DEEP PURPLE, BLACKMORE RITCHIE, JAM WITH. CD TABLATURE
Ritchie Blackmore has written, amongst many other classic pieces, arguably the most recognisable guitar riff of all time. The first seven notes to Smoke On The Water are probably known by everybody in the western world between the ages of 15 and 50! For over three decades Ritchie has impressed and dazzled us with his anthemic songs. This guitar workshop is a powerful learning tool that will help you extend your stockpile of licks and fills and develop your improvisational skills. The combination of musical notation and guitar tablature in this book together with backing tracks on the CD gives you the opportunity to learn eight of Ritchie Blackmore's tracks note for note and then jam with a professional session band. The track listing reflects some of Deep Purple and Rainbow's most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to.
The CD is split into two sections; section 1 (tracks 1-8) is the backing tracks minus lead guitar & vocals, while section 2 (tracks 9-16) is the backing tracks with all guitar parts added, so in addition to the written tab you can hear the rhythm, fills and solos as they should be played!! The 'JAM WITH ...' series allows you to accurately recreate the original songs, or to use the transcriptions in this book in conjunction with the backing tracks as a basis for your own improvisation.
Professional Guitar Workshops
" ...excellent" ... Guitar World USA
"invaluable, they can practically guarantee progress" ... Guitarist Magazine
"superb, ideal for beginners or advanced players" The Guitar Magazine
"these backing tracks are the best on the market" Total Guitar Magazine
International Music Publications Limited
Griffin House 161 Hammersmith Road London W6 8BS England
ISBN 1-85909-488-0
Introduction
The TOTAL ACCURACY 'JAM WITH ...' series, is a powerful learning tool that will help you extend your stockpile of licks and fills and develop your improvisational skills. The combination of musical notation and guitar tablature in the book together with backing tracks on the CD gives you the opportunity to learn each track note for note and then jam with a professional session band. The track listing reflects some of Ritchie Blackmore's most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to. The first eight tracks on the CD are full length backing tracks recorded minus lead guitar. The remaining tracks feature the backing tracks with the lead guitar parts added. Although many of you will have all the original tracks in your own collection, we have provided them in the package for your reference. The 'JAM WITH ...' series allows you to accurately recreate the original, or to use the transcriptions in this book in conjunction with the backing tracks as a basis for your own improvisation. For your benefit we have put definite endings on the backing tracks, rather than fading these out as is the case on some of the original recordings. The accompanying transcriptions correspond to our versions. Remember, experimenting with your own ideas is equally important for developing your own style; most important of all however is that you enjoy JAM with RITCHIE BLACKMORE and HAVE FUN!
Ritchie Blackmore has written, amongst many other classic pieces, arguably the most recognisable guitar riff of all time. The first seven notes to Smoke On The Water are probably known by everybody in the western world between the ages of 15 and 50! For over three decades Ritchie has impressed and dazzled us with his anthemic songs.
Born on April 14th 1945 in Weston-Super-Mare, Ritchie took up the guitar at the age of thirteen under the guidance of 'Big' Jim Sullivan. His first band of note was Screaming Lord Sutch And His Savages, but a few months later he switched to Joe Meek's Outlaws, which at that time also featured a young Jimmy Page, and toured the UK behind Jerry Lee Lewis, Gene Vincent and Chuck Berry. After forging an erratic path through several bands, Ritchie moved to Hamburg in 1967, but the following year was invited back to London by organist Jon Lord to join the embryonic Deep Purple (almost called Concrete God). After some initial line-up changes, something they were to get used to, Deep Purple recorded their first album, Shades Of Deep Purple, in a single eighteen hour session with Rod Evans (vocals), Jon Lord (keyboards), Nick Simper (bass), Ian Paice (drums) and of course Ritchie Blackmore. From this the single Hush, recently a hit for Kula Shaker, was released. In the U.S. the single hit NO.3 and the album No. 24, but both failed to chart in England. In 1969 Rod Evans and Nick Simper both quit and Ian Gillan joined with Roger Glover to make the now classic Deep Purple line-up. Although initially envisaged as an English version of Vanilla Fudge, Deep Purple soon became one of the leading exponents of '70s heavy rock, with Ritchie's thunderous riffs and neo-c1assical melodies being a large part of their huge attraction. Together they recorded seven albums from 1969 to 1973 including Deep Purple In Rock which reached NO.4 during a 68 week stay in the charts and Fireball which topped the U.K. charts for one week. It was while recording for the following album, Machine Head at the Montreux Casino in Switzerland, that the place burnt down during a set by Frank Zappa's Mothers Of Invention and influenced the band to write Smoke On The Water, which later gave the band their only gold disc for a single. Ritchie stayed with Deep Purple until 1975 when due to disappointment at their just finished album Stormbringer and the band's move to a funkier sound, he quit. He joined forces with ...
Deep Purples' then tour support band, Elf, and brought with him a name change to Ritchie Blackmores' Rainbow. With a shortening to the name Rainbow and 18 personnel changes in 9 years, they released as many albums with the notably successful singles being Since You've Been Gone and I Surrender. In March 1984, both Ritchie and Roger Glover, who joined Rainbow in 1979, were invited to rejoin the classic Deep Purple line-up amid rumours that each member was offered $2 million to do so. Rainbow completed their final tour of Japan and in November, Deep Purple began a world tour and released the album Perfect Strangers. Ritchie is now back with Rainbow and a new line-up. Their latest album Stranger In Us All is the band's thirteenth recording. Ritchie Blackmore has had a tumultuous career with two of the world's biggest rock bands, but has never failed in enforcing his prowess as an undisputed guitar hero.
Performance Notes
Smoke On The Water
This is perhaps the most famous Deep Purple riff, though very atypical in that it is played with the fingers or a pick/fingers combination exclusively on the G and 0 strings. The verse is a repetitive muted pattern based around G and F power chords. The chorus modulates to C, then G sharp power chords, returning to G for a repeat of the intro riff. The solo is taken from the G minor pentatonic scale (G,Bb,C,D,F) using lots of pre-bends and self imitation in the phrasing. The overall feel is surprisingly mellow, given the context of the rest of the track, but this only makes it stand out more. This track was played on a Fender Stratocaster through Marshall amplifiers, possibly through a rotating 'Leslie' speaker or similar effect.
Black Night
Played to a jazzy 'swing' rhythm, this song shows the gutiar, bass and drums working very closely together, with the Hammond organ considerably thickening the sound. The riff itself is based around the E minor pentatonic scale (E,G,A,B,D). The bridge uses the same sort of pattern, though adding an F# to the scale, just before the modulation to the A and G power chords. There are lead guitar fills at this point every time this section repeats, using the E blues scale (E,G, A,Bb,B,D). Heavy vibrato is often added with the tremelo arm, testing the limits of the standard 'vintage' vibrato system. Both solos are played using the same scales as the fills, though using positions all over the fretboard and even heavier vibrato from the tremelo! This track was played on a Fender Stratocaster, using Marshall amplifiers.
Highway Star
This track begins with a series of ringing open power chords leading to a chunky rhythm, played on a muted G power chord. The verse is based around this idea, interrupted by C and Bb power chord accents. It modulates to 0, then A and back to the original key, after a repeat of the C and Bb accents. The solo work on this track has a very 'worked out' sound, often harmonised or double-tracked, showing much of the classical influence that is Blackmore's trademark. The scales used are the minor pentatonic (D,F,G,A,C), and the A minor scale (A,B,C,D,E,F,G,A). The faster picked phrases are played horizontally up-the B and top E strings, moving up in a modal style, three notes at a time. The descending run immediately afterwards is played with a mixture of fretted and open notes on the high E string. This run is then repeated, eventually being run right down the fretboard, culminating in some improvised blues runs using the G blues scale (G,Bb,C,C#,D,F). After the last verse a similar section recurs and closes the song with a crash that sounds like a spring reverb unit being kicked! This track was played on a Fender Stratocaster through Marshall amplifiers.
Space Truckin'
The Hammond organ plays a large role in the intro to this track, the guitar joining in with a muted R&B style riff based around an A power chord, (also using a funky, muted strumming style in the second verse). From here, the form is almost standard 12-bar, changing to 0, then E chords. The chorus is a scale pattern, played in unison on the guitar, bass and organ, using the A blues scale (A,C,D, Eb,E,G) and the E blues scale (E,G,A,Bb,B,D). The solo work is particularly bluesy, once again taken from the A blues scale, using staccato country style phrasing at times, along with a strong finger vibrato. As usual, this track was played on a Fender Stratocaster, through Marshall amplifiers.
Strange Kind Of Woman
This track opens with a phrase taken from the B minor pentatonic scale (B,D,E,F#,A) played along with a drum fill, before settling down to a swing/shuffle feel similar to Black Night. The guitar follows a similar pattern to the bass and organ, thickening the sound, coming into its own during both the first structured sounding solo, again using the B minor pentatonic. The outro solo also uses the B minor pentatonic scale, but incorporates an A major arpeggio (A,C#,E) 'superimposed' over a B minor based riff giving a 'classical' feel. This is followed by a series of chromatic passing tones, which lead the solo back into the original key. This track would have been played on a Fender Stratocaster, through Marshall amplifiers.
Lazy
This track begins with a showcase of Hammond organ virtuosity from Jon Lord, leading into a supercharged blues shuffle using lots of anticipated accents, played along with the drums. Ritchie Blackmore is in fine form using lots of intricate runs based on the F blues scale (F,Ab,Bb,Bq,C,Eb) adding passing tones (usually a D) at times. The track goes through a couple of key changes, first to G where the guitar plays sparse backing to the harmonica solo, then adding fills during the vocal section from the G blues scale (G,Bb,C,Db,D,F). The outro solo reaches epic proportions over a 12-bar type blues progression using the A blues scale (A,C,D,Eb,E,G) using repetition and development of themes until the final breakdown in a traditional blues style. This track was played on a Fender Stratocaster through Marshall amplifiers.
Since You've Been Gone
Kicking off with a power chord based riff in the key of G, this track is performed in a sparse punchy style for the intro and chorus, coming down to some clean arpeggiated chords for the verse. The bridge comprises of a series of heavy accents, again using lots of space. It is important to pay close attention to timing during sections like this, keeping the overall sound 'tight'. There is a 'classical' sounding melody line after the second chorus, which is then repeated an octave higher, leading to a key change into A.
INTRODUCTION
PERFORMANCE NOTES
TABLATURE EXPLANATION
BLACK NIGHT - Words and Music: Jon Lord, Ritchie Blackmore, Ian Gillan, Roger Glover, Ian Paice - 1970
HIGHWAY STAR - Words and Music: Jon Lord, Ritchie Blackmore, Ian Gillan, Roger Glover, Ian Paice - 1972
SPACE TRUCKIN' - Words and Music: Jon Lord, Ritchie Blackmore, Ian Gillan, Roger Glover, Ian Paice - 1972
STRANGE KIND OF WOMAN - Words and Music: Jon Lord, Ritchie Blackmore, Ian Gillan, Roger Glover, Ian Paice - 1971
LAZY - Words and Music: Jon Lord, Ritchie Blackmore, Ian Gillan, Roger Glover, Ian Paice - 1972
SINCE YOU'VE BEEN GONE - Words and Music: Russ Ballard - 1976
I SURRENDER - Words and Music: Russ Ballard - 1981
CONTENTS
ON THE CD
The CD is split into two sections; section 1 (tracks 1-8) is the backing tracks minus lead guitar & vocals, while section 2 (tracks 9-16) is the backing tracks with all guitar parts added, so in addition to the written tab you can hear the rhythm, fills and solos as they should be played!! Music arranged & produced by Stuart Bull and Steve Finch. Recorded at the
TOTAL ACCURACY SOUNDHOUSE, Romford, England.
Stuart Bull: guitar (tracks 9-13& 16) & drums, Richard Barrett: guitar (tracks 14&15), Mick Ash: bass, Pete Adams: keyboards. Music engraving: Chris Francis
First Edition 1997
1997 International Music Publications Limited
Professional & Guitar Workshops
Jam tracks for guitar and voice:
- smoke on the water
- black night -highway star
- space truckin'
- strange kind of woman
- lazy
- since you've been gone
- I surrender
Italiano
English
