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Real Rock uitar A

Classic Rock Bible of the '60s and '70s by Kenn Chipkin

Editor; Aaron Stang

Cover Design: Joann Carrera

*

WARNER BROS. PUBLICATIONS Warner Music Group An AOL Time Warner Company

USA: 15800 NW 48th Avenue, Miami, FL 33014

[fim)

INTERNATIONAL MUSIC PUBUCATIONS LIMITED ENGLAND: GRIFFIN HOUSE, 161 HAMMERSMITH ROAD, LONDON WS SBS

© 1994, Revised 2003 WARNER BROS. PUBLICATIONS All Rights Reserved

of the compositions this collection requires the written consent of the Publish.er. No part of this book may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and punishable by Jav.� Any duplication, adaptation or arrangement

contained in

arc

CONTENTS Page # INTRODUCTION Intro Music

.....

.

...........

.

.........................

Page #

CD Track

CD Tracl

PART ll: RIFFS

.4

Pentatonic Minor......................................42

1

....................................................................

Example 36 ....................................42 ..............38

Thning Notes ................................................................2

Example 37....................................43 ..............39

Example 38....................................44

PART 1: RHYTHM PARTS

The Boogie Pattern ....................................5

...

.

..........

40

Example 39 ....................................46 ..............41 Example 40

Example 1 ........................................5 ................3

Blues Scale Riffs

Example 2 ........................................ 6 ................ 4

.

............ .........

..........

. . ..

...

.

46

.............

.. . .

.......

. .. ..

.

....

...

.

..........

42

48

Example 41.................................... 48 ..............43

The Power 5th Chord ................................ 8 Example 3 .....................................,... 8 ................ 5

Example 42 ....................................49 ..............44

Example 4 ........................................ 9 ................6

Example 43 .................................... 49 ..............45 Example 44

Example 5 ......................................1 0 ................7

. ..

... .

. ..

................ ..

......

.. 50 ..............46

Example 45 ....................................51 ..............47

Example 6 ......................................1 1 ................ 8 Example 7 ...................................... 11 ................ 9

Riff/Chord Combos ..................................53 Example 46 ....................................53 ..............48 Example 47 .................................... 54 ..............49

Major Triads, Dominant 7th and

Example 48 ....................................55 ..............50 Example 49 ....................................55 ............. .51

Dominant 9th Chords

Example 50 ....................................57 .............. 52

Major Triads ............................................12 Example 8......................................12 ..............10

Example 51 .................................... 58 ..............53

Example 9 ......................................13 ..............11

Example 52 .................................... 59 .............. 54

Example 10 ....................................14 ..............12

Example 53 ....................................60 ..............55 Example 54 ....................................61 ..............56

Dominant 7th Chords ..............................16

Example 55 ....................................61 ..............57

Example '11 ....................................16 ..............13

Example 56 ....................................62 ..............58

Example 12 .................................... 1 7 ..............14 Example 13 .................................... 19 ..............15

Double Stop Riffs Based On The

Example 14 ....................................20 ..............16

Mixolydian Mode .

Dominant 7th (3) ... .

. ....

.

.

......... ...

.

..

...

64

Example 58 .................................... 64 ..............60

21

..............

.

... ..........................

Example 57 ..........; ......................... 64 ..............59

Example 15 ....................................21 ..............17 Example 16 .................................... 21 ..............18

Example 59 .................................... 65 ..............61

Example 17 ...................................;22 ..............19

Example 60 ....................................66 ..............62

The Dominant 9th Chord ........................ 23

PART Ill: BLUES/ROCK LEAD GUITAR

Example 18....................................23 ..............20 Example 19 :.................................24 ..

..

.

...

.

.......

The Pentatonic Minor Scale

21

Example 20 ....................................25 ..............22 The Dominant 7 (#9) Chord . .. . .

.

... .......

...........

. ... .67 ..

..

Example 61 ....................................67 ..............63

.. 25

Example 62 ....................................68 ..............64

..

Example 21 ....................................26 ..............23

The Pentatonic Major Scale ....................70

Example 22 .................................... 27 ..............24

Example 63 ....................................70

Example 23

.................

Example 24 . . . .

....

.. .

.

.

.

Example 64 .................................... 70

. 28 ..............25

...... ... .... ..

.

. ......

.....

.

Example 65 .................................... 71 ..............65

29 .............. 26

...........

The Mixolydian Mode .

Example 25 ....................................30 ..............27

...........................

71

Example 66 .................................... 71 ..............66

Example 26 ....................................31 ..............28 The Minor Triad ......................................33

PART IV: GUITAR GREATS, U.S. TO U.K.

Example 27 .................................... 33 ..............29 Example 28 ....................................34 .............. 30

The Allman Brothers................................72 ..............67

Example 29 .................................... 35 .............. 31

Jeff Beck

Example 30 ....................................36 .............. 32

Eric Clapton ............................................81 ..............69

Example 31 .................................... 37 ..............33

Jimmy Page

Example 32 .................................... 38 .............. 34

Johnny Winter ..........................................90 .............. 71

..............................

.

... ...

.

....

.

.

.

..

... .... .....

(ZZ Top)

.

....

.

.77 .............. 68

............

.......

.

.....

.

. 85 .............. 70

...

Example 33 ....................................39 .............. 35

Billy Gibbons

Example 34

.36

Jimi Hendrix ............................................ 98 .............. 73

Example 35 ....................................41 ..............37

The Rolling Stones ................................106 .............. 74

.

40

................ ...................

.............

Appendix I

112

............................................

Appendix 11 . . ..

.

113

.. .... .................................

Guitar Tab Glossary

.

.

118

............... .... .........

..........................

94 .............. 72

4

INTRODUCTION The blues/rock guitar style is set apart by its fusion of two related but very different genres: blues and rock. The expression goes, "Blues had a baby and named it rock and roll." This is a "black and white statement''-literally.

The blues began as music played by and for blacks only (up until the early '60s, blues and R & B were termed "race" music and were marketed only to a black audience via "race" record labels, music stores and radio stations). It wasn't until the 1950s that black music became popular with white audiences (often filtered through white artists heavily influenced by black music: Elvis Presley, Bill Haley, etc.) and in doing so, the cultural walls of "popular" (white) and blues (black) music began to crumble.

Rock and roll is a cultural collaboration (the

illegitimate child of a black/white union) and from its inception, rock and roll misfits and soul-searching white musicians have been borrowing heavily from the pure blues, unintentionally forging a new style. A child can imitate its parent to whatever lengths it chooses, while simultaneously finding its own path in realizing its identity. Acceptance is had either way, but ultimately, blues is blues and rock is rock. That is why blues/rock is identifiable as having its own separate identity.

The influence blues has had on rock is as undeniable as it is advantageous. The main advantage being the ability of blues/rock to extend, or even sever, its long-established roots in the blues language while still maintaining its audience appeal, �s well as the interest and respect of blues musicians themselves. A comparison of the "blues/rock" material represented in this book to that of the traditional, "pure" blues of guitarists such as T-Bone Walker, B.B. King or Albert King will immediately show clear dividing lines between the styles.* Amazingly, blues/rock has had a reverse influential effect on many of the great blues guitarists who were the original impetus for this new musical form. Muddy Waters called Johnny Winter "his son," and the two often played and recorded together in the last years of Waters' life.

B.B. Ki �g, Albert King, Buddy Guy and

Albert Collins have all sung high praises for Eric Clapton and Stevie Ray Vaughan-and these older blues musicians have found their music and even their playing affected by the new fires set by blues/rockers. Compare old and new recordings of the blues guitarists mentioned, and you will hear their blues "modernized."

The U.S. to U.K. Connection Although blues is primarily a Black-American music form, blues/rock is a cross-cultural and cross-continental phenomenon. By the '60s, black music had clearly crossed over into the American mainstream.

Many white

musicians were not only influenced by black music but were heavily involved in both blues and R&B. But still, the early '60s American music scene shows clear dividing lines between pop, rock, blues and R&B. It took a new generation of young, white English musicians who had grown up listening to American blues artists to actually fuse the two forms together. They joined the songs, licks and riffs of their idols, like Robert Johnson, Muddy Waters, Howlin' Wolf, B.B. King, Freddie King and Buddy Guy with the volume, energy and attitude of the rock generation. It is from this unique black/white, American/British union that bands like The Yardbirds, The Rolling Stones, Led Zeppelin, Cream, Deep Purple and even the Beatles were born. Kenn Chipkin Aaron Stang

*(See Real Blues Guitar, published by Warner Bros. Publications, Inc. for a full examination of blues guitar).

5

PART 1: RHYTHM PARTS This section deals with the foundation of the blues/rock style: rhythm guitar playing.

The following examples are

derived from the music of many well-known groups and players, and are in many cases identifiable as the main thrust behind important songs. These examples illustrate the common threads that weave through the blues/rock style.

The Boogie Pattern

The boogie pattern may be the single most identifiable feature of the blues, dating back to the Delta-blues style of guitarist/singer Robert Johnson.

This pattern is common to virtually all styles of music, and is especially

connected to the guitar-its main advocate. Chuck Berry is widely known to have exploited the boogie pattern a great deal in the early stages of rock and roll. Berry's aggressive approach to guitar playing has had a profound effect on all those who have followed. He basically took the boogie pattern, a blues staple, changed it from a shuffle to a straight-eighth feel, and put a fire under it. Once Chuck got it cooking there was no way to turn it back down. The flame continued to grow hotter as the feel continuously grew more aggressive and loud. Almost all of the examples in this section make use of the boogie figure. Example 1 This two-part example demonstrates a basic boogie figure a la Chuck Berry, played first in a shuffle feel, then (without change of tempo) in a straight feel. This is played in the key of E, and uses only two chords (or double­ stops): ES (power 5th) and E6 (power 6th). Practice switching from feel to feel at will. Shume feel ( n

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8 The Power 5th Chord As

guitarists caught on to Chuck Berry's sound and attitude, the door opened wider and wider, so that by the early '60s the power 5th shape began to carve its own path, breaking free from the typical 12-bar blues progression and forging new-found harmonic directions. New root movements utilizing this shape-not being limited to only the I, IV and V chords-were now being explored. Between domestic happenings, the onslaught of the "British Invasion" combined with maximum distortion and many new and experimental effects, the power 5th shape was on its way to becoming "the power chord" as we now know it, and "rock and roll" began to lose the "and roll." This laid the foundation for heavy metal. Example 3 This example in the style of Led Zeppelin, begins as a power 5th chord in the key of A, branching out to power 6th and power 7th chords as well. The chord progression stands as a perfect model of a "12-bar blues with a twist." The IV (DS) chord in bar 5 is followed by a string of chromatically connected power 5th chords resolving back to the I (AS) chord. After the V (ES) chord in bar 10, we come to an Fsus2, F being the root of the �VI chord, a commonly found chord in blues/rock progressions. "'

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Another "12-bar blues with a twist," this famous rhythm part in the style of Leslie West of Mountain, has each of the I, IV and V chords (all power 5th types) approached by a slide from a power 5th chord a whole step below. This puts great emphasis on the "outside" chords being as they fall on downbeats. The two outside chords are the �Vll (DS) and the �lli (G5). These two roots �7 and bJ) are great pillars of blues/rock progressions and may be the most identifiable proof of rock 's contribution to blues forms. The single-line licks that fall between the power chords are derived from the E pentatonic minor scale (E G A B D) with the exception of "C," which is derived from the A pentatonic minor scale (A C D E G). Notice how emphasis is given to the G �3) and D �7) over the E5 (I) chord and C �3) and G �7) over the (IV) chord. o s E5 05 ES

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This example, a Ia Joe Walsh, is obviously inspired by older blues tunes like "I'm a Man" by Muddy Waters, where the heart of the tune is a repetitive lick with a slow, creeping shuffle feel played between lyric phrases of some compelling story. The opening four bars in this example bring that situation to mind with the use of E5 (I) and A5 (IV) open position fingerings in the key of E. The boogie figure brings momentum to the changes from IV(AS and A6) to I (E5 and E6) in the following bars, ending the phrase with great stress on the V (B5) power chord in bars 11 and 12. The example ends with a chord movement of D major to E5 with an E pedal below. This superimposition of a triad, built on the b 7 chord is decidedly owned more by rock than blues. Note the inclusion of the boogie pattern on the E5 and E6 chords in the 7th position-clearly bringing blues and rock together in these final bars. "'

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This is a rocked up "Texas Shuffle" in the style of ZZ Top. A Texas Shuffle puts great emphasis on the upbeats in a shuffle groove, denoted here by the accents on the A5 power chords. The C and D notes imply the presence of C (bIII) and D (IV) major chords---rommonly found in blues/rock progressions. ' � +.t

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This Jimi Hendrix rhythm part lays heavily on the power 5th chords of I (05) and �VII (BS) in the key of a. The single notes are found in the a pentatonic minor scale (0 E Fll 0* B), used here to connect 05 and B5. )

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12

Major Triads, Dominant 7th and Dominant 9th Chords Major Triads

major triad consists of the root, 3rd and 5th scale degrees of a major key played simultaneously to form a chord. There are many ways to arrange or "voice" a triad on the guitar. However, based on accessibility and sound characteristics, certain common voicings prevail in blues/rock. A

The occurrence of triads in blues/rock has its root in the country-blues styles of the deep south. The purity of the triad without the dominant 7th makes for a more light-hearted, simple feeling. The following examples show how the major triad can be combined with boogie figures, dominant 7th chords and the like, bringing contrast of moods. Example 8 From a famous Lynyrd Skynyrd song we have this guitar part which embodies three versions of the chord progression V-IV-I (D-C-G) in the key of G. The first four-bar phrase is played with open position chords making use of open strings. Csus2 is a common substitute for C in rock. The sixteenth note lick is derived from the G pentatonic major scale (G A B D E), complimenting the simple major chord character of the song. The next four-bar phrase moves the V and IV chords up the neck, making use of the 1st inversion voicing of D and C. (The 1st inversion of D has the 3rd (R) of the chord in the bass at the 9th fret, while the 1st inversion of C has its 3rd (E) in the bass at the 7th fret.) The I chord is represented by an open string lick that when held, forms an open G chord. The final four-bar phrase is the good old boogie pattern played over all three chords, with an interesting rhythmic figure on beats 2 and 4 of bar 1.

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This rock-solid rhythm part in G is borrowed from the great Johnny Winter. While the boogie pattern pervades the entire part, most critical are the movements to the Bb triad (the biii chord), the use of the bVJI chord (marked by the boogie pattern of F5 to F6) and the hook-like use of a 1st inversion C triad in the last four bars. These features, as well as the 2/4 bar where the half-step slides from 05 to 05 are found, epitomize this example as stellar blues/rock rhythm guitar. G5

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11