Friday on My Mind
Short Description
Guitar techniques...
Description
~ain
transcription
=riday On My Mind
o versions of the same song - one from the 60s and one from the mid-80s. sson by Jamie Humphries he original version of 'Friday On My Mind' was a hit for Australian group The Easybeats in November 1966. The other version of this month's featured song is by Gary Moore, from his Wild Frontier album. During the mid- to late 80s, Gary's style was more heavy rock than blues, so his version has a more contemporary feel.
T
ary
Ne'S
ion comes his Wild Jtier album, ·s before subsequent s outings
1
INI
Performance notes
lldn't
The two versions require different levels of technical ability. The Easybeats version would be an ideal song for the novice, as it features a variety of different rhythm techniques and basic chords. Gary's version is a little more involved, with all the trademarks of the time; palm muted power chords, whammy bar dives, plus a tasty pentatonic widdle!
~ssarily
1 of AC/DC 1 you hear song, and twas ally written 1gus and olm g's big ter ge!
These have been written underneath the names of the chords actually played and have been implied by either the vocals, or the lead guitar found in Ex 2. The intro ends with a strange chord sequence that appears to bear no relevance to the song at all! If you're new to barre chords, this section should sort them out. Be sure to observe the cut off symbols where marked.
the second fret A string is used as a pedal tone during the run. Bars 19 to 25 feature a melody line that follows the vocals and uses notes from the A dominant Spanish phrygian scale, the fifth mode of the D harmonic minor scale: A 8, C# D E F G A
1 .2 3
4 5 .6 .7 1
Both the open A and D strings are used as pedal tones during this section. I have not yet mentioned the 'implied' chords found in the intro.
The Easybeats
gerstyle eral, when g with your
s,the looks
he three
bings with lex, middle tg fingers
f with the IdE
Let's start with the Easybeats version. Ex 1 shows the intro for guitar one; the part features a simple arpeggio, and should be performed fingerstyle. The root note should be performed with the thumb, and the fifth, or octave of the root, with the first or second fingers of the right hand. Bars 13 and 14 feature a descending chromatic run that starts on the B note on the fourth fret of the G string, and resolves on the E note on the second fret of the D string. The note B on
Beatles: those fun loving Easybeats
ords - The Easybeats C
4.
0
F~
A
E 0
0
0
0
X
X
4. 4. 4~4·
2-
4r
4.
4.4. "
E
::; C E 1
3
EBEG#BE 1
5
1
Buitar Techniques
3
5
1
A
8
0
AEAC#E 1 5 1 3 5
2-
X
4.
5-
0
F# C# F# A# C# F# 1 5 1 3 5 1
1.
4t B F# B 1
5
1
D# 3
4-
0
4. 4.
4-
0
4. 4-
AEAC#EA 1
5
1
3
4...
5
1
4.
~~
G#C# G# C# E G# 5 1 5 1 [,3 5
April1998
GTCDTrack5
The Easy beats chord chart; arrangement
~
INTRO
l@i ·; /
z'
z'
II
1,55
VERSE
I @·:
7
7
7
2
7
2
Am
,.
I
•7
7
7
D/A D
D
7
/
/
I
7
7
2
7
2
7
2
D/A
7
7
7
Em
I/
7
7
7
7
2
7
3,57
D/A D
D
I@Amz
I
7
7
7
z
2
!2
7
7
7
7
7
D/A
7
7
B
G
7
I
7
7
/
7
7
2
7
z;
7
•7
I
•7
7
2
z
7
7
7
7
7
9,63
Am
I@Em
7
27
7
2
7
2
7
,.
7
,.
I
•7
2
A
7
2
7
7
7
2
Iz
70
7 /
7
2
,.
7
•7
15,69
c
Dm
I@Dm
27
2
7
2
7
2
I
•7
2
7
7
7
7
2
I
y.
/
7
E 7
7
z-
7
A
7
I
/
2
2
E
B
F#
7
7
7
7
2
7
II
21,75
CHORUS A
1~1:
2
D
C#m
7
2
7
2
7
2
7
I
•7
r.
7
7
2
7
7
7
/
:II
·7
r-
7
7
2
7
/
2
7
35,89
27,31 ,81 ,85
Bm
Fjl7
,.
I
•7
I@
2
7
2
7
2
7
2
7
I
•7
z;
7
7
7
7
7
;t
7
7
I'
y.
36,90
D
I@ /
2
7
2
7
2
B
,.
7
I
•7
2
D
7
z
7
2
7
7
7
I
•7
z;
2
7
2
7
z7
/
41,95
A
I
I@
E7
7
7
7
7
II
46,100
-------------------------- - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
F~7/C~
Dsus4
D X X
0
X
X
X
0
4. 4. ••
4.
Bm 0
4~
2-
2-
1~
4~
04.
X
X
.,.
5-
4,.
4~
4~0
A
D F:
0
A
0 G
BF~BDF~
1
5
1 3
1
5
1 4
1
5
1
~3 5
·o
4r ---~
04.
D
'
E7
8
D
X
DADF~A 15135
7-
~~
4-4~
04. BF~B~F~B 151351
I
0
0
5-
4.
I
0 4~
EG~DEE 1 3 ~7 1 1
-----------------
-----------------,,~ April1998
Guitar Techniques
51
r
-------
GTCD '&ack5
To CODA .. PRE-VERSE ~
E7
~Am
I o
D
G
lo
lo
co
I ·,
~
A
I~
7
r
z
7
7
~- al CODA ..
-
II
C#m
,.
I
•7
7
*
r
51,105
CODA
D.
27
2
7
z"
,.
I
/
:II
•7
110,114,118,122
109
(FADE OUT)
~~~
z7
2
7
2
II
7
126
Ex 3.
6~'~
~~t~t
J =1a2 1 o:o1
VERSE
1
' _.._
~
~
~.
-~
...__
_?
~-
Implied E5 chords: (Em)
:
•
•
~
•
0•
• ~
"'--
~
A (octave) (Am)
D5 (D)
A (octave) D5 (A) (D)
~
0.
~
~
E5 (Em)
(Em)
• • Ex
~
n
~
E5
n
jum fr01
A (octave) (Am)
(Em)
one see
i
i
i
i
i
8 1
i
The
note moci
., D5 (D)
52
A (octave) D5 (A) (D)
Guitar Techniques
D5/A
G (octave)
(G)
.,
.,
.,
.,
., B
G (octave) (G)
1
April1998
Api
GTCD '&adi. 5
I
-
I
II
tJ
-,}
"II
ll
-,}
ll
-,}
-,}
-,}
=
=
o"il
=
=
ll
"II
ll
'
'i E
8 G
.
D A
E
13
..
..
..
..
..
-"
-
-
ft
N.C.
E (octave) (Em)
(B)
I
tJ
-
-
II
=
=
=
=
•
ll
041
0~
•
~
ii
-
I"""'""
0~
~
~
~
~
p~
~
~
~
E 8
D A E
ft
ft
16
u
n
ft
E (octave) (Em)
I""
"
.,.
0~
u
~
~
-I
l
•
o•
~
u
ft
8 G D
n
ft
ft
A E
u
n
20
0 (octave) (Om)
(A)
~.
jj
@)
~
r
oj i
•
D A
E
-i
I
co
0{~5)
D#
E
F#
G#
A#
3
4
5
6
7
The second half of the second bar uses notes from the B aeolian scale, the sixth mode of the D major scale: B
E
F#
·:l;
s
~
u
~ ft
u
Osus4
B 1
I n
0~
~
co
co
-"-
--"'-
~
1!'
co
co _A
u
:::: u
c
1
u
Om
n
:::
n
Ex 2 shows the verse guitar fills. These fills jump around a bit, with the notes originating from various sources. The notes used in bar one and the first half of bar two could be seen as coming from the B major scale: B 1
u
0~
" 24
L
.;
Om
n
\'1
i
(Osus2)
MUCO
n
o•
•
•
I
E 8
G
•
.;
u
A(~9)
r:'J •
• .;
~
ft
"
ft
u
-J
>•
E
~
A (octave) (A)
'J
•
u
u
A (octave) (Am)
r"""1
I
-
u
A (octave) (Am)
II
._j
-
-
G
C/G
E/G~
E
The lick in bar number six uses notes from the A aeolian scale, the sixth mode of the C major scale:
The lick resolves with the note of C#, which could in fact be viewed as coming from the A major scale: ,;.''!~
:!
C' ..
l.
:;1'
:of
~
.. t~
'::!.
A
-
F~
8
E
minor the A major, as the C natural to be found in the A aeolian scale is the third of the A minor chord, and the C# note to be found in the A major scale is the third of the A major chord. The final lick starting at the end of bar eight uses notes from the D aeolian scale, the sixth mode of the F major scale:
..
,.
~"
t'
,_..,
~
7
l
~
·G
The C# also implies a chord change of A
I'
April1998
Guitar
Tee~~~~~~~~ .. 53 ----~~
II
GTCD 'Irack 5
(Am)
(Em)
B (Descending chromatic run)
gliss
Ex 3 features the rhythm guitar for the chorus. I have suggested a strum pattern, but feel free to come up with your own variations. The chords are fairly
A
54
Guitar Techniques
:
straightforward, so this section should provide an excellent opportunity for you to work on your rhythm technique.
C#mtG#
::.-.'3:
April1998
GTCD'&ack5
1\
II ~
rake "~
E B
~
~
-:
G D A E
1......1
1......1
i I
~
-:
? ' 13
'
'
'
..,
-~
-:
-:
.
'
..,
..
"'
_.., ., .., co
_.., -:
_:::
I
-;_
-:
_:::
_;,
. . . . . .
'
'
--'=
"-
"-
--"-
-"-
:.
~
~
~
:;
:;
:;
.;.
.;.
.;.
~
~
.;.
:.
"v
~
II ~
.. .. ..
...
_
E B G D
_;:
;::
A
:;
E
17
:;
:;
:;
..
., _.,
_;:
;::
~
_;::_
_;:
;::_ _;:
;::_
:;
:;
:;
:;
:;
:;
:;
..
.,
.,_ _.,
;::
;::
:;
:;
:;
_
., .,_ _., CO ... :;
I
1......1
MU
MU -"-
--"
"-
-"
"-
-"
"-
-"-
_:,_
_;,
:._
_;,
;,_
_;,
;,_
-"- _:,_ --"-
v
v
v
v
~
~
B
~
~
-"-
-"-
"-
B
G
"
"
:;
:;_ _:;
"
"
"
"
"
::;
:;
_:;
:;_
~
;, 21
:;
"-
--'=
.;. v
v
r
-
II
E
--"-
D
I
1......1
1......1
-"
"
"
"
"
_:;
:;
::;
:;
'-
D A E
-"-
D
._)
I
-"--
.;.
--"- _:._ -"
~
Bm 1\
CO MU --"
;,
~
" :;_ _:;
;,
;,
A
:::
~
I
~
"
n
::
;,
n
n
n
n~
n
n
n
~
;,
;,
s
n
~ ~
~
;,
A
Ex 4 shows the fills played by the second guitar in the chorus. The phrase doubles Nith the vocals. and uses the C# phrygian
9155 ,.-.._
;,
;,~
~
;,
;,
;,
~
;,
~
v
~ ~
~
~
~
~
_;,
;,
E7
scale, the third of the A major scale: C# D f. F# G# A B
1
,2
3
4
5
,6
,7
C#
1
l!i:x 4 Guitar 2 chorus fills 0:37
1\
"'
!!
@)
E B G D A E
..,
1
_.
, "-
(C~m)
Ex 5 is the link between the chorus and the ;erse, I've called it the ·pre-verse'. This Jses the chords of A minor, D and G major
-~
(A)
and E7. All of the chords should ring for a whole bar, with the exception of the E7 chord, which should be cut off after the first
beat, thereby leaving the remaining three beats silent.
Ex 5 Guitar 1 pre-verse _j
t)
-~'
0
oe.n
E
ou
co
, ;;_
B G D
~
A
E
Jt
~
~
1
Apri11998
Am
"
~
D
G
E7
Guitar Techniques
55
GTCD 'Irack 5
~
Ex 6 is the pre-verse for the second guitar. This example uses the notes of A and E, (5th fret 6th string, open 6th string
respectively). The final E note should be cut off in the same way as the E7 in the final bar of the previous example.
x3
E~----~~--------------------~------------------~
8~----~~--------------------~--------------------+
G~----~~------------------~~------------------~
0~----~----------------------~------------------~
A~----~~------------------~~------------------~
EL______u~~--~--~~--~----nL~----------------~ 1,2,3 E7 /1: Am Bars- 2: 0
"-.3: G
Now let's look at Gary Moore's version of the tune. One of the first things you should notice, as well as keyboards, processed guitar and slick 80s production, is the different tempo. The Easybeats version clocks in at 192 bpm, while Gary's version is at a slower 159bpm.
INTRO (KEYBOARDS)
r
7
7
z
2
7
Looks like Friday is on Gary's mind
II
VERSE
~
1-
OS
ES
7
7
I/
7
7
7
7
7
7
,.
7
•7
r-
7
•7
z
7
7
,.
•7
/
GS w/Gtr
I~057
z
7
7
7
•7
I
7
7
7
7
7
7
7
,.
7
•7
ES
I2
7
2
7
/
2
7
,.
7
y.
7
y.
•7
B (w/fills)
I
7
7
2
7
2
7
7
9
I~E5
(w/fill)
AS 7
27
7
7
7
7
I
2
7
7
7
7
7
7
AS
7
•7
ze
I
7
7
/
7
7
7
15
I~05
OS
77
7
7
2
7
7
I
r.
7
7
7
7
/
7
,.
7
•7
cs
I
7
7
GS 7
7
7
7
ES 7
7
I
7
7
/
7
7
7
7
I
21
~CHORUS
I~~:~
2
7
7
7
7
,.
7
•7
56
~~~
.---'"
I
7
7
7
7
2
7
2
7
OS •7
z;
:II
7
7
7
7
/
2
7
35,89
27,31,81,85
"-...
(w/fill)
C#S
~"~~·-~·~-"
View more...
Comments
