Transcript Sunshine of Your Love

Guitar Styles Of Eric Clapton
•
•
More interested in the various styles than in particular songs.
That being said we will cover a few Clapton Songs to get the styles.
– Wonderful Tonight – want the hook and guitar parts – also look at breaks etc.
– Sunshine of Your Love – Distortion and power trio ideas – also at least one other
Cream song.
– Lay Down Sally
– White Room
– I Shot The Sheriff
– Knock, Knock, Knockin’ on Heavin’s Door
– Rollin’ And A Tumblin’
– Walking Blues – may also show a Chet Atkins version during regular class.
– Layla – one of his classics – want to cover both main verions – band and
unplugged.
– Tears in Heaven – acoustic style.
– Nobody Knows You When You’re Down and Out – look at Clapton covering an
old blues standard.
– Other songs depending upon time available.
– Will start with Sunshine of your life - When Clapton was with Cream and
Cocaine.
– Expect to listen quite a bit – I recommend purchasing the CD’s that have these
songs on them.
•
Biggest issue is limiting what we do. Hooks will be included but not full
solos – some licks for certain but full solo’s would take up all the class time
on just one or two songs.
Pick up the handouts
• 2 sets of handouts
• First is the student information sheet –
Please fill out immediately.
• Second set is handouts for this week.
They are in order – we may not get all the
way through them depending upon where
the class is at.
Eric Clapton Biography
Eric Patrick Clapton was born on 30 March 1945 in his grandparents' home at 1 The
Green, Ripley, Surrey, England. He was the illegitimate son of 16-year-old Patricia
Molly Clapton (b. 7 January 1929, d. March 1999) and Edward Walter Fryer (b. 21
March 1920, d. 1985), a 24-year-old Canadian soldier stationed in England. Before
Clapton was born, Fryer returned to his wife in Canada. Pat's parents, Rose and Jack
Clapp*, cared for young Eric. Eventually, Pat met another Canadian soldier, Frank
McDonald. After their marriage, they would move to Canada and Germany as
McDonald continued his military career. Pat would have three more children: Brian (b.
1948, d. 1974), Cheryl (b. 5 May 1953), and Heather (b. 27 September 1958). Clapton's
grandparents never legally adopted him, but remained his guardians until 1963.
Quiet and polite, Clapton was characterized as an above-average student with an
aptitude for art. From his earliest years in school, he realized something was not quite
right when he wrote his name as "Eric Clapton" and his parents' names as "Mr. and
Mrs. Clapp". At the age of nine, Clapton's emotional world was shattered when Pat
returned to England with his six-year-old half brother for a visit. He had been raised
under the illusion that his grandparents were his parents and that his mother was his
older sister, ostensibly to protect him from the truth. This singular event would change
Clapton's personality and create a loss of identity. He became moody and distant and
stopped applying himself at school. Emotionally scarred by this event, Clapton failed
the all-important 11 Plus Exams. He was sent to St. Bede's Secondary Modern School,
and two years later, entered the art branch of Holyfield Road School. In 1961, Clapton
began studying at the Kingston College of Art on a one-year probation. He was
expelled at the end of that time for not submitting enough work. The reason was that
guitar playing and listening to the Blues dominated his waking hours. Before turning to
music as a career, he supported himself as a laborer at building sites, working alongside
his grandfather.
Clapton was raised in a musical household. His grandmother played piano and his
mother and uncle both enjoyed listening to the sounds of the big bands. (It is interesting
to note that his father often made a living by playing piano.) By 1958, Rock and Roll
had exploded onto the world. Typical of his nature, Clapton began exploring its roots in
American Blues. The blues meshed perfectly with his self-perception as an outsider and
being "different" from other people. For his 13th birthday, he asked for a guitar.
Finding it difficult to play, Clapton put the Spanish Hoya aside for a time. He began
playing again around the time he started college. Sometime in 1962, he asked for his
grandparents' help in purchasing a 100 pound electric double cutaway Kay (a Gibson
ES335 clone) after hearing the electric blues of Freddie King, B.B. King, Muddy
Waters, Buddy Guy, and others.
In early 1963, Clapton joined his first band, The Roosters. Following the band's
demise, he spent one month in the pop-oriented Casey Jones and The Engineers. In
October 1963, Keith Relf and Paul Samwell-Smith recruited him to become a member
of The Yardbirds because Clapton was the most talked about player on the R&B pub
circuit. It was with The Yardbirds that Clapton made his first albums Five Live
Yardbirds, Sonny Boy Williamson and The Yardbirds, and the single, "Good Morning
Little Schoolgirl". During this time, he also earned his nickname, "Slowhand", because
whenever he would break a string on stage, he would change it to the accompaniment
of a "slow hand clap" from the audience. His serious research into the American Blues
continued and when The Yardbirds began moving towards a more commercial sound
with the single "For Your Love", he quit the band. His path in music was the blues.
In April 1965, John Mayall invited Clapton to join his band, John Mayall's
Bluesbreakers. During his tenure with this band, Clapton established his reputation as a
guitarist. His time with the band was turbulent and Clapton even left for a while to tour
Greece with friends. Upon his return, the album Blues Breakers With Eric Clapton was
recorded.
In late 1966, he teamed up with Jack Bruce and Ginger Baker to form Cream.
Extensive touring in the U.S. and three solid albums - Fresh Cream, Disraeli Gears,
and Wheels of Fire - brought the band worldwide acclaim. While a member of Cream,
he cemented his reputation as rock's premier guitarist. The band crumbled beneath the
weight of the member's egos and constant arguing. Following Cream's break-up in
1968, Clapton founded Blind Faith - rock's first "supergroup" - with Steve Winwood,
Ginger Baker, and Rick Grech. Disbanding after one album and a disastrous American
tour, Clapton tried to hide from his growing fame by touring as a sideman with Delaney
& Bonnie. A live album from that tour was released in 1970. Clapton's self-titled debut
was also released in that year. In the summer of 1970, he formed Derek and the
Dominos with members from Delaney & Bonnie's band. The Dominos would go on to
record the seminal rock album, Layla and Other Assorted Love Songs. A concept
album, its theme revolved around Clapton's unrequited love for George Harrison's wife,
Patti**. The band would drift apart following an American tour and a failed attempt at
recording a second album.
Hit hard by the break up of The Dominos, the commercial failure of the Layla album
and his unrequited love, Clapton sunk into three years of heroin addiction. Although he
and his girlfriend, Alice Ormsby-Gore, emerged rarely from his Surrey Estate, he filled
box upon box with tapes of songs. Clapton kicked his drug addiction and relaunched
his career in January 1973 with two concerts at London's Rainbow Theater. In 1974,
he would reappear with a new style and sound with the now-classic album, 461 Ocean
Boulevard. Sadly, he replaced heroin with an addiction to alcohol. Throughout the 70s
and 80s, his life and studio work suffered because of it. In 1981, he was hospitalized
for ulcers caused by a combination of pain killers and prodigious quantities of brandy.
In January 1982, he entered the Hazelden Foundation, a rehabilitation facility for
alcoholics. He would backslide, but Clapton has remained sober since 1987 through
membership in Alcoholics Anonymous. In February of 1998, he announced the
opening of Crossroads Center, a rehabilitation facility in Antigua. One of its founding
principles is to provide subsidized care for some of the poorest people of the Caribbean
who could not afford to enter such a facility on their own.
On 26 August 1990, guitarist Stevie Ray Vaughan and Clapton road-crew members
Colin Smythe and Nigel Browne were killed in a helicopter crash following a
performance at Wisconsin's Alpine Valley Music Center. Rather than end the tour,
Clapton and his band completed the final dates as a tribute to their friends. Less than
one year later, on 20 March 1991, his son Conor (b. 15 August 1986) fell to his death
from his mother's Manhattan high-rise apartment. Clapton's grief would be expressed in
the song "Tears In Heaven", which would bring him worldwide accolades and a legion
of new fans, following its release on the album Unplugged. It is a tribute to his resolve
that Clapton did not return to drink or drugs following these events. Since the early
1990s, he has developed a solid relationship with his daughter, Ruth Kelly Clapton (b.
11 January 1985).
With each album subsequent to 461 Ocean Boulevard, Clapton has reinvented himself
musically. This practice has continued to the present day. In 1985, Clapton found a new
audience following his performance at the worldwide charity concert, Live Aid. In the
last years of that decade, he reemerged as a musical force to be reckoned with. Clapton
also carved out a second career as the composer of film scores. Annual stands at the
Royal Albert Hall and successful albums like August, Journeyman, Unplugged, and the
Crossroads box set kept him well in the public mind. Clapton returned to his blues
roots with the 1994 release From The Cradle. The album was Clapton's tribute to his
musical heroes and contained cover versions of Blues classics. The year 1997 brought
an excursion into electronica with the release of TDF / Retail Therapy with Clapton
posing as X-Sample. In 1998, Clapton released Pilgrim, his first album of all new
material in nine years.
CREAM:- Sunshine Of Your Love
INTRO
VERSE 1
D
C
D
It's getting near dawn
D
C
D
When lights close their tired eyes
D
C
D
I'll soon be with you my love
D
C D
give you my dawn's surprise
G
F
G
I'll be with you darlin', soon
G
F
G
I'll be with you when the stars start falling
Chorus
A
C
G
A
I've been waiting so long
C
G
To be where I'm goin'
A
C
G
A
In the sunshine of your love
D
C
Start with the chords. Next page has the
main hook!
D
C
D
D
2nd Verse
D
C D
I'm with you my love
D
C
D
The light shining through on you
D
C D
Yes, I'm with you my love
D
C
D
It's the morning and just we two
G
F
G
I'll stay with you darlin', now
G
F
G
D
I'll stay with you till my seas are all dried up
C
D
Chorus
Guitar Solo
3rd Verse
D
C D
I'm with you my love
D
C
D
The light shining through on you
D
C D
Yes, I'm with you my love
D
C
D
It's the morning and just we two
G
F
G
I'll stay with you darlin' now
G
F
G
hoo.
D
C
D
Power Chords
th
As an example in the key of C the power chord would be C and G (G is the 5 of C – C
D E F G - count up to see). Power chords are very common in rock, blues and country,
some authors say that they are used in jazz but only modern fusion and most jazz players
would not consider it jazz to play a power chord (I am included). There is no 3rd degree
in the power chord so there is no sense of major or minor.
It is almost like much of Indian music in a drone going on. This allows the soloist to play
almost anything related to the root of the chord. Minor type scales are mainly used but
major and 7th scales can be used just as effectively.
They work very well with distortion where a full chord would not work as well as it
would sound muddy. But a power chord won’t be muddy. There are a number of
reasons why this is so but the main one is that the overtones of just the root and the 5th are
similar so that the sound is very open. In fact the 2nd overtone of the root is the 5th up 2
octaves.
Here is a basic E form of the power chord (in this case an
F power chord at the first fret) Root is on the 6th string
Fret 1 2
F F#/Gb
3 4
5 6
G G#/Ab A Bb/A#
7
B
8 9
10
C C#/Db D
11
12
D#/Eb E
Memorize this so that you can do it at any fret. Practice through the circle of 5ths.
5th root power cord (A form of Caged) Below is Bb.
Fret 1
2 3 4
5 6
7 8
Bb/A# B C C#/Db D D#/Eb E F
9
10
F#/Gb G
11
12
G#/Ab A
Memorize this so that you can do it at any fret. Practice through the circle of 5ths.
Using open strings with power chords
0
0
0
For most positions you will mute the other strings but if you play
the above at the 7th fret you will see that the notes are E and B
which means that the 6th string and 1st string open are E’s and
the 2nd string open is a B so you can play all of the strings.
Listen to Rockin’ In The Free World for an example of this.
Power Chords
E
F
F#,Gb
G
1
G#, Ab
3
4
A
A#,Bb
B
C
C#,Db
D
D#,Eb
E
This is a G power chord. The root is on the
6th string 3rd fret and the 5th string 5th fret.
Be sure to think of them that way. These
can be used for any major, minor or 7th type
chord. Do not hit the other strings!!
Learn the notes on each of the strings!!
Learn the positions so that you can spot any
note on the guitar.
This slide shows the notes on the 6th string,
which is also the same notes on the 1st
string. Memorize these ASAP!!!
Power Chords
F
G# or Ab
G
F# or Gb
1
6th
Here are the
root
power chords. Take
your time and
memorize them.
These can be used
against all Major,
Minor and Dominant
(7th) chords. Will not
work on augmented
or diminished chords
but since those are
rarely used in rock
and popular music it
isn’t much of an
issue.
These power chords
only have 2 different
notes to them the root
and the 5th note of the
scale.
1
3 4
1
1
3 4
3 4
3 4
A# or Bb
A
B
C
1
1
3 4
1
1
3 4
3 4
C# or Db
3 4
D
D# or Eb
E
1
3 4
1
1
1
3 4
3 4
3 4
Power Chords
A# or Bb
C
B
C# or Db
1
2nd
This is the
set with the
th
5 string root chords.
Between the 2 sets you now
should know all the notes on
the 6th and 5th strings. This
also gives you the notes on
the 3rd string as the note you
play on the 3rd string is the
same as the name of the
note on the 5th string.
By now you should be
getting where the notes are
on the 6th, 5th, 4th and 3rd
strings and since the 6th and
1st strings have the same
name you also have the
notes on the first string.
1
1
3 4
1
3 4
3 4
3 4
D
D# or Eb
E
F
1
1
3 4
1
1
3 4
3 4
F# or Gb
3 4
G
G# or Ab
A
1
3 4
1
1
3 4
1
3 4
3 4
CD starts with just melody as shown below – later another
method can be used.
Here adding the power chords on the 6th could also do 5th string.
3rd way is to do full D and C chords for 1st part.
Another alternative is a hammer pull as shown below.
2nd Part
A5
A5
C5
C5
G5
G5
A5
A5
C5
G5
Solo
• We will just do the first part.
• Here EC plays Blue Moon as a start.
• I have included the whole solo but we
don’t have time to do the whole thing as
that would take about 3 to 4 full nights.
• You might want to pick parts of it out
though.
Solo – Starts with the song Blue Moon in the first 3 measures.
While not as common in Rock as in Jazz this is a technique
used by many to start a solo or quote. Listener immediately
relates to this. I play it in a lower position and wrote it out in that
position as Clapton most likely plays the very first part in 12th
position but for many in class this is beyond where their guitar
can comfortably be played.
1
2
3
4
&
Slide or bend to the 2nd note. Clapton
bends to the note.
Play with distortion
The solo section
The solo can be Clapton’s or Yours
• I included the Clapton solo but you may want to
do your own solo.
• If you do your own solo (suggested), then start
with the first part of Clapton’s.
• He quotes Blue Moon in the opening statement.
• This is very common to quote another song in
the solo. Jazz particularly does that.
• Lastly, use the book to put the form together.
Cocaine
• Look at the start of this!
• Just like Sunshine of Your Love!!!
Main Idea is similar to Sunshine of Your Love
Note the anticipation of the D chord.
Pentatonic Scales
5 basic forms for these.
By: F. Markovich
What is a Pentatonic Scale?
• Penta means five. A pentatonic scale is a 5 note
scale as it’s simplest definition.
• Unlike 7 tone scales which are called diatonic
scales (step – wise). Major scales are diatonic
scales. Also the modes are diatonic scales.
• The black keys on a piano are a pentatonic
scale. It is hard to play a bad note using the
black keys only on a piano.
• Pentatonic scales used properly will produce a
consonant line but if over used can be boring.
You must go beyond just the scale. Remember
to use chord tones also.
Uses
• Pentatonic scales are used in all forms of music. Even
complex music such as jazz will use pentatonic scales.
• Blues uses mainly the minor pentatonic but depending
upon the player and tune major pentatonic scales are
also used.
• Major pentatonic scales are used extensively in country
music.
• Just listen to the sound and identify the scale in songs
that you like.
• There are really 5 pentatonic scale forms. This makes it
easy to use.
• They are even used in classical music by composers
such as Ravel and Debussy
Major Pentatonic Scales
• The formula is the 1,2,3,5 and 6 of the
major scale. Notice no 4th or 7th degree
from the major scale.
• For those who have learned the CAGED
system these are all based off of the
CAGED major scale forms.
• There is some suggested fingering but it
can vary.
Here is the D Major Pentatonic based upon the C Major Form of CAGED.
Note in Green is the root.
D Major Pentatonic
1
1
1
2
3
4
3
4
4
Note the root is on the 5th
string.
See relationship between D major scale and D major Pentatonic.
D Major Scale
1
4
1
3
3
4
4
1
1
1
2
2
D Major Pentatonic
1
3
4
Note the root is on the 5th
string.
1
2
3
4
1
4
3
4
4
Note the root is on the 5th
string.
Here is the C Major Pentatonic scale in the A form.
C Major Pentatonic
1
1
2
4
4
4
2
2
3
4
Note the root is on the 5th
string.
C Major Scale
C Major Pentatonic
1
1
1
2
2
2
2
2
1
1
2
1
1
3
3
3
4
4
4
4
4
4
4
4
4
4
Note the root is on the 5th
string.
You could also use 1 and 3 as
fingering on the 1st 2 strings.
Note the root is on the 5th
string.
This is the G Major Pentatonic scale (E form of the CAGED). Notice how
similar to the A form (C Major pentatonic on the last page.
G Major Pentatonic
1
1
1
2
1
1
3
4
4
4
3
Note the root is on the 6th
string (E form of CAGED). This
is the same as the E minor
Pentatonic
Most players use a modified fingering for the
Major pentatonic scale as shown below but
a fingering of 2 and 4 on the 2nd string and 2 on the
1st string is also common.
G Major Scale
G Major Pentatonic
1
1
1
1
2
2
1
4
4
4
4
1
2
1
3
1
4
1
2
3
3
4
4
1
4
3
Note the root is on the 6th
string (E form of CAGED). This
is the same as the E minor
Pentatonic
Note the root is on the 6th
string (E form of CAGED). This
is the same as the E minor
Pentatonic
Compare these 2 the E form and the A form.
1
1
1
2
1
2
2
1
2
2
2
3
4
3
4
4
4
3
4
4
4
A Major Pentatonic – G form of the CAGED
A Major Pentatonic
4
1
1
1
3
3
3
1
1
4
4
Root is on the 6th string 5th fret.
A Major Scale
A Major Pentatonic
1
1
1
1
1
1
1
1
1
1
2
3
4
3
3
3
4
4
4
3
4
3
3
4
4
4
Root is on the 6th string 5th fret.
Root is on the 6th string 5th fret.
Notice the G and C forms of the pentatonic scale are very similar. Key is the
tuning of the guitar with the 2nd to 3rd strings being a 3rd rather than a 4th appart.
1
1
1
1
1
1
1
1
2
3
4
3
3
3
4
4
4
3
4
4
E major pentatonic scale the
D form of CAGED
1
1
1
1
3
3
3
1
3
1
3
4
One note on this. I find it easier to do the fingering shown on the
E Major Pentatonic and it is different than on the E Major Scale. It
affords the player to just move one finger out of the position.
E major pentatonic scale the
D form of CAGED
E major scale the D form of
CAGED
0
1
1
1
1
3
3
3
1
3
1
3
4
1
1
1
1
1
1
3
3
3
3
3
3
4
4
4
4
Go through these until perfect
• Practice these every day.
• Next we will see the relationships to the
minor pentatonic scales.
• The 6th degree of a major scale is the
relative minor. For example: C major has
the relative minor of A minor. C D E F G A
Minor Pentatonic Scales
• The formula for these is: 1 b3, 4, 5, b7.
• Key is to see these as related to the major
pentatonic scale.
• With the addition on one note they
become Blues Scales.
Here is the first of the minor pentatonic scales. What does it look like in relation to
the major pentatonic scales?
B Minor Pentatonic
1
1
1
1
2
3
4
3
4
4
Note the root is on the 5th
string.
Here you can see the D major and the B minor pentatonic scales.
Notice that the form is the same only the starting note is different.
D Major Pentatonic
1
1
1
B Minor Pentatonic
1
1
1
2
3
4
2
3
3
4
1
4
Note the root is on the 5th
string.
4
3
4
4
Note the root is on the 5th
string.
Here is the A Minor pentatonic related to the C major (A form)
A Minor Pentatonic
1
1
2
4
4
4
C Major Pentatonic
4
1
2
2
2
4
4
4
Note the root is on the 6th
string.
Another fingering is shown on the next slide.
Either fingering is fine to do.
4
1
4
2
2
4
4
Note the root is on the 5th
string.
Here is the A Minor pentatonic related to the C major (A form)
A Minor Pentatonic
1
1
1
3
3
4
C Major Pentatonic
4
1
1
1
1
3
3
3
Note the root is on the 6th
string.
4
1
4
1
1
3
3
Note the root is on the 5th
string.
F# Minor pentatonic related to the A Major (G Form).
A Major Pentatonic
F# Minor Pentatonic
1
4
1
1
1
3
3
3
1
4
1
4
Root is on the 6th string 5th fret.
4
1
1
1
3
3
3
1
1
4
4
Root is on the 6th string 5th fret.
E minor pentatonic related to the G major. Here you can see how the
relative minor is the 6th note of the major scale (don’t forget the
pentatonic is missing the 4th and 7th notes of a major scale.
G Major Pentatonic
E Minor Pentatonic
1
1
1
1
2
2
2
1
2
2
4
4
2
3
3
4
1
3
Note the root is on the 4th
string.
4
4
4
3
Note the root is on the 6th
string (E form of CAGED). This
is the same as the E minor
Pentatonic
Again on this you could play 1 and 3 on the 2nd string and 1 on the 1st
string.
C# minor pentatonic related to the E major pentatonic (D form of CAGED).
C# minor pentatonic scale
E major pentatonic scale the
D form of CAGED
1
1
1
1
1
3
3
3
1
3
4
1
1
1
1
3
3
3
3
1
3
1
3
4
Blues Scales From Minor
Pentatonic Scales
• All that is added is the b5 of the scale.
• When playing solos this note most often
resolves to the 5th or downward to the 4th.
While it can do a skip that is less likely.
B blues is like the B minor with just the added b5 of the scale.
B Minor Pentatonic
B Blues Scale
1
1
1
1
2
3
4
1
1
1
1
2
2
3
4
1
3
4
4
Note the root is on the 5th
string. The note on the 1st fret
of the 1st string could also be
played on the 2nd string 6th fret
with the pinky
3
4
4
Note the root is on the 5th
string.
See the added notes. Note the alternate fingering for the A
Minor Pentatonic Scale.
A Blues Scale
A Minor Pentatonic
This is an alternate
fingering for this scale.
1
1
1
1
1
1
1
1
1
1
3
3
2
3
3
4
4
3
3
3
3
4
4
4
Note the root is on the 6th
string.
Note the root is on the 6th
string.
F# Blues Scale
1
1
1
1
3
3
1
1
F# Minor Pentatonic
1
1
1
1
3
3
3
1
1
4
4
2
3
4
4
4
4
Root is on the 6th string 5th fret.
4
Root is on the 6th string 5th fret.
E Blues Scale
E Minor Pentatonic
1
1
1
2
1
2
1
2
2
1
2
2
3
4
4
4
1
2
3
3
Note the root is on the 4th
string.
4
4
4
3
Note the root is on the 4th
string.
C# Blues Scale
C# minor pentatonic scale
1
1
1
1
1
1
2
3
1
1
1
1
3
3
3
1
1
2
3
3
4
3
3
4
3
3
4
Lots here
• This is just the forms, next you will need to
work with them.
• On the minor pentatonic scales the flat 3rd
is many times bent up to the major 3rd in
Blues licks unless the song is in minor.
Learn where the flat 3rd is in each scale.
• It will take some time to master these.
Work on them every day.
Some examples
• Any time there is a major chord you can use the
major pentatonic scale of the same letter name.
• Any time there is a minor chord you can use the
minor pentatonic scale of the same letter name.
• Any 7th or dominant chord you can use the major
pentatonic scale. Most of the time you can also
use the minor pentatonic scale.
• In Jazz you can be more adventuresome.
Minor Pentatonic Scales In Jazz
Chord
C Major
C minor
C7
1st choice
A minor pentatonic
C minor pentatonic
G minor pentatonic
2nd choise
E minor pentatonic
G minor pentatonic
C minor pentatonic
3rd choice
B minor pentatonic
D minor pentatonic
A minor pentatonic
Try these for yourself
• Play a chord and record it then apply the
pentatonic to it.
• Some take a bit of time to get used to it.
• Then try progressions and see if you can
find a pentatonic scale that would go
against the progression.
Boom Boom
Clapton did this but the original by
John Lee Hooker.
by John Lee Hooker
Boom, boom, boom, boom.
I'm gonna shoot you right down,
Knock you off of your feet,
And take you home with me.
Put you in my house.
Boom, boom, boom, boom.
Boom, boom, boom, boom.
Yeah, yeah, yeah, yeah.
I love to see you strut
When you're walking to me.
When you're talking to me,
That knocks me out.
Boom, boom, boom, boom.
You know I like it like that,
With your baby-talk,
Oh and the way that you walk.
You know it knocks me right down,
Knocks me off of my feet.
Boom, boom, boom, boom.
Yeah, yeah, yeah, yeah.
Oh, oh, oh, oh.
How, how, how, how.
Yeah, yeah, yeah, yeah.
Now, now, now, now.
Words
This is what we are aiming for.
Whole Thing – 12 bar blues – Notes in E blues Scale
This song is based off of the E blues Scale
E Minor Pentatonic Scale
2
3
2 2
3
3
This is the basic scale but you will notice that in the introduction or
first part that you play up to the 4th fret of the 3rd string (which is the
same note as the 2nd string open that is in the scale.
Clapton uses both of these scales. He has recorded this song as a
cover of the John Lee Hooker version. I will include 2 versions of
this in the following pages. There are also variations to these.
Rest on beat one.
Slide up from 2nd to 4th fret to
start beat 2. Use your middle finger!!!
Then back to 3rd string 4th fret slide down to 3rd string 2nd fret
First 2 measures. Note 2nd measure is just an E and A chord after the
E note. Choke the last E chord!
This is very cool. Note that I usually slide up to the Bb in the 1st measure.
This is the 3rd note in the measure. Again back to E A E at end.
Here it has moved to A. Measure 6 is A D A. Note that the D is a bit different
than you might be used to. Index on 2nd fret 3rd string middle 3rd fret 2nd string
and 4th fret 4th string with ring finger. See next slide.
D
1
2
3
Next 2 are like 3 and 4
Measures 9 and 10 now B to E. See next slide of B fingering.
B
1
3
3 3
This is the end. Really cool timing on the last phrase with the
¼ notes on beat 3 and 4. Then the E A E.
Next slide is putting it all together. I just really like this tune. I have included
after this a couple of variations of this. I can honestly say I have heard quite a
large number of versions and everyone seems to put their own little signature to
it.
Put it all togethere.
This one uses slightly different chord voicings.
Different hook on odd measures.
Also harder chords.
Tie in to Clapton
• Eric Clapton listened to and copied many
of the blues players from the US.
• Listen closely to this and you will hear lots
of his styles.
• The blues scales and minor pentatonic
and signatures of Clapton.
• Once you get the swing to this song is sort
of plays itself.
Wonderful Tonight
Slow Ballad in Clapton Style
Chords
• Only 5 chords in the song.
• We will start in first position.
• Introduction for most versions is:
4/4 ||: G | D | C | D : || repeated
• Live version #2 is:
First a vamp of 4/4 ||: C |D : || then
4/4 ||: G | D | C | D : || repeated
Next we will add in the hook. This is the introduction 2
times and ending 2 times but also between the verses
and going into the last verse from the bridge.
1
2
3
4
5
6
G
4 2
123&
D
5
4
2 4 2
12 3&
C
5 2
4 12
D
4 2
3&
2 4 5
5
4
1234
G
5 3
1
Introduction to Wonderful Tonight.
This is in tablature format. Each line is a string. The top line is the 1st or the
High E string. The bottom line is the 6th or Low E string.
The numbers indicate which frets to play. For example, the first number is
On the 3rd string and is a 4 so you would play the 3rd string 4th fret. The
Next note is on the 2nd fret of the 3rd string then the next is the 5th fret of the
4th string (since it is on the 4th line).
Here is the easy version.
You have 3 ways to do this.
Suggest beginners do first one,
Intermediates 2nd one and
Advanced last one.
Now for doing it more like the CD
• Play the root on Beat 1 – arpeggiate the
chords – see next slide.
• Try both in 1st position and up the neck.
• Following are 4 examples of doing this.
• Last one is like the video but others will
work just fine.
Learn both with fingers and with a pick.
Also try with pick and fingers – called “Hybrid” picking.
Do with each of the following ones:
Same basic idea using barre chords.
G in the E form.
D and C in the A form.
Timing is all 1/8th notes until here.
This is more what you want to head for. I would do with pick or hybrid picking
but fingerpicking as above works really well.
This one is like what is on the video. Learn with both a pick and with your
fingers. Really take your time. Use this pattern throughout the song.
Notice how the first not is always the root of the chord. You could also move
this up the neck with Barre Chords.
On the Video though it is done in 1st position chords.
Wonderful Tonight
4/4 ||:G
|D
|C
|D
|
It's late in the evening. She's wandering what clothes to wear.
G
|D
|C
|D
|
She'll put on her make-up and brushes her long blond hair.
*
C
|D
|G
D
|Em
|C
And then she'll ask me - do I look all right and I'll say yes you look
D
|G
wonderful tonight.
|D
|C
|D
: ||
This is the first verse or part of the song.
When there are 2 chords in a measure of 4/4 time each usually gets 2 beats.
Strum each chord 2 times. This happens in the 3rd line 3rd measure of the song.
See the * for where.
If you do an introduction you would play the first 4 chords.
Wonderful Tonight
4/4 ||:G
|D
|C
|D
|
It's late in the evening. She's wandering what clothes to wear.
G
|D
|C
|D
She'll put on her make-up and brushes her long blond hair.
|
C
|D
|G
D
|Em
|C
And then she'll ask me - do I look all right and I'll say yes you look
(2 beats per chord)
D
|G
|D
|C
|D
|
wonderful tonight.
G
|D
|C
|D
|G
|D
|
We go to a party and everyone turns to see. This beautiful lady.
C
|D
|C
|D
That's walking around with me and then she'll ask me
|
G
D
|Em
|C
|D
|G
do you feel all right and I'll say yes I feel wonderful tonight.
|
G
|C
|D
|G
D
| Em
|
And I feel wonderful cause I see the love light in your eyes and the
(new part – for some the hardest part as the song changes)
C
|D
|C
|D
|G
wonder of it all is that you just don't realize how much I love you.
|D
|C
|D
|G
|D
|C
|D
It's time to go home now. And I've got an achen head
|
G
|D
|C
|D
| C
|D
so I give her the car keys. She'll help me to bed and then I tell her
G
D
|Em
|C
|D
|G
|
as I turn out the light, I say darling you look wonderful tonight.
Wonderful Tonight
4/4 ||:G
|D
|C
|D
|
It's late in the evening. She's wandering what clothes to wear.
G
|D
|C
|D
She'll put on her make-up and brushes her long blond hair.
|
C
|D
|G
D
|Em
|C
And then she'll ask me - do I look all right and I'll say yes you look
D
|G
wonderful tonight.
|D
|C
|D
|
G
|D
|C
|D
|G
|D
|
We go to a party and everyone turns to see. This beautiful lady.
C
|D
|C
|D
That's walking around with me and then she'll ask me
|
G
D
|Em
|C
|D
|G
do you feel all right and I'll say yes I feel wonderful tonight.
|
G
|C
|D
|G
D
| Em
|
And I feel wonderful cause I see the love light in your eyes and the
C
|D
|C
|D
|G
wonder of it all is that you just don't realize how much I love you.
|D
|C
|D
|G
|D
|C
|D
It's time to go home now. And I've got an achen head
|
G
|D
|C
|D
| C
|D
so I give her the car keys. She'll help me to bed and then I tell her
G
D
|Em
|C
|D
|G
|
as I turn out the light, I say darling you look wonderful tonight.
G
| C
|D
|G
|D
Oh my darling you look wonderful tonight.
|C
|D
|G
||
Soloing
• Most likely a solo would be off of the main
chords 4/4 ||: G | D | C | D : ||
• You could use the G major scale but the
main notes would have to follow the notes
in each chord.
D Chord
G Chord
E form -G Major Scale
1 1 1
2 2
1
2
2
3 3
4 4 4 4 4
The notes in a G
major chord are
G B and D.
Bottom root is in
red – others in
light blues
C Chord
E form -G Major Scale
E form -G Major Scale
1 1 1
2 2
1
2
2
3 3
4 4 4 4 4
4
The notes in the
D major chord
are D F# and A.
Don’t play the G
root of the scale!
1 1 1
2 2
1
2
2
3 3
4 4 4 4 4
Notes in the C major
chord are C, E and G.
Practice each of these seperately until you can do them smoothly.
Use other notes in the scale as passing notes. Begin and end each line
on a chord tone!
Below are the 5 forms of the major scale. For this song you can approach in a
number of ways. But do G major in all 5 forms as a start. Then find the chord
tones in each against the G C and D chords.
A form C Major Scale
G form - A Major Scale
E form -G Major Scale
1
1 1 1
1 1 1
1 1
2 2 2
4
4 4
4 3 3
4
4 4
0
C form - D Major Scale
1 1
1 1
3
3
4
1 1 1
2 2
2
3 3
3
D form - E Major Scale
4
1
2
3 3
4 4 4 4 4
1 1 2
2
1 1
2
3 3 4 4 3 3
4 4
4
1 1 1 1 1 1
2 2
2
2 3 2
4
4 4 4
4
To really learn this
• Work out all 5 forms (CAGED forms) and
where all of the notes are in each of the
scales.
• Work on bending up to notes in the chord
and even pre-bends and releases.
• Take your time on this!