= Pens t §)ROGK CLASSICS CAREFULLY ARRANGED FOR BEGINNING LEVEL GUITARISTS:CONTENTS Page Title 4 PERFORMANCE TIPS 10 Smoke on the Water 12 Smells Like Teen Spirit 14 Day Tripper 16 Wonderful Tonight 18 Should I Stay or Should 1 Go Right Now 24 Paranoid 26 Pinball WizardPERFORMANCE TIPS Sunshine of Your Love - Cream ‘The original Cream recording started with a rif from the D blues scale, but the RGT arrangement starts with a descending A blues scale rift. The arrangement in this key allows for the use of open strings to make the piece more easily accessible for early stage level players to perform. ‘The double stops that appear in measure (bar) 3 of the introduction and in the verse can be fingered in a umber of ways. Those occurring in measures 3 and 5 can be played either with one finger holding down both strings, or by using two separate fingers. Whichever method is used, make sure that the riffs are played ‘smoothly and fluently. ‘The double stops in measure 7 are trickier to execute, so try and adopt a fingering approach that allows the note transition to be smooth and with a minimum of string noise. ‘The chorus features resis (i. silences) between the chords in measures 11 and 12, Look out for these when playing the chorus and make sure that your strings are silent between the chord changes, “The two measures of ES that are played at the end of the chorus feature two different shythms. Follow the notation and lsten to the recorded track carefully to ensure that they are played correctly ‘Smoke on the Water - Deep Purple ‘The RGT arrangement ofthis pioce is in the original key of G minor. The double-stapped opening rif is arranged to be played starting with open strings ~ rather than fretted lke the original Deep Purple recording ~ in order to make it more suitable for early stage players. Care should be taken to adopt a fingering approach forthe rest of the opening tif that allows it to be performed smoothly and fluently, particularly when moving between the pairs ‘of notes on frets 3, 5 and 6 in measure 2. ‘The verse comprises G5 and F5 power chords with eighth-note rests appearing in a number of places, Practice this section carefully and make sure the power chords are not allowed to ring out across these rests. ‘The jump between the two power chords in the chorus involves simultaneously changing strings and fret posi- tion, so it may need extra practice. Try to ensure that the C5 power chord rings out for the full 4 beats before changing to the AIS power chord.‘Smelis Like Teen Spirit - Nirvana Instead of the key of F minor used in the original Nirvana recording, the RGT arrangement of this piece is in E minor. This makes it more suitable for early stage players to perform, as the opening riff can then be played starting with open position power chords. ‘The main rif featured in the introduction and the chorus has been slightly simpiified from the original recording by omitting the “ghost” notes and muted strings. You can include these into your performance if you wish, but the core rhythm and fluency of the riff are the most important elements to capture at this level. ‘The open-string notes that comprise the pre-verse and verse should be allowed to ring into each other as the notation indicates, Notice how the open-string riffs in these sections all start on beat 2, rather than on the first beat ‘The middle section features a jump from the low F note on the sixth string to the third string for a halt-step string bend. Some extra practice might be needed here to execute the string bend smcothly. Day Tripper - The Beatles ‘The RGT arrangement of this piece is inthe original key of E major. The opening riff moves smoothly across the throe bass strings and is repeated five times before the verse starts. Count the repeats carefully and listen for the lead guitar playing the vocal melody as the cue for the beginning of the verse. The move from the last note of the verse in measure 10 to the first FS power chord in the chorus is tricky to execute smoothly so practice this transition carefully. There are two different rhythm petterns used on the chords in the chorus. Follow the notation carefully and listen to the recorded track to ensure you are familiar with how they are to be played. ‘The rif that occurs in the bridge (i.e. measures 23 and 24) may require practice to perform smoothly ~ as a shift of fingerboard position may be requited to reach al the notes ~ so you'll need to take care to adopt a fingering approach that enables fluency and accuracy. Wonderful Tonight - Eric Clapton ‘The RGT arrangement of this piece is in the original key of G major. There are several different guitar parts on the original artist's version of this track. The RGT arrangement combines elements of several of these parts, Follow the notation carefully throughout to ensure that your performance is accurate to the RGT arrangement. ‘The slow tempo and ballad feel of this tune means the pitch accuracy of the string bends in the opening riff is particularly important. Similarly, the slide and hammer-on in measure & both need to be executed smoothly and cleanly as demonstrated on the recording. In the opening measure of the verse (measure 9) the high D at fret 10 should be held down and allowed to ring ut for a count of three beats. While this note is ringing, the open string pattern on the D, G and B strings can be picked. (Note that, t preferred, this open string pattem in measure 9 can be omitted from the performance to ensure a smooth transition to the D chord in measure 10.) Care is neaded for the chord changes that ocour throughout the remainder of the verse, chorus and bridge sections to ensure they are executed smoothly and cleanly. Practice the chords carefully to maintain an even picking pattern.Should I Stay or Should I Go - The Clash The RGT arrangement of this piece is in the original key of D major. The damped D chord in measure 2 is, performed by resting the fingers of the fretting hand gently against the strings while strumming, Count the rhythm carefully in measure 4 to ensure the hammer-on is played correctly on the third beat of this measure. ‘The open string “vamps" that occur between a number of the chord changes throughout the piece help to maintain the energy and fluency of the music. However, the chord changes still need to be executed smoothly and fluently, especially the tricky move from the G chord to the F chord that occurs in measure 11 Follow the notation and listen to the recorded track carefully in the chorus to ensure you are familiar with the rhythm patterns that are required here. The chords need to change smoothly here and the rhythm is quite tricky 0 execute at first. In particular the move from the G chord to the F chord and back to the G chord in measures 21 and 22 will require some careful practice to execute smoothly, ‘The track features a number of rests between chords. Look out for these when playing and make sure you silence the strings when a rest is notated. All Right Now - Free ‘The GT arrangement of this piece is in the original key of A major. The four-bar rif that is featured in the intro and verse sections starts with an open position A major chord. In order to transition smoothly and fluently into the D/A chord that follows, itis recommended that you play the A major chord using the first finger of your fretting hand. This keeps your second and third fingers free to fret the remaining notes needed for the D/A chord, Inthe third measure, in addition to the subtle chord change that occurs, there is the added challenge of reproducing the rhythm accurately, Care needs to be taken to ensure that only the B, G and D strings are sounded when strumming this pattern. The rhythm itself is also quite tricky, so listen to the recorded track carefully to ensure that {you ate familiar with how this section should sound, The chorus uses mainly power chords played on the D and G strings. In some places, rests (Le. silences) often ‘occur between chords, so where rests are marked in the notation make sure you either bring your picking hand against the strings to stop them from ringing ut or release the pressure with the fretting hand to create the samo result. ‘The instrumental section in this arrangement is an abridged and slightly simplified version of the guitar solo {featured in the original version of the song. Consider carefully which finger to use for the slide up from fret 3 to fret 10 in measures 27 and 28, as you will need to be ready for the faster phrase that follows it. These faster, hammer-on phrases in measures 29 and 31 will need practice to ensure the rhythm is smooth and even ~ listen to the recorded track for confirmation of how the rhythm should sound here. Paranoid - Black Sabbath The RGT arrangement of this piece is in the original key of E minor. The eight-measure introduction to this track features a series of hammer-ons. The notation and recorded track will need to be followed carefully here to ‘ensure thet the rhythm is performed accurately. The first three hammer-ons are played as quickly as possible whereas the hammer-ons in measure 2 have an even, hatt-beat rhythm. There is also an added challenge in the first measure where the rhythm is syncopated. Listen to the recorded track carefully to ensure you are familiar with how this should sound.Power chords then dominate the track with a fast, even rhythm to provide eneray and momentum to the music. ‘The abbreviation ‘PM in the notation Indleates the use of ‘palm muting” — place the side edge of your picking hand gently against the bass strings at the bridge. You should stil be able to strum the bass strings although the strumming movement will be restricted a litle. When played with a distorted guitar sound, this will give you the classic “chugging” rhythm of this track. Follow the notation and practice carefully to ensure that you start and stop this palm-muting technique in the correct places. Although the bridge section only contains two diferent power chords, each one ringing out for two measures, be sure to count the beats in this section carefully. Each chord should ring out for eight beats in total, Count these off and then confidently strike the next chord. Pinball Wizard - The Who ‘The AGT arrangement ofthis piace moves through the same keys as the original artist's recording, beginning in B minor, ‘The three-note chords featured in the introduction should be allowed to ring out for the whole measure. The rhythm gets more complex in the final three measures, so listen to the recorded track and follow the notation caretully. ‘The rhythm part that is notated for the second introduction and the verse is performed on an acoustic guitar on the original artist's recording. Our recorded track features an electric guitar'throughout. Keep your strumming as light and smooth as possible here to ensure an even flow of the rhythm ~ don't grip the pick too tightly as this may cause the rhythm to falter. The first and seventh chords in each measure feature an accent mark (>) above the notation. On these accented chords try to slightly emphasize the chord by strumming ita litle harder ~ don't overdo it as you might lose the flow of the rhythm. The biggest challenge in this section Is maintaining the stamina required to keep up the rhythm across all of the chord changes. Take it slowly at first and focus on one chord at a time before trying to play the entire verse all the way through. ‘The rif that comes in at measure 20 is an instrumental break in the track so try to strum the chords here with, ‘some energy ~ though not at the expense of the notated rhythm. Take care to follow the rests that occur here and make sure the strings are silent when rests are indicated in the notation. ‘The penultimate measure of the chorus contains a variation of the D chord that produces a Dsus4 chord by moving the note on fret 7 of the B string up to fret 8. In order to ensure this chord transition sounds as smooth as possible, try to keep the rest of the D chord in place as you move your little finger up one fret.Sunshine of Your Love Words and Music by Jack Bruce, Pete Brown and Eric Clapton GT, standard: a ‘GRADE 1 = rT = 5 — — z oy 8 — Ss 3 +t be 3 Se I. — 3 — Foe Bp 7 = oesieie Copyright© 1975 by Dratest Music, Li and Ene Clacton ‘Copyrghs Renewed Al Eights for Draloa Mucie, Lid. Adistred by Chappal & Co, [i Fights for Ere Gapton Acmristered by Unichppel Nese Ire riematone! Cooyight Seau'ed Al Fights Reaeo3Smoke on the Water Words and Music by Ritchie Blackmore, lan Gillan, Roger Glover, Jon Lord and lan Paice pair? ep oSy B verse Play 3 tines vod 2000) B, FELDMAN & CO. LTD, trading as HEC MUS 1c A Rights sng Cana contac ons Aarnteea by GIENWOOD MUSIC CORP.Chorus nS bs 20 cs Abs 1"Smells Like Teen Spirit [Retard Words and Music by Kurt Cobain, Krist Novoselic and Dave Grohl GRADE 1 & Pre-Verse Verse & Play mes Bridge 2 i Play 4 tines (© 1091 THE END OF MUSIC, PRIMARY WAVE TUNES, MJ. TWELVE MUSIC and MURKY SLOUGH MUSIC. PICEND OF MUSK ang PRIMARY WAVE TUNES Garvolec ar acrilgeredy EM VIRGIN SONGS, 2Middle Section D.S.al Fine 7 ake repeats) 8Day Tripper Words and Music by John Lennon and Paul McCartney Play 5 tines Chorus Hy res Copy © 1985 SonyiATY Music Pubtsing LLC Ronowes Copyrant [A Rights Administered by Sony/ATV Music Punishing LLC. 8 Music Square West, Nasvile, TN 37203 14 Tetemational Copyright Secured AI Pgh Rsorved6th time, D.S. al Coda oy Bridge Play tes 6Wonderful Tonight Words and Music by Eric Clapton = = ote = = 3 = SI Chorus ye a om En . eee Sa = SEES £ =F = ESS = E Si 3 = = a (Sopyroht © 1877 by Ere Patrick Clapton Copyright Ranowea AL Pghtsn th U.S. Admmtere y Urievapel Must. 16 ‘Tomato Cosy secucd "AV ig Beso"7Should I Stay or Words and Music by Mick JoneAll Right Now Words and Music by Andy Fraser and Paul Rodgers Ineo =m A D/A Beet = == = J eS SSS —+4- — —+? 4 —— re —= tt — 7 Copy © 1970 Be Moya us Land Carns Pek Mur 20 are18, DA DS. (Take 2nd Endings a|| | MW i | ib | ae _tI]| Be | wl t }) | } | ¢ Hy) A 4 2 AWW LL | | 4 ||] 4 iz i ti C i 7 + | ‘ 4 it ty = | HI | | { ql 7 HI] A | ng 4 T | | + ly) | \ : +] Nh 4 | | | | rr 2 | | ' | I" | qj / il \M | : | | | i i | I oT | qi = | 3 | 4 | | | & | 5Paranoid Words and Music by Anthony lommi, John Osbourne, William Ward and Terence Butler Ds oe ES GD ES — —— = See | Fe A SE eee 24 =e Woe JAB {© Copyright 1970 (Renewed) Vlesminser Musi Lid, London, Eng TRO -Essox craton re Neo iol pacing 0S eraCanasa lerationl Copyright Sec ‘Aigns Resend insane ae Porormance For Prt Used ty PermissionDS. al Coda Es GD HY 2Pinball Wizard Words and Music by Peter Townshend Bmsust FRisust oe —————————— 2nd Intro Bust ouleegeeetedte + EAT Play 9 times AA AA TERE HEEEEEHAEE ria | Copyratt © 198 Towser Tune, ns Fabous Musi Land ABKCO Musi In ‘Gopyight Renewed igs or ser nae, Urveen Muse Plain arson Map ‘rig tor Urvorsal ase Pibtehig nimatonal MGB Lid in be US, Agnes by nee Muse: Carers Ivmational Copyeght Secured "Al ighis Neservsda8 |__5 555 = FEE Gaus gekceecedececess GSS IEILEIIEE [FEE 23 4 i “ps 23 FEEEEEE caeees Ba $3333 SEEDDS. al Coda (no repeat) see Play 3 rnes 28