by Foe Ppt Pt IMMIGRANT SONG GUITAR “Immigrant Song” starts with a powerful punchy 16 beat guitar riff. It is a short number with no solo, so the guitarist’s function is to provide the tight rhythmic backing for the band, which should be strong and concentrated 1g bass part calls for powerful picking in unison with the guitar. The riff pattem is changeable, so the bass thythm must be tight and accurate. Play with the treble © (Gx) Aitemate picking with a fat pick and a strong attack © on IMMIGRANT SONG well up for a more guitarlike sound, and stay right with the tight beat. DRUMS The drum part throughout the number consists of the same bass drum patter and strong snare hits on the second and fourth beats of the bar. There are no fills and only the cymbals are used for accents, so each beat needs to be accurate and played with the right balance. The main point is the rhythm of the bass drum on the first and second beats, so practise until this goes really smoothly. 0 The iff pattem is the main characteristic of the number, so its accents ‘must be practised until they are exact.© Wa): Altemate picking ike the guitar. Stay fight with the daummer.cua i = + Lye — P= Ss = = Fe ee # beSet (eee -————o——_, ¥ @ (Ba) : For these 16th note major scale © (Gt): Bring out the 9th in the C7 on the pphrases, use altemate picking and keep it ath beat with extra attack to add colourhere. atic aad accurate:Fm cf Fam c7) proce ant trust can_win the @ay do - aplte—all your Jom ing.as ‘moo.ftoenbl. www fiziv s26elq Jotibaspsminoisd yd SibFRIENDS ii FRIENDS GUITAR This song is based on C and played with open C tuning The main point is the use of the open string in the riff, which is sometimes wild and sometimes delicate. The guitar backing is the basis of the song, so aim to achieve a smoothness in your playing by a light touch when cutting, (Open ¢ Tuning) BASS Assimple bass line with few notes allows the bass guitarist to concentrate on blending in with the other instruments. Special attention should be paid to the timing both in the unison sections with the strings and in the 11/8 sections,© (Gt) : This is the main pattem, which makes the most of the fist and second sitings, but without muting. The main point is to bring out clearly the contrast between the sounded chord and the melody ofthe © (Gt): In this bar the time changes to 11/8, and guitar and bass play in unison, so watch ‘out for wrong notes; keep it accurate, © (Ba) : The whole song isin eight beats to the bar, but in places like this where the rhythm ‘might be difficult to pick up, you ‘would do wel fist to master the phrase and then fit it to the eight beat count later.| fa te fie SSeS {elem there's no deny ing youtee inmaom plete, theyll bem © (Gt) = Unison backing on strings and © (Ba) : Bass and strings in unison. Listen to guitar Here too no muting is necessary. Feel the guitar backing and keep good time. {an accent on the first and fourth beats as you play, to give a dynamic touch. 10vo| or] 9 Hoan. wgrgiei (Os2e:Chors) e26qlg Jolibaops: 22699 2 e IdotsG yd betibaf 12moo jlozilaLwww iz sesalq.sets ery easy Ret Steven ar fe trates alo with amen stole blos wy ; : } ; 16by Sey Pn Rb Pt he a CELEBRATION DAY GUITAR One of the classic Zeppelin numbers which features some truly characteristic riffing from Jimmy Page. Make sure you're really on top of the slides and bends which make up the main riff before trying for the powerful thythm section drive, and then accent the chythm as you g0. BASS The bass needs clean hard picking which brings out the (i or CELEBRATION DAY offbeat, where the timekeeping must be especially exact. The bass line should be powerful and energetic without being either too even or too jerky. DRUMS A basic eight beat pattern with an offbeat feel. The main point for the drummer is how to bring out that tremendous drive with such a simple pattern. Despite this seeming simplicity, it's best to go for a careful approach, building up the phrases gradually. vo| (ier Distortion 2 cu ut Linon Distortion —= This section calls for tight cutting, AP aspen soetkicig: Sheliaou] a @ (Gt) : Pick the Sth string while the slide on the Ath string is stil sounding 18too toeallL. www tieiv seselq Jonbaepenm Aion Distortion oe Hien Bistortic © (82) : Play downstrokes on all these eight ies ied dma wane,© (Gi) : Classic rock ‘n roll style playing, © (Ba) : The bass line here isa simple 16 Watch out tor wong notes with your litle beat rhythm, but don't let it get too even finger 20Moo floenlll www fiziv seselq 10fIb: 8 se = (2,20) snare inthe peartent22#} Sa cho. cho. chp.C.D.p.cho qo. cho. chowe pp, chos L= @ = © (Gu) : The bending phrases here are slightly restrained so as 10 give the whole section an accented feeling.24© (D1): Avoid any imegulatty here and keep aaa dueateh hataabanaie26 ll cho.c.p.p. cho,z sootlozalliwww.tiziv.ees: ely solib sepa mi Te eaby Soap Fp Bert Pt ae "VE BEEN LOVING YOU SINCE I’VE BEEN LOVING YOU GUITAR Full of the bluesy phrases for which Jimmy Page is renowned, “Since I've Been Loving You” requires a considerable amount of technique, but it’s worthwhile adding it to your repertoire if you're interested in mastering the feeling and phrasing of blues guitar. You can lear a lot in that direction from just this one song, BASS ‘A slow minor key blues number with the rhythm in triplets, For the bass guitarist, the main point, in addition to keepingin with the restrained rhythm, is the need for a heavy broad sound. For the most part, the bass line centres on the root notes of the chords, but there's no fixed pattem, so the main thing is how to blend in with the overall mood of the song. A really laid-back feel is essential. DRUMS The drumming on this song needs to be powerful and restrained yet very relaxed. There's a variety of fills: eight beat, sixteen beat, triplets, sextuplets, and it’s a challenge to the drummer to negotiate their way smoothly through them. The central rhythm, however, is the triplet. Listen closely to the guitar for the climax points. out oul ox © (Ct) :The bends should be restrained and @ (Ba) relaxed, the picking light and the phrasing smooth. the bar Feel the shythm from the ‘deummer's snare entry on the second beat of © (Dr) : The rhythm of this bar sets the tone for the whole song, so be sure to get it ight.cul cutPN ee cmlonEr) AbeT ho. = aa a phar o7 wo Se = = base oto? fi a fo 2 7 fl > 7 Eaan ae Lae bs 30a a knee Ot NOR A REP AORN TR AE OHA A AE OAL SPRAYS L SALAS A BEAL A LAL SS a vo, oe @ Seon miner eat age, hima ve ventsiy,retviy seen the test of fkey — cu or. vo. ou cual | ecm? a Gm7 zg -—-AeT Fal, nowt tore you gicteaien ele aiel Be be cy Sire Ie Bon Lanter Pastost to loseey wore hy ‘ne re ee a © (Gt) = A four bar phase pattem. Mute ‘non-sounding strings in the chords with the fingertips of the left hand, 322 —————————— a la a © (Gt) = This sextuplet arpegsio passage isa fasteflowing run, so be sure to stay with the thythm section and keep your picking free of Breidaiaies:(ey — tong drag arag_tesd, yt tae emt adnte eit © (Gt) = Powerful picking needed for the bending here as you take off into the solo. 34© (Gt): Make sure you've got the positions @ (Ba) : Try o avoid any wrong notes as you forthe minor scale phrases down before you back up the guitar solo; keep every beat bbegin. Get stuckin and ride the rollercoaster, _ relaxed and lald back. ‘but don’t lose the rhythm on the bends |36moo.ftoenll|. www9tiiv seselg AofibJepsmidotsd yd betiba Vo, Rte +S 5= = ARS N ou a —— st =| Pex, oe ag ar x ——_ 3 5 eet cecteere SS 5 = 2 eS a ou =: Nabe aa 37ou. Gu Kb. 2 fe < © (Gt) : Geta good hold on the tempo here to avoid both haste and hesitancy. 38cm om eb 7 pbafoo floenlaj, www fiziv seselq 1ofibaepsmidoisd yd betiba ve & 2 fet ett, pep tet wf ne ee g00D yeh, mrterer mam! teal pers et Oe eer et oul? a 1 a rh ho. e 2 = — 3s, = £ © (D1) : From B on to the end of the song build up the pressure with ever stronger accents. 39cull or. ou cull wo, 40= moo.ftoenlajmww tiziv s26elq .1ofibdopsmidotsa yd betiba ,E £2e t £ “fe E fppptt , Gio. cho. Scho. gts. the: choy . ‘a gee eee a SS i ¥. =< 7 apt epi tee? on? ene op = = i SSSI Gell i = = E = —— ne ar = BE | 3 z ae = SS = - | 1 Seal z 2 z 5 tm fn eS ae etch = ‘ abst Fn? mE) Om cy pr , fttne geeetee | 3S te oe ===. a= Alrere etetet ‘é eal” ie = woe | i = = 2 = ———— st os = iE % 2S =o. ss f= = Soe a a as = Sey 7S | cmon) fon) Gg, & o7 ve (Gee — ——_ d o 7 ~ — - _ seried sit penn, amen) er (rita 2) © (Gt) : Watch your timing with the rhythm section to enable a smooth tardando.OUT ON THE TILES GUITAR ‘The key to the guitar par for this songis the crunchy distortion sound. A ‘numberof the nfs are played on non-muted lower strings, so take care not to distort the sound too much and watch the pitch of your low siting bends. Timing with the bass player must be exact, asa lot of the ffs are in unison BASS Forthe many 16 beat unison nfs withthe guitar, the bass-playing needs to be hard-edged. In the places where you can use two finger picking pay extra attention to synchronising with the left hand, and where a] ‘ bends are called for in the midalle of a pattem, be careful to align the pitch with that of the guitarist. DRUMS ‘The basic thythm is a medium tempo & beat, but here and there the bbass drum plays 16 beats, and the whole thing has quite a dsving forward fee! to it. There are a lot of sextuplet fills which call for accurate timekeeping, and good timing is also essential for the snare/bass drum, combination work, so practise until you've got the thythm really smooth, Fm 22 ve, Zitte ei e | vo. or a © (8a) : Usually one uses the ring finger for bends, but here you can also try downward pills with the index, middle, and ring fingers Together _—__—@ © (Dz) : Watch the timing of your pedal kicks on these snare/bass drum sextuplet phrases so that they come out smoothly, and mind the volume balance between the snare and bass drum, 43Fem 5 om A S E fst eeeuee © (Gt) : The guitars on overdive here, but © (Ba): With occasional hammeringon, © (Dr) : A high point in the song, so your don't mute these 16 beat rifts. these phrases should really drive along. Make _cymbal/bass drum timing should be spot-on. Sure you hit the frst note ofeach beat imly. The snare on the third beat is a flam stroke. 44A s Fam, SHozm, EER td batik gw tiziv eeselq .ofibaSpsmlgoy, vo, = = (eh Yeah, och taehy on oye a 45a te ee is see Spe EAE eee ett 469. ToznlaL www fiziv e2salq .10fl mifoisd yd befibal . rin i tm aE em ltl) glo) Aion) foe) be i=—64. —_1i—— er) lone) (OnE) GE) em GED ey nd fa detad £ aa em mee mE) og gine) on) gael id JeRajye, 2, i oo f2 Feta 1 TR, vo] rae ——! —_—_ rr = 2a a ee | oe = imi7Fot i . a fLrryT CLts SrA Remini pe Ue, OIDIZROM Keo, NNR DOTA bacighe oieron ma Sey innhcwinte awe carimgeticualcietensparme | snxione cpyea eam Wine nade eS tca cinco rhea una time - accurately!Trt Aegean yey Pet ie Plt il GALLOWS POLE GALLOWS POLE GUITAR From the gentle sounds of its opening solo acoustic guitar to the eventual entry of the overdrive pedal steel guitar, this is a song which really raises a storm. The electric guitar style of the backing riff in the latter half is especially noteworthy. The pedal steel guitar phrases towards the end should be played just as if on a regular guitar. BASS The bass line is basically in eight beats, but it has a staccato feel to it, so don’t let the notes spread out too a3) a ox out at) much. There are syncopated 16 beat phrases in the second half which call for strict timekeeping, You'd do well to practise first with a metronome. DRUMS The drum part consists only of snare and bass drum combinations, and sounds at first like a simple eight beat, but notice the 16th note offveats on the bass drum. With 16 beat phrases on the snare, always accent the first note and play the others very softly without getting caught up by the bass drum timing. na an) re) or| O(cx) : The main rtf here makes skill use of open strings. The C at 2/1 sounds really ‘good, Chordwice, change from A7 to Am? and then simply slide along two frets. 48V seselg Jolbtepsminoisd yd belibal an) xr ag?) ee ‘ay#2 a 5 rela ie a Meteo, — tei t see mp felts cmos Baa yonept litle gold CET GS ao teie ene ane erst, toAT an ar ale ar a) AT af) 50ox cu psmidois yd botibs © (Gt) : This nif features the low notes. Be sure to mute firmly on the rests on the first and second beats. Chop the third and fourth beats with altemate strokes. You'll get the fight sound if you mute them very gently 38 © (Ct) : Backing play which features a bold tse of brushing technique. Bar the A chord \with the index finger atthe second fet. Brush bby muting all sic stings firmly with the left rand. 51 © (Ba) : Note the staccato bassline. Its the hint of a 16 beat which gives it this springing feelingou} 521909. ftoenblj. www tid} S26olq. 10fibaopagilgo Sia “tery te pier vos gblcp testis tL plese atte © (De) : Always accent the first notes and play the others softly. Watch your timing ‘with the offoeats and don't be too hasty. 53vo| ort] 54__ moo ttozntl| www tiziv s269lq 10f wd botips _——. Oy pete yar get a fine sie tars che cual P te Fen te pp ptetieitie ve = — = i warned ny blood fron cold, chs brought my Blood to Betl- - ing hot to Keep you from the Gal- lows Pole, Pale, t = =| aaa SS ie ~ ay ifE wis gta WARK oe = aaa x =a Sa SS e == i = f ie = Ae cull i = FE 5 TE SS) e - ct T HB fA PFET eS FE oS = =—S Se Saas * = SS is SS = = oof E # Z = =ea Your broth ~ or brouhto ctv, your a tar irnnd__ny sctly iat naw Tawi and al hand a soe 30 56sq Jofibaspsmidotsd yd befll vo| ou (Choris) 3 aha il 1 © (Ba) : Note the chromaticism here. Don't lose the tempo over the open strings. The third and fourth beats are staccato.vo ae, oul or| he Bai. 58iv odfally notibaqpsmMon he Beit @ (Gt) = A pentatonic F¥ Minor phrase. The @ (Ba) : Note how the syncopation at the note values are fast, but don't be tempted to. end of each phrase is tied over to the rush it.The key isto bring out each individual beginning of the next and don't foul up your beat. timing. Take it easy and don't rush 5960Ridotstl yd besibs 2 Zz cho, cho.cho. cho. cho. chorVaysee epper — (cm Fade Ou 62TANGERINE GUITAR In the impressive 12 string acoustic intro, there's much use of open strings in the low chords, so it’s very easy to play. Another characteristic of the song is the two “shades” of pedal steel guitar, overdrive and distortion- free, while the solo features bottleneck playing BASS This is a comparatively slow eight beat number, and there are no dificult phrases for the bassist. The accent is on the first beat of each bar, and the mood should be relaxed and laid-back. There are several long breaks for © (Gt) : The two continuous G notes here (3/6) suddenly sound different, but actualy, they aren't. The tick is to use altemate picking. If you play both with the same downward stroke, they sound completely different. 63 the bass and drums, so watch the tempo when you come back in. It's best to play silently through the breaks DRUMS The rhythm is the most basic eight beat pattern, and as its a difficult tempo to get any kind of mood out of, you can at least add a nuance by setting the hi-hat a little loose. Strict timekeeping is not the name of the game in this number, rather let your strokes be very relaxed and even a touch delayed. Mistakes tend to stick out all the more with such a simple pattem, so any kind of roughness should be avoided.Vo. oul 64Be moe. PS moa JoeB) www Fiziv 969 Iq 1Pib JopSmirlaisd yPbatibs © (Gt) : It would be good to be able to use the bottleneck here, but _positionwise, practically impossible, o instead you'll need fo hammer-on and pull-off. You'll get close © the original by using a wow-wow pedal, but if you do, be sure the sound is clear 65oes she aunt ee ne ee © (Gu) : The original features an overdrive pedal steel guitar solo from this point on. Instead, you can use a regular guitar with a bottleneck and distortion, 665 3 e Mico ttoznblj veww tiziv sasolq 1otibdspemidotsd yd betil (Gt) : Pay this section with the same feel as you did in (B), only here it’s an octave higher. The position doesn't allow the use of the bottleneck, but where you have two notes together, you could use it just for the lower of the two. The same applies to o7 I© (GL): Here you'll need the bottleneck. The final D note (3/7) can also be played with the index finger. The sound should be clear, 68BH, moo.ttoznbl. www tiziv s26elq 10tibdopsmidote” yd betibS oaby Sey Pett Pt | THAT’S THE WAY THAT'S THE WAY GUITAR The combination of the drawn out acoustic guitar riff and the sound of the pedal steel guitar in the back is very impressive. We've shown the pedal steel guitar part as written for normal guitar plus bottleneck, Note that there are a number of places which require you to play with the other fingers of the left hand when you have the bottleneck on. Recorded} Step Lower Major c (Open G Tuning) [Bottteneck Play) + © (Gu): The main rif. For the second beat of the first bar, just move the same position along. 70 BASS The bass enters only towards the end and there are no difficulties for the bassist. Just watch your timing on the first beat of the bar and don't let the tempo slip. The bass line in this song needs to blend well with the other instruments. There's a long wait before the bass entry, and it’s important to feel that you're playing along with the guitarist while you're waiting 6moo.ttoenlal 1otibaspsmidotsd wf@s Sra ove gana let yur Hats hang — doen cl(Gt : The bottleneck is normally used by tell, but this section you can play by palling-off and sliding. There's no problem if the bottleneck is on the ring or the litle finger. © (Gt) : Here you have two notes at the same fret, so this calls for the bottleneck. The slides at 2/15 and 3/16 can be negotiated by straddling the bottleneck diagonally across both positions 72moo. floznlalj. www tiziv segolq 10tib-psmidotsd yd boti & o” vol ae cull s 2 > be vo! a cuvo| ey saw you stand “ing by the ri = = ver, and wan't tem tare tnt fled your eee, dad all the fish tht lay So oul vol oul out vo ou 9 (Ct) : This partis for normal guitar @1GL) = In the slide from 2/10 0 2/12, there's also the note B at 1/10, so keep the bottleneck above and away fiom the fist sting. 74 = .js moo.ftoenblj. www fiziv eeselq 19fibJepgmidoigd vid batiba Yor ter “dy 1 sav you Hoong eh - y Naw ~ exe, = cual a. (Gu) : Play as per normal guitar If you're using a bottleneck then play only the first string 75ee 7moo.stoenla. www fiziv seselq 1ofibaepsmidotsd yd betiba eb ° an) eo © oD sem Gy Tate Tey It'som— nr sta, ] Felons) cafone) Grit. GS Am? am? oc vo cual O(Gt) : An effective piece of cutting using only the second, third, and fourth strings. Play the 2/5 on the fourth beat with the ring finger and the 4/5 with the middle finger.Go Ant tat GC OO c 6 ¢ @¢¢ G&G D (Pere) Tambourine @1Gu) = The bottleneck can be used diagonally here. 78moo.ttoanlal. www tiziv s5914mo eA spsmieotsd yd boti Fade Out © (Gu) = Here again use the bottleneck @ (Ba): Glissando (3rd string) and slides diagonally to play 2/13 while siding at the with the ring finger. same time from 3/12 to 3/14. 79NOT DISASES VISIT by See Fn Rt Pe te Pt DE nw RSOT com )N-Y-AUR STOMP BRON-Y-AUR STOMP GUITAR ‘There are a lot of tempo changes in Bron-Y-Aur Stomp, and the different colours of the guitar sound play a very important role. The open tuning arpeggios should be played with a flat pick and plenty of attack. Practise the tempo change sections repeatedly until you can manage them smoothly. BASS A double bass style of playing which supports the vocal line is the main point in this song. If you're using an electric bass, Gare] F (Guitar in Open D Tuning and Capo up 3 frets-Open F Tuning) — Here, rArpegsio——, Tuning) soften the tone and slightly mute the sound thoughout. Try © find the setting which you feel comes closest to the doutiis bass sound DRUMS Mu It’s interesting to note how such a simple hi-hat and bass dru: ‘combination can create such a driving rhythm. You'll need % take a little extra care over the tempo changes where th ‘occur, and rehearse them as pattems. The hi-hat can be played with sticks, and the bass drum tuning should be set low. S eicu) : This section determines the tempo of the whole song, so practise it well. With GD the glissandos adding an extra nuance, the ) whole sound should be very smooth. wooyos 80 Tp{PMOWA TISIA Ssea|d “JOLIp: Aq Poles | Poeotsd yd betiba ginning, the 81 seds to maintain absolutely sure drummer ne timekeeping. : Right from the be @ (Dr) -edged cutting with an upright ey point is in the placing of the : Hard Llipick. The k ‘Hie (ees \q Pappy ‘accents. tu nnyFo ob Fab oF =—_ _ vo = ee = = = — Be db > 0 (Ba) : The bass line is very similar to the ‘vocal, melodious and smooth, © (Ct) = Here come the tempo changes which include 7/8 and 9/8, so you'll need ear and decisive cutting pattems. 82 tend ip) © (Ba) = Watch your timing with the bass drum here. Play cleatly to avoid errors.Na-ture ‘bout you and me. Wind whiscper in the trees,tell ing ap the F Ab Bb =e po change @(Dr) : During this multiple tem to the vocal and the other instruments and watch your hi-hat timing. section, listen carefully 83oe e Fab ob F Ae ab a sh see oe. + Be ve walk don a curteylane, FH be Singing a eomy_toer a call bs | 3 84ental wren abe) seselg 15tif8psmfiotsa yd B3tiba sy: ae Saas eS Cea SS == I EAA cs : “TE {=a a Sa = d = =< * ot Bi Fada EDF oF (Chorus) abet (Chorus se 85vo oe br. 7 t aha dr bob Gade hs SPR ot MEME & FoAbob ab abstoanlli.www tiziv sesel Jofibaopsmidotsd yd betiba Vo. = —Larpeegiog ou (Hand Clap (Shaker)vo| =—— b pay : ' | re a ee oe 7 “eres ery t eb ab F a ab 882nla www ti2®l sesolc aro Gin, Where aint pg ot Sep geo eens one, wR SLL ge Salhi one mn eyHATS OFF TO (ROY) HARPER Tillett by Carr es HATS OFF TO (ROY) HARPER GUITAR A bluesy bottleneck number in open C tuning. A solo guitar provides the only backing, so the main point is the breathing between guitar and vocals. Also, mind your pitch doesn’t start to wander because of the low tuning, ———————— Mropen © Toning) © (Gt) : This open tuned bottleneck pattem recurs frequently, Avoid any unnecessary sounds by cutting off excess vibration with the tips of the fingers you aren't using For ‘example, when playing with the litle finger, ‘mute with the ring fingerts yd botiba @ bps pee f geese vo, = zs —— = sistt so ma > are 5 cant cis ro tm | ce aw @(Gt) = Synchvonising with the vocal line and dynamics are the points to watch hereSS Reetenect vo a gs (ge SF a fees ee os.| {Bottleneck} —! © (Gt) : Use a single finger slide to produce a eeevo beste Pll satel on Gr Lroeetenech® 9 (Gx) : Youll get the right mood by playing @ (Gt) : By now the tension should have all three bars with a slight vibrato. It doesnt become quite slack Watch out for this matter if the pitch ‘slips alittle here; especially when bending. concentrate on the feeling. 94\ by fa btibagpsmldgtséyrbatjba teeny aobane nett, moo ttopablj wyw, tigiv 22691 pee bat re + Ti tht inte get tery nese my ky ay ot wl Hethy Ege my Baby —Asertteneck)—, vo) iT P = geese