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Greatest guitar solos of all time


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Greatest guitar solos of all time

  1. 1. THE RECORDING Wolf Marshall: guitars, Michael Della Gala: bass Mike Sandberg: drums, percussion John Nau: keyboards Gary Ferguson: additional drums The titles in this book include: "Hound Dog"-Elvis Presley (with Scotty Moore) "No Particular Place to Go"-Chuck Berry "The Sunshine of Your Love"-Cream "l.ley Joe"-Jimi Hendrix "While My Guitar Gently Weeps"-The Beatles (with Eric Clapton) "The End"-The Beatles "Babe Im Gonna Leave You"-Led Zeppelin "You.Shook Me"-Led Zeppelin "Evil Ways"-Santana "l;s1 fllsp"-Black Sabbath "All Right NoW-Free "Bohemian Rhapsody"-Queen Walk this Way"-Aerosmith "Sultans of Swing"-Dire Straits "You Really Got Me"-Van Halen "Crazy Train"-Ozzy Osbourne (with Randy Rhoads) "Crossfire"-Stevie Ray Vaughan "Sweet Child OMine"-Guns NRoses d
  2. 2. HOUND DOGWords and Music by Jerry Leiber and Mike StollerFigurel -GuitarSolo Scotty Moore is universally acknowledged as the worlds first rockn guitarist-a strong statement, perhaps...but consider this: His lead playingrollon Elvis Presley records in the 1950s set in motion, and brought to masspublic attention, the art of rock guitar. Moore was the first rock guitarinnovator. His style was truly eclectic and pioneering. Working without apreconceived blueprint, he freely combined elements from disparate influences such as country (Merle Travis and Chet Atkins), blues (B.B. King and T-Bone Walker), and jazz (Barney Kesselland Johnny Smith)to form the basis ol his influential guitar approach. Before Scotty, rock n roll guitar was an obscure and regional medium at best. With Scotty, rockn roll guitar was codilied and at the center of a revolution in popular music. Scotty blazed the trail for much of what followed, and inspired subsequent generations of rockers including the Beatles, the Stones, Jimmy Page, and counlless others. His solos from the Sun Sessions and the early RCA years are deemed by most historians and legions of players to be the first of their kind-marking the beginnings of a vital new artform which still shows no signs of abating some 45 years later. Scotty Moores guitar solo on "Hound Dog," a raucous #1 hit single for, the King in August, 1956, is one of his all-time best. The brief but memorable outing has many classic Moore signatures including swing-based, horn-like lines, rockabilly-llavored double-stop bends, and gritty blues-oriented string bending. lts played over one chorus of a 12-bar blues in C. Scales used: C minor pentatonic (C-Eb-F-G-Ab); C major pentatonic (C-D-E-G-A); C Btues Scate (C-Eb-f-fil-O-Ab). Significant added tones: Dfi (measure 5);A (measures 6-1i); B (measure 7). Solo signatures: Mixture of single-note and dyad textures; double-stop bends; blues; country and swing phrasing within a rockn roll context. Performance notes: The single-note portions exploit a wider range of the guitar than had been previously found in most early rock n roll single-note solos. These occur in the third, fifth, and eighth positions. Though Scotty Moore generally played with a thumbpick and three fingers, this sleek single-note solo sounds like he might be using only the thumbpick or a flatpick. Sound: Gibson L-5 archtop hollowbody electric guitar with P-90 pickups and Gretsch heavy-gauge strings; small, slightly overdriven combo tube amps: Fender "TV-front" tweed Bassman or custom- made Echo-Sonic amp built by Ray Butts.
  3. 3. 0 Featured Guitar: (right Channel of audio) 1 meas. o Gtr. 1-13 Slow Demos: Gtr.l meas. 1-3; 4-5; 6-9; 10-1 1:12-13Fig. 1 Guitar Solo 10501 t.lrl Moderately Fast shuffle ) = 174 t "-] l a minor L pen(atontc C major pentatonic Gtr. 1 C major pentatonic C blues scale U4 @ @ C minor pentatonic C major pentatonic Copyright @ 1956 by Elvis Presley Music, lnc. and Lion Publishing Co., lnc. Copyright Renewed, Assigned to Gladys Music (Administered by Williamson Music) and MCA Music Publishing, A Division of Universal Studios, lnc. lnternational Copyright Secured All Rights Reserved
  4. 4. NO PARTICULAR PLACE TO GO Words and Music by Chuck Berry Figure 1 - Outro Guitar Solo Chuck Berry is a true American icon and one of the most important founding fathers of rock guitar. Anyone picking up the instrument post-1955 has been affected by him, directly or indirectly, and that includes the Beatles, the Stones, Eric Clapton, Jimi Hendrix, Jimmy Page, Angus Young, Eddie Van Halen, Stevie Ray Vaughan, or the latest kid on the block. Chucks own influences include blues guitarists Muddy Waters, T-Bone Walker, and Elmore James; R&B players Carl Hogan and Lonnie Johnson; jazz guitarists Charlie Christian and Django Reinhardt; and more esoteric musicians like saxophonist lllinois Jacquet. He once stated that he did not recognize any style of his own, though most historians regard his guitar style to be one of the single most significant factors in the development of rock music. "No Particular Place to Go" is a case in point. This song was one of Chucks biggest hits (#10 in 1964) and remains an immodal piece of the rock guitar legacy-containing a must-know guitar solo in the outro. The outro solo takes place over two choruses of a 12-bar blues in G, and exploits the trademark rhythm-lead approach which exemplifies the Chuck Berry solo, style. Scales used: G Mixolydian mode (G-A-B-C-D-E-F); G Blues Scale (c-Bb-c-Db-o-q. Significant added tones: Eb-used as a passing tone in the blues cadence of the last two measures. Solo signatures: Shuffle-based blues feel; slurred triads and bent double stops; scales and modes freely combined, harmonized in parallel double stops, and played rhythmically. Performance notes: The solo is almost entirely chordal, alternating between triad and dyad textures. Chuck plays many of these chordal sounds as thematic riffs. He introduces an idea and then develops it by repetition in the following measures-as in measures 4-5, 6-9, 13-15, or 1B-19. During more aggressive dyad riffs, Berry strums the figures and mutes out extraneous unwanted notes with the frethand. The solo is situated in the "barre-chord" boxes (minor pentatonic pattern 1) in G at the filteenth and third positions. Sound: Gibson ES-355 or ES-345 with two humbucking pickups and vibrola tailpiece; slightly overdriven Fender combo tube amps and Fender Dual Showman piggyback amps.
  5. 5. Fig. 1 E _i_ Outro Guitar Solo Moderate Rock J = 132 (J-] =J .[) ctr. 2: w/ Riy. Fig. l G G Mixolydian mode G Mixolydian mode G blues scale Rhy. Fig. l CtI.2 Copyright @ 1964, 1965 (Renewed), 1973 by Arc Music Corporarion (BMl) lnternational Copyright Secured All Rights Reserved Used by Permission
  6. 6. G blues scale G blues scale G blues scale AAAAA G blues scale G Mixoiydian mode C G ,,AAAAAAAlr E G Mixolvdian mode10
  7. 7. G Mixolydian mode G blues scale G blues scale G blues scale G Mixolydian mode l-J Jl 1/4 1t4 1/4 t/4 1/4 U4Gtr. 1 G @ Ab7 G724 11
  8. 8. SUNSHINE OF YOURLOVEWords and Music by Jack Bruce, Pete Brown, and Eric ClaptonFigurel-GuitarSolo Eric Clapton was rocks first guitar virtuoso. With Cream, rocks firstpower trio, Clapton sel the tone and attitude for electric guitar soloing in thesixties and beyond. His fusion of Chicago and Texas blues with British hardrock marked a new direction in modern music and remains the standard bywhich most rock solos are judged. Erics groundbreaking efforts with Creamlaid the foundation for the incipient genres of hard rock and metal, as in theJimi Hendrix Experience, Led Zeppelin, Black Sabbath, and other bands toonumerous to name. His influence was enormous and pervasive. Hendrixrefused to emigrate to England until he was promised he would meet Clapton,and even futuristic jazz guilarist Allan Holdsworth cites Eric as a seminalinfluence, as do contemporary virtuosi Eddie Van Halen and Eric Johnson. "Sunshine of Your Love" was unarguably Creams biggest hit-#S in1968. Recorded in 1967, the song contains Claptons most well-known solo ofthe era-which is saying a lot. Played over an expanded, twenty-four-measure "altered blues progression" in D, the signature rock solo featuresmany of his most unmistakable traits. Claptons main influences as an electricguitar soloist included the Kings (B.8., Albert, and Freddie), Otis Rush, andBuddy Guy. Many of these influences are heard, often in mutated form, duringthe course of the "Sunshine of Your Love" solo. Scales used: D minor pentatonic (D-F-G-A-C); D major pentatonic (D-E-Ff-A-B). Significant added tones: B (measure Z); Gil (measures 6 and B). Solo signatures: Major and minor scale combining; wide string bending and vibrato; use of amp sustain and overdrive distortion to create a vocal sound. Pedormance notes: This classic solo is a virtual textbook of Clapton guitar moves. The blues-based wide string bends and vibrato (as in the major third bends of measure 10) require considerable hand strength and are best performed with reinforced lingering (more than one finger pushing the string)-a very visible Clapton technique. The pre-bends and held bends in measures 4 and 5, as well as the double- stop bends in measures 6 and 8, similarly benefit from reinforced fingering. The solo is situated in blues-box positions in D at the seventh, tenth, and twelfth frets (patterns 5, 1 , and 2). Sound: Gibson SG/Les Paul Standard with two humbucking pickups; overdriven 1O0-watt Marshall stacks with 4x12 cabinets.12
  9. 9. G rrrm o Featured Guitars: 1 meas. 1-2 Gtr. Gtr.2 meas. 2-26 Gtr.2 meas. 27-30Fig. [E 1 ffi Guitar Solo E:011 0 Slow Demos: Glr.2 meas. 2-9; 10-15; 16-21; 22-27 ModerateRockJ =112 A D CDN.C. l- IiAAAAAAAt <> f j full lu11 +Key signature denotes D Dorian. CDN.C DCDN.C. [w M Copyright O 1968, 1973 by Dratleaf Ltd. Copyright Renewed All Rights Administered by Unichappell Music lnc. lnternational Copyright Secured All Rights Reserved 13
  10. 10. W lJl grad. bend lt2 1/2 3/4 l1t4 W full t G FGN.CI f- x> lAA,t<YWWI{f l^ !f AA^^f l.- t{tmtlnlnmml lryl|/l AAAA,| full DCDN.C i/l^/to t/t A/} Lj--l 1 ll2 full IryIAAAAAAAAAAAA/}14
  11. 11. GDF o @o 10fr 10fr 8fr @ D 1Ofr t^ -h-l crr.r/ )1 t )t ) ) t / I /x/ 11 I X v Gtt.2 tAA/y) >7 tm,rmnr 3 t )-ati/yt{/w Ittrylttm,* TAAAAAAAI A A ii C G I - ll t I v |-.= 7 f / / I / I X/ I X )) X N>21^ i:, 7n !, .lr ,a,^: ,r> /,, tvyrf L + + tt= F F Ft: ,z tr D @ n ffi 1Oft I lX/X 11 llv |-l )) ) )) ) ) r- ) ) t-] a-/a -= - (cont. in notation) .i /w >//--- ^/t ?> Gtr.2 D D N.C. DCDN.C27 15
  12. 12. HEY JOEWords and Music by Billy RobertsFigurel-GuitarSolo Jimi Hendrix is rocks ultimate guitar hero. He effectively moved rockguitar from the electrified blues genre of the sixties into uncharted regions olthe 21st century-and we still havent caught up with him! An intenselycreative and multi-faceted player, Jimi was brought up on blues and R&B-favorites included HowlinWolf, Muddy Waters, B.B. and Albert King, ElmoreJames, and Buddy Guy as well as Curtis Mayfield and James Brown. Hecombined and transformed a wide array of influences as both a musician andcomposer to produce a powerful legacy of sounds and techniques notequalled or surpassed to the present day. "Hey Joe" was Jimis first hit and interestingly was not his originalcomposition. ln facl, the Billy Roberts tune received multiple covers in themid-sixties (even one by Cher) before Hendrix touched it. However, once Jimimade it his debut single in 1967, he owned it. From then on, his was thedefinitive version. The song became a vehicle for Jimis patented lead-rhythmcomping approach and the perfect setting for one of his famous guitar solos. ln contrast to most of the extended, psychedelic rave-upimprovisations of his career, this signature eight-measure Hendrix solo isbrief, economical, and highly accessible. lt occurs over two cycles of thetunes C-G-D-A-E verse changes, and culminates in a walking ensembleline with the bass for a funky R&B finish. Scales used: E minor pentatonic (E-G-A-B-D). Significant added tones: Cf and Ffi (measure 8). Solo signatures: Blues melody, feel, and phrasing despite non-blues musical environment; string bending and vibrato; double stops (measure 6); intervaljumps of a sixth and a fourth in the minor pentatonic scale (measure 6). Performance notes: Jimis solo is primarily situated in the twelfth position E blues box. Reinforced fingering is used for the string bends and henceforth-due in great part to Hendrixs influence- became a norm in rock guitar solos. The double stops in measure 6 indicate the presence of Jimis chord-melody conception in largely single-note solos. Sound: Fender Stratocaster; slightly overdriven 1OO-watt Marshall stacks.16
  13. 13. 0 Featured Guitars: Gtr.2 meas. 1-9 Gtr.1 meas. 10 -13Fig. 1 Moderately Slow Rock J = 88 o Slow Demos: Gtr.2 meas. 2-5; 6-9Gtt.2 *E *Audio fades in 3 meas. before Fig. 1 G(add9) D tA ryyt/t/t/w lA {AA/} ri h. ^A tzC ; * , Jl tlt*tlt full tft AA AAt Ttuml *T=Thumbon @ E N.C. iAAAAAII .tyt/w<I A/yt/yt/t/yytt @ 1962 (Renewed) by THIRD STORY MUS|C, tNC. All Rights Reserved lnternational Copyright Secured 17
  14. 14. T-31 ;31 ;3118
  15. 15. WHILE MY GUITARGENTLY WEEPSWords and Music by George HarrisonFigurel -GuitarSolo This classic cut from the Beatles White Album of 1968 isdislinguished by one of the most notable guest spots in rock history. Atcomposer George Harrisons insistence, British blues-rock virtuoso Ericclapton sat in with the worlds biggest and most important band, a first, on thelandmark track "while My Guitar Gently weeps." Eric had done a number ofsessions prior to the date (Aretha Franklin, otis spann, champion JackDupree, Jackie Lomax, Martha Velez), but this proved to be a career highpoint. The momentous solo was recorded during a Beafle session onSeptember 6, 1968, at Abbey Road Studios in London. Eric claptons eight-measure contribution suits the tune perfecily-inboth a melodic and thematic sense. over the songs mixed-mode chordchanges in A minor, Eric produces one of his most emotional and well-craftedsignature solos of alltime. The climax phrase in the last measure contains anascending run in a faster sixteenth rhythm which would become a recurringconcept in many future rock solos. Scales used: A minor pentatonic (A-C-D-E-G). Significant added tones: B and Cf, lpict<up measure); Eb (measure 6); all as a result of string bends. Solo signatures: Blues melody and vocal guitar phrasing within a non-blues context; wide string bends and vibrato; compositional structure. Performance notes: This Clapton solo is based entirely on the A minor pentatonic scale and is played almost exclusively in the twelfth position. Rather than motion, the focus is on emotion-string bends of practically infinite variety to emphasize the weeping theme of the composition. Of these, note particularly the pre-bends in the pickup and measures 4-6, and the wide string bending and wide vibrato in measures 3-6. The wide bends of a minor third (A to C) are slowly released while vibratoed for a particularly expressive crying effect. Sound: Gibson Les Paul Standard; overdriven Marshall amp;ADT (Automatic Double Tracking, a studio chorusing effect) added to the guitar solo after it was recorded. 19
  16. 16. Fig. I o Featured Guitar: GIr.2 meas. 0 1-17 Slow Demos: Gtr.2 meas. 1-17 Am/G DgtF+ F D G C E7 g ft g TFI +ffi ffi *,j?H F+IH t342tl FH++1 II]]E FFi.FH lH+fl FIH+I 21 34 tgiri FH-+11 H Guitar Solo Am // tt n) Am/G ttt /lf n A minor pentatonic (continued throughout) Ni/il,l}rl,i/iii,i/ l^/l /l /r/r/yL ^ c. -t- ,-L1,^ -> f ry2 VllA,tlA,tlt full i(l /t /t A/}aAAaf/w 1172 ))fTn )Tn))fTD) Am De/F# Am/G )) W W .- ---------------- .-_/> #-J grad. release 11/2w +"t ta O 1968 HARRISONGS LTD. Copyright Renewed20 lnternational Copyright Secured All Rights Reserved
  17. 17. L, fTT fTT) D ) ) D) Am )) vt/} 8va TT) ------------------ // ll tt 8vq----------------. VTAAAAATh/} fTn)) De/Ff fTT) ) F ) rTT)1^ ^-i-".---- full full fD1 ))fTn) ) fTn rTn rTn NI Ai --/ .-_9
  18. 18. THE ENDWords and Music by John Lennon and Paul McCartneyFigure 1 - Chorus and Guitar Solos Abbey Road (1969) marked the last musical moments of the Beatlesillustrious career. The albums final moments, appropriately titled "The End,"featured an auspicious solo in which all three guitar-wielding players tradedback-to-back signature licks. By this point, the role and concept of the"Beatles lead guitarist" was completely blurred. Paul McCartney, GeorgeHarrison, and John Lennon equally and routinely handled solos on the bandsvarious tracks as the situation arose. ln "The End," Paul, George, and John (in that running order) play offeach other in a spirited guitar trio, and present us with an ideal opportunity toexamine their individual lead styles. The solo takes place over a vamp of A7to D7-somewhat like the first two measures of a blues progression in A.Each player handles his two-measure spot differently and assumes acontrasting guitar tone. Scales used: All three soloists-A minor pentatonic (A-C-D-E-G);A Blues Scale (A-C-D-Dil-E-G). Significant added tones: Dfi (measure 27) and Cfi (measure 31), both as a result of string bends; B (measure 32); Fil (measures 44-45). Solo signatures: Paul-semi-clean guitar tone, with an emphasis on rhythmic elements; George-semi-distorted tone and a Claptonesque blues-rock approach; John-distorted tone with the use of triads and low-register lines. Performance notes: Pauls single-note lines are choppy and angular, emphasizing syncopation and eccentric phrasing. His tone is the cleanest and brightest. Georges licks are smooth and melodious, reminiscent of Eric Claptons style of the period with a slower, singing vibrato and blues-based string bending. Note the signature sliding line in measure 42. lts similarity to Claptons closing phrase in "While My Guitar Gently Weeps" is inescapable. Georges lines are delivered with a warmly distorted, midrangey sound. Johns lead work is angry and punkish. His tone has the most distortion and a very thick, bassy timbre. Sound: Paul-most likely Fender Esquire; George-probably the same Gibson Les Paul Standard used by Clapton for "While My Guitar Gently Weeps"; John-Epiphone Casino with overdriven Fender Twin-Reverb amps.22
  19. 19. 0 Featured Guitars: Gtr. 1 meas. 1-10 Gtr. 1 meas. 19-28 o Gtrs.2-4 meas. 28-47 Slow Demos: Gtrs.2-4 meas. 29-47Fig. 1 lntro Moderately Fast) =122 I &2tacat Gtrs. @ A7 (Drum Solo) Gtr. 1t * 8 mf *Doubled by two gfts. Copyright O 1 969 Sony/ATV Songs LLC Copyright Renewed All Rights Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203 lnternational Copyright Secured All Rights Reserved 23
  20. 20. A1 *Rhy, Fig. 1 +Rhy. Fig. 1 includes Gtr. 1 only. Guitar Solo 10541 A minor pentatonic Gtr. l: d Rlly. Fig. 1, 8 times A1xctr. 2 (clean)27 A minor pentatonic End Rhy. Fig. 1 xxGtr.3 (dist.)*Paul McCafnev **George Hmison A minor pentatonic A7 xGtr.4 (dist.) A minor pentatonic / ,.=24
  21. 21. A minor pentatonic A minor pentatonic A blues scale tA /lfa AA A AAt A minor pentatonic D7 AA .-- ,,,-^fA ^f TttrlllmlrW A minor PentatonicW A minor pentatonic *This measure played simile on demo 25
  22. 22. A minor pentatonic A minor pentatonic Gtr.3 .l U4 1/4 !ll A minor pentatonic @ A7 D7 A(7) t--., =.---. 1 t^f =a-..26
  23. 23. BABE, IM GONNALEAVE YOUWords and Music by Anne Bredon, Jimmy page, and Robert plantFigurel -GuitarSolo Jimmy Page, a veteran of the mid-sixties rock session scene inLondon as well as a crony of Eric clapton and Jeff Beck in the late-sixtiesBritish blues explosion, joined the legendary yardbirds in 1966 and inheritedthe legacy by 1968. From those ashes rose first the New Yardbirds and linallyLed Zeppelin in 1969. Page brought to bear all his session sawy as acomposer, arranger, and musician on the groundbreaking debut album LedZeppelin. The proof of the pudding is in tracks like "Babe Im Gonna LeaveYou." This prototype power ballad set strong precedents for both the genre ofhard rock/metal and the future direction of the mighty quartets music.Balancing light acoustic and hard-rock timbres, it presented the world with anearly view of Zeps trademark use of terraced dynamics, and Jimmy pageswell-conceived guitar orchestration. For the solo in "Babe Im Gonna Leave you," Jimmy page chose toplay steel-string acoustic guitar. He takes his compelling twenty-measure rideover a mixed-mode vamp in A minor-basically a variation of the verse chordprogression played by the songs primary acoustic guitar. Scales used: A Dorian mode (A-B-C-D-E-F#-C);n Natural Minor or Aeolian mode (A-B-C-D-E-F-G); n Btues Scale (A-C-D-D#-E-c). Significant added tones: B (measure 10). Solo signatures: Modal scalar lines mixed with blues bends and blues-rock phrasing; thematic development. Performance notes: This acoustic guitar solo is purely in single notes and played with a flat pick. Page uses the full range of the acoustic guitar, moving through multiple position changes and exploiting open- string, first-position licks in measures 10-13. The gypsy-inspired diatonic lines (measures 2-5 and 16-17) contrast nicely with the blues bends in measure 6 and 7 and the blues slurs in measures 10-12. The raked seventh-chord arpeggios in measures 14-15 are a strong climax riff phrase, rhythmically and melodically. They are based on superimposed Em7 shapes played against the A minor tonal center, and produce a jazzy, extended-chord (Am11)effect. sound: Miked steel-string acoustic-most likely the borrowed Gibson J-200 that Page has cited as used on the sessions. 27
  24. 24. 0 Featured Guitar: Gtr. 3 1-20Fig. 1 o Slow Demos: Gtr. 3 meas. 2-3;4-5; 6-9; 10-13; 14-l7; 6oi1"" 56;6 F50 ModerateRockJ =134 A Dorian mode Am AmTsus4/GGtr.3 (acous.)t- *played behind the beat A Aeolian mode A hlues scale Copyright @ 1969, 1975 Songs of PolyGram lnternational, lnc. and Superhype Publishing, lnc Copyright Renewed lnternaiional Copyright Secured All Rights Reserved28
  25. 25. A blues scale Am7 3 A blues scaleA blues scale A Dorian mode 29
  26. 26. A Dorian mode tt =6 tt30
  27. 27. YOU SHOOK MEWritten byWillie Dixon and J. B. LenoirFigurel-GuitarSolo "You Shook Me" exemplifies the electric side of Jimmy Page on theZeppelin debut album. Pages transformation of Muddy Waterss Chicagoblues standard into heavy metal on the first Zep album is a legendary momentin .rock history, establishing an important and influential "fusion music" withpowerful future implications. Pages guitar influences include proto-rockersScotty Moore, Chuck Berry, blues players Muddy Waters, the Kings (B.8.,Albert, and Freddie), Elmore James, and blues-rock contemporaries EricClapton and Jefi Beck. He has gone on to influence generations of rockplayers with his unique electric guitar style. Jimmy Pages "You Shook Me" solo occurs over a slow 12-bar bluesin E. His approach bridges the gap between updated Chicago blues, sixtiesblues-rock, and early heavy metal. Scales used: E Mixolydian mode (E-Ffi-G#-A-B-Cf-D); E minor pentatonic (E-G-A-B-D); E major pentatonic (E-F#-Gil-B-Cil). Significant added tones: Bb (measures 7-8, 13). Solo signatures: Slide and standard guitar; modal melody (measures 3-6); minor and major scale combining; blues-oriented string bending and vibrato; doubletimed riff flurries of sixteenth notes in measures 7-9. Performance notes: Page plays slide in standard tuning during the first third of the solo (measures 3-6), employing a combination of bottle-neck and fingered technique. The remainder of the solo is done without the slide. The multi-note lines in measures 7-9 are played in the seventeenth position ("B.B. Box") and make use of mixed E minor and major pentatonic scales. Aggressive lines like these would have a profound effect on future guitar soloists in rock and metal. The final lour measures are situated in standard blues box positions in E at the twelfth and ninth/eighth frets. Sound: Fender Telecaster; overdriven Supro combo with a single 12" speaker-according to Page "all of the first album was done on that" (using thal guilar/amp combination); chrome metal slide; harmonizer, reverb, and echo are discernable in spots, probably added in the studio. 31
  28. 28. ET|D Am o Featured Guitars: 1 meas. 1-2 Gtr. Glr.2 meas. 2-13 o EIB E] A5 g4Eg ffiffiffi ooxx ffi aTTTT] 5fr 3t ffi ffi 2l Slow Demos: Gtr.2 meas. 2-6 6-14Fig. 1 Slow Blues Rock J = ca 53 Guitar Solo F56l E7 E5 E6Gtr. 2 (overdubbed)I lla,}tl,llVl| tAAA/tf,l w/ dist.. echo & reverb w/ slide w/o slide w/ slide tA^^^ /t/} t/yt A/w (cont. in slash) E5 E7ID Am/C E A G E/B A/C# E/B AGET @@ )[n D) n @@ @ *,n )4, open 5fr )J 3fr .h )))))) 5fr 3fr J )) 8vaGtr u rtf,i.iat A^f/w4^ {/yt{A/try} w/o slide il slide w/o slide w/ slide lvt a,(l^^l} tf,t /) t^{f t/t AA/ta.! ^,i ). t L--J--J LJ---l full full full @ 1962 (Renewed 1990) HOOCHIE COOCHIE MUSIC (BMlyAdministered by BUG and ARC MUSIC CORP.32 All Rights Reserved Used by Permission
  29. 29. /- hr ). t,|"N l$.--.. 2 / L? | r r I LJ----JL-J----Jljl tuilGtr. l: w/ Rhy. Fill 1 (see next page)E8va NIAAAA/I AAAA,<lrylAAO l!-.-r^ l,----.Lrl!,r full flllmmmmm,r,* B7 t/ti{/t a/w} t-s) t_ j--t t_ 3----t t -j---t full full ) t lltr tAArylA/YIAI -^-lAA,l.if,i.i .Y!- :/,--. 33
  30. 30. Rhy. Fitl l Gfu.194
  31. 31. EVIL WAYSWords and Music by Sonny HenryFigure 1 - Outro Guitar Solo As the sixties came to a close, a new era of guitar experimentationloomed in the future. While British bands like Led Zeppelin and Black Sabbathpushed forward the frontiers of blues-rock with metal, a stateside band fromSan Francisco named after its innovative lead guitarist presented their ownbiand of fusion music. Santana came to prominence in 1969, after acaptivating appearance at Woodstock, national exposure on the Ed SullivanShow, and the release of their remarkable debut record Santana. "Evil Ways"was a stand-out track on the album-a showcase number which succinctlycaptured the unique Latin/rock/jazzlblues amalgam of the Santana band andCarlos Santanas sophisticated lead guitar style. Carloss "Evil Ways" guitar solo is played over an animated version ofthe Gm-C7 vamp (like a repeating ii-V progression) heard in the verse.Santanas guitar influences include blues (8.B. King, Muddy Waters, and OtisRush), jazz (Wes Montgomery, Gabor Szabo, and Bola Sete), and rock (JimiHendrix, Mike Bloomfield, and Eric Clapton). He blends them all beautilully inthe bongs memorable ride-out solo. Scales used: G Dorian mode (G-A-Bb-C-D-E-F); O minor pentatonic (c-Bb-C-D-F). Significant added tones: A and E, used lhroughout-though not strictly non-harmonic or chromatic added tones (they are diatonic to the Dorian mode), their deliberate use creates specific jazz-oriented extensions (ninth and thirteenth) which are at the heart of Santanas solo style. Solo signatures: Alternation between modal diatonic lines and blues licks. Syncopation and rhythmic devices used as themes. Rhythmic ostinato riffs (measures 14-16, 16 and 17, 20 and 21). Accelerating rhythm (measures 20 and 21). Use of amp distortion and sustain. Performance notes: Carlos exploits the full range of the fretboard, gravitating to the box positions of G minor pentatonic for blues licks as in measures 13 and 25-30. Most of his modal lines are played on one or two strings in a given phrase and are based on short repeated motifs rather than long scalar runs. The unison bends in the final measures are held and picked. Sound: Gibson SG Special; overdriven Fender Twin Reverb. 35
  32. 32. 0 Featured Guitar: Gtr. l meas. 1-30Fig. 1 o Slow Demo: Gtr. 1 meas. 4-30 @ ModerateRockJ =122 Outro Guitar Solo l3:0Tl G Dorian *Chords implied by orgm and bass G Dorian C C ,I ------^-. -n --- - -- -- - xPlayed behind the beat G Dorian G minor pentatonic Copyright @ 1967 Richcar Music Corp. Copyright Renewed All Rights Administered by Songs Of PolyGram lnternational, lnc.36 lnternational Copyright Secured All Rights Reserved
  33. 33. G Dorian G Dorian Gm vl /yy| /} 8va17 i---> ;-> ;-> i--> ;) lrt- /1 i/t/l/t/t/t/tt G Dorian Gm 8va-----"---" *) G minor pentatonic (to end) Gm 8va - *) l) jl full F- )r A :I 37
  34. 34. A .t =I Etr Repeat and Fade Gm C Gm c N N A, |.NN^ ( A38
  35. 35. IRON MANWords and Music by Frank lommi, John Osbourne,WilliamWard,andTerence ButlerFigurel -GuitarSolo Black Sabbath personified the dark, dungeonistic side of heavy metalin the seventies. With vivid horror-film mythology and gothic themes, theyexplored new levels of heaviness-lyrically and sonically. Underneath thelofty theatrics and black-magic trappings, Tony lommi was a straightfonvardhard rock and electric-blues guitarist, a logical descendant of the EricClapton-Jimmy Page school of the late sixties. lommis guitar work withSabbath set undeniable precedents for late-seventies metal, as well as thethrash style of the eighties and the heavier alternative sounds of the nineties.His solo in the early heavy metal classic "lron Man" from the landmark BlackSabbath Paranoid album is an early milestone and a career high point-lrequently cited by todays metal and hard rock guitarists as a stronginfluence. Tony lommis "lron Man" solo is played over one chord or tonal area(Cfi minor) implied by the bass and the solo guitar melody. The solo is in acharging double-time feel which alludes to Cream-era Eric Clapton-a majorinfluence in Tonys style. The solo is introduced with a single-note ensembleriff in C# minor (measures 1-4) which is restated at the end of the solo inmeasures 21-24. Scales used: Cf, minor pentatonic (Cil-r-rf-Cfi-a) Significant added tones: G (measures 10 and 14) as a result of string bending. Solo signatures: Rifi-based soloing balanced with free pentatonic scale playing; prevalent use of hammer-ons and pull-offs; almost continuous eighth-note rhythm, with sixteenth-note ornaments. Performance notes: Tonys solo is situated predominately in two minor pentatonic boxes-Cil minor pentatonic at the fourth position and the ninth position. Theme riffs are played in measures 6-7 and 15-16. lommi uses a repeated, hammered-on C# note in measures 17-20 as a signal riff to "conduct" the bands return to the song. Sound: Gibson SG; overdriven Marshall stacks; modified Rangemaster treble booster for gain boost. 39
  36. 36. o Featured Guitar: Gtr.l meas. o 1-28 Slow Demos:Fig. 1 Gtr. 1 meas. 5-18; 21-24 Moderately Slow Rock J = 76 Double-Time Feel N.C.(C#m) *Audio fades in 4 meas. before Fig. l0 @ Copyright lg70 and 1974 Westminster Music Ltd., London, England TRO - Essex Music lnternational, lnc., New York, New York controls all publication rights for the U.S.A. and Canada lnternational Copyright Secured All Rights Reserved lncluding Public Performance for Profit40 Used by Permission
  37. 37. 41
  38. 38. ALL RIGHT NOWWords and Music by Paul Rodgers and Andy FraserFigurel-GuitarSolo Paul Kossoff came to prominence in the early seventies with theBritish hard rock band Free. When the group scored big in 1970 with thesmash single "All Right Now," Kossoff emerged from relative obscurity tointernational stardom practically overnight. Kossoffs blues-based rock style,with its emphasis on string bending, singing vibrato, and mutated blues licks,has much in common with late-sixties Eric Clapton-which is hardly a surpriseconsidering that they employed similar instruments and shared manycommon seminal blues guitar influences such as B.B. and Freddie King. Paul Kossoff recalled that his lead guitar work on "All Right NoWwasadded last-after the bass, piano, and rhythm guitar-and that necessitatedthat his playing be simple. Nonetheless, Kossoffs solo is a true seventiessignature rock guitar solo and fits the song like a glove. lt is played in twosections: the first is essentially an extended break without a definite chordalaccompaniment; the second-beginning in measure 13-occurs over a two-measure vamp ol G-D/Ffi-A. This section builds in momentum until a strongclimax is reached in the final measures. Scales used: A minor pentatonic (A-C-D-E-G);A major pentatonic (A-B-cfl-E-Ff). Significant added tones: Cfi (measures 2 and 6) as a result of string bends; C (measure 22); Fil (measure 44). Solo signatures: Blues-based string bends and vibrato; use of open strings in solo. Performance notes: Kossoff responds to the larger, sectional nature of the solo by strategically alternating moods, ideas, and changing the register of his playing. Measures 1-B are comprised of jabbing minor pentatonic blues licks in the thirteenth position. The beginning of the second section is laid back and sparse with long notes in the lower register. These are slurred and sustained with vibrato. The melodies in measures 14-35 are based by contrast on major pentatonic sounds. From measure 24 on, Paul plays in the upper register. The riffs in measures 25,28,36, and 40 are thematically repeated, and are played in first major, and then minor, pentatonic form. Sound: Gibson Les PaulStandard; overdriven Marshall 1OO-watt stack.42
  39. 39. o Featured Guitar: Gtr.1 meas. 1-46Fig. 1 Guitar Solo o Slow Demos: Gtr. 1 meas. 1-B; 13-45 A minor pentatonic tAudio fades in 8 meas. before Fig. 1 1 A minor pentatonic *,2> .(l AA/f ,(} grad. bend tl r? t*tmm,r 1:/2 i ^,r _) A major pentatonic (until next bracket) A t/ta,i dyr,vr i/) w tvyta,t t /yyytryt/t f I^A/yr^^/t/t/t/t& W t/yt/yt/t /y!& Copyrighl @ 1970 Blue Mountain Music Ltd. All Rights tor the U.S. and Canada Administered by Songs of PolyGram lnternational, lnc. lnternational Copyright Secured All Rights Reserved 43
  40. 40. A G D/Ffl .----- let ring letring ----------r IAAAAAA/IA/I/} TAAA/} ,i /t/t/)(| /!ll/|A/to xplayed ahead of the beat DIF# A t*tr*umnmmll A // ^ tAt ,,. - /_- i ryyt/w ^- ^:. ho grad. bend fult tAA l A IAA/IAAAA,I i/t/l/t/t/t/t^A i/t/t/t/t/t^AA44
  41. 41. G 8va-- rlAiAAAAf / ,- ^ -> flummmrr iAAAAAAAAAAATi.-=-- -.(loco)Tttnmmmmll full ttt*rmt A minor pentatonic va - G D/F# E i{{/w .- W :^^ ^ t/yt o full full full )tl ^- I_-_--------- r W 45
  42. 42. BOHEMIAN RHAPSODY featured the Motion Picture in WAYNE,S WORLD Words and Music by Freddie Murcury Figurel -GuitarSolo Queen was one of the few bands in rock history to enjoy both commercial success and artistic freedom. Their music-distincily British and very regal-combined the eclectic experiments of the Beafles and the aristocratic quirkiness of English progressive rock bands like yes with the largerthan-life heaviness of Led Zeppelin. "Bohemian Rhapsody, was Queens coup. The crowning track of their masterpiece album, 1975s A Night at the opera, it remains a gigantic global hit and an indispensable piece in the annals of classic rock. A complex and sprawling six-minute-plus epic, it is distinguished by state-of-the-art arranging and production, superb musicianship, and one of the most memorable and melodic guitar solos in the rock genre. Brian Mays eight-measure solo in "Bohemian Rhapsody" is definitive. Clearly ahead of its time, it blends melodic elements of classical music with the sonics of hard rock-anticipating a medium and trend which came to much greater prominence in the late seventies and eighties. Scates used: Eb major (Eb-F-G-Ab-Ab-C-Oy. significant added tones: Db-used during the moduration in measure B. solo signatures: composed style; stately semi-classical phrasing; strong note-to-chord relationship in the melody; mixture of slow, lyrical lines and faster, scalar playing. Performance notes: This classic Brian May solo is based on diatonic scalar lines in Eb major, an unusual key for rock. The basic major scale is used modally throughout to create lines for specific chords in the progression, as in measures 3-4, where it is used against Fm and Bbz chords. ornamental trills are added to the ladder-like sequence melody in measure 4. pure scalar runs are used in measure 5. Brian May employed a coin (Engrish sixpence) with a serrated edge as a pick for his very strong, accented attack. This attack, coupled with the saturated tube-amp tone and signal processing, creates semi- harmonics throughout the solo. sound: Homemade "Red Fireplace" guitar with three reworked Burns single-coil pickups; overdriven vox AC-30 amps; homemade treble booster; custom pre-amp buirt by eueen bassist John Deacon; flanging/chorusing added to thicken the guitar sound.46
  43. 43. e Featured Guitar: Gtr.3 meas. o 1-9 Slow Demos:Fig. 1 Gtr.3 meas. 1-8 Guitar Solo E5i ModerateRockJ =72 Eb major (throughout) Eb BblD TAAAAA/|/} t ^l4t{A^/wt(w t/LAAfiA/t A^/fi tlttmmmmrrr |A/|A/Yl|l/} IAAAAAAAAAAAAAAA tA^A/l|tttt|}ttttt^o Rhy. Fig. l w/ pick and fingers xpiano m. for gtr. **Audio begins 6 meas. before Fig. 12 O 1975 B. FELDMAN & CO., LTD., Trading As TRIDENT MUSIC All Rights Controlled and Administered by GLENWOOD MUSIC COPR. All Rights Reserved lnternational Copyright Secured Used by Permission 47
  44. 44. Fm CtE Ab/Bb Do Bb Bb7 iAAA^ AAA^A,(} *+.D_ tfl^ {^A/?r/w --.-------------..- i> /--- grad. release L- J ---l L- lj -l ----l fulll^AAaaaaattt, full ,lA/h/lAA/! tlt^i A/yr t ^/) iAAAAAAAAA/I lAArylAA^ f ^ iA.{AAAAAA/} .(n/l/l/l/l/l^/t/ta End Rhy. Fig. I *Played ahead of the beat I J r 3 | L3l ,(} /yt {|AAAAAAAA/} W w-r- W W48
  45. 45. Gtr. 1: w/ Rhy. Fill 1 @ FM ClE Ab/Eb DO DbC B A *J. ArAf t!!to IAAAAAAAT !!!to (-) f ^ih L-:-J - steady gliss. full .IAAA/i .AAAAA/YI/} t^Aar) t^Atit l}i^ A/l/l 3 i/yt /t/lt*Play this note slightly behind the beat. 49
  46. 46. WALK THIS WAYWords and Music by StevenTyler and Joe PerryFigure 1 - Second Guitar Solo and Outro Guitar Solo Aerosmith struck twice with this powerful, guitar-driven classic: first in1976 (#1) and a second time when guesting on the cover version with rappersRun-D.M.C. (#4, August, 19BO). The defining track from Aerosmiths mastedulToys in the Attic album, "Walk This Way" personified the best of American hardrock in the seventies, and remains a lavorite on everybodys classic rockplaylist. Sporting an ultra-funky main guitar riff and an inspired set of StevenTyler lyrics, it is further distinguished by some rock-solid Joe Perry soloing. Asong high point is the multi-sectional Perry guitar solo in the oulro. This immortal Aerosmith solo is one of Joe Perrys milestonemoments of the seventies, and can be divided into three sections. The first isthe four-measure guitar episode in C, which is a second pass on the songsinternal solo. lt is played over the energetic verse groove. The eight-measuresegue to E and into the outro solo represents the second section. The thirdsection is the improvised outro solo which runs to the fade out. lts played inE over a variant of the songs funky main riff. Scafes used: Measures 1-4: C Mixolydian mode (C-D-E-F-G-A-Bb), C Dorian mode (C-D-eb-r-C-n-ab); measures 5-28: E Dorian mode (E-F#-C-n-g-C#-o), f Blues Scale (E-G-A-Bb-B-D), E Mixotydian mode (E-F#-G#-A-B-o#-D), E minor pentatonic (E-G-A-B-D). Significant added tones: Eb (measure 1); E (measures 3-4); Bb (measure 26) Solo signatures: Free use of scales and scale combining; typically unpredictable Joe Perry rock n roll phrasing; blues-rock oriented string bending and vibrato; prevalent use of hammer-ons and pull-offs. Performance notes: The opening four measures are situated in the eighth and fifth positions and mix C dominant seventh and minor sounds in C. This is emphasized by the outlining of a C7 arpeggio in measure 2. The whammy bar is used for vibrato in the riffs of measures 5-12. These are thematic figures in E which are played in the second and twelfth positions. The bulk of the outro solo (measures 13-28) is played predominately in the twelfth position, and alternates with first position open-string licks in measures 21-26. A chords are inserted into the lead parts in measures 14, 1 6, 22, 24, and 26. These play off the accents of the background riff. Sound: Gibson Les Paul and Fender Stratocaster; Marshall or Fender amps; delay (tight reflection) probably added to the outro guitar sound in the studio.50
  47. 47. E7 |- -T--n ffi 7 fr A1 mn o Featured Guitar: Gtr. 1 meas. 1-28 o FFH+I r3(4) 131241Fig. 1 Slow Demo: Gtr.3 meas. 1-28 Guitar Solo ModerateRockJ =120 C Mixolvdian mode C Dorian mode Copyright O 1 975 Daksel LLC All Rights Administered by Sony/ATV Music Publishing, 8 Music Square West, Nashville, TN 37203 lnternational Copyright Secured All Rights Reserved 51
  48. 48. Outro Guitar Solo Gtrs. I & 2: w/ Riff B, till fade E Dorian mode N.C.(E5) N.C.(E5) w/br full t^1/2rAAo *bend w/ fingers, add vibrato w/ bu E Dorian mode N.C.(Es) N.C.(Es) A5 ryt AAit {t/t/t A/t/t/t/} L r!iA/l/) l)--- ^ iYc w/ bu w/ bar rllltlmmm ll12 !r!!lt r* t^trtr* E blues scale E] A7Gtr.4 r(dist.) ,- ,- mf =b1i-) RiIf B Grs.1&252
  49. 49. E Mixolvdian mode E blues scale E7 ,_ E, minor pentatonic t/t/l/t/t^/! !s/V Y- l-^j- 1/2 full ) *played ahead of the beat. E blues scale E Mixolydian mode E7 A7 ,_ / ht/--r-:: AA--. N-^..-- E minor pentatonic (to end) E7 A7 ,_ / r /--
  50. 50. Begin Fade E7 A] )l at 7l / f- /-- vr AA/t{l t-/ a/tAAAmo Fade Out E7 ,1,_ 1) A1 r._ N l$i * ^AA" ]E full r*lmmmmmrl54
  51. 51. SULTANS OF SWINGWords and Music by Mark KnopflerFigure 1 - Outro Guitar Solo "Sultans of Swing" was Dire Straitsfirst hit. Seeming to emerge fromout of nowhere, the unorthodox British rock band exploded onto the popscene with the tremendous 1977 single, and a compelling debut album (DireStrails). "Sultans of Swing" also introduced the "alternative" approach of leadguitarist Mark Knopfler. Unique among rock guitarists of the day, Knopflereschewed the crunchy Marshall distortion and heavy metal-based approachof his fellow British fretmen, and fashioned his signature sound from acombination of esoteric melodic ideas delivered with a sparkling clean tone.Noted for exerting an enormous influence in the future, on both sides of theAtlantic, Knopflers inimitable finger-style articulation, coupled with hisdistinctive Strat timbre, was immediately acknowledged and revered as the"Mark Knopfler sound." No tune provides a better showcase than "Sultans of Swing" and nosection more ably demonstrates his uncommon solo style than itsextraordinary outro (4:58 to the fade out). The solo occurs over a four-measure vamp of the modal changes Dm-C-Bb-C, and skillfully balancesimpressive physical technique and song-conscious feel. Scales used: D minor pentatonic (D-F-G-A-C); C major pentatonic (C-D-E-G-A); C Mixolydian mode (C-D-E-F-G-A-Bb). Significant added tones: Bb (measure 11)-though part of the C Mixolydian mode, the use of Bb in this line is so melodically striking that its particularly worth noting. Solo signatures: Use of arpeggios, diatonic and pentatonic melody; pedal steel-style string bends; ostinato riffs (measures 7-8); melodic sequences (measures 3-4 and 20-21); virtual absence of standard rock guitar clich6s. Performance notes: This signature, predominately single-note Mark Knopfler solo is played fingerstyle on electric guitar. ln addition to his very personalized plucked/picked attack, Knopfler favors the "in- between tone" of a Fender Strat-which adds much to the overall character of the guitar sound and his solo lines. The famed cascade of sixteenth-note arpeggios in measures 13-17 has become a hallmark of his style. This passage requires considerable dexterity to pull off at tempo. One of the keys to mastering this phrase is to visualize the three physical shapes of the Dm, Bb and C arpeggios which comprise the section, and to note the commonalities. Notice that all three are situated on the top two strings, and are constructed of two notes on the first string (which are played legato with a pull-off) and one on the second string. This pattern is continued through the eight-measure phrase, though subtly altered to fit the changing chord progression. Sound: Fender Stratocaster; Fender Vibrolux amp; delay-either via an MXR Analog Delay or added in the studio. 55