Peter Green Guitar Tab Book

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---TRANSCRIBED BY DOUGLAS J NOBLE----CONTENTS FOREWORD PETER GREEN NOTATION SYMBOLS STYLE ANALYSIS BLACK MAGIC WOMAN NEED YOUR LOVE SO BAD MAN OF THE WORLD LOVE THAT BURNS THE SAME WAY

I LOVED ANOTHER WOMAN SOMEDAY AFTER AWHILE

(YOU'LL BE SORRY) STOP MESSIN' AROUND THE SUPERNATURAL THE STUMBLE

THE GREEN MANALISHI (WITH THE Two PRONGED CROWN) OH WELL (PART 1) OH WELL (PART 2) DRAGONFLY ALBATROSS DISCOGRAPHY First Published 1990

ISBN 0 R6359 733 5 Order Ref: 17197215-2-599 Exclusive Distributors

International Music Publications Southend Road. Woodford Green.

Essex IGIl RHN. England.

2 3 4 5 6 9 12 14 18 20 24 27 34 41 54 58 66 69 72 87

means. including information storage systems without permission in writing from the publishers,

Edilol': Peter Foss Trlllls(,l'iplio/ls: Douglas J Noble

ClI\'el' Desigll: Ian Barrett CII\'('I' PholilgraphL' Ron Goldby

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2

_FOREWORD

Transcribing is a subjective skill open to the individual's personal interpretation. Whilst the transcriptions in this book are intended to be as accurate and as accessible as possible, they are best studied in conjunction with the appropriate recordings in order to appreciate nuances which defy exact notation. Furthermore, subtle changes in dynamics and the precise speed and depth of a particular vibrato are not normally included in transcriptions in order to avoid making them over-complex.

A musical aspect present in the Blues-based solos which defies exact notation is phrasing which is slightly behind or ahead of the beat. This was used by Green to great effect in this earlier work. It is an interesting paradox that whilst Blues is often regarded as a "simple" musical style in terms of form and harmony, the greatest and most expressive proponents of the style are often impossible to capture accurately in notation due to a fluid approach to phrasing. Similarly, in common with other Blues players Green made great use of quarter tone bent notes and other "less specific" notes which are difficult to notate precisely.

Douglas J. Noble is a musician based in E9inburgh. This is his second book for International Music Publications.

The author would like to thank Neil Munro, Neville Marten, Paula Chandler and Bob Brunning (the original bassist in Fleetwood Mac) for their kind assistance.

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PETER GREEN

Peter Green was born on 29th October 1946 in Bethnal Green, London. One of three brothers in a poor Jewish family, Green started to play the guitar at the age of eleven. Initially inspired by Hank Marvin from the Shadows, Green began to listen to Blues greats such as Muddy Waters, Freddy King, Buddy Guy and B.B. King. Ironically enough, he was also inspired by Eric Clapton and even bought a Gibson Les Paul guitar because Clapton played one. Green's first major musical career break came at the age of nineteen in Summer 1966 when John Mayall, a leading figure on the British Blues scene, asked him to join the Bluesbreakers following Clapton's departure to form Cream. A more than adequate replacement for Clapton, Green soon established his own identity with emotive, fluid phrasing and imaginitive compositions.

Green recorded one album with Mayall entitled "A Hard Road" which featured the songs "The Stumble", "The Same Way", "The Supernatural" and "Someday After Awhile", all included in the following transcriptions.

After only a short period with Mayall, Green began to feel the constraints of playing in the Bluesbreakers,. which was essentially Mayall's band. Consequently Green left to form Fleetwood Mac with drummer Mick Fleetwood, slide guitarist Jeremy Spencer and bassist Bob Brunning who was later replaced by John McVie. Green had previously played with Fleetwood and McVie in the Bluesbreakers. Fleetwood Mac's first album "Peter Green's Fleetwood Mac" was a collection of mainly purist Blues songs, represented here by "1 Loved Another Woman" which shows Green starting to experiment with the Blues structure. Reaching numbp.r 4 in the UK album charts, this was followed by the successful singles "Black Magic Woman" and

"Need Your Love So Bad".

Fleetwood Mac's second album "Mr Wonderful" was in a similar Blues vein, including the songs "Stop Messin' Round" and "Love That Burns". After this album Green started to break away from the restrictions of the Blues format with the singles "Albatross", "Man of the World", "Oh Well Parts 1 & 2" and "The Green Manalishi (with the Two Pronged Crown)", which bore little or no sign of the band's Blues roots.

Green left Fleetwood Mac in spring 1970 partly due to the restrictions imposed by working in a conventional rock band and partly due to feelings of guilt about his large income, which he felt was unjustified. After a patchy solo career personal problems and illness have sadly taken their toll on Green's creative talent to the extent that he no longer plays the guitar nor shows any interest in music.

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STYLE ANALYSIS

Peter Green was not a virtuoso guitarist nor did he possess in-depth knowledge of music theory. However, his taste, restraint and overall "feel" more than compensated for these potential shortcomings.

Green's style can by analysed in five main areas as follows.

1. Blues Vocabulary

Most of Green's lead playing uses the Blues scale, the Pentatonic Minor scale or the Pentatonic Major scale -the standard scales used in Blues. Occasionally Green freely and fluently mixes these three scales, such as in "The Stumble", whilst certain minor key songs such as "Black Magic Woman" use the Blues scale only.

Green demonstrates a firm and natural grasp of the standard Blues licks. These are two of the more prominently used licks, the first from the "E" Blues scale as used in bar 40 of "The Stumble", the second from the "A" Pentatonic Major scale as used in bars 1 12 of the Solo from "Need Your Love So

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In addition to using the standard Blues chord progressions of the 12 bar Blues ("Stop Messin' Round"), the 8 bar Blues ("Someday After Awhile" and "Need Your Love So Bad") and the less common 16 bar Blues ("The Stumble"), Green's own songs "I Loved Another Woman" and "Black

Magic Woman" show experimentation with the Blues chords of I, IV and V in a non-Blues progression.

3. Phrasing

Green occasionally timed phrases either slightly in front of the beat or slightly behind the beat. Used sparingly, this flexible approach to timing adds extra emotional depth to a phrase. "Love That Burns"

features a more extreme usage of this type of phrasing, to the extent that the phrasing occasionally leaves the underlying pulse altogether.

4. Expression

Most of Green's solos use vibrato, dynamics and accents to compliment the actual notes played. The more apparent examples of each are notated in the transcriptions, but to appreciate the more subtle instances in which Green uses these techniques it is necessary to listen closely to the records.

5. Equipment

Green's main guitar was a sunburst Gibson Les Paul Standard. The pickups on this guitar had been accidentally wired out of phase giving the guitar a distinctive tone quality, as can be heard on "Need

Your Love So Bad". This guitar is currently owned by Gary Moore.

Green used a variety of amplifiers during his musical career, including Vox, Orange, Fender and Marshall amps.

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6

I

BLACK MAGIC WOMAN

Words and Music By PETER A GREEN

Peter Green's "Black Magic Woman" demonstrates his use of the "D" Blues Scale in a non-Blues chord progression.

The phrasing is fairly fluid in bars 2/3, which are played behind the beat. From bar 15 to bar 20 many subtle nuances can be heard in the timing of phrases.

Reverb is added to the guitar at the beginning of the second half of the solo in bar 12.

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INTRO

I

NEED YOUR LOVE SO BAD

Words and Music By UTILE WILLIE JOHN

"Need Your Love So Bad" is a slow 8 bar Blues written by Little Willie John.

Peter Green uses the "A" Pentatonic Major scale in conjunction with the "A" Blues scale. The timing sounds more natural than complex-looking notation implies. Also, as with other of the more expressive Peter Green solos, the phrasing is not as rigid as the notation suggests. This is particularly noticeable in the Solo on the first two beats of bars 3 and 4 which are played behind the beat.

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12

INTRO

MAN OF THE WORLD

The Intro of this Peter Green song is fingerpicked on an electric guitar with a rhythm guitar strumming the chords underneath. The fill at the end of bar 8 is played by a new guitar part - the Bm chord can be heard sustaining over the fill.

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14

INTRO

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LOVE THAT BURNS

Words and Music By PETER A GREEN & CLIFFORD ADAMS

This slow minor key Blues was written by Peter Green and Clifford Adams.

The "A" Blues scale is used throughout with one notable exception -a "C#" note in bar 3 of the Intra. The phrasing in the Intra and the Solo is very free, to the point of occasionally leaving the underlying pulse altogether. This type of phrasing, coupled with Peter's sensitive use of dynamics and accents, makes this song nearly impossible to transcribe. A transcription of this sort must be studied along with the recording.

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18

I

THE SAME WAY

This Peter Green song uses an unusually-Iengthed 11 bar chord progression with the Blues chords of I, IV and V.

In this solo Peter masterfully interweaves the "A" Pentatonic Major scale with the "A" Blues scale.

Bar 5 -The riff in this bar is played by the rhythm guitar, linking the "I" section ("A" chord) with the "IV" section ("D" chord).

Bar 1 0 -The lead guitar drops in volume from beat 3.

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This Peter Green song is similar in style to "Black Magic Woman",

both songs using non-Blues 12 bar progressions in Om with Chords I,

IV and V.

Since there is not a rhythm guitar on the Intro or the Solo the chords

given are those used in the verses. The echo on the guitar gives the

impression of notes ringing-on for longer than they are held. Peter

makes much use of dynamics in this song, occasionally dropping the

volume to being barely audible.

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Bar 10- Peter ends this phrase slightly behind the beat.

Solo

The first 11 bars are a restatement of the Intro melody with slight

variations

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Bar 16 -Again, this phrase is behind the beat.

Bar 17 -Peter plays this phrase very freely, again behind the beat.

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"Someday After Awhile" is another Freddy King and Sonny Thompson song which follows a standard 8

bar Blues progression.

Intro

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Solo

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"Stop Messin' Round" is a straight-forward medium tempo shuffle

Blues written by Peter Green and his then manager Clifford Adams.

He uses the "C" Blues scale and the "C" Pentatonic Major scale.

The "Bb" and "C" two note motif in the Intro is repeated at the beginning of the 1 st and 2nd Solos, albeit in a slightly altered form.

2nd Solo

Bar 2 -The open "B" was presumably played by mistake, the most likely intended note being a "G" on the 2nd string 8th fret.

Bar 6 - The unclearly sounded note was probably an "Eb ".

Bar 23 -The closing phrase is played in front of the beat.

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34

_{THE SUPERNATURAL}

"The Supernatural" is a Peter Green instrumental based on a 16 bar chord progression.

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Peter's phrasing is not as rigid as the notation suggests, most noticeably in bars 9-11, 37-41, 59-60

and 66-69. Listen closely to the record for the correct "feel".

There is an echo effect on the guitar which Peter exploits in his abundant use of staccato notes.

Bars 33-36 -The dynamics in these bars sound as though they were produced by feedback at high

volume.

Bar 68 -The notes have been grouped into phrases.

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THE STUMBLE

Words and Music By FREDDY KING and SONNY THOMPSON

"The Stumble" is a Freddy King and Sonny Thompson instrumental

which Peter Green plays at a slightly faster tempo than the original.

The first two 16 bar sections elaborate on King's theme and are

followed by a 48 bar solo. The last 16 bars are a restatement of the

theme.

Peter freely mixes the "E" Pentatonic Major scale with the "E" Blues

scale throughout.

Bars 13/14 -The upper part of these double-stops is quieter than the

lower part, the most likely explanation being that Peter used the

plectrum for the lower part and the middle finger for the upper part.

Bar 35 -The "Fq"s were presumably played by mistake. Peter's

playing is not as clean in this bar as it is elsewhere.

Bars 45,52,58,74 - The open strings in these bars can be seen as

"lead-in" notes to the next phrase which all start on the same string

as the open note but higher up the neck.

Bar 75 -The double-stop in the latter half of this bar is played by

catching the 2nd string under the finger bending the 1 st string.

Consequently the 2nd string's note is not bent as far as the 1 st

string's note. A7

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