The Beatles Collection

Transcription

1 The Beatles Collection Chord-Melody Arrangements for Solo uitar By Richard Scott

2 2 The Beatles Collection Chord-Melody Arrangements for Solo uitar Richard Scott MoneyChords.com

3 3 The Beatles Collection Chord-Melody Arrangements for Solo uitar All Rights Reserved 2005 by Richard Scott No part of this book may be reproduced or transmitted in any form or by any means, graphic, electronic, or mechanical, including photocopying, recording, taping, or by any information storage retrieval system without written permission of the publisher. MoneyChords.com For information contact: Richard Scott at: Printed in the United States

4 4 Contents Introduction - 5 Here, There, and Everywhere - 17 In My Life - 20 Michelle - 22 Something - 24 Strawberry FieldsForever - 26 Till There Was You - 28 Yesterday - 30 Learn More About Chord-Melody - 31 About the Author - 32

5 5 Introduction Typically, guitarists either play chord accompaniment or melody (lead). Chord-melody, however, is an approach to guitar playing where both the chord and melody are played at the same time creating a complete orchestration. Although chord-melodies are usually played fingerstyle, my arrangements are designed to be played with a pick on a six-string acoustic guitar. If you can move from one chord to another with reasonable speed, you can play learn to play in the chord-melody style. The first step in creating a chord-melody arrangement is to obtain a fake book lead sheet (containing melody, chord symbols, and lyrics) or sheet music for the song you want to arrange and become familiar with the melody. At this point I usually notate the melody on tab paper as I did with the sixteen-bar verse and chorus progressions to the traditional English song reensleeves shown below. I find that the well-known standards and traditional songs are a good source of songs that lend themselves to chord-melody arrangement. Melody tabbed from sheet music(key of Em) Legend has it that King Henry VIII wrote this song that was first registered in 1580 to Richard Jones. King Henry s daughter, Queen Elizabeth, danced to it and Shakespeare referenced the song in his "The Merry Wives Of Windsor." In 1865, William Chatterton Dix published "The Manger Throne" poem from which three stanzas were taken and sung over the music to reensleeves to create What Child Is This? Christmas carole. The song is played very gently, but not dragging in 3/4 time. Em D E B D A E Em Bm B D A

6 6 Em D E B D A E Em B7 Em E B D A E D E B D A E Em Bm B D A D E B D A E Em B7 Em E B D A E

7 7 Many times it is necessary to transpose the melody up an octave so that most notes fall on the B (2nd) and high E strings. Typically, the melody notes should fall between the open B (2nd) and the 12th fret of the high E string as it already does in our example below. Melody transposed an octave higher Em D E B D A E Em Bm E B D A Em D E B D A E Em B7 Em E B D A E D E B D A E

8 8 Em Bm E B D A D E B D A E Em B7 Em E B D A E Sometimes the melody will layout on the fretboard better if changed to another key. The best guitar keys are C(Am), A(F#m), (Em), E(C#m), and D(Bm). As can be seen in the above example, some melody notes occur on the tenth fret of the high E string. By transposing the melody to the key of Am as shown below, the melody is played lower primarily on the (3 rd ), the B (2 nd ), and high E (1 st ) strings with the highest melody note falling on the third fret of the high E string which should allow for the use of more open strings. Melody transposed to the key of Am Am E B D A E Am E7 B D A

9 9 Am E B D A E Am E7 Am E B D A E C E B D A E Am E7 B D A C E B D A E Am E7 Am E B D A E

10 10 The next step is to add the lead sheet chords to the melody notes that land on the first beat of each measure. Keep in mind that the melody is always the highest note in the chord. Harmonizing of other melody notes is a matter of personal choice and what sounds better. I also try to harmonize all melody notes where there is a chord change. I find it helpful to have my Mel Bay's Deluxe Encyclopedia of uitar Chords handy to refer to when I have trouble finding the right chord fingerings. This chord dictionary is unique in that it shows only the best voicings and separates melody, inside, rhythm, and bottom 4 string chords. Look closely at how I harmonized our example below. Melody harmonized using sheet music chord progression This is the basic chord-melody arrangement. The melody notes on the first beat (in ¾ time) are harmonized using the chords provided in the sheet music or lead sheet. Am E B D A E Am E7 B D A E Am E B D A E Am E7 Am E B D A E

11 11 C E B D A E Am E7 B D A E C E B D A E Am E7 Am E B D A E The last step is to add chord substitutions to your basic chord-melody arrangement. If you are not proficient in the art of chord substitution, you can borrow the substitutions from the [Old Real Book lead sheet or other similar fake books. When I'm working on a chord-melody arrangement I often find it helpful to look at as many other arrangements as I can find before I make my final chord substitution choices. Chord-melody with chord substitutions added This chord-melody is an example of the use of several commonly encountered substitutions to create a more interesting bass line. The chord substitutions are as follows: Bar 1 & 9 /B for Am7 (two common tones) Bar 2 & 10 C for Am (relative major/minor) Bar 3, 12, 20, & 28 /B for (inversion) Bar 6, 13, & 23 F for Am (mediant)

12 12 Bar 7, 8, 14, 23, 24, & 30 E for E7 (chord quality change) Am /B C /B E B D A E Am F E B D A E Am /B C /B E B D A E F E Am E B D A E C /B E B D A E Am F E B D A E

13 13 C /B E B D A E Am E Am E B D A E This chord-melody is an example of an Am--F-E7 flamenco substitution. By substituting the F for the Am chord (mediant) in bars 5, 6, 13, 21, 22, and 29, you create a Im-bVII-bVI-V flamenco progression that descends diatonically (scalewise) in second (one whole step) intervals. Am E B D A E F E7 B D A E Am E B D A E

14 14 F E7 Am E B D A E C E B D A E F E7 B D A E C E B D A E F E7 Am E B D A E This chord-melody is an example of a backcycled substitution. Backcycling is a technique used to create movement in a chord progression that has little chord change by utilizing the circle of fifths. Backcycling essentially works backwards from the place you want to get to. In our example below, we create a new progression working backwards from our target E7 chord by inserting consecutive diatonic chords from the circle of fifths shown below.

15 15 Diatonic Cycle A D C F B E A Then, chord quality changes and embellishments are used to arrive at the final chord substitution. Also, the Dm is substituted for the Bm7b5 chord Original Progression Am / / / / / / / / / / / Am / / / / / / E7 (target) / / / / / Backcycled Progression A / / D / / / / / / C / / / F / / B / / / E7 (target) / / / / / Substitute Progression (Chord Quality Change & Embellishment) Am / / / D7 / / / / / / Cmaj7 / / / F / / / Dm / / / E (target) / / / / / / Am D7 Cmaj7 E B D A E F Dm E B D A E Am D7 Cmaj7 E B D A E

16 16 F E Am E B D A E C Am7 Dm7 Cmaj7 E B D A E F Dm E B D A E C Am7 Dm7 Cmaj7 E B D A E F Dm E Am E B D A E I typically leave my chord-melody in this type of sketch arrangement that allows plenty of room to improvise both rhythmically and harmonically when playing a song. Although mastering this form of guitar playing is challenging, a well-rounded guitarist should have at least a basic understanding of this guitar style. You will find that the more you practice arranging in the chord-melody style, the better you will become. Also, the next time someone asks you to play something on your guitar you'll actually be able to play a song or two.

17 17 Here, There, and Everywhere Here are the fingerings that I use to play a chord-melody arrangement of The Beatles 1966 Here, There, and Everywhere. I play it in the original key of. The song is played in a moderate 4/4 tempo. Intro: Bm Bb Am7 D7 E B D A E Verse 1 & 2: Am7 Bm7 C Am7 Bm7 C E B D A E F#m7 B7 F#m7 B7 Em Am Am D7 E B D A E Am7 D F7 E B D A E

18 18 Bridge: Bb m Cm D7 m E B D A E Cm D7 E B D A E Verse 3 & 4: Am7 Bm7 C Am7 Bm7 C E B D A E to Bridge F#m7 B7 F#m7 B7 Em Am Am7 D7 F7 E B D A E to Ending Am7 D7sus E B D A E

19 19 Ending: Am Bm C Am Bm C E B D A E

20 20 In My Life Here are the fingerings that I use to play a chord-melody arrangement of The Beatles' 1965 In My Life from their "Rubber Soul" album. I play it in the key of C not the original key of A. The song is played in a moderate 4/4 tempo. Intro: C C E B D A E Verse: C Am C7/Bb F Fm E B D A E Bridge: C C Am E B D A E F Bb C E B D A E

21 21 Am D7 Fm E B D A E Ending: C C C E B D A E C E B D A E

22 22 Michelle Here are the fingerings that I use to play a chord-melody arrangement of The Beatles 1965 Michelle. I play it in the key of Am not the original key of Fm. The song is played in a moderate 4/4 tempo. Intro: Am E+ Am7 Am6 FM7 E E B D A E Verse: A Dm7 6 F#o7 E B D A E Bridge: E Ebo7 E E Am Am(M7) E B D A E Am9 Am6 C7sus FM7 F6 E7sus E B D A E

23 23 Am Am(M7) Am7 Am6 FM7 E E B D A E uitar Solo: A Dm7 F#o7 E B D A E E Ebo7 E E B D A E

24 24 Something Here are the fingerings that I use to play a chord-melody arrangement of eorge Harrison's 1969 hit Something from The Beatles' "Abbey Road" Album. I play it in the original key of C, however, it modulates to the key of A in the bridge. The song is played in a slow 4/4 rock ballad tempo. F Eb /B C Cmaj7 E B D A E C7 F C/E D7/F# E B D A E Am7 7/B Am Am(M7) E B D A E Am7 D7/F# F Eb /B A E B D A E A C#m/A F#m F#m/E D E B D A E

25 25 A C#m/A E B D A E-----[ ] F#m F#m/E D C E B D A [ ]-- E

26 26 Strawberry Fields Forever Here are the fingerings that I use to play a chord-melody arrangement of The Beatles 1966 hit Strawberry Fields Forever. I play it in the key of C not the original key of Bb. The song is played slowly in a 4/4 tempo. Intro: Bm 7 Am E7 Am F C E B D A E Chorus: C m7 E B D A E A7 F A E B D A E FM7 C E B D A E Verse: Bm/F# 7 Dm7 E7 Am Am/ E B D A E

27 27 FM7 F 7 C C/B Am Am/ E B D A E F F C E B D A E Ending: FM7 C FM7 7 E B D A E F C E B D A E

28 28 Till There Was You Here are the fingerings that I use to play a chord-melody arrangement of Meredith Wilson's 1950 standard Till There Was You. I play it in the key of C not the usual sheet music key of Eb. The song is played in a moderate 4/4 tempo. Cmaj7 C#o7 Dm7 E B D A E Fm6 C Em7 Ebm7 Dm7 7 E B D A E Em7 Eb7 Dm7 7 CM7 FM7 CM7 Em7 E B D A E Fmaj7 F#o7 Cmaj7 E B D A E A7 Ebm7 Dm7 D9 7 E B D A E

29 Ending: 7#5 Cmaj7 E B D A E

30 30 Yesterday Here are the fingerings that I use to play a chord-melody arrangement of The Beatles 1965 hit Yesterday. I play it in the key of C not the original key of F. The song is played in a moderate 4/4 tempo. C Bm11 E7 Am9 Am6 Fmaj7 7 6 E B D A E Fadd9 C /B Am7 D/F# F/ C E B D A E Bm11 Bb7b5 Am Dm11 7 C C6 E B D A E Bm11 Bb7b5 Am Dm11 7 E B D A E C6/9 Dm7 C END: C D/F# F/ Cmaj9 E B D A E

31 31 Learn More About Chord-Melody If you want to learn more about chord-melody playing, I recommend that you start by taking a look at the free lessons available at the Chord-Melody pages of the MoneyChords.com web site ( Several commercial books are available on chord-melody. I recommend the following: New Techniques For Chord Melody uitar by Arnie Berle (CPP/Belwin ) Chord Chemistry by Ted reene (Warner Brothers Publications ) It is also a good idea to listen to some of the best chord-melody guitarists such as Johnny Smith, Joe Pass, Barney Kessel, Ted reene, Wes Montgomery, Tony Mottola, Tal Farlow, and Kenny Burrell.

32 32 About The Author The arranger is Rich Scott, a guitarist/songwriter and author of Chord Progressions For Songwriters and Money Chords - A Songwriters Sourcebook of Popular Chord Progressions both published by Writers Club Press. He is also the owner/webmaster of MoneyChords.com, a popular guitar lessons website.