BLACK DOG GUITAR ‘The song is based on some very tight guitar riffing with Jimmy Page's characteristic sound ~ natural distortion from the amplifier and strong attacking pick work. There are a number of time changes, so the rhythm needs extra attention. BASS The heart of the song is the bass’ unison playing with the guitar, so for the bass player, the key points are effective accented picking and accurate timekeeping, Practise so that your timing gels smoothly with the guitarist’s. DRUMS The drum part is based on simple but powerful eight beat rhythm pattems. Be sure to master the triplets which are the key to it and play them with a broad swinging feel, There are various time changes, so keep your timing accurate and don’t hold up the flow of the chythm, vo, — = 1S —— = - oan ei i pre ES Sa needed fora powerful dave. Gt): The main rif. Suong picking is @(Ba) : Make sure you synchronise well with the bass drum accents ane play with a bbroad swinging feeling, atclaeltitien B38 ©101) : Each beat must be well accented and made to count. t= 6 viet = —a 4 See = a= Sj es =! a@{Gt) : There should be no edge to the “fing here; the sound of the phrasing needs to beepanive©101) ; Simple drumming. but take care ‘ver the triplet fee[Ge hsUntson)—>16e-1;Urison}—,@1Gt) : If you have only one guitar, then play the Gt-ll part here 12mao ert this tiplet section and play each note clearly. oe ee ee the band, 13nue!) 0 ar DavedEly ar aie Lae at cae ean eee ar pas’) > ar\ei ROCK AND ROLL GUITAR A classic Zeppelin number. AS the title implies, the pphrasing is all in typical rock ‘n’ roll style - strong picking, a big sound, and straightforward tight backing work, The solo features a number of tricky passages, so tackle them with care and concentrate on one at a time. BASS. A very orthodox eight beat root note bass line here. Bass ‘and bass drum are often playing the same pattem, so be sure to beef up your sound with a strong attack and accurate rhythms. The more simple itis, the more you need techniques to bring out the accents and the feel of the thing. DRUMS The eight beat rhythm pattem forms the basis of the song, and the powerful bass drum gives it its characteristic feel, There's little call for delicacy; raw power is what's needed, but that needn’t mean rough playing. Concentrate on strict timekeeping to bring out the feel of the piece. A ee E E eee [f—e —— =p on) ‘ombal Play the hi-hat half open like a crash{B(Ct) For the semitone bends at the third fet (th, Gth stings), pull the stings down. The timing of the syncopation needs to be eax: 19mn Go, ete teen Long tiem ecw Too a) ella, ou] | © (Ba) ; Powerful altemate picking.Let me ome Ue ky ae me get sek, mee ty 21vo 223ov 24(@18:2) : Suppor the guitars by being tightty intime withthe bass dram. 25ou | (@1Gi : The tick withthe puling-of here is to boost the sound of the open stings by pulling off and down, Gi) : Pick the besinning of each beat strongly to create the impression of fully picked phrasing 26hep hea 7sntiet es en = lige, “$5 Sa ye GES = (Ct); Pul-of asin @, buthere you should smute Igy with your right hand 28293031out] ou] 32Fl in Solo 33,THE BATTLE OF EVERMORE Samy Yoe Mae Pat Hi THE BATTLE OF EVERMORE GUITAR Only two acoustic guitars are used for this song. The plays normal acoustic guitar chord strokes, As there is no sound of Gt-I s very similar to that of a mandolin, anda _thythm section playing, the Ct-II player needs to keep specially adapted instrument may have been used. The _up a steady rhythm. tuning is unclear, so it’s shown scored as normal. Ct-lI an(on08) (on) gay, Gell (a.Ge) Ese fate oa iE Sat e oo) an(oro8 anon) « aqera) GL) : In this pattem, the notes on the @IGt) : Be sure that the 4th and 5th sting fourh sting ate lke a drone. The fingerings _notes don't sound hee. rather dificult, so take your time over i 34te Prince of Bone on trated th glom—_ ed atin the nati 9 lem, (Comdgrana te ich team tan = Gee temp sparse ach tore AST 5. Ss SS a {O(Gt) : The Xsign on the tabulature signifies astiong mute. 35An © Ame GC Ame CG (mela te ed ou 36Ane CC 6 Ane © Ane 8 Ane ce Ave 3 ee ae " Ane cc Ams Co co 38ane 8 Ane © Ams sc JS Noss es (maimorie ine we wit in lt to tring the bat©1GL) : Amero plaving. 40Ame © Ame co _Ane © _o > ame 6 Ans © Ame © 42Se tring —ton 66 berg st leg beng trig bd San © ae UH mes pen) “times Repeat & Fade Out 43t ae TO HEAVEN STAIRWAY TO HEAVEN GUITAR This famous song is a veritable compendium of the rock uitarist’s skill. Perfect pickwork and subtle shading are ‘what give the song its character. You will need to work carefully through each section, regarding each as equally important. If you do so, you will find that this one song can teach you a great deal BASS The gentle picking and relaxed feel of the first half followed by the dynamic attacking style of the second makes for quite a contrast. Melodious songs like this are nnest20) anlar) fonrfy @ an Far very much affected by the rhythm of the bass playing, so all unevenness must be avoided to provide the right backing for the melody and the solo. DRUMS ‘As with the bass, the first and second halves of the song contrast strongly with each other. The key is to get the feel of the whole before you begin, and get that into your, head in order to be able to bring out the mood of the song. In particular, pay attention to the length of each individual beat and stay right with the guitar iff. The bass drum playing also calls for some technical skill, and must be clear at all times. G Am Anlonab) Ie would be best to play these ampeggos with both pick and fingers together, but if you choose to use your fingers only, make sure you bring out the root note.plerr#) AmaslAP) —pqrl00) orA9) pm7lenG) —plenFy 45na ses oy = tag a stale = vey to tanec, z S . rar Ant AmaslonAb) ample) —pfonFf) pay vo, ou eo G Am Ant AmaslrAr) —am7fond) poor) Far, Gam case Bt = er Tae ate] 46amt wan (i strings Gu) jimmy is playing a 12 string electic eG ‘here Ifyou have only a sie sting, add on horus Box which wil help you pet close 10 the 12 string sound, 7c eee) ae an © wir = A be cy eg or lew Hee wii ied we to eee i 48ant Em 0 Caco am eo Amt Em lore) lors) hoe tle 49 your ae ro O'E be a= atm es ste nt cing haan he aoe pt go ince yn now, te renaal ay Jou Flo =e (Ba): Thesound should be big and broad —_—_@ (Dr) : A simple eight beat shythm pattern. Watch the timing of the syncopation. Take your time and let the rhythm swing easily 49fone Am ce oer Yenytiete are two pos you cin gp oy Bae Ap the tong unre tae to tage — oe ra oo ig acon “ee tc te oes ey ro diecasta° ff lore vo. ous ou Gt) : 16th note phrasing; watch the @(Ba) = Make the most of the lighiness of @/Gt) = Aslide technique on the same note accenis on the bends. the Téth note phrases and stay rght with the used when changing phrases - practise this ‘bass drum. Until you can manage it in any postion 52vo, ce =e Se ve ext 53©.Ct) : The timing of the syncopation needs {0 be spot on herein order to fl the gaps in the voral ine precisely 54 PP feat k Joa a t Say Get Mette eta(n) vas. vo ou] am(ons) fat a‘Sy ag tart Heth Pl ne | MISTY MOUNTAIN HOP GUITAR A medium tempo number with a languid laid back sixties feel to it. The backing keeps up the same basic pattern throughout, but the fingering is not so simple, so take care over it. The syncopated eighth note sections with the bass guitar also. merit’ extra attention Throughout the song you need very accurate rhythm playing to build and maintain the guitar line BASS With few position changes and a relaxed tempo, this is a fairly easy number for the bass player. The beat changes a lot in the introduction, and you'll need to keep up your concentration in the unison parts with the guitar. There's MISTY MOUNTAIN HOP also a lot of syncopation, so your playing must be tight and rhythmic. DRUMS The song has a relaxed pace, but there's no lack of the characteristic Bonham power playing. The knack is to keep up a perfect thythm while, together with the rest of the band, avoiding the temptation to rush ahead; if you can manage this, you'll be able to reproduce the laid back loping swing of the song. Be careful not to throw’ your rhythm out by making your strokes too powerful; put all your feeling into each individual stroke. (Ct) : The guitar comes in behind the elecinc piano. intro. Take care with the syncopation. When you play the 6/3 with your index finge, give it an exira touch 10 8d the impression of a bend, @ (Ga) : you find this unison section with the guitar dificult, play the A on the fist beat with the open fith sting 57@(Gt) : The fingering in this vocal backing @ (Dr): Thi isthe main shythm pattem for section will need ext'a practice as its rather _the piece ~ powerful ass drum and share tricky strokes andl hichat accents. on every other beat. 58d ) eet et en f Ss — 2 vp Fp oer Si Sete sae == —— 59ar ° o ar vo a) oo oe A 29 {©1D:) There's 2 beat change here, 30 mind ‘your snare position. Then comes a fongish break; you can use the hat pedal to count iv 60aeae! tae —APE ES se eet lp ee 6263vo ou] co SF (orm cto. @(Gt) = In this beautiful twin guitar lead harmony, watch the timing of your bends and sides, 64sy shonin ca.o. i eM ero6D.2. aoe 65vo == a — OS ascnp. ee (GL) CDH eho 0.9, oun (GV) CD-2 6.0.0.5, ————eanser Tee3 i i i | 3 ' 67il FOUR STICKS GUITAR This song features some complex guitar overdubbing, but there’s not too much of it, so it’s possible to play in the way we've shown in the score as Gt-I and Il. There's some lovely twin guitar ensemble playing in the intro., so make sure the pitch of the two instruments is right. The other point to watch is the precision of the time changes from 5/8 to 6/8 and back again. BASS Accuracy in time changes and tightness in the unison Passages are the main points for the bass player. In [B) and sections, the bass sounds quite free, but watch you don't lose the rhythm for all that. Each 16th note should be played clearly and precisely. DRUMS This is quite a complex thythm. The main point to note is the hi-hat and off beats on the bass drum, The hands are playing mostly toms with fill-in like strokes, Tackle these only after you've mastered the continuous open hi-hat and off beat bass drum pattern (@(0r) : This hi-hat and bass dium pattem £es fight through the song, Make the 16th otes precise70fem [za fee ¢ £ ee se @(Ct) : This is the only acoustic guitar @(Gt) : You'll need a chorus box here; the @(Ba) : Free ad-ibbing around the A chou. section Inthis octave playing make sure you basic setting should be clear and free of rmute wel to suppress unwanted notes. distortion. 72Ue iver nn dey tye tow layout? AAGul ecuafore) 74Em fore) oe Sere jabladdon = CEnreenaaternies (tedhide hte dove te cette ot tte (Gt) : see @ above, O1Gt) : sce @ above, 18a): see @ above, 767‘@4Syn) : Synthesiser passage. 78 S Bis — OFA eg plOnFblene) “AfOnE) 80GOING TO CALIFORNIA by Sy ap ae nt GOING TO CALIFORNIA GUITAR A purely acoustic guitar number for three instruments, but we've shown just two in the score. Gt--I sounds like a gut stringed guitar, capable of playing really high notes ‘with ease. A regular folk guitar can be used for this. Gt.-lI isa six string tuned to D and plays mostly arpeggio style. (© (ct) : This phrase is repeated just twice. @(G1,)- The basic arpeggio backing pattem of the song, 8283(0) motion a the cy start (ole ant ska —___ Caren) 848637Repeat & Fade Out 89i WHEN THE LEVEE BREAKS WHEN THE LEVEE BREAKS GUITAR ‘An unorthodox open F tuning is used for Gt-I: from the first string - FGECA,F. Bottleneck is used in places, so have one handy on the little finger of your left hand. Gt II, which is tuned normally, also requires a bottleneck. BASS The bass playing is quite free for the most part, but here and there are phrases where the bass player must be together with the guitarist. The best approach is a basic pattern with decorative fills. Note values are often small, fcc] Blues Harp} cet @ (8H) : This isan Fb major blues hamp with plenty of ever 7 iS a but you'll need to feel the drummers groove to make every beat count. DRUMS The into features an effective use of echo best reproduced by using a digital delay. The number has a basic 16 beat feeling yet the groove is a really heavy one, Every stroke must be played with great power, and the eighth note hi-hat rhythm kept rock steady. Pay attention also to the balance between the hi-hat, snare and bass drum @ (01) : Note the use of echo, Set the delay for 16th note timing,7 3wives Harp 9 petonae) evans) ab rm ab Fm vom) slob) ny em ab pen FPoteleneck ou (GL) . The bottleneck is used for just this ‘phiase. Play through it with the baron the Tite finger of your tft hand. 923ou 94x plonah) glob) De em Ayre almond) (G1) : The F on the open 3rd string played as a pedal tone. 95piece.) * oo Seth, Ea 040K 10 A %Fob oc mr Fb oc me F (Erives Horp-—e —= 9798p ae exons) Aho em Ne em _“ppbeA) pone) [Borcteneck = =brs bss 7 ts to ry ? ol Pte pee iete 5 Saw ==inten! So—yovse gote 100Sucin* owtmy be = yank my em pplona>) fore) Wea al ee eww) ev(ons>) JE) nas Hest 2 ___ 101ae ¢ Feb oc be F c Foe cee 102prs Pon oa sss 3ataas3 3s "rc @1CL) : You'l need delay here too, @(Ct) : Reverse echo here for the final flounsh. We can't show i on the score. Experiment with digtal delay. 103LED ZEPPELIN Iv BLACK DOG ROCK AND ROLL THE BATTLE OF EVERMORE STAIRWAY TO HEAVEN MISTY MOUNTAIN HOP FOUR STICKS GOING TO CALIFORNIA WHEN THE LEVEE BREAKS A WARNER CHAPPELL MUSIC LTD/RITTOR PUBLICATION Mimnnaice Order Ret: 21588 International Music Publications | Key: 29880 ‘Southend Road Woodford Gree, Ensen 168 BIN, Engin 9 "780863'597633