whole lotta love -...
TRANSCRIPT
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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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• (Ba.): In the bass unison a fluent andsteady rhythm is called for with accentsfalling on the beat under the 5th chord in theguitar part.
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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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.(Dr.): As you can hear on the record,congashave been dubbed on to the track. Tomake a little more out of this section it couldbe effective to' have a percussion player on it.
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48 (Dr.): The rhythm of this long fill is a bittricky, especially the rolls that I've transcribedas six notes to the beat, lrke double triplets,so listen closely to the record.
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• (De): Another fill with six note groups toeach beat ending on a triplet. Pay specialattention to the 3rd and 4th beats of the 2ndbar when playing it.
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DRUMSFor section reJ the drums, like the rest of the music, is quiet andsubdued while in section [ID everything lets go. This contrastingdynamic basically repeats itself continuously, like an A-B song form,throughout this number. Therefore the drumming should correspond.Like all extended songs with more complex forms, it's wise to thinkthem through in advance so that you are sure what's coming next andcan r~act properly.
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fingered picking is the technique used on the recorded version, ratherthan a plectrum, and the liquid sound it produces suits these jazzy lineswell. If you're not used to this way of playing take care to define thenotes well and vary the strength of attack so asto get the right tone andshape the melody, just as you would with a pick.
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WHAT IS AND WHAT SHOULD NEVER BE
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WHAT IS AND WHAT SHOl,JLD NEVER BEGUITARForthe guitar in the sections of the score marked reJ, [0 and [] a cleantone should be chosen for the .lightly strummed chords. All the otherpartsdemand an overdrive sound, though one generated by valve ampoverload fits better than a fuzz box. Then it's just a matter ofturning upthe volume on the other sections which are more dynamic. On thesolo part in section [0 Jimmy Page uses a bottleneck but a delay wouldbe quite effective as well.
BASSThe bass lines throughout the whole song have a melodic character. Inthe first section, section reJ, the bass line is based around a two barpattern which is then repeated over with variations.Thesevariations areprobably improvised so don't stick too closely to the score. Two
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O(Ct.): Bluesy two bar pattern around twochords,A13 and E9, and strummed with verygentle strokes.
e(Ba.): These two bars contain the basicidea of the bass line for this section. Aim fornice phrasing and clarity in the individualnotes.
15
.(Dr.): The drums must be played verylightly here. on the record both the bass andthe drums are very quiet, as are the guitarand the vocals.
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O(Gt,: Make sure that you mute all theunpfayedstrrngs With. your l!eft hand' fortnese2 note octave, 5th and 4th chord's.
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.tGt,)': Toget the righteffect from these littlechoked notes" aim more for a quarter tone,not qufte quite a G sharp, when you bendthe string.So that it wailsand then si-ghs backonto the bottom E.
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THE LEMON SONG'" - "-/~ ....../,. ......./RGIIorI "-'/...........<Cleop,rlghl 1969 by ARC MUSIC CORP. Now York. N.Y. U.s.A.
THE LEMON SONG
GUITARThe song structure can be divided into two basic parts: Aslow rhythm and blues pattern, with which the song isintroduced, based around a twelve bar type chordstructure and a strikingly up beat rock and roll section,also based around a twelve bar harmony, which is purelyinstrumental. Both parts feature the guitar stronglyalthough in different roles. In the down beat blues part,especially sections [II, [G] and [8], the guitar creates adialogue with the vocals, answering and prompting thevocals with trills, riffsand counter melodies, while the uptempo sections allow the guitar some racy, fluent soloingon repeated licks and phrases. Probably the the hardestpart to pull off is the obbligato playing with the singer.Both musicians must listen very hard to each other anddevelop a genuine responsiveness to each othersplaying.
EE E
BASSThe bass guitar gets quite a lot of freedom. Beingreleasedfrom playing set riffs for much of the song and given a lotof space by the absence of guitar chords during themiddle sections, a flowing bass line is allowed todevelop. Rather like a jazz 'walking bass,' the linesmanage to be melodic at the same time as tracing outthe chord changes and carrying the harmonicprogression. This part again calls for two fingered playingand some subtle phrasing to bring out these qualities.
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DRUMSThe abrupt tempo changes are often introduced by adrum fill, so it's important that the drummer knows thechanges perfectly. It's also down to the drums to set thepace at the tempo changes and really push the otherplayers through the up tempo parts. You'll need to get aquick, snappy action on the bass drum pedal to get someof the beats accurate in quick tempo sections.
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o.(Dr.): See (2). The guitar, bass and drumsplay in unison on this 5 note figure whichacts as an off beat intro for the latter twoinstruments..(Dr.): The basic drum pattern for tempo 1,the slow part. Take care to achieve somesmooth pedal work on the bass drum and hihat.
.(Sa.): Make this llttle mtro figure for thebass part come in with a bounce..(Sa.): Main riff doubling with the guitar.This isn't strict-tempo unison playing, so thebass part can indulge in a little expressive'rubato' playing.
22
O(Gt.): This is the main riff of the song. Playthe bottom line with a plectrum and theopen 2nd and 3rd strings with the middleand ring fingers. .
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_(Gt.): The last 3 notes of this bar are allplayed in unison with the bass and bassdrum. Coming in on the low G in the middleof the 3rd beat, each of the 3 notes falls onan off beat and so needs to be playedstrongly to make it bounce nicely.O(Ba.): See (6). Aim for a jerky staccato on
the 3 note unison at thp pnrl nf thp bar
.(Dr.): Don't forget to keep .the hi-hattapping out the eighth note beatsunderneath this drum fill.
24
o (Gt.):This recurring riff to take you back tothe verse contains another unison with thebass. The choked notes give it a more subtlefeel.GIl (Ba.): See (9). Unison with the guitar. Trynot to lose flow of the bass line.
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• (Dr.): Important fill to lead everyone intothe up tempo part.
• (Dr): This is quite a different drumpattern with a busier snare/bass drumrapport and a steadyeighth note beat on thecrash cymbal. Don't hesitate or hold back onthis part or the music will fall flat.
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• (Ct.): The guitar begins it's 'obbligato'with the vocals, at first tentatively, using abottleneck.
33
E7 A7AJiIi ~ .... ... II. ~ ...... • i.. ~ h.- II.. .. ~ ..---:.. k• ... ~ ....
,.., --I bring all my non - ey you take _ my eon- ey give it to an - oth- er rt'I!Ul__ I should have quit youba- - by
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Gt.-
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A7 87
AJili h. *" .. *". • ~.fL
~.., " ~ \ -,Oh_ such a long time a-go__ I would -n't be here with all my trou-bles
AJJ. III with Delay I
"
I ..,r-with Delay I
AJlII~' ~---( Bottleneck~
---n --..,---< Bottleneck >---+I
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~~ ~-..oil
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~ ==:t=I 1....::1 IiiiiiiiiIiiiI 1:::1 I:::I:dnffi~r1
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Be
Dr
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34
h•
Squeeze me bllby__
A7
C.D.
OIl oil Squeeze me baby__
C.D.C.D.C.D.C.D.
E7
v I"",J...... -Da.m on this kill-ing floor__
till the juice runs__ down my leg
E7
Gt.-I
A7
... .11 AI'
Vo,tJ
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tJGt.-I
tr~ :::!!... .11 II ...
tJGt.-I I
tr~ -'V'lf
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Be !='==I ~ FF I ~-r .~~ '"n .. 1== I!!!!!!!!!!!I I!!!!!!!I I
~-~-~~~~~-------------------------------------------------
• (Gt): With these stabbing 3 note fills theguitar opens out a kind of counter melody tothe singing. There's quite a lot of freemovement from all the instruments at thispoint, so everyone hasto be listening hard toeveryone else, otherwise it could get messy.
35
~~-_..~---------------------------------------------
Sa.
A7 E7
till the juice runs _ down my leg
p, p, p, p. P.-.~
87
The way you squeeze my lem - on
A7 E7 ffil E7,,,' II . *- ~
Va
"'"~ --.......:::I
lim gon- na fall right_ out of bed bed bed Yeah
A ~ II
Gt.·,iT
tr ~ chao chao C.D.
A~ II ~ ~ lW ~ ~ .Q.
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chao chao C.D.
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h ~n rn n n;nCh~rn nU rnn n9
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36
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chao chao
cho.cho,
E7
C.D.
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37
g.
chao
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67
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A7 E7
~ Bottleneck----.
E7
m
Hey
Gt.-' ~ Bottleneck----.
v
s.
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A» It .fI.. .fI.. .fI.. ./I- ./I. ./I. ./I. ./I- ./I. .fI.. ...../I- ./I-
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hey hey hey hey hey hey hey hey Ba -byba - by ba-
"JI <It -e---(Bottleneckt=l
, eJ---{Bottleneckr--.
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• (Ct.): As the guitar part develops itembraces the vocals more forcefully, goinginto a little call and response type sequence.This sort of stuff works best when it'simprovised as it's really about the rapportbetween the playersand it wouldn't be a badidea to take this part a little further. 38
-I
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tr ~
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39
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C.D.
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-by ba -by ba -by ba - by ba -by ba - by ba-by ba - by ba - by Hey. baby
All It
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Baby baby baby Oh Oh
A.II II
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I'm gon-na leave right here__ down on this_ kill-ing floor
r;--with Delay------.
I
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THANK YOU
o
v\
06(on8)
DRUMSThe drums simply hold down the basic rhythm witheighth note patterns and a few sixteenth note fills. Thebeat should be slightly on the lazy side without toomuch tension.
07(onC)
by ....., ...../hIIort PIomtto1969 SUPERHYPE PUBUSHIt<G
TMANKYOU
o
GUITARBoth of the guitars used on this track are twelve stringguitars, one of them electric. Apart from a short solo onthe twelve string acoustic guitar, most of the playinginvolves strumming chords, so the electric twelve stringshould be set up to give a clean sound.
BASSJohn Paul Jones double tracks an organ onto this songbut still uses a bass guitar to provide the bass lines. Thebass part moves about quite a lot but it remains in thebackground. The phrasingshould be smoothly executed,making full use of hammers, slurs and slides in thefingering.
Dr
88
Kb
Yo.
Gt.-I
Gt.-II
'-----.------'.(Ct.): Opening chord sequence. Pick theroot notes strongly as they are meant to ringout for the whole bar.
.(Dr.): Laid back fill on 8th and 16th notebeats.'
43
o D7(onC) D6(onB)
Gt.-II
oCo"II .. - j." l ~
I't! I' - - V I V ........ ~ ~ Of II .........I "" ~ .,- .,. p
If the sun re - fused __ to shine I would still be lev - in' you When moun- tains_ cnnn- bleAnd so to - day lIlY world__ it smiles_ Your hand in mine we walk the miles 'lhanks to you it
All
It! ....I ,,::-..
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cJ JI JI ~ ." ~~ ~I > II~
~tJ a......lo-:l ~ .... r r r I L.-I Ito the sea there'll_still be you and me
_will be done For you to me__ are the on - ly one Ail Yeah
JIll - I r.--=I ~ .Fr1•
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Kind_wan -en I give you rrt'f__all Kind_wan - an noth- ing rooreHap - pi-ness__ no I10re _ be sad Hap -pi -ness
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:
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88
e(Gt.): These are arpeggio chords, so all thenotes should be picked separately.
45
.D
D
b .. ~.c
; JlJI .n. rz:-: jJ f""". J rJ",n .n==i--Jj .r:::J,,-.I - c...J
.L....t::::::= -I '-'
Lit -t.Ie drops of rain__ whis - par of the pain__ tears of loves_lost in the days_ gone by.--
1IJ1J1 J I 1=,1 J n 1=1 1=1
I '-.I q~. • • i , , , , , I I --.
-'=Ii _~_,.
J J J J j j J -rJ r; }=:n ~f:r1
JlJI I I I I J =, =~ n r ~... I=r-
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> I:::I::Z:; '---" ~ oJ oJ~ -r:::= C3:J --==== lIL..-=1L..J::::1r:::::u1. l 11 .L .L ! J. !!! 1 ='==~ 1 .n 1 1 I 1 r-,::::q ~ ='""!
I ~ I f LJt U ~. I ~ I U iii i
Sa
Dr
Kb
Vo
Gt.·
Gt.-'
=-.lMy love is strong__
1-....1 ~ c....Jwith you there is no wrong 'Ib - geth -er we shall go un -til we die _
~~ ",~ ,~ ,~ 1"""'" " I I~ r19 J n J n J n ~ A=I=I ~-I"
-~- .....g.~ I
I
~.
o (Gt.): There are 2 guitars strumming inunison together on this bit. Toget the rhythmsounding right don't pay too much attentionto the score here, it's better to listen to therecord.
JI .. ~I I IKb
!'-.l j
q~ -tj-
~,.....-::i D. ~ g.
Sa I r-; =-.l~ g. - I ~ ~ 'I
n l=...J IoJ oJ
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46
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look s....
E A
D
-
in - spi -ra - tion
r-i - ~
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D6(onB)
1\ I
E
in -spi -ra -tion'swhat you ar",__ to 1llE! _
lID D
[Q] BmALI.
ALI.
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t! i J=:==;::;~Mn Iq"'-:J ~~~ w~ ~ ~ l-..;:l W i ~fRi =;=;=,=-==I h. ~ ~ ... . n'"
1iiiiiiiiIiiiii ................ 6:L-1iiiiIiiliiOI __
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t-tJ l:!!!" ""-II.
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lit! l~ '~'r-i 'rF; ~IIII " I " , " ..~ 'rR 'n9 'ri9 ~
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Ba
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Ba r-; FFFi.> t::::L..J
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Kb
.(Ct.): Meandering acoustic guitar solomoving in scale steps. It's advisable to playthis with alternate up and down pickingstrokes.
47
r
Gt.-I
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Gt.·11I tJ ..
-
-
I:::::::I..J I
- l!!!I _ • -I'- 4-. •• ~---... ~
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48
D.S.
o
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c
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nIAJS ~ .......
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I'III- qlad If the sun re - fused to shine__ I would still be lov-in' yOu
fI'I
All 1"\
I t! ~ .~i
All
~lnI
, t! ~ 'iI' .:J nI rrJ,J mJ1iDI" All .. -8-' r-1 to.. ....-- -I't! I !tE'" \ v r- 1:J=jWnI
~.
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I J.
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All - l
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T '"' '"' '"'(When) noun - tains crum - ble the sea there'll _ still be you__ and me
AJI ... r--.. ~ • ... A p• h.t! -fP
';!!' h.. P.-!" ... ';!!'~P': jl 1.....1 r. ~.,~~ .£: h.~ "i. - - ~ "
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~ ......... ......... -I' p. h. h.+p.
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c GlonB) D
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v
ill!
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ill! ~I ~ F1 .J"1}J j lJ. I-; Jii I fF.fl R J 11fllffl.m~ rR,
i'tJ qr I r I r I r I r r r v r . r I r I r I r I I" I I" I r I r~-
"" --;,;.....
II:
'"e(Ba.): Gently picked ringing 2 note 5thchord on D doubling with the guitar.
50
ut
o
o
51
(onB)
(onB)
C GA"
W-
i,,~
,ill
4I
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c
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:
Fade 0
r,
C G.J A u
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A ~ 4
liTI
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HEARTBREAKERlor JI-.y ..../11*'1 ...../JoIooI ..... JaMs/..............<0 1969SUPERHYPE PUBUSHING
4
HEARTBREAKER
GUITARBasically a medium tempo hard rock song with arepeated verse, keychange, extended guitar solo 'middleeight' and back to the verse. It's very much a guitarnumber, with the band being led into and out of thechanges by the guitar, plus it includes anunaccompanied solo in the middle.
BASSA straightforward bass line, keeping mostly to two barriffs. The pattern stays the same in the C minor keychange and the accompaniment to the middle section
AmA I'iiit'fQ.] Tempo-I
Gt.-l tJ
.---------'.----------,
guitar solo is also a riff, a variation on the main riff,doubling up with the dubbed on second guitar. Havingsaid that, the bass does have quite a powerful role in themusic, especially in section ~, where the two 5thchords stand out effectively.
DRUMSAs.the two tempos played in this number aredecided bythe\guitar, the drums simply have to ride on the guitarrhytnms, although it's up to the drums to drive the banda little in the up tempo part at section [E by layingdowna nice beat.
Gt.-l...~ ~- ..
Sa.
<:»cho,
"(....,
cho,<::cho, "'-1--------
.(Gt.): The guitar sets the pace for the songas it brings in the main riff, so it needs to bedecisively played and at the right tempo.
• (Ba.): Unison accompaniment to the maintheme. John Paul Jones seems to be usingsomething like a tremolo effect on the bassuitar and, like the guitarist, he is bending the
10 G in the middle of the riff.
52
48 (Dr.):The hi-hat part is awkward, falling onan off beat 16th note, and it's not easy tokeep good time. Like all difficult parts, it'sbetter to learn this aurally by listening to therecord, rather than puzzfing too much overthe score.
D
•
Am
AmD
8m
Am
Am
,,~J;J J.. • oJ .. .r.---.r..J ..~J'"':i=9 J .J:::nCJ. ; ",. J ~ n ..~.r::E.,~
fel- las,have you heard the news? You know that An- nie's back in town It won't take long, just_ watdl am an' theHey seebeen ten years am may ... be more__ Since I first set eyes_on you 'Ihe best years of rrrt life_gone by__ Here I
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I' l....:I -<...-J I ~ J.....f ~ <:r ......"
cho, cho, cho, PPR FfA-m! #fD~ .
L.......:= ~ ~ ~
O(Ba.): To emphasise the big sound of the5th chords you could add a li:tUe overdrivebut add plenty of treble so that it doesn't blurthe bottom notes too much.
0(Dr.): See (3). Slight variation with the hihat.
S3
Am o Am
n .1.---lJ.. ~,--J. t - ~.~:J..r-:1 .. &i!I"'l. • .J.. ;-:].. .J .. r:hr-• .I. 1. J~' 1"7"1 .,. 1\
leifel-las lay their men -ey
clown___Her style is new__ but the face is the same as it was so long a- go 8.lt
am a - lone- and blue- Bane pee - ple cry and Bane_pee- ple die By the wick -ed_ ways of lovs_ 8.lt
...
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\eJfran her eyes___ is a dif- ferent smile__like that__ of one __ who knows
I'll just keep on reI - lin' a - long With the grace of the Lord__ a- hove
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f\ I I
rio hi 0+ 0+ fi, :---: ~ ~0 + 0 + 0 + rrr;,rm . r-i--r1-flw w w w .l- .l- .j, .l- .l- * *I ..I t II ~ ~~ ~ ., ~ L..:! ~ ., ~
54
well it's
Am
11.00 AmAm
Bm
",lei
"ei ~
~I
'<:../
~
" .ei ~ ... "':JIo" :# "':JIo"
~I - -:h{. J,--,J
-, cho,2x ~o.
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, /....... ~ho.
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h\~J >
ffi;f#;~ pffi f#i~~ pffi Fffi rffi -Fffi1
I ~ W ~ I ~ w~ I ~ I ~ L....::I ., ~
55
12.[£]Cm
A' - r".. /""'. ,--.. - ,--..
.... -PlIO - ple talk - in' all a -round_ 'bout the way you left_me flat I don't car8_ what the peo- ple say__ I
A
tJI
~~
A I •cho •
eI ... "" .. ~ ~.I
t ...~u " "" " ""
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cho,
I "j ~ I "j '7 ~
Dr
Vo
Qt.-
Qt.-I
on my mind__ if you can clar - i -fy__ please do__
CmA
lei
know whare their jive is at
Om
is
~e thing I do have
.......~ ... ..It's the
A
Gt.-I ...
"---:'cho,
-~
_cho.
~
cho,
" rhn
.. .....~
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-....-cho,
chao
Be - ~- I
- ",-,,""
1 1 1 1 11.J 1 ,,1 1. 1 1 1 l 1Dr
~~ ~..,~ I -I ~ I -I j ~
_(Ct.): Main riff transposed into the new Cminor key. Although th~ension is naturallyheightened by the key change, the guitarshouldn't get in the way f the vocal entry.
O(Ba.): See(6). Keep in step with the guitar.The rhythm shouldn't sagor start racing.
56
[Q) Em
EEm
Em1\ ~.. . .. .... 41- ~ II- ~----"-A .,.,..- --.. .. r-•
Ie)
""y you call_ meby an - oth - er guy's name when I try to make love to you
1\
e) --:.-- -----• V ---0
\:::J ___
---"1\ - - I!"-....
1 So
e) .~ ."-P' iiiiiiiiiiil - -, cho, cho,- - - S.
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... ... • cho. 1
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I ~~ ~ =...J1 I I
>
.,== ~ i I:::::l:I i !:.J
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, tJ ~
-':"'.::7 - ~ - !=!==I=1\ '""- 1+, J.
tJ =~=:= =~~~~~ == 'J:k! '=~ =' '= ~ '=I ..-..... .. ... :;: :;:::;: :;:=~
TIT VI v v
.... .. ......... .....~
~
J _ Vv
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>
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\ == "I == '1 C:..J ="I='1="lCJ
Be
Dr
Be
Dr
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Vo
Gt.-
01.-
Gt.-.
Gt.-'
57
""'11II
E
"\eJ
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~
A l+ beJ
~ ," ,," ,~I
tl
~
I I ~
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Gt.-
Gt.-I
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I ~ I ...--~ I ~ I , I
I I 1 1 1 1 1 1 I 1. 1 1 1)~
I ~ I ~ I ~ ~ ~
Be
Dr
Vo
Gt.-
Gt.-I
G(Ct.): With this ord passage the guitarsets the tempo for this beat section. Trynot to throw everyone off ut on the otherhand it does need to go.
4D(Ba.): Risingbass riff following the melodicshape of the chords. This riff needs to beplayed very tightly.
58
D(onA)
59
A
A7
D(onA)
" .~eJ
JI
I I eJ ~.. :e- -& ~-& -&- ..I ~
JI
~
t
~.
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l) ~ LJ~
Be
Be
Dr
Dr
Yo
Yo
r
@] A7.I It
~ei
41)I IIt -') .-i- ...Jt~ ~l:
,Bva_v v",----""
ei .... ,.. ," ....,...'-8-.l '--8--J,
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t ...,- -r- '.:J -.J -.:J' "is' 'os-.J
It IGt.-ml
ei ~. ~ ;+",-, \..----v.. 7~rt
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lei
r--.~ •I IIt cho, ct~· ~. loI~~ ~ vr--~ ~ ~ c::c:::c::::l
ei ....., l".oooI - h.+p• .... h.+p. ....., clo, cho,
--- J>rp,
~ ~v v v v f-... v ~ v v.- f-...v -- n, p. - n.1-p. -
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ei ~. ~. ; ...,--",\.~,-- 1/-& )J! IGt.-ml C! V,) (~,,
'--'" '- '----'" -7"'='
.
.-..
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Gt.-'
• (Gt.):Theseclimbing triplets should reallymotor as they open the guitar solo.
• (Gt.):The choked A on the 2nd string hasto be bent 1Y2 tones up to the C above. Usethe ring finger and shore it up with anadjacent finger if necessary.
• (Ct.):Another 1Y2 tone bend, this time onthe 17th fret of the B string, an E, straight upto the C and then down half a tone to Fsharp.
60
GAcAG
61
AA7
A7
"~ei
" ,........ v V "".......-...
_ ---(8VB~
.'.l ~
I ei " OJ ~.
~:¥- ':iJ: ... ; .... r-h-r"
I""'""! I n n n a ..:....
....~ .,..cho. IGt.-rnl
1\ ............ ... :
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t , r' I , , '-- .... / V I I I"-'"cho .
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"lei
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lei
c4-, r-l-, r-f, 1""'" r+, r-"~ r+, r-..,I cho. C.D. c~o.
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"ei
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.
.
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II --- - ... .... .. • • • • - -. • • • • • • •eJ I V Y I '-')
I I I \ I XI ,. I / ~ yI IGt.-ml (J IGt.-ml
~ /'
l : :
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1 1 1 1 1 11 )
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01.-
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~eJ
r 8 VB- I I ~ I I ~II I ... ~ -
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n ~ c:::- ~ n -::::=:.t'~ .~ ~ .~ .~ .~ .~ .~
:
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V II .......,eJ
IGt.-mlI
l
1 1 1 1 1 * 1 1 J- 1I -, ~ W ~ \;i ~ W ~ W \;iU \;i
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Dr
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01.-
Qt.-I
62
D
D
AmD
[ffi AmA7
Am
• (Gt.): Unison for the whole band, endingon the A chord in one beat and thenstepping via the D-A chords back into themain riff and back to the original tempo.
.. Tempe-l ..~.... .. • r-... ....... • . ........lei
W:>rk so hard I couldoft Wl- win:! Get sane men -ey saved__ A -
.. .. .. .. .. .. ~g• -(8va~
eiI g•
.~ ,~ .~ .~
•.. #~ , , , , , , , I r- I~ ~,
n
ei •• p-.~ ~I r-:' ~n
l :
II '-.../ ~r8va;-.r>. g. ~ I r-:I
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...... n n • on n .n
F=~I.-.iiiI r I I.......:; I
Ftr n ~
'" '" '" * '" '"! n
~ w y ~ L.....:I ~ ~ ., ~
.. ................... .. .... .......----... .. • ... ~ ........ .. .. .. .. DYo.
~ei-buse my love a thou - sand times_ How - ev-er hard_I tried_ Heart - break- er your time _ has cane _ Can't take your e- vil ways __
..ei ! !
Ot.·1
l.. .a>b
ei ::it.·11 h
i :I,
I r--::I-------
I r-:l I ~ I r-=
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n .n ,.-..... n n .n n " .. " ,n
.: i~ ;.J I I ~ I
ri.I L....::l =~ I L....:l I
1 1 1 1 1 1 1'" '"
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63
.,
Am D Am D Am D Am D Am D Am D
I " .. ___ *' F'-,:: r'1*- ___~ ~ --........ -- --...
~eJGo a - way. Heart - break - er
"eJ
I
l" Jl, D. --:=hr-- s: ~ I -:=,-,..1"""'- s":
:
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I r""""'= ~VB>---+ U JC'>. .fL' .fl.' .fL,-....~ ,,-...,. .fL'
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Vo
Dr
Be
01.-
Gt.-'
Am
Heart - break - er Heart - break - er Heart
Gt.·'
64
DRUMSLike the bass line, the drum patterns vary with the songforrn, going from relatively on the beat drumming in theverse, following and punctuating the main riff, to a farlooser, more syncopated style involving triplet fills andlots of off beat snare and bass drum for the chorus.Getting smooth rhythm changes and synchronising thedrum part with the bass part, which it resemblesrhythmically, are the main points.
progression in the chorus under the guitar chords. Thebass is most effective in this number when it worksclosely with the drums to get a good, driving rhythm.
65
~...,'-~ ....<Cl1'l69 SUPERHYPE PUBUSHING
UVING LOVING MAID (She's Just AW..)
A
~
GUITARWith the exception of the solo in section [Q, the guitarused for this piece is a twelve string electric, veryprobably a Gibson double neck, although, naturally, asixstring would sound perfectly OK as well. Like theprevious song, this a straight ahead rocker with a simplealternating verse/chorus structure.
BASSThe bass line is fairly simple. Moving in eighth notes, ittends to double up the riff on the verse with the guitar,punctuating the long rat-tat-tat A notes on the off beats,and weaving lines through the A to 0 harmonic
LIVING LOVING MAID (SHE'SJUST A WOMAN)
A ... -II .. "'- I.. IoI_ .. _ .. _ .. _~~ IoI- .....
~eJ
With a pll" -pIe um - ber - el - la am a fif - ty cent hat
A'" -It II 2 Strings Gt.1
..I eJ =1 :t q+ ~ +1+ • q=i:_./~~~~~.. ~
I..~ ---.....-- - -
A'" -It 112 Strings Gt.1
eJ ~ q...:t ";J" •q=i:_ ./=j =j =.t ~ tt* :t
t~ - --.....- -
.,
.4J.! "I-- VI-
~ ~ - ~~ - -~ ! ! ! ! ! ! ! ! -!!!!1!lJ i r v r i i r •
/~ I ~ I ~ I ~ , v--'W II I ~
Dr
vo
A 0 Ashe's just a wan. an
G Alev - in'
A~~ II.... ~.. ... .. .. .. .. .. - .. ... "'. r--.... • ~r'~ ...11....
..., - -Mis - sus 0001 rides out _ in her agsd Ca-dil -lac
..... ~ - -eJ
~~ =i=~ I I :¥.:¥.:i. ~:#~~~~~~II -
oJ ~
oJ _
L....L.....J I I u
..... i
eJ~:t -::;.~ I ,
I
.... - oJ - I....I-J I I
,L,
"1
- - I ,
- - - -nI nI ll!ll!!!
U~ U ~ I W
G AIChorusl Liv -in'
Dr
Sa
Vo
Gt.-
at.-I
A G A G A A 0 ALiv - in' lov -in' she's just a wan - an
• ZI • d J ~ i~
A~ It
II'" =if. q+ ~ ... fI" • ~~'-- /~~:i: :i- ~ .. ~ q~ :t ~:6 I I
"----" ~ - ~ - ~ - ~ I I
Allo* 6.
.., I
I6.
B.
B.
~
6. -,
\
Ba
Dr
Gt.-
Gt.-I
66
A
E
67
• (Ba.): The bass shouldn't hold these notesbut, as the rests in the score indicate, leavenoticeable gapsbetween them, allowing thebass to deliver a funkier kind of rhythm alongwith the drums.
D
O(Ct.): For thes long chords the guitarshould be played WI wah-wah pedal.Stepon it and push it right down asthe chordis played and hold it there for the 2 bars.
~~ D ...-.. .... q~.II" ... .. .. ............ ,...---...,
Ie!cane en be - be en the round - a - bout riele en the mer - ry go - round
~~ rJ hn h h h rn - " -'"
1\
1 e!
~ii hii h h h I I:iIi \ :3 ..., ~ \ ' , , ,
I f) h I I I
l,with Wow Pedal-
~ ---......... --{with WoW~'1.11 It __ ... .....
e!
1
le. •
"I ~ t
'I -,....,r ....... r r If I I I I - I".""J r I
I >
m~! ! 1 nl 1 1 1 ! nlI ~ ~ II ~ II I II ~ I II ~ ~
...» ... .. c-.. .,.. .. ~~ .(L *~ -11- .. -II- it.. -II- ... -II- ... ~.A. -o.It) <,
We all know__ what your name__is so you bet-ter lay your J1'OIl -ey down
t
........ .., b,....
h .b h J J
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u -.................... " ~-'- ./" ~.
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G A G A A D
Aill+ @.Jl... .J *""J ..# .J .J .J qi ~ .. q~~Jl ..J. ..,..,
Al -i -IrO- ny al-i- mo-ny pay - in' your_ billsNo - bod - y hears_ a sin - gle word you say
JI~ 4t,
-I .., ~~ ~ ~~I I ~ ~ ~ ~ :¥~~~~:I:~~
I
tI....I...J I I
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n 1 n 1 1 ! ! ! ! ! l ! ! ~ ! ! ! ! l ! ! ! ! ! ! ! ! !r.
w~ L...J \I I l...J I ~ I , W , W ~
Ba
o
Vo
Gt.
Gt.-
.(Dr.): Developing a nice crescendo isimportant here to bring the music back to theverse rhythm.
68
o
A
69
o E
o Ashe's just a wan - an
G A
G Alev - in'
G A
G ALiv -in'
Liv - in' lev -in' she's just a \OR - an
~l ~ I.. 'RJ:'1 1 ..I. ~"] ..tL1 ...I.~I,ult h'" ~ ..... ~........ a.. I.. t
~--' -When your con - science hits_you knock it back with pillsBut you keep on talk - in' till your dy - in' day
A»..
1--' q~ :Z ::j:~ I I ~:li:t77~~=-' ~ ~~~~~~I
I J J J l....l.....I I I J
...»1+ 4
--' ~::j: :t :;~ I I - II 4
J J J J l...l...J I I
"4
I- - -I 4
-nI nl rrrr i i i : ! ! ! ! ! ! ! it!!!!!!
W~ W Ii I L..J W Ii W V 0 Ii L-I ~
A» It "'.. q. -& .. q~ :t: .... • ..~ .. • ...\tl - - Cane on ba - be on the round a - bout
,J hn t h h J...» .. I
I I tl ~~ :;t.:t I I •_ri hri h h h 1 I I
J J J J L....l....J I I - hn h b h J... .11 oil Ll J
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w~ I ~ I W I - ~. ~ -V --, ~ ~ ~
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A~~ ~~ ... ". ... ... ... ~ ... ... ~ ... ~$: ~ ... ~-1*-
.eI -ride on the mer -ry - 90- round we all know what your name is so you
r1 hn h h j)A~~...., ~ I"'"'" t\ ~ 1\ .........
eI ::iIi \ :i -1 ;;j \ \ I I " }..., hi1I I) h h h I I
~ - b ,... b h bA~ It I""- ~~ ~ 1\ r-- ,
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l~ - .-.0"1
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I ~ ~ ~ t ~ I ~ ~ ~ t ~ t VDr
Sa.
Yo.
Qt.-
Qt.-I
E
A~~ ~ ... ~ ... ~ ... ~ ~~ ..... ... «<:
\eIbet -tar lay yoor mon-ey down Tell- in' tall tales of how_,
A~~ l""- t-- 'I
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to.
I I ! ! ! '" 1 J. ! !
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Dr
Vo
Gt.-
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70
G AG ALiv - in' lov -in'
71
she's just a wan - an
A
A 0 A
.. Jl. It q$ .. $ • $ .. I. ........ ~~~ .. 10 .. ~~ "-'..:i:'_
\tJWith the but - ler and the maid __ and , the ser - vants_ three'__
.. Jl. It
I I tJ I I
6
~ I I
.. Jl. ... B
lei I , II 6
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I'1'-- .. .. - ..,--,
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, w L...J ~ W ~ LJ~ U Ii""'
J .. .II It ~ .. ......-... 10& ~$- ... ..I'ei ~ -it used to be
...II It
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I'oJ ..
'-----".. .. -
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N'~ .. - ~ .. .. .fI-
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t -- ~ 'f!; C
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Dr
Gt.·
Gt.·'
O(Ct.): The guitar break. As this is basicallythe chorus underneath, the 2nd backingguitar just continues to play the A and Dchords.
72
0(Gt.): These two bars have an echo on thelong held D. A delay should give a similareffect.
Eo
e(Gt.): Mute the B string with the left handwhere it's marked with an 'X'.
...... l+
~eJCb you got
b t......1+ J J J
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v
~;:'ha. v vchao p, ~8V8~ ~ -
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Dr
Dr
Be
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Qt.-
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RAMBLE ON..,....,,./.........iC)1969 SUPERHYPE PUBlISHING
RAMBLE ON
GUITARThere are a mixture of acoustic and electric guitarslayered over one another on this track and it wasn'tpractical to include them all, soonly the main guitar partsare on the score. The acoustic guitar part is mostlystrummed chords with a lot of open strings in the lefthand which doesn't make for any real difficulty in the lefthand although the strumming needs a light, folky touch.
BASSAlthough the song itself is quite slow, the bass partmoves around quite a lot in 16th note figures. Delicateoff beat punctuation on octaves and a descending lineform the main bass part for the verses while the mood
changes on the [0, III, and [J] sections give the bass achance to deliver some power to the music with sometight, dancy lines.
DRUMSJohn Bonham hits something on the verse sections butwhether it's a percussion instrument or something like asuitcase is impossible to tell. Whatever, go round thehou~e and try out the furniture till you get the rightsound. The blustery chorus like partswant a nice, bouncyrhythm working together with the bass. The drummingon part [Q has to get a good balance between the hi-hatand the bass drum to punch out the 16th note off beatsclearly.
Hntra.1 E A E A E
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.(Ct.): The main chord sequence. As thevoicings of the guitar chords contain a lot ofopen strings, making it hard to follow theprogression, I've put in some chord symbolsto give people an idea what it is.
.(Dr.): You could also try tapping the bodyof an acoustic guitar with your hands toreproduce this bit.
76
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time I was on my_way__ Thanks to you, I'm much o - bligedhas cane to be gone__ Tho' our health _ we drank a thou - sand times
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For such a pleas-ant.- stay__ AId row it's time for ... to go '!be au- tunn m:>an __ light--my ....y_It's time to Ram- ble Q1___
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e(Ba.): If you're picking the bass with fingers,asJohn PaulJonesdoes, you will need to getyour fingers working hard to bring out all thenotes and deliver them with power, above allin the second bar of the example with it'sunbroken string of16th notes.• (Dr.I: The hi-hat is left half open here and79
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.(Ct.): Mute the strings with the left handand wack them.
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o.(Ct.): These little electric guitar lines standout in the arrangement quite strongly. Thesound should be clean, perhaps enhancedwith a chorus, and played with vibrato.
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Ram -ble On_ Now the time,_ the time_ is T'tC"M__ sing my song_ rtm goin ' 'round the world_I qot-ta filXi my girl
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82
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share Sing ~ soo9- I'm gon- na fim ~ be - by I'm qon- na Ram - ble On__ Sil'll] ~ SOO9_Goo - na
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88
MOBY··.DICI(
• (Dr): The drums should support theunison playing of the guitar and the bass sothat the whole band just sings out togetheron this riff. Try and get the snare and bassdrum really tight with a nice regular ting-tlngting on the cowbell.
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DRUMSApart from some support to the main riff, including theuse of a cowbell in place of the hi-hat, Moby Dick isreally about the extended drum solo that takes most ofthe track. There wasn't the space to include it in thescore, so listen to the record if you want to learn it. It hasa vel)' definite form which makes it fairly straight forwardto pick up. But, then again, drummers are usually best atplaying their own drum solos, so improvise one.
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going, playing solidly in constant unison with the guitarand injecting a little swing into the rhythm.
c.t:owbellJ
89
e(Ba.): The main riff of the piece. It soundsbest when it's played smoothly.
L--------e--------'
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O(Ct.): E string down to D. Make sure it'stuned properly as the bottom string soundsreally awful if it's slightly out on a 0 tuning.
BASSThe bass just needs to keep the main twelve bar riff
Dm
GUITARThe bottom Estring is tuned down a tone to D, probablyto get a low bassy sounding riff. There are four short onebar solo breaks in this number which shouldn't presentany problems technically but they musn't be allowed tolose the beat or the re-entries of the rest of the band willbe spoilt.
MOBYDICK
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<C>~ 19601 and 1965 by ARCMUSIC CORP. and HOOCHIE COOCHIE MUSIC
BRING IT ON HOME
under the vocals. A mellow but rich tone sounds best,especially if your finger picking it.
DRUMSThe drums work very closely with the bass guitar and, likethe bass, they also only play on the middle part. Thedru~ming has to be really strong to give the spark to thespikt, rhythm. Much of the snare work falls on awkward16th note off beats while the bass drum fuses with theequally syncopated bass line. Above all hitall the beatssharply to avoid the drums from sagging or gettingmuddy. You could try hosing them down but then you'dget muddy waters and not led Zeppelin.
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GUITARAnother song going from a down beat, restrained bluessection to starkly contrasting up beat rock and roll. This isreally rather juvenile. The guitar part just involves riffplaying all the way through, starting with a simple, verycommon blues riff on a twelve bar progression. In the upbeat part, section [BJ in the score, the main riff is layeredwith two or three overdubbed guitars playing unisons in3rds and octaves. .
BASSThe bass only plays on the up tempo middle section. Itdoubles up with the guitar on the main riff and thenreally dancesabout through the E-A-E harmony, stabbingat the off beats in perfect sync with the bass drum
8(Gt.): Turn the tone right off, mute the bassstrings with the right hand and get a niceshuffling rhythm going.
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O(Ba.): Bass doubling up on the main riff.Timing is important here.
41) (Dr.): This drumming is quite irregular. Asever,getting the bass drum and snaresolidlytogether is a must and try not to stumblewhen returning to the 1st beat of the bar.
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.(Dr.): See how close the bass drum worksin with the bass, doubling up on the bass lineoften note for note.
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e(Gt.): Play this typical blues ending'ritardando', i.e. slowing down, and bring outthe nice high Epedal.
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