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BMUS (HONS) POPULAR MUSIC PERFORMANCE LIVE PERFORMANCE WORKSHOP CHARTS PACK SEMESTER 1A 2014 GUITAR THE INSTITUTE OF
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BMUS (HONS) POPULAR MUSIC PERFORMANCE
LIVE PERFORMANCE WORKSHOP
CHARTS PACK SEMESTER 1A 2014
GUITAR THE INSTITUTE OF CONTEMPORARY MUSIC PERFORMANCE
©ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means.
LPW Prep 1A Semester 1A
Unit 1
Objectives
To learn to play Boom, Boom by John Lee Hooker.
John Lee Hooker - Boom, Boom. John Lee Hooker was born near Clarksdale, Mississippi in 1917 into a sharecropper family. Hooker is recognised as one of the last links to the blues of the Deep South. He moved to Detroit in the early 1940's and by 1948 had scored his first number-one jukebox hit and million-seller, "Boogie Chillun." Other hits soon followed with "I'm In The Mood," "Crawling Kingsnake," and "Boom Boom" among the biggest. During the 1950s and '60s, Vee Jay Records released more than 100 of John Lee's songs. Despite being illiterate Hooker was a prolific lyricist. Recording studios in the 1950s rarely paid black musicians more than a pittance, so Hooker would spend the night wandering from studio to studio, coming up with new songs (or variations) for each studio. Due to his recording contract, he recorded these songs under obvious pseudonyms such as "John Lee Booker", "Johnny Hooker", or "John Cooker." John Lee Hooker died in his sleep in San Francisco June 21st 2001.
Performance notes. Hooker created a fierce, rhythmic groove more in Delta Blues style rather than Chicago Blues that decade’s later sounds timeless. Many of his songs feature extended one-chord vamps. The lead guitarist featured on this track is Larry Veeder. Veeder and Buddy Guy, who also worked with Hooker, influenced many of the guitar greats in the UK such as Eric Clapton and Steve Howe (Yes). Take note of the tone of the guitar around the time of this recording, 1962. The guitar is driven hard but not with heavy distortion. The lead guitar intro has been used again in the arrangement at the end of the ad-lib solo as it uses some classic blues lines and helps to maintain the theme. This also gives a definite cue to the vocalist for the last verse. This arrangement is based on the original recording and also some of the keyboard parts using triads from a version by The Animals. A slight crunch tone can be used to emulate the Hammond B3 organ often used in recordings of this era. This is a common blues chord vamp substituting for e.g. F7 (which is a dominant or V chord) a Bb (I chord) and Cm (II chord).
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2
Practice log for Unit One Topic
Date Time frame
BPM
Practice Guitar 1 Boom Boom.
15mins
155
Practice Guitar 2 Boom Boom.
15mins
155
1
2
3
4
5
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3
ICMP Degree Music Practice 1A ( Blues Unit 1 )
Boom,Boom.
GUITAR ONE ( Lead ) 158 BPM Swing 1/8th Notes Slightly distorted tone
slide
4
F
12
F
p.o.
C7
To Coda
F7
27
Bb7
24
A F7
F7
Vox in
16
20
Bb
C
slide
8
F
John Lee Hooker
F7
F7
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4
Boom Boom Guitar 1
B F7 Solos
30
33
Bb7
36
F7
39
Bb7
F7
C7
1.
Instrumental
42 2.
F
slide
46
Bb
49
p.o.
slide
F
52
55
Coda
F
C
D.S. al Coda (play rpt) Vox in
F9
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5
ICMP Degree Music Practice 1A ( Blues Unit 1 ) GUITAR TWO
Boom,Boom.
158 BPM Swing 1/8th notes
Guitar 2...........
Clean Rhythm tone.
F
4
F
Bb Cm
8
F
Bb Cm
F
12
F
Bb Cm
F
F
F
16
F
Bb Cm
20
F
Bb Cm
F
Bb Cm
Gtr one lead in
Bb Eb Fm
27
F
F
Bb
Cm
F
F
Gm
C
C
F
F
F
Cm
C
F
Bb
Cm
F
to end
Bb
Gm
Bb
F
Light shuffle 2nd x at
Bb Eb Fm
A F Bb Cm
Vox in
Bb
C
To Coda
24
John Lee Hooker
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6
Boom Boom. Guitar 2
B F7 Solos
30
34
Bb7
F7
38
C7
Bb7
F Bb Cm
43
48
Bb
52
C
55
CODA
F
1.
F7
F Bb Cm
F
Bb Cm
F
Bb Cm
F
F
2.
F
Bb Eb Fm
Gm
C
F7
F
Vox in
D.S. al Coda (play rpt)
F9
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7
LPW Prep 1A Semester 1A
Unit 2
Objectives
To learn to play the Albert King song “Born Under a Bad Sign”
Albert King Albert King was born April 25, 1923 he pursued an active playing career up until his death on December 21, 1992. He was one of the most influential American blues guitarist and singers. One of the "Three Kings of the Blues Guitar" (along with B.B. King and Freddie King), he stood at least 6' 4", weighed in at least 260 lbs (118 kg) and was known as "The Velvet Bulldozer". He was born Albert Nelson on a cotton plantation in Indianola, Mississippi. During his childhood he would sing at a family gospel group at a church. He began his professional work as a musician with a group called In The Groove Boys, in Osceola, Arkansas. King also briefly played drums for Jimmy Reed's band and on several early Reed recordings. Influenced by Blues musicians Blind Lemon Jefferson and Lonnie Johnson. King was a left-handed "upside-down/backwards" guitarist. He was left-handed, but usually played right-handed guitars, flipped over, upside-down, so the low E string was on the bottom. His preferred instrument was a Gibson Flying V, which he named "Lucy".
Performance notes. This song has a really strong riff throughout and needs to be played with attitude but not too much drive on the pre amp controls. The original track was played detuned a semitone but this arrangement is in standard tuning in D. This allows slight bends to be used on the low F, 1st fret E 6th string before returning to the D, 5th fret A string. The riff is played in unison with the Bass guitar so it’s important to lock in together on the groove. A slight overdrive tone like a Tube Screamer suits this track. The rhythm guitar plays a clean funk style rhythm to give a contemporary feel. This can be varied as the song progresses. A little extra drive would be required for the fills to allow them to cut through.
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8
Practice log for Unit Two Topic Practice Guitar part One for Born Under a Bad Sign. Practice Guitar part Two for Born Under a Bad Sign.
Date Time frame
BPM
15mins
91
15mins
91
1
2
3
4
5
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9
ICMP Degree Music Practice 1A ( Blues Unit 2 )
Born Under a Bad Sign.
Guitar One
wr. William Bell, Booker T. Jones (1967)
91 BPM Slight crunch tone.
Intro mf
Albert King
D9
A Chorus D9
4
8
A7
G7
D9
B Verse D9
12
D9
16
20
A7
To Coda
G7
D9
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10
2
Bad Sign Guitar One
C 24
28
31
Guitar solo
D9
Vocal in
A7
G7
Bb7 A7 Ab7
G7
Gb7 G7 G#7 A7
D9
D.S. al Coda no repeat.
Bb7 A7 Ab7
Coda 34 D9 D9
38
40
A7
A7
Bb7 A7
Bb7 A7
Ab7
G7
Ab7
G7
Rall......................
Gb7
G7
G#7
D9
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11
ICMP Degree Music Practice 1A ( Blues Unit 2 )
Born Under a Bad Sign.
Guitar Two 91 BPM
Albert King
Guitar Two
( Intro guitar one ) D9 mf
A
4
Verse
D9
7
9
D9
F#7
G7
B.U.
G#7 A7
G7
B 12 16
P.O.
B.U.
Blues tone.
ad lib blues fills
D9
Verses
D9
D9
simile
D9
F#7
G7
G#7
To Coda
20
A7
G7
D9
ad libs fills
D9
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12
Born Under a Bad Sign Guitar Two
2
C Ad lib Solo 24 D9
Bb7 A7 Ab7 G7
30
Bb7 A7 Ab7 G7
A7
28
A7
32
D9
Ad lib fills
Vocal in
D9
Gb7
G#7
G7
D.S. al Coda no repeat
D9 Blues fills Blues fills D9 Coda
34
38
40
A7
A7
Bb7 A7
Bb7 A7
Ab7
G7
Ab7
G7
Rall......................
Gb7
G7
G#7
D9
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13
LPW Prep Semester 1A
Unit 3
Objectives
To learn to play “Cold Shot “ by Stevie Ray Vaughan
Stevie Ray Vaughan Stephen "Stevie" Ray was born in Dallas, Texas October 3, 1954 and was one of the world's most influential electric blues guitarists. In 2003, Rolling Stone magazine ranked Stevie Ray Vaughan #7 in their list of the 100 Greatest Guitarists of All Time. He was the younger brother of Jimmie Vaughan whom he played and recorded with. Cold Shot was from the S.R.V. and Double Trouble album “Couldn`t Stand The Weather”. The title track featured the funkier side of his playing while the instrumental tour de force “Scuttle Buttin’” is a real stand out track too. Much has been written about Stevie but for a taste of what he could do on the guitar check out the DVD `Live At The El Mocambo'. He was tragically killed in a helicopter crash after leaving a concert playing with Eric Clapton on August 27, 1990.
Performance notes. This song features two distinct SRV sounds. The crunch tone of his Stratocaster in the “out of phase” position. In between Neck and Middle pick-ups sounds good on a Strat type guitar. You will also hear the rhythmic scrapes on the up strokes across muted strings. Stevie Ray used extremely heavy strings, with the low E often from Bass guitar light G sometimes 0.074! His usual gauges were 0.013, 0.015, 0.019 (unwound), 0.028, 0.038, and 0.058. However with attention to tone and amp controls a convincing sound can be achieved with regular light strings. Stevie Ray also played really hard digging into the guitar to create the drive into the pre amp so take this into consideration when playing the parts. That’s not to say he couldn’t be subtle too. There is some sublime playing on tracks like “Lenny”. For Guitar One, this is an ideal chance to think about building a solo as it’s in two sections. There are also ad-lib slides over muted strings and scrapes that you can add as you see fit. Guitar Two is adding some support to the main riffs and also provides solid rhythm guitar underneath the solo.
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14
Practice log for Unit Three Topic Practice Guitar part One for Cold Shot Practice Guitar part Two for Cold Shot
Date Time frame
BPM
15mins
114
15mins
114
1
2
3
4
5
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15
ICMP Degree Music Practice 1A ( Blues Unit 3 ) Guitar One
Cold Shot
114 BPM Shuffle Feel
Rake muted strings on up strokes Am
4
Am
f
Simile
A
8
Verse
Am
mf
13
Am
17 Dm
Am
Am
21 Dm
Stevie Ray Vaughan
D6/A Am
wr. W.C. Clark, Mike Kindred (1984)
Am
sim
Simile
Dm
3 8va E7#9
3
Am
Dm
D6/A Am
3
3
f
23
Am
mf
Am
1.
Simile
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16
2
Cold Shot Guitar One
B
2. Am
Solo ad lib.
Am
25
Dm
Am
Am
29
Dm
C
E7#9
Am
Second Solo
34
Am
Dm
39
43
Dm
Am
Am
Em
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17
3
Cold Shot Guitar One
D 46
Last Verse
Am
50 Am7
54 Dm
58 Dm
Am
Am7
D6
Am7
3 8va E7#9
3 3
D6
Am
61
D6
3
3x's
E 3 3 3 3 3 3 3 3 8va 8va E7#9 E7#9
65
67
3
3
3
3
Am7
Drums fill slight rall..
A9
Cue Ending
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18
ICMP Degree Music Practice 1A ( Blues Unit 3 )
Cold Shot
Guitar Two 114 BPM Shuffle Feel
4
8
Bass & Drums in
A
Am7
mf
G/D
23
Am7
G/D
B27
2.
F/D
20 Dm7
Am
16 Dm7
F/D
12
Am7
f
Verse
wr. W.C. Clark, Mike Kindred (1967)
Gtr One pick up
Stevie Ray Vaughan
Am
1.
E7#9
3
Am
3
3
3
Am
Guitar One Solos
Rhythm Sim.
mf
32
37
Am
Dm
Dm
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19
2
Cold Shot Guitar Two Second Solo C E7#9 Am Am
41
46
Dm
Am
51
Em
Last Verse
D Am 55 60 Am7
G/D
64 Dm7
71
Am7
E
F/D
G/D
68 Dm7
F/D
3
D
D
Am7
D
3
Am
Am7
Am
Dm
3 3 3
E7#9
3 8va E7#9
3x's
3 3 3
E7#9
3
3
3
3
3
3
Am7
3
Drums fill slight rall..
A9
Cue Ending
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20
LPW Prep Semester 1A
Unit 4
Objectives
To learn to play the Cream version of “Sitting On Top Of The World”
Eric Clapton. Eric Patrick Clapton was born on 30 March 1945 in Ripley, Surrey, England. Clapton started playing guitar at 14, he was self taught and inspired by players like Chuck Berry and Buddy Holly. At Art College he was introduced to Blues players like Big Bill Broonzy and Muddy Waters. His playing is still faithful to the Blues and he has made several acoustic recordings too, notably of Robert Johnson’s songs. His early playing was in bands like the Yardbirds 1963 to 1965 when he joined John Mayal’s Bluesbreakers. (“The Clapton is God” era) After leaving the Bluesbreakers in July 1966, Eric teamed up with Jack Bruce and Ginger Baker to form Cream. Extensive touring in the U.S. and three albums, Fresh Cream, Disraeli Gears, and Wheels of Fire - brought the band worldwide acclaim. While a member of Cream, he cemented his reputation as rock’s premier guitarist and was elevated to superstar status. Although Cream was together for only two years, they are considered one of the most influential rock groups of the modern era.
Performance notes. This song was written by the blues legend Howling Wolf. Eric Clapton’s playing on this live recording features some really great soloing and creative turn-around’s. The solo at the introduction features some tricky timing so feel free to take ideas from it rather than try to play it note for note. This is “ Blues” so it’s important not to sound as though you’re reading the solo. This would no doubt have been played on an SG-shaped early 60’s Les Paul so his tone is a little fatter than his later Stratocaster “Blackie” recordings. Cream would play the blues almost free form and explore the virtuosity of the performers. This was common in the late 60’s psychedelic era of free love and “flower power”, however it’s important to not let things get out of control by over playing. Think about how to react to the other players in the band. The rhythm guitar can vary the 12/8 pattern throughout the piece to give light and shade as required. A light crunch tone can be very effective in this style.
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21
Practice log for Unit Four Topic Practice Guitar part One for Sitting on Top of the World Practice Guitar part Two for Sitting on Top of the World
Date Time frame
BPM
15mins
56
15mins
56
1
2
3
4
5
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22
ICMP Degree Music Practice ( Blues Unit 4 )
Sitting On Top of The World.
Guitar One
56 BPM
B.U.
3
Overdrive
f
Howlin Wolf wr. W. Vinson, L. Chatman (1930)
B.U.
2
B.U.
6
3 3 2 B.U.
4
5
B.U.
B.U.
5
6
B.U.
3
7
B.U.
B.U.
9
B.U.
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23
2 Sitting On The Top Of The World - Guitar One
A Vox 1X, Gtr solo 2X & 3X G7
11
G7
15
18
G7
C7
ad lib fills
D7
26
C7
3
3
B
D7
C7
G7
22
C7
Vox 1X, Gtr solo 2X, Vox 3X.
G7
G7
12
C7 G7 ad lib fills
D7
G7
D7
Gtr fill..drum cues G7 G7 G7 29 C9 G#7 3
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24
ICMP Degree Music Practice ( Blues Unit 4 ) Guitar Two Rhythm 56 BPM
3
Sitting On Top of The World.
Howlin Wolf
wr. W. Vinson, L. Chatman (1930)
G7
Light Distortion
C9
4
G7
6
8
D7
3
G7
G7
C9 C#9
D9
10
C9
G9
A
Vox 1X, Gtr Solo 2X & 3X
G#9 A9Bb9 B9
G7
C9
12
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25
2 14
Sitting On Top Guitar Two
G7
3
16
D7
G7
G7
C9
C9 C#9 D9
18
B
Vox 1X, Gtr Solo 2X, Vox 3X
G7
C7
20
3
24
G7
1.2. G7 27
D7
C9
G7
C9 C#9 D9
3.
Guitar Fill...drum cues
29
G7
C9
G7
G#7
G7
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26
LPW Prep Semester 1A
Unit 5
Objectives
To learn to play the Al Green song “Let’s Stay Together’
Al Green Albert Greene was born April 13, 1946 in Forrest City, Arkansas. Better known as Al Green, the son of a sharecropper, he started performing at age nine in a Forrest City quartet called the Greene Brothers. He dropped the final "e" from his last name years later as a solo artist. The Greene Brothers toured extensively in the mid-1950s in the South until the family moved to Grand Rapids, Michigan, where they began to tour around Michigan. His father later kicked him out of the group because he was caught listening to Jackie Wilson. Let’s Stay Together was released in 1972 and is one of his best-known songs. This track features the Hodges brothers, Teenie Hodges on guitar, Charles on Organ and Leroy on Bass, who were known as the Hi Rhythm Section, and The Memphis Horns. This line up played on numerous Al Green hit recording sessions.
Performance notes. The rhythm section provides a smooth groove for the vocalist to work with. The guitars normally use clean tones in this genre. Guitar One. A Chorus pedal can add a nice Fender Rhodes (Electric Piano) feel to the rhythm guitar part. Pick and fingers works well when playing arpeggio style as a keyboard player would do. The single notes written below the chord symbols on the introduction (Guitar One) represent the top note of each chord voicing. Guitar Two features some rhythmic octave lines to mimic the brass on the track and this guitar can use R&B style fills. Using a clean tone and the neck pick up would give you a warm tone for the single note lines and octave passages. Ad-lib fills are normally pentatonic phrases based around the chord shape being played. During the chorus sections the rhythm requires some tight 1/16 note grooves.
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27
Practice log for Unit Five Topic Practice Guitar part One for Let’s Stay Together. Practice Guitar part Two for Let’s Stay Together.
Date Time frame
BPM
15mins
103
15mins
103
1
2
3
4
5
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28
ICMP Degree Music Practice ( Soul Unit 5 )
Lets Stay Together
Guitar One
wr. A. Green, W.Mitchell, A. Jackson Jr
103 BPM Clean Tone
Al Green
Gm9
Gm7
Am7
Gm9
Am7
Gm7
Am7
C
mf
Verse
A 5 F Arpeggiate Chords
p
9
Am7
17
Am7
Gm7
B
Bbmaj7
F
Gm7
F
Em
Dbmaj7
Dm9
Am
Dm9
Dm9
Chorus
21
Bbmaj7
13
Dm9
Gm9
Am7
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29
2 Lets Stay Together Guitar One
25
Gm7
Gm9
Dm7
Abmaj7
Abmaj7
C
Gm9
D.S. al Coda no repeat.
Bbmaj7
Dm7
Am7
C
CODA
37 Bbmaj7 Am7
43
Am7
Abmaj7
33
Bbmaj7
29
To Coda
Gm7
47 Bbmaj7
Dm7
C
Am7
Gm9
Bbmaj7
Dm7
Am7
Dm7
Am7
Bb/C
C
Fmaj9
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30
ICMP Degree Music Practice ( Soul Unit 5 )
Lets Stay Together
Guitar Two
Al Green
103 BPM Clean tone
3
Gm9
mf
Gm9
Am7
Octaves
Am7
A Verse F
13
Bbmaj7
Am7
Gm7
Light fills
Am7
C
Dm9
Dbmaj7 Bbmaj7 slide
17
Gm7
5
9
wr. A. Green, W.Mitchell, A. Jackson Jr
Gm7
Am7
Gm7
F
Em Dm9
F
Am
Dm9
Dm9
Chorus
B Gm9
21
simile
Am7
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31
2
Lets Stay Together Guitar Two To Coda
25
Am7
octaves
CODA Bbmaj7 37
Dm7
Am7
C
D.S. al Coda no repeat
Dm7
Am7
Dm7
C
Abmaj7
Abmaj7
Bbmaj7
Bbmaj7
Gm9
35
Gm9
29
32
Gm7
C
mf
39
Gm9
Gm7
47 Bbmaj7
Am7
Bbmaj7
43
Am7
Am7
octaves
Dm7
Bb/C
C
Dm7
Fmaj7
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32
LPW Prep Semester 1A
Unit 6
Objectives
To learn to play “ I’d Rather Go Blind” by Etta James
Etta James "I'd Rather Go Blind" (Bill Foster/Ellington Jordan) was from the album “Tell Mama” released in 1968. The album marked the continued deviation by James from her early mainstream R&B recordings toward traditional blues and soul. The album was recorded over several sessions in the famous FAME Studios in Muscle Shoals, Alabama. The album marked an upsurge in James' career. "I'd Rather Go Blind," was a B-side to the albums title track but it became one of James' signature songs. The Muscle Shoals Rhythm Section, also known as The Swampers, were based in the Alabama town of Muscle Shoals. Some of their members included Jimmy Johnson (guitar), Roger Hawkins (drums), David Hood (bass), and Barry Beckett (keyboards). Formed in 1967, the group originally worked at the FAME Studios in Muscle Shoals. In 1969, they left Fame and started the Muscle Shoals Sound Studio. Possibly the most well-known of all the 'groups' made up of session musicians, and certainly one of the most respected among musicians, the Muscle Shoals Rhythm Section were inducted into the Alabama Hall of Fame in 1995 for a "Lifework Award for Non-Performing Achievement." Performance notes. Although the song is quite sparse in its instrumentation attention should be made to the quality of tone in the parts played and the use of dynamics to help inspire the vocal performance. Guitar One plays mostly single note lines. These sound best played close to the bridge to create the right tone. The harmony lines need to be played smoothly so ‘pick and fingers’ work well. The rhythm part (Guitar Two) is a common 12/8 groove, which can be varied, but there should be a clear definition between verse and chorus. Beats 2 and 4 in the bar were often accented in this style. A chorus or ‘Lesley’ effect pedal can add a nice keyboard vibe to the part.
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33
Practice log for Unit Six Topic Practice Guitar part One for I’d Rather Go Blind Practice Guitar part Two for I’d Rather Go Blind
Date Time frame
BPM
15mins
103
15mins
103
1
2
3
4
5
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34
ICMP Degree Music Practice ( Soul Unit 6 )
I'd Rather Go Blind
103 BPM
Guitar One
Clean tone/vibrato
Bm7
4
A
6
10
wr. E. Jordan, B. Foster (1968)
A
Etta James Bm7
m
A
Verse
Bm7
A
p
A
Bm7
B Chorus A
14
Bm7
mf
A
A
A
Verse
light ad lib fills 18 C A Bm7 Chorus D 22 A
Bm7
f
26 Bm7
A
A
Bm7/E Rall........
Bm7
Aadd9
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35
ICMP Degree Music Practice ( Soul Unit 6 )
I'd Rather Go Blind
56 BPM Guitar Two
Chorus/Lesley FX (gtr one)
Bm7
3
5
A
Verse
A
Bm7
7
A
Etta James
wr. A. Green, W.Mitchell, A. Jackson Jr
simile
A
simile
A
B Chorus A simile Bm7
10
12
A
Verse
A 14 C simile Bm7 Bm7 Chorus D A
17
A
Bm7 simile
19
A
Bm7/E Aadd9 Bm7 Rall........
22
Bm7
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36
LPW Prep Semester 1A
Unit 7
Objectives
To learn to play “ For once in My Life” by Stevie Wonder.
Stevie Wonder. Stevie Wonder was born Stevland Hardaway Judkins on May 13, 1950. He has been blind since birth. He signed with Motown Records at the of age 11, and continues to perform and record for the label to this day. He has nine U.S. number-one hits to his name and album sales totalling more than 100 million units. A multi-instrumentalist, Stevie Wonder plays the drums, percussion, bass guitar, organ, harmonica and keyboards on many of his recordings. He also writes and produces songs for many other artists as well. This track features a group of studio musicians, collectively known as "The Funk Brothers". Among the studio musicians responsible for the "Motown Sound" were guitarists Joe Messina, Robert White. Stevie Wonder also used ace rhythm guitarist Ray Parker on many of his sessions.
Performance notes. Guitar One plays the main rhythm grooves including the staccato chord intro reminiscent of the Jackson Five’s hit “ I Want You Back”. It’s a classic Telecaster through a small Fender amplifier combination. Check out the track a few times to hear the rhythm guitar before playing through the chart. Guitar Two plays single note lines on the intro and “spread chords” on the verses. Adding vibrato (similar to that in a Fender valve amp) will give an authentic tone variation to second guitar part. Also using the neck pick up will give a contrast in tone to Guitar One.
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37
Practice log for Unit Six Topic Practice Guitar part One for I’d Rather Go Blind Practice Guitar part Two for I’d Rather Go Blind
Date Time frame
BPM
15mins
103
15mins
103
1
2
3
4
5
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38
ICMP Degree Music Practice ( Soul Unit 7 )
For Once in My Life
Guitar One
Ronald Miller/Orlando Murden
109 BPM Clean Strat tone.
F
Intro
mf
F
8
F6
F#dim
11
Gm
15
F
Gm/maj7
B
Am7
Verse
Gm
F
Gm7
D+
F+
Gm7
C7
19
Verse
A
5
(1967)
Simile
F
Simile
D7+
C+
F
F+
Bbmaj7
Bb6
Gm7
Dm7
Bb Dm7 C F
C
Am7
23
F
F+
27
Gm
Gm/maj7
Simile
F6
F#dim
Gm7
Gm
C7
C7
Fmaj7
F6
Cm7
Cm7/F
Bbmaj7
31
F
F+
G7
35
F
Dm7
Gm7
Csus
F
Eb
Abmaj7 Dbmaj7
C13b9
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39
For Once in My Life Guitar One page 2
2
39
Amaj7
E
F#
Dmaj7
C#13b9
Ad lib Solo C 41 Simile F# F#+ F#6 Gdim G#m D#+ G#m7 D#+
G#m G#m/maj7
45
49
G#m7
C#7
F#
C#+
F#
F#
F#+
Bmaj7
B6
Bmaj7 C© F# C# G#m7 A#m7 D#m7 A#m7 D Verse 3 57 Simile F# F#+ F#6 Gdim G#m C#7 D#m7
53
G#m G#m/maj7
61
65
G#m7
C#7
F#
F#6
C#m7
C#m7/F#
F#
F#+
Bmaj7
G#7
Dmaj7 C#7sus F# E Amaj7 C#13b9 D#m7 G#m7 F#
69
73
F#
E
Amaj7 Dmaj7
C#13b9
F#
E
Amaj7 Dmaj7
C#13b9
F#
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40
ICMP Degree Music Practice ( Soul Unit 7 ) Guitar Two
For Once in My Life
109 BPM Clean tone light tremelo.
Intro gtr one F
mf
5
Gmin/maj7
11
Gm
15
F
Gm7
Am7
simile
F
F+
27
Gm
A
Gm/maj7
BF
31
Am7
Fmaj7
Bbmaj7
C7
F+
F
Cdim
Gm7
D+
C+
Gm
F6
Bbmaj7
Bb6
F C
Bbmaj7 Dm7 C
F6
C7
Cm7
Cm7/F
G7
35
F
Dm7
Gm7
C
F
Eb
Gm7
Gm7
F
Spread chord with light vibrato on F+ Verse F
D+
C7
Dm
Gm7
Am
Verse
F+
23
F#dim
19
Gtr Two
F6
8
Ronald Miller/Orlando Murden
Abmaj7
Dbmaj7
C13b9
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41
For Once in My Life Guitar 2 Page 2
2
E Amaj7 F#
Dmaj7
39
C Ad lib Solo F#+ F#
41
G#m G#m/maj7
45
G#m
Gdim
G#m7
C#7
F#+
D
G#m7
Verse
F#+ F#
F#
B6
C# F#
Bmaj7
D#m7 C©
G#m G#m/maj7 F#
65
F#
D#m7
F#6
61
Gdim
G#m7
C#7
F#+
Simile
G#m7
C#7sus4
73
A#m7
D#+
Chord spreads
57
69
C#+
Bmaj7
D#m7 A#m7
53
D#+
F#
49
G#m
F#6
F#
C#13b9
F#
E
Amaj7
Dmaj7
C#13b9
G#m
F#
F#6
Bmaj7
C#7
C#m7
C#m7/F#
G#7
F#
E
Amaj7
Dmaj7
C#13b9
F#
F#
E
Amaj7
Dmaj7
C#13b9
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42
LPW Prep Semester 1A
Unit 8
Objectives
To learn to play “ Sweet love” by Anita Baker.
Anita baker. Anita Baker was born on January 26, 1958 and raised in Detroit, Michigan. She began singing in a Baptist church choir at the age of 12. Years later, at the age of 16 and while part of the band Humanity, Baker was approached by bass player David Washington of Chapter 8 to audition for the group. In 1983, Baker released her debut album The Songstress. This album was a moderate success, which paved the way for a host of bigger things to come. “Sweet Love” was taken from the 1986 album “Rapture” that featured some of the top L.A. session musicians. The guitarist on the album was Gregg Moore. The style is typical of the smooth Jazz flavoured R&B, reminiscent of Luther Vandross.
Performance notes. The whole track has the sophisticated L.A. sound so you will be looking for rich tones from your guitar. Guitar One plays the main rhythm based on the piano part and would suit fingerstyle playing on the intro and verses. The chorus section has a more staccato feel and would benefit from a little ‘chorus’ effect for a smooth sound. Guitar Two plays single note lines based on some of the piano lines and fills. These feature common R&B sounds, like “fourth interval soul slides” using a warm tone, try this out using the neck pick up. During the chorus an octave groove helps to accentuate the 1/8th note pulse. In general this song has a sophisticated jazzy vibe about it.
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43
Practice log for Unit Eight Topic Practice Guitar part One for Sweet love Practice Guitar part Two for Sweet love
Date Time frame
BPM
15mins
88
15mins
88
1
2
3
4
5
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44
ANITA BAKER/LEWIS JOHNSON/GARY BLAS
ICMP Degree Music Practice ( Soul unit 8 )
(1986)
Sweet Love
Guitar 1 88 BPM Warm tone with light Chorus
Bbmaj9
Gbmaj9
mf
A Gb/Ab Eb/F Bbmaj7 p 2.
5
1.
Bbm7/Eb
Verse
Gb/Ab
Eb/F
Ebm7
Light spreads
Gbmaj7
To Coda
Ab/Bb
9
Fm7
Gb/Ab
Eb/F Bbmaj7
Ebm7
Gb/Ab
Gbmaj7
Chorus
Bbmaj7 Ebm9
14
staccato
mf
Bbmaj7
18
22
B
Ebm9
Gbmaj7
Ebm9
Ebm9
Ebm9
Bbsus4
Bb
Ebm9
simile
Gb/Ab
Ab/Bb
Gb/Ab Eb/F
Bbsus4
Bb
26
Ebm9
CODA
Bbsus4
Bb
Cbmaj7
Ebm9 Bbmaj7
simile
38
Eb/F
D.S. al Coda
Chorus
31
34
Bbm7
Gb/Ab
1. 2. Gb/Ab
Eb/F
Eb/F
Bbmaj7
3.
Gb/Ab
Ebm9
Eb/F
rall.......
Gbmaj7
Ebm9
Gbmaj7
Ebm9
Bbmaj9
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45
ICMP Degree Music Practice ( Soul Unit 8 )
Guitar 2
Sweet Love
88 BPM Clean tone.
Bbmaj9
mf
2.
Gb/Ab
5
Gbmaj9
Bbm7/Eb
1.
Gb/Ab Eb/F
A Gbmaj7 Verse Ebm7 Eb/F Bbmaj7 p
light fills
slide
To Coda
Ab/Bb Eb/F Bbmaj7 Gb/Ab Ebm7 Gbmaj7 Gb/Ab
9
Fm7
Ebm9 Ebm9 Bbmaj7
Chorus
G¨maj7
14
mf
Ab/Bb
17
Gb/Ab
Bbmaj7
Gb/Ab Eb/F Ebm9
19
Ebm9
octaves
22
27
B Ebm9 Bbsus4
Bb
Bbsus4
Bb
Ebm9
Cbmaj7
B¨m7
B¨sus4
Bb
Eb/F
Ebm9
D.S. al Coda
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46
2
Sweet Love Guitar Two
CODA
Ebm9 31 octaves 34 Bbmaj7 octaves simile Ebm9 G¨maj7 Ebm9 Gb/A¨ Eb/F G¨maj7
Bbmaj7
Ebm9
1. 2.
38
Gb/Ab
3.
Eb/F
Gb/Ab
Eb/F
Bbmaj9
rall.......
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47
LPW Prep Semester 1A
Unit 9
Objectives
To learn to play “ Keep On Running’” by The Spencer Davis Group.
The Spencer Davis Group. Spencer Davis - guitar, vocal Steve Winwood - lead vocal, piano, organ, guitar Muff Winwood - bass guitar, vocal Pete York - drums Prior to this recording, the songs performed and recorded by the Birmingham (UK) based band were covers of existing blues and R&B standards but their producer Chris Blackwell brought in Jamaican singer/songwriter Jackie Edwards to compose the three singles for the group. The first was “Keep On Running”, released in November 1965, which was transformed by the group into a rocking R&B number with the addition of a driving bass riff and a unique (for that time) electric fuzz guitar effect. The result it had on the record charts was spectacular with the song knocking The Beatles from the top spot and going in at No. 1.
Performance notes. A slightly driven sound, but without too much distortion, is required on the guitars. The intro section on Guitar One would benefit from an authentic “Fuzz” tone pedal sound. This should be switched out for a cleaner tone that would suit the “Motown style” four to the bar pattern for the verses. This should be played staccato. As with other R&B tracks from U.S. featuring bands like Booker T & the M.G.’s, a second guitar part plays clean pentatonic lines to “fill in” between the vocal lines. Use the written lines as a general guide to the style. In the B sections the rhythm breaks into a 1/16-note groove to compliment the “four to the bar” played by Guitar One.
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48
Practice log for Unit Nine Topic Practice Guitar part One for Keep On Running’ Practice Guitar part Two for Keep On Running’
Date Time frame
BPM
15mins
138
15mins
138
1
2
3
4
5
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49
ICMP Degree Music Practice ( Rock Unit 9 )
Keep On Running
Guitar One
Wilfred Edwards (1965)
138 BPM Rock
Bass Intro
f
Fuzz tone.
A5
D5
5
9
13
16
19
2.
22
E5
E
D7
A
A
1.
A
E/G#
F#m7
E5
B
A5
D5
F#m7
D
E5
F#m7
Crunch tone.
A A
A
D5
A5
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50
2
Keep On Runnin' Guitar One
25
29
E
E
32 E
F#m7
To Coda
D.C. al Coda Take 2X Bar
CODA
36
40
E
A
A
E5
F#m7
A
48
A
D
44
C
D
D7
Bass Solo
A
X4
D
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51
ICMP Degree Music Practice 1A ( Rock Unit 9 ) Guitar Two
Wilfred Edwards
Keep On Running
138 BPM
(1965)
Clean Tone
Bass + Gtr 1 Intro
AA
E7
9
13
17
E
21
E7
24
F#m7
A
D
A
A E/G#
F#m7
1.
A
2.
D7
E
B
E7
F#m7
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52
2
Keep On Runnin' Guitar Two
26
29
To CODA
F#m7
E
CODA 32 E
36
40
E
A
A
E7
48
Ad lib fills
A
F#m7
D
A
D
A
44
C
D.C.al Coda Take 2X Bar
D7
Bass Solo
D
X4
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53
LPW Prep Semester 1A
Unit 10.
Objectives
To learn to play “ What Is and What Should Never Be” by Led Zeppelin.
Led Zeppelin. Formed in September 1968 the English band Led Zeppelin consisted of Jimmy Page on Guitar, vocalist Robert Plant, John Bonham on Drums and Bassist John Paul Jones. With the heavy, guitar-driven sound, Led Zeppelin are regarded as one of the first heavy metal bands. Their rock-infused interpretation of the blues also incorporated many other musical influences, e.g. Arabic and Celtic. They disbanded in 1980 after the death of John Bonham but re-united in 1985 with Phil Collins on Drums at the Live Aid Concert at Wembley Stadium, London. The guitarist, Jimmy Page, OBE (born 9 January 1944) was influenced by many different styles of guitar players including Scotty Moore, Chuck Berry, Bo Diddley, B.B. King and acoustic players Bert Jansch and John Renbourn. His playing style features “hybrid picking” typical of acoustic players. I.e. using flat pick and fingers. In the early 1960’s he was a very busy session guitarist often working with “Big Jim Sullivan” in the London studio circuit. He was referred to as “Little Jim” to avoid confusion. The pair played on a string of hits such as Marianne Faithfull's "As Tears Go By", The Nashville
Teens' "Tobacco Road", The Rolling Stones' "Heart of Stone" Van Morrison & Them's "Baby Please Don't Go" and "Here Comes the Night". Page later joined the Yardbirds in 1966, and after the band broke up in 1968, formed his own “New Yardbirds” which eventually became Led Zeppelin.
Performance notes. The contrast in Jimmy Pages sounds can be heard on this track from the mellow tone of the intro to the heavy distorted power chord section. Channel switching or the use of pedals is required to get clear contrasts in sound just when they’re needed. At the coda two guitars can interplay to create an on stage echo effect and also allow the section to build towards the end. Guitar two features a slide guitar part where attention should be made to mute unwanted string noise behind the slide by gently muting with the index and middle fingers behind the slide. This is assuming the slide is on the ring finger or the “pinky”. A little bit of compression can also really help give sustain and control to the slide playing and improve tone.
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54
Practice log for Unit One Topic Practice Guitar part One for What Is and What Should Never Be Practice Guitar part Two for What Is and What Should Never Be
Date Time frame
BPM
15mins
76
15mins
76
1
2
3
4
5
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55
ICMP Degree Music Practice 1A ( Rock Unit 10 ) 76 BPM Rock
What Is and What Should Never Be
Guitar One
Led Zeppelin
A A6
wr. Jimmy Page, Robert Plant (1969)
Clean tone
E9
4
7
B Distortion on A5
10
f
A5
B
F#
16
20
2.
E5
A6
E9
G5
p A6 C solo slide gtr.
A5
To Coda
E/B
B
Vox leads in.
E9
A6
D5
1. E5
A5
D5
D/F#
B/G#
Aadd9
E9
E9
D/F#
B/A
p
simile
A6
A6 simile
24
G5
14
A6
12
Vox leads in.
E9
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56
2
What is and What Should Be Guitar one
A6
28
30
D5 A5
B
Aadd9
36
p
E
simile
2.
A5
G5
G5
B/G#
E5
D/F#
E5
scrape muted strings
1.
F#
D.S. al Coda
Vox leads in.
D5 A5
E/B B
47
A5
Aadd9
44
51
B/A
CODA F# 40
49
D/F#
33
D
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57
ICMP Degree Music Practice ( Rock Unit 10 )
What Is and What Should Never Be 76 BPM Rock
Led Zeppelin
Guitar Two
5
B
10
A5
2.
A5
G5
D/F#
B
B/A
Aadd9
p
1. E5
C A6
D5
A5
E/B
D
To Coda
B
A6
A5
solo slide gtr.
E5
E9
D5
B/G#
A6
27
f
24
Tacet
D/F#
F#5
20
G5
16
A
Distortion on
12
14
Vox lead in
wr. Jimmy Page, Robert Plant (1969)
A5
G5
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58
2 What is and What Should Never Be Guitar 2
D5 A5
D/F#
D/F#
D5 A5
30
G5
A5
simile
slide
B/A B/G# E5 B5 F#
33
B
Aadd9
36
CODA F# 39
Aadd9
p
E
E5
E
scrape muted strings
50
D.S. al Coda
48
gliss. slide
E5
43
46
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59
LPW Prep Semester 1A
Unit 11.
Objectives
To learn to play “ Won’t get Fooled Again” by The Who.
The Who. Formed in England in 1964 The Who are considered one of the most influential bands in the world. The original line-up consisted of Pete Townsend (guitar), Roger Daltrey (vocals), John Entwistle (bass) and Keith Moon (drums). The Who rose to fame in the United Kingdom with a series of top ten hit singles and top five albums, beginning in 1965 with "I Can't Explain". They first hit the top ten in the USA in 1967 with "I Can See For Miles". The 1969 release of Tommy was the first in a series of top five albums for the group in the USA. The Drummer Keith Moon died in 1978, after which the band released two more studio albums, Face Dances and It's Hard, with drummer Kenny Jones, before officially disbanding in 1983. They reformed on several occasions to perform at special events such as Live Aid and for reunion tours such as their 25th anniversary tour and the Quadrophenia revival tours of 1996 and 1997. In 2002 John Entwistle died. Pete Townsend and Roger Daltrey continue to perform as The Who with ace bassist Pino Palladino. Guitarist Pete Townsend was born May 19, 1945 in Chiswick, London. In 1961 Townsend enrolled at Ealing Art College, and, a year later, he and his school friend John Entwistle founded their first band, The Confederates, a Dixieland duet with Townsend playing banjo. Their next band was The Detours, a skiffle/rock and roll band fronted by then sheet-metal welder Roger Daltrey. In early 1964 The Detours renamed themselves The Who. Apart from playing Guitar, Townsend plays many other instruments on his recordings such as Piano, Keyboards, Bass Guitar, Drums, Violin, Mandolin, Ukulele and Banjo. Performance notes. This is a classic example of Townsend’s powerhouse rhythm and staccato chord changes where he would execute his “windmill arm action” to follow through the chord. If you wish to emulate this technique be aware that he once put a tremolo arm through his forearm doing this! However, Guitar One needs to be played with attitude but be careful not to over drive the rhythm sound too much so that it becomes fizzy. Guitar Two emulates the Synthesizer on the intro by holding a pedal tone under the
upper melody line. In the verses, staccato triads are played. Also feel free to expand on the “bluesy” fills.
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60
Practice log for Unit Eleven Topic Practice Guitar part One for Won’t get Fooled Again Practice Guitar part Two for Won’t get Fooled Again
Date Time frame
BPM
15mins
134
15mins
134
1
2
3
4
5
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61
ICMP Degree Music Practice 1A ( Rock Unit 11 )
Won't Get Fooled Again
Guitar One
P.Townsend
134 BPM Rock/Crunch Tone
(1971)
A5
A5
5
8
A A5 Verse
D5
f A5
B D5
D5
21
24
17
A5
A5
A5
D5
D5
G5
A5
A5
E5
G5
G5
C5
A5
A5
E5
B.U.
Tacit
B.U. R.B.
12
G5
E5
To Coda
G5
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62
2
Won't Get Fooled Again Guitar One
D
28
32
C
Dsus4
D
D5
Dsus4
G5
A5
D7
A5
G5 A5 G5 A5
A5
G5 A5 G5 A5
simile with fills
A5
B5
simile
Solo
B5
E5
A5
50
52
G5
B5
B5
open strings
B5
A5 E5
staccato
D B5 B5
B5
A5
40
47
Ad lib simile..............................
36
44
A5
B5
E5
B5
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63
3 Won't Get Fooled Again Guitar One
E A5
D5
A5
D.S. al Coda
CODA
63
D
Dsus4
D
67
Dsus4
2
A5
2
G5 A5 A5
A5
A5
slight rall - drum cues.
74
D5
G5
A5
2
71
77
D5
G5
D5
G5
2.
60
1. A5
G5
56
G5
A5
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64
ICMP Degree Music Practice 1A ( Rock Unit 11 )
Won't Get Fooled Again
Guitar Two
P. Townsend
134 BPM Light Crunch Tone
(1971)
A5
A G D
G5
4
A
G
7
D
A A Verse G D A simile
9
C
G
D
G
G D A E
13
B A D
17
D
21
A
D
A
D
A
G
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E5
65
2
Won't Get Fooled Again Guitar Two
24
P.O.
28
D
Dsus4
C A5 A5
D
E5
B.U.
32
36
G5
fill
D5
G5
B.U.
Dsus4
D7
To Coda
G5
A5
G5
Ad lib simile..............................
G5 A5 G5 A5
A5
G5 A5 G5 A5
D B5 B5
E5
simile with fills
A5 A5 simile B5 A5
B5 Solo gtr 2
E5
E5
44
48
40
52
B.U.
B5
B5
A5 B5
simile
E5
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66
3
Won't Get Fooled Again Guitar Two
E A5
56
2.
A5
60
D.S. al Coda
Coda
63
D
Dsus4
A5
65
D
2
2
2
A5
A5
73
A5
G5
A5
A5
G5
slight rall drum cues.
Dsus4
D5
G5
69
77
D5
D5
G5
G5
1. A5
D5
G5
A5
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67
LPW Prep Semester 1A
Unit 12.
Objectives
To learn to play “ Rock The Casbah” by The Clash.
The Clash. Formed in 1976 The Clash were part of the original wave of UK punk rock in the late 1970s. The band went on to incorporate punk with reggae, rockabilly, dance, jazz, ska, and other styles finally disbanding in 1986 The band members were Joe Strummer – lead vocals, rhythm guitar (1976–1986) Mick Jones – lead guitar, backing vocals (1976–1983) Paul Simonon – bass guitar, backing vocals (1976–1986) Topper Headon – drums, percussion (1977–1982) “Rock the Casbah" was released on their 1982 album Combat Rock. It was later released as a single, and is their only song to become a Top 10 hit in the United States. This song was inspired by the banning of rock music in Iran under Ayatollah Khomeini.
Performance notes. This track has an almost Punk/Disco flavour so playing with attitude and energy throughout should create the right vibe. Lines from the keyboard part have been put in for the introduction and these will help to cue the vocalist. Lines in this style can be played ad lib. There is a contrast in tone for Guitar Two as the chord voicings are typically high up the neck. This creates the Disco vibe similar to Donna Summer tracks from the late 70’s (“Hot Stuff” and “Bad Girls”) There is a little more drive in the guitar on this track. Guitar Two can also ad-lib sound effects with use of harmonics and the tremolo arm to compliment certain sections in the vocal passages.
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68
Practice log for Unit Twelve Topic Practice Guitar part One for Rock The Casbah Practice Guitar part Two for Rock The Casbah
Date Time frame
BPM
15mins
128
15mins
128
1
2
3
4
5
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69
ICMP Degree Music Practice ( Rock Unit 12 )
Rock The Casbah.
128 BPM Rock Guitar One
wr. M. Jones, J. Strummer, T. Headon (1982) The Clash
Crunch tone
6
A
G
Dm
Am
F
Em
4
intro
3
3
Em
C
3
Verse
Em
F/G
Am
Dm
Sim...
1. 10 Am
Em
F/G
Dm
F/G F/G B Chorus Am G Dm 2.
Verse
C Am Em Em
F
Em
C
Sim...
F/G
Dm
Am
Em
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70
2
Rockin The Casbah Guitar One
1.
2. F/G
Dm
F/G
F/G
D Chorus
To Coda
14
E
Am
22
F
Am
26
Em
F
Em
C
F
Am
Am
G
D.S. al Coda
Coda Chorus
Am
33
G
Bridge
18
30
Am
Dm
Dm
Em
C
G
Dm
Em
C/D
F
Dm
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71
ICMP Degree Music Practice ( Rock Unit 12 )
Rock The Casbah.
78 BPM Rock Guitar Two Crunchy Disco tone
wr. M. Jones, J. Strummer, T. Headon (1982) The Clash
Dm
Am
G
Verse A Am
Em
Em
F
C
Em
6
Palm Mute
F/G 8
11 Em
glis
Dm
s.
1. F/G
sim ad lib fills
Am
Dm
14
2. F/G
20
C
Verse
Am
Chorus
B Dm
Em
F
Em 17
C
Em
sim ad lib fills
F/G
Dm
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72
2
Rockin The Casbah Guitar Two
24
28
2.
F/G
D Dm
E
42
Am
34
F
Am
46
Am G 50 ad lib
To Coda
Am
Em
Em F
C
Am
....................F
Coda
Dm
F
Em
Light sound fx e.g. wang bar
F/G
Chorus
Dm
Em
Em 31
1.
Am
G
D.S. al Coda
C
Dm
Dm C/D
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73