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Up From The Skies Words and Music by Jimi Hendrix Bo FH C9 cid 9 G7 Bb gas Par 3s Fs Fass Psy Sara “EXP” segues into this song concerning a visiting extra-terrestrial and its queries regarding life on this planet, pro- viding some subtle tongue-in-cheek social commentary in the process. Meanwhile, a *jazzy" groove is laid down by a trio of Earth denizens: Mitch (with brushes in hand), Jimi (with wah-wah pedal at foot) and Noel. Note that the guitar accompaniment throughout the verses has been reduced to a chord-chart type of format. For greater ease of reading, youll need to refer to the chord diagrams in order to achieve the correct voicings. Incidentally, if these forms, with their numerical designations, are “alien” to you and you're curious as to their ori- gin, then check out your library for textbooks dealing with basic harmony. Some additional information may also be found in the player's notes for “if 6 Was 9.” (ce-Tae Down 2 Sep) Be Tane Dow HS: @-% @-» ib = Ab 0-3 O-w Sue 0-4 @ odes Rock) «142 I-TD) g» 4m : et Pooh PNT rah Vosat 1.1 just want talk, uh, t you, — Bass tet pee I peo Drums f homeo Copyright© 1968 by BELLA GODIVA MUSIG, INC, ‘This arrangement Copyright © 1995 by BELLA GODIVA MUSIC, INC. Al Rohs Gantaled and Adninstered by Don Wilms Muse Gop ne 8 ‘Al Rights Reserved» international Copyright Secured mT Bo FAT a A ®@ Anon Anan AAA An Ae Guitar 1 Yoel 1 won't ub, > you 86 harm, jest want 10 now a Bout your ice tives on Drums Ff MWA aT Bo 9 3 34 PUBAAPFRARER Guitar 1 Vocal 1 ead. some of you got your fam - ‘les living in Base ut us i PRP AOI oAAA TRA Vocst tall and” old ‘And some just — stay there and dost a way Gulu} Vocal Bass Dams Gaia 1 Vora! Drums vite 1 Drums Bo Whine = Per AARAR ARAKR Bo ee 2 Guitar Vocal : E cho pot Ga cao Do : b PAA AMRMhR TRAD i = i = Lk pee eb he me Drums 1 f¥i2a{7 7 on sitar 1 from vi = bra Hons and ech - ces long a - go? Drums "1 cio cis be i AOA! ARAN ADA ; | {| Voeat Drums Guta ane [AAA AA Vocal Drums Vora Gitar 1 Dams * Bridge ces T have lived here be-fore ping at ht every two mens ght Bi. °s ws Leyet 13 Bass Drums Vocal Girt Bess Drums Vor! 3 8 Voost Guitar Drums Voost Gitae 1 Drums a nce @ we ‘Spoken: Yeah, wel, Vocal Guitar Drums Vocal Gulu Bass Drums cp rmay-be, umm. eg ~ ® be ——<—<—<—<—. fuk aaa e ’ mB = x oo 9 Vora 1 candi T eanaig i, ba-by.— 1 just want ce isa Guitar ass Bo FIT B9 HIE Bo @ Amp) AMR, pany 3@> s| x Voest S - 3. So where do 1 purchasemy tick - et? Td ust like 10 have a ring = sido sea ass FT FE FHT 89 m7 Anh Ana ARAR ANIM focal Guitar! x eo want 19know a-bout the new Mother Ear, a Base Drums vitae 1 Voesl Drume Voeal Guiur Bass Drums 18 FT Necaran, FH Ge Ly * Guitar Soto Ncw) = * 1p ight Went tng wb Bro eos! Gaia Drum Voeal Drums Begin Siow Fade Vora! i Daums Voeal Gait Drums 20 ito. Lit ro) Spoken: IF my daddy could see_me now. je Ss Ls @ Lj oot eb La tee) o eH, ® Voost Gutar 1 Bass Poot [oes i Fade Out eb o 7 Vocal Guia Bass Drums Vocal Guitar Bass Drums Spanish Castle Magic ‘Words and Music by Jimi Hendrix ‘Many of vimi's compositions were written in key signatures not normally associated with rock music. This one, for instance, is in Ck minor, an apt choice, since it allows the main riffs lowest note, the flatted third, to be played on the open sixth and the open first and second strings to be used in conjunction with the C#7#9. ‘The chromatic progression is also fairly avant-garde for the rock idiom, but Hendrix always had a penchant for the unusual and strived to avoid blatant musical cliches. Examine any of his solos and you'll find at least one little twist or a variation on a familiar theme. Note that in “Spanish Castle Magic”’s guitar solo section there is an abun- dance of uncommonly bent notes, starting with a minor third bend from C$ to E in the first measure at beat 4. Jimi then does some novel double-stop bends, especially the last one. There's simply a wealth of ideas to glean from this solo, so learn it verbatim and then incorporate these “gems” into your lead breaks. => ob Daa O- O-w =D+ OB O-c O-m wk Intro ‘Moderate Rock J = 98 NC. cata, cH) “Pane ie sn by pm Gane ih ol Copyraht© 1968 by BELLA GODIVA MUSIC, INC. ‘Tis arangerent Copyright 6 1995 y BELLA GOBIVA MUSIC, INC Al lights Ganiroted and Atministered by Den Wiliams Muse Group re 22 ‘AI ightsResowedItematnal Gopyight Secures © cant) 5) Ca79) Bt Vooal 1. Wever-y far a- way. Gite 1 Bass Drums bs DSA. asic cHice Vocal uukesa-bout a half a day 1 get thee oo ma Guitar 1 Dans Vocs! Guitar Drums ae can No,it's notin Spin, Ne. bs Dsia. butall ie same, you know it's, as Nicer) Fhe a wf ‘Doubs by aoa ipo cesict groovy name, (exhale) NCA) tm) and the winds jus Flintauss NcKES) (CH) cats) Giw) | ojo Voeat ang on if you wants go, Here, t's aseab-ly groovy pase, it’s a, Guite 1 © cin 5) cre) Voost s,jst a lite Bit of, Sidjub, Span = isheast = Temag - rr iu Verse Piano tet BSFE abs sia cuss Vocal e a 2. The clouds ae real-ly ow, ang they 0-ver=flow with cotton can ~ dy, and battle grounds Gata Base Drums cavs909 Bsry bs bya i == Ce don't thinkyour time on mo Guitar Bass Drums Chorus casio Ne. tas NCUPHM) — RS ad things, just oat yourlitlemind a ~ round. — Gaius Dans ff Dea iby pia endo coe. as) Fm ec eins Vocal Guitar Drums Vocal Guier Bass Drums Voeal Gite 1 Base Drums (Gim) 7 2 ‘ep, real-lylet megroove, with, ub, aoe (ca) Spoken: Yeah, barby, here's some. © Guitar Soto NC(CH7E9) po Jist Te bit of Yeah, 0. K. tabe, 0. K. «e Span = ish ens = corns) tle mag 5 Voce! your ming, Guin Dams Vocal uit 1 ase Drums Voeal Guitar Drum “ge ain eb Chorus a Neri as Newrm «, crn Guin Drums «9 «cr im Vocal went to go, and it's bap = pening, ‘Thats, babe, listen! Gitar Drums © 5 irs) 5 cats) SSS SSS o sane Sey Jers iar Drums Outro 9) ccna) (CHI) NCES) (CHES) — Vocal Spansnh cas = te mag = ie. Hey, bacby! Tan’, sing this song, no. Gitar Bass Deus © ci» © cm © carts) Vocal Goton_ ba-by! 1s all inyourmind,. ba-by! Spoken: Little bitot daydream hereandthere. fat Guitar ase Drums ® «crn, © «a4 Vocal Guitar Drums ® (cr) © coin) Vow Guitar Bass Drums © rns © cH, © cm» Guitar 1 Bass Drums Begin Fade © ces) © «cr oral tf? zs, SAT PIT Guiue Bass Drums © crt © crn) Fanoa: BRE BR deme a ' gp P Nay po Guitar Bass Drums Wait Until Tomorrow Words and Music by Jimi Hendrix On the basis of his singular style of storytelling, both in lyric content and accompanying guitar parts, Hendrix could have been the Mark Twain of rock. For instance, note in measure 5 of the third verse that as he queries, “Do | see a silhouette . .." the guitar seemingly says, "Uh-oh" on beat 3 with the introduction of a G major chord against A in the bass. The use of pedal point is constant throughout the choruses. While Jimi plays figures based on the progression: | -5Ill (E and G major), Noel's part is centered around the tonic. During the first half of this chord cycle he repeat- edly plays “sliding sixths,” a favorite of Steve Cropper’s. This intervallic structure requires the second string to be muffled by the middle finger while itis simultaneously fretting the third string. The same technique is applicable to the playing of octaves, as in ‘Third Stone From The Sun” off of Are You Experienced? and other wide intervals. Throughout the verses Jimi uses a rather sophisticated concept involving harmonic extensions of the dominant Chord built on the fifth degree of a scale, in this case, the major scale. Since the verse modulates to A major, the Foot of the dominant is an E major triad (E G# B), and by placing a series of thirds above it results in an eleventh chord. Noting that other triads other than E major are within its superstructure of E G# B D FFA, it's possible to take them out of context as Hendrix does commencing with measure 2 of each verse. (8 1:Tae Bown 2p. Bas Tne Down 2 Sep, b @=D6 O=Gh O-a Q=5) O-a — O=Dk O- 36 waa F wpe Pen ea "Only base tonal represen by chard names due othe degree of honda omamentatons. Copyright © 1968 by BELLA GODIVA MUSIC, INC. “This arrangement Copyright ® 1895 by BELLA GODIVA MUSIC, INC. ‘All Rights Controled and Administ by Don Wilkame Muse Group Inc ‘All Rights Resarved Intemational Copyright Secured Guitar Drums Guiue Dems Bu side your gold -en at den, 1 wel,rm leaned BIL w guns your wall Vocal Guitar Bass Drums Gitar Bass Drums right’s the right we planned ‘a nin a-wayto- geth-cx, But now you're telLing. mes... Chorus E Voesl wthink we bet ter walt (think we better wait Guiur (iconic) Drums Guitar ass Drums Am Fay TI Gottomakesure i's right T thinkwebetter wait "alte Gitar 1 ass away prusn Drums Vocal Ul to-morrow, good-nign, Guitar 1 swine. Dame oes Guitar 1 Bass Drums Voett Gia Drums 2 Oh. Dobly Mac, how ean you hang me up this way? 00, fon the phone you said you wanted to Vocal Goitar 1 Drums Vora! Guia Drums bearing suange . words stwter from the mixed up mind of you. cothink we better wait. (Cink we bevter wait Spoten: And you keepin” Gute 1 away pecson Drums E Gwe. Vocal = tong. Gviar 1 Base Drums Vora! Got tomake sure W's un = il tosmor-rom, good nigh, oh, umm, hmm, Guitar wan Pa Bass Drums Spoken: Lev'sseeit Lean talk w thie gin a Itt bithee Gitar 1 Dams Vocal Guitar Guiart Drums 3. Dolly Mae, ai, oes! Bass Drums Vocal uit Bass Dams sil -hou ete your of some-bod - y pointing something from a ad-d3 just stot pooe me. Voeal vier Drums Gwus2_, (Chorus E Don't have walt (We don't have 10 wait Vocal vir Bass Drums not have been sight for - ev = er 00d night, (Wecdon'thave wo wait Jie] . ' cae: sor OO SL | DoT have to walt Don't have to wait We don't have © Gitar 1 id m7 oar We doa'thave 10 wait 2 4, Gatar Base Gua BONG Vout Guitar Drums 8 sig z _ om oe PT 2d Vocal Don'thave towaidon'thaveto wait Yeah! (Wedon't ave wait "tlt = mor - row. We don't have Guitar Daums Voost Guin Yoo! suse orm fiw We don'thave 19 wait Spoken: Iwon'tte 4 = round to-mor ~ row. E Gas Vocal (We don'thave 10 wait Guie 1 Drums Begin Fade = oa wtiid wood dd Vocal We don't have to wait Guitar Bass Drums 5 Gua, BONG , viiit Wid 3 Vocal Os, what amix = up. Spoken: Oh, you gota We don'thaveto wait “Wl. ~ mor - row) ui ase Drums 5 Gas Fade Out oes! Don'thive 10 (We don't have 10 Guts Bas Drums Voral Gui iar 2 Drums Ain’t No Telling Words and Music by Jimi Hendrix Beginning with the “call and response” opening, you'll note there is some marvelous interplay between the guitars in this song, especially during the bridge and the instrumental interlude that follows. Throughout the bridge, gui- tar { repeals an ostinato pattern consisting of the tonic and supertonic, Cl and Di, while guitar 2 “walks” with the bass. This is followed by what might be viewed as a brief modulation to the distant key of A major for the duration of a four measure contrapuntal instrumental interlude reminiscent of the bridge solo for “The Wind Cries Mary.” As in “Spanish Castle Magic,” (which was in C# minor) the use of the dominant seventh with the augmented ninth, Jim's favorite altered chord, gives this song a majoriminor ambiguity since the raised ninth is enharmonic to the minor third. e.1 &2:Twne Down 12Sep: Base Tne Down 12 ep O-8 @-ds O-G =a O=0 O=D) @-e 1. Well thee ¥ seus, fate -. Na tiope) >, Copyrighty © 1968 by BELLA GODIVA MUSIG, INC. ‘This arrangement Copyight © 1895 by BELLA GODIVA MUSIG, INC. Al Fights Contoted and Administered by Don Willams Music Group Inc. 54 ‘AI Rights Reserved International Copyright Secured Gaisr Gaitse2 Vocal Drums Bass Guitar Guiar2 Bass Drums Ff Phadeo Pa Ncw ep sin'tno tell = int be on by Ne. Vocal Guitar Guitar 2 Drums Verse cues ie MERE ane) E Badd FH FHaddo FE NCB) ‘must leave now, — but T realty hope ss oH te seeyou cuts = Ne. Well,now I Girt Guitar 2 Guitar Vocal Drums Guitar? Bass Drums Bridge The ee tee feel = it tere Spoken: Wel, my a eae such a sad mile vay. Vocal Guiur Gite 2 Vocal rams uit Guitae2 Dams div int So, ah, she's Jas uh, pow ise me goodbye, at Vocal sitar Gitar? Vocal Drums Bass Guitar Bass Dauns Neos) «bh Whispered: Sing. it, © Vocal Guitar Gitar 2 Daums Bass Voeal Guitar 1 Guitar 2 Drums Bm FFE faa? PE when you're gonna see me, “cause T Ncw) really hope that, ab, eH cans attr 2 Drums ost Guia. vit? Bass Drums alk int (ain't no “pout ‘Woan, oi Fa fades 4 yeah, tellin’, ba = Nee) ‘You krow what I'm Vooal Guia Guise 2 Drums Vora! Gulur Guin Dams carts talkin’ bout ‘a fa B Eade) FAFHadd9 F# NCB) C7 * Sip keto w etn ih Little Wing ‘Words and Music by Jimi Hendrix Jimi's protean imagination is evident in his unique chordal style, particularly in a ballad lke “Little Wing.” In this ‘context, his approach to the guitar is more like that of a pianist: Jimi breaks away from the confines of the dog- matic “rhythm or lead" method. His thumb frets the bass notes, functioning in almost the same manner as a key- boardist’s left hand, and the fingers of his fretting hand can be likened to a pianist’s right hand. Let's examine a few excerpts that demonstrate this piano style format and rediscover what Adrian Belew has called a “lost art.” On the first beat of measure 2, Jimi frets the root of the G major chord with his thumb, allowing it to be sustained as he follows up with the chord melody. Although the melody is within the third position form of G major, the com- plete chord is not fingered at any one time. Jimi usually plays dyads (double stops) and movement within these partial chords is oblique; that is one pitch is stationary. If you examine measure 6 you'll find extensive use of ‘oblique motion. Going to the second verse, an example of parallel motion can be found in measure 2, as the interval of a fourth is slid back and forth over a distance of a whole tone. This idea based on the major pentatonic scale also appears in the coda to “The Wind Cries Mary.” The unusual tonal quality of Jim's guitar is characteristic of the pickup combination known as the “out-of-phase” mode (see text for “One Rainy Wish"). The ethereal effect beginning with measure 6 is the result of playing through ‘ unit associated with organists, the rotating speaker cabinet or “Leslie.” Actually, its the speaker baffle that moves, creating slow or fast vibration on the principle of the Doppler effect. ir. 1 2 Tim Down 12Sep; Ba Tune Dow 12 Sep O-8 O-p O-0 O-a @-=8) O-as @- @-e O- O-5 Intro Slow Rock d = 67 NCE) @ (am) Vocal Glockenspie a : Peery Of Tw signa. ence 1 Sereag desting— 4 btrng 4 ting Har Guitar ight © 1968 by BELLA GODIVA MUSIC, INC. S “This arrangement Copyright© 1995 by BELLA GODIVA MUSIC, INC. [Al Rights Controled-and Administorod by Don Willams Music Group in. ‘Al Rights Reserved International Copyright Secured 63 em) a) om» am Vocal Glockenepiel Guitar Drums © rwe2Ge2 — Fusa Newco, o Vora! Glockenspi Guitar Drums Giockenspie Guitar 1 Dams Voeal Glockenspiel Guitar Drums DFE cam 6 ran ahs Verse NC(Em 1 Well, she's walkin TF a5 through he clows,. om @ ras Bass vita Giockenspl! Vocal Voeal Glockenspie vir Bass Drums am) o and, uh fair = @ asa) ‘That's all she ev-er thinks abou Verse Nem ° she comes tome, Giockenspisl —_-Voedl Gviar Dams Glockenspiel Gitar Drums em Vib tp ot only. (am co) am (en) oO Glockenspiel__ Vocal Guitar 1 Bass Drums Vocal Guitar? Gitar 1 Glockenspi Bass Drums © Asin Ga Psd cs bs Guitar Soto == ese Little Wing — af wistgnais, Vocal Gockenspiet Gwe 1 Gitar 2 Base Dams Ant sou, Bot Bb Fase Ds. Am FN rexdsuo1p TO TaD sumua Begin Fade Vocal ockenspiet Guitar Gite 2 Bass Drums Voeal Glockenspiet Gui Guitar 2 Dams file ba by Ne. Ne. Ent Fade Out Gui Bass Drums If 6 Was 9 Words and Music by Jimi Hendrix ‘One outstanding feature of this song is that during the verses Jimi doubles his vocal line with the guitar. This device was first used, but to a much lesser extent, in the guitar solo to “Manic Depression” irom Are You Experienced? There, it was done in unison instead of an octave below his voice, as found here. Moving along to the bridge, the format switches to chordal accompaniment and the song's momentum builds. Jimi’s penchant for lush, complex voicings is evident as he opts to use ninth chords for the first three chords int descending progression. From a theoretical standpoint, this form naturally ocours when harmonizing on the dom- inant or fifth degree of a major scale. For example, if we took the D major scale (D E F# GAB Cé) and began con- structing a chord on A, the fith degree, by superimposing intervals of a third (tertian harmony), our fist true chord ‘would be a major triad consisting of A, Cl and E. Continuing in the same manner will result in various harmonio extensions (7, 9, 11 and 13), but for our purposes we'll ust require the seventh, G, and then replace the third, C#, with the second, B, to form the ninth, Cn. 1 2 Tu Down 12851 Nase TneDown 12S O-4 @-a O-0 Oxeh ‘Moderately Fast J = 140, Halt-Time Feet NCES) Whispered: (Yeah. = ff wate, Copyrnt 10889 BELLA GODIVA MUSIC ING This arrangement Copyright © 1995 by BELLA GODIVA MUSIC, INC. ‘Al Rights Gentioled-ang Administered by Don Willams Music Group Inc. ‘Al Rights Reserved International Copyright Secures 73 Vora! uit Bass Drums Voeal Guiae Bass Drums 4 Whispered: (Yeah. Vecst mountains, Guiur Base Dams Bridge End Halt-Time eel Vora Whisperea(Well, al ~ righ.) Guitar Drums HallTime Feet @ FID F BONG. (© ive trough and, Gute Bass Duns ye. Tt Now fa Whispered: (Sing the song brovher) Gitar 1 Bass Drums bass Gite 1 Drums ASEES ight IF Ne. ‘oh, 1 don't mind. DS ES NC(DS) hip - ies bs Es Ncw) on, 1 Ds ES on" ps Es Nexos) mind, uh, Whisperea(Wel, News) ae End Hal-Time Feel Bridge DS ES _NCKDS) DS ES NCS) a Voost Guia Bass Dans Halt-Tiwe Feel oe Feo F B Vocal world to live dough and, uh, sitar ase Spoken: White collar on-ser-vatve fast-in! down the sect point’ their plavsie finger at me, ass “They'e hopin’ that soon my kind will drop andi, . Pm gona wave Vocal Guiar Bass Drums Vocal Gitar 2 Buss Dams End Half-Time Feel Guitar Soto 4 tog Vocal Gui Gute 2 Vocal Drums Bass Gait Guitar 2 Drums Voeal Guitar 1 Geir 2 Drums Bass Vocal Guitar 1 Guitar 2 ass Drums Voes! Gur Guitar 2 Vocal Guitar Guitar 2 Vocal Guitar Gutar2 oes! Drums Bass Guitar Gitar Bass Devs Bt News) ASIBBsu2 4 tong = ome nA. teeing Voral Guitar Guitar 2 Drums Bass Vocal Gaiur Gia 2 ass Dams Jost don fall on me Verse Half-Time Feet NCES, ‘you cant dress like Guiart Guias2 Guitar Guitar 2 Bass Drums 86 Drum Solo ‘99 ad Li rex Fess) Vora Gite 1 Gutar2 Vocal Guitar Guiar2 Baws Dram RLRRERLLRERRERE on Timing Em 7 sung 04 Tam TaD =a sung Vooal vite 2 Voeat Drums as ia Guitar Drums “Spoken: 4. Don't no-bod-y know what I'm all-in’ -bout? the one that's gon-ta have to die when i's Vocal live my ite Guitar 1 Guitar 2 zg 5 5 at fot Gultar Solo End Hale-Time Feel Vora Guitar Guitar? Bass Drums Fam ef Gaiur 1 Gute 2 Bass Drums BIS Eesast 9 Bsus lesing == Ing = 4 Sting =~ rng Guitar Guitar 2 rms Gutar2 Vocal rums Guitar 2 roms Est Susan wi eas i id est SS) nan a Li ef ng. EIB Guitar Guiar2 Bass Drums Vor Guiar Guar? Bass Dams Voost Guitar 1 vite 2 Voeat Drums Guin 1 Guiur2 Base Drums Fine Emp Vocal ju Guitar? Vocal Drums Bass Gaiuc 1 Guitse2 Drums Emap emt Ema Vooal Guiur Drums Fen? Emap) Enaj? Vocal Guitar Gite? Drums 7 Voeal Guiur Guitse2 Vocal Drums Bass Guin 1 Guitar Bass Drums Vocal Guitar 2 Guitar Duns You Got Me Floatin’ ‘Words and Music by Jimi Hendrix ‘The opening guitar figure is in “reverse” through manipulation of the tape as on “Are You Experienced?” from the first LP. Check out the accompanying notes to that song for a detailed account of this recording technique and optional methods of replicating the “backwards" effect. Jimi then shifts into “drive” with the funky main riff, resplendent with sharply attacked partial chords and muted strings. Note that all muting is done by the fretting hand versus the traditional palm mute. The most notable feature of this cut has to do with its novel instrumentation. An eight-string bass is used in this iece and is prominent in the interlude solo as it is played in counterpoint to the guitar. For those of you unfamil- jar to this type of bass, it is similar to the four string variety except for adjunct strings an octave higher to give the effect of a guitar doubling the bass part. ow OG Ow O-5) O-as @-D5 © O-0 O-m ‘ee. Intco Trdy J 95 Moderately Fast Rock d «130 Ne. bs CDSCC NG. cs Ne. SL wistigm ia, Backwards guia. t Copyright© 1968 by BELLA GODIVA MUSIC, INC. Tp srangament Copyrgn 1995 by BELLA GODIVA MUSIC, ING. All Rights Centroled and Aaministored by Don Willams Music Group Inc. ‘Al Rights Reserved International Copyright Secured 99 Guitar Guitar 1 oral Gite 2 Guitar Bass Drums 6 ope AL ~ ways up, cnc. Ne. bs you nev. er c pscas cs © psesas sme down, Verse cps ¢ Ne css ¢ Tre a - D CNC. D CNG csps thing you tm meen GSAS cS © Ne, cscs NC ral, csps Guitar 2 Guitr Drums Vocal Guitar? Guitar Bass Drums Chorus © RE CSNE. —CSDS CS DSS NG NCIC) @)_ NC. QO. Ne eee and 1 kissyou when 1 © OM NE © wore © One. oO W NG ‘Touch the ceiling, babe. Got me float - in’ = erdown, You got me float - 101 © M Ne Ow xe © DCNE CSDS C Gust NC — CSDS cD CNC GAs C Gast csDsC =D CNC GSAS CS Gas NC GSAS Vocal make me fleat sight on fo you. Ther'son-ly one thing {need to eal-ly get me there, Guitee2 Guitar Dauns Vocal Gitar? Gir Bass Drums Vocal Guitar? Guitar 1 Base cD CNG osas c pe hear you lugh with-out care. © © NE Got me got me eat in, o oat = in Ds cs NC. NG. or down. N © Chorus CO, © ©, Ne. 103 Interlude © OM _ NE QO w ne a7 Yoel ‘sitar 2 Guitar 1 Bass Dems *Occavia pda gnerats sional ich one octane higher (ext Lomeas) Vocal Guiar2 Guitar Bass Drums ek = aaa — sum 204 Zap TaD Sa sua T20q Zino Tm ung. zm TaD sung 106 Vora! jae? Goias Drums Bass Voeal Vocal Guin Chorus NCO ” © w Ne. {Gimme one more time, brother, ay it Voeal Gite 2 Dams Bas Guiur Vocal Vocal Gviar2 Guitar ass Drums © ” Ne. o “ Ne. © o Ne, See the sky? Vocal Guitar 2 Gite Vocal Drums Bass Geir? Guitar Bass Dame Verse eels — Gauss for you. Ne. ‘And when the 7 day it Ne sas cs © sleepy, Nc. red glow, — rm beads Gs As Vocal uae? Guitar Drums Vocal Guitar 2 Guitar Drums 110 Ne. Dc NC sas ¢ Outro ‘ATsast DS Owed Bb789 ATE Vora! Vocal Guitar 2 uit 1 Vocal Vocal Gitar 2 Gui 1 Vas ig tines 9 BbSIA, a” Ne. © ‘a ‘a Vocal Owe Guar Vo Drums Guit2 Gitar Bast Drums 112 Begin Fade 9 Als 49 An3 a9 BBSIA. Voett Guine2 Guitar Drums 49 Ne. a BBOIA a9 bier Guitar 2 Goiart Drums Vocal Guitar Gutar2 Drums Castles Made Of Sand Words and Music by Jimi Hendrix Whereas Jimi’s anthem to nonconformity, “If 6 Was 9," was vehemently subjective in its declarations, here he is ‘more or less a detached observer of life's ironies. There's even a certain pathos to the music itself which can be attributed to the fact that there are brief departures from the major mode to minor. The first voicing, GSadd 9 (also called Gsus2) has a rather bittersweet quality to it, being neither “fish nor fowi” (i.e. ‘major nor minor), and then Bt, the minor third, is introduced by virtue of the parallel movement of the opening chordal figure and its recapitulation at the song’s conclusion. Note also that the minor mode is inferred by the ‘entrance of a Be major chord in the last measures of the introduction. As in "You Got Me Floating,” there's that ubiquitous “backwards” guitar in the background, and @ itis also the solo instrument. Memorization of this song is a must for any guitar-siinging Hendrix devotee. Just ask Frank Marino of Mahogany Rush fame, an “honor student” of the Jimi Hendrix school of guitar. e.1 82:Tum Dow 12S: Bas Te Down 2S, O-5 @-n O-a =a O- O-a @-» @-0 O-a @-a Intro Freely J = 126 Copyright © 1968 BELLA GODIVA MUSIC, INC. “This erangement Copyight© 1896 by BELLA GODIVA MUSIC, INC ‘Al Righs Controled and AGministered by Don Wiliams sic Group Inc. 114 "AllRighis Reserved. Intemalinal Copyright Secured Slower J «92 Ne. nn (Gus2) (ant) (Fu) 5) Yoel Guin 1 Guitar Verse G NC @) © c¢ NC eH) © Pease SS 1. Downhe sieet you can hearer sccam,""You'e a dis ~ grace," a she oat i 3 tog ~ Guiae Guitar? Drums 415 Noam Em? Vocal Jn bis drunk-en face. — Guitar 1 Guitar 2 Bass Drums Ncw © Gua NBs) Gas Vocal ‘eigh-bore start 10 gos-sip and Gui Gutar2 Bass 116 Bs Nc«Am) Vora What happened to the sweet love you and med” Guin! Drums em a2) 3) @, NCO fist the door be leans and stars scene, andhis tars falland burn the gar - dem een. —_ Gatar 7 17 Voesl Guiur 1 Guitar 2 Voeat Drums Bass Guitar 1 Guia 2 Dass Drums 118 os Chorus NC(Ban) And so cases made of awa Neca) Gc NCE) wally, Vibrato G nteitety “burps na C ote, dst Sth sand oO 2A tittle (ann) (Fou) ws) In the sea, Foust In-di-an brave, who be-fore he was te, played Guitar Guitar 2 Bass Drums Vocal utar vite 2 rams ‘war games in the woods Bs NAC) be a feardess war-i-or with is In-@-an Gua In-di-an Chief stands. ‘And he built dream Ne. os that when Be giew up oma? 119 Fou AS Ncgas) ‘moons passed and: more the dream. grew strong un - tl 1 - mor-row he would sing his first Vocal Gauitr1 Guitar 2 Bass Drums En? New © Gaus2 ea Vous! Aghehisfist battle, bursome-thing went wrong. Sur = prise at-tuck. killed him in his sleep that night. Guitee 1 Guitar Drums 120 Gait Guitar 2 Voest Drums Guia utara Base Drums NC@ (amit) in-tothe se, Chorus NCBm7) o) (Gss2) © 124 Vocal Guiar 1 Guitar? Vocal Drums ass Gitar 1 Guitar 2 Bass Gitar Soto NeCAGm7) 122 o © @» o Voeal Gaia Guiter2 Vou Drums Guitar bass Dams Verse ‘was a young osu rippled for ite — and she coulda't speak a Gs News) cided to die sound. — And she Guitar uit? Vocal Drums Bass Guitar Guitar 2 Base Drs, Guus — her legs she site. Fs use She drew her wheel - chair to the edge But then & sight she'd never seen made er jump and sy, Vocal Guitar 1 Guitar 2 Voeat Drums Bass Guia | Gute? “Look, a Outro Freely J = 80 soKd-en winged ship is pass - ing Jost kept on 50-3. ay Spoken: And it real-ly “did-n't ‘And so cas = tes — Vooat vitae 1 Guitar 2 Base Drum Guitr Gitar 2 Bass Dame Amt) 126 NCweb) bs) o © News New ° © Slower J =72 as Gsus2 Fou Guus Bhsus? Gaus? Cour hsv? Gaus? Bhsus2Faus2Gsus sus? Gaus? Vocal Guitar Guitar 2 Drums Fade Out ous? Giusd Bbsus2Gsus? Cou? Bbsus?Deued Cons? Bbsus2Csu2 Gaus? Bhsus2Gsus? Fou? Gaus? Bbous? Csus? Dsus? Vocal Gite Guitar 2 Drums 127 One Rainy Wish Words and Music by Jimi Hendrix Another of Jim's "Honor Students,” Eric Johnson, cites this ade to a dream as one of his personal favorites. It's also near the top of my list, primarily for its aesthetic appeal, but it has a sufficient amount of radical Hendrixian harmonic and rhythmic concepts to warrant some lengthy academically-minded musings. To my knowledge, this was the first rock song to have the verse and chorus in different time signatures. Up ‘tl the last measure of the first verse it is in triple meter, 3/4 time, which is then replaced by the double meter, 4/4 time, of the chorus. The harmonies contain numerous jnatures, most notably by guitar 2 starting with the opening E6 chord and harmonization of the E major pentatonic scale (E Fé G# B C¥) in fourths, commencing with measure 6 to the exqui ite A major add 9 voicing in the second measure of the verse. The guitar also has a decidedly “nasal” quality to it, ue to the fact that the bridge and middle pickups were engaged simultaneously. This was before the advent of five-way pickup selectors on Stratocasters and Jimi attained this setting - erroneously dubbed by most as the “out- of-phase” mode - by first removing the spring from its precursor, the three-way switch. This setting is also ‘employed in “Castles Made Of Sand, “ “Wait Until Tomorrow” and “Ain't No Telling.” an. Tae Dow V2 Sep Bas Tne Down 12 Sep 0-8 @-v o- O=8) O-a5 O->) O@- O-a O-m Intro Free Time NC. 7 [gee £y $F p Po. ¥ 7 =o Voeal Guitar Copyright © 1968 by BELLA GODIVA MUSIC, ING. ‘This arrangement Copyright © 1885 by BELLA GODIVA MUSIC, INC. ‘nl ign Conroted and Aannisteredby Dn Witans Muse Grup I. 140 Intemational Copyright Secured All Rights Reserved Vocal Drums Base Gita Guiar2 Dams é g £ 4 = —= Verse ‘Moderately Slow Rock J = 80 « 1. Golden — rose, the color of the dream I had e pa chon sft simp eal 141 Voral Gite 1 Guitar? Vocal Drum Gutar1 Guitar 2 Bass Drums 142 A thor you were under the twee of song, Gite 2 Base Drums Vocal Guitar 1 Guier2 Bass Drums waiting mere cim im Vocal Gwin Guitar Vocal Drums Bass Guitar Guitar? Bass Drums Anbu you walked andya Vocal Guta Guitar? Drums Guar Gaivr2 Bass Dams ah,stole my heart om ALsight! Bol abe leo Ferree rye Vocal Gi Voeal Drums ass Gite 1 Gait 2 Drums Ncw) Verse ® the color of the dream 1 Ey ad cam Tm zmno chm TID =mmD Vorsl Guitar Guitar 2 Vora! Drums Bass Guitar Guitara Drums ctm PON TD TaD wea sunuc TCA TaD TaD Ta sama Ovtro 04 TaD TID 20, oT) zm ra ‘er Vocal Gite Guitar 2 g i a Vooat vitae 1 Guitr2 ase Vocal Guitar Guitar2 Vocal Drom bass Gui Guin Bass Drums tell some-tod-y Vocal Gir Guar 2 Bass Vocal Guar uit 2 Drums chm sky was filled witha thousand stars, ised the moun-tains blue. Voes! Guitar Guitar Vocal Drums Bass oi Gitar 2 154 Begin Fade “4 Voes! Guitar Guitar 2 Voost Drums Base Guitar Guitar2 Drums the col-or of the vel ~ vet walls, surrounds Fate Out Vocat Guitar 1 Drums Little Miss Lover ‘Words and Music by Jimi Hendrix Mitch Mitchel?s intro figure to “Little Miss Lover" exemplifies his uncanny knack for creating drum parts based on Hendrix's riffs. Other examples can be found in the introductions to “! Dor't Live Today” and “Voodoo Chile (Slight Return).” ‘Throughout the verses, Jimi’s guitar assumes the character of a percussion instrument, the result of using a wah- wah pedal in conjunction with muted strings. Going into the lead break he switches on his Octavia, playing a solo that practically covers the gamut of bends idiomatic to the rock and blues genre. Just in case you're a novice to String-bending, take heed and be sure to place all available digits behind the finger executing the bend for addi- tional leverage and support. Most bends are done with the ring finger of the fretting hand, so your index and mid- dle fingers will be the ones assisting in pushing a string up to the required pitch. (0.1 £2;TueDowe 19 Sip! Bass Ten Down 12 Sie O-n O-a O-a O- @-0 * Dosti octrestcoghout org may betel oueracting we of an ting ba or analy adel ove pel tie Si Si eae > Sie Siete fa ets iste IS alse, Copyright © 1968 by BELLA GODIVA MUSIC, INC. ris arrangement Copyright ©1995 by BELLA GODIVA MUS, INC. ‘Al Rights Gontoled and Administered by Don Willams Music Group Ine. 156 ‘Al Righis Reserved Intemational Copyright Secured Verse FS Fn Vocst 1. Lite Miss wreawihcie. Gitar Drums FHT rma FID AT ania Voce! Ihave you been in his world Gitar 1 Dams a7 ane Fe nF FIND. th, Uta fees Uke you. Would ya like to tag along? Guiur runs Cem? mm OPE F749 FAT Peo Vora really don'tneed any help litte gif. but think you can help me out an-y - way. Spoken: Aw, s¢~ sock it 10 me, sg Guitar 1 Bass Dams 158 cutart bas Drums Vocal Gitar 1 Dauns Verse FIT FAT Finn FIT i bective— Fn baby, Fenig a FI FIT ve bee Jockin’ for a soul that feels ang aT Fimo like you for some — Ne. Vocal Guitar Bass Drums Voeal Gui Dams 160 Fe thinkiessafe 10 say 9 NCwrHTED) eT F749 sigenals me 0 ere Interlude Vocal ‘Ab, yeah, Yasee me walk towards you ta Guitar Bass Drums Guitar Solo NCIAS) Vocal Talk you in-to an Ah, get in-to it nee SR 4, Girt Bas Drums 161 Vocal Guitar 1 Base Drums Voeal Guitar Bass Drums Chorus en Voeal well, now there's 50 much Yee F Vow liste Miss Guitar = Vike oniy Drums wi Voe-Fig. 12 tines FD FH FM Vooat ‘Spoken: But think we should stat, ah, yeh; think we should start. right now, ad Vou ip Vooal Guitar 1 Bass Drums outro Fp Fim Fis ring "Neue He Miss, t-te Mit, little Miss, little Miss Lov = er. = > > os —2=— 2g Giiter 2 Bass Drums Vocal Took st me with soul here little Miss Lor Gaiwe Guise 2 Rap Rea Bass Vora Guitar Guitar? Dams Ncwrto) Vooal ‘She makes evrything good, — ig Guitar Guitar uss Drums Guitars Gait? Guite 1 Vocal Drums Bold As Love Words and Music by Jimi Hendrix The flower of Jim's lyrical genius is in full bloom throughout Axis: Bold As Love, especially the tile cut, with its imagery ‘and personification of the colors. “Lyrica” is also an apt adjective for his guitar playing, whether it be the chordal coun- terpoint within the verses or the lead lines during the majestic outro solo. Examining the guitar solo from a theoretical standpoint will veal why it works in relationship to the chord progression and should help you in developing your own melodies. For example, the solo commences on the root of the A major chord in the form of a string bend, then it moves along to roots of the next two chords in the progression, E major and Ff minor. In the third and fifth measures he bends to Ct, which is the third of the A major triad (A Ct E), then releas- es it back to B, the fifth of the E major triad (E G# B). Following this section, Mitch plays a brief solo interlude wherein his drums are colored by ace engineer Eddie Kramer with a bit of studio magic known as fianging. Current state-of-the-art technology makes this effect available electron- ically, but when Axis: Bold As Love was produced it was done mechanically. This required manipulating the reel flange (projecting rim) to one of two tape decks running simultaneously, with the thumb and mixing the resulting signal. ‘The music of the majestic grand finale seems to take fight and “kiss the sky" on its new course of Ci major. Note that beginning with measure 11, Jimi uses arpeggios based on the Cf - Gt - Alm - B - BY progression, and fades out with tremolo picked partial chords. (1.283: Twne Down 12S Ba Tne Down 2S: O-% @-p O-c O-0 O.8 Ou Ob Ouw O-0 O-8 erate Stow Rock =70 " Nee z im) o Lan - get he smiles, towering in shin-y-me-tal- te pur-ple ar mour.- gy 2 ais a, Copytignt© 1988 by BELLA GODIVA MUSIC, ING. ‘This arrangement Copyright © 1995 by BELLA GODIVA MUSIC, INC. AI Pights Contig and Administered by Don Willams Msi Group no. 166 ‘AI Rights Reserved Intemational Copyright Secured i b Drums Gite 2 Guitar 1 oeat wo rc) im 2) cH 167 Gite Guitar 2 Guitar 3 Drom 168 Blue ae the “ lite giving wa om ters aking for grated, @ Dams Voeal Guitar Guitar 2 y 5 o turquoise w Fes lay opposite, read - ee em but won-der why ihe fight ison, So 169 Guitar 2 i é Bass Drums 170 Chorus Fim i & Guitar 3 Bass rus Ncw le haere Pim New 71 Vocal Guitar 2 i é 172 ” aap) ©, Fim oo @ oy om) “ 190K TaD TD om wea sumia 173 Verse NcyA © em » and ib-bors 174 “ ) etm Ds Ncicts) FST gel ee rede ee Vocal young, — full of daring, bat very un-stead'y fo the fst go round. — Gutart Goitar 2 Guitar 3 Bass rn 175 Vocal Guitar Guitar2 Gviar3 bas runs 176 o w My Yellow in this ease. is not 0 re-ow. em fect, Pmay © its fight -ened tke o w em Ba ot Vous! [And all ofthese © -mo-tins of mine keeps hong me from, ah, siving my tite you. But l'muh, vir uit? Gute 3 Buss 7 Chorus ‘* New Fim o Vocal = bene ~ Guitar3 Bass Drums Voos! Guitar 4 ltdig = Guitar 3 Bass Drums Vora Guitar Guitar 3 Drums Bass Vocal Guitar Guitae 3 Drums w © Spokerr He knows pag ev = oy-thing.- New) 179 Gitar Soto A E Fim a. Yeun! Aye : an FFs Fa pot fa, fat au) Guitar 3 Guitar Bass Vocal Drums Gitar 3 Guitar Daums NCO Ncw) G A E Voce! Guitar 3 Govier Buss Dams Fim cs Ncw) = Pte @ Vocal Guitar Vocal Drums Bass Guitar 3 vir Drums Slower J = 66 182 1g enmererennrnnnnennnes, Voeal Guitar 3 Guitar Bass Vocal Gitar 3 Gait Drums Tempo Bass Drum * Chord playe io Metowon (cry yb samper halle tapes lois} foreman a ne 4 Ge Atm B BE cps eames we EN, nf Aa Guitar 3 Base Drums a Gs Atm B By Gite 3 Bol ings Bass Drums 184 Guitae3 Drums Guitar 3 Bass Drums Guitar 3 Drm “Payee ote bar Atm 7 Mipsis en ae Sane on eae Em ra sums Ean a snag ERD =a sunaa Atm Guitar 3 Dans Guitar 3 Bass Dams Begin Fade Atm B BE ce ot Guitar 3 Drums Guitar 3 Drums Aim B BA Guitar 3 Bas, Drums Fede Ou ct Ge Adm B BF Guitar 3 “Tien poked say Bass Drums