Transcript British Rock Class 2 - Frank Markovich Main Page

British Rock Class 2
Baby Please Don’t Go
Van Morrison and THEM
Bio and History on following page.
Recording – 1st part
BIOGRAPHY
Van Morrison
Van Morrison was born in Belfast in 1945, the son of a shipyard worker who collected
American blues and jazz records. Van grew up listening to the music of Muddy Waters,
Mahalia Jackson, Lightnin' Hopkins and John Lee Hooker. As a teenager he played
guitar, sax and harmonica with a series of local Irish showbands, skiffle and rock'n'roll
groups before forming an r&b band called Them in 1964. In 1967 he began his solo
career in New York where he recorded an LP titled Blowin' Your Mind with the producer
Bert Berns, who had previously produced Them. Following Berns' death in 1968
Morrison recruited a group of jazz musicians to record Astral Weeks, a timeless classic
which brought together elements of Celtic music, improvised jazz and r&b.
Based initially in Boston and then California, Morrison produced a string of albums
including Moondance, Tupelo Honey and St Dominic's Preview while touring extensively
with his band the Caledonia Soul Orchestra. His 1974 live set It's Too Late To Stop Now
marked the end of this prolific early phase as Van returned to Ireland to explore further
his Celtic roots. The ensuing album, Veedon Fleece (1974) featured a quieter, more
pastoral sound and was to be his last release for three years.
Van Morrison
George Ivan Morrison (born August 31, 1945) is a Northern Irish singer/songwriter originally
from Belfast, Northern Ireland.
Morrison first rose to prominence as the lead singer of the British/Irish band Them, penning
their seminal 1966 hit "Gloria." A few years later, Morrison left the band for a successful solo
career.
Morrison has pursued an idiosyncratic musical path. Much of his music is tightly structured
around the conventions of American soul and R&B (such as the seminal singles "Brown-Eyed
Girl", "Moondance" and "Domino"). An equal part of his catalogue consists of lengthy, loosely
connected, spiritually inspired musical journeys that show the influence Celtic and jazz, such
as his classic album Astral Weeks.
Morrison’s career spanned some four decades, and has influenced many popular musical
artists. He was inducted into the Rock and Roll Hall of Fame and the Songwriters Hall of
Fame. In 2000, Morrison ranked number 25 on American cable music channel VH1’s list of the
100 Greatest Artists of Rock and Roll.
This whole tune is in E Minor
THEM do it in F minor but either
use a capo or tune guitars up.
• Example of the early English rock bands.
• A cover of an old blues song by Joe
Williams.
• Bass just plays E to G notes. Do as 1/8th
notes – E E G E. Some versions go E E G
G and others do ¼ notes of E to G. At the
lick coming down at the end the bass
usually doubles the guitar part.
Baby, please don’t go
Baby, please don’t go
Baby, please don’t go
Down to new orleans
You know I love you so
Baby please don’t go
Baby, your mind done gone
Well, your mind done gone
Well, your mind done gone
Left the county farm
You had the shackles on
Baby, please don’t go
Before I be your dog
Before I be your dog
Before I be your dog
To git you way down here
I make you walk alone
Baby, please don’t go
Hey
Main Lyrics – let’s try to sing it
before playing the whole song.
Do the bass part as we play it.
Most of you learned the A blues Scale below. Just think of playing it in the 1st
Position.
Blues Scale In A
1
1
1
1
1
1
4
4
2
3
4
3
3
4
5th Fret
E Minor Pentatonic Scale
2
3
2 2
3
3
Here is the scale that it is based off of. Some would use the E minor
Pentatonic (5 note scale) but most blues players add in the b5 note to
make it a blues scale.
This is the whole
Intro. It uses lots of
open strings and is
based entirely off of
the blues scale.
Count 1 & 2 & 3 & 4 & 1
1
&
3
3
&
4
Try the whole 1st line to the 1st note in the 2nd line!
Try this line before I break it out.
Look at the use of open strings!
Count 1 2
3 &
4
1 &
2
3
4
&
1
&
2 & 3 &
4 &
Note the b5 (3rd string 3rd fret)
Now let’s play the
1st 2 lines slowly.
Count
1 & 2 3 4
1
2
See how the 2nd measure is in 2/4 time!
1 2
1 2 3 & 4
& 3 4 This repeats a coupe of times before the vocal.
12
3
4
OK now the whole
introduction.
Then we will review
the blues scale in E
1st position.
The scale degrees
for the blues are: 1
b3, 4, b5, 5 and b7.
E Minor Pentatonic Scale
2
3
2 2
3
3
Here is the scale that it is based off of. Some would use the E minor
Pentatonic (5 note scale) but most blues players add in the b5 note to
make it a blues scale.
Some other parts
• If you listen to the record the guitar plays a
double stop at the 12th fret of the 1st and
2nd strings and then a double stop on the
open 1st and 2nd strings.
• This is a common blues and even other
styles use this technique.
• Try sliding the double stop.
Listen again for the signing.
• Notice the riffs are right from the intro.
Now lets play it
• ½ the class will do the bass part.
• Rest will do the guitar part.
• We will take it slowly.
Baby, please don’t go
Baby, please don’t go
Baby, please don’t go
Down to new orleans
You know I love you so
Baby please don’t go
Baby, your mind done gone
Well, your mind done gone
Well, your mind done gone
Left the county farm
You had the shackles on
Baby, please don’t go
Before I be your dog
Before I be your dog
Before I be your dog
To git you way down here
I make you walk alone
Baby, please don’t go
Hey
Tone and settings
• Listen closely to the song.
• What pickup is being used – what do you
think?
• How is the tone set?
• Reverb?
• Other effects?
Well practice it
• While we will be doing it as an outline the
main points were:
– Entire song in Em
– Uses just the blues scale
– Guitar echo’s the voice
– Tone is important
– Bass is very simple
– While we aren’t covering the drums they are
also simple, but very driving.
Brown Eyed Girl
Brown Eyed Girl
G
C G
D
G
C
G
D
G
||: Hey, where did we | go | days when the rains | came. | Down in the | hollow | playin' a new | game. | Laughin' and a |
C
G
D
G
C
G D
C
runnin', hey, hey, | Skippin' and a | jumpin, | In the misty morn | ing fog with | our | hearts a thumpin' and | you,
D
G Em
My Brown Eyed Girl, |
|
C
D
G
| You're my | Brown Eyed Girl. |
D
| Do you remem- | ber when | we
G
C
G
D G
C
G
D
used to sing | Sha la la la | la la la la | la la la te da. | | Sha la la la | la la la la | la la la te da.| la te da.:| |
Verse 2
Whatever happened to Tuesday and so slow Going down the old mine with a transistor radio Standing in the sunlight laughing
behind a rainbows wall Skipping and a sliding All along the water fall With you, my Brown Eyed Girl You, my Brown Eyed G
remember when we used to sing Sha la la la la la la la la la la te da. Sha la la la la la la la la la la te da.
Verse 3
So hard to find my way, now that I'm all on my own I saw you just the other day, my, how you have grown Cast my memory
Lord Sometime I'm overcome thinking 'bout Making love in the green grass Behind the stadium With you, my Brown Eyed G
you, my Brown Eyed Girl. Do you remember when we used to sing Sha la la la la la la la la la la te da. Sha la la la la la la la la
The Key here is to first practice the following: 4/4||: G | C | G | D : ||
Brown Eyed Girl
G
C G
D
G
C
||: Hey, where did we | go | days when the rains | came. | Down in the | hollow |
G
D
G
playin' a new | game. | Laughin' and a |
C
G
D
G
C
G
runnin', hey, hey, | Skippin' and a | jumpin, | In the misty morn | ing fog with | our |
D
C D
G Em
C
D
hearts a thumpin' and | you |My Brown Eyed Girl, |
|
| You're my | Brown Eyed
G
D
G
C
Girl. |
Do you remem- | ber when | we used to sing | Sha la la la | la la la la |
G
D G
C
G
D
la la la te da. |
| Sha la la la | la la la la | la la la te da.| la te da.:| |
G
|
|
|
C
|
G D
|
|
G
C
G
D
||: Sha la la la | la la la la | la la la te da. |
G
:||
||
This is an exercise in 3rd’s Thirds are very consonant and what all
chords are made of in traditional harmony. The first 2 notes of
each of the measures are the root and 3rd of the chord. The 2nd 2
notes are passing tones and the 3rd group of 2 notes are the 3rd and
the 5th of the chord (this applies to the G and C Chords). For the
D chord it is outlining the chord with the root then 3rd a passing
tone then the 5th of the chord
Counting
Fingering
1 & 2 &
0
0
1
2
This is the 1st and 3rd measure
1
2
3 & 4
1 0
2 0
Counting
Fingering
1 & 2 & 3 & 4
0 1
1
1 0
1 3
3
3 1
Counting
Fingering
1 & 2 &
0
0
1
2
This is the 1st and 3rd measure
1
2
3 & 4
1 0
2 0
Count
1 2
Fingering 0
(& 3) &
4
0
4
2
Here is the whole intro. Take this slowly. Realize that there are
only 3 different measures. The 1st and 3rd measure are exactly the
same.
Listen closely to the sound of 3rds. Try to recognize the sound in
other songs. 3rds are used quite a bit in harmony. The other
common interval used is 6ths which are inverted 3rds.
Tupelo Honey
Intro: A
C#m
D
A
A
C#m
D
A
You can take all the tea in China
C#m
D
E
Put it in a big brown bag for me.
A
C#m
D
A
Sail right round all the seven oceans,
A
C#m
D
A
Drop it straight into the deep blue sea.
A
C#m
D
A
She's as sweet as Tupelo honey,
A
C#m
D
E
She's an angel of the first degree.
A
C#m
D
A
She's as sweet as Tupelo honey,
A
C#m
D
A
Just like honey baby, from the bee.
You can't stop us on the road to freedom,
You can't keep us `cause our eyes can see.
Men with insight, men in granite,
Knights in armor bent on chivalry.
Chorus
You can't stop us on the road to freedom,
You can't stop us `cause our eyes can see.
Men with insight, men in granite,
Knights in armor intent on chivalry.
You can't stop us on the road to freedom,
You can't keep us `cause our eyes can see.
Men with insight, men in granite,
Knights in armor bent on chivalry.
Chorus
You can't stop us on the road to freedom,
You can't stop us `cause our eyes can see.
Men with insight, men in granite,
Knights in armor intent on chivalry.
Tupelo Honey
Intro: A
C#m
D
A
A
C#m
D
A
You can take all the tea in China
C#m
D
E
Put it in a big brown bag for me.
A
C#m
D
A
Sail right round all the seven oceans,
A
C#m
D
A
Drop it straight into the deep blue sea.
A
C#m
D
A
She's as sweet as Tupelo honey,
A
C#m
D
E
She's an angel of the first degree.
A
C#m
D
A
She's as sweet as Tupelo honey,
A
C#m
D
A
Just like honey baby, from the bee.
You can't stop us on the road to freedom,
You can't keep us `cause our eyes can see.
Men with insight, men in granite,
Knights in armor bent on chivalry.
Chorus
You can't stop us on the road to freedom,
You can't stop us `cause our eyes can see.
Men with insight, men in granite,
Knights in armor intent on chivalry.
Dave Clark Five
One of the first bands after the
Beatles to come to America
The Dave Clark Five was one of the most successful 1960s British Invasion
Bands. They ran neck-and-neck with the Beatles. In the three short years, they
had eight top ten records between 1964 and 1967, 15 albums in the United
States, and more appearances on the Ed Sullivan show than any other band.
A Short History Of The Dave Clark Five
The Dave Clark Five started out life as a backing group for Stan Saxon, a North
London Singer. The line up then included Chris Wells and Mick Ryan as well as
Dave Clark. Chris and Mick left and Dave Clark along with Mike Smith, Dennis
Payton, Rick Huxley and Lenny Davidson formed the DC5. The reason for the
formation of the Band was to raise funds for the Tottenham Hotspurs (Spurs)
Football Club in London. The date was January 1962, the place The South Grove
Youth Club, the result one of the best known and loved British Bands of the Sixties.
One of their first attempts at releasing a single did not meet with the success that
they had hoped. Both the DC5 and Brian Poole and the Tremeloes released a
remake of the Contours "Do You Love me" at the same time, with Brain Poole
"beating" them out. This in turn was to make a major turn for the band as they then
decided to record their own material.
Here is where the genius that was Dave Clark started to flourish. Right from the
beginning he held ownership of all the DC5 masters( finished recordings) and to this
day is receiving royalties. Management was also an internal affair giving the band
more control but also in some ways hurting them. Some people within the music
business thought that this move may have shortened the life of the band but at the
time it seemed to be the way to go for the DC5.
The Clark/Smith composition "Glad All Over" was released in the late 1963 and by
January 1964 was number 1 on the British Pop Charts, replacing the Beatles " I
Want To Hold Your Hand" which had been number 1 for six weeks. This song has
become one of the most recognizable "Beat Era" hits and still enjoys a major
amount of air play today; again showing the genius of Dave Clark who still collects
royalties on DC5 songs. Toppling the Beatles brought some major press for the
group and they took advantage of this with the release of "Bits and Pieces" which
reached number 2 on the British Charts.
During the next few years the groups charting was very erratic in the UK with the
exception of "Catch Us If You Can", which reached the Top Ten in 1965 but the US
was another story!!!
The Dave Clark Five took the US by storm, spearheading what was to become
known as "The British Invasion". A record 18 appearances (for a British Beat Group)
on the Ed Sullivan Show along with 6 Sold Out Tours and 15 Top 20 Hits in two
years established the DC5 as one of the best known British Bands. One of their
Sold Out Tours included an amazing 12 sold out shows at Carnegie Hall in 3 days.
Major US hits were "Can't You See That She's Mine", "Because", "I Like It Like That"
and their sole US #1 "Over and Over".
A bit different
• One of the most obvious influences to the music
of the Dave Clark 5 was Roy Orbison. The use
of augmented chords in the Dave Clark 5 songs
was unique and taken directly from Roy’s songs.
• G to G+ to G6 to G7 was very common in old
standards but not used in Rock at all, Orbison
used it and then you can hear the same
harmony (even in the vocals) with the Dave
Clark 5.
E Aug (note also C Aug and Ab Aug)
1
1
2
Any note in an augmented chord can be the root of
the chord. The notes in the chord are equally
spaced on the chromatic scale.
3
The other chord that is similar is the diminished 7
chord as they are also equally spaced but the
Augmented repeats every 4 frets and diminished 7
chord every 3 frets.
C# Aug, F Aug, A Aug
1
D Aug, F# Aug, Bb Aug
Eb Aug, G Aug, Eb Aug
1
1
2
1
2
3
1
3
2
3
1
G Augmented is
G, B and D#. Note
how they are equally
spaced on the
chromatic scale there
are 4 notes from one
to the next one in
either direction.
"Because"
(D. Clark - M. Smith)
Intro:
G
G+
G6
G+
/ / / / / / / / / / / / / / / /
Verse 1:
G
G+
G6
G7
It's right that I should think about you
Am
D
D+
And try to make you happy when you're blue
G
G+
C
Cm
It's right, it's right to feel the way I do
G
Am D7
G
[1: G7 2: Eb D 3: E7, to coda]
Because, because I love you
Bridge:
Am
D
G
Em
It's wrong to say I don't think of you
Am
D
'Cause when you say these things
A7
D
D+
You know it makes me blue
Verse 2:
Give me one kiss and I'll be happy
Just, just to be with you
Give me, give me, a chance to be near you
Because, because I love you
Organ solo:
G
G+
G6
G7
/ / / / / / / / / / / / / / / /
Am
D
G
Eb D
/ / / / / / / / / / / / / / / /
[repeat verse 2]
Coda:
Am
D7
G
G6/9
Because, because I love you