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BMUS (HONS) POPULAR MUSIC

PERFORMANCE

LIVE PERFORMANCE
WORKSHOP

CHARTS PACK
SEMESTER 1A
2014

GUITAR
THE INSTITUTE OF CONTEMPORARY
MUSIC PERFORMANCE

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LPW Prep 1A

Semester 1A Unit 1

Objectives

To learn to play Boom, Boom by John Lee Hooker.

John Lee Hooker - Boom, Boom.

John Lee Hooker was born near Clarksdale, Mississippi in 1917 into a sharecropper family.
Hooker is recognised as one of the last links to the blues of the Deep South. He moved to
Detroit in the early 1940's and by 1948 had scored his first number-one jukebox hit and
million-seller, "Boogie Chillun." Other hits soon followed with "I'm In The Mood," "Crawling
Kingsnake," and "Boom Boom" among the biggest. During the 1950s and '60s, Vee Jay
Records released more than 100 of John Lee's songs.
Despite being illiterate Hooker was a prolific lyricist. Recording studios in the 1950s rarely
paid black musicians more than a pittance, so Hooker would spend the night wandering from
studio to studio, coming up with new songs (or variations) for each studio. Due to his
recording contract, he recorded these songs under obvious pseudonyms such as "John Lee
Booker", "Johnny Hooker", or "John Cooker." John Lee Hooker died in his sleep in San
Francisco June 21st 2001.

Performance notes.

Hooker created a fierce, rhythmic groove more in Delta Blues style rather than Chicago
Blues that decades later sounds timeless. Many of his songs feature extended one-chord
vamps. The lead guitarist featured on this track is Larry Veeder. Veeder and Buddy Guy, who
also worked with Hooker, influenced many of the guitar greats in the UK such as Eric Clapton
and Steve Howe (Yes).

Take note of the tone of the guitar around the time of this recording, 1962. The guitar is
driven hard but not with heavy distortion.

The lead guitar intro has been used again in the arrangement at the end of the ad-lib solo as
it uses some classic blues lines and helps to maintain the theme. This also gives a definite
cue to the vocalist for the last verse.

This arrangement is based on the original recording and also some of the keyboard parts
using triads from a version by The Animals. A slight crunch tone can be used to emulate the
Hammond B3 organ often used in recordings of this era.

This is a common blues chord vamp substituting for e.g. F7 (which is a dominant or V chord)
a Bb (I chord) and Cm (II chord).

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Practice log for Unit One Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar 1 Boom Boom. 15mins 155
Practice Guitar 2 Boom Boom. 15mins 155

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ICMP Degree Music Practice 1A ( Blues Unit 1 )
GUITAR ONE ( Lead )
158 BPM Swing 1/8th Notes
Boom,Boom. John Lee Hooker

Slightly distorted tone

slide
F

4 Bb


slide p.o.

8 F C

A F7

12 F

Vox in

16 Bb7


20 F7 C7



24 F7 To Coda
F7




27 F7

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Boom Boom Guitar 1


30B F7

Solos

33 Bb7

36 F7 C7


39 Bb7 F7 1.


Instrumental
42 2. F


slide

46 Bb

p.o.


slide

49 F C

D.S. al Coda
(play rpt)
52 F Vox in


Coda

F9
55



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ICMP Degree Music Practice 1A ( Blues Unit 1 )
GUITAR TWO
158 BPM Swing 1/8th notes
Boom,Boom. John Lee Hooker

Clean Rhythm tone. Guitar 2...........


F Bb Cm F


Gtr one lead in




4 F Bb Cm F Bb Eb Fm Bb

Gm

8 F Bb Cm F C F

C



12 F Bb Cm F A F Bb Cm F


Vox in

Light shuffle 2nd x at to end


16 F Bb Cm F Bb Eb Fm Bb

Gm

20 F Bb Cm F C F C


To Coda


24 F Bb Cm F F Bb Cm




27 F F Bb Cm F


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Boom Boom. Guitar 2

B

30 F7 Solos


34


Bb7 F7


38 1. 2.


C7 Bb7 F7 F7


F Bb Cm F F Bb Cm F Bb Eb Fm

43



Gm

48 F Bb Cm F C F


Bb


52 F Bb Cm F

C


Vox in
D.S. al Coda
(play rpt)

CODA
F9
55


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LPW Prep 1A

Semester 1A Unit 2

Objectives

To learn to play the Albert King song Born Under a Bad Sign

Albert King

Albert King was born April 25, 1923 he pursued an active playing career up until his death on
December 21, 1992. He was one of the most influential American blues guitarist and singers.
One of the "Three Kings of the Blues Guitar" (along with B.B. King and Freddie King), he
stood at least 6' 4", weighed in at least 260 lbs (118 kg) and was known as "The Velvet
Bulldozer".
He was born Albert Nelson on a cotton plantation in Indianola, Mississippi. During his
childhood he would sing at a family gospel group at a church. He began his professional
work as a musician with a group called In The Groove Boys, in Osceola, Arkansas. King also
briefly played drums for Jimmy Reed's band and on several early Reed recordings.
Influenced by Blues musicians Blind Lemon Jefferson and Lonnie Johnson.
King was a left-handed "upside-down/backwards" guitarist. He was left-handed, but usually
played right-handed guitars, flipped over, upside-down, so the low E string was on the
bottom. His preferred instrument was a Gibson Flying V, which he named "Lucy".

Performance notes.

This song has a really strong riff throughout and needs to be played with attitude but not too
much drive on the pre amp controls.
The original track was played detuned a semitone but this arrangement is in standard tuning
in D. This allows slight bends to be used on the low F, 1st fret E 6th string before returning to
the D, 5th fret A string.

The riff is played in unison with the Bass guitar so its important to lock in together on the
groove. A slight overdrive tone like a Tube Screamer suits this track.

The rhythm guitar plays a clean funk style rhythm to give a contemporary feel. This can be
varied as the song progresses.

A little extra drive would be required for the fills to allow them to cut through.

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Practice log for Unit Two Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for Born 15mins 91
Under a Bad Sign.
Practice Guitar part Two for Born 15mins 91
Under a Bad Sign.

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ICMP Degree Music Practice 1A ( Blues Unit 2 )

Guitar One Born Under a Bad Sign. Albert King

91 BPM Slight crunch tone. wr. William Bell, Booker T. Jones (1967)

Intro D9


mf

A Chorus
D9
4


8 A7 G7 D9


B Verse
D9
12

D9
16


To Coda


20 A7 G7 D9


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2 Bad Sign Guitar One

C Guitar solo


24 D9
Vocal in


28 A7 Bb7 A7 Ab7 G7 Gb7 G7 G#7 A7 Bb7 A7 Ab7

D.S. al Coda

31 G7


D9

no repeat.

Coda

D9
34
D9



38 A7 Bb7 A7 Ab7 G7

Gb7 G7 G#7



40 A7 Bb7 A7 Ab7 G7


Rall......................

D9



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ICMP Degree Music Practice 1A ( Blues Unit 2 )

Guitar Two
Born Under a Bad Sign. Albert King
91 BPM
Guitar Two


P.O.


B.U.


Blues tone. B.U.



( Intro guitar one )



mf D9

A Verse


D9


7

D9 F#7 G7 G#7 A7


9

D9 ad lib blues fills


G7

B Verses


12 D9


simile


16

D9 D9 F#7 G7 G#7


To Coda



20 A7 D9 ad libs fills D9
G7


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2 Born Under a Bad Sign Guitar Two

C Ad lib Solo
D9

24 Vocal in
D9

Bb7
A7 Ab7 G7
A7


Gb7 G7 G#7


28

Bb7 A7 Ab7 G7
A7
30

D.S. al Coda


32 D9 Ad lib fills no repeat

D9 Blues fills
Coda



34
D9 Blues fills


38 A7 Bb7 A7 Ab7 G7

Gb7 G7 G#7


D9

40 A7 Bb7 A7 Ab7 G7


Rall......................



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LPW Prep

Semester 1A Unit 3

Objectives

To learn to play Cold Shot by Stevie Ray Vaughan

Stevie Ray Vaughan

Stephen "Stevie" Ray was born in Dallas, Texas October 3, 1954 and was one of the world's
most influential electric blues guitarists. In 2003, Rolling Stone magazine ranked Stevie Ray
Vaughan #7 in their list of the 100 Greatest Guitarists of All Time. He was the younger
brother of Jimmie Vaughan whom he played and recorded with.
Cold Shot was from the S.R.V. and Double Trouble album Couldn`t Stand The Weather.
The title track featured the funkier side of his playing while the instrumental tour de force
Scuttle Buttin is a real stand out track too.
Much has been written about Stevie but for a taste of what he could do on the guitar check
out the DVD `Live At The El Mocambo'.
He was tragically killed in a helicopter crash after leaving a concert playing with Eric Clapton
on August 27, 1990.

Performance notes.

This song features two distinct SRV sounds. The crunch tone of his Stratocaster in the out
of phase position. In between Neck and Middle pick-ups sounds good on a Strat type guitar.
You will also hear the rhythmic scrapes on the up strokes across muted strings.
Stevie Ray used extremely heavy strings, with the low E often from Bass guitar light G
sometimes 0.074! His usual gauges were 0.013, 0.015, 0.019 (unwound), 0.028, 0.038, and
0.058. However with attention to tone and amp controls a convincing sound can be achieved
with regular light strings.

Stevie Ray also played really hard digging into the guitar to create the drive into the pre amp
so take this into consideration when playing the parts. Thats not to say he couldnt be subtle
too. There is some sublime playing on tracks like Lenny.

For Guitar One, this is an ideal chance to think about building a solo as its in two sections.
There are also ad-lib slides over muted strings and scrapes that you can add as you see fit.

Guitar Two is adding some support to the main riffs and also provides solid rhythm guitar
underneath the solo.

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Practice log for Unit Three Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for Cold 15mins 114
Shot
Practice Guitar part Two for Cold 15mins 114
Shot

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ICMP Degree Music Practice 1A ( Blues Unit 3 )
Guitar One

114 BPM Shuffle Feel


Cold Shot Stevie Ray Vaughan
wr. W.C. Clark, Mike Kindred (1984)
D6/A Am D6/A Am
Rake muted strings on up strokes Am

Am





4 Am


Simile




Simile

A

Verse



8 Am Am


sim


mf


Dm



13
Am Am

Am Dm





17 Dm


21 Dm 3 3 3

E7#9 8va

Am

Am 1.


23
Simile

mf

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2 Cold Shot Guitar One

B 2.


Am Solo ad lib.


Am Am


25
Dm Am


29
Dm E7#9 Am

C Second Solo


34
Am Dm


39
Am Em


43
Dm Am

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Cold Shot Guitar One 3

D Last Verse

D6 D6

46 Am Am7


D6
50 Am7

Am7



54 Dm Am

3



58 Dm 8va 3 3 3
E7#9

3x's
61 Am

E 3 3
E7#9 E7#9

65 3 3 3 3 3 3



8va 8va


3

67 3 3 3 Am7 A9


Drums fill slight rall.. Cue Ending

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ICMP Degree Music Practice 1A ( Blues Unit 3 )

Guitar Two
Cold Shot Stevie Ray Vaughan
114 BPM Shuffle Feel
wr. W.C. Clark, Mike Kindred (1967)


Gtr One pick up

4

Bass & Drums in

Am

Am7

8
A Verse f


Am7


mf


12
Am

16 Dm7 G/D F/D



Am


3

20 Dm7 G/D F/D 3 3 3

E7#9

23 1.

Am7

B27 2.


Am Guitar One Solos Rhythm Sim.

mf


32
Dm


37
Am Dm

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2 Cold Shot Guitar Two
Second Solo
C

41
E7#9 Am Am


46
Dm Am


51
Em Dm Am

Last Verse
D Am D D

Am7


55

D

60 Am7 Am7


64 Dm7 G/D F/D



Am


3



68 Dm7 G/D F/D 3 3 3

E7#9


71
3x's

Am7

E 3 3

3 3 3 3 3 3


E7#9 E7#9 8va



3 3



3 3 Am7 A9


Drums fill slight rall..

Cue Ending

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LPW Prep

Semester 1A Unit 4

Objectives

To learn to play the Cream version of Sitting On Top Of The World

Eric Clapton.

Eric Patrick Clapton was born on 30 March 1945 in Ripley, Surrey, England.
Clapton started playing guitar at 14, he was self taught and inspired by players like Chuck
Berry and Buddy Holly.

At Art College he was introduced to Blues players like Big Bill Broonzy and Muddy Waters.
His playing is still faithful to the Blues and he has made several acoustic recordings too,
notably of Robert Johnsons songs.
His early playing was in bands like the Yardbirds 1963 to 1965 when he joined John Mayals
Bluesbreakers. (The Clapton is God era)

After leaving the Bluesbreakers in July 1966, Eric teamed up with Jack Bruce and Ginger
Baker to form Cream. Extensive touring in the U.S. and three albums, Fresh Cream, Disraeli
Gears, and Wheels of Fire - brought the band worldwide acclaim. While a member of Cream,
he cemented his reputation as rocks premier guitarist and was elevated to superstar status.
Although Cream was together for only two years, they are considered one of the most
influential rock groups of the modern era.

Performance notes.

This song was written by the blues legend Howling Wolf. Eric Claptons playing on this live
recording features some really great soloing and creative turn-arounds. The solo at the
introduction features some tricky timing so feel free to take ideas from it rather than try to
play it note for note.

This is Blues so its important not to sound as though youre reading the solo. This would
no doubt have been played on an SG-shaped early 60s Les Paul so his tone is a little fatter
than his later Stratocaster Blackie recordings.

Cream would play the blues almost free form and explore the virtuosity of the performers.
This was common in the late 60s psychedelic era of free love and flower power, however
its important to not let things get out of control by over playing. Think about how to react to
the other players in the band.

The rhythm guitar can vary the 12/8 pattern throughout the piece to give light and shade as
required. A light crunch tone can be very effective in this style.

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Practice log for Unit Four Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for Sitting 15mins 56
on Top of the World
Practice Guitar part Two for 15mins 56
Sitting on Top of the World

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ICMP Degree Music Practice ( Blues Unit 4 )

Sitting On Top of The World.


Guitar One
Howlin Wolf



wr. W. Vinson, L. Chatman (1930)

56 BPM


B.U.

Overdrive


f




B.U.
3


B.U.

6
2




B.U.


B.U.


4


3

2
3




B.U. B.U.



5 6




B.U. B.U.
7


9 B.U.




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2
Sitting On The Top Of The World - Guitar One

A Vox 1X, Gtr solo 2X & 3X


G7

11
C7

G7

15 D7

3

Vox 1X, Gtr solo 2X, Vox 3X.


B


18
G7 C7 G7 D7 G7

ad lib fills



22
C7 G7 D7


12
G7
C7


26
C7 G7 D7

ad lib fills
3

3 Gtr fill..drum cues


C9 G#7
G7 G7
G7


29

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ICMP Degree Music Practice ( Blues Unit 4 )

Guitar Two Rhythm


Sitting On Top of The World. Howlin Wolf

G7 wr. W. Vinson, L. Chatman (1930)


56 BPM


Light Distortion

C9

4

G7

6 D7

G7 C9

3

8

Vox 1X, Gtr Solo 2X & 3X


G7 C9 C#9 D9 A

G7

10

G9 G#9 A9Bb9 B9 C9

12

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2
Sitting On Top Guitar Two
G7

14

3

16

D7

G7 C9 G7 C9 C#9 D9

18

Vox 1X, Gtr Solo 2X, Vox 3X


B
G7


20
C7

3


24

G7 D7

1.2.
G7 C9 G7 C9 C#9 D9

27

Guitar Fill...drum cues


3.


G7 C9 G7 G#7 G7


29



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LPW Prep

Semester 1A Unit 5

Objectives

To learn to play the Al Green song Lets Stay Together

Al Green

Albert Greene was born April 13, 1946 in Forrest City, Arkansas. Better known as Al Green,
the son of a sharecropper, he started performing at age nine in a Forrest City quartet called
the Greene Brothers. He dropped the final "e" from his last name years later as a solo artist.

The Greene Brothers toured extensively in the mid-1950s in the South until the family moved
to Grand Rapids, Michigan, where they began to tour around Michigan. His father later
kicked him out of the group because he was caught listening to Jackie Wilson.

Lets Stay Together was released in 1972 and is one of his best-known songs. This track
features the Hodges brothers, Teenie Hodges on guitar, Charles on Organ and Leroy on
Bass, who were known as the Hi Rhythm Section, and The Memphis Horns. This line up
played on numerous Al Green hit recording sessions.

Performance notes.

The rhythm section provides a smooth groove for the vocalist to work with.

The guitars normally use clean tones in this genre.

Guitar One. A Chorus pedal can add a nice Fender Rhodes (Electric Piano) feel to the
rhythm guitar part. Pick and fingers works well when playing arpeggio style as a keyboard
player would do. The single notes written below the chord symbols on the introduction
(Guitar One) represent the top note of each chord voicing.

Guitar Two features some rhythmic octave lines to mimic the brass on the track and this
guitar can use R&B style fills. Using a clean tone and the neck pick up would give you a
warm tone for the single note lines and octave passages.

Ad-lib fills are normally pentatonic phrases based around the chord shape being played.
During the chorus sections the rhythm requires some tight 1/16 note grooves.

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Practice log for Unit Five Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for 15mins 103
Lets Stay Together.
Practice Guitar part Two for 15mins 103
Lets Stay Together.

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ICMP Degree Music Practice ( Soul Unit 5 )
Guitar One
Lets Stay Together
wr. A. Green, W.Mitchell, A. Jackson Jr
103 BPM Clean Tone
Al Green


Gm9 Gm7 Gm9 Gm7

Am7 Am7 Am7 C



mf

Verse
A

5
F Arpeggiate Chords Dm9

p


9
Bbmaj7 Bbmaj7 Dbmaj7


13 Dm9


Am7 Gm7 F Em Dm9


17


Am7 Gm7 F Am Dm9

B Chorus


21 Gm9 Am7

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2
Lets Stay Together Guitar One


To Coda


Bbmaj7

Am7 Dm7

C


25
Gm7


29
Gm9 Abmaj7 Gm9

D.S. al Coda
no repeat.


Bbmaj7

Am7 Dm7

C


33
Abmaj7 Abmaj7


CODA


37 Bbmaj7 Am7

Dm7

C

Gm9 Am7


Bbmaj7

Am7 Dm7

C


43
Gm7


Fmaj9

47 Bbmaj7 Dm7


Am7 Bb/C



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ICMP Degree Music Practice ( Soul Unit 5 )

Guitar Two Lets Stay Together


103 BPM Clean tone Al Green
wr. A. Green, W.Mitchell, A. Jackson Jr


Gm9

Octaves Am7

Gm7

Am7



mf

3 Gm9
Am7

Gm7

C


A Verse

5


Light fills Dm9


F

Bbmaj7

9

slide
Bbmaj7 Dbmaj7

13


Am7


Gm7 F Em Dm9 Dm9

17


Am7 Gm7 F Am Dm9

Chorus
B Gm9

21


simile Am7

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2 Lets Stay Together Guitar Two

To Coda

Bbmaj7 Dm7

Am7 C


25
Gm7


Abmaj7

Gm9
29


Gm9

Abmaj7
32


D.S. al Coda


no repeat



35 Bbmaj7 Am7 Dm7 C


octaves

CODA
Bbmaj7 Dm7

37 Am7 C


mf


39

Gm9


Am7

Bbmaj7
Am7 Dm7 C

43


Gm7

octaves


47 Bbmaj7
Am7

Dm7

Bb/C

Fmaj7

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LPW Prep

Semester 1A Unit 6

Objectives

To learn to play Id Rather Go Blind by Etta James

Etta James

"I'd Rather Go Blind" (Bill Foster/Ellington Jordan) was from the album Tell Mama released
in 1968. The album marked the continued deviation by James from her early mainstream
R&B recordings toward traditional blues and soul.
The album was recorded over several sessions in the famous FAME Studios in Muscle
Shoals, Alabama. The album marked an upsurge in James' career. "I'd Rather Go Blind,"
was a B-side to the albums title track but it became one of James' signature songs.
The Muscle Shoals Rhythm Section, also known as The Swampers, were based in the
Alabama town of Muscle Shoals. Some of their members included Jimmy Johnson (guitar),
Roger Hawkins (drums), David Hood (bass), and Barry Beckett (keyboards).
Formed in 1967, the group originally worked at the FAME Studios in Muscle Shoals. In 1969,
they left Fame and started the Muscle Shoals Sound Studio.
Possibly the most well-known of all the 'groups' made up of session musicians, and certainly
one of the most respected among musicians, the Muscle Shoals Rhythm Section were
inducted into the Alabama Hall of Fame in 1995 for a "Lifework Award for Non-Performing
Achievement."

Performance notes.

Although the song is quite sparse in its instrumentation attention should be made to the
quality of tone in the parts played and the use of dynamics to help inspire the vocal
performance.

Guitar One plays mostly single note lines. These sound best played close to the bridge to
create the right tone. The harmony lines need to be played smoothly so pick and fingers
work well.

The rhythm part (Guitar Two) is a common 12/8 groove, which can be varied, but there
should be a clear definition between verse and chorus. Beats 2 and 4 in the bar were often
accented in this style. A chorus or Lesley effect pedal can add a nice keyboard vibe to the
part.

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Practice log for Unit Six Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for 15mins 103
Id Rather Go Blind
Practice Guitar part Two for 15mins 103
Id Rather Go Blind

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ICMP Degree Music Practice ( Soul Unit 6 )

103 BPM I'd Rather Go Blind Etta James


wr. E. Jordan, B. Foster (1968)


Guitar One Clean tone/vibrato
A Bm7

Bm7
4


A



A Verse


6
Bm7

A A


p


10 Bm7 A

A

B Chorus
A
14


A

Bm7



mf

Verse
18 C
light ad lib fills

A Bm7 A




D Chorus

A
22


Bm7 A



f


Bm7 Bm7
Bm7/E Aadd9

26



Rall........

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ICMP Degree Music Practice ( Soul Unit 6 )

56 BPM I'd Rather Go Blind Etta James

A
Guitar Two Chorus/Lesley FX

wr. A. Green, W.Mitchell, A. Jackson Jr



(gtr one)




3 Bm7

simile


A

5 A

A simile



Verse

Bm7

7 A

B Chorus


10 A


Bm7

simile




12 A

Verse
14 C

A


Bm7 Bm7

simile


Chorus
D


17

A A

Bm7 simile

19 A

Bm7

Bm7/E

Aadd9

Bm7

22


Rall........
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LPW Prep

Semester 1A Unit 7

Objectives

To learn to play For once in My Life by Stevie Wonder.

Stevie Wonder.

Stevie Wonder was born Stevland Hardaway Judkins on May 13, 1950. He has been blind
since birth. He signed with Motown Records at the of age 11, and continues to perform and
record for the label to this day. He has nine U.S. number-one hits to his name and album
sales totalling more than 100 million units.

A multi-instrumentalist, Stevie Wonder plays the drums, percussion, bass guitar, organ,
harmonica and keyboards on many of his recordings. He also writes and produces songs for
many other artists as well.

This track features a group of studio musicians, collectively known as "The Funk Brothers".
Among the studio musicians responsible for the "Motown Sound" were guitarists Joe
Messina, Robert White. Stevie Wonder also used ace rhythm guitarist Ray Parker on many
of his sessions.

Performance notes.

Guitar One plays the main rhythm grooves including the staccato chord intro reminiscent of
the Jackson Fives hit I Want You Back. Its a classic Telecaster through a small Fender
amplifier combination. Check out the track a few times to hear the rhythm guitar before
playing through the chart.

Guitar Two plays single note lines on the intro and spread chords on the verses. Adding
vibrato (similar to that in a Fender valve amp) will give an authentic tone variation to second
guitar part. Also using the neck pick up will give a contrast in tone to Guitar One.

ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 37
Practice log for Unit Six Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for 15mins 103
Id Rather Go Blind
Practice Guitar part Two for 15mins 103
Id Rather Go Blind

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ICMP Degree Music Practice ( Soul Unit 7 )

Guitar One
For Once in My Life
109 BPM Clean Strat tone. Ronald Miller/Orlando Murden


F (1967)
Intro


Simile


mf
A
5

F F

F+ Simile


Verse


8 F6 F#dim Gm D+ Gm7 D7+


11 Gm Gm/maj7 Gm7 C7 F C+ F


15 F

F+ Bbmaj7 Bb6


19 Bb Dm7 C F C


Am7 Dm7 Gm7 Am7

B Verse


23

F F+ Simile F6 F#dim Gm C7


27 Gm Gm/maj7 Gm7 C7 Fmaj7 F6 Cm7 Cm7/F


31 F
Bbmaj7 F+ G7



35

Abmaj7 Dbmaj7


F Dm7 Gm7 Csus F Eb C13b9

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For Once in My Life Guitar One page 2
2


39

E Amaj7 Dmaj7


F# C#13b9

C Ad lib Solo



41

F# F#+ Simile F#6 Gdim G#m D#+ G#m7 D#+

G#m G#m/maj7

45 G#m7 C#7 F# C#+ F#



49 F#

F#+ Bmaj7 B6

A#m7
D#m7


53 Bmaj7 C F# C#
D#m7 G#m7 A#m7

D Verse 3


57

F# F#+ Simile F#6 Gdim G#m C#7

G#m G#m/maj7

61 G#m7 C#7 F# F#6 C#m7 C#m7/F#


65 F# F#+ Bmaj7 G#7

F#

69

D#m7 G#m7 C#7sus F# E Amaj7 Dmaj7 C#13b9


F#

73
Amaj7 Dmaj7

Amaj7 Dmaj7


F# E C#13b9 F# E C#13b9

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ICMP Degree Music Practice ( Soul Unit 7 )

Guitar Two
For Once in My Life
109 BPM Clean tone light tremelo. Ronald Miller/Orlando Murden

Intro
F
gtr one Gtr Two




mf
Spread chord with light vibrato on
A

5 F+

Verse

F

8

F6

F#dim

Gm7

D+ Gm7

D+

11 Gm

Gmin/maj7

Gm7

C7 C+


F F

15 F F+ Bbmaj7


Bb6

Bbmaj7 Dm7 C
F C

Gm7 Am7

19 Am

Am7

Dm



Verse
simile


23 F F+ F6 Cdim Gm C7


27 Gm Gm/maj7 Gm7 C7 Fmaj7 F6 Cm7 Cm7/F

BF

31 F+ Bbmaj7 G7


Dbmaj7 C13b9

Eb Abmaj7


35 F
F

Dm7

Gm7

C

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For Once in My Life Guitar 2 Page 2
2

Dmaj7 C#13b9

39 F# E Amaj7

C Ad lib Solo
F#

41 F#+ F#6 Gdim G#m D#+ G#m D#+

G#m G#m/maj7

45 G#m7 C#7 F# C#+ F#

F#

49 F#+ Bmaj7 B6




D#m7 CF#

C#
A#m7
Bmaj7


53
G#m7

D#m7 A#m7

D Verse Chord spreads

F#

57 F#+ F#6 Gdim G#m C#7

G#m G#m/maj7

61 G#m7 C#7 F# F#6 C#m7 C#m7/F#

F#

65 F#+ Simile Bmaj7 G#7


Dmaj7 C#13b9

E Amaj7


69 F#
F# D#m7 G#m7 C#7sus4


F#


Dmaj7 C#13b9 Dmaj7 C#13b9
73 F# E Amaj7 F# E Amaj7


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LPW Prep

Semester 1A Unit 8

Objectives

To learn to play Sweet love by Anita Baker.

Anita baker.

Anita Baker was born on January 26, 1958 and raised in Detroit, Michigan. She began
singing in a Baptist church choir at the age of 12. Years later, at the age of 16 and while part
of the band Humanity, Baker was approached by bass player David Washington of Chapter 8
to audition for the group.

In 1983, Baker released her debut album The Songstress. This album was a moderate
success, which paved the way for a host of bigger things to come.

Sweet Love was taken from the 1986 album Rapture that featured some of the top L.A.
session musicians. The guitarist on the album was Gregg Moore. The style is typical of the
smooth Jazz flavoured R&B, reminiscent of Luther Vandross.

Performance notes.

The whole track has the sophisticated L.A. sound so you will be looking for rich tones from
your guitar.

Guitar One plays the main rhythm based on the piano part and would suit fingerstyle playing
on the intro and verses. The chorus section has a more staccato feel and would benefit from
a little chorus effect for a smooth sound.

Guitar Two plays single note lines based on some of the piano lines and fills. These feature
common R&B sounds, like fourth interval soul slides using a warm tone, try this out using
the neck pick up. During the chorus an octave groove helps to accentuate the 1/8th note
pulse.

In general this song has a sophisticated jazzy vibe about it.

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Practice log for Unit Eight Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for 15mins 88
Sweet love
Practice Guitar part Two for 15mins 88
Sweet love

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ICMP Degree Music Practice ( Soul unit 8 ) ANITA BAKER/LEWIS JOHNSON/GARY BLAS
(1986)
Guitar 1 Sweet Love
88 BPM Warm tone with light Chorus


1.


Bbmaj9 Gbmaj9 Bbm7/Eb Gb/Ab Eb/F





mf
A

2.


5

Gb/Ab

Eb/F Bbmaj7 Ebm7 Gbmaj7

p Verse

Light spreads To Coda


9 Gb/Ab
Ab/Bb
Fm7 Gb/Ab Eb/F Bbmaj7 Ebm7 Gbmaj7

Chorus


Bbmaj7


14 Ebm9 Gb/Ab Ab/Bb
Gbmaj7 Ebm9

mf staccato


18 Bbmaj7 Ebm9 Ebm9 Gb/Ab Eb/F


B



22 Bbsus4 Bb Ebm9 Bbsus4 Bb


Ebm9 simile





26 Ebm9 Bbsus4 Bb Cbmaj7 Bbm7 Eb/F

D.S. al Coda

CODA Chorus


Bbmaj7


31 Ebm9

Gbmaj7 Ebm9


simile



34 Gb/Ab Eb/F Bbmaj7 Ebm9

Gbmaj7 Ebm9

1. 2. 3.




38 Gb/Ab Eb/F Gb/Ab Bbmaj9
Eb/F

rall.......
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ICMP Degree Music Practice ( Soul Unit 8 )

Guitar 2
88 BPM
Sweet Love
Clean tone.
1.

Gb/Ab Eb/F

Bbmaj9 Gbmaj9 Bbm7/Eb




mf

A
Verse

slide


2. Gbmaj7
Gb/Ab
5 Ebm7

Eb/F Bbmaj7

light fills
p
To Coda

Ab/Bb

Eb/F Bbmaj7

Ebm7 Gbmaj7 Gb/Ab


9

Fm7
Gb/Ab

Bbmaj7
Chorus Ebm9 Ebm9 Gmaj7
14


mf

Ab/Bb
Gb/Ab Bbmaj7



17

19
Ebm9
Gb/Ab Eb/F
Ebm9


octaves

B
Bb
Bsus4 Bb

22 Bbsus4 Ebm9 Ebm9

Ebm9

Eb/F



27 Bbsus4 Bb Cbmaj7 Bm7 D.S. al Coda

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2 Sweet Love Guitar Two

CODA

Gmaj7

Ebm9

Bbmaj7 Ebm9


31


octaves


Bbmaj7 octaves simile Ebm9


34

Gmaj7

Gb/A Eb/F Ebm9

1. 2. 3.




38 Eb/F Bbmaj9

Gb/Ab Gb/Ab Eb/F

rall.......

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LPW Prep

Semester 1A Unit 9

Objectives

To learn to play Keep On Running by The Spencer Davis Group.

The Spencer Davis Group.

Spencer Davis - guitar, vocal


Steve Winwood - lead vocal, piano, organ, guitar
Muff Winwood - bass guitar, vocal
Pete York - drums

Prior to this recording, the songs performed and recorded by the Birmingham (UK) based
band were covers of existing blues and R&B standards but their producer Chris Blackwell
brought in Jamaican singer/songwriter Jackie Edwards to compose the three singles for the
group.

The first was Keep On Running, released in November 1965, which was transformed by the
group into a rocking R&B number with the addition of a driving bass riff and a unique (for that
time) electric fuzz guitar effect.

The result it had on the record charts was spectacular with the song knocking The Beatles
from the top spot and going in at No. 1.

Performance notes.

A slightly driven sound, but without too much distortion, is required on the guitars.

The intro section on Guitar One would benefit from an authentic Fuzz tone pedal sound.

This should be switched out for a cleaner tone that would suit the Motown style four to the
bar pattern for the verses. This should be played staccato.

As with other R&B tracks from U.S. featuring bands like Booker T & the M.G.s, a second
guitar part plays clean pentatonic lines to fill in between the vocal lines.

Use the written lines as a general guide to the style.

In the B sections the rhythm breaks into a 1/16-note groove to compliment the four to the
bar played by Guitar One.

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Practice log for Unit Nine Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for 15mins 138
Keep On Running
Practice Guitar part Two for 15mins 138
Keep On Running

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ICMP Degree Music Practice ( Rock Unit 9 )
Guitar One
Keep On Running Wilfred Edwards
138 BPM Rock (1965)


A5 D5

Bass Intro Fuzz tone.


A5 D5 A5 D5

5
Crunch tone.


A A

9 E5



13 F#m7


16 D7 A D

1.


19 E5

A E5

2. B

22 A A E/G# F#m7 F#m7




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2 Keep On Runnin' Guitar One



25 To Coda
E F#m7


29 E D.C. al Coda


Take 2X Bar


CODA

C
E
32


36 F#m7 D7


40 A D A


Bass Solo


44 A D A D X4


48 E5


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ICMP Degree Music Practice 1A ( Rock Unit 9 )
Guitar Two
Wilfred Edwards
138 BPM Keep On Running (1965)


Clean Tone



Bass + Gtr 1 Intro

E7 AA

9



13 F#m7 D7
E


1.


17 E7

A D A

2.
B

21

E7 A A E/G# F#m7 F#m7


24 E


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2 Keep On Runnin' Guitar Two


To CODA


26 F#m7


29 D.C.al Coda
E


Take 2X Bar

CODA C Ad lib fills


E
32


36 F#m7 D7


40 A D A


Bass Solo


44 A D A D X4

E7


48


ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 53
LPW Prep

Semester 1A Unit 10.

Objectives

To learn to play What Is and What Should Never Be by Led Zeppelin.

Led Zeppelin.

Formed in September 1968 the English band Led Zeppelin consisted of Jimmy Page on
Guitar, vocalist Robert Plant, John Bonham on Drums and Bassist John Paul Jones. With the
heavy, guitar-driven sound, Led Zeppelin are regarded as one of the first heavy metal bands.
Their rock-infused interpretation of the blues also incorporated many other musical
influences, e.g. Arabic and Celtic. They disbanded in 1980 after the death of John Bonham
but re-united in 1985 with Phil Collins on Drums at the Live Aid Concert at Wembley
Stadium, London.
The guitarist, Jimmy Page, OBE (born 9 January 1944) was influenced by many different
styles of guitar players including Scotty Moore, Chuck Berry, Bo Diddley, B.B. King and
acoustic players Bert Jansch and John Renbourn. His playing style features hybrid picking
typical of acoustic players. I.e. using flat pick and fingers.

In the early 1960s he was a very busy session guitarist often working with Big Jim Sullivan
in the London studio circuit. He was referred to as Little Jim to avoid confusion. The pair
played on a string of hits such as Marianne Faithfull's "As Tears Go By", The Nashville
Teens' "Tobacco Road", The Rolling Stones' "Heart of Stone" Van Morrison & Them's
"Baby Please Don't Go" and "Here Comes the Night". Page later joined the Yardbirds in
1966, and after the band broke up in 1968, formed his own New Yardbirds which eventually
became Led Zeppelin.

Performance notes.

The contrast in Jimmy Pages sounds can be heard on this track from the mellow tone of the
intro to the heavy distorted power chord section. Channel switching or the use of pedals is
required to get clear contrasts in sound just when theyre needed. At the coda two guitars
can interplay to create an on stage echo effect and also allow the section to build towards the
end.

Guitar two features a slide guitar part where attention should be made to mute unwanted
string noise behind the slide by gently muting with the index and middle fingers behind the
slide. This is assuming the slide is on the ring finger or the pinky.
A little bit of compression can also really help give sustain and control to the slide playing
and improve tone.

ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 54
Practice log for Unit One Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for 15mins 76
What Is and What Should Never
Be
Practice Guitar part Two for 15mins 76
What Is and What Should Never
Be

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ICMP Degree Music Practice 1A ( Rock Unit 10 )
76 BPM Rock
What Is and What Should Never Be
Guitar One Led Zeppelin

A A6
wr. Jimmy Page, Robert Plant (1969)


Clean tone


Vox leads in.


E9


4 simile
A6 E9

A6


7
A6 E9


B Distortion on
A5
10
G5 D/F# A5D5



f

12
A5 G5 D/F# A5 D5



To Coda



14 B B/A B/G# E/B B


16 Aadd9 1.

F#

E5

Vox leads in.




p
A6
C

E9

20 2.
E5

solo slide gtr.

A6 simile

24
E9 A6 E9

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2 What is and What Should Be Guitar one

A6 D

28
A5 G5



30
D/F# D5 A5 A5 G5 D/F# D5 A5


B B/A B/G# E/B B

33

F#



Aadd9
36 D.S. al
E5 Vox leads in.

Coda



CODA

40 F# Aadd9

E5





p
44


E

47

scrape muted strings


49 simile 1.


51 2.



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ICMP Degree Music Practice ( Rock Unit 10 )

What Is and What Should Never Be


76 BPM Rock Led Zeppelin

A
Guitar Two wr. Jimmy Page, Robert Plant (1969)


Vox lead in Tacet

B Distortion on


10
A5 G5 D/F# D5 A5



f

12
A5 G5 D/F# D5 A5



To Coda


14 B B/A B/G# E/B B

1.

16 Aadd9

F#5 E5



p
C A6
2.
20


E5 solo slide gtr.




24

A6


E9


A5 G5
D
A6

27


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2
What is and What Should Never Be Guitar 2

D/F# D5 A5 D/F#
D5 A5
G5

A5

30


slide simile

F#

B/A B/G#

E5 B5

B

33

Aadd9


E5 gliss.
36
D.S. al Coda


slide

CODA
F# Aadd9 E5

39





p

43


E

46

E




scrape muted strings



48


50




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LPW Prep

Semester 1A Unit 11.

Objectives

To learn to play Wont get Fooled Again by The Who.

The Who.

Formed in England in 1964 The Who are considered one of the most influential bands in the
world. The original line-up consisted of Pete Townsend (guitar), Roger Daltrey (vocals), John
Entwistle (bass) and Keith Moon (drums).

The Who rose to fame in the United Kingdom with a series of top ten hit singles and top five
albums, beginning in 1965 with "I Can't Explain". They first hit the top ten in the USA in 1967
with "I Can See For Miles". The 1969 release of Tommy was the first in a series of top five
albums for the group in the USA.
The Drummer Keith Moon died in 1978, after which the band released two more studio
albums, Face Dances and It's Hard, with drummer Kenny Jones, before officially disbanding
in 1983.
They reformed on several occasions to perform at special events such as Live Aid and for
reunion tours such as their 25th anniversary tour and the Quadrophenia revival tours of 1996
and 1997. In 2002 John Entwistle died. Pete Townsend and Roger Daltrey continue to
perform as The Who with ace bassist Pino Palladino.

Guitarist Pete Townsend was born May 19, 1945 in Chiswick, London. In 1961 Townsend
enrolled at Ealing Art College, and, a year later, he and his school friend John Entwistle
founded their first band, The Confederates, a Dixieland duet with Townsend playing banjo.
Their next band was The Detours, a skiffle/rock and roll band fronted by then sheet-metal
welder Roger Daltrey. In early 1964 The Detours renamed themselves The Who. Apart from
playing Guitar, Townsend plays many other instruments on his recordings such as Piano,
Keyboards, Bass Guitar, Drums, Violin, Mandolin, Ukulele and Banjo.

Performance notes.

This is a classic example of Townsends powerhouse rhythm and staccato chord changes
where he would execute his windmill arm action to follow through the chord. If you wish to
emulate this technique be aware that he once put a tremolo arm through his forearm doing
this!
However, Guitar One needs to be played with attitude but be careful not to over drive the
rhythm sound too much so that it becomes fizzy.
Guitar Two emulates the Synthesizer on the intro by holding a pedal tone under the
upper melody line. In the verses, staccato triads are played. Also feel free to expand
on the bluesy fills.

ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 60
Practice log for Unit Eleven Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for 15mins 134
Wont get Fooled Again
Practice Guitar part Two for 15mins 134
Wont get Fooled Again

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ICMP Degree Music Practice 1A ( Rock Unit 11 )

Guitar One Won't Get Fooled Again


P.Townsend
134 BPM Rock/Crunch Tone
(1971)

A5
G5


A5
5

Tacit


A


8


A5 Verse D5 A5 A5

B.U. R.B.


12 A5 C5 G5


A5 E5


B.U.

B D5

17 A5 D5 A5


21 D5 A5 D5 A5 G5 E5


To Coda


24 G5 E5 G5




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2 Won't Get Fooled Again Guitar One


28 D Dsus4

D

Dsus4
D7



C

G5

D5

32


A5 A5 G5





Ad lib simile..............................

A5
36

G5 A5 G5 A5 A5 G5 A5 G5 A5

D
B5


40

B5 E5 open strings


simile with fills



44 A5 A5 B5

B5
staccato



47 B5 A5 E5

B5
50 simile A5 E5




Solo

B5

52 B5 B5 B5

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3
Won't Get Fooled Again Guitar One

E
D5

1.
A5
56 G5 D5

G5

A5



2.

A5
60 D5

G5

D.S. al Coda



CODA


D Dsus4 D Dsus4 D5

63


A5 G5



67
2 2



71 A5
2

A5
74 G5 A5 A5 G5





77 A5 slight rall - drum cues.
A5


ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 64
ICMP Degree Music Practice 1A ( Rock Unit 11 )

Guitar Two Won't Get Fooled Again


134 BPM Light Crunch Tone P. Townsend


A5 (1971)


A G D
G5




A G D
7

A A Verse

A simile

G D


9 G D

C G


E
A

13 G D

B
D

17
A D A

D

21

G E5


A D A

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2
Won't Get Fooled Again Guitar Two


B.U. B.U. To Coda
G5

E5

B.U.
24 P.O. fill G5



28 D Dsus4

D

Dsus4
D7



C
A5
32 D5


G5 A5 G5



Ad lib simile..............................

A5
36

G5 A5 G5 A5 A5 G5 A5 G5 A5




D
B5


40

B5 E5 E5


simile with fills

A5


44 A5 B5 B5

B5 A5 E5
E5
48 simile B5 simileA5

B5 Solo gtr 2

52


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Won't Get Fooled Again Guitar Two 3

E

1.
A5
56 D5 D5


G5 A5 G5

2. D.S. al
A5
60 D5

G5
Coda

Coda


D Dsus4 D Dsus4

63

A5
D5


65


G5
2



69
2 2


A5 A5 G5 A5 A5 G5




73

slight rall drum cues.




77 A5
A5


ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 67
LPW Prep

Semester 1A Unit 12.

Objectives

To learn to play Rock The Casbah by The Clash.

The Clash.

Formed in 1976 The Clash were part of the original wave of UK punk rock in the late 1970s.
The band went on to incorporate punk with reggae, rockabilly, dance, jazz, ska, and other
styles finally disbanding in 1986
The band members were

Joe Strummer lead vocals, rhythm guitar (19761986)


Mick Jones lead guitar, backing vocals (19761983)
Paul Simonon bass guitar, backing vocals (19761986)
Topper Headon drums, percussion (19771982)

Rock the Casbah" was released on their 1982 album Combat Rock. It was later released as
a single, and is their only song to become a Top 10 hit in the United States. This song was
inspired by the banning of rock music in Iran under Ayatollah Khomeini.

Performance notes.

This track has an almost Punk/Disco flavour so playing with attitude and energy throughout
should create the right vibe. Lines from the keyboard part have been put in for the
introduction and these will help to cue the vocalist. Lines in this style can be played ad lib.

There is a contrast in tone for Guitar Two as the chord voicings are typically high up the
neck.

This creates the Disco vibe similar to Donna Summer tracks from the late 70s (Hot Stuff
and Bad Girls) There is a little more drive in the guitar on this track.

Guitar Two can also ad-lib sound effects with use of harmonics and the tremolo arm to
compliment certain sections in the vocal passages.

ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 68
Practice log for Unit Twelve Date

Topic Time frame BPM 1 2 3 4 5


Practice Guitar part One for 15mins 128
Rock The Casbah
Practice Guitar part Two for 15mins 128
Rock The Casbah

ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 69
ICMP Degree Music Practice ( Rock Unit 12 )

128 BPM Rock


Rock The Casbah.
Guitar One
wr. M. Jones, J. Strummer, T. Headon (1982) The Clash

Dm Am

G

Crunch tone


intro

3

Em

F


4 Em C

Verse
A Em F/G Dm

6 Am


Sim...

1.
10 Am Em F/G Dm


2.
F/G F/G B Chorus

Dm Am G

Verse
C Am




Em F EmEm C


Sim...


F/G Dm Am Em

ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 70
2 Rockin The Casbah Guitar One

1. 2.
Dm F/G F/G


F/G

D Chorus To Coda




14 Dm Am G Em F Em C

E Bridge

Am


18 Am


22 F F G

D.S. al
Am Am


26
Coda


Coda
Chorus






30 Am G Em F


Dm


Dm


33 Em C Dm C/D




ICMP Management Ltd. 2014. All Rights Reserved. No part of this book may be reproduced in any form or by any means. 71
ICMP Degree Music Practice ( Rock Unit 12 )

78 BPM Rock Rock The Casbah.


wr. M. Jones, J. Strummer, T. Headon (1982) The Clash
Guitar Two

Em Em

Dm Am

G



Crunchy Disco tone

C

F


Verse
6 A Am Em

Palm Mute


F/G
glis

Dm Am


8 s. sim ad lib fills

1.
11 Em F/G Dm


Chorus
2. F/G
B Dm

14


Em F Em C
17

C Verse
Am


20 Em sim ad lib fills F/G Dm

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2 Rockin The Casbah Guitar Two

1.
Dm


24

Am Em


F/G

Chorus

2.
D Dm
28 F/G




Em Em To Coda
31 F
C

E
34 Am

Am

....................F
42 F G

46 Am Light sound fx e.g. wang bar Am D.S. al Coda



Coda

Em

Em
Am G ad lib Dm

Dm

F C Dm C/D


50

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