Ue As wu CS “GOOD RIDDANCE (TIME OF YOUR LIFE) “CIRCUS” “NEWORLD” “KODACHROME® “REDEMPTION | SONG” eee PLUS! £-Z GUITAR | ARRANGEMENTS ——PINK FLOYD LESSON The original Pink Floyd lineup featured yd Barrett on guitar; Gilmour didn't join the bang until a few months after their debut slum, The Piper at the Gates of awn (Capitol, 1957), was released. Though Barrett is primarily remembered for his Fender Teecaster-generated twangy, psychedelic ‘sound painting” (nat to mention his equally psychedelic yrs and stage presence), he id use 6 and 12-string aooustic guitars to provide more down-to-earth accompaniment on that album You can hear him strumming {ardenvarity open chords on “Flaming” Scarecrow.” On the Floyd's second album, & Saucerful of Secrets (Capitol, 1988), Barrett layed acoustic on “Remember a Day” and “Jughand Blues,” though by the time that record came out he had left the band. Gmour subsequently took his place as the band’s lead guitarist and musical director. Gilmour's early acoustic influences include Bob Dylan, Leadbelly and Pete Seeger, as well as other folk guitarists. The impact of the blues, so apparent in Gilmour's understated, melodic electric lead style, is ‘30 clearly evident in his acoustic playing an “Seamus” (Meddle, Capitol, 1971), on which he plays @ Robert Johinson-style slow blues ‘accompaniment in E (detuned one whole step to sound in the key of D) and overdubs. ‘swampy slide part in open D tuning (low to high DA D FAD), ‘ne ofthe hallmarks of Gilmour's acoustic syle is his penchant for using open strings and fretted notes inthe lower posi- tions ofthe neck (within the frst five frets). This ellows him to capture the full, resonant tone ofthe open strings and avoid the weaker vibration and sustain produced further up the neck A prime example ofthis tendency of Gilmour's is the majestic “Wish You Were Here” (Wish You Were Here, Columbia, 1975) rif (See FQURE 1; gtr. 1 part). This simple yet compelling rhythm figure is comprised of a warm pentatonic bassline melody that ‘moves heneath a droning @5 chord (6 0 6) played on the top three strings. As you play ‘through FIGURE 1, notice how this upper-reg: ster drone takes on diferent harmonic implications as the underlying bassline Imelody moves from E (Em?) to D (G5/0) to A (Asus, before finally resolving to 6. ‘his rhythm figure is frst introduced uring the song's intro, with Gilmour playing a sot, jangly 12-string acoustic that is EQ'd to sound like it's coming through a small transistor radio. On top ofthat partis a sim- le, soulful countermelody, overdubbed by Gilmour on a G-string acoustic. Here, again, he works within the first fie frets anc employs the open 6 and 0 nates to great effet (sce FIGURE 1; gtr. 2 part) Notice his sparse, iyrical phrasing here and expressive use of legato finger slides, perfect fourth ‘doublestops and bent notes. (You'l need to tse both your ring and middle fingers to FGURET Wen Yeu Were Hanae En7 cs faa push the wound @ string) Gilmour took this same open-chord-with bassline-melody approach on “Lost For Words” (The Division Bell, Columbia, 1994) to craft a similarly warm, “down-home” = ‘rearoxns| iv uttan wort acoustic @