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Fast

Cf m9
WORDS AND MUSIC BY STING
Just a cast - a - way,- an
A year
-
has passed since I
Walked out this morn - ine I
AmaJ?
ffi
3rd
Con 9va
-l:r
9
Flm
ffi
is - land
wrote my
don't be
lost
-
at
note
-
lieve what
here- but
on-. the
saw
me
shore
I
2
x
sea
I
stm.
a - nuz-zer lone
but X should have known
a hun-dred bil - lion
more lone
only hope can
seems like I'm not
no - one
start
washed up
than an - y
to - geth
a - lone
man
-
could bear
er
the
-t,rr9
ffi
ll:

A
O COPYRIGHT 1979 VIRGI.ry
V-U^S]Q.(EqB!Iq!ERS)
LTD., 95/99 LADBROKE GROVE, LONDON W11.
ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHTSECURED.
'
Amaj?
AmajT
Amaj? Flm
ffi
Amaj?
Amaj?
iy day,
-
this right from
bot - tles
-
- li - ness
keep me
-'
a-lone in being-
AmajT
53
Amat?
H
Con 8ve
To Coda Q
cf-
Amaio
ffi
Cf m9
ffi
loco
ffi
Res - cue
Lovg- can
me- be
mend- your
cast - a
fore- I
life
-
but
ways
-
fall
-
in
love
-
can
look - ing
to- des - pair
break your heart-
r
-
a home-
tr
I11 send- an S.- O.- S.- to the world- I'11 send- an S.- O.- S.- to th:
I hope- that some - one gets _ ffiy, I hope that some - one
,gets
-
ffiy,
I hope-that some - one gets- my- mes-sage in- a bot tle- ye:--
mes- sage
., ,t Con 8ve
$cona
a
bot tle
-
oh yeah.
Repeat to
fade
D.X. al.Coda
ffi
Con Sve
cfm
mes-sage m
-
Cf m9
ffi
loco
Amaj?
Amaj?
f-r
Con 8ve
55
MESSAGE
IN A BOTTLE
Words and Music by Sting
FigurelT-lntro, verse, pre-chorus, and chorus
Melding punk, reggae, R&B, 20th century modernism, and various divergent
forms of rock, The Police forged an arresting new sound for the coming decade as the sev-
enties drew to a close. Presaging the textural school, new wave, techno pop, and post-
punk
minimalism, the resourceful British trio brought some truly innovative musical tan-
gents to the contemporary scene. Though the majority of their output was more rhythmi-
cally-based than riff-oriented,
"Message in a Bottle," from 1979's Regatta De Blanc (liter'
altranslation:"white reggae"), is an exception, containing one of the most imaginative and
intriguing melodic riffs in rock and pop. With Stewart Copeland's unique rhythm feel,
Sting's inimitable vocal style, and Andy Summers'strikingly brave new guitar approach, it
is more than a message in a bottle-it is a blaring wake-up call for the eighties.
"Message in a Bottle" revolves around Summers'strange but compelling interval-
lic riff. Harnessing his background in
jazz
and 20th century composition, he came up with
one of the most exotic and immediately recognizable figures in rock history. The riff is
based on quintal harmony (chords built on fifth intervals). Quintal is derived from "quintas,"
meaning five in Latin. The four chord shapes in the rifl are arpeggiated forms of Cfsus2,
Asus2, Bsus2, and F#sus2, and each of these voicings is made of two consecutive fifths.
These stacked fifth chords give the riff its unusual, open, intervallic sound. lt is heard
throughout the song: in the intro, verses, and outro, and is harmonized with a second gui-
tar (Gtr. 2) playing a similar intervallic melody a third or fifth above. Two other notable riffs
include the driving, clean power-chord rhythm figure in the pre-chorus and the sustaining
Cfm to A progression of the chorus. Both were virtual prototypes for the minimalistic "new
wave" guitar approach of the early eighties.
Featured Guitars:
Gtr. 1 meas. 1-46
Slow Demos:
Gtr. 1 meas. 1-2
t3 r3 13
F# sus2
Fig. 11
Gtr. 1
(clean)
x
Verse
1 . Oh ! Just a cast aw&], an island
2. A year has passed since I
Gtr. 2: w/ Rhy. Fill 1, 1st time ,
(7 ll2 times)
C#(sus2) Asus2 Bsus2 F# sus2
lntro
FastRockJ
=I52
Gtr. 2: w/ Rhy. Fill 1, 2 times
C#(sus2) Asus2 Bsus2
Rhy.Fill 1
Gtr.2
(clean)
let ring throughout
Copyright @ 1979 Gordon M. Sumner
Published by Magnetic Publishing Ltd. (PRS)
Represented by Blue Turtle Music and Administered by Almo Music Corp. (ASCAP) in the U.S. and Canada
International Copyright Secured All Rights Reserved
51
lost at sea.
wrote mv note.
no one here but me.
start.
Another lone
I should have
ly day,
known this from the
oh.
More loneliness
Only hope can keep me
any man could bear.
together.
into despair,
love can break
oh.
heart.
Gtr. 2: w/ Rhy. FlIl 2
Rescue
Love can
Pre-Chorus
I'11 send
A5
an s.o.s.
I
life
the world
E5
before
your
fall
but
your
to
D5
/
,D^)
)1
52
I'll send an
Gtr. 3: w/ Fill 5, 3rd time
A5
to the world.
E5
I hope that
Gtr. 3: w/ Fiil 2, 2nd ttme
Ffs
some - one
_gets
m) .
Gtr. 3: w/ Fill 6. 3rd time
D5
mmDm
P.M.
To Coda
fi
F#s
I hope that some - one gets ffiy,
D5
I hope that some
F#s
one gets my
D5
ffN TTD ID ITD IT) ITD IT) D )
53
Chorus
message in a bottle, yeah.
Gtr. 3: w/ Fill 3, 2nd time
C#m A
Message in a bottle, yeah.
Whoa.
Gtr. 3: w/ Fill 1
A
/
{}
c#m
/
A
/
-
full
(8va) TAAAAI
54
Message in a bottle,
Yeah.
Gtr. 3: w/ Fill 4
Message in a bottle, yeah.
A
/
A
/
C#m A
//
cfm
I
c#m
/
/ --
)-------{}
e-..--{E}
-------
l ------ )
c---c
-------
r
^AAa^
t
l3l -----//
TAAA'IAAA'
P.H.
(8va)
,
1aF
-/
F-t
*
Notes in parenthesises indicate octave-above harp
harmonic. Use your pickhand index finger to engage
harmonic and pluck behind with your thumb.
55
G
@
3fr
DE
@
open RHYTHM SLASHES are written above the
staff. Strum chords in the rhythm indicated.
Use the chord diagrams found at the top of
the first page of the transcription for the
appropriate chord voicings, Round
noteheads indicate single notes.
THE MUSICAL STAFF shows pitches and
rhythms and is divided by bar lines into
measures. Pitches are named after the first
seven letters of the alphabet.
TABLATURE graphically
represents the
guitar fingerboard. Each horizontal line
represents a string, and each number
represents a fret.
HALF-STEP BEND: Strike the note and bend
up 112 step.
BEND AND RELEASE: Strike the note and
bend up as indicated, then release back to the
original note, 0nly the first note is struck.
4th string, 2nd fret
WHOLE-STEP BEND: Strike the note and
bend up one step.
Notes:
F5
FF
Strings:
HAMMER-0N: Strike the first (tower) note with
one finger, then sound the higher note (on the
same string) with another finger by fretting it
without picking.
TRILL: Very rapidly alternate between the
notes indicated by continuously hammering
on and pulling off.
PULL-OFF: Place both fingers 0n the notes
to be sounded. Strike the first note and
without picking, pull the finger off to sound
the second (lower) note.
TAPPING: Hammer ("tap") the fret indicated
with the pick-hand index or middle finger and
pull off to the note fretted by the fret hand.
PRE-BEND: Bend the note as indicated, then
strike it.
VIBRAT0: The string is vibrated by rapidly
bending and releasing the note with the
fretting hand.
LEGATO SLIDE: Strike the first note ano
then slide the same fret-hand finger up or
down to the second note. The second note
is not struck.
NATURAL HARMON|C: Strike the note white
the fret-hand lghtly touches the string
directly over the fret indicated.
PICK SCRAPE: The edge of the pick is
rubbed down (or up) the string, producing
a scratchy sound.
MUFFLED STBINGS: A percussive
sound is
produced
by laying the fret hand across the
string(s) without depressing, and striking them
with the pick hand.
PALM MUTING: The note is parlially muted
by the pick hand lighfly touching the
string(s) just
before the bridge.
TREMOL0 PICKING: The note is picked as
rapidly and continuously as possible.
VIBRATO BAR DIVE AND RETURN: Ihe
pitch of the note or chord is dropped a
specified number of steps (in rhythm) then
returned to the original pitch.
VIBRATO BAR SC00p: Depress the bar
just
before striking the note, then quickly
release the bar.
Guitar Notation
Legend
Guitar Music can be notated three different ways: on a musical staff, in
DA
tablature, and in rhythm slashes.
WIDE VIBRATO: The pitch is varied to a greater
degree by vibrating with the fretting hand
SHIFT SLIDE: Same as legato slide, except
the second note is struck.
PINCH HARM0NIC: The note is fretted
normally and a harmonic is produced
by adding
the edge of the thumb or the tip of the index
finger of the pick hand to the normal pick attack
RAKE: Drag the pick across the strings
indicated with a single motion.
VIBRATO BAR DIP: Strike the note and then
immediately drop a specified number of
steps, then release back to the original pitch
m4
r)
1st & 2nd strings open, open D chord
played together
GRACE NOTE BEND: Strike the note and bend up as
indicated. The first note does not take up any time.
SLIGHT (MICR0TONE)
BEND: Strike the
note and bend up 1/4 step.
-1t2 -1t2 -U2
VVV
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