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TABLE t)F Ct}NTENTS Audio

Introduction

Track 1

Punk Rock Early Punk New York Punk Scene It Was 25 Years Ago Today

5 6

L.A. Punk Scene British Punk Scene Tuning

2

Punk Chords Punk Chord Forms and Fragments Open Position Chords Open Position Chords in E Open Position Chords in D Ascending Half-Step Chord Slides Ascending Whole-Step Chord Slides Descending Chromatic power Chords Power Chord Eighth-Note Rhyrhm

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Punk Progressions E5 to Bb5 power Chord progression E5 to E1l5; ,{5 to 85 to E5

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Punk Rhythms .

Punk Beat 1 Punk Beat 2 Punk Beat 3 Punk Beat 4 Punk Beat 5 Ties Across Bars Syncopated Rhythms

Modern Day Rhythms

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Solo Scales 18

A Minor Pentatonic E Minor Pentatonic F, Minor pentatonic A \fajor Pentaronic

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INTft(]UUCTTON Punk Rock Punk rock as a popular music style has a relatively short history. It emerged in the early 1970s in New York City, reached its peak with a heavy driving pace between 1976 and 1977, and returned to the obscure underground world where it had first flourished by the end of 1978.

The most significant reason for punk's short life in the limelight was that punk rock, in all its expression, fought against the star status of the popular musicians of the time. Punk was social rebellion, shocking, and sometimes violent. The punk movement sought to tear down founded theories, techniques, and existing standards of art. Punk was about anti-establishment and rage against the status-quo. Punk was about youth and breaking boundaries by picking up an instrument, taking the stage, and making music happen without any musical training. Punk creatively launched an attack on the aesthetic trends of the Western world, influencing not only music, but also fashion, literature, f,lm, and graphic arts as well. The punk movement flourished through a cultural exchange between the United States and Great Britain. Art and the music industry was ruled by a high society standard that defined acceptable art as that which was pleasing to the senses. Punk music, in contrast to the highly polished rock 'n' roll acts of the time, was played brutally loud and recorded live on poor equipment, generally in small, seedy clubs in rough neighborhoods. Distortion levels were typically turned up to the limit. The lyrics, which often dealt with issues that were disturbing or sensitive to the general public, were yelled or spoken in monotonous tones. Confrontations often occurred in which the audience and performers would attack each other with insults, spit, and glass bottles.

Editor's note: Use the audio icons in the book to follow along with the CD. Introduction (O), Tuning (O).

4

Early punk rn 1970' Lou Reed and the velvet underground style that later became the standard

shocked New york audiences with a musicar of the punk genre. Lou Reed's songs ,."u,rf music of the Beatles' Songs the popular such as "Heroin" *d "v"ru.l, "ortrasted Fr..,, not only contained thought to be offensive to subject matfier the general public, they were intentionaly prayed aggressive musical style' with an amateur and The use or electronic noise with feedback uro irsrorance at nearly unbear_ rough rook and surlen demeanor on srage

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Fortunately' Andy warhol produced the band's first album and incorporated the ground in a series of velvet undermixed media shows' The velvet urJ*g.orrd slowly ieveroped a cult forlowing which was attracted to their antisocial' non-"onfo.-ist and non-cornmerciar musical styre.

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New york punk Scene Patti Smith rn r971' Patti Smith' backed by rock-guitarist Lenny Kaye, ing a unique style of musical in New york citl,pertormp";il'u". po.., *".";;onal appeared and emotionar. Her r.ocal sr\1e \\as She regurariv pr"v"a Bo,".y and cBGB,s. r\ro ", clubs knorin

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Patti Smith established herself as "r'Ji, H o r s e s, o n whi c h ;;. o" i:r" ir:l: :: "Because The Night,', UT,l I ? ",, which ,u, by Bruce Springsteen. "o_uuifrorecl

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It Was 20 Iears Ago Today by

Andi Ostrowe

The Punk Rock scene in New York was in full force by the mid-seventies. Those that laid the foundation of that music were the Velvet Underground, the New York Dolls, Detroit's MC5, and the Stooges. Emergent with the music was the art, literature, attitudes, and fashion of the New Wave (as it was called). Just as important as those things were the places people played. Entrepreneur Mickey Ruskin started Max,s Kansas City. Hilly Cristal was convinced by local musicians to transform his Country Blue Grass Bar on the Bowery into the legendary and still reigning CBGB's. A growing number of clubs gave local New york bands easy access to play music and go out and mingle. Every night was new wonderment. The scene was intact.

A flux of bands began emerging in

1975 around New York City. Lou'Reed (Velvet Underground) and Patti Smith (who had been reading poetry at St. Mark's Church and performing her series of Rock ,n,

Rimbaud performances at lounges like Reno Sweeny's and Trudy Heller's and was adding music to her words), have been labeled the innovators of the New Wave. They gave new meaning to the marriage of poetry and music which, because of a few ripped t-shirts, sneakers, stenciled words and safety pins, became known as Punk. Individuats from the Dolls, the Velvets, the Stooges, and MC5 originated iheir own bands and the roster of new bands developed into the Heartbreakers, the Dictators, Sonic's Rendevous Band, Iggy Pop, Lou Reed, David Johansen, and others. Then came a banage of newer energy like the Ramones, Blondie, Talking Heads, Television, the Voidoids, Tuff Darts, the Cramps, the Mumps, the Dead Boys, and many others that populated the scene. While the first wave of New York bands got signed to major record labels and left New York to go on tour for months at a time, new bands kept forming. Across the Atlantic, a powerful British punk scene was dominated by bands tike the Sex Pistols, the Buzzcocks, the Dammed and the Clash. The music was like a wall of sound. There wasn't the technology there is today. There weren,t rack mount effects. MXR, Cry Baby, and Electro-Harrnonix pedals were available and widely used. Echoplex and Space Echos were bulky but essential. Loud, driving rhythms and three-chord rock were the predominant elements in punk. The New Wave was about the freedom of expression. It was rock 'no roll getting back into the hands of the people. It was created by people who came out of an era of big rock stars like David Bowie with big stage shows, laser lights, and fancy frills. It signified taking the music back to the everyday person who didn't depend on money or fame to express themselves. Look at presley Elvis and the musicians who were his contemporaries. They were farm kids. Then there came the corporate music world of show businessmen, agents, managers, lawyers, contracts, media people, and obligations.

Every generation needs a form of self-expression. Punk tried to break that barrier of qock stars and celebrities. No one was unapproachable. The music and ideas were always accessible and ever present. Performers on the stage were like the people in the audience. Johnny Rotten WAS the kid staring him in the face (so to speak). It was the freedom that kept it going. The possibilities seemed limitless. There were no restraints on creating art. There was no jealousy. It was about camaraderie. Then the cycle of the businessman started to take over again. The current "alternative" or "grunge" rock may be the '90s wave of freedom.

Certain powerful individuctls reminded people they- could do it too. It was abottt givirtg room to new' people. The torch is cortstontly changing hancls. You gotta keep pctssing it.

-Patti

Smith Febrttan- 1995

ANDI OSTROWE is the Guitarist with Puryle Rising. She wolkecl with the pati Smith Grogp lg,-6-lgj9.

The Ramones The Ramones have been acknowledged as being one of America's greatest punk bands. They took punk music to a new dimension by combining an intense and repetitive three-chord drone with a brignt, provocative melody. The Ramones: Joey Ramone (born Jeffrey Hyman-vocals), Johnny Ramone (born John Cummings-guitar), Dee Dee Ramone (born Douglas Colvin-bass) and Tommy Ramone (born Tom Erdelyi in Budapest-drums) first played in New York City in 7974. They met in high school and shared common interests in comic books, surf music, Buddy Holly, and fun. They quickly built a strong following in New York with their intense, speedy pop-punk songs and landed a record deal with Sire. They released their flrst album in 1976 and pressed a total of flve albums in three years.

The Ramones

L.A. Punk Scene In

1978, The Mask became the popular punk club in Los Angeles where bands such as the GOGO-s, X, the Circle Jerks, and the Screamers played. The Mask was a starting ground for up-and-coming punk bands. Its decor and atmosphere truly represented a violent, anti-social style: broken glass, grffiti, and holes in the walls. When the club was closed a few years later by the Chamber of Commerce and the Fire Department, The Whisky A Go Go became the new stomping ground for the punk scene.

The musical style of these punk bands was, for the most part, based on a three-chord rock foundation, incorporating hundreds of chordal variations. Guitar solos, if used at all, were gften brief and usually played in a rock 'n' roll style. Most of the songs were short and fast, much like the two- or three-minute songs of the British invasion bands.

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British punk Scene Ihe

Sex pistols

During the mid-1970s' Great Britain was suffering from one of its highest unemployment rates since WWrI. This, coupled with a mood of diicontent among the work_ ing class' The youth' especially sensitive to the blealf outlook, easily urr*iut"d antisocial' and nonconformist with the pessimistic, music of the New York underground scene that from the primrose boy-meets-girl dramaticarly deviated of popular music. The members of the sex pistols, brought together by manager Malcom

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Mclare-n, were all from poor working-class areas of London. Though never arrested ror criminar acrivities *o r.,na music an appropriate

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The sex Pistols played at St' Martin's college in Nov. 1g75 forall of 10 minutes before the audience' offended by their crude social realism, pilrJ posing the prugs. as the opening band, The Sex Pistols continued to play the college circuit. i;;;"." usually thrown out before completing a a signincant ro,owing that would

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In the summer of 1976'the Sex Pistols were engagld nlav Tuesday nights at the 100 crub in London after being banned from almosr every .frU tfi"Sitad!oplayed ir. ;; thi, ti*", their following had greatly increased and their fans attended performances dressed in a create-it-yourserf fashion shredded clothing garnished with saferv pins and colored or spiked hair, shocking

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f40,000 to rerease their first single, uK'" In December' they *"'" d-pped from the laber following an appearance family the

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lT#5ffi #;;H-f #T#:#f,:Jf,"TJ*"ii,i.*0so,d55,000d;T:3::;;ffiii'Jl; In February 1977' GlenMatlock was replaced by sid vicious, and in May, virgin Records, then er""r" at the height ofthe eueen,s Jub,ation celebration' Despite the BBC's ban on the song and thJad press, iu p"irr*iry took the British music charts' where it to the top of it was sometimes risted as a blank ,pu"". Before the end of the year they released their first album, "N"u.. Mind the Bu[ocks, Here-,s the sex pistols,,, in the uK and the US. a small and experimental label, released "Godsave trr"

The Sex Pistols disbanded in early 1978 insan Francis:o, on the rast stop of an American This event' followed by the tour. stabbing i"l n^orNur"y sprg"n, Sid vicious, girlfriend, and shortly thereafter, marked th" his overdose ,rruu""ling of the punk movement. The Sex Pistols became one of the most recognized punk bands of the seventies, but not the only band setting new they were standards and breakin! oo*, barriers in the UK and the Siouxie and the Banshees, uS. The clash. theBuzzcot r, x-Ruy s;;rC;r*ation X and the Lurkers, among otrr".r, were successful punk bands that devel0ped in England at the same time.

8

PUNK CH{]FI]S Punk Chord Forms And Fragments Punk chord forms are often in the keys of A and E. Usually the chords are broken into fragments. Fragments are two note dyads, expressed as power chords or 5th chords. 5th chords are made up of the root and 5th note of the major scale. For instance, in the key of A, A is the root and E is the 5th. The root is the lst note of the major scale, and gives the chord fragment its letter name. The 5th is the 5th note of a major scale and is played along with the root, giving the chord a strong sound. The notes A and E played together are called 45. The most commonly used 5th chords in punk styles are A5, E5, D5, and 85. o

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Open Position Chords Open Position Chords In E

This example uses two open chord forms of E and A. Open chord forms are played by picking the open strings with your right hand. Let the open strings ring while fretting the remaining chord tones with your left hand. The open sffing is usually the root of the chord. This example also contains a turnaround. A turnaround is a closing phrase based around the five chord (B5) of the scale, resolving to the one chord (E). The turnaround in this progression begins with the power chord 85. power chords are made up of the root and the 5th of a major scale. In this example, they are played on the 4th and 5th strings. 't0

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This example uses three open chords: D5, G and ,{5. The roots of the D5 and ,{5 chords are played in the bass. The root of a chord is the note that gives the chord its name. The G chord is played with three open notes: B on the 2nd string, G on the 3rd string and D on the 4th string. Example 2

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Ascending Half-Step Chord Slides

The half step is equal to the movement of one fret up or down the guitar neck. In this exampfu G#5 slides up one fret to ,{5. To slide, press the strings down, maintaining the pressure with your fu gers as you move up through the frets, sounding the ascending motion of notes as you slide into th next chord.

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lfW$urrnur,an's CBGB's was one of the first clubs to allow punk to be performed. Bands to emerge from the New York streets and into the punk scene were: the Cramps, patti Smith, Television,

Richard Hell and the Voidoids, the New York Dolls, the Dictators, Blondie, Tuff Darts, Mumps, and many more. . .

13

PUNK Pft{]GftESSI{)NS E5 to Bbs power Chord progression The flat 5 chord is often used fbr a sinister, heavily distorted shock sound effect. In punk. the rlect 5th interval (E to B) is trsually followeJ tv ,rr. n", 5th intervai (E to et.1. EramPte z pe

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15

Punk Beat 4 This riff uses a hammer-on effect. The hammer-on effect is sounded by picking one note and then letting your left hand quickly press onto the next note without picking. In this riff, hammer-on from the Ffion the 6th string, Znd,fret, to the G on the 6th string, 3rd fret.

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Punk Beat 5 This riff is similar to punk beat 3. It differs by using power chords and eighth notes on the 3rd and 4th beats. Example 14 C5

Ties Across Bars Ties connect notes together in time. Two eighth notes tied together equal one quarter note tl-) = J ). Ttre following 45 and E5 power chords use a tie on the upbeat of beat 4. In the 1st measure, the 1st beat is accented and in the second measure the lst beat is not accented. (

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Syncopated Rhythm This example uses syncopated rhythm. Power chords are struck on the upbeat of each beat (1 & 2 & 3 & 4 &), the downbeats are eighth note rests. The rest is a moment in time where the guitar does not play. Example 16 A5

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S{]L{] SCALES The following scales may be used as solos for several chord progressions. For example, A minor pentatonic may be used against an ,A.5 power chord. Try rearranging the notes in these scales to create your own solos.

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E Minor Pentatonic-Background chords: E5 or E minor Example 19

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$r unk arrived in San Francisco, California about 1979. Some of the bands were: the Avengers, the Nuns, the Mutants, the Dead Kennedys and Black Flag.

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Ff Minor Pentatonic-Background chords: Fils or Fi minor

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Most punk solos are based on pentatonic rock 'n' roll riffs. The A minor pentatonic scale (A, C, D, E, G) and the E minor pentatonic scale (E, G, A, B, D) are the most widely used.

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a Berkeley, California based punk/alternative rock band has sold over two copies of their debut disc, Dookie.

million

. Guitarist: Billie Joe Armstrong . Bassist: Mike Dirnt . Drummer: Tre, Cool

19

S{]L{] TEC Utl NIOUES Unison Bends To play a unison bend, place the lst finger of your left hand on the 2nd string, 10th fret note A. Then bend the 3rd string, l}th fret note G up till the string reaches the note A, one whole step above. The whole step is equal to the sound of moving two frets up or down on the guitar neck. In this example, bending the string up is the equivalent of moving two frets up. For an added effect, vibrato the bent A note held with your 3rd finger.

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Rock'N' Roll Solo With Half-Step Bends This rock 'n'ro11 solo uses a bend on the 3rd string and a drad (tu'o notes played at the same time) on the 1st and 2nd strin-es. To bend. place rour 3rd fin-ser on the 3rd string, Tth fret note D and push up about a quarter of an inch: the D becomes D7. Then bar r,our 1st fin-eer across the 5th fret, 1st string A and 5th fret. 2nd strin-s E. P1a5' these tu'o notes at the same time. Thts t1,pe of lick was popuiar in many of Chuck Berry's solos. Example 23

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l Z 3 4 5 6 7 DEF#GABC#D Root 4th

g

Example 24 8va----------

Q

r.*u

ple 25

March 2, 1944 Lou Reed is born in Free 21

Rock'N' Roll 4ths Example 26

Jumping 4ths

December 31, 1946 Patti Smith is born in Chica 22

PUNK ST't'LES Punk Surf Surf sounds have been used by Dick Dale, the Ventures, the Beach Boys and many others. This combines a punk hammer-on technique with the E phrygian major scale. The E Phrygian major scale is made up of the notes E, F, G#, A, B, C, D or Dfi and E. In measure 3, the high notes E (12th fret), F (13th fret), and G# (16th fret) each pull off to the lst string, open. In measure 5, a natural harmonic is played where the 24th fret would be located. Natural harmonics are played by lightly touching the strings directly over the frets across the bar.

riff

In this example, hold the F# on the 6th string, Znd fret with the lst finger of your left hand. Pick the 6th string and let your left hand2nd flnger hammer onto the G note, 6th string, 3rd fret.

0

'Example 27

Grr.

E Minor

l 1

Riff A

End Riff A

E Phrygian Major Gtr. 1: w/ Riff A, 2 times, simile

NVEV

Harm.

Gtr.

1

-I-r

o

23

Reggae rhythms are found in many punk songs'

The accent (>) represents

a chord or note played louder, or more staccato

(') than the surround-

palm is used to dampen the strings, ing notes. The note lengihs are often shortened and the right hand producing a chunkY sound effect.

Example 28 C

"C1

.F

llYv-vnvv

P.M.

+ (. ) = stacatto (play notes briefly with sharp pick attack)

Punk Reggae Variation Example 29

.!

\

P.M.

Punk Rock'n' Roll Example 30 A

1978

patti Smith,s hit single "BecaLtse The Night," went national.The songwas co-authored b)'Bt'ttc€ SJ)tt||'!i:"' 24

Punk Bass Line ThisexampleusesastandardI-IV-Vbluespattern(A=I,D=fVandE=\Dalongwithalg50s style bass line. Power chords are added in measure 9 to give this ending a strong feel.

Example 31 A

1979 Tlte Dead Kermedt's release their debut album. Fresh

Frtit and Roten

Yesetctbles.

fl-t2211

26

Mystical Cult punk Mystical, or cult punk sounds are often slou, and tribal. The music uses 5ths, octaves, phrygian and harmonic minor modes. The vocal parts are usuaily chanted an octave higher than your normal voice register' The vocal pitches are sometimes processed through an octave harmonizer for an eerie

effect.

Example 32 Slowly

1979

B

e c,ltarts.

COMPLETE SONGS

The Go-Gos

Pop Punk This example begins with a half-step power chord slide from Dfl5 to E5. The verse melody uses notes from the E major scale (E, F#, G#, A, B, Cfi, D#, E) followed by a relative Cfl minor chord sec-

tion descending to G#5, then ascending to ,A'5, 85 and back to E5. The bridge section uses a unique power pop punk staccato effect using an eighth note () albrnating with an eighth-note rest (7) in sequence.

$

r*u-ple

33

p{s ss

Fast (bass)

o#s ps

{

Copyright O 1995 Tapella

28

rfs

Bs

o#s ps

T",ro,

cfs es

,,

-VFV

-.-_\ '----

o

Dfl5 E5

D#s

Es

ofls

Ps

D#s

Es

Dfis Es

FrV

lfis I

ii'-i-

+

+

+

J

-

es

tils

a,s

To Coda

D*s Es

'

n#s

nfs ns

Bs

ofis

Bs

o#s

ps

oils

Bs

pfs

ns

ofs ss

o#s

$ coaon#s Bs

ofis

ss

o#s

ofs

ss

ofs

Bs

32

n#s Bs

Bs o#s Bs

o#s

Es

es

D#s

Es

ofs

Bs

ofs

Es

n$s

ss

D

Rock Punk This example begins with an introductory rock 'n' roll bass line in the key of G. The verse section that follows takes advantage of power chords and half-step slides (Fil to G = one half step). The verse uses a standard rock 'n' ro11blues progression (I, IV I, IV I, V ry I). Half steps precede each G, C,0 and D power chord. Next, the chorus section is signified by power chords played in quarter notes with a stop feel, followed by eighth notes. The entire introduction, verse and chorus is repeated. The second ending begins by modulating (changing keys) the tune to the key of A, up one whole step through the E5 power chord. The E5 power chord acts as a V(5) chord to the I(1) chord A. Raising the tune one whole step is cofirmon in hit commercial songs as well as in punk music. This flnal section repeats the rock 'n' roll bass line, moves into half-step power chords and ends with quarter notes in the chorus section.

The Dead Kennedys

33

Example 34 Fast G5

G

1--

iI

pfs cs

V N V E VN

r'#s cs

--

-J

iJ

-T

V

r'#s cs

-- -j/'a 1.-

Copyright

@ 1995 Tapella

iJ

r'#s cs

cils ps

c#s os

rils cs

C5 G5 C5 G5 C5

C5 G5 C5

C5 G5 C5

rils cs

G5

C5

Ir.

G5 C5

C5 G5 C5 G5C5I

D5

11

l.l

cfs

'-J

as

I'!EV

v

4411

EV

cfs as

cils es

\J

'J

c#s

Ds

c#s os

fr

ian

cils es

-C -j iO

c#s os

ci5

D,i

cfs

cils as

D5 A5 D5 A5 D5

l''l

As

cfls

A5

D5 A5 D5 A5 D5

l'l

A5

D5

D5 45

D5 45

D5

GUITAft N0IATt 0N LE t: Er\u

Guitar Music can be notated three different ways: on a musicar staff, in tabrature, and n

RHYTHM STASHES are written above the staff. Strum chords in the rhythm indicated, Use_the chord diagrams found at the top of the first page of the transcription l0r the appropriate chord voicings. Round noteheads indicate single notes.

,.r,r1- _i:_i-.-:

/ /-/

THE MUSICAL STAFF shows pitches and rhythms and is divided by bar lines into

measures. Pitches are named after the first seven letters of the alphabet. TABLATURE graphically represents the guitar fingerboard. Each horizontal line represents a a string, and each number represents a fret.

strings

4th string, 2nd fret

lst & 2nd open, played together

open D chord

DEFINI TIONS F{)ft SPECIAL GUIIAft N(]IAII{]II

HALF-STEP BEND: Strike the note and bend

up 1/2 step.

BEND AND RETEASE: Strike the note and bend up as indicated, then release back t0 the original note. Only the first note is

wHoLE-srEP BEND: strike the note bend up one

step

and

PRE-BEND: Bend the note as indicated.

then strike it.

struck.

VIBRAT0: The string is vibrated by rapidly bending and releasing the note wiih the fretting hand.

IEGATo SLIDE: Strike the first note and then slide the same fret-hand finger up or down to the second note. The seiond note is not struck.

WIDE VIBRATo: The pitch is varied to a greater degree by vibrating with the fretting hand.

SHIFT SIIDE: Same as legato sfide. except the second note ls struck.

GRACE NoTE BEND: strike the note

bend up as lndicated. rne tirst noie not take up any time.

and ooei

PBE.BEND AND RELEASE: Bend the note as indicated. Strike it and release the bend back to the original note.

HAMMEH-ON: Strike the first (tower) note with one finger, then sound the higher note (on the same string) wjth another-finger by fretting it without pjcking.

TBILL: Very rapjdly alternate between the notes indtcaled by cortrn:ousr1 harmenng on and pulling off.

sLtGHT (M|CR0T0NE) BEilD note and bend up 1/4 step.

UNIS0N BEND: Strike rhe ir,: ^:. simultaneously and bend th: to the pitch o{ the htgher.

:

PULL-oFF: Ptace both fingers

:-

:

to be soundBd. Stflke the fir.st -::= without picking, pull the finq::.the second (lower) note.

TAPPING: Hammer

(i

indicated with the pick middle finger and pull by the fret hand.

\lT,iRAL

.-: "i:"

' .'-- '':-"'.': j-:.-i:-.. ::-:-:s HARI'10NlC

PINCH HARMoNIC: The note ls fretted norma ly and a harmonic is produced by

:ra

:-. -. , :,: . ,.=- ". ":: -C Caigd

addlng the edge oJ the thumb or the tip ol the rndex iinger of the pick hand to the normal pick attack.

p HARP HARMONIC: The note is fretted normally PICK SCRAPE: The edge of the c('s pr0dt: and a harmonic is produced by gently resting the rubbed down (or up) the string a scratchy sound pick hand's index {inger directly above indicated rret (in parentheses) while the pick hand's thumb or pick assists by plucking the

-;

the

appropriate slring.

I"lUFFLED STRINGS: A percussive sound is by laying the Jret hand across the .'- - s \!ithout depressing, and striking

'-::-,ec

:-.-

I

TREMoL0 PICKING: The note is picked as rapidly and continuously as possible.

PALM MUIING: The note is partially muted by the pick hand lightly touching the string(s) just before the bridge.

RAKE: Drag the pick across the strings indicated with a single motion.

VIBRAT0 BAR DIVE AND RETURN: The pitch of the note or chord is dropped a specified number o{ steps (in rhythm) then returned to the original Pitch.

VIBRATO SAR SC00P: DePress the bar lust

.. :h the pick hand.

a

E ts_--

ARPEGGIATE: Play the notes of the chord

-r

cated by quickly r0lling them from

:3:tom t0 t0p.

before striking the note, then quickly reiease the bar.

VIBBATo BAR DIP: Strike the note and then immediately drop a specified number 0f steps, then release back to the original pitch.

-U2 -112

VVV

At]t] a ll

(accent)

.

(accent)

.

(staccato)

.

a

a ll

IT

IONAL MUS I CAL DEFI

N

-112

II I (]NS

Rhy. Fig.

Label used to recall a recurring accompaniment pattern (usually chordal).

Accentuate note with great intensity

Ritf

Label used to recall composed, melodic lines (usually single notes) which recur.

Play the note short

Fiil

Label used to identily a brief melodic figure which is to be inserted into the

Accentuate note (play it louder)

arrange ment.

. '

Downstroke

Rhy. Fill

UPstroke

tacet

Go back to the sign (

D.S. al Coda

ff

), then play until

the measure marked "Ia Coda," then skip to the section labelled "Coda." Go back to the beoinning of the song and play until the measure marked "F,r,e" (end),

D.S. al Fine

NOTE:

A chordal version o'f a Fiil.

tilD.

.

lnstrument is silent (droPs out),

.

Repeat measures between signs.

.

When a repeated section has different endings, play the iirst ending only the first time and the second ending only the second time.

Tablaiure numbers in parentheses mean: 1. The note is being sustained over a system (note in standard notation is tied), or 2. The note is sustiined, but a new articulation (such as a hammer-on, pull-off, slide or vibrato begins, or parentheses). 3" The note is a barely audible "ghost" note (note in standard notati0n is also in

39

AEOUT THE AUTH{)ft John Thpella' guitarist' transcriber and author, has transcribed over 20 note-for-note books for such artists as stevie Ray vaughan,Eric clapton, yngwie tvtut*rt""n, Rush, Bryan Adams, and many others' He has also authored many best-selling irrt*"tion;;;il;;tJ"'. -rri" guit*, metal guitar, as well as a creative series of how to play crassical masterpieces on electric guitar.

Look for these books at your local music store: Challenge the Masters

HL006601 44 Boolc/Cassette HL00660145 BookrCD More Challenge the Masters HL00699391 Book /Cassetre HL00699392 Book/CD The Sound and Feel of Blues Guitar HL00000092 Book/CD Guitar Styles of the British Invasion HL00695021 Book/CD The Punk Guitar Method HL00695035 Book/CD Classic Rock Guitar Styles HL00695042 Book/CD

40

Ie,l(E AN IilS II]E L{)Ol( A] 6UIIAft IN

Si{LE I]F SAIIt]S LIl(E Ii]T p,trU Ir.iE Rr,MllNES

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Ct)t./lM{]N Ci"ii)ftOs,

PROI]ffESSI0NS,

S(]Lt] SCp.LES Rii Rli{It]MS. {Ii1l4s, S()LO SCALES &

.

SEX PTSIOLS

TIIE OFFS PftINiJ. TIIIS Bt)()l( I

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TECIIIIIOIJES TECHNTCUES

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TAB * PUNlt SUftF. PUfiK REbrrp,E, P{JP *

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PUl'll(, Altt]

I,I{SiIIAL CULl

PlJNl(

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u.s. $17.95 ISBN 0-?135-51t5-X

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