicality. G r o u p s A a n d B s h o u l d b e p r e p a r e d as i n d i c a t e d b e l o w . B e f o r e y o u start t h e s e c t i o n y o u w i l l b e asked w h e t h e r y o u w o u l d l i k e t o p l a y t h e e x e r c i s e s a l o n g w i t h t h e c l i c k o r h e a r a s i n g l e b a r o f c l i c k b e f o r e y o u c o m m e n c e t h e t e s t . T h e t e m p o is J = 7 0 . Group A: Scales 1 . C m a j o r scale

2. E m i n o r p e n t a t o n i c s c a l e

m 3. A m i n o r p e n t a t o n i c s c a l e

m B

0-

Group B: Chords 1 . O p e n p o s i t i o n c h o r d s . I n d i v i d u a l c h o r d s w i l l b e s t r u m m e d o n c e as d i r e c t e d b y t h e e x a m i n e r . A

D

C

G

Am

Em

o

1

AD D

¿

r —u

3

in

-1 u f\ 2

0

"

-í—5

—

—

0 _Q

r1—u

11—u

— -0

_

_

— 12

~

—2 —0

" — —0 0 — — —2 —2

n ——

—

•—

Group C : Riff I n t h e e x a m y o u w i l l be asked t o play t h e f o l l o w i n g r i f f t o a b a c k i n g track. T h e r i f f s h o w n i n bar 1 s h o u l d be p l a y e d i n t h e s a m e s h a p e i n b a r s 2 - 4 . T h e r o o t n o t e o f t h e p a t t e r n t o b e p l a y e d is s h o w n i n t h e m u s i c i n e a c h o f t h e s u b s e q u e n t t h r e e b a r s . T h e t e m p o is J = 7 0 . J=70 Rock

Am

Dm

^

'3

Ü

Am

'•

Dm

1.

-=f -M

52

-B

0

3

3

0

3

-0

—0

-0

II

Sight Reading Y o u w i l l b e a s k e d t o p r e p a r e a S i g h t R e a d i n g t e s t w h i c h w i l l b e g i v e n t o y o u b y t h e e x a m i n e r . T h e t e s t is a f o u r b a r r h y t h m p l a y e d o n t h e l o w e s t - s o u n d i n g E s t r i n g o n y o u r g u i t a r . T h e e x a m i n e r w i l l a l l o w y o u 9 0 s e c o n d s t o p r e p a r e i t a n d w i l l set t h e t e m p o f o r y o u . T h e t e m p o is J = 7 0 . J = 70

Ear Tests T h e r e are t w o E a r Tests i n t h i s grade. T h e e x a m i n e r w i l l p l a y each test t o y o u t w i c e . Y o u w i l l f i n d o n e e x a m p l e o f e a c h t y p e o f test p r i n t e d below.

Test 1: Melodic Recall T h e e x a m i n e r w i l l p l a y y o u t w o h a l f n o t e s o n e a f t e r t h e o t h e r . Y o u w i l l t e l l t h e e x a m i n e r w h e t h e r t h e s e c o n d n o t e is h i g h e r o r l o w e r i n p i t c h t h a n t h e first n o t e . Y o u w i l l hear t h e test t w i c e . E a c h t i m e t h e t e s t is p l a y e d i t is p r e c e d e d b y a o n e b a r v o c a l c o u n t - i n . T h e t e m p o is J = 8 5 . J=85

Test 2: Rhythmic Recall T h e examiner w i l l play y o u a t w o bar r h y t h m played to a d r u m backing o n the lowest-sounding E string. Y o u w i l l hear t h e test t w i c e . Y o u w i l l b e asked t o p l a y t h e r h y t h m back. Y o u w i l l t h e n b e asked t o i d e n t i f y t h e r h y t h m f r o m t w o p r i n t e d examples s h o w n to y o u . E a c h t i m e t h e t e s t is p l a y e d i t is p r e c e d e d b y a o n e b a r c o u n t - i n . T h e r e w i l l b e a s h o r t gap f o r y o u t o p r a c t i s e . N e x t y o u w i l l h e a r a vocal c o u n t - i n a n d y o u w i l l t h e n p l a y t h e r h y t h m t o t h e d r u m b a c k i n g . T h e t e m p o is J = 8 5 . J=85

A M Dn

•

J

J=85

0

0

0

0

_

1—0

0

0

LI

General Musicianship Questions I n t h i s p a r t o f t h e e x a m y o u w i l l b e a s k e d five q u e s t i o n s . F o u r o f t h e s e q u e s t i o n s w i l l b e a b o u t g e n e r a l m u s i c k n o w l e d g e a n d the f i f t h q u e s t i o n asked w i l l be a b o u t y o u r i n s t r u m e n t .

Music Knowledge T h e e x a m i n e r w i l l ask y o u f o u r m u s i c k n o w l e d g e questions based o n a piece o f m u s i c that y o u have played i n the e x a m . Y o u w i l l nomínate t h e p i e c e o f m u s i c a b o u t w h i c h t h e q u e s t i o n s w i l l b e a s k e d . In Debut you will be asked to identify: • T h e m u s i c stave a n d t h e T A B • T h e treble clef • H a l f a n d q u a r t e r n o t e valúes

Instrument Knowledge T h e e x a m i n e r w i l l also ask y o u o n e q u e s t i o n regarding y o u r i n s t r u m e n t . In Debut you will be asked to identify: • O n e o f the following parts of y o u r guitar: neck, body, tuning-pegs or bridge Further Information T i p s o n h o w t o a p p r o a c h t h i s p a r t o f t h i s e x a m c a n b e f o u n d i n t h e Syllabus Guide f o r g u i t a r , t h e R o c k s c h o o l Guitar Companion Guide a n d o n t h e R o c k s c h o o l w e b s i t e : www.rslawards.com

Entering Rockschool Exams E n t e r i n g a R o c k s c h o o l e x a m i s easy, j u s t g o o n l i n e a n d f o U o w o u r s i m p l e s i x s t e p p r o c e s s . A l l d e t a i l s f o r e n t e r i n g o n l i n e , d a t e s , fees, r e g u l a t i o n s a n d F r e e C h o i c e p i e c e s c a n b e f o u n d at www.rslawards.com • A l l candidates s h o u l d ensure t h e y b r i n g t h e i r o w n Grade syllabus b o o k to the e x a m or have p r o o f o f digital purchase ready to show the examiner. • A l l Grade 6-8 candidates m u s t ensure that t h e y b r i n g v a l i d p h o t o I D to their exam.

Marking Schemes

G R A D E E X A M S | D E B U T TO G R A D E 5 *

ELEMENT

PASS

MERIT

DISTINCTION

Performance Piece 1

12-14 out of 20

15-17 out o f 20

18+ out o f 20

Perforinance Piece 2

12-14 out o f 20

15-17 out o f 20

18+ out o f 20

Performance Piece 3

12-14 out o f 20

15-17 out o f 20

18+ out o f 20

Technical Exercises

9 - 1 0 o u t o f 15

1 1 - 1 2 o u t o f 15

1 3 + o u t o f 15

6 out o f 1 0

7 - 8 out o f 10

9 + out o f 10

Ear Tests

6 out o f 1 0

7 - 8 o u t o f 10

9 + out o f 10

General Musicianship Questions

3 out of 5

4 out of 5

5 out of 5

TOTAL MARKS

60%+

74%+

90%+

ELEMENT

PASS

MERIT

DISTINCTION

Performance Piece 1

12-14 out of 20

15-17 out o f 20

18+ o u t o f 20

Performance Piece 2

12-14 out o f 20

15-17 out o f 20

18+ out o f 20

Performance Piece 3

12-14 out o f 20

15-17 out o f 20

18+ o u t o f 20

Technical Exercises

9 - 1 0 o u t o f 15

1 1 - 1 2 o u t o f 15

13+ out o f 1 5

Quick Study Piece

6 out o f 1 0

7 - 8 out o f 10

9 + o u t o f 10

Ear Tests

6 out o f 1 0

7 - 8 out o f 10

9 + out o f 10

General Musicianship Questions

3 out of 5

4 out of 5

5 out of 5

TOTAL MARKS

60%+

74%+

90%+

Sight Reading í or Improvisation & Interpretation

G R A D E EXAMS | GRADES 6-8

PERFORMANCE C E R T I F I C A T E S | D E B U T TO G R A D E 8 *

ELEMENT

PASS

MERIT

DISTINCTION

Performance Piece 1

12-- 1 4 o u t o f 2 0

15- -17 o u t o f 2 0

18+ out of 20

Performance Piece 2

12-- 1 4 o u t o f 2 0

15- -17 o u t o f 2 0

18+ 0 U t 0 f 2 0

Performance Piece 3

12-- 1 4 o u t o f 2 0

15- -17 o u t o f 2 0

18+ out of 20

Performance Piece 4

12-- 1 4 o u t o f 2 0

15- -17 o u t o f 2 0

18+ out o f 20

Performance Piece 5

12-- 1 4 o u t o f 2 0

15- -17 o u t o f 2 0

18+ out o f 20

TOTAL MARKS

60%+

75%+

90%+

* Note that there are no Debut Vocal exams.

Introduction to Tone A large part o f a n effective guitar p e r f o r m a n c e i s selecting t h e r i g h t tone. T h e electric guitar's s o u n d is subject t o a w i d e r a n g e o f v a r i a b l e s , a n d t h i s g u i d e o u t l i n e s t h e b a s i c c o n t r o l s p r e s e n t o n m o s t a m p l i f i e r s as w e l l as t h e c o m m o n v a r i a t i o n s b e t w e e n m o d e l s . T h e r e is also a basic o v e r v i e w o f pickups a n d t h e effect t h e i r l o c a t i o n o n t h e guitar h a s o n tone. Finally, i t covers t h e differences b e t w e e n t h e types o f d i s t o r t i o n , w h i c h is crucial t o getting y o u r basic s o u n d r i g h t . A t D e b u t y o u are o n l y expected t o u s e o n e t o n e t h r o u g h o u t t h e song a n d y o u d o n o t have t o use a n y a d d i t i o n a l effects units, a l t h o u g h y o u m a y use t h e m i f y o u w i s h . Y o u d o n o t have t o use d i s t o r t i o n . Remember, at D e b u t a p e r f o r m a n c e o n a n acoustic guitar is perfectly acceptable.

Basic amplifier controls M o s t a m p l i f i e r s c o m e w i t h a s t a n d a r d set o f c o n t r o l s t h a t a r e t h e s a m e as, o r v e r y s i m i l a r t o , t h e d i a g r a m b e l o w . It's i m p o r t a n t t o u n d e r s t a n d w h a t each c o n t r o l is a n d t h e effect t h a t i t has o n y o u r guitar's tone. Distortion Channel

o

10

GAIN

Equalisation

o

10

BASS

o

10

MIDDLE

Reverb

o

10

TREBLE

o

10

DRY-WET

• Channel (Clean/Distortion) M o s t amplifiers have t w o channels that can b e selected either b y a s w i t c h o n the a m p o r a f o o t s w i t c h . O n e c h a n n e l is u s u a l l y c l e a n ' w h i l e t h e o t h e r c a n b e d r i v e n h a r d e r t o créate a d i s t o r t e d ( o r ' d i r t y ' ) t o n e . I f y o u r a m p d o e s n ' t h a v e t w o c h a n n e l s , l o o k a t t h e ' v a r i a t i o n o f b a s i c c o n t r o l s ' b e l o w t o see h o w t o g e t c l e a n a n d d i r t y t o n e s f r o m a o n e c h a n n e l a m p . • Gain I n s i m p l e t e r m s , t h e g a i n d e t e r m i n e s h o w h a r d y o u d r i v e t h e a m p . T h i s governs h o w d i s t o r t e d t h e d i r t y (also called 'drive', ' o v e r d r i v e ' , o r ' d i s t o r t i o n ' ) c h a n n e l i s a n d a c t s as a s e c o n d v o l u m e c o n t r o l o n t h e c l e a n c h a n n e l ( t h o u g h a h i g h gain setting w i l l distort even the clean channel). • Bass T h i s adjusts t h e l o w e s t frequencies. B o o s t i t t o a d d w a r m t h a n d r e d u c e o r 'cut' i t i f y o u r s o u n d is m u d d y o r w o o U y . • Middle T h i s is the m o s t i m p o r t a n t equalisation ( o f t e n s h o r t e n e d t o just ' E Q ' ) c o n t r o l . M o s t o f t h e guitar's t o n a l character is f o u n d i n t h e m i d - r a n g e so adjusting this c o n t r o l has a l o t o f i m p a c t u p o n y o u r tone. B o o s t i n g it w i t h a d i r t y s o u n d w i l l créate a m o r e classic r o c k t o n e w h i l e c u t t i n g i t w i l l p r o d u c e a m o r e m e t a l o n e . . Treble T h i s adjusts t h e h i g h frequencies. Boost i t t o a d d brightness a n d cut i t i f t h e s o u n d is t o o h a r s h o r brittle. •Reverb S h o r t f o r 'reverberation'. T h i s artificially recreates the a m b i e n c e o f y o u r g u i t a r i n a large r o o m , u s u a l l y a hall. T h i s d i a l controls the balance between the 'dry' (the sound w i t h o u t the reverb) and 'wet' (the sound w i t h the reverb) sounds. Variations of basic controls T h e d i a g r a m above shows t h e m o s t c o m m o n a m p controls. T h e r e are m a n y v a r i a t i o n s t o t h i s basic setup, w h i c h c a n o f t e n b e confusing. T h e f o l l o w i n g section is a b r e a k d o w n o f s o m e o f t h e o t h e r a m p controls y o u m a y encounter: • Presence control S o m e t i m e s this d i a l replaces the ' m i d d l e ' c o n t r o l a n d o t h e r t i m e s i t appears i n a d d i t i o n t o it. I t adjusts the h i g h e r m i d range frequencies (those f o u n d b e t w e e n t h e ' m i d d l e ' a n d 'treble' dials).

• No reverb control R e v e r b c a n b e a n i c e a d d i t i o n t o y o u r g u i t a r t o n e b u t it's n o t e s s e n t i a l . D o n ' t b e c o n c e r n e d i f y o u r a m p d o e s n ' t h a v e a reverb control. • Volume, gain, master setup Single channel amplifiers often have an extra v o l u m e c o n t r o l ( i n a d d i t i o n to the master v o l u m e ) located next t o the g a i n c o n t r o l . F o r c l e a n s o u n d s , k e e p t h e g a i n set l o w a n d t h e v o l u m e s i m i l a r l y l o w a n d u s e t h e m a s t e r c o n t r o l f o r o v e r a l l v o l u m e . I f t h e m a s t e r c o n t r o l is o n 10 a n d y o u r e q u i r e m o r e l e v e l , t u r n t h e v o l u m e c o n t r o l u p . H o w e v e r , y o u m a y f i n d t h a t t h i s s t a r t s t o d i s t o r t as y o u r e a c h t h e h i g h e r n u m b e r s . T o get a d i s t o r t e d t o n e , t u r n t h e v o l u m e d o w n l o w a n d t h e g a i n u p u n t i l y o u get t h e a m o u n t o f d i s t o r t i o n y o u r e q u i r e . Regúlate t h e o v e r a l l l e v e l w i t h m a s t e r v o l u m e . I f t h e m a s t e r c o n t r o l is o n 10 a n d y o u r e q u i r e m o r e l e v e l s i m p l y t u r n t h e v o l u m e u p . I n t h i s case, h o w e v e r , y o u m a y f i n d y o u l o s e c l a r i t y b e f o r e y o u r e a c h máximum.

Pickups E n t i r e b o o k s have b e e n devoted t o the intricacies o f pickups. H o w e v e r , three basic pieces o f i n f o r m a t i o n w i l l help y o u understand a lot about y o u r guitar tone: • Singlecoils T h e s e n a r r o w p i c k u p s a r e f i t t e d t o m a n y g u i t a r s . T h e F e n d e r S t r a t o c a s t e r is t h e m o s t f a m o u s g u i t a r f i t t e d w i t h singlecoils. T h e y produce a bright, c u t t i n g s o u n d that can s o u n d a little t h i n i n s o m e situations, especially heavier styles o f r o c k m u s i c . • Humbuckers T h i s type o f pickup was o r i g i n a l l y designed t o r e m o v e or 'buck' the h u m produced by singlecoil pickups, henee the ñame. T h e y p r o d u c e a w a r m , m e l l o w s o u n d c o m p a r e d t o s i n g l e c o i l p i c k u p s b u t h a v e a t e n d e n c y t o s o u n d a l i t t l e m u d d y i n s o m e s i t u a t i o n s . T h e y are u s u a l l y i d e n t i f i a b l e because t h e y are t w i c e t h e w i d t h o f a singlecoil p i c k u p . T h e G i b s o n L e s P a u l is a w e l l - k n o w n g u i t a r f i t t e d w i t h h u m b u c k i n g p i c k u p s . • Pickup location Basically, pickups located near t h e guitar's n e c k w i l l have t h e w a r m e s t s o u n d a n d those located near t h e bridge w i l l have the brightest sound.

Different types of 'dirty' tones T h e r e are lots o f d i f f e r e n t w o r d s t o describe t h e ' d i r t y ' g u i t a r s o u n d s . I n fact, a l l t h e s o u n d s are ' d i s t o r t i o n s ' o f t h e clean t o n e , w h i c h can be c o n f u s i n g w h e n y o u c o n s i d e r there's a 'type' o f d i s t o r t i o n called ' d i s t o r t i o n . B e l o w is a s i m p l i f i e d b r e a k d o w n o f the three m a i n types o f d i r t y sounds, plus some listening m a t e r i a l t o help y o u t h r o u g h this t o n a l m i n e f i e l d : • Overdrive T h i s is t h e m i l d e s t f o r m o f d i s t o r t i o n . I t c a n b e q u i t e s u b t l e a n d o n l y e v i d e n t w h e n t h e g u i t a r is p l a y e d s t r o n g l y . I t c a n also be f u l l - o n a n d aggressive. Hear it on: C r e a m - ' S u n s h i n e O f Y o u r L o v e ' , A C / D C - ' B a c k I n Black', O a s i s - ' C i g a r e t t e s a n d A l c o h o l ' . • Distortion T h i s i s u s u a l l y a s s o c i a t e d w i t h h e a v i e r s t y l e s o f m u s i c . It's d e n s e a n d t h e m o s t e x t r e m e o f t h e d i r t y t o n e s a n d i s u s u a l l y associated w i t h h e a v y styles o f m u s i c . Hear it on: M e t a l l i c a - ' E n t e r S a n d m a n , A v e n g e d S e v e n f o l d - ' B a t C o u n t r y ' , B o n J o v i - ' Y o u G i v e L o v e A B a d Ñame'. • Fuzz A s t h e ñame i m p l i e s , f u z z i s a b r o k e n , ' f u z z y ' s o u n d . I t w a s p o p u l a r i n t h e 1 9 6 0 s b u t , w h i l e s t i l l e v i d e n t i n c e r t a i n g e n r e s , it's less c o m m o n n o w . Hear it on: J i m i H e n d r i x E x p e r i e n c e - ' P u r p l e Haze', T h e K i n k s - ' Y o u R e a l l y G o t M e ' .

Guitar Notation Explained

shows pilches a n d r h y t h m s and is divided b y lines i n t o bars. Pitches are n a m e d after t h e first s e v e n l e t t e r s o f t h e alphabet.

A m

Notes:

T H E M U S I C A L STAVE

te

te

/ / /

o

Strings;

TABLATURE graphically represents t h e guitar fingerboard. Each horizontal line represents a string a n d each n u m b e r represents a fret.

E B G D A E

Fourth string,

fret

Open D chord

Rhythm notation with suggested fingering

S o l o s a n d Cont. sim. s e c t i o n s are s h o w n i n slash n o t a t i o n

Definitions For Special Guitar Notation HAMMER-ON; Pick t h e lower note, then sound thehigher note b y fretting itwithout picking.

PULL-OFF: Pick thehigher note then sound thelower note b y lifting the finger w i t h o u t p i c k i n g .

S L I D E : P i c k t h e first n o t e a n d s H d e t o t h e next. I f the l i n e connects (as b e l o w ) t h e s e c o n d n o t e i s not r e p i c k e d .

GLISSANDO: Slide o f f o f a note at t h e e n d o f i t s r h y t h m i c valué. T h e n o t e t h a t f o l l o w s is r e p i c k e d .

l l ^^^^ " S T R I N G B E N D S : P i c k t h e first n o t e t h e n V I B R A T O : Víbrate t h e n o t e b y b e n d i n g b e n d ( o r reléase t h e b e n d ) t o t h e p i t c h a n dreleasing t h e string s m o o t h l y indicated i n brackets. a n d continuously.

T R I L L : R a p i d l y altérnate b e t w e e n t h e t w o bracketed notes b y h a m m e r i n g o n a n d p u l l i n g ofl^.

NATURAL HARMONICS: Lightly touch the string above t h e indicated fret t h e n pick to sound a harmonic.

O

BU BD -(6) (5)-

B PINCHED HARMONICS: Bring the

t h u m b o fthe picking hand into contact w i t h t h e string i m m e d i a t e l y after t h e pick.

P I C K - H A N D TAP: Strike t h e indicated n o t e w i t h a finger f r o m t h e p i c k i n g hand. Usually followed b y a puU-off.

F R E T - H A N D TAP: A s p i c k - h a n d tap, but use frettinghand. Usually f o l l o w e d b y a pull-ofl^ o r h a m m e r - o n .

QUARTER-TONE BEND: Pick the note indicated a n dbend thestring u p by a quarter tone.

IK ^

PRE-BENDS: Before picking t h e note, bend the string f r o m t h e fret indicated betíveen t h e s t a v e s , t o t h e e q u i v a l e n t pitch indicated i n brackets i n t h e T A B .

W H A M M Y BAR BEND: Use the

w h a m m y bar t o bend notes t ot h e pitches indicated i n brackets i n t h e TAB.

D.^. al C o d a

• G o b a c k t o t h e s i g n {%), t h e n p l a y u n t i l t h e b a r m a r k e d To Coda -0-then s k i p t o t h e section marked-^-Coda.

D.C. ai Fine

' G o back t o thebeginning o fthe song a n d p l a y u n t i l t h e b a r m a r k e d Fine ( e n d ) . ' Repeat t h e bars b e t w e e n t h e repeat signs.

w/bar--

BD

-^F—(9)

(7h

2. -4

(5)

(4)-

•W h e n a repeated section has different e n d i n g s , p l a y t h e first e n d i n g o n l y t h e first t i m e a n d the second ending o n l y the second time.