rhcp sheet music

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76 J U N E 2 0 1 0 w w w . g u i t a r e d g e . c o m

4fr

34111

4fr

43 1

4fr

43 1

6fr

43 1

Few bands have been through as many twists and turns in their

career as the Red Hot Chili Peppers. Formed in Los Angeles in 1983,

the original lineup included vocalist Anthony Kiedis, bassist Michael

“Flea” Balzary, guitarist Hillel Slovak and drummer Jack Irons. Slovak

passed away due to a drug overdose in 1988 and Irons left shortly

after. Several guitarists passed through the group until they met

with John Frusciante and unanimously chose him to join the group.

Frusciante continued with the group through their breakthrough

album, Blood Sugar Sex Magik, and then parted ways after a tour

in the spring of 1992. Former Jane’s Addiction guitarist Dave

Navarro stepped in for the recording of One Hot Minute and their

appearance at the Woodstock ’94 festival. In early 1998, Flea visited

Frusciante and extended an invitation to rejoin the band. Frusciante

accepted and the group began work on a new album.

The second era of Frusciante reached a high point with the 2006

release of Stadium Arcadium, an ambitious double album that

featured some the group’s strongest material in years. The album’s

third single, “Snow (Hey Oh),” became the group’s 11th No. 1 hit. The

tune was featured in the movie Death Note as the main title theme.

At the 2007 Grammy awards, Stadium Arcadium ended up with five

awards, including Best Rock Album.

THE INTRO RIFF AND VERSE

The key of the song is G# Minor and begins with

Frusciante playing an arpeggiated figure that

goes through the progression of G# minor, E, B

and F#. The chord voicings are outlined in Fig. 1.

Make sure to practice this at a reasonably slow

tempo in order to get the rhythm of the hammer

on triplets as accurate as possible. The suggested

fingerings in the chord diagrams will allow you

to move smoothly from chord to chord. Kiedis

comes in with the vocals after the eight-measure

Intro. Continue to play the riff from the Intro over

the Verse and Chorus.

In the second Verse after the Chorus, Gtr. 2 plays

some simple triads that outline the progression

presented in the Intro. Chord diagrams for these

triads are provided in Fig. 2. This guitar part

is actually a Melotron arranged for a guitar. A

Melotron is a polyphonic keyboard instrument

that includes a bank of parallel linear magnetic

audiotapes. Each key had approximately eight

seconds of pre-recorded playback available.

Many groups such as U2, Rush and even

Radiohead have used a Melotron on recordings.

PRECHORUS AND CHORUS

During the Pre-Chorus Frusciante plays a

hybrid-picked passage made up of two

notes that are an interval of a tenth apart. As

indicated, you will want to play this with both

your pick and fingers. This technique is called

hybrid picking. Hold your pick normally and

use it to pluck all the notes on the 5th string.

Then use either your middle or ring finger to

pluck the notes on the 2nd string. Intervals that

extend pass the octave are named based on

the same method as standard intervals. In the

first measure of the Pre-Chorus, Frusciante plays

an E on the fifth string and a G# on the second

string. Normally, these notes would be a major

third apart, but since the G# is raised by an

octave it becomes a tenth away from the E. This

pattern continues in measures 3 and 4 of the

Pre-Chorus as he moves the notes up to G# and

B. When the Chorus comes around, Frusciante

switches to just using the pick in order to strum

the same progression from the Intro. The chord

diagrams for this section appear on the first

page of the transcription. These chords appear

again on the last page of the transcription in

“Snow (Hey Oh)”Red Hot Chili Peppers

RIFF NOTES

By Jason Shadrick

John Frusciante Photo by Frank White

Fig. 111fr

32 1

12fr

21 1

11fr

13 2

9fr

34 1

Fig. 2



w w w . g u i t a r e d g e . c o m J U N E 2 0 1 0 77

11 11 9 9 11

12 12 11 11 12

11 11 11 11 13

the Gtr. 1 and Gtr. 6 parts notated above the staff. The B and F# chords

are fairly standard voicings, but watch for the unusual fingering used

for the C#m(add9) chord. Here Frusciante plays a standard C#m voicing,

but adds a D# on the first string. In order to be able to reach the added

9th, use your middle and ring fingers on the fifth and fourth strings,

respectively, and use your pinky finger for the D#.

In the second Pre-Chorus on the fifth page of the transcription, Gtr.

3, Gtr. 4 and Gtr. 5 each play a series of sustained notes that form

a series of G# minor and F# major triads. This part is reminiscent of

Queen’s Brian May.

THE CODA

At the beginning of the Coda, Frusicante holds down the C#m(add9) chord

and turns towards his amp in order to produce the feedback that leads

into the Interlude. At the Chorus, Gtr. 7 plays a ringing arpeggio part that

is actually three guitars arranged for one. In Fig. 3 you can see how each

part lines up in order to create the composite part that is shown as Riff C.

Frusciante shows a bit more of his Brian May influence with the rakes

in the Outro. Both Gtr. 8 and Gtr.9 play a series of sustaining bent notes

that are preceded by a rake. A rake is when you drag your pick across

several muted strings before you pluck a string. This is used for effect

and to create a bigger sound on the target string.

DIAL TONEWhat He Used

John Frusicante is a huge fan of vintage

gear and his rig shows he isn’t afraid to

experiment with different sounds. His main

guitar is a 1962 Fender Stratocaster and

on the road he also brings a ’55 Strat and

a ’63 Telecaster. Marshall amps are usually

found blasting behind Frusciante. Usually

he prefers Silver Jubilee heads and both

slant- and straight-front Marshall cabinets.

Considering the amount of sounds covered

during a normal show, Frusciante’s pedal-

board is extensive and has been known to

include a Boss DS-2, Boss CE-1, DigiTech

Whammy, Electro-Harmonix English Muff’n

and a Moog MF-102 Ring Modulator.

How to Get the Sound

Frusciante doesn’t get too crazy with the

tones in “Snow (Hey Oh).” Grab a Strat or any

solidbody guitar with single coil pickups and

plug into an amp that has a strong clean

sound. Add your favorite overdrive pedal

and set it to just a bit of dirt. For some of the

sustaining sections, add some reverb and an

additional overdrive pedal for sustain.

• Get more Red Hot Chili Peppers tab at guitarinstructor.com

• Get Red Hot Chili Pepper’s Stadium Arcadium guitar tab book

at musicdispatch.com

• Download “Snow (Hey Oh)”from iTunes• Get cool Red Hot Chili Peppers gear at oldglory.com

• Visit Red Hot Chili Peppers online at redhotchilipeppers.com

Want more? Check out these cool links at guitaredge.com

Get Cool

Red Hot Chili

Peppers gear at

oldglory.com!

Fig. 3




Intro

Moderately fastq

= 100

Snow (Hey Oh)Words and Music by Anthony Kiedis, Flea, John Frusciante and Chad Smith

from Red Hot Chili Peppers - Stadium Arcadium

© 2006 MOEBETOBLAME MUSICAll Rights Reserved Used by Permission

Reprinted by Permission of Hal Leonard Corporation

Transcribed by David Stocker

Guitars: John Frusciante

Gtr. 1 (clean)

Riff A

*G m

let ring

E

let ring

7fr

1 3 4 2 1 1

B

9fr

1 3 3 3

F

9fr

1 2 3 1 1 4

C m( 9)

B

let ring

F

let ring

3 33

3

*Chord symbols reflect implied harmony.

66

46

4 6 46

4

76

46

4 6 46

4

76

46 7

4 6 46

49

86

86 8 6

86

G m

let ring

E

let ring

B

let ring

F

let ring

End Riff A

3 33 3

6

64

64 6 4

64

7

64

64 6 4

64

7 6

4

6

4 6 4

6

4

6 4

4

4

4 6 4

4

4

Come

Verse

Gtr. 1: w/ Riff A (2 times)

1.

G m

to de cide

- that the things

E

that I tried

were in

B

my life just to

F

get high on.

G m

When I sit

a lone- come

E

get a lit

tle- known, but

B

I need more

t han my sel f

F

- this time.

Step

G m

f rom t he r oad

to the sea

E

to the sky,

and I do

B

be lieve- that we

F

re ly- on...

G m

When I lay

it on, come

E

get to play

it on all

B

my life to sac

F

ri- fice.-

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Hey,

Chorus


G m

oh,

E

lis ten- what

F

I say,

G m

oh.

E

F

I got your

hey,

G m

oh,

E

now lis ten- what

F

I say,

G m

oh,

E

oh.

F

When

Verse

2.


G m

will I know

that I real

E

ly- can’t go

to the well

once more time to

F

de cide- on?

*Gtr. 2Rhy. Fig. 1

End Rhy. Fig. 1

*Melotron arr. for gtr.

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Gtr. 2: w/ Rhy. Fig. 1 (3 times)

G m

Whenit’s kil l

ing- me, when

E

will I real

ly- see all

that I need

to look

F

in side?-

Come

G m

to be lieve

- that I bet

E

ter- not leave

be

-

fore

I get my chance

F

to ride.

G m

When it’s kill

ing- me, what

E

do I real

ly- need, all

that I need

to look

F

in side?-

Hey,

ChorusGtr. 1: w/ Riff A (2 times)


G m

oh,

E

lis ten- what

F

I say,

G m

oh.

E

F

Comeback and

hey,

G m

oh,

E

look at what

F

I say,

G m

oh,

E

oh.

F

The

SNOW (HEY OH)



just 99¢!


issue of .












more

Pre-Chorus

I see

the less

I know,

the more

I like

to let

it

F

go.

G m

Gtr. 1Riff B

w/ pick & fingers

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

11

9

11

9

12

Hey,

oh,

whoa,

F

Harm.

11

12

11

12

11

12

11

12

11

12

11

12

11

12

11

12

11

12

11

12

11

12

11

11

11

14

129

12

9

11

9

9

whoa.

w/ pick

End Riff B

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

7

9

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Deep

Chorus2nd time, Gtrs. 3, 4 & 5 tacet

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er- of an oth

F

- er- per fect- won

der- where it’s

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SNOW (HEY OH)



just 99¢!


issue of .












so

C m( 9)

white

as snow.

B

End Rhy. Fig. 2

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F

so un de- cid

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C m( 9)

where

- to go.

B

I n be tw een- the cov

er- of an oth

F

- er- per fect- won

der- where i t’s(So...

so

C m( 9)

white

as snow.

B

C oT oda

Run ning- through the field

where all my tracks

F

will be con cealed

- and there’s

Gtr. 1

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SNOW (HEY OH)



just 99¢!


issue of .












Interlude

Gtr. 1: w/ Riff A


G m

E

F G m

E

F

When

Verse



3.

G m

to de scend

- to a mend

E

- for a friend

all the chan

nels- that have bro

F

ken- down?

G m

Now you bring

it up, I’m

E

gon na- ring

i t up

just

to hear you sing

F

it out.

Step

G m

from the road

to the sea

E

to the sky

and I

do

be lieve- what we

F

re ly- on.

G m

When I lay

it on, come

E

get to play

it on all

my life to sac

F

ri- fice.-

Hey,

Chorus



G m

oh,

E

lis ten- what

F

I say,

G m

oh.

E

F

I got your

Voc. Fig. 1

(Hey,

oh.)

End Voc. Fig. 1

hey,

G m

oh,

E

Bkgd. Voc.: w/ Voc. Fig. 1

lis ten- what

F

I say,

G m

oh.

E

F

The

more

Pre-Chorus

Gtr. 1: w/ Riff B

E

I see

the less

I know,

the more

I like

to let

it

F

go.

G m

*Gtrs. 3, 4 & 5

w/ dist.

8va

*Three gtrs., each playing single notes

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SNOW (HEY OH)



just 99¢!


issue of .












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Hey,

oh,

whoa,

F

whoa.

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Gtr. 1: w/ Rhy. Fig. 2 (last 2 meas.)

C m( 9)

where

- to go.

I said,

B

Gtr. 6 (dist.)

string noise

fdbk.

15ma

8v a

XX

X

(Oo.)

hey,

Interlude

*Voc. Fig. 2

*Applies to upstemmed part only.

Gtrs. 1 & 6: w/ Rhy. Fig. 2 (2 times)

B

hey,

yeah,

F

oh,

yeah.

C m( 9)

Tell

my

Lord now.

End Voc. Fig. 2

B

Hey,

Bkgd. Voc.: w/ Voc. Fig. 2

hey,

yeah,

F

oh,

yeah.

C m( 9)

Tell

my

Lord now.

B

Deep

Chorus

Gtrs. 1 & 6: w/ Rhy. Fig. 2 (4 times)

B

be neath- the cov

er- of an oth

F

- er- per fect- won

der- where it’s so

C m( 9)

white

as snow.

B

**Gtr. 7 (dist.)

w/ reverb

Riff C

let ring

let ring

End Riff C

let ring

**Three gtrs. (each playing single notes) arr. for one

1112

11

1112

11

911

11

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11

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SNOW (HEY OH)



just 99¢!


issue of .












*Gtrs. 1 & 6

Gtr. 7

let ring

F

let ring

1112

11

1112

11

911

11

911

11

Gtr. 8

rake

rake

X

X

10

1

X

X

12

1

Gtr. 9

rake

rake

*Composite arrangement. See top of first page of song for chord diagrams pertaining to rhythm slashes.

X

X

9

1

X

X

13

1

Free time

C m( 9)

fdbk.

Gtrs. 1, 6 & 7 tacet

µ

99

99

rake

string noise

X

X

12

1

1 1/2

1/2

XX

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X

X

11

11/2

1 1/2

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SNOW (HEY OH)



just 99¢!


issue of .












“Pinball Wizard”The Who

RIFF NOTES

By Jason Shadrick

Townshend playing a ‘67 Strat. Photo by Rich Evans/Trinifold Management

3 4 2 1 3 4 2 3 4 2 3 2 1 3 1

4fr

3

4fr

32

Fig. 1

Rock and opera are two genres that seemingly don’t have a lot in

common. Over the years there have been a few times where these

styles have crossed paths and one of the first was the 1969 Who

album , Tommy . Guitarist Pete Townshend wrote most of the music

and came up with the story of Tommy, a kid who has a traumatizing

incident and enters a quasi-catatonic state that leaves his parents

quite worried about him.

“Pinball Wizard” describes an encounter between Tommy and a local

pinball champion who is impressed with Tommy’s skills. Since the

release of the album, “Pinball Wizard” has become one of the most

popular tunes in The Who’s catalog.

THE INTRO

Gtr. 1 begins the tune with a Bm/F# and keeps the

F# as a pedal point through the first six measures.

A pedal point is a note that repeats while chords

change either above or below. The chord shapes

are given in Fig. 1. In measure eight, the accented

strumming pattern begins and Townshend uses

his thumb for the F# on the sixth string and in the

process he mutes the fifth string. This leads into

the key change from B minor to B major where

the accent is on every third strum (look for the

accent marks under the notes). The easiest way

to play this section is to keep a consistent down-

up-down-up motion for each beat, but strum

harder on the accented ones. Another subtle

thing that Townshend adds in this section is that

he lets the high notes ring out while he strums

the non-accented strums. The term sim. appears

in the second measure of the Gtr. 1 part on the

second page. This means to continue the accents

in a similar manner. Four measures before the first

Verse, Gtr. 2 comes in with sustained octaves and

some quintessential British overdrive.

THE VERSES

In the first Verse, Gtr. 1 continues the accented

strums but instead of staying on B, moves the

7fr

T 3 4 11

7fr

T 3 2 11

5fr

T 3 4 11

5fr

T 3 2 11

3fr

T 3 4 11

3fr

T 3 2 11

2fr

T 3 4 11

2fr

1 34

2fr

1 32

Fig. 2

rhcp sheet music

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