by Foe Ppt Pt IMMIGRANT SONG GUITAR “Immigrant Song” starts with a powerful punchy 16 beat guitar riff. It is a short number with no solo, so the guitarist’s function is to provide the tight rhythmic backing for the band, which should be strong and concentrated 1g bass part calls for powerful picking in unison with the guitar. The riff pattem is changeable, so the bass thythm must be tight and accurate. Play with the treble © (Gx) Aitemate picking with a fat pick and a strong attack © on IMMIGRANT SONG well up for a more guitarlike sound, and stay right with the tight beat. DRUMS The drum part throughout the number consists of the same bass drum patter and strong snare hits on the second and fourth beats of the bar. There are no fills and only the cymbals are used for accents, so each beat needs to be accurate and played with the right balance. The main point is the rhythm of the bass drum on the first and second beats, so practise until this goes really smoothly. 0 The iff pattem is the main characteristic of the number, so its accents ‘must be practised until they are exact.© Wa): Altemate picking ike the guitar. Stay fight with the daummer.cua i = + Lye — P= Ss = = Fe ee # beSet (eee -————o——_, ¥ @ (Ba) : For these 16th note major scale © (Gt): Bring out the 9th in the C7 on the pphrases, use altemate picking and keep it ath beat with extra attack to add colourhere. atic aad accurate:Fm cf Fam c7) proce ant trust can_win the @ay do - aplte—all your Jom ing.as ‘moo.ftoenbl. www fiziv s26elq Jotibaspsminoisd yd SibFRIENDS ii FRIENDS GUITAR This song is based on C and played with open C tuning The main point is the use of the open string in the riff, which is sometimes wild and sometimes delicate. The guitar backing is the basis of the song, so aim to achieve a smoothness in your playing by a light touch when cutting, (Open ¢ Tuning) BASS Assimple bass line with few notes allows the bass guitarist to concentrate on blending in with the other instruments. Special attention should be paid to the timing both in the unison sections with the strings and in the 11/8 sections,© (Gt) : This is the main pattem, which makes the most of the fist and second sitings, but without muting. The main point is to bring out clearly the contrast between the sounded chord and the melody ofthe © (Gt): In this bar the time changes to 11/8, and guitar and bass play in unison, so watch ‘out for wrong notes; keep it accurate, © (Ba) : The whole song isin eight beats to the bar, but in places like this where the rhythm ‘might be difficult to pick up, you ‘would do wel fist to master the phrase and then fit it to the eight beat count later.| fa te fie SSeS {elem there's no deny ing youtee inmaom plete, theyll bem © (Gt) = Unison backing on strings and © (Ba) : Bass and strings in unison. Listen to guitar Here too no muting is necessary. Feel the guitar backing and keep good time. {an accent on the first and fourth beats as you play, to give a dynamic touch. 10vo| or] 9 Hoan. wgrgiei (Os2e:Chors) e26qlg Jolibaops: 22699 2 e IdotsG yd betibaf 12moo jlozilaLwww iz sesalq.sets ery easy Ret Steven ar fe trates alo with amen stole blos wy ; : } ; 16by Sey Pn Rb Pt he a CELEBRATION DAY GUITAR One of the classic Zeppelin numbers which features some truly characteristic riffing from Jimmy Page. Make sure you're really on top of the slides and bends which make up the main riff before trying for the powerful thythm section drive, and then accent the chythm as you g0. BASS The bass needs clean hard picking which brings out the (i or CELEBRATION DAY offbeat, where the timekeeping must be especially exact. The bass line should be powerful and energetic without being either too even or too jerky. DRUMS A basic eight beat pattern with an offbeat feel. The main point for the drummer is how to bring out that tremendous drive with such a simple pattern. Despite this seeming simplicity, it's best to go for a careful approach, building up the phrases gradually. vo| (ier Distortion 2 cu ut Linon Distortion —= This section calls for tight cutting, AP aspen soetkicig: Sheliaou] a @ (Gt) : Pick the Sth string while the slide on the Ath string is stil sounding 18too toeallL. www tieiv seselq Jonbaepenm Aion Distortion oe Hien Bistortic © (82) : Play downstrokes on all these eight ies ied dma wane,© (Gi) : Classic rock ‘n roll style playing, © (Ba) : The bass line here isa simple 16 Watch out tor wong notes with your litle beat rhythm, but don't let it get too even finger 20Moo floenlll www fiziv seselq 10fIb: 8 se = (2,20) snare inthe peartent22#} Sa cho. cho. chp.C.D.p.cho qo. cho. chowe pp, chos L= @ = © (Gu) : The bending phrases here are slightly restrained so as 10 give the whole section an accented feeling.24© (D1): Avoid any imegulatty here and keep aaa dueateh hataabanaie26 ll cho.c.p.p. cho,z sootlozalliwww.tiziv.ees: ely solib sepa mi Te eaby Soap Fp Bert Pt ae "VE BEEN LOVING YOU SINCE I’VE BEEN LOVING YOU GUITAR Full of the bluesy phrases for which Jimmy Page is renowned, “Since I've Been Loving You” requires a considerable amount of technique, but it’s worthwhile adding it to your repertoire if you're interested in mastering the feeling and phrasing of blues guitar. You can lear a lot in that direction from just this one song, BASS ‘A slow minor key blues number with the rhythm in triplets, For the bass guitarist, the main point, in addition to keepingin with the restrained rhythm, is the need for a heavy broad sound. For the most part, the bass line centres on the root notes of the chords, but there's no fixed pattem, so the main thing is how to blend in with the overall mood of the song. A really laid-back feel is essential. DRUMS The drumming on this song needs to be powerful and restrained yet very relaxed. There's a variety of fills: eight beat, sixteen beat, triplets, sextuplets, and it’s a challenge to the drummer to negotiate their way smoothly through them. The central rhythm, however, is the triplet. Listen closely to the guitar for the climax points. out oul ox © (Ct) :The bends should be restrained and @ (Ba) relaxed, the picking light and the phrasing smooth. the bar Feel the shythm from the ‘deummer's snare entry on the second beat of © (Dr) : The rhythm of this bar sets the tone for the whole song, so be sure to get it ight.cul cutPN ee cmlonEr) AbeT ho. = aa a phar o7 wo Se = = base oto? fi a fo 2 7 fl > 7 Eaan ae Lae bs 30a a knee Ot NOR A REP AORN TR AE OHA A AE OAL SPRAYS L SALAS A BEAL A LAL SS a vo, oe @ Seon miner eat age, hima ve ventsiy,retviy seen the test of fkey — cu or. vo. ou cual | ecm? a Gm7 zg -—-AeT Fal, nowt tore you gicteaien ele aiel Be be cy Sire Ie Bon Lanter Pastost to loseey wore hy ‘ne re ee a © (Gt) = A four bar phase pattem. Mute ‘non-sounding strings in the chords with the fingertips of the left hand, 322 —————————— a la a © (Gt) = This sextuplet arpegsio passage isa fasteflowing run, so be sure to stay with the thythm section and keep your picking free of Breidaiaies:(ey — tong drag arag_tesd, yt tae emt adnte eit © (Gt) = Powerful picking needed for the bending here as you take off into the solo. 34© (Gt): Make sure you've got the positions @ (Ba) : Try o avoid any wrong notes as you forthe minor scale phrases down before you back up the guitar solo; keep every beat bbegin. Get stuckin and ride the rollercoaster, _ relaxed and lald back. ‘but don’t lose the rhythm on the bends |36moo.ftoenll|. www9tiiv seselg AofibJepsmidotsd yd betiba Vo, Rte +S 5= = ARS N ou a —— st =| Pex, oe ag ar x ——_ 3 5 eet cecteere SS 5 = 2 eS a ou =: Nabe aa 37ou. 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Scho. gts. the: choy . ‘a gee eee a SS i ¥. =< 7 apt epi tee? on? ene op = = i SSSI Gell i = = E = —— ne ar = BE | 3 z ae = SS = - | 1 Seal z 2 z 5 tm fn eS ae etch = ‘ abst Fn? mE) Om cy pr , fttne geeetee | 3S te oe ===. a= Alrere etetet ‘é eal” ie = woe | i = = 2 = ———— st os = iE % 2S =o. ss f= = Soe a a as = Sey 7S | cmon) fon) Gg, & o7 ve (Gee — ——_ d o 7 ~ — - _ seried sit penn, amen) er (rita 2) © (Gt) : Watch your timing with the rhythm section to enable a smooth tardando.OUT ON THE TILES GUITAR ‘The key to the guitar par for this songis the crunchy distortion sound. A ‘numberof the nfs are played on non-muted lower strings, so take care not to distort the sound too much and watch the pitch of your low siting bends. Timing with the bass player must be exact, asa lot of the ffs are in unison BASS Forthe many 16 beat unison nfs withthe guitar, the bass-playing needs to be hard-edged. In the places where you can use two finger picking pay extra attention to synchronising with the left hand, and where a] ‘ bends are called for in the midalle of a pattem, be careful to align the pitch with that of the guitarist. DRUMS ‘The basic thythm is a medium tempo & beat, but here and there the bbass drum plays 16 beats, and the whole thing has quite a dsving forward fee! to it. There are a lot of sextuplet fills which call for accurate timekeeping, and good timing is also essential for the snare/bass drum, combination work, so practise until you've got the thythm really smooth, Fm 22 ve, Zitte ei e | vo. or a © (8a) : Usually one uses the ring finger for bends, but here you can also try downward pills with the index, middle, and ring fingers Together _—__—@ © (Dz) : Watch the timing of your pedal kicks on these snare/bass drum sextuplet phrases so that they come out smoothly, and mind the volume balance between the snare and bass drum, 43Fem 5 om A S E fst eeeuee © (Gt) : The guitars on overdive here, but © (Ba): With occasional hammeringon, © (Dr) : A high point in the song, so your don't mute these 16 beat rifts. these phrases should really drive along. Make _cymbal/bass drum timing should be spot-on. Sure you hit the frst note ofeach beat imly. The snare on the third beat is a flam stroke. 44A s Fam, SHozm, EER td batik gw tiziv eeselq .ofibaSpsmlgoy, vo, = = (eh Yeah, och taehy on oye a 45a te ee is see Spe EAE eee ett 469. ToznlaL www fiziv e2salq .10fl mifoisd yd befibal . rin i tm aE em ltl) glo) Aion) foe) be i=—64. —_1i—— er) lone) (OnE) GE) em GED ey nd fa detad £ aa em mee mE) og gine) on) gael id JeRajye, 2, i oo f2 Feta 1 TR, vo] rae ——! —_—_ rr = 2a a ee | oe = imi7Fot i . a fLrryT CLts SrA Remini pe Ue, OIDIZROM Keo, NNR DOTA bacighe oieron ma Sey innhcwinte awe carimgeticualcietensparme | snxione cpyea eam Wine nade eS tca cinco rhea una time - accurately!Trt Aegean yey Pet ie Plt il GALLOWS POLE GALLOWS POLE GUITAR From the gentle sounds of its opening solo acoustic guitar to the eventual entry of the overdrive pedal steel guitar, this is a song which really raises a storm. The electric guitar style of the backing riff in the latter half is especially noteworthy. The pedal steel guitar phrases towards the end should be played just as if on a regular guitar. BASS The bass line is basically in eight beats, but it has a staccato feel to it, so don’t let the notes spread out too a3) a ox out at) much. There are syncopated 16 beat phrases in the second half which call for strict timekeeping, You'd do well to practise first with a metronome. DRUMS The drum part consists only of snare and bass drum combinations, and sounds at first like a simple eight beat, but notice the 16th note offveats on the bass drum. With 16 beat phrases on the snare, always accent the first note and play the others very softly without getting caught up by the bass drum timing. na an) re) or| O(cx) : The main rtf here makes skill use of open strings. The C at 2/1 sounds really ‘good, Chordwice, change from A7 to Am? and then simply slide along two frets. 48