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  • - --------------~~~--------------------------

    WHOLE LOTTA LOVE., ...., ...../bIIorI "",,,/JoIIIo ..... Ioaos/JoIIIo ....... 1969SUPERHYPE PUBLISHING

    WHOLE LOTIA LOVE

    GUITARThe guitar part consists mostly of the now legendarysimple riff that makes up the core of this song. The biglow Echord, with the octave and a 5th on top, plus theunison with the bass make it a very powerful riff when it'splayed with good rhythmic attack. When trying to get theguitar sound it's best to go for a more natural valvedistortion rather than over-kill with a fuzz box. Theeffects in the middle were created in the studio with atheremin, a sort of audio generator common at the time,but a little imagination, some electronic noise makinggadgetary and a tape recorder should provide a goodsubstitute.

    BASSAgain, basically a question of keeping the main riff going

    in unison with the guitar. Like a lot of blues influencedrock in the early seventies, the rhythm has a marked'swing' feel to it and this, just as much as the drivingattack, needs to be captured by both lead guitar andbass.

    DRUMSWhereas the main riff moves in 16th notes, the drumpattern moves in 8th notes with on-beat / off-beatpunctuation from the snare on the 2nd and last 8th notebeats of the bar. The fills tend to be made up of 16thnote beats in clusters of six but they must be made to rollin keeping with the swing feel to the beat. Overall, thedrumming involves some irregular, syncopated patterns,especially on the 3rd and 4th beats in the bar.

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    o (Gt.):The main riff. To get the right rhythmuse alternating up and down strokes anddampen the bottom open E string slightlywith the right hand palm.

    (Ba.): In the bass unison a fluent andsteady rhythm is called for with accentsfalling on the beat under the 5th chord in theguitar part.

    2

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    .(Gt.): Keep the alternating up and downstrokes going on the chorus.

    8(Dr.): This is the basic drum pattern for thesong. Try to achieve a good rapport betweenthe snare and the bass drum and watch yourtiming with the off-beats occurring in the 2ndand 3rd beats of the bar.

    0(Gt.): Siren like effect answering the vocalline. It's done by sliding a 4th chord at the9t1) fret down with a bottleneck.

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    '--a--'.(Ct.): This lead break is based on a bluesscale. The phrasing is very melodic, almostvocal in quality, so try not to lose this whenplaying it, particularly on the wailing staccatobits. You could try singing the lines as youplay them to get the phrasing bang on.Jimmy Page also seems to be using a roughedged plectrum to get that zrittv sound.

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    .(Ct.): A slight variation in the guitar. An Aisadded at the end of the bar to form a 5thchord with the D.

    48 (Dr.): The rhythm of this long fill is a bittricky,

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