GUITAR RIFFS OF THE '70s. 16 Titoli. CD TABLATURE
LIBRO PER CHITARRA CON CD E TABLATURE
GUITAR SIGNATURE LICKS
HAL LEONARD
A step-by-step breakdown of guitar styles and techniques
Guitar Riffs of the 70's is a step by step breakdown of electric guitar styles and techniques featuring well-known artists such as: Kiss, Van Halen, Kansas, Queen, The Rolling Stones and more! Comes with a demonstration CD with authentic note for note versions to help the player even more.
ALL RIGHT NOW - FREE
BANG A GONG (GET IT ON) - T. REX
CARRY ON WAYWARD SON - KANSAS
DETROIT ROCK CITY - KISS
HAPPY - THE ROLLING STONES
IRON MAN - BLACK SABBATH
JESSICA - THE ALLMAN BROTHERS BAND
LAYLA - DEREK AND THE DOMINOES
MONEY - PINK FLOYD
MESSAGE IN A BOTTLE - THE POLICE
MORE THAN A FEELING - BOSTON
SULTANS OF SWING - DIRE STRAITS
SWEET HOME ALABAMA - LYNYRD SKYNYRD
TAKIN' CARE OF BUSINESS - BTO
TIE YOUR MOTHER DOWN - QUEEN
WALK THIS WAY - AEROSMITH
YOU REALLY GOT ME - VAN HALEN
INTRODUCTION
Often called the era of excess, the seventies were certainly an era of excessive change.
On the heels of the tumultuous sixties, myriad forms of rock sprang up, seemingly
overnight, and became codified. The rock family tree sprouted several new branches
including such divergent idioms as heavy metal, funk rock, jazz/rock fusion, power pop,
and progressive rock. Throughout it all, the riff reigned supreme. This volume is dedicated
to seventeen of the period's greatest riffmasters-the pioneers and innovators who
made the music and gave us the riffs that will live forever in the annals of rock and roll.
Wolf Marshall
THE RECORDING
Wolf Marshall, guitars
Michael Della Gala, bass
John Nau, keyboards
Mike Sandberg, drums and percussion
Gary Ferguson, additional drums
Michael McCarty, additional synthesizer and percussion
Special thanks to Jimmy Dunlop and Julie at Dunlop Manufacturing for the MXR Phasers
and Tremolo-Pan, Brad Strickland-artist relations at Vox amps (KORG USA) for the AC30
amp, and Del Breckenfeld-artist relations at Fender Musical Instruments.
The titles in this book include:
Layla - Derek and the Dominoes - Words and Music: Eric Clapton, Jim Gordon - 1970
All Right Now - Free - Words and Music: Paul Rodgers, Andy Fraser - 1970
Bang a Gong (Get It On) - T. Rex - Words and Music: Marc Bolan - 1971
Iron Man - Black Sabbath - Words and Music: Frank Iommi, John Osbourne, William Ward, Terence Butler - 1970
Happy - Rolling Stones - Words and Music: Ketith Richards, Mick Jagger - 1972
Money - Pink Floyd - Words and Music: Roger Waters - 1973
Jessica - Allman Brothers Band - Words and Music: Dickey Betts - 1973
Sweet Home Alabama - Lynyrd Skynyrd - Words and Music: Ronnie Van Zant, Ed King, Gary Rossington - 1974
Takin' Care of Business - Bachman-Turner Overdrive - Words and Music: Randy Bachman - 1974
Walk This Way - Aerosmith - Words and Music: Steven Tyler, Joe Perry - 1975
More than a Feeling - Boston - Words and Music: Tom Scholz - 1976
Detroit Rock City - Kiss - Words and Music: Paul Stanley, Bob Ezrin - 1976
Tie Your Mother Down - Queen - Words and Music: Brian May - 1976
Carry on Wayward Son - Kansas - Words and Music: Kerry Livgren - 1976
You Really Got Me - Van Halen - Words and Music: Ray Davies - 1964
Sultans of Swing - Dire Straits - Words and Music: Mark Knopfler - 1978
Message in a Bottle - Police - Words and Music: sting - 1979
YOU REALLY GOT ME
Words and Music by Ray Davies
Figure 15-lntro and verse
We tend not to think of Van Halen as a "seventies band" because their work in the
next two decades came to be so historically important, musically innovative, and sweepingly
influential, but it's a fact. The self-titled debut record, released in 1978, was a barometer
indicating a change of climate in the future. Just as Jimi Hendrix had done eleven
years earlier, Van Halen defined a new direction and style for the coming age in tunes like
"Runnin' with the Devil," "I'm the One," "Eruption," and "You Really Got Me." Apparently the
public agreed and responded-"You Really Got Me" made it to the Top 40 and became
Van Halen's first hit single. The band already had been rearranging cover tunes for years
in their early gigging days around Hollywood, transforming them and making them their
own. "You Really Got Me" is a perfect example of how they did it-in Ed's words, "a hot
tune we turned into a jet airplane" -and a perfect vehicle for the maiden voyage of the
power quartet in the waning years of the seventies.
Screaming into the space after the close of "Eruption," the crushing intro riff in "You
Really Got Me" hits you squarely in the face like a left jab. Ed Van Halen converted the
Kinks' shifting barre-chord figure into a harder, more streamlined, very Van Halenesque
open-chord riff in the intro and verses. Deceptively simple, it is founded on a single AS
power chord with an added low G on the sixth string. Many of Ed's "neat noises" abound
in the figure as fills and extra texture, including muffled, percussive chord strums, pick
slides, pinch harmonics, and snarling low bends on the sixth string. The basic rhythmic
pattern and chordal idea are moved to different harmonic levels in the verses. Here, barre
chord and movable power chord versions of the main riff are found as the progression
moves to Band E tonal centers. Check out the intriguing and subtle variations Ed throws
into the figures along the way in the form of licks, fills, and varied interpretations of the
song's thematic motif. His licks and fills have endured in their own right as essential and
invaluable riffs, and have become embedded in the very core of contemporary rock guitar lore.
IRON MAN
Words and Music by Frank lommi, John Osbourne, William Ward, and Terence Butler
Figure 4-lntro, verse, chorus, and interlude
1971 was a watershed year for metal. While Jimmy Page and Led Zeppelin were building a stairway to heaven, a Birmingham blues band asked the unthinkable question: Is there life after Zep? Arriving with thundering riffs, sinister occult themes, and dark gothic trappings, the answer came in the form of Black Sabbath. Sabbath is generally acknowledged as the first official heavy metal band-setting undeniable precedents for the late-seventies metal renaissance ("The New Wave of British Heavy Metal"), as well as the thrash/speed metal school of the eighties, and the grunge/metal of the ninetiesa fact underscored by the numerous bands that cite Sabbath as influential-Iron Maiden, Van Halen, Metallica, Pantera, and Soundgarden, among many others. "Iron Man," from the landmark Paranoid album, is one of the heaviest and best riff-based songs of their definitive early period.
"Iron Man" abounds with numerous riffs-each with a purpose, each well-placed in the arrangement. The main "Iron Man" theme is one of metal's most memorable riffs and is heard throughout the song. It appears in the intro as a rhythm figure made of parallel two-note power chords in B minor, spelling out the B natural minor scale (B-C#- D-E-F#-G-A). In the verses, a single-note version of this riff, derived from the roots of the power chords, is used. Between the first and second verses, a second single-note riff in B minor is found as both a connection and a transition. This figure employs chromatic notes in its ascending melody (meas. 23). In the interlude, a different riff is played against a double-time feel (which sets up the guitar solo). This riff is a single-note line which modulates up to C# minor, and uses notes of the C# blues scale (C#-E-F#-G-G#-B) which comes off like a deft manipulation of Cream's "Sunshine of Your Love" theme. Notice the tough accenting, staccato attack, and syncopation in the phrase which give it plenty of rhythmic character and push forcefully toward Tony's solo.
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