In Deep With Jeff Beck q6u2j
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[COLUMNS]
BECKOLOGY
IN DEEP » by ANDY ALEDORT
A LOOK AT THE PLAYING STYLE OF THE LEGENDARY JEFF BECK
FIGURE 1a
GU I TA R WOR L D
0 0
0
-1
FIGURE 2b
11 9 7 9 N.C.(B)
0 0
w/bar -1
N.C.(B)
5 5
w/bar w/bar w/bar w/bar 7 79 9 7 79 9 7 975 9 9 7
+1½ N.H.
0
w/bar (use thumb to pick) -1
5
7
FIGURE 2c
FIGURE 2d
N.C.(B)
N.C.(B)
w/bar -1/2
w/bar -1/2
w/bar -1½
9 7 7 7 9 9 7 9 9 7
9
w/bar -1/2
5
10 10
7 5
w/bar -1/2
7
9 7 7
w/bar -1/2
9 7
w/bar -1
9 9 7 5
7 5 5
2
FIGURE 3a N.C.(B)
1 *w/bar
9
9
1 w/bar
9
9
9
9
9
7
9
9
9
9
3
*“Flick” bar by quickly pulling upwards and letting go.
w/bar
7
9
9
3
w/bar
9
7
9
3
7
7
7
3
7
3
FIGURE 3b N.C.(B)
1 w/bar
109
10 10 10 10 10 9 9 9 9 9
10 9
9 7
10 9
w/bar
10 10 10 9 9 9
10 9
9
7
9
7
9
7
9
7
5
7
5
5
5
3
FIGURE 4a q = 72
1 w/bar
1
9
7
9
N.C.(Bm)
w/bar 7
w/bar -1
7
7 9
w/bar
9 7
3
9
9
3
w/bar -1/2
9
7
-1/2
7
9
7
-1
7
9
7
5
(slack)
4
7 0
FIGURE 4b
N.C.(Bm7)
*
9 9 9 9 9 7 7
97
9875
7 9
5 79 9
7 7 9 11
11 11 11 11 9 7 9 9
3
*“Flick” bar upwards
3
3
7 9 7
94
+2 w/bar
FIGURE 2a
FIGURE 1c
+1½ w/bar
COMBINING A FEARLESS, adventurous spirit, hell-bent musical aggressiveness, a sneering attitude and pure technical brilliance, British rock guitar legend Jeff Beck speaks the language of music in a voice that is all his own. In this edition of In Deep, we’ll examine the key elements that make up Beck’s signature sound and playing style, starting with his distinct articulation techniques and moving on to a look at two of his most enduring compositions: the challenging whammy-bar workout “Where Were You” from 1989’s Jeff Beck’s Guitar Shop, and the jazz/ fusion masterpiece “Scatterbrain” from his seminal 1975 album, Blow by Blow. In his early years as a solo artist, Beck’s primary guitar was a Gibson Les Paul, but since 1976’s Wired album his ax of choice has been a Fender Stratocaster. The Jeff Beck Signature model Strat today functions as his main guitar, and it is set up in a very specific way to accommodate many of the techniques he employs. An essential element is the tremolo system (whammy bar), which is set so that Beck can easily pull up on the bar to raise the pitch of a given note (or notes), as well as depress the bar to lower the pitch. The tension of the tremolo system is set very soft, so that it does not require much hand pressure to move the bar. For the accompanying video to this lesson featured on this month’s CD-ROM, I set up the tremolo system with three springs, and the “claw” (the clamp that holds the springs) is screwed out so that the bridge is lifted off the guitar’s body. As shown in FIGURE 1a, I can raise the pitch of the open G string a major third, or two whole steps, by pulling up on the bar. This enables me to add vibrato with the arm while raising the pitch a minor third, or one and a half steps, as shown in FIGURE 1b. Beck often uses this technique in conjunction with natural harmonics (N.H.), as in FIGURE 1c. Another key element of Beck’s style is that he picks with his fingers—primarily his thumb. He will often keep the rest of his pick-hand fingers wrapped around the tremolo arm, with the index finger positioned close to the tip of the arm so he can easily alter the pitch of any given note. As shown in FIGURE 2a, I begin the phrase by simultaneously picking a note and “dipping,” or “swooping,” with the arm,
FIGURE 1b
ON DISC!
3
6
8 5 0 0
3
0
X
3
FIGURE 4c
N.C.(Bm7) 1 **
10 9
1
10 10 10 10 9 9 9 9
10 10 7 9 9 7
9
9
10 9
3 3 **push down on tremolo systems w/edge of palm
9
7
7 7 7 7 7 7 7 7 7 6
3
3
3
7
9
7
5
7
5
3
FIGURE 4d
N.C.(Bm7)
109
1 hold bend
10
9
10
9
10
9
10
9
1
10
9
*repeat prev. beat
47
1 4
7 10
10
9
10
5
7
Cm7
X X
13
1
1½
10
FIGURE 5 q = 68
RWO CO A NMNAYI V E2 R0 S1 0A R G Y 2U0 1I0TA G UI TA RR WLOD R .LD . CM OM
7 10
*
9
10
A¨maj7
9
13 13
7
1
10
9
1
10
9
9 9 9
10
9
10
Fm7
1
6
7
10
1½
9
10
7
10
9
10
Csus4
5
6 6 6
7
1/2
10
9
10
7 10
C
5
5
5 3 2
FIGURE 4d
N.C.(Bm7)
[COLUMNS] meaning that I quickly depress and release the bar with the note attack. Through the rest of the phrase, I accentuate some notes by adding vibrato with the bar. FIGURE 2b illustrates a similar melodic phrase. Beck will also use the arm to sound specific pitches in the midst of a melodic phrase, as I demonstrate in FIGURE 2c. FIGURE 2d offers another example of this technique. With the tremolo system set up this way, one can “flick” the bar—quickly pull up on the end of it and let go—to achieve a fluttering sound. Examples of this technique are shown in FIGURES 3a and 3b. FIGURES 4a-c exemplify a variety of ways in which Beck will incorporate the tremolo arm into his improvised solos. In FIGURE 4a, I begin with a “swoop,” followed by a series of bar vibratos; in FIGURE 4b, the majority of the notes are accentuated with tremolo arm “flicks;” and in FIGURE 4c, I alter the pitch of sustained notes by pushing or banging the pick-hand palm against the back edge of the bridge, which serves to create rhythmic accents of eighth- and 16th-note triplets. Another signature technique of Beck’s is fast fingerpicking between two notes. As shown in FIGURE 4d, an oblique bend (a bent note sounded in conjunction with an unbent note on another string) is followed by notes that are half-steps apart and are slid down, and then back up, the fretboard. Beck also makes great use of the volume swell, executed by sounding a note with the guitar’s volume off, after which the volume is gradually increased. This technique can be used to emulate the human voice as well as the sound of a bowed violin. FIGURE 5 illustrates a phrase articulate in this way. Guitarist Roy Buchanan is also associated with this technique. A great example of Beck utilizing all of these techniques together is “Where Were You.” FIGURE 6 shows the first four bars of the tune’s melody: at the end of bar 3 and into bar 4, a natural harmonic is sounded, and the arm is used to delineate very specific pitches. This challenging technique requires a delicate touch and keen attention to pitch accuracy. FIGURES 7a-b and 8 offer other examples of this technique. A truly mind-boggling technique of Beck’s is his ability to play melodies by touching a slide on the strings far beyond the end of the fretboard, as he does on the track “Angel (Footsteps).” See FIGURE 9. Let’s wrap up with a look at “Scatterbrain,” This instrumental tour de force was inspired by a fretboard exercise Beck devised, as a specific fingering pattern utilizing hammer/pull combinations is repeated and then moved up the board. FIGURE 10 depicts the tune’s entire five-bar melody, culminating with chord voicings that descend within the framework of a diminished seven arpeggio (in one-and-one-half step intervals). Jeff Beck remains as vital today as ever, as evidenced by his incredible 2008 DVD, Live at Ronnie Scott’s. Check it out. ❒
96
gu i ta r wor l d
1 hold bend
10 9
10
9
10
9
10
9
10
1
*
9
10
10
9
*repeat prev. beat
9
10
5
7
10
FIGURE 5 q = 68
7 10
7 10
Cm7
47
1 4
X X 17
trem. pick trem. pick while (w/thumb and sliding shape down index finger) and up fretboard
13
*(off)
1½
1
17 17
17 17 17 17
18 18 18 18
17 17
FIGURE FIGURE 7a 7a FIGURE w/bar FIGURE 7a 7a w/bar
w/bar -1 w/bar -1 -1 -1
5 5 5 5
5 5 5 5
FIGURE 8 FIGURE 8 FIGURE 8 FIGURE let 8 ring let let ring ring N.H. let ring N.H. N.H.
N.H.
5 5 5 5
7 7 7 7
-3 -3 -3 -3
5 5 5 5
5 5 5 5
f
FIGURE 9 FIGURE 9 qqq = = 84 84 FIGURE FIGURE 9 9C q= = 84 84 C C w/slide C w/slide w/slide
17 19 17 19 17 19 19 19 19 17 19 19
A¨maj7
9
1
(off)
1
10
9
9 9 9
9
10
1½
1
6
(off)
10
7
Fm7
f
Em7 Em7
3 3 3 3
10
9
7
10
9
10
10
9
10
1/2
5
5
5 3 2
f sim. 3
f (off)
7 10
C
5
f (off)
7
Csus4
6 6 6
3
Bm7 Bm7 Bm7
5 5 55
7 7 7 7
7 7 7 7
5 5 5 5
w/bar w/bar -1/2 w/bar -1/2 -1/2 -1/2
3 3 3 3
w/bar w/bar w/bar w/bar
12 12 12 12
12 12 12 12
18 18 18 18
w/bar
FIGURE FIGURE 7b 7b FIGURE FIGURE 7b 7b w/bar
-3½ -3½ -3½ -3½
7 7 7 7
9
w/bar Em7 w/bar w/bar Em7 w/bar +1 +1 -1/2 w/bar N.H. N.H. w/bar -1/2 w/bar w/bar N.H. +1 -1/2 N.H. +1 -1/2 19 19 16 18 19 19 19 19 19 19 19 16 18 19 19 19 19 19 19 19 16 18 19 19 19 19 19 19 19 16 18 19 19 19 19 19
w/bar w/bar w/bar w/bar
12 12 12 12
7
10
*swell w/vol. control
3 3 3 3
-2 -2 -2 -2
10
13 13
FIGURE 6 “Where Were You” FIGURE 6 “Where Were You” qqq = = ca. ca. 56 56 FIGURE Were 56 FIGURE 6 6 “Where “Where Were You” You” q = = ca. ca. 56Gsus2 A D/F# A D/F# Gsus2 A w/bar D/F# Gsus2 w/bar w/bar A w/bar D/F# Gsus2 w/bar w/bar w/bar
9
10
Bm7 -1/2 1½ -1/2 1½ -1½ -1½ -1/2 2½ 2½ 1½ -1½ -1/2 2½ 1½ -1½ 2½
19 19 19 19 19 19 (( 19 )) 19 19 19 19 19 19 19 19 19 ( 19 19 ) 19 19 19 19 19 ( 19 )
3 333
+1½ +1½ +1½ +1½
+1 +1 +1 +1
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
N.H. N.H. N.H. N.H.
12 12 7 12 12 12 12 7 12 12 7 7 12 7 12 7 12 7 12 7 7 12 12 7 7 12 7 7 7 7 12 7 7 7 7 7
5 5 5 5
Cm7 Cm7 Cm7 Cm7
w/bar w/bar w/bar w/bar
5 5 5 5
29 29 29 29 29 29 29 29 3 3 3 3 3 3 *Tap slide on strings beyond fretboard (tab numbers represent frets if fretboard were to continue)
33 33 33
* * *w/slide *33
33 33 33 33
31 29 31 31 29 29 31 29
2299 29 29 29 29 29 29
31 31 31 31
32 32 32 32 32 32 32 32
31 31 31 31
32 32 31 29 32 32 32 32 31 31 29 29 32 32 31 29
29 29 29 29 29 29 29 29 29 29 29
29
Fm/C Fm/C Fm/C Fm/C
34 34 34 34
33 34 33 33 34 34 33 34
Csus2 C7 Csus2 C7 Csus2 C7 Csus2 C7 29 27 31 31 31 29 33 29 27 27 31 31 31 31 31 29 29 33 33 33 33 31 31 33 33 34 34 29 31 31 33 34 31 29 33 33 29 27 31 31 33 31 3334 3 3 3 3 C C C C 33 32 31 33 32 32 32 30 29 33 32 31 33 32 32 32 30 29 33 32 31 33 32 32 32 30 29 33 32 31 33 32 32 32 30 29 3 3 3 3
29 27 29 27 27 29 29 29 27 29 27 27 27 29 2929 29 29 29 27 27 27 29 27 27 27 27 2929 29 27 27 34 33 35 5 34 5 35 34 34 32 32 34 34 32 32 31 31
C5 C5 C5 C5
3 3 3 3
34 34
3355
35 34 35 34
32 34 32 31 32 34 32 31
3 3 3 3
3 3 3 3
3 3
3 3
FIGURE FIGURE 10 10 “Scatterbrain” “Scatterbrain” qqq = = 130 130 FIGURE 10 FIGURE 10 “Scatterbrain” “Scatterbrain” q = = 130 130 N.C.(B¨) N.C.(B¨) N.C.(B¨) N.C.(B¨) 8 8 8 8
9 9 9 9
8 8 8 8
9 9 9 9
11 11 11 11
9 9 9 9
8 8 8 8
11 11 11 11
11 11 11 11
8 8 8 8
9 9 9 9
8 8 8 8
(C) (C) (C)
(C) 9 10 999 10 10 10
9 9 10 9 10 12 10 9 9 10 12 12 10 12 12 9 9 12 9 9 10 10 9 9 10 10 12 12 10 10 9 9 12 10 9 9 10 10 12 10 10 12 9 12 12 9 10 9 10 12 10 9 12 12 10 10 9 10 12 10 12 12 12 10
9 9 9 9
11 11 11 11
9 9 9 9
11 11 11 11
9 9 9 9
11 12 11 12 12 11 11 12 11 12 11 12 11 12 11 12
9 9 9 9
12 12 12 12
9 9 9 9
11 11 11 11
9 9 9 9
8 8 8 8
11 11 11 11
9 9 9 9
(Bmaj7) (Bmaj7) (Bmaj7) (Bmaj7)
(D) (D) (D)
(D) 11 12 11 12 14 12 14 11 11 12 11 12 14 12 11 11 11 14 11 11 12 12 11 11 12 12 14 14 12 12 11 11 14 12 11 11 12 12 11 11 12 12 14 14 12 12 14 14 11 14 14 11 12 11 12 14 12 11 14 14 12 12 11 12 11 12 14 12 14 14 14 12
(G) (G) (G) (G) 9 9 9 9
29 29 29 29
*Tap to 3 beyond 3 *Tap slide slide on on strings strings beyond fretboard fretboard (tab (tab numbers numbers represent represent frets frets if if fretboard fretboard were were to continue) continue) *Tap slide on strings beyond fretboard (tab numbers represent frets if fretboard were to continue)
F/C F/C F/C F/C
31 31 31 31
11 11 12 12 11 11 11 12 11 11 12 11
9 9 9 9
12 12 11 11 12 11 12 11
B¨/A¨ 15 15 15 15 15 15 X X 15 15 16 X 16 X 16 16 B¨/A¨ B¨/A¨ B¨/A¨
G/F G/F G/F G/F 12 12 12 12 12 12 X 12 X 12 13 X 13 X 13 13
E/D E/D E/D E/D 9 9 9 9 9 9 X 9 X 9 10 X 10 X 10 10
D¨/B D¨/B D¨/B D¨/B 6 6 6 6 6 6 X 6 X 6 7 X 7 X 7 7
WHERE WERE YOU by JEFF BECK, TERRY BOZZIO and TONY HYMAS © 1989 WB MUSIC CORP. Used by Permission of ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved SCATTERBRAIN by JEFF BECK and MAX MIDDLETON © 1975 (Renewed) EQUATOR MUSIC PUBLISHING (c/o Beldock, Levine & Hoffman LLP, 99 Park Avenue, Suite 1600, New York, NY 10016) Used by Permission of ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved
rwo co a nMnAYi v e2 r0 s1 0a r g y 2u0 1i0ta g ui ta rr wlod r .ld . cm om
BECKOLOGY
IN DEEP » by ANDY ALEDORT
A LOOK AT THE PLAYING STYLE OF THE LEGENDARY JEFF BECK
FIGURE 1a
GU I TA R WOR L D
0 0
0
-1
FIGURE 2b
11 9 7 9 N.C.(B)
0 0
w/bar -1
N.C.(B)
5 5
w/bar w/bar w/bar w/bar 7 79 9 7 79 9 7 975 9 9 7
+1½ N.H.
0
w/bar (use thumb to pick) -1
5
7
FIGURE 2c
FIGURE 2d
N.C.(B)
N.C.(B)
w/bar -1/2
w/bar -1/2
w/bar -1½
9 7 7 7 9 9 7 9 9 7
9
w/bar -1/2
5
10 10
7 5
w/bar -1/2
7
9 7 7
w/bar -1/2
9 7
w/bar -1
9 9 7 5
7 5 5
2
FIGURE 3a N.C.(B)
1 *w/bar
9
9
1 w/bar
9
9
9
9
9
7
9
9
9
9
3
*“Flick” bar by quickly pulling upwards and letting go.
w/bar
7
9
9
3
w/bar
9
7
9
3
7
7
7
3
7
3
FIGURE 3b N.C.(B)
1 w/bar
109
10 10 10 10 10 9 9 9 9 9
10 9
9 7
10 9
w/bar
10 10 10 9 9 9
10 9
9
7
9
7
9
7
9
7
5
7
5
5
5
3
FIGURE 4a q = 72
1 w/bar
1
9
7
9
N.C.(Bm)
w/bar 7
w/bar -1
7
7 9
w/bar
9 7
3
9
9
3
w/bar -1/2
9
7
-1/2
7
9
7
-1
7
9
7
5
(slack)
4
7 0
FIGURE 4b
N.C.(Bm7)
*
9 9 9 9 9 7 7
97
9875
7 9
5 79 9
7 7 9 11
11 11 11 11 9 7 9 9
3
*“Flick” bar upwards
3
3
7 9 7
94
+2 w/bar
FIGURE 2a
FIGURE 1c
+1½ w/bar
COMBINING A FEARLESS, adventurous spirit, hell-bent musical aggressiveness, a sneering attitude and pure technical brilliance, British rock guitar legend Jeff Beck speaks the language of music in a voice that is all his own. In this edition of In Deep, we’ll examine the key elements that make up Beck’s signature sound and playing style, starting with his distinct articulation techniques and moving on to a look at two of his most enduring compositions: the challenging whammy-bar workout “Where Were You” from 1989’s Jeff Beck’s Guitar Shop, and the jazz/ fusion masterpiece “Scatterbrain” from his seminal 1975 album, Blow by Blow. In his early years as a solo artist, Beck’s primary guitar was a Gibson Les Paul, but since 1976’s Wired album his ax of choice has been a Fender Stratocaster. The Jeff Beck Signature model Strat today functions as his main guitar, and it is set up in a very specific way to accommodate many of the techniques he employs. An essential element is the tremolo system (whammy bar), which is set so that Beck can easily pull up on the bar to raise the pitch of a given note (or notes), as well as depress the bar to lower the pitch. The tension of the tremolo system is set very soft, so that it does not require much hand pressure to move the bar. For the accompanying video to this lesson featured on this month’s CD-ROM, I set up the tremolo system with three springs, and the “claw” (the clamp that holds the springs) is screwed out so that the bridge is lifted off the guitar’s body. As shown in FIGURE 1a, I can raise the pitch of the open G string a major third, or two whole steps, by pulling up on the bar. This enables me to add vibrato with the arm while raising the pitch a minor third, or one and a half steps, as shown in FIGURE 1b. Beck often uses this technique in conjunction with natural harmonics (N.H.), as in FIGURE 1c. Another key element of Beck’s style is that he picks with his fingers—primarily his thumb. He will often keep the rest of his pick-hand fingers wrapped around the tremolo arm, with the index finger positioned close to the tip of the arm so he can easily alter the pitch of any given note. As shown in FIGURE 2a, I begin the phrase by simultaneously picking a note and “dipping,” or “swooping,” with the arm,
FIGURE 1b
ON DISC!
3
6
8 5 0 0
3
0
X
3
FIGURE 4c
N.C.(Bm7) 1 **
10 9
1
10 10 10 10 9 9 9 9
10 10 7 9 9 7
9
9
10 9
3 3 **push down on tremolo systems w/edge of palm
9
7
7 7 7 7 7 7 7 7 7 6
3
3
3
7
9
7
5
7
5
3
FIGURE 4d
N.C.(Bm7)
109
1 hold bend
10
9
10
9
10
9
10
9
1
10
9
*repeat prev. beat
47
1 4
7 10
10
9
10
5
7
Cm7
X X
13
1
1½
10
FIGURE 5 q = 68
RWO CO A NMNAYI V E2 R0 S1 0A R G Y 2U0 1I0TA G UI TA RR WLOD R .LD . CM OM
7 10
*
9
10
A¨maj7
9
13 13
7
1
10
9
1
10
9
9 9 9
10
9
10
Fm7
1
6
7
10
1½
9
10
7
10
9
10
Csus4
5
6 6 6
7
1/2
10
9
10
7 10
C
5
5
5 3 2
FIGURE 4d
N.C.(Bm7)
[COLUMNS] meaning that I quickly depress and release the bar with the note attack. Through the rest of the phrase, I accentuate some notes by adding vibrato with the bar. FIGURE 2b illustrates a similar melodic phrase. Beck will also use the arm to sound specific pitches in the midst of a melodic phrase, as I demonstrate in FIGURE 2c. FIGURE 2d offers another example of this technique. With the tremolo system set up this way, one can “flick” the bar—quickly pull up on the end of it and let go—to achieve a fluttering sound. Examples of this technique are shown in FIGURES 3a and 3b. FIGURES 4a-c exemplify a variety of ways in which Beck will incorporate the tremolo arm into his improvised solos. In FIGURE 4a, I begin with a “swoop,” followed by a series of bar vibratos; in FIGURE 4b, the majority of the notes are accentuated with tremolo arm “flicks;” and in FIGURE 4c, I alter the pitch of sustained notes by pushing or banging the pick-hand palm against the back edge of the bridge, which serves to create rhythmic accents of eighth- and 16th-note triplets. Another signature technique of Beck’s is fast fingerpicking between two notes. As shown in FIGURE 4d, an oblique bend (a bent note sounded in conjunction with an unbent note on another string) is followed by notes that are half-steps apart and are slid down, and then back up, the fretboard. Beck also makes great use of the volume swell, executed by sounding a note with the guitar’s volume off, after which the volume is gradually increased. This technique can be used to emulate the human voice as well as the sound of a bowed violin. FIGURE 5 illustrates a phrase articulate in this way. Guitarist Roy Buchanan is also associated with this technique. A great example of Beck utilizing all of these techniques together is “Where Were You.” FIGURE 6 shows the first four bars of the tune’s melody: at the end of bar 3 and into bar 4, a natural harmonic is sounded, and the arm is used to delineate very specific pitches. This challenging technique requires a delicate touch and keen attention to pitch accuracy. FIGURES 7a-b and 8 offer other examples of this technique. A truly mind-boggling technique of Beck’s is his ability to play melodies by touching a slide on the strings far beyond the end of the fretboard, as he does on the track “Angel (Footsteps).” See FIGURE 9. Let’s wrap up with a look at “Scatterbrain,” This instrumental tour de force was inspired by a fretboard exercise Beck devised, as a specific fingering pattern utilizing hammer/pull combinations is repeated and then moved up the board. FIGURE 10 depicts the tune’s entire five-bar melody, culminating with chord voicings that descend within the framework of a diminished seven arpeggio (in one-and-one-half step intervals). Jeff Beck remains as vital today as ever, as evidenced by his incredible 2008 DVD, Live at Ronnie Scott’s. Check it out. ❒
96
gu i ta r wor l d
1 hold bend
10 9
10
9
10
9
10
9
10
1
*
9
10
10
9
*repeat prev. beat
9
10
5
7
10
FIGURE 5 q = 68
7 10
7 10
Cm7
47
1 4
X X 17
trem. pick trem. pick while (w/thumb and sliding shape down index finger) and up fretboard
13
*(off)
1½
1
17 17
17 17 17 17
18 18 18 18
17 17
FIGURE FIGURE 7a 7a FIGURE w/bar FIGURE 7a 7a w/bar
w/bar -1 w/bar -1 -1 -1
5 5 5 5
5 5 5 5
FIGURE 8 FIGURE 8 FIGURE 8 FIGURE let 8 ring let let ring ring N.H. let ring N.H. N.H.
N.H.
5 5 5 5
7 7 7 7
-3 -3 -3 -3
5 5 5 5
5 5 5 5
f
FIGURE 9 FIGURE 9 qqq = = 84 84 FIGURE FIGURE 9 9C q= = 84 84 C C w/slide C w/slide w/slide
17 19 17 19 17 19 19 19 19 17 19 19
A¨maj7
9
1
(off)
1
10
9
9 9 9
9
10
1½
1
6
(off)
10
7
Fm7
f
Em7 Em7
3 3 3 3
10
9
7
10
9
10
10
9
10
1/2
5
5
5 3 2
f sim. 3
f (off)
7 10
C
5
f (off)
7
Csus4
6 6 6
3
Bm7 Bm7 Bm7
5 5 55
7 7 7 7
7 7 7 7
5 5 5 5
w/bar w/bar -1/2 w/bar -1/2 -1/2 -1/2
3 3 3 3
w/bar w/bar w/bar w/bar
12 12 12 12
12 12 12 12
18 18 18 18
w/bar
FIGURE FIGURE 7b 7b FIGURE FIGURE 7b 7b w/bar
-3½ -3½ -3½ -3½
7 7 7 7
9
w/bar Em7 w/bar w/bar Em7 w/bar +1 +1 -1/2 w/bar N.H. N.H. w/bar -1/2 w/bar w/bar N.H. +1 -1/2 N.H. +1 -1/2 19 19 16 18 19 19 19 19 19 19 19 16 18 19 19 19 19 19 19 19 16 18 19 19 19 19 19 19 19 16 18 19 19 19 19 19
w/bar w/bar w/bar w/bar
12 12 12 12
7
10
*swell w/vol. control
3 3 3 3
-2 -2 -2 -2
10
13 13
FIGURE 6 “Where Were You” FIGURE 6 “Where Were You” qqq = = ca. ca. 56 56 FIGURE Were 56 FIGURE 6 6 “Where “Where Were You” You” q = = ca. ca. 56Gsus2 A D/F# A D/F# Gsus2 A w/bar D/F# Gsus2 w/bar w/bar A w/bar D/F# Gsus2 w/bar w/bar w/bar
9
10
Bm7 -1/2 1½ -1/2 1½ -1½ -1½ -1/2 2½ 2½ 1½ -1½ -1/2 2½ 1½ -1½ 2½
19 19 19 19 19 19 (( 19 )) 19 19 19 19 19 19 19 19 19 ( 19 19 ) 19 19 19 19 19 ( 19 )
3 333
+1½ +1½ +1½ +1½
+1 +1 +1 +1
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
N.H. N.H. N.H. N.H.
12 12 7 12 12 12 12 7 12 12 7 7 12 7 12 7 12 7 12 7 7 12 12 7 7 12 7 7 7 7 12 7 7 7 7 7
5 5 5 5
Cm7 Cm7 Cm7 Cm7
w/bar w/bar w/bar w/bar
5 5 5 5
29 29 29 29 29 29 29 29 3 3 3 3 3 3 *Tap slide on strings beyond fretboard (tab numbers represent frets if fretboard were to continue)
33 33 33
* * *w/slide *33
33 33 33 33
31 29 31 31 29 29 31 29
2299 29 29 29 29 29 29
31 31 31 31
32 32 32 32 32 32 32 32
31 31 31 31
32 32 31 29 32 32 32 32 31 31 29 29 32 32 31 29
29 29 29 29 29 29 29 29 29 29 29
29
Fm/C Fm/C Fm/C Fm/C
34 34 34 34
33 34 33 33 34 34 33 34
Csus2 C7 Csus2 C7 Csus2 C7 Csus2 C7 29 27 31 31 31 29 33 29 27 27 31 31 31 31 31 29 29 33 33 33 33 31 31 33 33 34 34 29 31 31 33 34 31 29 33 33 29 27 31 31 33 31 3334 3 3 3 3 C C C C 33 32 31 33 32 32 32 30 29 33 32 31 33 32 32 32 30 29 33 32 31 33 32 32 32 30 29 33 32 31 33 32 32 32 30 29 3 3 3 3
29 27 29 27 27 29 29 29 27 29 27 27 27 29 2929 29 29 29 27 27 27 29 27 27 27 27 2929 29 27 27 34 33 35 5 34 5 35 34 34 32 32 34 34 32 32 31 31
C5 C5 C5 C5
3 3 3 3
34 34
3355
35 34 35 34
32 34 32 31 32 34 32 31
3 3 3 3
3 3 3 3
3 3
3 3
FIGURE FIGURE 10 10 “Scatterbrain” “Scatterbrain” qqq = = 130 130 FIGURE 10 FIGURE 10 “Scatterbrain” “Scatterbrain” q = = 130 130 N.C.(B¨) N.C.(B¨) N.C.(B¨) N.C.(B¨) 8 8 8 8
9 9 9 9
8 8 8 8
9 9 9 9
11 11 11 11
9 9 9 9
8 8 8 8
11 11 11 11
11 11 11 11
8 8 8 8
9 9 9 9
8 8 8 8
(C) (C) (C)
(C) 9 10 999 10 10 10
9 9 10 9 10 12 10 9 9 10 12 12 10 12 12 9 9 12 9 9 10 10 9 9 10 10 12 12 10 10 9 9 12 10 9 9 10 10 12 10 10 12 9 12 12 9 10 9 10 12 10 9 12 12 10 10 9 10 12 10 12 12 12 10
9 9 9 9
11 11 11 11
9 9 9 9
11 11 11 11
9 9 9 9
11 12 11 12 12 11 11 12 11 12 11 12 11 12 11 12
9 9 9 9
12 12 12 12
9 9 9 9
11 11 11 11
9 9 9 9
8 8 8 8
11 11 11 11
9 9 9 9
(Bmaj7) (Bmaj7) (Bmaj7) (Bmaj7)
(D) (D) (D)
(D) 11 12 11 12 14 12 14 11 11 12 11 12 14 12 11 11 11 14 11 11 12 12 11 11 12 12 14 14 12 12 11 11 14 12 11 11 12 12 11 11 12 12 14 14 12 12 14 14 11 14 14 11 12 11 12 14 12 11 14 14 12 12 11 12 11 12 14 12 14 14 14 12
(G) (G) (G) (G) 9 9 9 9
29 29 29 29
*Tap to 3 beyond 3 *Tap slide slide on on strings strings beyond fretboard fretboard (tab (tab numbers numbers represent represent frets frets if if fretboard fretboard were were to continue) continue) *Tap slide on strings beyond fretboard (tab numbers represent frets if fretboard were to continue)
F/C F/C F/C F/C
31 31 31 31
11 11 12 12 11 11 11 12 11 11 12 11
9 9 9 9
12 12 11 11 12 11 12 11
B¨/A¨ 15 15 15 15 15 15 X X 15 15 16 X 16 X 16 16 B¨/A¨ B¨/A¨ B¨/A¨
G/F G/F G/F G/F 12 12 12 12 12 12 X 12 X 12 13 X 13 X 13 13
E/D E/D E/D E/D 9 9 9 9 9 9 X 9 X 9 10 X 10 X 10 10
D¨/B D¨/B D¨/B D¨/B 6 6 6 6 6 6 X 6 X 6 7 X 7 X 7 7
WHERE WERE YOU by JEFF BECK, TERRY BOZZIO and TONY HYMAS © 1989 WB MUSIC CORP. Used by Permission of ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved SCATTERBRAIN by JEFF BECK and MAX MIDDLETON © 1975 (Renewed) EQUATOR MUSIC PUBLISHING (c/o Beldock, Levine & Hoffman LLP, 99 Park Avenue, Suite 1600, New York, NY 10016) Used by Permission of ALFRED MUSIC PUBLISHING CO., INC. All Rights Reserved
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