coo a JAM with Includes superb quality, live Tre LD ed CUT BTC 1D note for note transcriptions to OL CEE / CAL) Pen en Ded aCe) era ( Pea Ts Te 1 SURRENDER ENUIGniCar ULeiayCONTENTS INTRODUCTION 4 PERFORMANCE NOTES 5 TABLATURE EXPLANATION 8 SMOKE ON THE WATER 9 Biack NiGHT 14 Highway STAR 20 SPACE TRUCKIN' 30 STRANGE KinD Or WomAN 39 Lazy 47 Since You've BEEN GONE 62 | SURRENDER 69 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, fils 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 9-13816) & drums, Richard Barrett: guitar (tracks 14815), Mick Ash: bass, Pete Adams: keyboards. Music engraving: Chris Francis First Edition 1997 © 1997 International Music Publications Limited Southend Road, Woodford Green, Essex IG8 8HN, England Reproducing this music in any form is illegal and forbidden by the Copyright, Designs and Patents Act 1988 Professional Guitar Workshops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), lan 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 lan 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-classical melodies being a large part of their huge attraction. Together they recorded seven albums from 1969 to 197 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 bumt 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, Ef, 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 | Surrender. In March 1984, both Ritchie and Roger Glover, who joined Rainbow in 1979, were invited to re- join 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 Allis 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 D 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 rif. 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 ‘ona muted G power chord. The verse is based around this idea, interrupted by C and Bb power chord accents. It modulates to D, 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 D 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 ata 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 D, 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 fil, before settling down to a swing/shuffle feel similar to Black Night. The guitar follows a similar pattem 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,B:,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 fils during the vocal section from the G blues scale ([Link],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.The solo which closes the track is based around the A blues scale (A,C,D,D#,E,G), adding ‘passing tones' of G and C#, Also used is the F# blues scale (F#,A,B,C,C#,E). This combination, along with Blackmore's staccato delivery, gives a slightly country-rock effect. Since You've Been Gone was played on a Fender Stratocaster, through Marshall amplifiers. | Surrender This track is performed in a similar style to ‘Since You've Been Gone’, using punchy guitar riffs and contrasting space. Unusually for a heavy rock song, it is in the key of C minor. The intro features a tense sounding melody, enhanced by unison bends, ascending the fretboard. A riff based verse then leads to a ‘looser’ sounding bridge, where the chords are left to ring more. A dramatic series of chords (C minor/A, Dsus4 and D major) leads into the chorus which returns to the jagged style of the verse. Each chorus ends with a melody played on the lead guitar, which is then repeated in harmony. These harmony parts are included in the backing track. The final solo is a development on this section, using the G minor pentatonic scale (G, Bb, C, D,F). Most of the vibrato is achieved using the tremelo arm to varying degrees. The track finishes as it began, with a series of unison bends. This track was played using a Fender Stratocaster and Marshall amplifiers.Smoke On The Water Words and Music by JON LORD, RITCHIE BLACKMORE, IAN GILLAN, ROGER GLOVER and IAN PAICE, Play 6 times (otal toe st times) ne, mae tie a Roly mag in and ot Tid and te teh ae voting “tack is msde (© 1972 & 1997 B Feldman & Co Ltd trading as Hee Music, London WC2H OEAa tng ls Sate god — ue ened tte pice to te pond mie feemed tae we would eee ce13 ‘rd ime wo Coda " ¥ f Teeead eeiece See 2 eRe rr Des th Loco rus ry se Meek ee, ee el0B aicoaa a 3} Play dimes aBlack Night Words and Music by JON LORD, RITCHIE BLACKMORE, IAN GILLAN, ROGER GLOVER and IAN PAICE, 2 % ‘B08 & drume rio{2nd te with FLL, eee as,BS seman eoahet botaie ae Playotmes a5 AS as @ coon ‘2nd GUITAR SOLO Poneneee TI peHighway Star Words and Music by JON LORD, RITCHIE BLACKMORE, IAN GILLAN, ROGER GLOVER and IAN PAICE os Feus couse ous os Feusa os os * ana ca Ad Lb Sera Puy tses °F Bs we © 1972 & 1997 B Feldman & Co Ltd trading as Hec Music, London WC2H OEAaaa ‘ob, — —————— ———bs cs bs cs ps fs ‘tn time to Coda OO = = rd time to Code © _ ae wae_nzseem bs Phyo xe 0B aicose os 2s 3pele places sir oes De Jos a ES 2o ih 2 Z Z pee i a ra Fa 5eee 0. Barcoas OO* epson sound made wn ping roveSpace Truckin’ Words and Music by JON LORD, RITCHIE BLACKMORE, IAN GILLAN, ROGER GLOVER and IAN PAICE, Keyboard Bags & Drums intro 15yeah te fake sid ‘Teyve skoda = ound te MikcsFimajreunwe wan ad sting nase 1%ae * vocal act fom here 2 ineStrange Kind Of Woman Words and Music by JON LORD, RITCHIE BLACKMORE, IAN GILLAN, ROGER GLOVER and IAN PAICE Fis 8s os Bs AS Bs bs Bsas ‘Wed tnd pe sms boy yuwt 1a tor ty is om Sw cy ye my as as Em? ‘rd time to Coda @ a* Return to origina temporire 0% at cons @a aco#Lazy Words and Music by JON LORD, RITCHIE BLACKMORE, IAN GILLAN, ROGER GLOVER and IAN PAICE,Play3times one.3 omeHARMONICA SOLOos cmr ae ono as 8| j L JENSince You’ve Been Gone Words and Music by RUSS BALLARD 1 gee esame— od rams, © 1976 & 1997 Russell Ballard Ltd and EMI Virgin Music Ltd, London WC2H OEA” Daa ont6 cs os oss. os Ds Tocods e ont Em asso ° on 3 So ime aig staas acs os aFis as es| Surrender Words and Music by RUSS BALLARD os Fs Gs os bs Fs os Fs cs Ases fs ais es Fs cma Daves > Deus .2nd to Cogs es cs Dause ° Doves > e0S at cous coos1S on SS aie |e tae Tee